1070 - Barnabas gasps for breath, asking the sheriff, "How? How?" The sheriff lifts up his gun-- that doesn't matter, he says. JULIA! screams Barnabas, finding the gun right in his face. As the sheriff is about to pull the trigger, the young ghost we know to be Carrie appears to the sheriff --"It's YOU!" he gasps. She stares at him; he drops both gun and the cross to the floor. You're the one they saw! accuses the sheriff. She approaches him. Say away from me, stay away-don't come any closer! shouts the sheriff.
He's got bigger problems that a girl's ghost, however; Barnabas, grinning, has his arm locked around the sheriff's throat and is tightening his grip. Carrie is gone.
Old House drawing room - Gerard "speaks" to Julia through their bond. I've betrayed him! cries Julia, a handkerchief in her hand.-"have I done enough for you? Have I done enough now?" She sobs, sitting down in one of the chairs. Gerard appears to revel in her grief. Why do you keep watching me? she asks Gerard-go away!--you're determined that I be here to hear the shots-the silver bullets. Gerard grins. Julia cries. They hear a gunshot. Seconds later, Barnabas appears before Julia in the drawing room. How long have you been here? he demands. She gazes behind her, but Gerard is gone. She attempts to walk past him, but he takes her arm--the sheriff is dead, he informs her-I killed him-he knew about me-if it weren't for Carrie, I'd be dead myself now--we must move quickly, insists Barn, find out what we can and go back to our own time-the police will be here, they know about me-I saw the silver bullets-I inspected his gun-I don't know who told him... Don't you? asks Julia, forcing the words between her lips as though they taste evil.
Barnabas' forehead creases-"You betrayed me," he realizes, incredulous. He comes toward her, stunned.
"You told the sheriff," accuses Barnabas, holding tightly to her arm. She struggles to escape, then nods--I will again, she whispers-will betray you over and over... She bursts into tears. "You're not safe with me," she sobs, wiping her nose with the handkerchief. Why? asks Barn. She moves away from him and pleads, "Don't tell me anything and don't ask me to go with you anywhere--go, Barnabas, just go!" Who has done this to you? he demands. Don't try to find out anything about me, or whatever has happened here-go to Angelique's room, lock the door, hope you can get back before... Before what, Julia? he asks. They will be back, she says, you're right, if you escapes them, when dawn comes... "You will come to my coffin-to kill me," he says, saying aloud the unspeakable. She regards him with mute, miserable eyes-"oh, Julia, who have saved me so often-what has he done to you?" No one's done anything to me, she insists. Julia, says Barnabas quietly, you have been with him. (In the biblical sense?) She shakes her head-no, she says. He has done this to you, says Barnabas. No, she insists, still shaking her head. He has made you do this, accuses Barnabas. Don't talk about him, she begs. Julia, why not--are you so terrified of him? he asks. I told you to go while you can! insists Julia. And leave you to him? says Barnabas. Leave me, yes, it's the only chance you have, she wails. But why is he so terrifying that you can't mention his name? demands Barnabas-say it, Julia! No, she cries. SAY IT! he orders. NO! she repeats, shaking her head, throwing her hands out. "Then it will be my will against his," says Barnabas. Let me go, says Julia, near tears-he's watching us, I know it, somewhere outside this house, he's watching, he knows what's happening here-"Barnabas, go, go!" Look at me, Julia, commands Barnabas. She refuses, turning away. Look at me, he repeats-you can hear me, you will do as I say-"Now, look at me!" Her head swivels around with reluctance; they lock eyes. "You can escape," she says. "Not without you," he responds tenderly. "You can't take me with you," she says, shaking he head. He moves in close, almost within kissing distance, and adds, "Never without you." You won't be able to take me, she warns. I will, he insists -you must believe me, I will. I can't, she says. Once we are back in our own time, he can't get to you, he reminds her-"You must depend upon me, not him!" She tips her head back and sobs. He says it again--"You must depend upon me!" Julia falls into his embrace, crying, "How could I ever...?" You must never blame yourself, he says, holding her close, rubbing her back with his hand. Oh, but I do, I do, she says, clinging to him, crying-"How can you forgive me?" "You have forgiven me so often, for so many things," he reminds her. Barnabas, I'm afraid, she says, you don't know him. He still has power over you, doesn't he? asks Barnabas. I know he's only waiting, says Julia. And you will go to him again, says Barnabas, a statement, not a question. I don't know, admits Julia tearfully. "I will not leave you alone for one moment this night before dawn, vows Barnabas, because before dawn, we must get back to where we came from." Julia looks at him with hope. Use every ounce of willpower you have, he urges-"You must!" She nods-I will try, she promises. Come now, he says, we must go to a telephone and call Stokes. I think I should stay here in case the police come, she says--I can tell them you're at Collinwood, they won't go there. I tell you, says Barnabas, almost in her face, I will not leave you-is he calling you again? Yes, perhaps, she says, putting her hand on his chest. Come, we must go to Stokes, find him and get the answers to the things we need before we go back. I want us to go to Angelique's room now, insists Julia. Come, he says, not until we know more. He leads her away, his hand on her back. You're right, says Julia, if we can find out how to stop all this from ever starting, it will be worth it, whatever we have to go through. Outside the Old House, Julia wipes her nose with her handkerchief and looks at Barnabas, who supports her as they walks away. Gerard watches them and smiles.
7:25 - Old House - "You killed the sheriff?" Stokes asks Barnabas. (but I did not shoot the deputy, sorry couldn't resist.) Barnabas admits it. Everyone's going mad, says Stokes, it's the effect of this place-I'm not surprised at your terrible story, horrified, yes, but not surprised. He turns to Julia and says you don't understand the enormity of our problems-I do-I saw Gerard once myself, other people claim to have seen other spirits, but I have not-I don't envy you tonight, caught between Gerard and the police-(to Barnabas) do you realize that I will be implicated in all this if the police come here? We wouldn't have insisted on you coming here unless we needed you desperately, says Barn. I told you that before, says Stokes, I cannot help you, that hasn't changed. IT MUST! shouts Barnabas. I'm too old a man for this, too old and too frightened, says Stokes-there, I've said it, if you have any way to get back to your own time, in the name of heaven, use it. No, says Barnabas, not before we get the clues that we need from what Carolyn told us. She's dead, there's no way to find out, says Stokes. But there is, says Barnabas, a seance-yes, Eliot, we will have another seance-tonight.
I'll have no part in any seance, insists Stokes. You must, says Julia. You know Gerard, Julia, says Stokes-do you think he'll let you learn to destroy him?-don't be naive, Julia. Her forehead wrinkles--I believe we must try, she says. Perhaps he cannot prevent Carolyn's ghost from coming back here, says Stokes, but we're only human-he can keep us from understanding what she says. Arrange the table, Julia, says Barnabas. Stokes, irritated, asks, "Haven't you listened to a word I've said?" There's nothing you've said that I didn't already know, replies Barnabas. A foolhardy man, pronounces Stokes, walking away. Yes, agrees Barnabas, do you remember how you were 25 years ago? Of course I remember, says Stokes, that's when I made my worst mistakes. Barnabas, smiling a bit, says, you're too old to make another. Too wise, corrects Stokes. So, we may not be able to go back to Collinwood as we remember it, but we will be able to stop what's happened now, says Barnabas. If you can get back, says Stokes. If we do, promises Barnabas, David will not die, Carolyn and Quentin will not be as they are, and everyone else will be able to live out their lives-- doesn't that mean something? We're ready, Julia announces. Well, Eliot? says Barnabas. Stokes, covering his face with his withered hand, finally raises his head and nods--"Let us begin." Thank you, says Barnabas. They sit at the table, where Julia lights the single candle in the center. Are our hands touching? asks Barn. He and Eliot have their hands in proper placement, but Julia doesn't. Perhaps I shouldn't take part, she suggests. Julia, says Barnabas, a hint of warning in his tone--you must. I feels...begins Julia. Is Gerard watching you? asks Barnabas. I feel so strange, says Julia. Concentrate, begs Barnabas, you must concentrate on what you're doing-if Carolyn speaks to us, she will speak through you (why, are spirits gender -sensitive)? Julia nods and adds her hands to the mens' on the table. Don't break the circle, warns Barnabas-remember it. He gazes at the other two, then speaks: "Spirits of the dead, hear us, heed our pleas-for we need guidance to save those who are still alive-spirit of the dead, there is one among you, a friend, release her to us-let her speak with us-Carolyn, Carolyn, I beseech you to come to us-do you hear us? If you do, give us a sign!" Eliot and Julia listen closely. "Carolyn, you must come to us," continues Barnabas, everything will be changed it you do-Carolyn, hear us, we beseech you!"
Julia's head drops back. She begins to moan. I hear you, she says in a higher-pitched voice. Are you Carolyn? asks Barnabas. She moans again, and says, "Oh, Barnabas, Barnabas, yes, I am Carolyn. She's smiling, and Barnabas smiles back, grateful this worked.
Carolyn, explain the six clues, pleads Barnabas, we must know what they mean-can you hear us? Julia almost sings, "The picnic. . .the night of the sun and the moon...the murder...the unfinished horoscope, the night I sang my song...Rose Cottage." What is Rose Cottage? Asks Barnabas-tell us! Wind blows out the candle, leaving them in darkness. Julia, afraid, is once again herself. Do not break the circle! says Barnabas, do not move your hands! He's coming, he'll kill you! wails Julia. I can feel his presence, says Stokes, rising from the chair, walking away. Julia's bows her head toward the table and begins to cry. Barnabas goes to her, his hands on her shoulders. Stokes sees Gerard gazing at him through the window. The ghost raises his hand toward Stokes and touches the window.
Stokes hobbles to a chair and sits down, not looking well at all. He was at the window, I saw him! says Barnabas...Eliot! He runs to the elderly man, who has collapsed in the chair. Barnabas takes his pulse-"He is dead," he announces. Julia begins to scream and runs from the room. The front door is open. Barnabas stands and looks around for her, screaming her name.
Playroom - Gerard holds a knife. Julia enters. He offers the knife to her, handle first. Must I? she asks twice. He just gazes intently into her eyes. Yes, she says, I always knew I would have to. She smiles. He smiles back. She takes the knife, raising it high, and says, ecstatically, "I'll be with you as you want me to be." She's about to plunge the blade into her chest when Barnabas appears in the doorway. "Julia, put it down!" he orders. Julia looks at Gerard, then at Barnabas. "Put down that knife!" Barnabas commands, eyes flashing. Julia gazes back and forth between the two, her ghostly master and the man she loves, and drops the knife. "You will not have her, Gerard," says Barnabas--"Julia, you are coming with me, and there's nothing you can do to stop us!" Gerard steps forward and touches his fingertips to Julia's forehead. She falls to the floor, wailing, "NO!" Barnabas cries out her name, kneeling beside her. "She's dying," he moans. Gerard smiles, big. You caused this, accuses Barnabas--she's dying! Gerard nods proudly, then leaves, closing the playroom door behind him. Barnabas helps Julia to her feet--I'll take you to Angelique's room, he vows-quickly. Outside the room, Gerard locks the door and smiles, pleased. Barnabas leads Julia to an armoire so she can prop herself up. He tries the door handle and finds it locked. Spotting Carrie's ghost, he pleads, "You helped me once, help us now!" The young girl turns and walks into the wall, disappearing from sight. Barnabas and Julia see a door appearing exactly where she exited.
Barnabas slowly opens it, looking behind him at Julia. It's a stairway, leading up, he says--we can escape, we can! He slips his arm around her and leads her to the staircase. They go up, Julia with difficulty. He grips her tightly-it's just a little longer, he assures her. In pain, she nearly collapses, but he grabs her before she falls. They spot another door. Barnabas says, with happy relief, "JULIA!" He helps her through the door--you'll sit in this chair and will be all right, he says--relax, sit down, you'll be all right. A young blond girl who looks exactly like Carrie but dressed in modern clothing, appears before them. "Who are you?" she asks accusingly. "What is wrong-who are you?"
NOTES: Who is the blond girl, and why can she speak now? Wasn't she just a ghost? Where did that mysteriously -appearing staircase take Barnabas and Julia, and what WAS that staircase, anyway? Are they back in 1970RT or somewhere else?
Those who believe Julia and Barnabas belong together often cite the events in this episode as a turning point in their relationship. Julia has betrayed Barnabas, nearly getting him destroyed by the sheriff, yet when she urges him to return to 1970 without her, he replies, "Never without you," and indeed, when the battle is joined for Julia's soul in the playroom, Barnabas beats Gerard, and gets the last word. Of course, we don't know for sure where Barn and Jul have ended up here, or if they are where they want to be, but they have escaped Gerard, in any case, thanks to Carrie's intervention. In any case, these scenes between them are wonderful to watch, and whether or not you think romantic love is exhibited here, it certainly shows that Barnabas cares very much for Julia. When Julia was caught between the two, about to commit suicide, it was Barnabas she ultimately listened to, and that was very satisfying for the viewer.
Very exciting episode, filled with so many happenings. I wonder what Barnabas told Stokes happened between him and the sheriff. Stokes doesn't know Barnabas is a vampire, not for sure, anyway, and I always wondered what story he made up to tell him.
RIP, Professor Stokes, like Carolyn, the sheriff and Mrs. Johnson, you fell under Barnabas' unlucky streak, dying because he insisted on a seance and Gerard decided he had had enough of your interference. I guess it's not a coincidence that all of those with whom Barnabas and Julia came in contact in 1995 are dead, except the clerk from Collinsport. Barnabas always leaves death in his wake, doesn't he, wherever he goes? I guess Angelique's curse just never lets up.
The seance that ultimately resulted in poor Eliot's death didn't glean any new information for Barnabas and Julia, it was just a rehash of Carolyn's note. Such a waste for so little value.
A wonderful final episode in 1995. I enjoyed it to the hilt!
1071 - The young girl with long blond hair (the spitting image of Carrie from 1995) looks askance at Barnabas and Julia. The latter rises from the chair. Barnabas tells the blond, I don't know how you helped us, but I want to thank you. Helped you? demands the girl, thoroughly confused.
Don't be afraid of us, says Barn. Who are you-what are you doing here? the girl asks. Her dress isn't the same, Julia points out to Barnabas. That's right, he agrees--she can't be the same girl we saw in the playroom. The blond petulantly says, I'm going to tell Mrs. Stoddard. Wait, says Barnabas, taking her hand, you mustn't be afraid of us, please believe me. WHO ARE YOU? she asks again, shrilly. Finally, Barnabas introduces himself and Julia. I've heard them talk about you, she says. Did you say that Mrs. Stoddard was here? asks Barnabas. Yes, of course, responds the girl. Is it possible, Barn asks Julia, that we traveled through time while we were on those stairs? I don't know, says Julia--she asks the girl standing in front of them, "What year is this?" Don't you know? she asks, scared that they should ask such a question. Julia agrees--it may seem very strange to you, but we have just had a very frightening experience-even if we explained it, you couldn't understand. It's 1970, replies the blond, mystified. Barnabas! says Julia exultantly, we're back-I don't know how it happened, but here we are! I don't understand, either, says Barn, but at least we can try to prevent what's going to happen. The blond, flummoxed, looks from one to the other--I don't understand anything you're saying! she complains. Who are you? asks Julia--how long have you been staying at Collinwood? My name is Hallie Stokes, she reveals-I'm Professor Stokes' niece-my parents were killed in an accident and he brought me here-Mrs. Stoddard invited me to stay. (I remember wondering the first time I saw this ep if she and Amy were fighting over David.) Take us to her or Roger Collins, says Barnabas, we have a great deal to tell them. Roger Collins is in Europe, says Hallie, Mrs. Stoddard is downstairs. Barnabas slides an arm around Julia and they follow Hallie out.
Liz sits in the drawing room, reading a book. Quentin runs in and closes the door behind him. I've been to the East Wing, he tells Liz--this time I saw something happen-the room changed while I was standing in the doorway-there had obviously been a fire; there was smoke in the room and there was a young girl wandering around the room calling Barnabas. Did you know who she was? asks Liz. No, I'd never seen her before, he says-there was no sign of Julia or Barnabas--I tried to communicate with the girl, but couldn't. Do you think it possible that Julia and Barnabas were trapped in the fire? asks Liz. That's the only conclusion I can come to, says Quentin, and if it's true, Elizabeth, then we shall never see them again. At that moment, the double doors fly open and Barnabas, Julia at his side, proudly proclaims, "Elizabeth, Quentin-we've returned!" Liz gazes at the smiling pair as if they're ghosts, exchanging a look with Quentin, who is obviously delighted to be wrong.
Julia sits by he fire; Quentin and Liz are seated together on the sofa as Barnabas paces the room and explains, we found out too late that Stokes had set fire to the house-when we tried to get out, we found the corridor in flames, and then the room changed. We were afraid you were both lost in the fire, says Quentin. Julia stands-Quentin, she asks, how did you know about the fire? Quentin saw the room change, says Liz, he said it was filled with smoke. When did you see it? asks Barnabas. Right after you and Julia got here, says Quentin. That isn't possible, insists Barn-the fire occurred over a week ago. Barnabas, says Quentin, are you telling us that the room changed over a week ago, with you and Julia in it?
Yes, says Barnabas. Then where have you been? queries Quentin. That's the incredible part of our story, he says-we found ourselves transported to the future-to the year 1995. 1995? repeats Liz in disbelief. Barnabas! says Quentin, skeptical, too. (but how?-he's been a werewolf!) It's true, says Julia, we were there, and the two of you must listen to what happened to us. Unless something is done very soon, warns Barnabas, there will be a catastrophe right here at Collinwood. What are you talking about? asks Liz. After we left the West Wing room, says Barn, we came down to the foyer and found the house in ruins-the beams had collapsed, the floors were covered with leaves, no power at all-the house was in a complete shambles. Julia adds, we couldn't imagine what had happened, the entire place was deserted--we went to the cemetery and saw Mrs. Johnson, who was putting flowers on David's grave. This horrifies Liz. Yes, says Barnabas, according to the tombstone, David had died in 1970. You must have imagined it! insists a stricken Liz. You must listen, says Barn, as don't have much time to prevent what's going to happen. Time for what? asks Quentin. The disaster is due to happen very shortly, says Barnabas. Exactly what do you think is going to happen? asks Quentin. I wish I knew, says Barn-Julia and I found everyone completely changed in the future, everyone either unable or unwilling to tell what caused the catastrophe. Who else did you see there? asks Q. Carolyn, Stokes-and you, Quentin, says Barnabas-everyone else had disappeared mysteriously. And I wasn't able to tell you what happened? asks Quentin. No, says Julia, we discovered that you had been in a mental institution-you didn't know anything, neither did Stokes-the only person we felt knew anything was Carolyn. And she refused to tell you? asks Liz. Carolyn, says Julia, was in a very strange state, mentally--she had somehow managed to block out the memory of what happened. And toward the end, says Barnabas, she began to remember. Towards the end-what do you mean? asks Liz. She died of fright right here in this room, says Barnabas solemnly. It sounds so terrifying, exclaims Liz, I can't believe it really happened! Barnabas, says Q, when you and Julia made the transition from PT to this time, isn't it possible you experienced some kind of hallucination? We both couldn't have imagined it, says Barnabas-and we have those few clues. Just before she died, says Julia, Carolyn managed to scribble a note-she said that there were six events that led to the catastrophe--in one of them she mentioned a place called Rose Cottage-have you ever heard of such a place around here? Liz thinks-I've never heard of it, she says, and don't believe there is such a place, at least near Collinwood. Do you know the date when the fire occurred? asks Q. I do, says Julia--I remember seeing the calendar in Inspector Hamilton's office-it was August 3rd. That's what I thought, says Quentin-today happens to be August 3rd. It can't be! protests Julia. But it is, says Quentin. Barnabas' forehead creases with astonishment. You think a week has passed, says Q, but actually not even one night has passed. I don't understand it, says Barnabas, but whatever the explanation is, I still believe the experience we had was real-and we had all better do something about it before it's too late.
Outside the drawing room, Hallie eavesdrops, breathing heavily with alarm. (sounds like David's taught her well-already!)
Collinwood drawing room - Barnabas and Julia pour over heavy tomes. Julia brings in two more large books, drops them on the desk, and asks, have you found anything? No mention of any names we heard, says Barn. Elizabeth found these two volumes covering the first half of the 19th century, says Julia. How is she? Barnabas asks. Still upset, answers Julia--she's afraid. Barnabas takes one of the books and asks, do you think it was wise for us to have told Liz and Quentin about future? (They're in the same clothes; shouldn't they have showered and changed?) They're going to be a part of it, Julia reminds him; we had to tell them, no matter how disturbing it was for them. Maybe Quentin was right, says Barnabas, maybe we did imagine it. We couldn't have, says Julia. The playroom theme begins to play. A faraway, romantic expression steals into her eyes. It was too real, she adds-even now, I can almost still feel that presence of evil, I can still see Gerard's face, vividly, in my mind-we were there, Barnabas, somewhere back in time, those spirits existed as living human beings. I found one of the names, says Barn excitedly-Daphne Harridge-governess to the Collins in 1840-that's all there is, but at least it's a beginning. He rises from the chair-I'm going to the cemetery-when we saw Daphne's spirit, she looked as she did when she died-quite young-I want to find out just how young. I want to come with you, says Julia, and follows him out.
We see Quentin's gramophone reflected in a mirror. He's sitting in a lounging robe, staring into space, when Hallie knocks at his door. He lets her in--it's past your bedtime, he reminds her. She's wearing a lime green night dress. Do you have trouble? He asks. Yes, she says, but I don't know what it is. He grins (oh, boy, does he look cute), and says, you have to do better than that. You know those strange feelings I get sometimes? she says-those two people who came back to Collinwood today... Barnabas and Julia, prompts Quentin. Yes, she says, do you think...what I mean is-are they good people? You've seen them, says Quentin, what do you think? I don't know, Hallie says, when I first met them in the West Wing, I was frightened by them. Hallie, says Q, you met them in the West Wing-are you sure? Yes, why? she asks--I guess the reason I was frightened was because of the way they looked at me and talked to me. What do you mean? he asks. They said things that made me think they had seen me someplace before, she says, and I know I've never seen them before-but then when I brought them downstairs, I had the awful feeling that something terrible was going to happen-soon! Quentin drops gentle hands on Hallie's shoulders--Barnabas and Julia are very fine people, he assures her-and you don't have to be afraid of them or anything else-now you should believe that-just what were you doing in the West Wing? I don't really know, she admits--I was sitting in my room and suddenly had the feeling I had to go to the West Wing-and had no idea why. This admission bothers Quentin.
Julia and Barnabas locate Daphne Harridge's tombstone. She was born 1818 and died 1841, it says. There's a dove flying away underneath her name. She was 23 years old, notes Barnabas. She didn't die a natural death, says Julia, because her spirit is not at rest. If we could find out how and why she died, says Barnabas, at least we'd be making some progress. We've already learned more than I'd hoped to, she says-look who's buried here. Gerard Stiles, says the tombstone next to Daphne's, 1811-1841-IN DARKNESS HE DID LIVE AND DIE.
Quentin paces his room (the same one he had in 1897). Barnabas, who has finally changed clothes, knocks--Mrs. Johnson said you wanted to see me, says Barn. When you were telling us the story downstairs, says Q, you left out one very important detail. There was so much to tell, explains Barn, I left several things out, one about you-when we finally found you, you hadn't aged at all, you looked exactly as you do now, obviously, your portrait hadn't changed. Ruefully, Quentin says, I don't know if that's something to look forward to or not-anyway, when you told us the story, I was convinced you'd imagined your experience in the future-now I don't know. What was the detail I left out? asks Barn. When you returned from PT or the future, says Quentin, you should have come back through the East Wing-now Hallie just told me she discovered you in the West Wing. That's right, says Barn. Do you have any notion how you got there? demands Quentin. None whatever, says Barnabas. Quentin asks, have you said very much to the girl? No, says Barn, Julia and I felt she wouldn't understand. Good, says Quentin, because I don't want Hallie to know anything you told Liz and me; she's a very sensitive child, she frightens quite easily. I understand her parents died quite recently, says Barnabas. Yes, says Quentin, about six month ago; she was living with relatives and Stokes brought her here-we've become quite fond of her. You have my word, promises Barnabas, that I won't say anything to her. Now, about your return, says Quentin, you don't have any idea whatsoever how you got where you were? All I can tell you, says Barnabas, is that we were in the children's playroom off the West Wing corridor. Wait a minute, interrupts Quentin, there's no playroom there, and never has been. That's the way I felt, too, says Barnabas, but that's the room that led us to the West Wing corridor-Julia and I were in it, we didn't know how we were going to get out, and then Hallie appeared. Hallie? asks Quentin. Actually, says Barn, it was the ghost of Hallie-you see, in the disaster that is coming, Hallie is supposed to have died, too. Go on, encourages Quentin. The spirit guided us to a door that hadn't been open (existed) a moment before, explains Barn-we went through it and found a strange staircase, then another door that led to the corridor, and Hallie appeared again, only this time, she was alive-that's when we knew we had gotten back! As fantastic as it all seems, says Q, I'd be willing to believe it, but a playroom just doesn't exist. I will prove to you that it does, says Barnabas, now come with me. They leave Quentin's room.
Collinwood drawing room - Julia asks Hallie, have you ever heard of a place called Rose Cottage? No, says Hallie nervously, I haven't-I'd better go, it's time for me to go to bed.
All right, Hallie, agrees Julia sounding rather clinical, "Good night." Hallie leaves. (Julia doesn't seem her warm self at all here; you'd expect her to be kind and gentle with Hallie.)
Barnabas shows Quentin the door from which he and Julia emerged-it leads to the playroom, says Barn. I'm afraid you're in for a dismal disappointment, says Quentin, and pulls open the door. Barnabas enters and finds only a linen closet. I don't understand! he says, I swear, this was the door! I don't understand either, says Quentin, but there is no playroom, and it's not conceivable that there ever could have been a playroom here, because on the other side of the wall is the outside! They stare at each other, Barnabas nonplused. Are you satisfied? Asks Quentin. Barnabas, without another word, leaves the hallway.
We, however get a view on the other side of the door, where the playroom has, like Brigadoon, suddenly appeared. A carousel turns, playing the familiar music we have come to associate with Gerard.
NOTES: An entire room that appears and disappears? That's cool! And scary. It's good to be back home, but I can see where Hallie's shrill voice can get on one's nerves. No explanation yet as to what happened to Amy. Perhaps David and Hallie buried her in the backyard.
So, Barnabas and Julia have found Gerard and Daphne's graves, and both died young. What is their connection? Why are they buried side by side?
Hallie must be psychic, I guess, a bad trait to have at Collinwood.
Barnabas and Julia reappeared in a different wing than the one they were expected to return from, hmmm? Why? What's with the mysterious staircase, and how did it move them from 1995 to exactly where they were supposed to be? Is it a staircase through time, perhaps?
Further mysteries-the missing week. Quentin just saw the fire occur in PT, but Barnabas and Julia left there and spent at least a week or more elsewhere. Why the discrepancy?
More mysteries to add to the large crop Julia and Barnabas brought back with them from 1995. Will this ever come together and makes sense? This is DARK SHADOWS, so who knows? But trust me, it's going to be a fun ride.
Love, Robin
