860 - Edward catches Kitty in the act of trying to steal Q's painting. What are you doing here? he demands. Kitty, realizing how angry Edward's is, decides to try what has worked so well before--I'm not Kitty, she says--why do you call me that?--"I must find it, he'll be angry!" she cries. Who? asks Edward. You know as well as I do, she says, then faints in his arms. Immediately awakening, she recognizes him, and expresses shock to learn she's in Quentin's room. Why does this keep happening? she asks--what was I doing when you came into the room? You were searching the armoire, he explains--for what I don't know. Perplexed, she says, I want to go to my room. She's concerned about meeting Quentin. He need never know, Edward assures her. I'd feel so guilty, she says--please stop asking me questions. He leads her out, assuring her, we'll pretend it never happened. Outside Q's room, he says, Count Petofi phoned you, right after you went upstairs; the clock was striking nine. Kitty is visibly shaken. Petofi will call back later, says Edward. I'm sure he will, says Kitty. Hidden behind the draperies is Quentin, who goes into his room and finds the painting gone, too. He frantically searches the armoire. Downstairs in the foyer, Kitty tells Edward, I don't want to see Petofi if he stops by. You won't have to, he promises--I'm telling Cook to brew us some tea. Kitty breathes a sigh of relief that Edward believed her--but what will she say to Petofi when he comes for the portrait? Then she hears Josette's music and goes to Barnabas' portrait, walking like a ghost. She struggles against the feelings, ordering herself, don't look at it. Hand to her head, her body begins to spin, near to fainting, when Angelique comes in and steadies her. She offers to get Kitty a doctor. No, says Kitty, it's just my nerves, all I've gone through--going to the rectory...Angelique, eyes huge, up on this instantly--why did you go there? She asks. Do you know the woman who lived there? asks Kitty. Why do you use the past tense? demands Angelique. Because, says Kitty, she's disappeared. What? exclaims Ang. Before Count Petofi's eyes, says Kitty--and before she can finish the sentence, Angelique is racing for the door. Wait! cries Kitty--you must tell me what you know! Angelique, however, is gone. Kitty looks at her reflection in the mirror, thinking Angelique knows more than she's telling--but how can a woman disappear?--and why do I do as I do, and not understand anything?--I must! Her face takes on an expression of determination.
10:20 PM - Quentin tells Edward, I know you and Kitty were in my room--why? Edward doesn't want to answer, but Quentin insists. She had a seizure, says Edward--I saw it, too. And you believed it? asks Q. Yes, says Edward--and I find your distrust of Kitty unforgivable. And I, retorts Quentin, find your trust of her equally upsetting. Oh, you do? asks Edward, you know how close Gerald, Kitty and I were! Do you know everything about them? asks Quentin. Of course, says Edward. With all of your information, says Quentin, do you know that shortly before Gerald Soames died, he was released from prison? This shocks Edward. You're mad, he says. No, Blackmoor Prison, says Quentin, convicted of a common jewel robbery.
No way, says Edward--I don't believe it. You will, promises Q, I know all about Soames, I've made it my business to find out! Edward looks uncomfortable.
You're a liar, accuses Edward. Check and see, advises Quentin. I wouldn't soil Gerald's memory, says Edward angrily. Do you want to hear more? asks Quentin. No--there was never a finer, more respected couple in England than Kitty and Gerald, and if you tell one person this insane and vicious story, I'll do everything I can to get you out of this house. Edward leaves to go into the servants' quarters. Kitty comes downstairs, wrapped in a black shawl. Edward stops her, upsetting her badly--I want to go for a drive. When he offers to go with her, she assures him, you've done enough. He insists, but Kitty promises nothing can happen to her in a carriage. I know, he says, but... Quentin interrupts, suggesting perhaps Lady Hampshire wants to be alone--I understand. Kitty thanks Quentin and assures Edward, I won't be long. She leaves. Edward frets--perhaps she overheard what we were saying. Don't worry, says Q, she didn't--Kitty simply had something she had to do--the eminent and respected Lady Hampshire is a woman of secrets, despite what you say. Edward looks at the door through which Kitty exited.
Blue Whale - Charity sits at the piano, playing the notes, singing her usual song. Kitty enters as Charity makes a mistake. She stands and asks Kitty, have you come to see how the other half lives?--the crowd ain't arrived yet, but they're a jolly bunch when they do!...doing a bit of slumming? Kitty calls her Miss Trask, angering the blond, who asks, why do I have to keep "telling all you swells" my name is Pansy Faye? Kitty obligingly calls her "Miss Faye"--I want to talk to you, she says. Nothing to talk about, says Charity--"Us artistes have to keep practicing, you know." She begins to dance, bump and grind. I'm sorry I disturbed you, says Kitty, but this is very tough for me, and... Then why do it? asks Charity--I don't do things that are "difficult" for me. I'm doing this because I must, says Kitty--if I'm to maintain my sanity--the only reason I can confide in you is because YOU started this by telling me I'd find a music box, and it would cause my death--well, I found the music box that same night! Charity gets in her face and says, don't blame me, I just say things, that's all. I'm not blaming you, says Kitty, but the music box played the same tune you hummed! Charity hums it again. Kitty begs her not to. "I'm sorry, Lady," says Charity. Kitty says I've grown to dread that song because every time I hear it, I seem to think I'm someone else--there, I said it, now please help!--I didn't mean for it to come out that way. She offers Charity a gorgeous brooch for her help, a diamond Zalria (?) Charity, entranced by the piece, asks, what do you want me to do? Take it now, says Kitty, and say you'll help me. "Whatever people say about me," says Charity, "I don't cheat--if I can do something, and then you want to make me a little present, that's up to you--but I don't get paid in advance for nothing'." You're very kind, says Kitty. Charity bursts into laughter--I'm a lot of things, she agrees, but that isn't one of those I can boast about--I can't tell you why I act the way you do, I don't even know why I saw the music box, and that's the truth. Kitty asks, do you always tell the truth? Yes, I don't like to be lied to, so I don't lie, answers Charity. Kitty asks, do you work for Count Petofi?--if you do, it will mean he's responsible for all of this. You think he told me to think of the music box? asks Charity, laughing. They sit down together at a table. You've got it all wrong, says Charity. Who's doing it if not him? wonders Kitty. Sometimes, things happen, says Charity, no person can cause--spirits can reach us, touch us, torment us.
Why? asks Kitty--why would a spirit do that to me? Charity asks, do you really want to find out? Yes, nods Kitty. There's a way, says Charity, a way of telling if it's the supernatural or Count Petofi. I'll do it, vows Kitty, whatever it is. Tonight, midnight, I will come to Collinwood, says Charity. I will wait for you, says Kitty. You forgot something, says Charity--the brooch is on the table. Kitty retrieves the brooch and thanks her.
Quentin hands Edward a drink. One moment I'm furious with you, the next, having a brandy with you, says Edward--you really are infuriating. This is the last of my bachelorhood, Q reminds him, and I need someone to drink with him--by the way, I'd like you to be best man, unless you prefer not to be. I would be delighted, says Edward, it concerned me that this marriage is to be a civil affair, in a court, without family, without Judith--I was concerned about what people would say. you will make it all quite respectable, remarks Quentin. I didn't mean that, says Edward. Angelique enters, obviously upset. My brother will be my best man, says Quentin. Edward says-- the train doesn't leave before tonight--how about a glass of champagne before it does?
Angelique impatiently fiddles with her hair. It's nice for you to suggest that, Edward, says Quentin--Angelique, what's wrong? Nothing, she says--I want to speak to Quentin alone. Quentin turns to Edward and say, "You know how we must humor her." Edward agrees and leaves the room. Angelique looks very distracted. Quentin asks, where have you been? I went for a long walk--to think, she says
--I'm not going to marry you tomorrow, she says, and you yourself can easily see why not. No, says Quentin curtly, I don't! (why does Petofi want to marry her--for the sex or control, possibly over her powers?--as IF!) Nonsense, she says, you never wanted to marry me, I forced it all, and now I'm afraid. That's another human emotion I didn't know you had, he accuses. She looks at him, startled. Angelique, he says, I want to marry you--did I say something to make you change your mind? No, she says, harried, you didn't, but it's better to postpone the wedding--whatever the reason. She leaves, not letting him say anything else. "Whatever the reason indeed," he says, angry.
Midnight - Charity tells Kitty, we will have a seance--it's the only way. On the upstairs landing, Edward asks, what's the only way? A seance, she explains, do you mind if we invite a few spirits? He does, but Kitty says I'm the one who wants to do this; I must learn what's happening--please don't stop this. I want to join the seance, says Edward--I've been through this much with you and it's affected me nearly as much as it has you--I will take part, he tells Charity. They go into the drawing room. There must only be one light in the room, says Charity. She closes the doors; Edward brings a candle to the table. They all sit down. Our hands must touch, unbroken, says Charity, to form a circle of concentration--are there are spirits in this room?--we await a spirit who has a message for one of us. Kitty looks terrified. "A spirit that has been tormenting one of us," continues Charity--we wish that spirit to appear--come to us now, speak to us if you can, come to us and tell us what it is you want--let us help you! Kitty calls, "Edward," as the lights flicker. Charity asks, is someone here, someone else?--if so, give us a sign. There's a knock at the door, very slow knocks. Someone is here! announces Charity. The candle goes out (audibly blown out by someone). Who blew it out? asks Edward. I feel a presence of someone, says Charity, of one who is trying to communicate with us. Who is it? asks Kitty. The doors blow open. Kitty moans.
Charity warns, don't break contact--remain seated--we must leave the way open for the spirit to appear to us. "Look in the doorway!" cries Kitty, pointing to a hooded figure standing there. "Who are you?" demands Edward.
NOTES: That's a pretty creepy ending there, folks, but the identity of the "spirit" will surprise many, including the participants of the seance.
We all know why Angelique postponed her wedding; she went to the Rectory, found Julia gone, and knew she had to take up the reins of the project Julia started. Ang is being such a good soul, it's hard to believe she's the same woman who put the vampire curse on Barnabas.
Love Charity/Pansy, she's such a hoot of a character. You've gotta love how she refuses to take Kitty's brooch, even though she's dying to!
I guess it would have been a tad suspicious if Quentin/Petofi asks Aristede to be his best man, considering how he tried to de-man him once with a sharp swinging pendulum. What could have and should have been a nice moment between the brothers was rendered not so because it was Petofi doing the asking.
Next episode, we welcome back a character who's been gone a while.
861 - Joan Bennett does the intro, so we already know that a long-absent character is back. (They sure do slather Charity with makeup, don't they?) The knocks we hear at the door during the seance are awfully slow for a human being, too.
Edward lights the candle and carries it over to the doorway--who is it? he asks. It's Judith! Edward is shocked to see her. I've come home, she says. Edward tells Kitty (who almost seems jealous when she asks who the woman is), that's my sister, Judith. He sends Kitty to the kitchen for smelling salts. Charity hurries around, turning on lights, while Edward goes to call the doctor. Look after Judith, he tells Charity, whiles his sister sits on the sofa, staring at the painted, oddly dressed young woman. Why are you looking at me that way? asks Charity. Puzzled, Judith wonders--the way you're dressed, all the paint on your face--what's happened to you? Charity immediately corrects her--I am Pansy Faye, and nothing has happened to me, I haven't changed since Carl brought me to the house, nor have I forgotten how you treated me--wasn't good enough for you, was I? Edward enters--the doctor is on the way, he announces, then asks Charity to leave him alone with his sister. "Whatever you say, Guv'nor," she responds, and flounces out. Kitty brings in the smelling salts; Edward says, given the circumstances, you can meet my sister later. Of course, agrees Kitty, and leaves the room. Edward closes the doors after Kitty, who is not looking at all pleased. Charity notices the expression on her face--what's the matter? she asks. I'm somewhat embarrassed, that's all, says Kitty--I should have realized it was his sister. Don't fret about it, says Charity, you've got lots of money, well-bred--that's all Judith cares about--I know her well enough, says Charity, who then apologizes for the poor outcome of the seance--I really did feel a presence, she says--I expect it was Judith popping in so suddenly that scared the spirit away--perhaps they can try again another time--I'm freezing, she adds--I always feel that way after a seance--I'm going to have a cup of tea. Kitty refuses tea, gazing at the double doors.
Judith assures Edward, I'm fine, I don't need a doctor. You almost fainted, he protests. Just the excitement of being home, she says. Why didn't you notify us you were arriving? he asks. I didn't know until this afternoon, when the doctors decided I was well enough to leave, she replies--I should have done it weeks ago, but no matter, I'm home, back at MY Collinwood--are you pleased, or were you counting on my being away longer? If I had my way, he says, you wouldn't have gone away at all--it happened so quickly. Yes, you made quite a point of telling me that when you came to visit me, Judith says. I meant it then, and do so now, he says. I believe you, she assures him--where is my husband? Edward is puzzled--didn't you two return together? No, she says, I came alone. I assumed he brought you back and was out putting the carriage away, says Edward. Don't look so startled; she says, it's not the first time you've made a wrong assumption. A logical one, corrects Edward--Trask left last night to go see you, and hasn't been seen since
--hasn't he seen you? I was confined to the sanitarium for four months, says Judith, and Gregory didn't come to see me once! (Where were you, revvy, being a bad boy, and whose bed were YOU sleeping in?)
Edward is stunned--this is unbelievable! I'm not making it up, says Judith. Trask went once a week to visit you at the sanitarium, explains Edward, and stayed overnight every time. Judith is furious. Edward asks, is it possible you didn't recognize your husband? No it is not, she responds indignantly--are you suggesting I wasn't in my right mind while there? Not at all, says Edward, but you surely weren't yourself those last few weeks, we both know that. At no time during my stay at Rushmore was I not in complete control of my faculties, says Judith angrily--I recognized you when you came to see me! I didn't mention not seeing my husband, she says, because I was ashamed, and hurt, but I'm sure Gregory has a satisfactory explanation for this. No, this is unforgivable! harrumphs Edward. Judith refuses to pass judgment until she speak to Gregory. There's nothing to be said, Edward insists; he's obviously been lying all along! The subject is closed, she says. The family is no longer in danger from Barnabas, reveals Edward--he's dead. Judith's eyes widen.
In the foyer, Kitty is staring at Barnabas' portrait. Petofi comes in--I'm glad to see your mind is occupied with portraits, he says. She gives a nervous start. So is m9ine, he says, but it's Quentin's portrait that interests me--I told you to get that portrait by nine, and it's past that already. I tried, she says, but she was caught by Edward--we can't speak here, we'll be overheard--Edward is in the drawing room, talking to his sister. Judith? asks Petofi. You don't know her, do you? asks Kitty. Only by reputation, says Petofi
--let's not stray from the subject, I want the portrait--try again. I talked my way out of that room once before and won't be able to do so again, she insists. My dear lady, he warns, holding up his magic hand. You can do what you want to me, she says, but I can't get the portrait from that room, and that's all there is to it. She leaves him and goes upstairs. Petofi decides Judith is my answer and starts to open the double doors, then stops, realizing she'll never believe what's happened to him--I must think it over very carefully before speaking to her.
Kitty, shaking, agitated, goes to her room. She finds a note on her dresser. "Know yourself, be who you must be," it says. She hears Josette's music playing and finds the music box open on her desk. She looks at the trunk at the foot of her bed and opens it, pulling out a white wedding gown. She sees Barnabas' face flashing before her as she holds it against her, smiling luminously. The music plays.
Down in the foyer, we see Barnabas' portrait. Judith asks Edward, doesn't anyone have any idea why Charity thinks she's Pansy Faye? I think it's a spell Barnabas put on her, says Edward. The spell should have ended when Pansy killed Barnabas, says Judith. I would have thought so, agrees Edward, but obviously not. And no one tried to help the poor child? Chastises Judith-just sat idly by, let her leave Collinwood to lead a cheap, tawdry life?--get Charity for me, demands Judith, I hope to succeed where you have failed. She looks happily, possessively around the drawing room. Charity comes in and brusquely asks what Judith, what do you want with me. To talk, says Judith--sit down. They both do. I wasn't good enough to talk to when Carl first brought me here, complains Charity. I think I have the only understanding of what's happened to you, says Judith. Nothing, insists Charity. Listen, please, says Judith, now that I'm back, the house will be run differently, and I will be a good and proper wife to your father. Charity looks at her, surprised--"My father!" she laughs--that would be some trick, considering he's been dead a long time. I'm speaking of your real father, Trask, says Judith. "That old crow that lives here?" asks Charity, making a face--I'd take my own Bertie anytime; whatever his faults, he could be tender, she says, give a smile now and then. Mr. Trask is your father, and I'm his wife, says Judith--and I cannot in good consciences allow you to go on living in town the way you have been. "You can't allow it?" asks Charity sarcastically--"YOU'VE got nothing to say about it!!!" I'll send a servant into town to pick up your things, says Judith. Hold on a minute, you have no right to decide what I'm doing in my life--"And I won't let you do it!" blares Charity. "What would your mother say if she could see the kind of life you're living?" demands Judith. My mother? asks Charity softly. Judith continues--your mother was a God-fearing woman who brought you up to be a lady--how would she react to the dress and paint?--how would she like you to walk in singing your cheap little songs?
Charity is chastened--why did you have to go and bring up my "mum" for?--"I don't like to think about it." You wouldn't want your mother to see you now, says Judith. "She always wanted me to be a very respectable lady," says Charity, near tears. And you could be in time, says Judith, if you return to Collinwood. Why do you want to do this for me? asks Charity. I feel I owe it to you, says Judith. Because of the way you treated me when I first came? asks Charity. Think that if you wish, says Judith, I think this is where you should be. Charity says wistfully, it's a lovely house, and I remember saying so to Carl when he brought me here--he was so excited and proud, showing off the place to me... Then you'll come here and live? asks Judith. Yes, I will, agrees Charity.
Edward knocks at Kitty's door--I want you to meet Judith now, he says. No answer. He finds the door locked. The door opens shortly after he walks away. Kitty, dressed in Josette's wedding gown, emerges, looking absolutely stunning.
It's storming. Judith looks out the drawing room window, pleased to be home. Petofi comes downstairs and introduces himself to her as Count Andreas Petofi. I heard Edward speak of you, she says. He kisses her hand and asks, is it possible we've met somewhere before? I don't believe so, she answers. How extraordinary, he says, I had conceived an image of you before tonight, and you correspond in every detail--I imagined the beauty of your face exactly as I see it now.
I'm flattered, she says, grinning, a bit embarrassed. I wonder if that may mean you are a person who would understand me as few others do? he asks--when I was younger, I discovered I had certain psychic powers; most people don't believe, or laugh at my claim, which is why I rarely discuss my powers with anyone--give me your hand...I see a room in this house, a nursery, a child, with her, a governess--the governess has just mistreated the child. The child retaliates by biting the governess on the arm--the child is Judith, the name of the governess is Angela Stone. Judith is amazed--an incident like that really did happen in her life. Should I go on? he asks. Please do, she says, intrigued.
Edward is still looking for Kitty, searching her now-empty room. He finds the note on the dresser that says "Know yourself--be who you must be." He returns it to where he found it and leaves.
"During the funeral, you never cried once," says Petofi to Judith, still holding her hand. After your parents were buried, you went to your room, locked your door and wept bitterly. What you didn't know was that your brother Quentin was already in the room. He caught you crying, and that was unforgivable--he saw a side of you you'd never allowed anyone to see--perhaps that's why you always got along so badly. You're extraordinary! says Judith. You are most cooperative and charming, he says--I hope we'll become great friends. I'm sure we shall be, says Judith--and you are to feel at home at Collinwood.
Kitty comes walking downstairs, Josette's music playing. Her white gown is covered by a red cape. Petofi greets her and asks, have you met Edward's sister? "He's waiting for me," says Kitty in her Josette voice--"I must go to him." And she walks right past him, even as Petofi calls to her, and exits the house. Who is that woman? asks Judith--she was with Edward when I arrived. It's Lady Hampshire, says Petofi--her late husband was a friend of Edward's, and she's taken the death rather badly. "Did she say she was meeting someone?" asks Judith. Yes, he says, and I want to go make sure she's all right.
Widows' Hill. Kitty drops the cloak from her shoulders and gazes out over the ocean, smiling. "I've come to you," she says, "I could not stay away...I had to see you one more time, just one more time, I had to see you. Please, come to me, let me see you." The ghost of Jeremiah appears, his face bandaged. She screams as he reaches out to touch her...
NOTES: Why does Jeremiah come back now, to warn Kitty/Josette? Funny how Kitty seemed to think Judith was perhaps a girlfriend of Edward's, wasn't it?
So who has Trask been visiting when he was supposedly at Judith's side? Bad Reverend T, do you have a gal on the side?
Sweet of Judith to offer Charity her home back. One wonders if Pansy, in Charity's body, has had a raft of gentleman callers who have taken Miss Trask's virginity?
Love, Robin
