Quentin, Daphne and Gerard enter the bedroom. Quentin rushes to his father's side. You, you, you're not who you say, you're not the man you were, gasps Daniel. (How ironic, considering GERARD is the one who has changed--to another person!) Edith tries to force Quentin to leave. Get away, says Quentin. Edith tells Daphne and Gabriel, Daniel is too ill for company. Gerard leads Daphne out of the room. Why what? Quentin asks Daniel, who mutters, "It will ruin us all--I must stop it, I will stop it!" You want Daniel to die, accuses Edith. Get out of here, Daniel orders her. But Father Collins, she protests. Leave this room! he cries. Get out! shouts Quentin. Edith takes the hint and goes. I saw your stairway, says Daniel--I saw the past--you killed Lorna! No I didn't, says Quentin. Daniel passes out.
what was the relationship of Mrs. Stoddard to Mrs. Collins? It wasn't a very good one, obviously, says Carolyn. Was there anything else significant about her state of mind? asks Guthrie. Yes, says Vicki, she acted as if she'd forgotten something--that she'd done something or gone somewhere. In other words, an unexplained lapse of time, says the doctor. Exactly, agrees Vicki--she had the feeling that she'd gone out of the house and come back from wherever she'd been. My mother seldom left the house and never the property, explains Carolyn as Guthrie writes in his notebook. She must have had a memory block, then, he says. I guess so, says Carolyn, she said she went out the front door, then came in--a short time after that, she collapsed--what does it mean? On the surface, he explains, it could mean a very common occurrence--a reaction to trauma--I'm suggesting she had an emotional experience of such intensity--something shocking or frightening--that gave her nervous system a delayed reaction--just as when you step off the curb in front of an oncoming automobile, and the car narrowly misses you, you jump back, then continue to cross the street--when you get to the other side, you start to shake. What sort of an experience could she have had? asks Vicki. I don't know, he admits, whatever it was--he looks at Liz--it was deep enough to block it right out of her mind.
David comes downstairs. We hear the carousel music. Yes, he says to the air, yes. He opens the front door and goes out. "Are you going to punish me, Gerard?" he asks. "I know. . .I know, I must follow." And he walks away.
Julia will be sorry for not heeding his warning about her jealousy, Barnabas says--he'll permanently dispose of Dr. Hoffman. While she seemed pleased at this prospect in the previous show, Carolyn is upset to hear this--killing Julia would be wrong! No, because she's obstructing his plans for Vicki, Barnabas says. Carolyn suggests Barnabas talk to Julia, scare her off, but Barn says Julia, while professional and sensible, is nevertheless as emotionally as foolish as most women. (ooh, nasty!)He wants Carolyn's help, he says, but Carolyn insists she can't. Be sensible, Barnabas orders his cousin, you have no choice.
Angelique sits before the fire on the drawing room. Roger enters. How long have you been standing and staring at me? she asks--I could actually feel you staring, do you believe that? Then you must have the same sixth sense Angelique had, he says, it was uncanny. She smiles-- why were you looking at me? she asks. That's the cross you must bear for looking so much like her, says Roger, smiling gently. At least people no longer think I AM Angelique, she says, I found that terribly disturbing. I never doubted you for a moment, he says. Oh? She asks. I don't mean any offense, he assures her, but Angelique was one of a kind.
"Why did you have to come here?" demands Barnabas of a hysterical Millicent, clutching her tightly. No! she cries, and sees the coffin. She thinks he's going to kill her, that the coffin is hers. She pulls away from him, screaming for Nathan. He grips her again, warning her that she must not tell anyone she saw him there, but she is too far gone to be rational--I must tell! She wails--you must let go of me, Nathan will kill you when he hears of this! He asks her to promise not to tell anyone, but she says she can't, pulling out of his grasp again.She sees his face, his fangs, as he says, harshly, "Then, my dear Millicent, you give me no choice!"--and he bites into her throat (and gets a good mouthful of blonde curls) as she screams uncontrollably.
She lies on her bed, falls asleep, then begins to dream. The double doors at Collinwood open; Jeb comes out, dressed in a suit. Carolyn, on the dark landing, drifts downstairs in a lovely wedding gown and veil, holding a bouquet. Everything is ready, says Jeb. In a moment, I'll be Mrs. Jeb Hawkes, she whispers. Come with me, says Jeb, offering his arm. She takes it and they go into the drawing room. Nicholas Blair, wearing his black robe, holding the scepter, awaits them. Carolyn, disturbed, asks--what is he doing here? He's going to perform the ceremony, says Jeb. I don't want him to, insists Carolyn--he frightens me. No one is going to harm you, Jeb assures her--Nicholas won't. Good evening, greets Nicholas. Hello, says Carolyn. Nicholas compliments her beauty and says, if you are both ready, we can begin. We can't, says Carolyn, my parents aren't here, and we can't begin without them. Your mother doesn't approve of the marriage, says Jeb, and won't be here. My father will--we must wait for him, says Carolyn. You know your father is dead, Jeb reminds her. No! I can't believe that, cries Carolyn. Believe it, because it's true, says Jeb--do you understand? Yes, she replies. Begin the ceremony, says Jeb--you and I will be together very soon. She smiles and agrees--very soon. Nicholas raises the scepter and intones--Prince of Darkness, I call upon the flame to summon you, beseeching all the dark creatures of nature to help summon you, for you must be a witness to this ceremony, give your blessing to these two creatures who shall become your obedient servants. What is he saying? she asks--I've never heard a marriage ceremony like this! Be silent, says Jeb. Nicholas continues--I summon you in the name of the seven plagues, in the name of the charred and blackened stars that reigned at my beginning to rise out of the darkness of the earth. Carolyn grips Jeb's hand and says, I can't go through with it--I'm too frightened. Let him finish, says Jeb. Thunder and lightning fill the room; the lights go out. Only burning candles remain. Carolyn, terrified, asks what's happening. I don't know, says Jeb.
She opens her purse--the keys are there! She also finds the diamond and emerald earrings. Josette's music begins to play. Joe swears he didn't give her the earrings; he couldn't have afforded them. Sam couldn't, either--how did they get into her purse? Joe suggests she ask Sam, and if he didn't give them to her, turn them over to the police--she'll get them back if no one claims them. Maggie admires them in the light and says the woman who wore them must be beautiful. All you need is money, remarks Joe, but Maggie says she thinks of someone lovely, elegant and--sad owned them. Joe says she has sentiment and imagination, but she says they remind her of something she's forgotten. Joe tells her to put them safely away so they can go out, but Maggie feels compelled to put them on.
Worthington Hall, schoolroom - Tim asks Jamison why he handed in a blank sheet of paper instead of doing his spelling and math tests--I know you knew the work!--if Trask knew about this--I'm not sure I'll tell him or not. Tell him, begs Jamison--I won't learn from him because I hate him--I want to go back to Rachel. Tim takes off his glasses and notes, you miss Rachel. Not as much as Nora does, says Jamison, but some. Tim understands--she must have been very happy at Collinwood. Trask enters and asks "Collins" why he's being kept after class. Jamison is silent. Trask warns him, I give my boys one chance only, and you'll have to learn it--what did he do wrong? he asks Tim, who crumples up Jamison's paper. Nothing, says the latter, we were just talking. Trask orders Jamison to go to his room and study.
Aristede talks to Victor but Quentin can't hear them. The fact you killed Julianka has nothing to do with me, says Aristede. I would not have had that emotional reaction if you had gotten the hand and kept it, says Victor--we should have been out of here by now. Julianka must have had the hand, Aristede reminds him--why didn't YOU get it from her? Victor grabs his lapels and shakes him, asking, are you criticizing me? No, Aristede assures him, never. See that you don't, warns Victor, infuriated.
Julia got the story about Vicki from Liz. Barnabas can't bear to contemplate life without Vicki. Julia touches him arm, telling him she's sorry. Barnabas wonders why Jeff had to come and take her away-- why?--WHY? It was Vicki's choice to make, says Julia. Barnabas doesn't want to hear that. Julia tells him she's spoken with Vicki since Jeff's disappearance, and the young woman was willing to sacrifice her life to be with him. This enrages Barnabas. Julia says he must accept this for his own peace of mind. Barnabas spits out that he'll accept she's gone and he'll never see Vicki again--but I blame Jeff for interfering in the first place! I can't force you to see what you should see, sighs Julia.
One of the most fascinating places to me was Norway, Burke relates to Vicki, who is now sitting on the sofa--those men are sailors--reminded me of my dad--he would have loved it there. Fascinated, Vicki asks if he loved the sea that much. Crazy about it, says Burke, but he never got much chance at it--he was, well, not too healthy, so he had to settle for being a landlubber. You must have a lot of the sailor in you, don't you? asks Vicki, smiling. I don't know, says Burke, what I am--when I was old enough to think of what I wanted to be when I grew up--nothing. He sits beside her. When I was little, I wanted to be bareback ride in the circus, says Vicki--all beautiful and dressed in spangles and riding the most magnificent big white horse you ever saw. Did you ever try? he asks. I was in that foundling home, how could I? she asks. You could have run away, he says. I'm not that type, she says. I wish you were--I mean from here, he says--I wish you'd pack your bags and run away as far as you can. To what? she asks--the circus and a big white horse? Maybe, he says, maybe even to Norway--anywhere but this dungeon--you don't belong with ghosts, but with the world, with laughter and smiles, and everything the world can give you.
Cottage - Chris, having written a letter to Carolyn, slips it into an envelope and leaves it on the mantel above the fireplace. He takes the gun into his hand. Hearing a woman sobbing, he demands, who's in this room? It's crazy Jenny, hair a total mess. You must not do it, she insists. What are you talking about? asks Chris. You must not die while there is hope, she says.
I'm not afraid, she assures him--darkness is comforting--and you must find comfort, too, without me. I don't want anything without you, he insists. Bramwell, she says, you say that now--but in time, you will want Catherine. He looks down. You see, she says, I can say it--you will want Catherine--and she will want you--Bramwell, you have my blessing. She turns her head, trying to breathe, and says, you're the two people in the world I love most--and must comfort each other.
Angelique, what's wrong? Nothing, she says--I want to speak to Quentin alone. Quentin turns to Edward and say, "You know how we must humor her." Edward agrees and leaves the room. Angelique looks very distracted. Quentin asks, where have you been? I went for a long walk--to think, she says--I'm not going to marry you tomorrow, she says, and you yourself can easily see why not. No, says Quentin curtly, I don't! (why does Petofi want to marry her--for the sex or control, possibly over her powers?--as IF!) Nonsense, she says, you never wanted to marry me, I forced it all, and now I'm afraid. That's another human emotion I didn't know you had, he accuses. She looks at him, startled.
At the cemetery, Cassangelique stands at Sam Evans' grave ( 1915-1968 ). She summons Sam's spirit and orders him to rise and appear to her. He does (in a trenchcoat and dark glasses, was he buried in those things?), and asks why she has disturbed his rest. The witch tells him that she has a job for him to do. I know what you are, Sam's ghost says.