649 - (Grayson Hall) - Evening at Collinwood, and as darkness begins to enshroud the great house, there is one inside who is prepared to conquer the powers of darkness. She has come to Collinwood to exorcise the spirit of one who will not rest. In doing so, she has been lured to a strange room in the deserted West Wing. She will try to confront the spirit who exists there--and in the process, she will risk her own destruction.
The music starts playing. Madame Findlay calls to the spirits--"I'm here to help!"
The music suddenly stops, but she continues to speak to the spirits, assuring them, "I'm here to bring you peace, but if you won't help me, I'd like to leave." She tries the door, but it won't budge. Scared, she tells them she isn't afraid. The medium suddenly realizes someone died in this room. The air around her grows frigid. "You exist in darkness!" she accuses--"and you want me to exist in darkness!--APPEAR TO ME! APPEAR TO ME!"
Liz is sitting in the drawing room when Julia comes in to tell her that Roger has some bruises but will be fine--he can leave for London tomorrow. Julia says Roger told her something odd--someone tried to kill him. Yes, says Liz, he insists there was a wire stretched across the stair, but I didn't find it.
Julia expresses hope that Madame F can help them all understand everything that's happening. Liz says she's worried about the medium; she's been gone so long, for hours. It's a huge house, Julia reminds her. Liz is still concerned--it's been too long.
Madame F orders the recalcitrant spirit to appear to her, but gets no response. Growing impatient, she tries the door again. Why are you keeping me here? She demands, slamming her fist on a table. She seems to be losing her cool now. She belligerently lights the blown-out candle again. She hears the cradle rocking and goes over to it. There was a child, she murmurs, whose child? The phone Amy and David were playing with rings, amusing Madame F. She puts down the candle and picks up the phone, answering it. No one is there, and she asks who it is. I can hear breathing--I know someone's on the line--say something! she insists. The phone isn't connected to anything at all, and she picks up the useless end and stares at it.
Liz, pacing the drawing room, finally decides to look for Madame F, even though the medium told her not to do so. She leaves to find her.
Madame F talks into the phone. "Speak to me," she implores. No answer. She puts down the phone, angry. "No!" she says. The cradle isn't rocking any longer. She is increasingly nervous. She walks away, comes back to the cradle, rocking it herself. She smells a scent, a perfume--a woman's spirit is in the room, too! Who are you? she asks gently. The phone rings and she races to answer it, then tells the phone she won't answer this time--if you want me, appear to me!
Julia waits down in the foyer and finally heads upstairs to meet Liz on the landing. Liz couldn't find her, and finds it hard to believe Madame F left without saying anything. They wonder what has happened.
Madame F holds her hands over her ears, unable to stand the ringing any longer. She finally answers and asks why they won't leave her alone. This time, however, she gets an answer. "What?" she asks--"No! I'm no going to die! My will is stronger than yours!" And she hangs up on the ghostly caller. She looks in a free-standing mirror, feels a presence, and turns around. She sees herself reflected as a skeleton and her mouth drops open in soundless horror.
Chris paces his room at the Collinsport Inn. That girl in the bar, every time I think of her. . .he laments. He looks out the window and notes the moon will be full tomorrow night--I can't let it happen again, I can't! Joe Haskell knocks at his door and Chris lets him in. Joe greets him amiably and asks why he's always keeping himself cooped up. I like to be alone, says Chris. Joe complains how dismal and prison-like the room is. Chris says he likes it, asking if he came by to criticize his taste. Joe apologizes. Why did you come by? asks Chris. Joe says he might be leaving town, probably for good--mostly because of Maggie--you know how I feel about her--we keep running into each other--it might be better if I just went elsewhere, maybe Boston, where I've applied for jobs. Chris asks if he's sure he wants to go. Joe says he would prefer to leave it all behind--so much has happened in the past two months. Chris had hoped Joe and Maggie would reconcile, but Joe doubts it will happen, not the way she feels about him after what he did to her--nothing to say, says Joe--I saw Amy earlier--she misses you. I try to get over there to see her, says Chris. You should do it more often, advises Joe. Chris promises he will. Joe says while he was at Collinwood, this kook, Madame Findley, a medium, told him he was going to die soon.
This astounds Chris. Joe says Amy saw or imagined she saw a star on his forehead--the sign of the pentagram, and of sudden death. Chris looks upset--that's impossible, he says. Joe figures Amy just repeated some of Madame F's mumbo jumbo--I won't waste time worrying about it. I have to kick you out, says Chris, I have a lot of work. Joe is cool, but when Chris sees him out, he says to himself, "Tomorrow night, I can't let it happen, not to HIM! I've got to do something!"
After Liz gets off the phone with Stokes, Julia asks what he said. Liz says Stokes has tried to reach Madame Findley but without success--he can't imagine what happened to her. Julia is sure she's all right. Liz hopes so.
It's 7:30. Madame Findley sits in a chair, rocking a little, looking miserable. "Why is it so silent?" she asks--I have to get out of here! She tries the door, bangs on it, demands to know why they want to keep her here. She begs for help, sobbing, ordering herself to get a grip. She can't be frightened, she just can't! The chandelier starts to sway; she demands, "Are you in this room?!" The music begins to play. What does it mean? She asks. The drawer on the roll top desk closes by itself, and the chair swivels around. "NO!" she cries. "NO! NO!!!!!!" The music plays on, and Madame F screams on and on, too.
Liz answers the door to Chris Jennings. Amy's in bed, Liz says, but he asks to see Julia. Liz heads out to check the gate for the medium's car. Chris tells Julia he needs medical help--he's having trouble sleeping and needs strong pills, something to knock him out 24 hours at least, more if possible.
Julia wants to know why he needs that much sleep. Insomnia, he says--it's interfering with my work--I MUST sleep tonight, it's vital, there's some work I must finish and I need sleep. Gazing at him sharply, she observes he looks rested. Chris says the way I look and feel are two different things--I'm desperate. Desperation for sleeping pills makes me hesitant to give them, says Julia. He swears he isn't going to do anything foolish, he just needs sleep. She relents, finally agreeing to give him some medication. Liz comes in and reports that Madame Findley's car is still at the gate, so she must be somewhere in the house. "There she is," says Liz, pointing to the top of the stairs, where the medium stands. We've been so worried about you, says Liz---where have you been? Mrs. Findlay doesn't respond, and a stunt person dressed in a bad wig tumbles down the stairs, shaking the banister and one of the lights. Both women scream with horror. Madame Findley lies at the foot of the stairs, eyes wide open in fright, very, very dead.
NOTES: Whoa, are they ever springing for stunt people a lot these days--the werewolf for Chris, another for Madame F! That was a really dramatic ending, wasn't it? Whew, did Quentin drive that poor woman out of her mind or what? He toyed with her cruelly, then murdered her. Quentin may be handsome, but he's a mean, mean ghost! Joe's decision to leave upset me, but the worst is yet to come where he is concerned. That was one terrifying final scene, and extremely unusual for a daytime soap. It sure scared me the first time around!
It's also good to know that Julia DOES set some limits where her sedatives are concerned. She might dole them out like candy, but something about Chris' desperation disturbs her, as it should. We know why he wants those pills (to sleep through his transformation and hopefully avoid murdering anyone else), but she has no clue.
650 - (Roger David) - Evening settles over Collinwood after a day of fear for the residents of the great house. For on the previous night, a woman died mysteriously, and the mystery surrounding her death still troubles those who knew her. On this night, another event will take place--an event just as mysterious--one which will choose the destiny of Victoria Winters--forever.
Liz, in a pretty blue dress, paces the drawing room. It's 6:30. She looks at the Tarot card. Roger comes in, looking exhausted. Madame F had a heart attack, Roger tells Liz, who consider that odd--did she see something that scared her to death? Roger chides her--Mrs. Findlay died of natural causes and Liz must accept it. Liz vividly describes how the medium fell down the stairs. Roger advises her to wipe it from her mind (like that's easy). Vicki comes in, looking lost, and asks if someone else can watch the kids that evening. Roger asks if she's going somewhere, but she says no, she's staying in her room to see Jeff, her husband.
Jeff is gone, says Roger, but Vicki is sure he is going to return to her tonight. Liz gazes at the young woman with pity.
Liz pats Vicki's back. Vicki refuses to believe she'll never see Jeff again. She had a dream, she explains, and Jeff was there. He spoke to her and said he'd come for her. Roger questions her rationality, but Vicki is sure the dream means she'll see Jeff again. Liz says she must be realistic, even if it's painful. Vicki says she can't go on living if she believes she'll never again see Jeff. "It has to happen!" she cries, running from the room. Liz is all set to go after her, but Roger stops her. What more can you say? he asks. Liz insists something must be done. Roger says Vicki persists in her fantasy that Jeff will return, and there's nothing to do. Poor child, sympathizes Liz. Roger says Vicki has to stop grieving sometime, but Liz believes Vicki will grieve until the day she dies. Roger asks how long it's been since Barnabas saw Vicki, and suggests he talk to her--he might provide the comfort they can't. Liz doubts Barnabas can help, but thinks it's worth trying. Roger regrets having to go away on business, but he must. He heads out to the Old House while Liz again studies the Tarot card.
Vicki is sitting at her vanity, holding Jeff's watch, begging for it to tick. Please, let me know you're here, she begs--give me a sign. Vicki vows to close her eyes--when I open them, the watch will tick and Jeff will be with me. It has to happen, she sobs, leaning against her arm and crying. She gazes at the watch and, overjoyed, sees it has begun to tick! You're here in this room, she croons--Jeff, Jeff, I know that you're here! I know you're very close to me now. Please, come to me! She hears the outer-space sounds and sees the floating light hovering in the air.
Roger returns with Barnabas and leaves him with Liz to pack for his trip. Barnabas has been brought up to date on Vicki's situation and regrets not coming to her sooner. Liz understands how difficult this was for him, the marriage happening so soon was a shock to Barnabas. Barnabas realizes his feelings for Vicki are no secret. Liz assures him Vicki cares for you, too, although not the same way she cares for Jeff. Liz mentions how disturbed Vicki is. Of course I'll try to help, says Barnabas. When Liz goes up to get Vicki, Barnabas stands looking like he wonders what the hell he's going to say.
Vicki talks to the transparent, pulsating apparition. "You're here, Jeff, please, please come to me!" She begs for the power of love to bring him back to her. "I love you, Jeff!" she croons. "Hear me!" Jeff's voice calls to her; she grins, thrilled. His whispery voice tells her that her love brought him back. She begs him to return to her. I can never return, he says.
"No!" Vicki protests. It's true, he says. She refuses to believe it. A knock on the door sends Jeff away. Vicki bursts into new tears. Liz comes in and tries to comfort the hysterical voice. I heard his voice, Vicki tells her--he said he could never come back--I've lost him forever, what am I going to do? You'll stay at Collinwood, says Liz, and let us take care of you. I can't, insists Vicki, I have to leave Collinwood and go someplace else. You're one of the family! Liz protests. I love all of you as the only family I've ever had, Vicki assures her, but the house holds too many memories I can't live with. Vicki isn't sure where she'd go, she hasn't thought about it. Liz suggests she had better discuss this later, when she's calm. Vicki agrees. Liz tells her Barnabas is waiting outside. Vicki is eager to see him.
Barnabas comes into Vicki's room, where she sits despondently in a chair. She greets him with a big smile, glad to see him. I was going to go to you, to say goodbye, she says. Barnabas is surprised. I'm leaving Collinwood, she tells him. Barnabas asks why. I fell in love, married the man I love, then lost him, she says sadly--IF I stayed, the memories would be unbearable. Barnabas understands this (does he EVER!) Vicki says she has to go away--where, I don't know, but I must go. You're making a mistake, deserting the people who love you, points out Barnabas. She asks him not to think of it that way. I care for you, he says--come away with me, let me take care of you--I realize it's too soon to ask, but "Vicki, I want you to be my wife." She whirls around in disbelief. (astonished at his bad taste and timing, perhaps?) Barnabas asks her to let him speak--I know you don't feel for me as you feel for Jeff, but I believe you have some feeling for me. Of course I do, says Vicki. Barnabas continues--there's the possibility that, in time, your feelings might grow, and I might be able to make you happy--I'd do anything in the world to make you happy--consider going away with me as my wife. (pick ME, Barnabas, pick ME!!) You're the kindest, most considerate man I know, says Vicki gently, and I feel close to you and always will.
Please be sure before you say no, says Barnabas softly. I'm honored you asked, she says, and I truly wish I didn't have to say no, but I must. "Because you could never learn to love me?" he asks. No, says Vicki, in many ways, I feel something like love for you, and if I hadn't met Jeff. . . Barnabas reminds her Jeff is gone. He isn't, says Vicki, and while I know he will never return to me, I'll never stop loving him, I always will--my love for him will always exist in me, and so a part of Jeff will always exist, too. All Barnabas gets out of this is her speech is that she's telling him she won't marry him; he's clearly hurt. (How could she turn him down! Oh, I'd say yes so fast and have a clergyman there so quickly, he wouldn't have had to get all the words of his proposal out! Vicki, you're a fool!) Vicki apologizes--I'll never stop loving the man I DID marry, she says--I can never have another husband (gonna be dry days ahead with that attitude, Vicki!) She wishes she didn't have to hurt him. He begs her not to apologize, apologies are always more painful than anything else. (Is this an early precursor to "love means never having to say you're sorry?) He asked her a question and she answered it, he wants to leave it at that. He asks when she's leaving; she doesn't know, ASAP--it would be best to leave quickly, she feels. Barnabas says perhaps this should be their final farewell. It would be easier that way, he says. "Goodbye, Vicki," he says. She says it back. (This would have been so much more effective played by Moltke!--and no hug, at least?) Vicki stops him before he goes and says, "Wherever I go, whatever happens to me, I'll never forget you." He promises the same thing, and, his face suffused with sorrow, leaves. Vicki sits on her bed and commences to cry over Jeff again. "Why couldn't you return?" she asks. "Why do I have to spend the rest of my life without you?" Jeff himself appears in her room, and touches her hand. She looks into his face. "Jeff!" she cries. Vicki hugs Jeff, thrilled to see him. They kiss. Your love brought me back, he tells her. Both are ecstatically happy. I feared I had lost you forever, she says. I didn't choose to come back, says Jeff, your love did that, and you must forget me--we can't be together; I am and always was Peter Bradford--my sprit existed in Peter Bradford's body--for only a while, then I had to return. She hugs him. I had to go back to my time, he says, I'll always have to go back there--we only have a few minutes, he says--when the clock strikes 8, I'm going back.
She runs into his arms. Centuries separate us, he says, holding her tightly, that's why you have to forget me. I will never do that, or stop loving him, she vows. They kiss, staying plastered together for a while. She asks him to take her back with him, back into time. I can't, it's too dangerous, he says. You're my whole world, she protests THIS is your world, here, you belong here, says Jeff. I'll never be happy, she sobs, and again begs him to take her with him.
Barnabas sits in a chair in the drawing room, depressed. Roger hears his taxi blaring the horn and asks Barnabas to help Liz contend with everything at Collinwood. They shake hands and Roger goes, saying goodbye to Liz and kissing her cheek. He puts on his hat, takes his suitcase and heads out the door. Liz waves goodbye and the cab drives off. She returns to Barnabas, surprised to see him here--I just passed Vicki's room, heard her talking to a man and assumed it was you, says Liz. Barnabas gazes at the stairs, then rushes away.
You might feel lost in another century, Jeff/Peter warns Vicki. Not if I'm with you, she says, holding him tightly. The clock is going to strike, he says. Barnabas, Liz right behind him, tries the door. Vicki! calls Barnabas. Peter tells Vicki, "Take my hand and hold tight." They each declare their love. Barnabas bashes the door in just as the clock is striking 8. Liz and Barnabas watch as Vicki and Peter slowly fade away. "Vicki!" says Barnabas forlornly, taking a step forward.
NOTES: Hate to keep harping on the same thing, but again, it would have been so much more touching and sad if Alex Moltke were still in the role. Let's face it, this new actress just wasn't the right replacement for the character we had come to know and love. I would have been crying if the other Vicki had turned down Barnabas' marriage proposal and disappeared right in front of him. With this one, I'm sad, but just don't care as much.
Sure, Barnabas' proposal was in incredibly bad taste, his timing horrendous. He's always been a romantic guy, and I guess he figured he could eventually make Vicki forget Jeff if she'd just give up on the jerk from another century. Personally, I think she made a dreadful mistake, but even though I actually felt Barnabas and Vicki were good together, I guess it wasn't meant to be. Imagine, too, if Liz had revealed, right after Vicki disappeared, that SHE was her real mother? Not in time for Vicki to hear, but in time for us, the audience who knew Vicki for more than two years, to know the truth? Blast those writers for leaving one of the biggest strings from the original story treatment hanging this way!
Love, Robin
