728 - (David Selby) - Collinwood in the year 1897. Barnabas Collins has gone back in time, hoping to unravel the mysteries of the past in order to save the life of a young boy in the present. But his progress has been impeded by several obstacles, including the appearance of old enemies who would like to destroy him. But his severest handicap is one he has long been familiar with, for back in this time, Barnabas Collins must suffer the terrible curse that was placed on him so long ago. Once again he is a creature of the night--one of the living dead.
Post-bite, Barnabas asks Charity if she's aware of what has happened to her. Yes, she says.
Do you remember where you are? He asks. Yes!--I don't feel the urge to run away from you, she says, I feel I belong with you. And so you do, he says--you will come to me when I call to you--you are under my influence and cannot resist me. She understands, and seems damn happy about it. She promises not to tell anyone about him, or fail him. "Good night, Charity," he says, leaving her looking like a very sated, happy lover.
Daytime - Nora stares into the fire in the drawing room. She hears the front door close--her father is home. She greets him with a hug and tells him she's so glad he's back. He asks what's wrong with her. She tells him they were afraid he wouldn't get back in time--aunt Judith tried to send them away last night to a school in Rockport. Edward gives her the bad news--the idea of the school was MINE--the house is a world of adults, you need to be with other children. She plaintively asks if he doesn't want them here anymore. Absurd, he says, kneeling to hold her--it isn't that. It seems that way, she says. I want to do what's best for you, he says, think of your future. We like Collinwood, and Rachel, she's so nice, protests Nora. I like Rachel, too, says Edward, try to understand my reasons. She begins to cry, saying, if we are sent away, I'll just DIE! Edward, upset, assures her that after dinner, the three of us will sit down and I'll tell you about the school. No good, she says, because Jamison isn't here anymore, he ran away last night, saying Trask was cruel and mean to him and would rather die than go to the school. Edward is horrified--I thought you'd like the idea of the school! Nora clings to him and begs him to let them stay at Collinwood, please! I need to think and find Jamison, he tells her, run along and play. Edward goes into the drawing room, pours himself a drink, downs a gulp. Charity comes downstairs; he greets her and asks for her father. He left Collinwood to attend to something at the school, she says. I only just learned about Jamison, says Edward, but I'm not worried--he's hiding on the estate somewhere until he gets his way. Charity remarks that he sounds strong-willed, but lacking in discipline. Edward agrees to both. Worthington Hall will do him a world of good, says Chatty. But we must get him there first, says Edward. She almost faints and complains how bright it is--the light hurts my eyes. He finds that odd. She excuses herself--I want to be alone. He heads to his study to phone her father. She leaves the house, closing her eyes against the glaring sun, then covering them.
Edward finds Quentin in the study, looking through papers, and is shocked. Edward slams the door. "You're back," says Quentin. Why aren't you searching for Jamison instead of going through my personal papers? demands Edward. Quentin assures him, your son will come back when you abandon the idea of sending him to that ridiculous school. What were you looking for? asks Edward. Information, says Q, but now I can ask you--I want to know where Jenny is. Edward is shocked to learn Quentin knows. A lot happened while you were away, says Q--one night, my dear wife escaped and found me in the cottage--I was quite surprised at seeing her--that was nothing compared to how I felt when she put the knife in my chest--rather shocking, isn't it? Edward comments on his miraculous recovery. Yup, at one point I was actually declared dead, Q informs him. Edward is stunned. But I'll spare you the grisly details, says Q--where is Jenny being kept?--I don't intend to let her have another go at me. I understand a great deal, says Edward testily, including her desire to kill you. Quentin leaps to his feet--are you going to tell me where she is? I am NOT, says Edward--after you deserted your wife, I assumed full responsibility for her, I had her protected and cared for and will continue to do so. The woman is stark, raving mad, shouts Quentin. Edward retorts, "A condition for which you are solely to blame yourself!" Quentin wants Jenny out of he house. Edward promises not to let Jenny near him again. Quentin says it already happened once, but Edward assures him it won't happen again. "Your pomposity is disgusting," pronounces Quentin, "oh, Edward, you're so brave and proud, and enjoy your role as custodian of the family secrets." Quentin chuckles--you've conquered all of us, and we know we've been wasting our lives because you will always be here, pasting us together again, to perpetuate the myth of family honor and dignity--"You're everything each of us is not--solid, strong and honest--and your mind is hermetically sealed!" We've only discussed MY wife, says Q, we haven't gotten around to yours. And we aren't going to, insists Edward. Why haven't you asked me about Laura since I returned? Quentin asks. I don't care, Edward says. "But Edward, she's your wife--now surely you must be curious as to what became of her when she followed me out of this house and halfway around the world." (Ah, now we understand why these two hate each other so much--once again, Q was a bad boy.) Not in the least bit curious, says Edward, she no longer exists for me. Quentin tells him, flippantly, I last saw her in Alexandria, Egypt. Edward doesn't want to hear more, and forbids him to mention her name in this house.
Quentin laughs, liking that--it's so like you! Nora interrupts--I want to sit at your desk and draw for a while, she asks. No problem, I was just leaving, says Edward, and does so. Nora asks Quentin if her mother is ever coming back. What made you ask? Q queries. I don't know, says Nora, I've just been thinking about her all day long--is she ever coming home? the little girl asks plaintively. Quentin touches her shoulders and says, I don't know, then excuses himself and leaves the room.
Edward is on the phone, asking someone, "Call me back as soon as he returns." Quentin joins him and asks that they strike up a bargain about Jamison--tell me where I can find Jenny, and I'll reveal where you can find Jamison--when Jamison heard about the hideous school you were going to send him to, he came to me for help, says Q. And you took it upon yourself to hide him? demands Edward. You took it upon yourself to hide Jenny, Quentin reminds him. Not the same thing--Jamison is my son, says Edward. AND JENNY IS MY WIFE, says Quentin, and I have a right to see her--and demand to. Edward gives him an hour to get Jamison back to the house--otherwise, I'll notify the authorities and have you charged with abduction--"I'll do it, Quentin, and you know it!" All right, Quentin agrees, you can have your son, and you needn't tell me where Jenny is--I'll find her myself, and when I do, I'll kill her! Hearing this declaration, Edward looks perturbed.
Study - Nora has drawn some Egyptian-looking symbols on the paper. Barnabas knocks, looking for Edward, but Nora hasn't seen him since late this afternoon. She shows him her drawings and asks if he likes it. He looks at the paper. Yes, he says, but the symbols under the pyramid appear to be Egyptian hieroglyphics--did you copy from a book? No, they came to me in my head, she says. Strange, observes Barnabas--I wonder what they mean.
I know, says Nora--would you like to know?
Nora asks if something is wrong. Barnabas wonders if she's playing a little joke on him--how could she know what these symbols mean, they're older than the pyramids themselves? I do know, she says joyously--my mother is coming home. How do you know that? he asks. I don't know, admits Nora, but I know one means mother, and one means house, and when I finished the drawing, the thought kept running through my head--my mother is coming home. She admits she loves and misses her mother, who's been gone about a year--I'm sure she's coming back. Edward enters on the tail end of this conversation, dismisses Nora, then turns on Barnabas--I overheard you questioning Nora about her mother, and I thought it was understood that. . . Barnabas stops him--it was Nora who brought up the subject of her mother, he says, describing her curious drawing--which I found disturbing, to say the least. He shows her picture to Edward.
Nora is in the foyer when she seems drawn into the drawing room, where she closes the doors behind her.
Edward examines the picture. It means nothing to me, he insists--or Nora. How could she know the symbols, then? asks Barn. Edward pronounces it more of Quentin's nonsense--he refuses to stop interfering in the lives of my children, especially Jamison--I can't get rid of Quentin, so I thought to send him away to school. Barnabas wants to discuss the school. I just had a long talk with Jamison, who is back and in his room, says Edward--I promised I would wait a day or so before considering the matter again.
Nora gazes into the flaming fireplace. She hears voices coming from it, and leans in closer. Her mouth drops open.
Barnabas tells Edward he thinks it wise to consider the matter carefully. I'm not doing this because Jamison ran away, says Edward--I refuse to be intimidated by anyone, least of all my own son, but he did seem overly concerned when we mentioned it to him. Edward invites Barnabas to dinner, but the latter leaves--he's seeing someone in town. Edward hears Nora crying, "No, no, please!" She runs into his arms. The fire! she cries--I could hear something inside it, could feel it trying to reach me. It's your imagination, says Edward--I'll take you in there and prove it to you. He has to drag the poor kid in. He insists she look into the fire--look! he demands. Nora screams, "My mother, I see her face, in the flames!"
Edward stares, shaken. We see a skeleton head with blond curls appearing in the fireplace.
NOTES: The coming of Laura, never one of my favorite characters, but she's fun as Angelique's adversary. The scenes between Barnabas and Charity are always erotic and fun, and I'm glad to see he got himself a meal, finally. I was beginning to wonder when we'd see him feasting again, and he combined good taste with necessity--Charity should be of enormous help to him!
729 - (David Selby) - Collinwood in the year 1897, a time of uncertainty and fear for all who live within the great house--a time of intrigue and of dark, mysterious family secrets--a time when supernatural happenings were commonplace and threatened to destroy the Collins family forever.
9:40 - Edward asks Nora what she's talking about. I saw my mother's face, she insists. You DIDN'T see her, Edward insists.
What does it mean? asks Nora. Nothing, her father replies. Why are you carrying on about your mother this way--because of Quentin talking of her? No, she says, he hasn't said a thing--I just have a feeling she's coming back. Not to this house, says Edward testily--don't talk of her again--I'm almost sorry you and Jamison didn't leave for the school last night--I believe it would be a wholesome change for both of you. Nora clings to his arm and begs him not to send them there--I promise I won't mention my mother! (Poor kid, Edward is a pompous fool!) We'll see, says Edward. Beth comes in and asks to speak to him alone--I have to go into the village now, she says significantly, and you said you wanted me to deliver a note to Mrs. Fillmore. He hands her an envelope and quietly tells Beth if she has any comment, you can find me in the study when you return--bring upstairs and into bed. Beth takes the little girl's hand and notices how upset she is, but as she's leading her to the stairs, Quentin interrupts--"Beth, I have to speak to you," he says curtly. I'm busy, she says. It's too important, responds Quentin--it must be now. Nora assures Beth she can take herself up to bed, and Quentin quickly agrees--an escort isn't necessary. Nora promises to go right to bed and runs upstairs. Quentin leads Beth into the drawing room. You never cease to amaze me, he says, nothing ruffles you, not even the sight of someone you believed dead the last time you saw me--how do you do it? Judith explained everything, says Beth. How could she, asks Q, when she doesn't know everything? I know a lot more now than I did a few days ago, however, I know why you're still at Collinwood--you knew about Jenny all along--why didn't you tell me she was still here--and mad? What would you have done if I had told you? asks Beth. I don't know, admits Quentin. Beth does--you'd have done everything you could to get rid of her. In view of the fact she just tried to kill me...I feel she should have been gotten rid of a long time ago. He grabs Beth's arm--and since no one did, I am going to do it myself, right after you tell me where she is!
Nora hears the sound of flames, which suddenly appear before her in the hallway. She screams and runs. Beth races away, saying, I shouldn't have left her alone. Beth runs to the stairs and Edward meets her there--what are you doing down here, I told you to put Nora to bed. She tries to explain, but he cuts her off, and they both rush upstairs. Nora runs out and tells her father there's a fire--the corridor outside my room is burning!
Quentin paces the drawing room, angry, frustrated. He gazes out the window. Where is that wife of his? He spots Beth's purse on a table, an envelope sticking from it. He reads to whom it is addressed and smiles.
Edward, Beth and Nora find no fire anywhere. Nora doesn't know where it went. Annoyed, Edward suggests one day soon, you'll tell me the sky is falling. Nora insists there was a fire, I did see it, right over there! There isn't even a sign there was a fire, says Edward, kneeling to her level--you imagined it--you need a good night's rest. Beth volunteers to take Nora to her room, but Edward says I'LL do it--you have an errand in the village--when you return, report to me. Beth leaves, and Edward escorts Nora into her room.
Quentin tears open the envelope, which is filled with cash. His eyes gleam, and he grins, looking devilish and handsome.
Beth comes downstairs hurriedly. She angrily tells Q, I hope you haven't cost me my job. I doubt it, says Q. Edward is furious with me, Beth reminds him. Edward's fury is like the common cold, remarks Quentin, a nuisance, but it always goes away. Beth says, I'm sorry we can't continue our conversation, I have to go to the village. She picks up her purse. Quentin stands idly by, whistling innocently. She turns and demands, give me the envelope that was in my purse! He feigns innocence, but she says I won't play games--give it to me or I will have Edward get it from you. Quentin takes the envelope from his pocket and comments, you carry some interesting items in your purse. She grabs the cash out of his hand. He assures her it's all there. You were going into the village last time I saw you with a large sum of money--what do you do with it? It's none of your business, I don't wish to discuss it further, says Beth coldly. I won't let you go, says Q--I still want to discuss Jenny, and you had better make time--I just might find her while you are gone, and you won't have a job when you come back, because your mistress would be very dead.
"You wouldn't kill her?" asks Beth plaintively. Q reminds her his wife tried to kill him. She isn't in her right mind, protests Beth, and didn't know what she's doing. Sure she did, insists Q, she isn't that crazy. Beth begs him not to go looking for her--leave her alone!--I promise Jenny won't try to harm you again. What will you do, sit up day and night with her to make sure she doesn't get out again? asks Quentin. She won't get out, we'll be much more careful, promises Beth, Judith and me. Quentin, his lips very close, tells her, I will stop looking for Jenny and leave you to deal with her, on one condition. And what is that? she asks. He kisses her, hard, and this time, she clutches his head and lets him. "I want you, Beth," he says (oh, shudders!) She turns away, unsure. (Is this Let's Make a Deal time?)
Nora is in bed, sleepy now. Her father notes that, and says it's good--you've had more than your share of excitement for a little girl. She thanks him for sitting with her. He kisses her forehead and bids her good night, turning off her lamp and leaving before giving her one last glance.
Nearly midnight - Nora has a dream, and it causes her to moan and twist in her sleep. There's a knock at her door. She sits up, climb from bed. Edward answers the front door. A hooded woman stands there. "You, how dare you come back here!" he yells. "You are forbidden to enter this house, you no longer exist, for any of us. Get out of here, and don't ever come back!" He closes the doors on her. Nora stands on the landing. He sent her away! Mother, come back, she cries, opening the door. Her father stands there holding a large version of her drawing. "She's never coming back!" he cackles, laughing, tearing up her picture. Nora walks through the woods, searching for her mother. She finds a red-caped figure and says, "You are here! You didn't go away again!" But the figure collapses, leaving behind nothing but her cape. Edward, still tearing the picture, is chortling, "Gone forever! Never coming back! Never coming back!", just laughing and laughing, then tossing the pieces of her picture up. Nora awakens from the dream, sitting up with a scream.
Beth races into Nora's room, asking what's the matter. He sent her away, sobs Nora, her mother, she was downstairs at the door and her father sent her away. Beth assures her she was dreaming, no one came to the door tonight. No, says Nora, it was more than a dream--she's going to come back. Maybe, says Beth, she doesn't know, but don't worry about it. She urges Nora back under the covers and tells her to try and get some sleep. Nora lies back. Beth leaves her room.
Quentin exits the servants' quarters and enters the drawing room, where Edward is, in Q's words, burning the midnight oil. Edward, flipping through the mail, asks what he wants. A word, says Q. Make it brief, I'm tired, requests Edward. They're a tired family, says Quentin. Edward doesn't know what that means. Q wants to let him know he won't harm Jenny, and will stop looking for her--but he expects Edward to do his best to keep her under control. Edward reminds him he was intent on killing her earlier, what changed his mind? (I guess Beth promised to give it up.) Quentin decided it would be a mistake to do anything rash. He can tell Edward doesn't believe him.
Edward knows Q doesn't do anything without an ulterior motive. What is it this time? Quentin suggests a drink.
Nora sleeps. We hear the sound of rushing wind, and a banging sound awakens Nora. She leaves her room.
Edward rubs his chin, thinking, and accepts a drink from Quentin, who says there is no further explanation about his decision--he's already told all. Nora is heading downstairs. Edward says he'll take him at his work, but remain skeptical. Quentin says if he harmed Jenny, he'd be in a great deal of trouble. Nora leaves the house. Indeed, agrees Edward. Quentin has enough problems without involving himself with the police. If he's sincere, says Edward, he's just make one of his rare, intelligent decisions. He lifts his glass in a toast to Quentin. Wonder of wonders, marvels Q, smiling, my brother has paid me a compliment, half-hearted, but a compliment nevertheless. "Credit where credit it due," says Edward. "How unshakably fair you are," says Quentin and they clink their glasses and survey each other with the usual mistrust. (Love this family!)
Nora goes to the same place she was in her dream, calling to her mother. She was so sure it was going to come true! She drops to her knees and finds the cape she saw in her dream. Grinning she lifts it up, then feels a gloves hand with what looks like a snake bracelet circling the wrist touch her shoulder.
Nora, mouth open wide, looks up. . .
NOTES: When the Laura storyline played out on DS the first time, during the first year of the storyline, not too many people were watching, so I guess Dan Curtis decided to invite Diana Millay back to reprise her role, sort of, and join he 1897 storyline. She isn't my favorite, but she does add some fun here, especially when she later clashes with Angelique. We know her motives are definitely those of self-interest. Great scenes between Selby and Edmonds, as the brothers strive to find some common ground. That they end their toast with that "I don't trust you anymore than I can throw you" look speaks sad volumes for a very dysfunctional family.
Love, Robin
