Vicki awakens calling, "Peter!" Barnabas is there, demanding to know who Peter is. "Someone I met a long time ago," she says. Someone you cared for, Barn asks. Yes, she responds. Forget him, orders the vampire. I'm trying, she says. You knew I was coming tonight, he reminds her--are you ready to leave now? She moves away from him, upset. No, there's something I have to do first, to get peace--I must know if what happened during the seance really happened or was just a dream. It makes no difference, he insists, she's beginning a new, different life. She asks if he wants her to be happy. Of course, he responds. I won't be until I know for sure, she says, and there's a way I can do so--go to the Collins tomb and see if there really was a secret room--if there is no secret room, she'll know it was a dream; if they do find it, she'll know she lived through part of the past.
Judith introduces Barnabas to her brother. "An unexpected pleasure, Cousin," greets Quentin, smiling broadly. Barnabas apologizes for not letting them know sooner of his arrival. Quentin warmly assures him, we're always delighted to welcome family members, no matter how distantly related. I arrived late this afternoon, says Barnabas, and I enjoy traveling. Quentin tells Judith Barnabas really resembles the portrait in the foyer. Ah, yes, the original Barnabas Collins, agrees Barnabas. Yes, says Judith, he lived a hundred years ago, in this house. Yes, says Barn, I'm quite familiar with his life, being a direct descendent, and all--Barnabas left Collinwood in 1798 (?), went to England and established that branch of the family. Quentin apologizes for not being familiar with Collins family history. Barnabas says, I'm not a historian.
Back at Collinwood, Carolyn pours tea from a silver service, telling Julia, it will calm you down. Julia still clutches her journal. You need rest, insists Carolyn. She hands Julia a cup of tea--exactly what happened? she asks. For the past few weeks, explains Julia, I've been hearing voices that seemed to come from the past--I think I heard them tonight. And they told you Barnabas is dead? asks Carolyn. No, says Julia, they said he disappeared from the Old House. You already knew that, says Carolyn. I was wrong to think that meant he was dead, admits Julia--I should have known--if he did disappear, then he must be on his way back here! You aren't making sense, says Carolyn. Julia, however, is already half out the door--I've got to go!
Julia's captor, Daniel Collins, tells her, don't scream--they'll come if you scream--it's my duty to kill you. Julia struggles as he drags her into the playroom.
...unable to even enter, when I watch my friends live other lives--are Julia and Stokes right--is there a time band running parallel to ours, where we live different lives because we have made different choices? I must find out! Why can't I always see those lives in this room, why?
Barnabas enters the drawing room, where more beams have come down, leaving it almost unrecognizable--there was no war or hurricane here, he says--it's as if the house was simply abandoned. Barnabas, in one month? she asks, astounded. The house is as still, quiet as the grave, he says--do you suppose that everyone we knew, all our friends--Maggie, Elizabeth, David--are dead? Julia horrified, says, I don't know. They continue to wander around. She finds and picks up some papers on the desk she'd left there the night she went to parallel time--look how they crumble at my touch! Perhaps, suggests Barn, radiation has sped up the process of deterioration. (Barn knows about radiation)? She gazes at the pieces in her hand--it could be, she says. What could have happened? he wonders. She finds another piece of paper that says, "We must leave Collinwood before the day is out--we must." It's a note in Liz's handwriting, unfinished, says Julia. Then they did leave for a reason, says Barn, walking amongst the rubble--but what is it? On the floor, he finds Liz' diary, which has been burned. I wonder why anyone would burn it? asks Julia. It's as though they wanted everyone to forget they ever existed, says Barn.
You've asked her to marry you, haven't you? Julia asks Morgan, her voice icy. Nothing that happens in this house ever escapes you, does it? asks Morgan coldly. The proposal was inevitable, we've all known it, she replies--I suppose she did not give you an immediate answer? You suppose correctly, as always, he says. Catherine knows her own mind, says Julia, she's strong and loyal--and if she accepts you, she will make a fine wife. You're leading up to something, my dear aunt--what is it? The question of where you and Catherine will live, she replies--after you're married. We're going to live here, of course, says Morgan. You know very well that you cannot bring anyone into this house! hisses Julia, and you know very well why. I refuse to let my fears be decided by the fears that exist in this house, insists Morgan. I am speaking of realities, says Julia--how can you possibly deal with the problem--if Catherine is living here?--how can you explain to her that she's got to lock her doors every night, that her life is in constant danger--what in the world will you tell her? I will tell her nothing, says Morgan, because I believe she is what this house has needed for a long time--I believe things will change if she were here! They will change only if you told her the whole truth, says Julia vehemently, and your mother and I would never accept that--you know you must never tell anyone. Now listen to me, insists Morgan, we can't allow this secret to go on any longer--we can't live in this atmosphere of fear!--we can't lock our doors every night, we cannot walk down the halls without feeling fear! Please lower you voice now, cautions Julia. The servants are in bed, says Morgan, there's no one listening. They may or may not be, she says, I don't want to take the chance of anyone overhearing
I tried to tell him I'm sorry, says David resentfully, but he wouldn't listen! Is that all? asks Vicki. He yelled at me and told me to go to bed, complains David. Look at me, says Vicki--your father was almost killed--I'm sure he must be very upset, just as you are. I wanted to apologize, that's all, says David. But there's no reason for you to apologize, says Vicki, believe me--I know what's bothering you--you told me you wished your father would die, and he almost did, and now you think it's your fault. It's not true, says David, it's not my fault, and I had nothing to do with it
"I will not be cross-examined or have my motives analyzed!" says Liz, leaping to her feet. "I invited a houseguest and that is it." Vicki begs her not to allow herself to get too excited. (Vicki, Roger and Carolyn are lined up in front of the fireplace, leaving Liz standing alone by the sofa. It underlines how isolated she must feel right now.) Roger walks over to her, assuring her they aren't attacking her. They're obviously interested and concerned about her friend, that's all. "He isn't your concern," says Liz crisply, "so you hereby have my permission to ignore him." Actually, he seemed a pleasant enough sort, says Roger sarcastically, but if that's your attitude, I might take your advice--and he leaves the room. Carolyn apologizes to her mother for causing this. Not your fault, says Liz. I've been reading meanings into things that don't exist, says Carolyn. Liz tells her to be careful, especially now, and not misinterpret what she sees and hears. I'll try, Carolyn promises, and I'm not like Uncle Roger--I'll make Jason feel welcome. No, that isn't necessary, says Liz, too sharply, then adds, more softly, I don't want you to go out of your way. Don't worry, says Carolyn, it's no trouble at all! And she leaves, too. Vicki is the only one left. She walks over to Liz and asks if there's anything she can do. No, says Liz. You should get some rest, advises Vicki. I'm beginning to feel tired, says Liz. You need to get your strength back, says Vicki. Liz agrees she's going to need all the strength she can muster. Why do you say that? asks Vicki. Liz tells her she's going to need her support. You know you have it, says the young woman.
Josette clings to the suffering Barnabas, crossing herself, praying for him to get well.
Vicki gets into bed. We see Josette's music box on her dresser. Barnabas, staring out the Old House window, says that Vicki now represents too great a danger to him, and he must do something about it. He orders her to come to him when she hears the music. Josette's music box opens by itself and Vicki, in a trance, climbs out of bed and takes it into her hands, listening intently. Barn tells her not to be afraid, to let the music guide her to a new life. "Come to me, Vicki, come to me!" he commands.
Beth arrives with dinner, and quietly tells Judith Quentin stopped her in the foyer and questioned her about the food. She said she was bringing it up to Judith and she thinks he believed her (all Judith takes from the tray is a cup of something). Judith warns her that now that Quentin is back, they must be cautious, not let him become suspicious. Edith calls for her consomme, and Judith tells Beth to take the rest of the tray upstairs and don't let him see her.
Sam drinks at the Blue Whale. Roger enters. Other patrons are being served by the bartender. Roger joins Sam, who notes his arms are empty--"I thought you were going to bring me something." I thought I would, too, says Roger, he doesn't know where his paintings are--he searched all over the house, everywhere--he can't locate them. Sam insists he has to be kidding. They sit at a table. Roger says he wishes he were--they were in the house. I didn't expect you to hang them, says Sam, but I didn't expect you to lose them! He didn't, says Roger, they must be around--unless someone threw them out. This horrifies Sam--how can anybody throw out paintings?
She's surprised he doesn't know who she is, I was sure you'd remember--we knew each other long ago. He seems puzzled. His face, his hair, his hands are all the same, points out Vicki--you are Peter Bradford.I'm Jeff Clark, he corrects her, sorry to be upsetting you. He wants to help, tells her not to cry. Neither of them understands, which makes them perfect for each other. He wants to go, but she begs him not to leave. Where did he come from, she asks. The road, he says--he hasn't lived in Collinsport long at all and doesn't want to give her his life story after all she's been through--not 1795, but the accident, he says. He starts to go, promising he won't disappear. He figures she liked Peter and envies him that. Don't envy him, advises Vicki.