At Collinwood, Elizabeth comes downstairs and approaches Cassandra in the drawing room. Why are you doing this to me? she begs. Cassandra plays innocent. Liz can't sleep, she only thinks of death, and it's because of Cassandra. The witch forces Liz to look into her eyes. After she's hypnotized, Cassandra gives her a sherry and says she hasn't had it bad yet--the worst is yet to come.
The music starts playing. Madame Findlay calls to the spirits--"I'm here to help!"The music suddenly stops, but she continues to speak to the spirits, assuring them, "I'm here to bring you peace, but if you won't help me, I'd like to leave." She tries the door, but it won't budge. Scared, she tells them she isn't afraid. The medium suddenly realizes someone died in this room. The air around her grows frigid. "You exist in darkness!" she accuses--"and you want me to exist in darkness!--APPEAR TO ME! APPEAR TO ME!"
He sarcastically tells Magda, it's an honor to see you--where were you at dawn, when you were supposed to be protecting me?--and where was Sandor? Magda, looking nervous, tells him to listen, but he's too angry to pay attention to her.I have news, insists Magda. News won't deter me, says Barnabas. It must be told, she says, and I will know how angry you can get. Realizing this is a serious matter, Barnabas shuts up and pays attention. Magda crosses herself and reports, "Laura--she knows about you." Barnabas grabs Magda's arm. Laura knows you're a vampire! reveals Magda, terrified. Barnabas is stunned--and perturbed!"
You aren't in charge of me, says Alex. I am, says Barn, and don't you forget it--Haza and Oberon entrusted Alex to me, and you can be kept completely secret, you know, kept locked in your room until the time comes--would you like that? Megan and Philip wouldn't let you, says the boy. I tell THEM what to do, Barnabas reminds him. Alex, pouting, doesn't answer, he just walks away. Do we understand each other? asks Barnabas--answer me! Yes, says Alex. Look at me when you say that! Barnabas insists. Alex turns and says, I understand! You will not let it happen again, says Barn. Alex repeats his worlds. This is for your own good, says Barn, leaning on his cane, I must do what is destined for me to do, let me do it. Alex nods. You will be kept locked in your room as long as you're here, says Barn--is that quite clear? Alex nods, his back to Barnabas, who adds--Megan and Philip will be informed--I can't stay here any longer. Where are you going? asks Alex. To undo what you have done, says Barnabas angrily--and he picks up the Leviathan box.
I take it the second Mrs. Collins has decided to return to Collinwood, and you're worried--and understandably so, says Hannah. No, she hasn't, says Angelique, and Quentin is being very stubborn about persuading her to, which leaves it up to us. Hannah is puzzled. We will use our methods to force him to bring her back, says Angelique. You mean you WANT her to come back? asks Hannah. She's all he thinks about, complains Angelique, and as long as that's true, I haven't any hope of winning him back--as long as she's in New York, I can't fight her--I want her HERE, where I can deal with her. How will we get her here? asks Hannah. We'll put a spell on Quentin, says Ang, reach deep into his heart and make him long for Maggie so much, he can't bear it. You may be making a great mistake, warns Hannah--a spell that affects the heart can be very dangerous. Not if it's kept under control, scoffs Angelique. It can't be kept under control, says Hannah, there's no telling how Quentin will react, he may even become violent. I don't care how he reacts, as long as he brings her back here, insists Angelique--that's all I want. You may lose him forever, warns Hannah. No, says Ang, Quentin will be mine again, it's just a matter of time--now, we're going to need madrigore (?) and spring water for the potion, and we must have it all ready before Quentin returns! She leaves the room.
The kids return to the playroom, Hallie's arm in a sling. How's the arm? asks David. It hurts, she says--David, you promised to tell me why we had to come here again! Remember when I told you there were some things we had to find out?--there's a way we can--we're going to hold a seance, just the two of us, here in this room. He begins clearing off toys from a table. Hallie objects--I don't know anything about seances. You don't have to, he assures her, I know all about seances--I've seen the grownups do it a lot of times (!!!!!) I'm scared, she says. There's nothing to worry about as long as you do exactly as I tell you to, he says. Why can't we do it somewhere else? she asks. Everything started to happen once we first came to this room, David reminds her, so this is the logical place to hold it. He drags over some chairs, lights a red candle in the middle of the table and turns off the electric lights--sit down, he says. She does, reluctantly. Put your hands on the table, he says, let them touch mine--the most important thing is, don't break contact--do you understand? She nods. David looks upward and says, "We seek the spirits that know about this room, the spirits who will tell us what we must know--there are questions that have to be answered--why are you so disturbed?--what do you want from us?--can't you please give us a sign?" They hear wind, and the sci fi noise, terrifying Hallie. "Let us live! Let us live!" cries a voice that sounds much like David's, over and over. "LET US LIVE!" Both kids look horrified.
Angelique sits by the fire in spell-casting mode. Roxanne Drew, she intones, you wanted to be Mrs. Barnabas Collins--I could see it in your eyes--but he is MINE--and he shall remain mine. She holds up a clay doll. Oh, my dear Roxanne, you must pay for loving him--she sets two pins in motion toward the doll's throat.
Catherine sits in Collinwood's drawing room, exhausted. Morgan enters. Catherine calls him "darling." A horse is missing from the stables, reveals Morgan--I think Gabriel has gone into town, and I'm going after him. Catherine stops him--be careful--in his condition, there's no telling what Gabriel will do to you. I can handle him, he assures her. That poor, poor man, she laments--I just feel so sorry for him. Start feeling sorry for both of us, advises Morgan--if I can't bring Gabriel back, one of us might have to go into the room--I'm going to leave. Darling, please be careful, she begs, hugging and kissing him. I'm sorry for being abrupt, he says. It's all right, she says--You have every reason to act this way--and I'm sure you will find Gabriel. I must, says Morgan, and he must go into that room tonight. He goes.
You'll never find anyone else who would want to buy this place! Roger argues with Liz. Burke smokes a cigarette. Collinwood is not for sale, says Liz. You yourself have said it's dreary, drafty and desolate, Roger reminds her--why not get rid of it? Sell Collinwood?--you must be joking, insists Liz. I am not joking, says Roger, the money we would get, we could get a place much more practical, a place we would really enjoy. Out of the question, says Liz, I can't imagine this place belonging to anyone but a Collins--this isn't the kind of place you buy and sell--our great-grandfather didn't buy it, he built it himself, for his family--and that's the reason why I kept it--in hopes David would someday feel the same way I do. I'm very sure that David would feel the way I feel about it, says Roger--I would be willing for the place to burn down tomorrow! Burke looks pleased. Then why not sell it to me? asks Burke. Whether Roger likes it or not is beside the point, says Liz, I'm sure you understand MY feelings about Collinwood, and how you must have known I would never consider selling it--I don't even know why you asked!
Barnabas appears. Millicent moans, "I'm ruined!" She lies and said she and Nathan met by chance while strolling outside. He begs her to awaken Josette, but the Countess appears (eliciting another moan of disaster from Millicent), congratulates Barnabas on his marriage and says it's a strange way to be spending his honeymoon. Josette doesn't wish to see him, says Nat firmly.
Liz, on the phone at Collinwood, says she finds it hard to believe Adam jumped from Widows' Hill and survived, but there have been numerous reports of Adam sightings.
Alone with Tim, Trask asks him to conjugate some Latin, then questions him about whether or not he's happy at the school. Tim plays it cagey at first, saying, "You taught me to endure it," finally admitting his unhappiness. Perhaps, suggests Trask, you and Charity could go away and start a life of your own together. This surprises Tim. The lawyer I saw, says Trask, needs someone to translate a Latin manuscript--perhaps you could get a job through Mr. Hanley. The possibility that Trask would release him astounds Tim, who points out, that it would mean losing Charity, too. I'd still have the Mrs., says Trask. Tim is incredulous--I want to apologize to you for misjudging you in the past, he says. Trask assures Tim, I've never misjudged YOU, I know exactly what you are. He sends Tim to see Evan immediately.
At the turn of the century, says Julia, you did a portrait of a man named Quentin Collins--you knew he was suffering from a curse that when the moon was full, he turned into an animal--that portrait ended his curse, and you can't tell me you don't remember that.Legend, insists Tate, no truth to it. Julia says, it's completely true and you know it; I believe the portrait has to do with why Quentin still looks young, because he is alive and living in Collinsport now. You are wasting my time, insists Tate. I will bring him here, prove it to you, says Julia. Bring no one here, orders Tate, and remove yourself! Julia rises from the chair, intending to continue to plead her case. Sit down! Tate commands--you will not come near me! Julia sits. There must be more to your secret than meets the eye, she says. Yes, agrees Tate bitterly, I spent too much time being touched and put-upon by others!--so, I have let Tate die, and now my burden is gone--that was over 10 years ago, and as Harrison Monroe, I've found solitude and no one will ever be close to me again!--good night! Where is Quentin's portrait? Asks Julia. It was destroyed in the fire 100 years ago, says Tate. I know that isn't true, says Julia. Then you know more than I do, retorts Tate, and again bids her a curt good night.
Outside the front door of Collinwood, Barnabas wonders to himself, is she really Alexis? (and he just met her)! Or is she the Angelique I know? I must find out about her--soon!--and I must go back to that room, now, while no one is there--it's my only hope of getting back to my own time. He disappears.