Judith runs to her room to get away from Minerva--but Minerva got there first, as Judith discovers when she hears the rocking chair creaking and turns around to look. Poor Judith pleads with "dear Gregory" not to lock her in her room with Minerva, but Trask insists it's for her own good. He locks her in the bedroom as she screams and pleads, Don't leave me alone with her! Don't lock me in! Do I hear Judith Collins begging? he asks smugly. Let me out! Judith calls, pounding on the door. I will pray for you, Trask says with a smile as he walks down the hall. Judith turns away from the door to see Minerva sitting in the chair, sewing, rocking back and forth, back and forth.
With her characteristic rolling gait, Magda walks into the police station, where she explains to a different police officer: Mr. Edward Collins sent me. Sometimes gypsies can look into the mind. Perhaps I can try to look inside the prisoner’s mind and find out who that one is. It’s best I see him alone. She stands outside the cell and calls Quentin’s name [lucky she’s alone!]. But as she discovers, Quentin still doesn’t know himself or her (though this time he doesn’t even reminisce about the Forest of Aujedon--sp???). I don’t think you know nothing, she tells him in a near whisper, but I’ll tell you why I’m here. Barnabas Collins is coming to get you out tonight. He will take you to the Old House--the Old House. But as these last words leave her lips the constable comes to ask if she’s having any luck. It’s too soon to be able to tell anything, she replies with perfect honesty--we will find out later. She sweeps out, leaving Quentin sitting in the cell.
Judith gets a little of her mojo back when she tells Trask that she doesn't see Minerva any more--even though Minerva is still there. Judith insists she's feeling better. I truly hope so, Trask says, but unhappily, we must remember that this isn't the first time you've been disturbed--remember Dirk Wilkins and his hold on you. How could I have prevented that? Judith asks. Trask replies smoothly, You couldn't--or could you? I wonder if there is something in you that reaches out to unnatural creatures. Other people have been bitten by vampires, Judith points out. Your own daughter was [good one!]. But she caves when Trask insists she should stay in the room and rest--or maybe sew. I’ve never done much sewing, Judith comments. You’ve never been a wife before, Trask replies. Minerva used to sit for hours on end, stitch--stitch--stitch. As he speaks, Minerva sits down again and diligently plies her needle. Trask goes on, Sometimes I would tease her: Minerva, you’re sewing your life away. Please don’t talk about her, Judith begs him, her voice trembling. With a smile, he apologizes for upsetting her and adds, Everything was so quick--her death, our marriage. She still seems so close, so near. Good afternoon, my dear. Rest well, he finishes and turns to go. Don’t leave me, Judith begs. Why shouldn’t you be alone? he replies. You are well now--you told me so yourself. Judith nods, looking terrified and near tears. She turns to look at Minerva, who is still sitting and sewing.
Magda knocks at the door and asks to see "Miss Judith." Trask apparently already knew why Magda has come. They have yet another sparring match, but this time Magda is the loser. Magda remarks scornfully, You probably know everything that happens around here--you makes it your business to. He moves toward her aggressively and counters, I don't make it my business, it _is_ my business--if you understand the difference. I understand quite a lot, Magda assures him. He grabs her arm roughly and says, Judith can continue to wait for you. What a way for a bridegroom to be, Magda says derisively as she pulls her arm away. I want to talk to you, he says. I can't wait to hear it, Magda replies. You will hear it, he says, and then do what I want you to do. You're very sure of yourself, she comments. Yes, he says, we both have our secrets. What do you know? Magda asks skeptically. I understand your sister had two children, Trask says. Magda is shocked and horrified as he continues, You wouldn't want them sent away, would you? Defeated but still defiant, Magda curls her lip in anger and asks, What do you want me to do to Miss Judith? I'll tell you, he says, but first I must remind you she is no longer Miss Judith. She is Mrs. Trask, the Rev. reminds her.
In his cell, Quentin hears a bat squeaking, then the screams of another constable as Barnabas attacks him, very much off screen. (Maybe he was originally supposed to appear but was written out of the ep.) The screams are followed by silence. We hear footsteps approach, and the door to the cell opens noiselessly. At least Quentin has enough smarts to get out of there. He runs past the constable, who is slumped over the desk with bleeding fang marks on his neck, but we don’t see Barnabas at all in this scene.
Magda goes upstairs to see Judith. Her face an expressionless mask, she denies seeing Minerva despite Judith's desperate pleas.
Trask is waiting when Magda comes downstairs. Did you see my wife? he asks. Which one? Magda retorts. You know which one--my poor, sick Judith, of course, Trask answers smoothly. Yes, your poor, sick wife, Magda answers scornfully, her hands on her hips. I made her believe I saw nothing. You didn't tell her you saw it? Trask asks anxiously. No, I didn't tell her, Magda replies disgustedly. Trask is satisfied. Magda says, It’s good that I lied. How did you do it? That’s none of your business, Trask answers. Your business is quite finished here. Yes, Magda agrees. Then she draws herself up as she adds, I only got one thing to say to you: I have traveled all over the world and met many people, some of them low. But you--you are the lowest. If you think that black suit and high collar hide what you are, you are wrong. I recognize you. I know you are a swine! So saying, she spits on the ground at his feet and marches out.
The foyer clock strikes midnight as Quentin, his face still unrecognizable, returns home. Where am I? What is this place? he murmurs. Who am I? (His disfigurement hasn’t affect his speech.) Hoping for answers, he enters the drawing room, wanders over to the gramophone and turns it on. The No. 1 hit of 1897 wafts into the air. Strangely it seems to assist his memory, because he starts reciting the words to “Shadows of the night.” Judith hears the music and comes downstairs. She screams when he turns to face her. Judith, be quiet, he warns her, taking her arm gently. Who are you? How do you know me? she asks as she pulls away. I am Quentin, he insists. She turns to run out, but he takes her arm again. Don’t get anyone, he says. Let go of me! she says, I’m afraid! You mustn’t be afraid of your own brother, he says, I’m Quentin! [Judith should know who Quentin is. He speaks in Quentin's voice, plays Quentin's music, speaks Quentin's words to the music, and resembles Quentin in every way except for his face.] You’re not! she cries. I want help, he pleads. They’re after me! Who? Judith asks. The police, he answers. I don’t understand it, she exclaims. Who you are, how you know me, why you’re here! Because it’s my home! he insists. I _am_ Quentin! Judith backs away from him--and almost straight into Minerva, brandishing a wicked-looking letter opener--or is it a knife?...
