884 - Barnabas returns to the blackened ruins of Tate's studio to see "whose lives are ruined, and which changed forever," according to the intro. He finds Petofi's watch, and wonders what it means--was he destroyed in the flames--is this all that remains? Difficult to believe, yet we must--no one could survive a fire like this--or could they? He lifts up a length of chain, then drops it. As he leaves the studio, he finds Petofi's glasses outside on the ground. He picks them up and feels a hand clutch his shoulder...
It's Charles Tate, who is furious--"You did it!" he accuses Barnabas--all of you with your schemes and plots destroyed my studio and destroyed my work! Charles enters the studio. Barnabas follows, expressing his sorrow. Get out of here, orders Charles, or I'll kill you, I swear I'll kill you. I can't go until I know whether Petofi is dead or alive, insists Barnabas--as far as I can tell, he and Garth were in this fire when it started, and there's also evidence they died in this fire--but I also found the glasses. If he is alive, says Charles nastily, he couldn't get very far without those, especially with that creature after him. Do you think Garth was after him, asks Barn, or did the fire reclaim the Master of Dartmoor? I don't know, answers Tate, and believes none of us will, and besides, I don't care. Continue to paint other portraits, urges Barnabas. Charles picks up a tattered canvas and says, I cared a great deal about some of the portraits destroyed here! And there was one particular portrait someone else cared about, says Barn. Quentin Collins, says Tate, we're back to that. Was his portrait here? asks Barn. I did steal the portrait, he confesses, believing it would do me some good, but now it won't do me or Quentin any good.
This pleases Charles. Then the next time there's a full moon, says Barnabas..."You'd better stay away from Quentin Collins," advises Tate. There has to be a way of stopping it from happening, says Barn--you must paint another portrait of Quentin, you must--if you did it before, you can do it again (but what about Petofi's power, if that's not there, then what happens?) Quentin isn't my favorite person, says Tate--I'll tell you what--I'll do it, tonight, about 10 o'clock. Is that time enough for you? asks Barn. Charles grins--there's no questions about it, he says.
Trask, not looking at all well, tells himself, I'm down to my last candle, and once it goes out, there will be everlasting darkness. Is it dark now, or day? Which day? Is the sun shining? I wish I could see the sun, I remember i used to put the students in a dark room to punish them. Some were afraid of the dark, and they'd scream...let me out! Trask himself begins to scream, "Let me out, I'll be good, I promise!" The phone rings; his eyes fill with hope. Judith, don't hang up, he cries, don't go away. I'm not going anywhere, she promises, neither of us is. You can't commit murder, he protests, it's a sin, and wrong! She smiles, reminding him, it was wrong of you to kill Minerva, and Mrs. Curry in Fall River. I didn't kill them! cries Trask. And I won't kill you, says Judith, I swear I won't come near you--goodbye, Gregory. Please listen, he begs--I'm cold and hungry, please, you've punished me enough, whatever I did to you isn't bad enough for you to do this to me. You're right, says Judith, always right, and that's why I have a surprise for you--go to the alcove and look behind the drapes--he'll find something to brighten that dark room. "Goodbye, Gregory," she says, and hangs up with a sly smirk. Trask checks the alcove and finds the portrait of Amanda. In a fury, he destroys it.
New York - Quentin has located Amanda. He goes to her hotel. She joins him, running into his arms. I should ask questions, demand explanations, she says, delighted, but I can't--I'm so glad to see you again, and all I care about is that we are together. Gently, he says, "We won't be together." Why not? she asks--because of what I am? No, because of what I am, he says--I didn't meet you at the station because I had to find a very important portrait that controls what I am--without it, I become a monster capable of killing anyone, including the person I love. I don't believe it, insists Amanda. You must, because it's true, says Quentin--that's why I can neither marry nor stay with you until I find the portrait. You can't just go away! she protests. I know it hurts both of us, says Q, but I'll hurt you so much more if I stay--that's why we must say goodbye.
Amanda looks miserable at this prospect.
Kitty comes downstairs at Collinwood, bags packed. She is about to make a call when Judith comes into the foyer, asking what's with all the luggage? Guiltily, Kitty says, I'm leaving Collinwood--I don't know where I'm going, but I am leaving forever. Judith is shocked.
Isn't this very sudden? Judith asks. Yes, admits Kitty says yes, but I've been thinking of it quite sometime. Judith is amazed--I can't imagine Edward just letting you walk out of here. Edward doesn't know, reveals Kitty, and I'm not going to tell him. He's done a great deal for you, Judith reminds her. I know all that, says Kitty, but I also know I'm suffering from a serious condition I can't share with anyone, particularly Edward, who's a dear, foolish man, better off without me. She slips off the ring Edward gave her and says, "Someday he'll find a girl more worthy of this ring than I am--and I wish her happiness, whoever she is. She hands the ring to Judith. I'm sorry we won't be sisters, says Judith--I admire people who can face the truth and do something about it--I'll arrange for a carriage to take you to the station. Kitty thanks her. Judith leaves. Kitty walks over to Barnabas' portrait and asks, "Did you hear what I said? I'm never coming back here--when I leave, it's forever, to live my life, for all my life--I've got to live my own life and you've got to let me do it, do you understand?" Josette's music begins to play while Kitty is speaking. She covers her head and runs out, leaving her luggage behind.
4:30 - Judith writes to Tim, telling him the plan she's been working on is coming along most satisfactorily and should be completed soon. Tomorrow I want you to come here, take down the bricks, and panel the anteroom so it's completely cut off from prying eyes forever. She grins with pleasure.
Josette's room - Kitty holds up a candelabra and speaks to the portrait--whatever link exists between us must be broken now--I'm going away, and not coming back, to live my own life, and you can't come with me--please, let me be myself, I've got to forget Josette duPres. She replaces the candelabra and hears Josette speaking to her, "Kitty Soames...it is Kitty Soames you must forget..." Barnabas enters the room--Kitty! He calls. Don't come near me, demands Kitty, I can't fight both of you. Then stop fighting and running away, urges Barnabas--that's why your bags were packed, you were running away? Yes, she admits. I know how frightened you are, he says, but you must know I would never do anything to harm you. She looks at the portrait and asks, can you say as much for her?--no, you can't, because you know both of us can't live, and if I stay here, it will be as Josette duPres, a girl who died 100 years ago--that's why you've got to let me go! She runs past him, but he stops her and asks, do you want to go live amongst strangers, where no one will love you as either of the two women?--no, you must stay here and let me help you--"Will you marry me?" he asks. Kitty's eyes grow huge. Does the idea terrify you, too? he asks. She considers a moment and says no, it doesn't, I understand somehow that it's what I must do, whoever I am. Then you will marry me? he asks. Yes, she says, as soon as possible. I'll arrange for the wedding this evening, he says, overjoyed. Yes, Kitty agrees eagerly. Wait until I return, he says. I'm afraid, says Kitty. No harm will come to you, he assures her. I hope not, says Kitty. He squeezes her hands, then leaves his bride to be. Kitty looks very uncertain.
Trask gazes at his last remaining, guttering candle, knowing it will soon go out, soon be dark--I don't want to be alone in the dark! Come to me, Minerva, he begs--I can't come to you, I don't know how--I have no gun or rope, or knife, nothing, she took everything from me, Minerva! Judith phones him again, and he answers, sounding as if he's teetering on the edge of insanity. "MINERVA??" Gregory, says Judith, do you miss me a great deal? I want to come to you, Minerva, he says. "And you can," she says, "all you have to do is look in the desk, the top right hand drawer-- there is something in it that's very valuable for you--go find it and do whatever you want with it--it's all yours!" She hangs up, as does he. He searches the desk and finds a gun tucked in the drawer. He looks at it...
Judith has found Kitty's bags on the floor in the foyer and wonders where she is. I know where she is, Barnabas assures her--she will be all right--I pray--when she marries me. How can this be, what will Edward say? demands Judith. Barnabas, ashamed, says, it no longer concerns Edward--whether Kitty marries me or not, Edward has lost her. He'll be very upset, warns Judith, when he hears. That's why he must not know until we are married--this evening, says Barn. So quickly? asks Judith. Yes, says Barn, after the ceremony, we will come back and tell Edward, then leave Collinwood immediately--as much as Collinwood means much to both of us, I know we can no longer stay here. Where will you go? asks Judith. (and WHEN?) Wherever we go, promises Barn, neither you nor Edward will ever have to be concerned about us again. This is incredible, says Judith--you just met Kitty! " I feel as if I've known her forever," says Barnabas. Judith looks concerned.
Old House - Kitty wonders, why did I tell Barnabas I'd marry him--why, it's SHE he wants, not me!--I'm not her, and won't be her! She gazes at the portrait. The music begins to play. He knows I won't be her, says Kitty, he understands, he's the only one who can understand, help me fight-- Barnabas, where are you, I need you!
Barnabas returns to the studio to find it deserted. Tate has left a note pinned to a burnt rafter. By the time you read this, I will be far from Collinsport--my work has not been going well here, and I suppose it's time to move on--find new scenes and new subjects. Sorry about Quentin's portrait, I know you'll understand. Barnabas angrily crumples the note and says, I understand, all right--Tate hated Quentin, and this is his revenge!
Judith phones Trask in the room, but, receiving no answer, smiles with satisfaction.
In the room, Trask lies slumped in the chair, gun in his hand, the victim of a successful suicide.
Kitty paces Josette's room. Of course I'm upset, it's my wedding night, my marriage to a man who is little more than a stranger. How long have I known him, really? Where is he? Why doesn't he get back here, it's our wedding eve, the eve of my wedding, and look how I'm dressed--I must find something more suitable. She looks in the trunk at the foot of the bed, finding a sheer white dress. This will do, she decides. NO! she cries, holding the dress against herself, "If I do what she wants done, this will make me Josette duPres forever! I can't put it on, I can't! She tosses the dress down and sits in a chair, calling to Barnabas--where are you, I need you!
Woods - Barnabas hears Kitty calling to him and begins to run.
Kitty thinks to herself, I must hurry and get ready, he's on his way. She's put on the white gown she found. "What am I doing?" she asks herself, feeling the material--why did I change my dress, I know I mustn't! She begins to drift into Josette's portrait, her body growing ethereal, ghostly. She's startled at what's happening. Barnabas enters the room just in time to see his fiancee meld into the portrait Kitty! he cries, reaching for her hand, and she reaches out for his...
NOTES: So much happened in this ep! Wow! Trask bit the bullet (and how odd that he asked for his murdered wife to help him, and even thought Minerva was calling him on the phone; guess that proves there is a conscience in Trask, after all), literally, Tate screwed over Quentin, we wonder if Petofi/Blackwood is really alive or dead, Kitty breaks her engagement to Edward and accepts Barnabas, or is that Josette: Judith gets her revenge, Barnabas convinces Kitty to marry him, Quentin tells Amanda it's no go until he finds his portrait, and we never do learn what became of it--was it burned? Quentin isn't sure he won't turn into a werewolf, so rather than risk her life, he gives her up, to their sorrow. We never learn what happens to Charity or Magda, which always strikes me as unfair, but they do appear to avoid being part of the carnage.
Will Quentin become a werewolf?
Will Barnabas win his Josette clone?
What will the upcoming storyline bring?
After a brief foray into 1796, we will begin with the Leviathan storyline, which has its detractors and fans. Make up your own mind about it, folks, it's only fair!
Farewell, 1897!
885 - "Josette!" cries Barnabas, reaching for her hand. Together, they fade into the portrait and disappear. We focus the portrait of Josette, then see Barnabas lying on the ground, dressed in his 18th century clothing. It's thundering and lightning. He calls to Kitty, then finds his cane lying next to him. He rises to his feet, still calling Kitty. Barnabas is shocked to see Ben standing there. I'm back! declares Barnabas. You haven't been anyplace, points out Ben. Yes, I have, says Barn wonderingly, in another time
--how is this possible? Kitty! Where is Kitty? Ben knows no one by that name. I must find her, insists Barnabas. Maybe you had a bad dream, suggests Ben, I've been waiting for you a long time. Waiting for what? demands Barnabas. You must know, says Ben--you didn't forget what you were going to do tonight?--if you forgot, I ain't gonna tell ya, says Ben. You must, says Barnabas. I saw you luring her (Josette) away from Collinwood, admits Ben--she was growing weaker, and last night after you left her at the Old House, she collapsed, and I found her there, muttering your name. I remember giving her a ring last night, says Barnabas. I have two coffins ready, says Ben. Barnabas remembers--this is the night I was going to take her away with me. "Kill her, you mean," corrects Ben. Barnabas mourns, that night--must I live through it again? Change your mind, urges Ben, she doesn't know what you are--a vampire. Barnabas looks at him. "I had to say the word," says Ben--does she know yet what's going to be? It won't happen as it did before, promises Barnabas. Confused, Ben says it ain't happened yet. Barn says it has, but not again--we must find Josette. She's in her room at Collinwood, says Ben, they're watching her, especially now, after last night. But I regained consciousness in the woods, says a puzzled Barn--Kitty can be anywhere. You're scarin' me, talkin' that way, says Ben. I must go to Collinwood, says Barn. Are you out of your mind? asks Ben--what if your father or mother see you?--they will think you've risen from the dead. Yes, they think I'm dead, remembers Barnabas--what will I do? You aren't in any condition to do anything tonight, insists Ben. I must be, says Barnabas, feeling his way along his memories--I came to find you in the fishing shack. No, you never came, says Ben, that's why I'm here. I gave you orders to bring the carriage containing the coffins to the boat, recalls Barn, but Angelique came and locked you in the shack, determined to ruin my plans. You aren't making sense, says Ben. Go to Collinwood and make sure Josette is in her room, commands Barnabas--what time is it? Nearly 10, says Ben. If Kitty has become Josette, says Barn, she should be in her room, come back and report to me, then go to the shack, get Angelique, and bring her to Josette's room at the Old House. I can't do it, says Ben. You must, says Barn--you've served me so well in the past, and must continue. Ben agrees--I have no choice--and leaves. "Kitty," moans Barnabas, "Kitty, where are you?"
Josette sleeps. Her Aunt Natalie stands vigil close by. She lifts the clock--two more hours until this cursed day is over, this day the prophecy said Josette would die--I won't let it happen. If I could only understand what's been happening to her. Josette stirs and awakens, a smile hovering on her lips. Natalie sits on her bed and asks, "What's wrong?" Josette says, I dreamed I was in another time. Natalie asks, what do you mean. It's not important, answers Josette, but I was dressed as no one else was, I was holding a dress, my dress. Don't think of that, says Natalie. I was looking at my portrait, explains Josette--the portrait, it's as if it were alive, and makes no sense at all, but I felt as if I were the girl in the portrait--then I woke up here. Natalie's lip has been quivering as she listens. Hearing footsteps, she goes to listen at the door, asking who it is. It's Ben--I came to see how Josette was. She's well and will stay that way, says Natalie defiantly, do not bother us, I want no one bothering us--I trust no one and won't until this night is over. Ben looks at Josette.
Barnabas enters Josette's bedroom at the Old House and gazes up at her portrait. Angelique enters and says, "What an honor to be summoned by the great Barnabas Collins." (What is she doing alive, she was killed at Barnabas' own hand right after he awakened in his coffin? It was her ghost that wreaked the havoc, so this change of history makes no sense). What could we possibly have to say to one another? she asks.. I know what will happen tonight, says Barnabas--you will try to stop Josette and me--don't deny it. She smiles. What else will I do?--I didn't know when I made you as you are, I gave you other powers as well. You will lure Josette to the cliff, try to stop us, says Barn. Why shouldn't I? she asks bitchily--you ruined everything for mer (he ruined everything for HER? I'd say that blame belongs on her many more times over.) I have changed, says Barn, I won't do what you think--make Josette as I am--I ask that you do nothing-- promise me, and I won't use the coffins--I swear to that. Not tonight, but some other night, accuses Angelique. No, destroy the coffins, he urges-go ahead. You would have me do that? she asks--what are you planning now? I only want to save Josette's life, he says. You really love her, don't you, asks Angelique, resigned. Too much to have her join me that way, he replies. I believe you, she says--how often I've wanted to hear you say that one word, love, and mean me. If you have any feeling left for me, other than hate, do this for me, begs Barnabas. And if I agree? She asks.
I will be grateful, he says. That would be a change, she says ruefully, perhaps one I would like. Leave Josette alone tonight, asks Barnabas--stay with me here until midnight, and you will see I'm going to do nothing. No, she says, you will see that *I* am going to do nothing--I don't like your bargains. Angelique, PLEASE! he begs. Could we stop what will happen tonight? she asks. Yes, you can, says Barn, I know what you're going to do, you will lure her to Widows' Hill, I know it, and torment her with fears of what will happen to her if she goes with me--but this time it's not true--but nothing will change, it will make no difference, and Josette will throw herself from Widows' Hill. Angelique, beginning to fade away, tells him not to expect her to stop it--see if YOU can. Smiling, she disappears. Barnabas darts forward--"Angelique!" I must go to Widows' Hill, realizes Barnabas, stop Josette. He leaves the room.
Natalie looks out the window in Josette's room. How do you feel? she asks Josette. Very relaxed, says Josette--the house seems much more quiet than usual this evening. It's not over yet, says Natalie, and I won't stop worrying until this night is over. It should be obvious that I'm perfectly safe, says Josette. Don't misunderstand, ma cherie, says Natalie, I'm very pleased that the prophecy hasn't been fulfilled--yet--there has been no disturbance in the house, there is a full moon, and I've seen no sign that you are despondent. With a laugh, Josette teases her aunt about still believing what she read in the book, a book supposedly written 200 years from now. It's told things as they happened, says Natalie worriedly, but one more hour and it will be midnight and you will be free from harm. I'm in no danger, insists Josette. There's no way to know for certain, counters Natalie. I am certain, says Josette--it's difficult to explain, but I feel terribly secure, as if no power on earth can harm me. I don't understand your mood, says Natalie. Nor do I, agrees Josette--it isn't necessary to understand it, just to accept it. Josette notices her ring is missing and becomes suddenly upset. The ring! exclaims Natalie--the book said the prophecy would start when you noticed you were missing a ring. I must have lost it at the Old House, frets Josette, and starts to get up. You must stay here, insists Natalie. Josette goes into her closet to get a cape, but Natalie takes it from her. I must find my ring, cries Josette, and you can't stop me. I must keep you here for your own protection, says Natalie. I want my ring, clamors Josette. Wait until after midnight, orders Natalie. I must have my ring, says Josette--he expects me to have it--Barnabas. What are you talking about? asks Natalie. Josette refuses to tell her, taking her cape, she marches defiantly toward the door. They struggle as Natalie tries to stop her; a vase falls off a table and breaks. The sound of glass shattering! says Natalie, horrified--it was in the prophecy and is coming true, little by little.
What am I going to do? asks Josette. Stay here, says Natalie, if we can keep you alive until midnight... Natalie gazes out the window and gasps--no moon! There's the sound of a wind, and tinkling, as if from a wind chime. The house is filled with thumps and bumps; the door opens by itself. Josette screams. Natalie tries to close it, but is unable. Josette offers to help. No, says Natalie, I'm going for Riggs or another servant. When she leaves the room, the door slams shut, locking Josette in and Natalie out. Let me in, Josette! pleads Natalie--open the door! The music box opens by itself as Natalie continues begging her niece to let her in. Barnabas, calls Josette, you want me? Open the door! Natalie begs, standing against it, sobbing.
Josette picks up the tinkling music box. Natalie continues to call to her from the other side of the door. "Barnabas!" says Josette. Are you ready to leave? Barnabas' voice asks. Yes, my darling, she says--where are you, why can't I see you? Who are you talking to? asks Natalie. "I'm waiting for you," says Barnabas' voice. I feel terribly guilty, she confesses--I lost the ring. I found the ring at the Old House, he assures her. Josette smiles. Let me in! cries Natalie. I'm waiting for you, says Barnabas' voice--come to me, Josette!--come to me! Yes, she says, but where are you?-- tell me and I'll come to you. "I'll wait for you on Widows' Hill, says the voice--leave through the secret panel, Josette." She does as he tells her, his voice repeating, "Come to Widows' Hill." Natalie pounds on the door, finally deciding, I must get help.
Widows' Hill - It's storming violently. Waves greedily lap at the shore. I've come to you, calls Josette, where are you? Angelique's voice fills the air with cruel laughter. The wind blows Josette's cape. Who's here? asks Josette. Don't worry, your precious Barnabas will be here soon, promises Angelique mockingly. Recognizing the voice, Josette asks, "Where are you?" You won't be able to see me, says Angelique--I have come to warn you, you must not go away with Barnabas--he is evil! Barnabas loves me protests Josette. He's going to kill you, warns Angelique, and after you're dead, he will bring you back to life, turn you into a bloodthirsty animal! No! cries Josette, stop it! Look out over the cliff, says Angelique, see yourself how you will be after you become his. I won't look! wails Josette. You can't resists, says Ang--go on, Josette, look into the future--see how you will change! Josette views the horrible vision of herself as a vampire, mouth open, sharp fangs exposed, hair a mess, face cruel. Take it away, begs Josette, please, I can't look at it, take it away.
Keep looking, urges Ang, that's what he will do to you! Take it away! begs Josette. There's the sound of approaching footsteps. That's your love, Barnabas, Angelique tells Josette--your kind, gentle Barnabas, who will turn you into THAT creature, he's coming, Josette, coming to you--OPEN YOUR ARMS TO HIM! Josette backs closer to the cliff, nearly losing her footing. No, she cries, shaking her head wildly.
NOTES: Here we have repeated, with some variations, one of DS' most frightening scenes. This is the tale Barnabas tells Vicki and Carolyn in the darkened drawing room of Collinwood during a blackout, scaring them with the romantic, terrifying story. What Angelique is doing alive at this point in the storyline is baffling. It was her ghost that perpetrated everything that happened after her death, including the scene we just witnessed. Will poor Josette die again? Or will Barnabas succeed in changing history, and have the woman he always professed to love so much?
Great seeing old Ben again. He sure was confused by THIS Barnabas' orders, wasn't he?
Can't wait to see what happens next! These eps are so exciting!
Love, Robin
