Think about it, Vicki tells Matthew--think what'll happen if you kill me--the sheriff will find out, come after you, and he'll capture you and you'll have to stand trial for murder. No, he says, it won't happen that way. But it will, she says--the sheriff isn't stupid, he'll know how it happened. He didn't connect me with Malloy, says Matthew. That was an accidental death, completely different, says Vicki, this is premeditated murder--so he'll be questioning, and sooner or later, they'll question you. Why me? he asks. Because they'll find out I didn't leave Collinwood--Mrs. Stoddard will tell them--they'll know I must be somewhere here on the grounds--there are only four people here--Mrs. Stodddard, Mrs. Johnson, David, and you--she points at him--(not wise, Vicki; your concept is cunning, but this man has blinders on)--and sooner or later, they're going to come up with the right answer.
Catherine opens the door to Josette. We must talk--alone, says the older woman. Yes of course, says Catherine, come into the drawing room. If you've come here to plead Bramwell's case, it will do no good, says Catherine. On the contrary, says Josette, I'm here to tell you I couldn't agree with you more.
Collinwood drawing room - Leticia enters. Only Gerard is there. All alone, are you? she asks coldly. So you finally decided to talk to me again, he says. But not to forgive you, she says, not likely--sarcastically, she adds, where's your sweetheart? She went to Boston to be with her son, he says--what are you doing here, anyway? I'm here to see you, she says. So, you want something from me, he says--I never knew you to turn off your temper so easily--what's the matter? I don't want to stay at Rose Cottage anymore, she says, it frightens me--I want you to take me somewhere else. Frightens you? asks Gerard, what are you talking about? There's been a definite change she says, there's an evil spirit there, I can feel it. He starts to laugh. Don't laugh at me! she orders--I feel it, you have to believe me--I want to go someplace else--if I ever meant anything to you at all, you must help me now--she goes into his arms--please, she begs, as he caresses her hair. Gabriel enters and says my, my, your sympathetic shoulder is always available, isn't it, Mr. Stiles? (I love this guy!)
Quentin follows Daphne to a door. She opens it and goes in, closing it behind her. Quentin opens it, too, and enters. He calls to Daphne. The room is obviously unused; the bed is unmade and cobwebs abound. He lights a candle. picks it up, and finds a note on the desk. He reads, "I tried not to tremble, but I couldn't help myself-nothing in my life has terrified me more than the thought that you love me-nothing in my life has..." that's all it says, it was never finished-someone loved her, and it frightened her. He calls to Daphne--I have so many questions to ask, and only you can give me the answers-why do you come to me, then go away?--you must have led me here for a reason-if you need help, there's nothing I won't do, but you must appear to me. The note disappears. Quentin calls to Daphne, but she doesn't respond. He blows out the candle and leaves the room.
Liz interrupts them-- what are you doing here--I looked out the window and couldn't believe what I saw--lights in the empty east wing--what are you doing here? Looking around, says Roger evasively. There's nothing to see, says Liz--or is there?--there must be something very special in the east wing, because everyone is suddenly very interested in it--and she wants to know what that something is. Very well, says Roger, I'll tell you, but you will be stunned, as I was.
Antique shop - Carolyn writes Megan a note--I've been to Mrs. Davenport's, and stopped by to thank you for coming today--sorry to have missed you. Jeb comes downstairs quietly, sneaking up on her, and puts his hands over her eyes. She cries out, prying his hands away. "I frightened you," says Jeb, looking delighted. He introduces himself--I live upstairs--and you're Carolyn Stoddard. How do you know? she asks. He chuckles, not answering. Where are the Todds? she asks. Out, he answers. She turns away from him. Don't be frightened of me, he says. I have to be going, says Carolyn. No, he says, Megan and Philip told me so much about you. He brushes her shoulder with his fingers. You must forget about your father, he says. She gazes at him, astonished. "I will help you," he promises. I'm afraid no one can, she says. But you don't know me, he says, I know so many ways to help you, make you forget. She closes her eyes, then apologizes and says, I have to go.He stops her, a hand on her shoulder. You don't look at me when you talk to me, says Jeb. She turns to face him. That's better, he remarks. "You're shy, I like that--I like that very much." She stares into his eyes, but then, when he tries a more intimate touch, says, "Goodbye."
Anxiously, Edward asks, what do you know about Barnabas? As much as I need to, says Petofi--that he is a vampire--I know you wish to keep that secret (Tate is listening to all this from the other room), and I respect that and came to you instead of the police. How did you find out? asks Edward. That isn't important, says Petofi. Edward agrees--you could have gone to the police--I've been wrong about you, I think. (he still put curses on you and Jamison!) Magda can tell us where Barnabas is, says Petofi. She knows? asks Edward--I know how to deal with her! We can use her to lead us to Barnabas, says Petofi. No, says Edward--what must be done, I must do alone, it is my responsibility, difficult as it may be--there was always someone in the family who was supposed to know of his existence, one person who was supposed to keep him chained to his coffin--had my grandmother lived, I'd have been the one she would have told
Joe sits in the cell, staring straight ahead. Patterson leads Julia into Joe's cell. I can't stay here, Joe tells Julia--I have to go, tell everyone. What? asks Julia. Chris, says Joe, left him in his room, don't know where he is--gotta find him. Julia assures him she did find Chris. Joe says he must get Amy out of Collinwood, she must never see it--ever! cries Joe wildly. Julia asks for clarification, and Joe says Amy isn't the only one in danger--everyone is--no, babbles Joe, no one should ever see it.
Vicki lies on the bed, sobbing. The door opens and Angelique, dressed in 18th century garb, enters the room. "So we meet again," says Ang. You aren't real, assets Vicki. Ang assures her she is quite real. It isn't possible, you're dead, protests Vicki. Ang giggles--she isn't a ghost, and asks Vicki to touch her and prove she's made of flesh and blood. She takes Vicki's hand, proving her ghost is flesh and blood. You are real, says Vicki, but you died in 1795--is it possible?--have I gone back in time again and am living in 1795. It's possible, says Ang, and might be true. Ang can't tell Vicki why she's there or who is keeping her. It must be a dream protests Vicki, but I can't wake up. Ang says it's no dream, she really exists in this place--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.
Naomi points out to her husband that Sarah needs a governess, and Jeremiah enters and quickly agrees. She's got the references, he says, and continues, explaining that the carriage overturned, she was wandering around the woods, and the name Victoria Winters popped into her head--which is why she gave that as her name. Abigail suggests he's bewitched by her beauty, and Jeremiah insists she's jealous of it (get her)! He goes on to wonder just who is the head of the household, Abigail or Joshua, and the latter insists that he wants to see Miss Winters. Angry, Abigail suggests her little brother has turned against her, too.
Carolyn tries to run, but Tony grabs her arm and swings her around, demanding answers. She says she would lie to the cops, but not to Tony, and comes up with a fascinating little tale about a man with whom Liz had an affair and who, apparently, fathered Carolyn! One has to wonder if this might not be the truth as far as Vicki is concerned. Carolyn explains, with all sincerity and a catch in her voice, that this mysterious man, Liz' former lover, was planning to blackmail Mrs. Stoddard, but died before putting his plan into action. Julia got hold of the notebook, which was this man's diary, and was going to blackmail Elizabeth with it's contents. It would be a huge scandal for the Collins family, explains Carolyn, and she has to stop Julia no matter what! Tony likes the idea that the Collinses are as human and mistake-prone as anyone else--why don't they just pay Hoffman off?Perhaps alluding to the problems with McGuire, Carolyn reminds Tony that most blackmailers are never satisfied. She tells him to take her to the cops if he doesn't believe her, and home if he does. He chooses the latter option
Laura sits at a table. Maggie brings her coffee. So you're Sam's daughter, says Laura. In person, says Maggie. At the risk of sounding ancient, says Laura, I think I remember you when you were this high--I wish I'd known sooner. As a matter of fact, says Maggie, laughing, we were all wondering who you were. All? asks Laura. I'm a little ashamed, says Maggie--confession time--I've been trying to find out who you were for the last couple of days. Were you? asks Laura. Do you remember the other day when you came in, says Maggie, bringing over her own coffee cup and sitting with Laura--you sat with your back to the rest of the room--and my father came in and saw you from behind--he said you looked familiar but couldn't quite figure out who you were. He should have introduced himself, says Laura. Maggie makes a face. This may be hard to believe, but he must have been a little shy, says Maggie--he asked me to find out--now you must have been aware of all my questions. I was, says Laura, but I understand. Your arrival in this town has caused a lot of interest
I don't want to be involved, insists Vicki. I don't blame you, he says, but I don't see how you can avoid it as long as you go on living in this house--I've been thinking about you and the pressures that you must be living other. You've added your share, she tells him. (You go, girl!) I'm sorry for that, he says, and I hope maybe I can make it up to you--I have friends in Florida--they have a delightful house and two charming children--they're desperate for someone to come down there and live with them and help take care of the children. What about David? asks Vicki. We managed before you arrived, says Roger, I'm sure we can work something out--Florida has wonderful weather, you know, and this house is right on the water--there would be no Widows' Hill, no ghosts, no dark corners, no pressure--you'd be free of us and away from probings and questions and all the rest of it. Vicki grins and says it sounds very lovely--but I'm afraid I have to say no.