Maggie serves a customer in the restaurant. Burke enters and bids her good morning. She offers coffee. Good idea, he says. You won't say that after you drink it, she predicts with a chuckle, pouring. I'm looking for someone, a woman, says Burke, she's staying here, so she must have come in here. Is she blonde and very attractive? asks Maggie. Yes, says Burke, have you seen her? There is a woman who used to live here, says Maggie--yeah--you're talking about Laura Collins? Have you seen her? asks Burke impatiently. Not yet, she says, she mentioned she knew you. What did she say about me? he asks. I said you had a big chip on your shoulder, she says, and she said you weren't always that way. That's interesting, what else did she say? asks Burke. Maggie takes a cup of coffee for herself and sits in the stool next to him. That was about all on the subject of you, she says.
Cottage - Sam opens the door to Joe and tells him a doctor is with Maggie. They agree that she looks very ill, washed out. Dr. Woodard comes out to inform them that Maggie's problem is a severe loss of blood.He's at a loss to explain where it went, however, and says he's going to do tests on it.
Angelique isn't happy to hear about Jeremiah's sudden trip, and asks Ben to help her figure out a way to keep him from leaving. He tells her Barnabas already spoke to Jeremiah, trying to convince him not to go, but it didn't work. Ben says Josette must make Barnabas prevent Jeremiah from leaving; it's the only way, and Angelique is pleased that her slave came up with such a great idea--to make Barnabas' fiancee keep her lover in town.
Barnabas sleeps in his drawing room chair. He hears Angelique calling to him, and his wife, dressed in her 18th century clothing, says she must see him and tell him what the future holds. Barnabas orders her to get away from him, but she insists they must talk. He can't move, what is she doing to him? Nothing she says--you're having a dream, and I'm causing it so we can be together again for just a moment. She walks toward him, touches his head. He wants her out of his sight, but she says she won't harm him. Do what you want to do get it over with, he moans. You won't escape me, she swears, and no doctor will help you. Go away, he cries. Only a dream, she says.He wants to awaken, and will, she giggles, when the time comes.
David tries to comfort the depressed Amy--maybe you'll get to stay here, with us!--wouldn't you like that?--we'd have fun. Amy doesn't answer.
Jamison stops Quentin from stabbing the doll with the pin--that won't end the curse, it will only hurt Barnabas! Quentin orders Jamison, keep looking at me--I thought you were my friend, on my side, that you want what I do--don't you? Yes, agrees Jamison. Remember what I taught you, says Quentin, which will help us to understand why we must go on--Baal gives us the power to serve him, says Quentin.Jamison repeats it. Baal's hand becomes my hand, intones Quentin. Jamison repeats. Whatever Baal's hand does is the good for man, says Quentin. Jamison repeats this. Do you believe it? asks Quentin. Jamison nods.
It's curious, remarks Julia--I've seen you onstage, and seen photographs of you in newspapers and magazines, but never noticed your extraordinary resemblance to Amanda Harris--quite unique. Olivia looks at her and says--not really--Amanda Harris was my grandmother. Who was your grandfather? queries Julia. Olivia laughs and asks, are you interested in genealogy as well? I really want to know, says Julia. His name was Langley, reveals Olivia (shades of Edmonds' role on AMC?) Oh, says Julia. Olivia notes, you seem almost disappointed. No, responds Julia, of course not. I find it strange that you knew my name was Amanda Harris, says Olivia, it was never mentioned in conjunction with any of Tate's works, I knew her name, of course, but how did you? You must be mistaken, says Julia, I must have read it somewhere, I'm sure. I suppose so, says Olivia
Liz enters the drawing room. Maggie leans on the mantel, upset. It's going to take time, comforts Liz, you can't expect him to accept you without some difficulty. It was a total disaster! laments Maggie..The boy is living in the past, has never accepted his mother's death, says Liz--difficult as it may be, you will have to make him accept it. She must have been a very beautiful woman, comments Maggie. That calculating, ugly look on her face, Liz says, yes, that she certainly was. (But that was all?)
Julia, I'm convinced more than ever that the evil spirit holds the key to everything that's happened here. He can't be reached, says Julia. What if I don't want to reach him--what if I just want to get rid of him? suggests Barnabas. How? she asks. Another exorcism, says Barnabas. You can't, she objects. I can try, he says, or get someone who knows how. She shakes her head. No, it's too dangerous, she says, believe me, I know what I'm talking about--when he wants to do something, nothing will stop him. His forehead creased with puzzlement, he asks, how do you know that? Because of the way he made me feel when I saw him first, she says, I tried to explain that to you. But if he were gone, perhaps Carolyn and Quentin would recover, suggests Barnabas. That's what Stokes thought, but it didn't work, says Julia. I can't give up, he insists. Barnabas, she says, looking deeply into his eyes, but she walks away and says, I have something important to tell you. Outside the window the ghost stands, looking in at her. Spotting him, she hastily says, it happened at dusk tonight--I was sitting in this room. And what? prompts Barnabas. Nothing, says Julia, it wasn't important, I felt a presence here, probably my imagination, I shouldn't have mentioned it. That's all? asks Barnabas. Yes, she answers. The ghost is gone when Barnabas stands close to Julia and warns, you must be careful--very careful--especially when I'm not with you during the day. I will be, don't worry, she assures him.
Give me your hand, he asks. I beg your pardon? she demands. No, he says, taking her hand, I want to see what the future holds for you. What are you doing? she asks. You didn't know I was an authority on astrology, numerology and palm reading, did you? he asks. I don't believe in such things, she replies. That's a pity, says Gerard, because it says here that your troubled life lies behind you. What do you mean? she asks. Look at your hand, he says, touching her palm intimately--the lifeline, heartline and the love line--the last two converge here, meaning that you're going to have a very successful love life--but what is more important is your lifeline--strong and clean, although there is a very clouded area here. Is that bad? she asks. One might say it's just a clouded area of your life, he says--who it is or what it is is impossible to say. Do you really take this seriously? she asks. Yes, and you should, too, he says--perhaps this is the clouded area of your life you're going through--a thought just occurred to me--who in your life is making you the most miserable--Gabriel Collins, am I correct?--what are you going to do about it? There's nothing I can do, says Sam. In time, you will become the mistress of Collinwood, he says, now is the time to start planning what you'll do--doesn't that make sense? Yes it does, she agrees, I suppose I hadn't wanted to face it, but I really must make some decision about Gabriel--at the moment, however, I still feel like being alone--I think I'll take a walk around the grounds--please excuse me. Of course, he says.
now, let's talk about you--when I first came back and saw you, I didn't recognize you--you've grown up the past five years, and I must say I like what I see. Thank you very much, she says. May I take you for a walk? He offers. I can't, says Daphne--I've got to go back to the village. That's where I'll walk you, he says--you might as well get used to it--I never take no for an answer. He leads her away, an arm around her shoulders.
I really have to change, I just might be taking a trip to Bangor this evening. Carolyn, calls Vicki, can I ask you a question. Anything at all! says Carolyn, ecstatic. You remember that sobbing I told you about? asks Vicki. You heard it again last night, says Carolyn. How did you know? asks Vicki. Because I heard it, too, says Carolyn--I hope you had the good sense to stay in your room--that's what I always do. But when I told you about it before, says Vicki, you told me you'd never heard it--that I must have dreamt it. From the kitchen doorway, Liz listens. I didn't want to frighten you away, admits Carolyn--but now that you're one of us--sure, that ghost lady sobs--I've heard it, off and on, for most of my life--but right now, I couldn't care less! Where does it come from? asks Vicki. Ghosts! says Carolyn, and like all the rest of us kooks here, you're just going to have to get used to it--I really must change. She leaves Vicki on the landing alone.
Good night, Laura says to Roger and Liz, who say it back. How does the house look to you? asks Carolyn as they leave the house. The same, and yet different, says Laura.The door closes. Roger and Liz walk forward. What do you think of her now? asks Roger. I must say I'm favorably impressed by Laura, Liz says. So am I, he says. I'm worried abut David, says Liz, I don't like the way he's behaving. He's just acting up, says Roger--that's standard for David--pay no attention to him.
Maggie waits in the cemetery, looking for someone. Barnabas appears and stands before her,his eyes locking with hers. He takes her hand.
She insists that Vicki re-enact the circumstances under which the master of the house disappeared, and does a dead-on impression of Joshua's pomposity. Vicki, regarding this as cruel and embarrassing, isn't at all pleased about being asked to participate in this charade, ordered to look out the window as Jeremiah was during the argument, but the Countess feels if they do, the cat Will show up--and it does!