972 - Old House - Fascinated, Barnabas stares at the book he holds in his hands. Willie enters, mumbling, I did everything I had to; anyone who wants to find Megan Todd'll have to look good and...he stops, realizing that Barnabas is staring avidly at him. What's the matter? asks Willie. It may be just as well you didn't know, answers Barnabas. Willie insists--you're looking at me like you've never seen me before--does it have something to do with that book? He reads the title over Barnabas' shoulder--who wrote that book? he asks. You did, replies Barnabas. What are you talking about? asks Willie. Barnabas hands him the book. Willie reads that the book is by William Hollingshead Loomis--but nobody knows my middle name! cries Willie--that's got to be some other Willie Loomis! He reads the blurb on the back and sees his own face, reading, "He's the author of three best-selling books--PRIDE OF LIFE, GOLD HATTED LOVER, WORLD BEYOND THE DOORS, all of which have been made into major motion pictures. He is married to... Willie stops reading and smacks the book--lies, all lies, look at the clothes I'm wearing, I don't own clothes like that--where did you get this book? The east wing, explains Barnabas, but where it came from before then, I don't know. Willie reads, "It was published in Boston in 1965." I'm sure no records in our world say it was, says Barnabas.
I don't understand this, says Willie--there's something written here, in my handwriting, but I can hardly read it. I saw it, says Barnabas--"To the Cleo who inspired me," he reads. I never knew anyone named Cleo, scoffs Willie. Cleo was the muse of history, says Barnabas. History is supposed to be the truth, protests Willie, this is a pack of lies!--the life and death of Barnabas Collins--I mean, Barnabas, you never died!. (sure he did, after he was bitten by the bat.) Not in this time band, but another, says Barnabas. You're scaring me, Willie protests. I didn't mean to, the vampire assures him-- but you should be aware of the fact that there are other existences, and in one of them, you were quite a well-known fellow, just as I was born in the 18th century, heir to Collins lands, rich in years, died in 1830, grieved by my descendants and most particularly, by my loving wife, Josette. It says that right here in the book, says Willie. The beginning, and end, yes, says Barn, but I still have to read what's in-between, then I must go to Stokes--go to him and tell him I want to see him. If that's all you want, go to Collinwood tonight, advises Willie, Mrs. Johnson says Stokes is having supper there tonight. Good, says Barn, then I have time to read the book before I see him, and see if there are anymore surprises in this book for me. I don't think you ought to look for anymore surprises, advises Willie uneasily--they're no good--take that book and burn it. The problem can't be disposed of as easily as that, says Barn--something exists, and I must understand it--and I will understand it no matter what happens--now let me read. All right, agrees Willie, but don't forget--I warned you! Willie goes. "Of one thing there is no doubt," reads Barnabas, "Barnabas Collins was born in the middle of the 18th century, heir to Collins lands that spread from..." He reads further ahead "...and so, rich in years, he died in 1830, grieved by his descendants, and most particularly by his loving wife, Josette. "Josette!" murmurs Barnabas aloud, entranced.
Collinwood - Eliot heartily greets Liz, taking her hand in both of his--it's good to see you, knowing you're yourself again--after Paul's death, you seemed distracted. It was a terribly difficult time, agrees Liz, but the difficulties aren't over yet--Carolyn married Jeb yesterday. Wasn't this sudden? queries Stokes. That, agrees Liz, plus precipitous, stupid and rash. (Tell us how you really feel, Liz.) I'm afraid for her, adds Liz, but I didn't have the heart to stop her because Carolyn loves Jeb so much--I ignored the warning voice in my ear and gave my blessing, but I can't ignore it any longer
--Jeb didn't tell me where they were going, even Carolyn didn't know; she told me she'd call me when she got settled, but I haven't heard from her, and I'm afraid for my daughter, terribly afraid.
Jeb, suitcases in hand, opens another door to yet another hotel room. He looks warily around, jittery, and turns on the light. On the wall, he spots the shadow, which is now much larger. He turns off the light; it disappears. It's in here! he mutters to himself, frantic--I knew it would be, it's been everywhere I've gone, waiting for me, but I'll get away from it, somehow. Carolyn puts her hands over his eyes, scaring him; he gasps. She giggles--I promise not to hurt you, she says. He hugs her fiercely. I won't hurt you, amends Carolyn, providing you take me to dinner--the manager says there's a marvelous seafood restaurant... She turns on the light. Jeb hastily turns it off. Why? she asks. We're leaving this place--right now! insists Jeb.
Jeb, says Carolyn, we aren't going anywhere until we have a talk. She turns the light on and he flips the switch down--keep it off, he begs. I don't understand why, she says. My eyes are killing me, he complains, driving into the sun all day... No wonder, says Carolyn--we stop someplace, and no matter what hotel we stop at, you decide you have to leave, keep going. I just want things to be completely right, he says. Things will be perfect, she assures him, if we'll stay in one place--how about here, she asks hopefully? No, he says--we have to get out of here! Why, since you said your eyes were tired from driving? asks Carolyn. We can leave the car here, says Jeb, we can take a plane! Where? she demands. Anywhere, says Jeb. I want to stay here! cries Carolyn. We can't! insists Jeb. Why not? she asks. He doesn't respond. I want an answer, says Carolyn firmly--what aren't you telling me, what are we running from?--the way you act, look, the things you say--if there's an explanation, I want to understand. You can't understand, he insists. Give me the chance, she begs--I'm your wife, I must understand what all this means. The honeymoon is over! shouts Jeb--over!--now let's get out of here!--let's go! He picks up the bags and storms from the room.
Collinwood drawing room - Liz twirls a glass of sherry in her hand and tells Stokes, I suppose a mother worries about an only child. ANY child, amends Stokes. If I'd just hear from Carolyn, Liz frets. Barnabas enters--"You've heard nothing?" he says. No, answers Liz--what does it mean?--I wish I knew. So do I, agrees Barnabas. Eliot, may I speak with you? asks Barnabas. Talk to him now; urges Liz, I've been going on about Carolyn and I'm sure Eliot would welcome a change of subject. Eliot assures her, as a bachelor, I don't feel qualified to judge whether or not you are overreacting. I'm sure you have a theory about the care and feeding of children, says Liz--you have a theory about everything. She rises from the sofa and adds, I'll tell Mrs. Johnson Barnabas is staying for dinner. I did everything I could to keep Mrs. Stoddard calm, says Stokes, but I fear Carolyn's marrying Jeb could be disastrous--what do you wish to discuss? Barn closes the double doors and asks about Stokes' theory of parallel time--if I understand it correctly, a person can be traveling down more than one time band simultaneously. That's the theory, agrees Stokes, it's a matter of different choices--for instance, if I'd chosen to marry my high school sweetheart, I'd be living a totally different life somewhere with her, with several children perhaps--according to the theory, there may be some Eliot Stokes who is doing exactly that--there may be many Eliot Stokes living all manner of different lives. Fascinating, says Barn. But only a theory, says Stokes. Do you think it possible? Asks Barnabas. From your tone, says Stokes, I take it you do. Yes, says Barnabas--in a room in the east wing, I have seen a most extraordinary thing.
7 PM - Barnabas has related to Eliot everything he's witnessed in the east wing, with Liz, Julia and Willie leading completely different lives. If there were only a way to reach them, says Stokes. There is, says Barnabas, taking the book out of an envelope--there has to be, for this has reached me. Eliot examines the book, shocked--what does this mean? he asks. It's a history of my ancestor, says Barnabas, and in that time band, he married Josette, had children, and died in 1830--of course in our own time band, he left Collinwood in 1799? and never returned. I want to go check out this incredible room for myself, says Stokes. As Barnabas leads him there, Eliot ponders--what am I doing in that time band?--or am I even alive?--when I was 10, I nearly drowned, perhaps in that time band, I wasn't rescued--perhaps there, I've been dead a long time--do you wonder what your life might bave been? inquires Stokes. Significantly, Barnabas answers, "Yes, I do."
East Wing - Barnabas throws open the doors, but finds the room dark and empty. Both Stokes and Barnabas are disappointed. I wonder why it's there sometimes, yet not others, muses Barnabas. I guess the time band is always there, says Stokes, but can only be glimpsed occasionally through the warp--I have a small rip in my sleeve, and when I hold it a certain way, the rip seems to disappear; to see it you must stand in the right light and position. And I have been standing in the right place, the right light, surmises Barnabas. Yes, agrees Eliot, perhaps that is it--theoretically, others could see it, too, under the right circumstances--I wish I could, for this is proof of what had only been a theory--until now. Its real importance will come if and when I can cross over, says Barnabas.
Don't, warns Eliot, it's too dangerous, we know so little, you might become trapped. Barnabas interrupts him--I know the dangers, he says, but do you think I can pass up the opportunity of crossing over if it comes? I don't know what to wish for, says Stokes, but I advise you to keep watching this room, let me know, but for all our sakes, don't do anything that might destroy you. Barnabas licks his lips, not answering.
Jeb and Carolyn return to the carriage house. I want to let Mother know we're back, she says. I'm not stopping you, says Jeb. Aren't you coming with me? she asks. Nope, he says. I don't understand, she says, you hardly spoke on the drive back--why are you so angry--please tell me! Nothing to tell, he says--go to Collinwood. What will you do? she asks. Unpack, he says. It would help considerably if you could see what you were unpacking, she says--and she turns on the light. Jeb spots the shadow and is immediately terrified. What's wrong? demands Carolyn. Stop asking me, he commands--if you want to go see your mother, go see your mother--get out and stay out! His cruelty shocks her. This is where I belong! she cries. He pushes her away--I don't want you, he says--I made a mistake, I don't want you. Maybe we both made mistakes, she says, and leaves the cottage. Jeb, devastated, looks ill. He sees the shadow and turns off the light. What kind of life is this?
Collinwood - Liz carries the glasses away on a tray. Seeing Carolyn, she puts it down on the table and takes her daughter into her arms. "Darling!" she cries. Realizing Carolyn is upset, she asks where Jeb is. He went right to the carriage house, answers Carolyn. It's not ready yet, protests Liz. It doesn't matter, says Carolyn quietly, he'll be staying there, I'll be staying here--that's the way he wants it. Carolyn! cries Liz, not comprehending. Carolyn leans against the doorframe--I don't want to talk about it, she says, inches away from crying.
Old House - Barnabas returns--I talked to Stokes, Willie he says. I've been thinking a lot about that book, confesses Willie. So have I, says Barn, and about the life in which I loved and won Josette. Well if that life existed, says Willie, it ended in death, Barnabas, and don't you forget it! Barnabas considers this profound statement.
Carolyn sits in the drawing room--why did Jeb force a quarrel between us? she wonders--I'll never understand it, but I have to--I've got to!
Cottage - Carolyn finds the door locked. Why is it dark? she wonders, why is the door locked?--did he leave me? She rattles the knob, then starts to unlock it. Leave me alone, demands Jeb from inside. It's Carolyn, she says. Go away and stay away! says Jeb. NO! she insists, entering the cottage and flying to his side--you've got to tell me, she begs, you can't just sit here in the dark! She turns on the light. Jeb gazes at her fearfully. Spotting the shadow, she screams. Jeb holds her close
--I didn't want you to see it, ever, he says. What is it? she cries. He hugs her--I didn't want it to hurt you, Carolyn. It's going to hurt you--kill you--isn't it? she asks miserably. Not if I sit in the dark, says Jeb. Carolyn, close to hysteria, says, I won't let it--we'll get away from it. There's no place to go, he insists. There has to be! says Carolyn--and drags him from the cottage. The shadow, huge now, appears in the room, seeming to fill it.
NOTES: Poor Carolyn, going on her honeymoon, having to deal with her groom forcing her to pick up and go when all she wants is to cuddle in his arms. At least now she's seen what's been troubling her husband. Although it was cruel of Jeb to push her away in such an abrupt manner, was only trying to protect her.
Willie proved himself a man of intelligence and profundity when he told Barnabas not to forget that the Barnabas in the alternate time band died--and which is preferable, living death or the real thing? It's also funny the way he reacts to his counterpart's talent at writing--and I guess our Willie shares the same unique middle name that the other Willie does! Willie is so cute in this scene!
Stokes proves himself a good friend to both Liz and Barnabas, listening with sympathy to the former and warning the latter not to attempt to join that other time band for fear of getting trapped there. Stokes is a bright guy, knows his stuff, but Barnabas, as we all know, is impetuous, especially with the vampire curse hanging over his head. His counterpart's normal life looks too good to him right now--and THAT Barnabas married Josette and had children with her--the very life the present time Barnabas was denied!
973 - Collinwood - Carolyn holds in her hand the cutout Angelique made. Each night, explains Jeb, it grows larger and larger and each day, every night, it reaches out a little further. Don't think about it, urges Carolyn. I didn't want you to know, he says, but you insisted. Now there are two of us to fight it, she assures him. One of these days, predicts Jeb, it's going to kill me as it did in the vision. What vision? she asks. I have enemies, he says. Who, and why? she asks. I told you that you must accept me as I am, he says, and why not?, he says bitterly--I won't be around much longer anyway. There might be something they can do, she suggests
--if it's gone during the day, whoever made the cutout must be made to remove it completely. That person won't help me, says Jeb. Is it Nicholas Blair? She asks. What made you think of him? asks Jeb. He's evil and wants to hurt you, she says, I know that. You know too much, says Jeb. I'm sure it's Nicholas, she says--I should go to him. No, says Jeb, don't do anything, I'll take care of it. How? she asks, every night the shadow grows larger. He vows to do something now, but says, the less you know, the better. One thing I must know, she says--you do love me, you're not sorry? I do love you, very much, he swears, holding her and caressing her hair.
Cottage bedroom - Sabrina, twisting a handkerchief in her hands, sadly tells Quentin, Chris and I both know there will be a full moon tomorrow, but Chris refuses to discuss it. What do you expect him to say? asks Quentin. I expect him to trust me, says Sabrina, share the danger. No one can do that, says Quentin. I want to try, she says, help Chris--I don't care how much he tries to shut me out, I will--I thought of one way--get rid of Bruno--Chris won't mention it, but I know he's worried about the fact that Bruno knows all about him--and Bruno is waiting for Chris. Quentin sits on the bed. I wish Chris had killed him when Bruno captured him, says Sabrina. Don't wish him that, says Quentin--every life he takes gives him great pain--very great pain--and he looks as if he knows exactly what Chris is experiencing.
He isn't to blame for that, says Sabrina. I know that, says Q--but the pain is still there. You have great insight, she says, seem to understand how others feel--please try to understand how I feel, she begs--Chris has forbidden me to get involved, but I feel I must. What will you do? asks Q. Offer Bruno money, says Sabrina, if I offer it to him, perhaps he'll take it and go away. You'd do this for Chris? asks Q. I'd do anything for Chris, says Sabrina firmly, I want to marry him. No, says Quentin angrily, you can't think about marriage until this curse if over, you've got to believe that. How can it be over unless Bruno goes? asks Sabrina--that's why I must get to him! Quentin thinks it over and agrees, maybe Chris can be driven out of Bruno's mind--you and I will go discuss it with him--you can't go alone--I'll be back in an hour, we'll tackle Bruno together.
Carriage house - Bruno uses his sharp knife to cut up an apple. Jeb enters. Don't you believe in knocking? demands Bruno--what do you want? Jeb approaches him slowly. Why did you come here? asks Bruno--I asked you a question, now answer me! He points his knife at Jeb.
Things aren't like they used to be, man, says Bruno--when I ask you a question, you answer me! That knife can't hurt me, says Jeb. Bruno drops it on the table--the knife doesn't need to hurt you, he says--you're already dead, and nothing can help you--when you had your little temper tantrum, you destroyed yourself as well as everything else--why did you come here? demands Bruno, answer me! I know things are different between us, says Jeb--not much friendship left. You're wrong, says Bruno, there's NONE!--how could there be after what you did--destroyed everything for all of us--if it had only been me instead of you, I'd never have disappointed Nicholas the way you did. Speak to Nicholas about me, begs Jeb--he's the only one who can help me. Save your breath, advises Bruno--you haven't gotten much left. Angelique Rumson put a curse on me, says Jeb, and describes the shadow destined to destroy him. You don't destroy that easily, says Bruno. I know this can destroy me, says Jeb, because Angelique has powers, as does Nicholas, and you have to help me. You don't seem to realize how you hurt Nicholas and all of us, says Bruno. I did it all because of Carolyn, says Jeb desperately, I love her very much--we're married now! You're kidding, says Bruno--does she realize that very soon she'll be a very young widow? Bruno, says Jeb warningly. When you're out of the way, says Bruno, I'll make a play myself for the rich, young, beautiful Carolyn--who will need a lot of consoling. Jeb grabs Bruno threateningly. You do want help, don't you? asks Bruno--I will go to Nicholas and tell him what Angelique is doing, but it won't do any good--Nicholas could help you against her, but even if he did, it wouldn't make a difference--you have less and less existence as time goes by. If I can beat this shadow, says Jeb, I can beat anything--I can LIVE, and I will, I've got to, for Carolyn. jeb looks as if he's about to cry.
Collinwood - Carolyn, pacing the drawing room, decides to take a drink. Maggie comes in--welcome home! she cries, and gives her a friendly hug--how's married life? All right, says Carolyn. Something is wrong, says Maggie--I don't mean to pry, we all want you to be happy. I love Jeb very much, Carolyn assures her. All right, says Maggie doubtfully, I'm just not used to seeing you drink in the afternoon--what is it? You missed our wedding ceremony, says Carolyn--have a drink with me now. I shouldn't, says Maggie, I have to get dressed--Barnabas is taking me out to dinner. Oh, says Carolyn, perhaps someday you and Barnabas... Maggie chuckles, blushing, then asks, do you recommend married life? Yes she does, answers Jeb from the doorway. Maggie greets him uncertainly, offering her congratulations. Thank you, says Jeb. Maggie leaves. Carolyn closes the doors--what happened? she asks--did you see Nicholas? No, says Jeb, I'm sure Nicholas won't help me, and I'd just make a fool of myself if I went to him. Carolyn draws him into her arms, soothing him. How much longer will it be until you're a young widow? he asks. Don't say that she begs, kissing him possessively. It's beginning to get dark, he notices--how much larger will the shadow be tonight?
Later - Maggie comes downstairs. The pitchfork has reappeared on her hand. Quentin, she thinks, smiling with anticipation, where are you?
It's 7:30 - Sabrina waits for Quentin. Although he's right outside her door, he notices the pitchfork on his hand and decides, I should be with Maggie. He leaves.
Sabrina impatiently waits for Q--why he isn't here? she wonders--does it mean he changed his mind about going with me? She falls back on the bed, thinking, I have no right to be disappointed if he has, even a good friend can only be expected to do so much. More has to be done, she muses-- Bruno must be dealt with, for Chris' sake, no matter how dangerous he is, and I will deal with him, alone if I have to. . .no, I won't go entirely alone. She takes a gun from the top dresser drawer--this will go with me, she vows.
8:30 - He has changed his mind, he's an hour late, Sabrina thinks to herself. She holds money in one hand, the gun in the other--which will it be, Bruno?--the decision is yours. She puts the money into her purse, then holds the gun, wondering, dear God, what am I doing with my brother's gun (where is dear old Ned, anyway)? I must, for Chris' sake--I'm not like Quentin, and can't change my mind. She slips the gun into her purse.
Out on the terrace, Quentin and Maggie are smooching it up real nice. I have to go, she says. Huskily, he says, you don't have to go anywhere. Barnabas is waiting, she says. It doesn't matter, he says. Maggie agrees--nobody matters. We're the only two people in this whole, wide world, says Q. I've never felt this way before, she says, I'm frightened. Don't be, urges Quentin, and they kiss up a storm.
Carolyn and Jeb cling to each other as she shadow appears. It's happening so quickly, she says. Turn off the light, says Jeb. That won't save you, insists Carolyn. Turn off the light! yells Jeb. She does. The shadow seems to be gone. Go to Barnabas for help, Carolyn suggests--he knows many things. He knows, all right, says Jeb, but we won't go to him, he isn't a friend of mine. That may have been true once, says Carolyn, but not now. Forget about Barnabas, says Jeb, do me the favor. Go to Stokes, suggests Carolyn, show him the paper, there might be some way! I don't think so, says jeb. Carolyn, near hysteria, asks, how do uoi know unless you ask him?--I don't understand you--forget Barnabas, Stokes, Nicholas--are you trying to forget me, too? Wordlessly, he takes her into his arms, holding her close.
Sabrina goes to the carriage house to see Bruno. You're most welcome, he says. Noticing he has on his coat, she says, I can make this fast. No, he assures her, I have all the time in the world for you. But I don't, she says coldly, I only have until tomorrow night. His expression sobers--when the moon is full, he says, and I thought you came all this way because you were interested in me--it's a long way (?) I'm only interested in one man, says Sabrina. I'm interested in him, too, says Bruno--when the moon is full. Please leave him alone, pleads Sabrina. You're very appealing, says Bruno, but it's not enough. Is this? she asks--and pulls out the wad of money. He takes it in his hand. You can have all of it if you leave this place, says Sabrina--forget you ever heard of Chris, forget about him. You asked me a question, says Bruno, and a lovely creature like yourself deserves an answer--"No, it's not enough!" I'll get more, she swears. No, says Bruno cruelly, Chris Jennings is more valuable to me than a pile of money--and whoever controls him controls a source of great power, and so far, that person is me--I intend to use him, the right way. There is no right way, objects Sabrina. Oh, yes there is! shouts Bruno, when I'm finished with him... You'll kill him, finishes Sabrina. Let's not look too far into the future, taunts Bruno, you might find it a little depressing...now I really must go. She puts the money back into her purse--wait, she says--and pulls out the gun. I'll let THIS speak for me, says Sabrina--and points the gun at him. He gazes at it
--what do you intend to do? he asks. I love Chris, she says, and I'm not going to let anyone hurt him--I'm going to kill you!
NOTES: Go, Sabrina! I think Bruno is a real SOB, and death is too good for him! I wish Sabrina would torture him a bit first. Poor woman, so in love with Chris she's willing to give up what must be her life's savings, and even risk prison!
Jeb and Carolyn against the shadow--while the special effect continues to elicit giggles, their feelings for each other are still so real, intense, I can't help but hope they make it. Although I don't believe in Jeb's sudden transformation into good guy, I do believe Carolyn loves him very much, and I would like to see her happy. Her scene with Maggie, wherein she suggests that she and Barnabas might get married someday, was a total hoot when you realize she blew off her date with Barnabas to suck face with Quentin on the terrace. They do make a nice couple, don't they, and oh, those long, slippery kisses! See how Angelique either directly or indirectly screws up the lives of everyone? Her pitchfork love spell left Sabrina to go alone to see Bruno, a dangerous move. Quentin and Maggie's passion can't have a good effect on her relationship with Barnabas.
Now, why was Jeb unable to reveal to Carolyn who put the shadow curse on him--Angelique--yet so readily able to tell Bruno? Why didn't he feel he could tell her that important fact? Just wondering.
Love, Robin
