660 - (Thayer David) - The great estate of Collinwood on a sunny afternoon, an afternoon in which even grief is momentarily forgotten--forgotten because of a seemingly innocent photograph posed by two adults for the children. But when the film is developed, the picture showed not the people, but something one man knows happened over 200 years ago.
A Thayer David intro, always a pleasure. Barnabas, showing the photo to Julia, insists that the photo displays Vicki on the gallows, hung as a witch--I recognize the clothes. Julia tries to divert him, but he says he's lived so long, surely for some purpose--to save Vicki! Julia tells him not to get upset, but he wants to know what else he can do--is there a rational explanation? Julia doesn't have one. Barnabas explains that he and Carolyn posed outside the front door for David--and this is the resulting photo. If Vicki wanted to contact you, says Julia, wouldn't there be an easier way--to speak to us, appear to you? Barnabas paces, pondering that she went to be with Peter, but to have to relive those dreadful days in the cell, on trial as a witch. . .when it happened the first time, I couldn't save her, but now I will. Julia asks how, but he insists I must try, go back there, relive the days when I first lived, when Collinwood was new. "You can't!" bleats Julia, but he says he will find the secret to time, banish all those years, be by Vicki's side--tonight!
Julia tries to reason with him--you can't will yourself back in the past, this time is all that exists for us. (not quite!) Barnabas reminds her that part of his life is being repeated right now, this minute, this house stands in another century as well as this one--my father walks into this room, calling to his servant, Ben, I can almost see them, hear them. . . Julia appeals to him, but he goes on. . . "over and over again, they play out their lives."--only I escaped, and I can thank Angelique for that. When I am back there, I'll know what happens in the next second, minute, hour. Julia asks what good it would do--you can't change history! Why not? he asks. Julia reminds him Peter Bradford was hanged in 1796, his grave is there in the old graveyard! Barnabas insists he can get back there before they are hanged, knowing what he does. Julia calls this idea insane, but Barnabas tells her no one else has ever tried it. No one ever had the opportunity, she points out. Exactly, he says, I have! Even if you get there, says Julia, what assurance is there that you know what's going to happen--perhaps everything will have to be lived out the way it was. No, says Barnabas firmly. You can't be sure, she says, then realizes she's talking about traveling back 200 years as easily as traveling to Europe--it's all a dream, she says. Barnabas refuses to let it be. David comes in to retrieve his photo. Barnabas doesn't want to give it to him. David says he thinks the figure in the background is Vicki, but Amy wonders how that can be--she's gone?-- where did she really go? Amy asks Barnabas. Away, says Barnabas, on a long, long trip. He tells David he'll return the photo tomorrow--and we aren't going to Boston. The kids pretend to be disappointed, saying they're all packed, as is Maggie, but Barnabas says he will send them to Boston in the spring--I promise. David complains they want to go now, but Barn says we can't always do what we want when we want. Grownups always say stuff like that, gripes David. It only seems that way, says Barnabas. Amy suggests they go outside and play, which Julia proclaims a marvelous idea. She puts an arm around both kids and promises they'll do something special later. OK, says David sadly, but I'm not going to forget. She smiles fondly after them.
Julia begs Barnabas not to go back to the past, but his mind is made up, and he shakes his head even as she begs him. She goes upstairs. The kids, alone outside, are thrilled they aren't going--the adults never even guessed! They want to go tell Quentin, but Amy is sure he knows--he said he would never let them be taken away. Quentin is always right, and now they can play the game whenever they want, and no one can stop them. David is still wondering about the picture, which Quentin did not get involved in, they agree--why was Vicki in it? They don't know, but it's scary. Amy wants to ask Quentin. Quentin doesn't know about it, insists David. Amy says not to be sad, she likes mysteries, even scary ones. So does David, he admits, but Quentin caused so many things to happen just to stop Barnabas--why didn't he cause this one, too?
We see Barnabas' portrait in the foyer, and he's looking at it with a resigned expression. Julia comes down to report she thinks Maggie is relieved the trip is off. Barnabas makes it clear he's leaving, realizing she isn't sympathetic to all of this, he says would be better for her to stay out of it--I'm going to ask Stokes to help me back to the past as he did Peter Bradford. Julia wants to go along; if he disappears, someone must know about it. He agrees to this practical suggestion and tells her to hurry. Vicki has so little time, he frets; if I'm right, she might hang tonight.
David and Amy walk through the graveyard. He says he likes it here. One stone has a date of 1701 on it. You like history, Amy says, but I don't. She asks him if he watches funerals here, but he says they don't bury people here. They find a grave from the war of 1812. Amy points out to David what appears to be a fresh grave. It couldn't be, says David. Amy accuses him of telling her stories about the cemetery not being used anymore. They find Peter Bradford's tombstone. The name is familiar to David--I heard Vicki say it once, only I don't remember who he was--but whose fresh grave could this be?
The kids ponder who could be buried there, because the person would have to get family permission. Amy suggest they ask the caretaker. David thinks the old guy wouldn't know anything, but they go off to find him anyway.
Stokes looks over the note and the photo. He finds it disturbing, remarking that ghosts are usually not so precise. Barnabas tells him Vicki is not a ghost, she left their century alive--help me get back to the past tonight, begs Barnabas. Stokes asks if he thinks him some sort of travel agent for time (LOL!--a great line). Barnabas requests the herb he gave Jeff, but Stokes insists that method only liberated Peter Bradford's spirit. Barn says it did more. Stokes says he has thought a great deal about that amazing evening, and he believes there is a Jeff Clark roaming the earth right now--his body was possessed by Bradford's spirit, and when that spirit returned to its own time, the borrowed body was returned to where it belonged--I know it's complex, says Stokes, but sure it's true. Barnabas begs for the herb, implying Stokes has no interest in saving Vicki. Stokes assures him he was very fond of her, but feels she left this world of her own free will. Barnabas calls her a romantic, believing everything would change, but she didn't plan on being trapped in her own history--he knows her well enough to know that. Please, he begs, give me the herb. Stokes says it wouldn't affect him; he's taken it himself, and unless Barnabas himself is from another century, it produces only a mild depression. (OH OH, will Barn ¢â‚¬Ëœfess up?) Barnabas turns away and asks, "Suppose I am from another century?" Julia suddenly has a violent bout of coughing, and rises from where she's sitting. If you are, says Stokes, it's one of the best kept secrets in Collinsport, isn't it?" Barnabas stares steadily at him.
The kids can't find the caretaker, which disappoints Amy--we can't even find the men who dug the grave, or shovels. David says it doesn't mean anything. Suddenly, they notice that the open grave has now been filled in.
Stokes tells Barnabas there's nothing he can do, much as he hates to admit inadequacy--Peter was summoned back to his own time; he heard those he knew calling to him. Peter then beckoned to Vicki to come back, says Julia. Exactly, says Stokes--who in the past wants you back there? Stokes asks Barnabas--who else besides Vicki, who can't appeal to you personally? Peter Bradford, suggests Barn. He wouldn't want you there, says Julia. If he was convinced I was coming back to help her. . .points out Barnabas.
He would think you were going there to bring her back here, says Julia. That's an unnecessary remark, says Barnabas. Julia urges him to be honest, utterly, about this mad dream. We won't bore Stokes with what is a private affair, says Barn--I'm sorry you couldn't help me, but I won't be discouraged from what I must do. Barnabas walks toward the door, Julia looking longingly after him. They leave.
Amy points out the new grave is right beside Peter Bradford's tombstone, and maybe Quentin did it. It's like one of his games, she says, but David says Quentin isn't strong enough to leave his room--he'd have asked for their help. Amy wants to pretend they imagined it all, but David says they can't--he wants to go find Barnabas. The children leave.
Julia and Barnabas return to Collinwood. She tells him she's sorry--I shouldn't have said what I did about your motives. He confesses he should thank her--if I'm to get Peter to come to me, I must convince him I'm as concerned about his happiness as I am Vicki's. Relentlessly, Julia asks, "Are you?" The kids rush in before he can answer, and they tell him about the mysterious grave at Eagle Hill, next to Peter Bradford's.
Barnabas reacts strongly. He has the kids sit down and questions them about this grave, which was mysteriously filled in the second time they saw it. Amy asks what he's going to do. Barnabas tells them to go get dinner. They want desperately to go to the graveyard with Barnabas, but Julia, behaving very motherly, tells the kids, "You heard what Barnabas said." She puts her arms around each of them again. David asks Barnabas to wait for them--they want to see what's happening now! Julia says nothing is happening and shoos them to the kitchen. Julia asks if he believes them. Barn suggests perhaps the kids have a second sight. Julia, finding his reaction hopeless, says, "Oh, Barnabas!" Barn points out that if Vicki were to be hung tonight, her grave would be dug this day. It happened 200 years ago, says Julia, then apologizes for saying it again--I think the kids as having overactive imaginations. He heads out for the cemetery, asking if she's coming with him. Of course, she says. He warns her she may be coming back to Collinwood alone. They leave.
The kids sneak from the kitchen, annoyed that Barnabas left. Amy asks what Barn meant by his coming back alone. David explains that Barnabas knows a lot of things he doesn't tell anybody. We'll just have to watch him, he says, sounding much like Quentin.
In the fog, carrying flashlights, Julia and Barnabas find the spot. Julia says there's no sign of freshly dug earth, but Barnabas insists he believes the children; it was a sign he must get back to Vicki. He kneels and, gazing at Peter Bradford's headstone, appeals to him: Come back for me, so I can save you both. Julia rises and asks Barnabas what good this does--you should do nothing--it's up to them to come for you. She wants to go back to the house. Barnabas figures she's right, and they start to go, but he decides to try once more time. She discourages it, but he returns to the graves, where a new headstone has been erected that says VICTORIA WINTERS, HANGED AS A WITCH IN 1796. Barnabas looks horrified.
NOTES: Thus will begin the story of Vicki's final days on DS. We will see a new actress portraying Vicki, see a familiar face and return for a brief stint to another time.
I wonder how much Quentin knows about Barnabas? David sounded so knowledgeable about him, so perhaps the ghost was possessing him, giving him that knowledge. Or does David have deep-seated memories of what Barnabas was?
We go back and forth with Julia and Barnabas--she wants him to forget this madness, he refuses. He wants to save Peter and especially Vicki. Of course, she fears losing him, but she knows how stubborn he can be, and should realize he must be allowed to do as he wishes--especially now that he's seen poor Vicki's grave and knows she's already perished.
661 - (Grayson Hall) - On this night, an incident from the long-dead past has intruded upon the present. Barnabas Collins has learned of a hanging that occurred in the year 1796.
Barnabas kneels besides Vicki's grave and tells Julia he must go back in time to help her. Julia kneels with him and says it's isn't necessary--Vicki went to the past once before and when she was about to be hanged, she was somehow returned to the present.
Only because there was someone in the present to take her place, says Barnabas--and the tombstone is proof--this time Vicki went to the gallows and died--I must go back a few hours before that and save her. What would you do? she asks. I'd change the events that took place the day she was hanged, he replies. Julia asks what DID happen that night. It was a most tragic night, says Barnabas, beginning with my mother discovering my coffin--the shock of seeing what I was drove her to take poison.
We return to 1796, as Barnabas relates to Julia the events of that night. A doctor was summoned; he and Ben Stokes waited in the drawing room to hear the verdict. She can't die, insists Barnabas. Ben says she might not, since no one knows how much poison she took. If only she hadn't found me, laments Barnabas. It was Forbes, spits out Ben--he was the one who told her you were in the tower. Yes, agrees Barnabas, and he will pay for it. Ben hopes so--he's brought nothing but grief to this family. Barnabas sadly says he begged his mother not to love him; he tried to tell her anyone who loves him will die, part of Angelique's curse, but she wouldn't listen. Ben says it isn't that easy--you can't just tell someone to stop loving. Why isn't the doctor coming? Frets Barnabas--why is he taking so long? Joshua comes in and tells them there's no need for a doctor--"Your mother is dead." Barnabas' face crumples in grief.
Barnabas continues telling Julia that for his father, the agony of that terrible night had only begun--he still had to face the task of disposing of me. Joshua insists the curse must be ended. Barnabas tells him it cannot be ended, but Joshua says it will, and he will do it--I can't allow more people to die--I must destroy you. Joshua can't bring himself to driving a stake through his son's heart, although Barnabas says it's the only way. No, says Joshua, silver bullets fired directly into your heart will destroy you--I learned this in Boston from an ancient volume of witchcraft--destruction will be instantaneous. His voice ragged with unshed tears, Joshua says, "I must destroy you! If you have any human feeling left, you will not try to stop me." I sent Riggs to town with a silver candelabra to have six bullets made--I will fire those bullets into your heart. Barnabas asks of Forbes' whereabouts--he must die! Joshua begs him not to do this. Barnabas doesn't understand why he wants to allow the blackguard to live--if not for him, Naomi would still be alive!--you should hate him as much as I do. Joshua protests it isn't Forbes that concerns him, but Barnabas--my son has caused enough destruction and must not cause more. Barnabas promises this will be his one last act of destruction--and one that will give me enormous pleasure. Joshua begs him not to do it, but Barnabas says he can't stop him, no one can.
I went out to look for Forbes, says Barnabas, and found him at the Eagle Pub--drinking his last drink.
Barnabas calls to Forbes, who turns around, amazed. Barnabas notes he looks surprised to see him. Nathan admits he is. Because you thought I'd gone to England, prompts Barnabas. Yes, agrees Forbes. No, says Barnabas, you told my mother I was alive, hidden in the tower--my mother found me there. I wasn't certain, says Forbes, I only suspected. Do you know what happened to her? demands Barnabas harshly--she's dead!--she committed suicide because of what you told her! I never wanted her to die, blathers Forbes, I never wanted harm to come to her. And what about Daniel? asks Barnabas. I didn't want harm to come to him, says Nathan, I lost my temper and scared the boy, that's all. Barnabas continues relentlessly, asking about Millicent. Forbes assures him he loves her very much, and they're married. Barnabas calls him a lying hypocrite who will stop at nothing to get what he wants. Nathan nervously licks his lips. "MY MOTHER'S DEAD BECAUSE OF YOU!" cries Barnabas, smashing a glass on the table with his cane. You don't know what you're saying, says Nathan. They stare at each other. Nathan pulls out his pistol and announces, "I've captured the Collinsport Strangler!" Barnabas laughs, "Is THAT what you think?" Yes, says Nathan, and I'm taking you to the constable--I'm not bluffing, I'll shoot! "Go ahead," urges Barnabas, advancing on him, taunting him, "Shoot! SHOOT!" Nathan fires. Barnabas grabs his midsection. "I cannot die, because I am already dead!" shouts Barnabas.
Forbes' eyes widen. "Do I frighten you, Forbes? I do not plan to kill you, at least not here and now. Later, Forbes, after you've had time to think about it. Nine o'clock--when the clock strikes nine, you will die." Nathan gazes fearfully around, but Barnabas has dematerialized.
In desperation, Forbes went to Collinwood, Barnabas tells Julia--Ben and Joshua were in the drawing room--Forbes had no idea what was happening to him, because he didn't yet know what I was.
Eyes bulging, Forbes tells Joshua that he fired a shot directly into Barnabas' chest, but he simply disappeared! Forbes asks what Barnabas is. Joshua replies, "He is a vampire." Nathan's eyes bulge even further as Joshua explains Barnabas was placed under a curse that destroyed the family and will, in due course, destroy Barnabas himself. Nathan can't believe it. Joshua says it is true. Barnabas threatened to kill me, says a terrified Nathan, a statement which brings a broad grin to Ben's face. I'm surprised he didn't, says Joshua, considering he blames you for his mother's death--as do I. Nathan says Barnabas promised him death at 9. I tried to stop my son, says Joshua, but it did no good--it's impossible, I'm almost sorry for you, but there's nothing I can do. To Forbes' consternation, Joshua starts to leave, telling Nathan, I won't provide protection for you--and besides, I don't want to witness what's going to happen to you. Joshua, grim-faced, leaves. Nathan appeals to Ben, who admits he has known about Barnabas a long time. And you let him go on killing people? demands an incredulous Nathan. Ben explains, I tried to stop him once, he even begged me to do it, to destroy him in one of the few ways he can be--but I ain't going to tell you. If you just stand by and let Barnabas kill me, warns Nathan, frantic, my blood is going to be on your hands--do you want that? The way to destroy him, says Ben, grinning, is to drive a wooden stake through his heart. Ben laughs as he relates the rest--in the morning, he rests in his coffin, so you must go and do it then--however, you won't live that long--tomorrow morning, chortles Ben, you'll be dead! Nathan starts to race from the house. You can't escape him! says Ben. Nathan hears a wolf howling, sees lightning. Ben tells him the howling dogs mean he's nearby. Nathan closes the doors and comes back inside. It's four minutes to nine. Nathan bursts in on Joshua in the study. Joshua reiterates: There's nothing I can do. Nathan begs him to be with him at 9, but Joshua says it won't make a difference--and I don't want to witness it. Nathan spots the crossbow and arrows hanging on the wall. He tells Joshua it was unfair of him to ask him to stay. Joshua finds this change of heart puzzling, but Nathan says if he must die--I don't want to die a coward's death--it's nearly nine--you should leave. I wish I could do something for you, says Joshua--in spite of everything--and he leaves.
Seeing one chance to save his wretched neck, Forbes clutched at it, explains Barnabas. Nathan takes down the crossbow and an arrow, racing against time to prepare the weapon. I returned to the house, says Barn, never suspecting I'd be the one to die.
Barnabas enters Collinwood. He heads immediately to the study, where Nathan has the weapon prepared, an arrow in place. He leans against the closed door, steps back, and fires the arrow into the door, a practice shot that looks just about heart-high.
We see Barnabas' booted feet heading toward the study. The clock strikes nine--Barnabas is punctual.
Nathan waited, cautioning himself to be steady and aim very carefully. Thunder crashes.
Barnabas continues to walk toward the study. He opens the door, sees Nathan and cries out, "No!". Forbes fires the crossbow into Barnabas, then, through a series of mismatched cuts, he pulls it from his chest, glares at Nathan and tells him, "You didn't hit my heart!" Forbes tries throwing a chair at Barnabas, but it's no use--the vampire throttles the SOB as he so well deserves.
Barnabas explains that with Forbes dead--my father and I made plans for my final destruction.
It's dawn. Father and son face each other awkwardly. Barnabas asks for two things--free Ben, he deserves it--he's been loyal to me since all this started--and, help save Miss Winters. I've already tried and failed, says Joshua. Barnabas begs him to send a note to the governor--use your prestige--you might get a stay of execution and a new trial. Joshua promises to fulfill his requests. I was never known to show much affection, says Joshua sadly. Barnabas asks him not to show it now--after today, forget I am your son, forget I ever existed. Joshua bows his head and with a catch in his throat, says, "I cannot do that." You must, insists Barnabas--"Goodbye, Father." "Goodbye," says Joshua.
Father and son exchange one long look of hopeless love before Barnabas leaves. We see Joshua sitting in a chair, agonizing over all this.
Barnabas tells Julia he can only surmise what happened after that--Joshua couldn't bear to fire the bullets into my heart, and most likely instructed Ben to place the chains around his coffin.
We see Ben doing just that, sealing the last chain. "Goodbye, Mr. Barnabas," says Ben, leaving the secret room and closing the door.
And there I stayed, in that mausoleum prison, for almost 200 years, until Willie broke in and released me, finishes Barnabas. "I see," says Julia, although God knows what complex emotions she really feels here.
So now Julia knows what happened, but she doesn't know how he can save Vicki. Barnabas was obsessed with killing Forbes that night, but, "I should have let him live and forced him to recant his testimony against Vicki--that's what I'm going to do this time." How? asks Julia, how will you get there? Vicki was led back to the past by Peter's spirit, says Barnabas, I will go the same way, for just one night--I will control time. Julia feels he's wrong surmising that. I will know what will happen before it happens, says Barnabas--and therefore change it. Julia points out that any number of things can change what happened, and they all represent grave danger for him--what if Forbes fires the arrow and strikes you in the heart?--you'll be dead and Forbes will have changed the course of history. It will never happen, insists Barnabas. You can't be sure, counters Julia--if you change one thing in the past, you can start a whole chain reaction that could lead to your own destruction. I know that, says Barn. Remember what you were then, she reminds him, when you come back--if you come back, will you be human or vampire?
Barnabas doesn't know, nor does he know how he'll return to the present--I'm willing to take the risks, he says--return to this spot in 48 hours. He refuses to let Julia stop him, or talk him out of it--I can't let Vicki die. Barnabas summons Peter Bradford's spirit--help me as you helped Vicki to transcend time's barrier--I must rectify a great wrong from the past--open the way for me, I implore you! says Barnabas, and suddenly, it appears that Julia has disappeared! We hear howling dogs, and Barnabas stands, fangs bared, dressed in his old 18th century outfit! He has returned to the past!
NOTES: Excellent episode, even if it was mainly flashbacks from a wonderful time in DS, one of my personal favorites. Wasn't it hard to see Barnabas say goodbye to his grief-stricken father again? To watch him destroy Nathan one more time? Get ready for some changes to 1796, my friends, as Barnabas goes back in time to save the woman he loves--despite the protests and excellent arguments against doing so from the woman who loves him!
Love, Robin
