A restless, disturbed Liz lies in her bed. She's worried about Carolyn, wondering where she is
Nightfall. Josette locks herself in her room, and she's thrilled when Barnabas enters through the secret panel. Does you hate me, he asks?-I was almost afraid to face you again. She assures him she loves him. He tries one more time to talk her out of her decision, reminding her of the life they will have to lead--can she give up her family and friends, live a secret life, afraid of even a knock at the door, the risks, a life of chance? Yes, she assures him. The only thing she fears is his telling her he doesn't love her, but he promises her that isn't true. They love each other, she reminds him, and she trusts him. She will be different, as he is, Barnabas points out, does she understand that?She realizes he is dead, yet alive, she says. No ceremony can make her more his wife, Josette says, her eyes gleaming, a smile of joy on her lips.
All Barnabas knows is the change in Adam is amazing, and he's far more dangerous than before. Julia asks if he knows what it means, and Barnabas says they must find Vicki before Adam can harm her. No, says Julia, it means much more--it means Adam knows what he is, knows he's a creation, about the experiment, everything, and he's able to communicate what he knows. Someone had to have told him about the experiment, she says, but who? Barnabas has no answers, but says he's calling the police, Vicki's in danger. Julia reminds him if the police capture Adam, he'll tell them about the experiment and both of them will be exposed. Barnabas insists he's willing to take that risk for Vicki, but Julia doesn't agree. They start to fight over the phone, but a knock at the door interrupts them
Chris tells him he hasn't been at Collinwood in a long time--really, he hasn't! He advances toward Joe, who asks if he remembers him coming to his room, giving him the gun, asking him to shoot him. "Shoot me?" asks Chris incredulously, I would surely remember something like that! Joe is confused. Chris tells him it never happened. Joe sits down on one of the coffins and says perhaps none of it happened--maybe it was all just a nightmare. Chris doesn't know, but it was obviously frightening. Joe figures it started the night at Maggie's house, when he was attacked. This shocks Chris--who attacked you? he asks Joe. I don't know, says Joe, but it was an animal that walked like a man--I struggled with it, ripped off part of its shirt, and matched one of yours to it--when I went to show it to you, you turned into a wolf. Chris says that WAS a bad dream, he's the same as he ever was. Joe asks why he's in the mausoleum, but Chris observes he's still trembling and is surprised he'd ask that. Chris says he's ALWAYS out at night, he knows that. Joe doesn't know that, he was in his room the previous two nights at the Collinsport Inn. Ah, says Chris, I see, maybe you didn't have a nightmare after all. . .it's just a simple case of mistaken identity. Chris laughs--you always did have trouble telling "us brothers" apart. Joe stares, thinks."I'm not Chris, I'm Tom."--oh, no, says Joe, it can't be, you're dead. "Not at night, Joe," says Tom reasonably--"Only during the day."
Magda tells Barnabas, for the first time, I have no interest in what will happen now, tomorrow or ever. You will, he assures her. I cannot live without love, she says--whoever I love will die! I know your feelings, he says--everyone I love must die, too. Oh, Barnabas! she says, then remembers--the child, Jenny's child, Quentin's son! Barnabas reminds her, you've never seen him. It's possible to love without seeing someone, insists Magda
Stokes' house - Paul sits on the sofa, staring blankly ahead. You must stop hiding from whatever it was, advises Stokes--you must try to talk to me, realize that you're safe now--safe. Paul says nothing.
I can't go into the drawing room, says Liz, trembling--I'll always remember his hands around her throat! Just talk, it will do you good, insists Barnabas, leading her into the drawing room--she's gone now, there's nothing in this room to be frightened of. Barnabas lifts the nifty booze cabinet-- why were Yaeger and Sabrina here? he asks. I can't figure that out, says Liz. Barnabas pours her a drink--did you know that Yaeger once threatened Maggie? he asks. No, says Liz. He hands her a drink--I heard about it in town, he says--Yaeger was very fond of her. Maybe he came here thinking he'd find her, suggests Liz. That's a possibility, agrees Barnabas. Are there any others? she asks. Barnabas examines the torn phone wire--he must have ripped it right from her hands, he says--who could Sabrina have been calling?--we must find out somehow, not only because of Sabrina, but Maggie, as well. Barnabas! says Liz. I know it, he says.
#1093
They are about to leave the room when they hear Carrie's soft voice calling their names, telling them not to go--"We're ready now." We don't want to see, says David. You must, says Carrie--look in the house--Rose Cottage--you asked what would happen to you--find out...find out--you must know--look through the window. David and Hallie fearfully return to the house and peer through the window.Inside they see themselves (actually, Tad and Carrie) sitting at the table. "See David? See, Hallie?--now you know what's to happen to you--now you know," says Carrie's voice.
Collinwood - Samantha looks out the window. Trask enters--I don't think I should leave until the constable makes his decision, he says. Where is the constable now? asks Samantha. He just left Gabriel and has gone up to see Quentin, says Trask. What am I going to do when he comes down? she asks. Whatever your conscience dictates, my dear, says Trask. My son...says Samantha. Trask reminds her, it would be worse for him to grow up in this atmosphere of evil--when I think of the heinous practices that have gone on in this house! Please, Lamar, she begs. Painful as it is, says Trask, you must protect your son from his own father.
Daphne comes in--may I speak to you? she asks hesitantly. Certainly, he says. When I asked you to take me away, you said no, she reminds him--you said I could either stay and be your wife, or I could leave by myself--that was the choice you gave me--I've decided what I'm going to do. I see, he says noncommittally. I'm going to stay, she says, running into his embrace--oh, Bramwell, I was so lonely even for just the hour I was by myself, I know I could never live without you. You don't have to, he assures her gently. I know that, she says, but we can make this marriage work, be happy together, be happier than anyone else could be. She's touching his face, his jacket front, trying hard to be seductive. Bramwell suddenly, angrily, insists, I have to go upstairs--if you'll excuse me--and does, leaving her alone. She calls up the stairs to him, assuring him, things will be different from now on--we should go out tonight, just the two of us--"Bramwell, did you hear me?--you didn't, did you?" She realizes he is gone--"You didn't hear a word I said." She bows her head sadly.
Do you know why Roger wanted to see me? asks Vicki. What? asks Carolyn, distracted as she surveys her reflection, let me think...yes, it had something to do with that fountain pen Burke gave me--as soon as I told him I told you about it, he lost interest in everything else. You told him I knew that he'd lost it? asks Vicki in consternation. Sure, why not? asks Carolyn.Vicki closes the bedroom door and locks it, blocking off David. What did he say? asks Vicki, concerned, sitting in a chair beside her. Nothing at all, says Carolyn--oh, he got a little sore because I made a crack about it being a secret weapon, saying it had something to do with Bill Malloy's death. Vicki, upset, asks if he seemed alarmed. No, just upset that I'd make a joke about anything that happened that night, says Carolyn. I guess I shouldn't have, really--but it's all over and done with now, I can't keep mourning forever, can I? (She barely mourned at all, superficial little heiress.) She puts on some perfume. Of course not, agrees Vicki. Why didn't you run into Uncle Roger, you must have passed each other? says Carolyn. I guess I came in the back way, says Vicki, when he was going out the front. That's too bad--anyway, he's looking for you, says Carolyn
Vicki greets Barnabas at Collinwood's front door, where he rhapsodizes about how much he loves the night, preferring it to the "ugliness" of the sun. He tells her he'd like to discuss other subjects with her, like life and death, and a dog howls as they head into the house. Barnabas invites Vicki to check out his library of historical volumes sometime
Foyer - Natalie attempts to discuss the ring with Joshua, but he pays no attention to her, and hastily leaves the house.
Natalie sees Joshua with his overcoat on and tells him that a doctor isn't necessary. He says he wasn't going for a doctor; he's going out to do something important. Doesn't he want to ask Josette about the ring? He'll ask about it later. Natalie whines that she's frightened. After telling her there's nothing to worry about, Joshua departs. Natalie studies the portrait.
perhaps you're lost in a void in time suggests Ang, caught between present and past but belonging to neither.Vicki refuses to believe this. Ang says she's come to help her escape. Vicki wonders why, considering how vicious and cruel Ang has always been to her. Huffy, Ang starts to leave, but Vicki says she'll accept anyone's help. Angelique demands Vicki's engagement ring; she'll take it to the man she loves, and through it, he will find her. Vicki refuses, and Ang says she can't help her--and she's the only one who can. Vicki asks where she's going--why would Ang take her ring if she isn't trying to help her? Angelique explains she doesn't exist in time, and wordily possessions mean nothing to her. Vicki fears she wants it because it's her last link with reality, and refuses to give it up. So be it, say Ang, turning to leave. She won't come back, and neither will anyone else--Vicki will face eternity in the room because she refused her help. She bids Vicki goodbye and says she pities her. Vicki tells her to wait, and says that while she still doesn't trust her, if there's one chance in a million she's telling the truth. . .reluctantly, she drops her cherished ring into Ang's hand. The man you love will find you, Ang assures her. Yes, give it to Jeff, begs Vicki, so he'll know I'm alive.
The door opens. It's Evan, who asks, am I interrupting something? "Morning devotional," says Trask, we are just about finished. Good, says Evan, I want to get down to business. Trask agrees--go to your room, Charity, he says, and read a chapter or two. She complies. I'm glad to see you carrying a paper, says Trask--I assume your reservations have been removed and you found yourself able to do what must be done. Yes, says Evan, it's the only thing to do. He places it on the desk and says, sign it--let's get it over with.