1074 - As if in a dream, Hallie walks toward David. Even her hair is done in period style, complex ringlets galore. She wanders past David, up onto the gazebo. Who are you? he asks. The wind blows strongly, messing their hair. Hallie? asks David. She suddenly seems to come withdraw from her trance and asks, David, what am I doing in this dress?-and doing here? He stares at her--you wrote me a note to meet you here, he explains-and hands it to her to examine. I didn't write it, she says. What kind of game is this? he asks.I didn't write it, repeats Hallie. I know your handwriting, he says. It's different, she says. It is sort of different, he agrees, looking at the note again, a little old-fashioned looking. She turns to him and asks, tears in her voice, who wrote it? You didn't, he says-then how did you know to come? I don't know, she says, I don't. I was going to bed when I saw this dress-it's the dress from your dream, isn't it? Yes, he nods, where did you get it? It was lying on my bed, she says. No, says David, after I described it to you, you must have gone and got it someplace. No, she says, it was lying on my bed before you ever had that dream. Hallie! he objects in disbelief. It's true! she says. How can I have a dream about a dress I've never seen, he asks, a dress that's real? She shakes her head--I don't know. It's crazy, he says. Everything is, she responds-my coming here-David, I didn't know where I was going when I left the house, but when I came to the gazebo, I knew-this is where I was meant to come-I wasn't even surprised to see you-oh, David! Somebody else wanted you here, guesses David. WHO? she asks. I don't know, he replies, but I'm going to stick around and find out. She sits beside him on the bench and says, I don't think we should ever find out. We have to, he insists. No, she says-remember this afternoon when we were here, and I felt someone watching us?-someone was-I don't know who, but it wasn't anyone real. It's a mystery, says David, and I like mysteries. But we're part of it, she reminds him, don't you see, we're part of the mystery. She stands-do you smell lilacs? She asks. Lilacs bloom in the spring, everybody knows that, he says. Don't you smell them? she demands. Yes, he says, I do! About to take flight, she implores him, don't stay here. I'm going to find out who wrote this note, he says. Don't! she begs, and runs off. David, clearly nervous, stands in the gazebo, looking around, asking, "Are you here? Are you?" (Does this clothing thing remind anyone of the games Amy and David used to play with Quentin and Beth?)

Carolyn, looking over the newspaper, reads her horoscope to her mother, who is knitting: "Forebodings of disaster: beware of sudden meetings and unexpected shocks-conserve your energies for a more fruitful day"-I think I'll stay in bed, decides Carolyn, putting the newspaper on the table. Do you believe in those things? asks Liz. Carolyn laughs-ask me tomorrow night, she chuckles. I mean it, says Liz. I don't really much believe in anything, says Carolyn-a horoscope seems about as good as anything else. Hallie sneaks into the house and runs upstairs. That's a very cynical attitude, remarks Liz-you've gotten very cynical. Carolyn, annoyed, says, you sound as if you think there's some pill I can take for it. Liz apologizes--I know how distressed you've been since Jeb died. I don't want to discuss Jeb, says Carolyn. I think perhaps we should, says Liz-then you might not brood so much. No, says Carolyn, I'd just remember him more-I find myself waiting for him to walk through that door-and I'm the one person talking doesn't really help. She kisses her mother good night. Liz picks up the newspaper and reads the horoscopes.

Why? a spooked Hallie asks herself in her bedroom mirror. Carolyn enters. "Hallie!" she cries, shocked to see the girl in the old-fashioned dress.

Where did you get the dress? asks Carolyn. I found it, the girl lies, in a trunk upstairs. And you got up in the middle of the night to put it on? asks Carolyn. Yes, says Hallie, her voice shaky, I don't know why I did it. Of course you do, smiles Carolyn. Yes, you're right, says Hallie, I was lying in bed, really not sleeping, and started thinking about the dress, and I bet myself it would fit me, and it does, just as if it were made for me. Hearing Hallie's voice suddenly forced, too happy, Carolyn asks, is everything all right? I have trouble sleeping sometimes, the girl admits. So did I, says Carolyn. I really have to stop thinking about the accident, says Hallie. Yes, agrees Carolyn, you must remember your mother and father when they were alive, when you were happy together-I know, I've lost someone I loved very much, too. Carolyn, begins Hallie, about, perhaps, to confess, then says, I think I'll be able to sleep now. If I can help you with anything, let me know, incites Carolyn. She kisses Hallie's forehead and leave the room. Why didn't I tell her? frets Hallie aloud-why?

David sits on the bench at the gazebo. What's the point of staying here? he wonders-nobody's going to come. He rises, then decides to wait just a little longer. He walks to the other side of the gazebo and gazes out into the darkness.

Hallie dreams: Her bedroom door opens by itself. She sits up in bed and walks toward it. David, wearing 18th century clothing, enters. What are you doing in those clothes? she asks. He doesn't answer. What's wrong? she asks-why don't you answer me, David? A woman enters the room, the dark-haired ghost we know as Daphne. Who is she? asks Hallie-David, who is she? Daphne beckons to Hallie to join them. Hallie refuses--stay away from me, I don't know you, stay away! Hallie screams as the woman approaches her.
David is about to leave the gazebo when he again smells lilacs. The ghost of Daphne appears to him. Who are you? he asks. She disappears immediately. He goes to stand on the spot where she stood.

David enters Hallie's bedroom and sits on her bed--I saw the woman wearing a long, long dress, he says-I think she's the one who wrote the note. Does she have dark hair? asks Hallie. Yes, why? asks David. I just wondered, says Hallie hesitantly. There's got to be a reason, he insists, what is it? There is no reason, says Hallie-what does she want from us, who is she? I don't know, he says, she didn't speak, but when I walked to her, she disappeared-she was a ghost, Hallie--the funny thing was, I wasn't scared, I was calm. She nods. Why aren't you surprised? he asks, I thought you'd be surprised-why aren't you? Liz enters-David, why are you up at this hour? she demands, and still dressed-what is he doing here? (heh heh heh, Liz, if this were any other soap...) I'm planning something, he says. (Check his pockets for condoms, Aunt Liz!) What? she asks. What Hallie and I are going to do tomorrow, he says. What is it? she asks. He leaves in a huff-I'm old enough to have a secret or two, he complains. David! chastises Liz-Hallie, I'm sorry David disturbed you. It's all right, says Hallie. No it isn't and you mustn't let him, says Liz, kissing Hallie good night. Hallie looks unhappy.

Morning - Liz and Carolyn are having their morning beverage in the drawing room.- Carolyn describes to her mother, I found Hallie wearing a very old-fashioned looking dress, one she found in the attic. It does seem an odd time to dress up, remarks Liz. Exactly, agrees Carolyn--Mother, Barnabas said that whatever happened here had something to do with David and Hallie. I don't think getting into an old-fashioned dress can cause what Barnabas is talking about, says Liz. (Let's not forget Quentin and Amy and David's little dress-up sessions, folks.) There's a knock at the door. Are you expecting someone? asks Carolyn. No, answers Liz. Carolyn volunteers to get it. Liz picks up and opens the astrology book Sebastian Shaw gave her. Carolyn opens the door and is stunned. No! she cries, staring at Shaw, who is the image of her dead husband."Jeb," murders Carolyn, "it can't be Jeb." You're quite right, says Shaw, I'm not Jeb. Liz joins her daughter at the door and introduces Carolyn to Sebastian Shaw. I'm sorry, moans Carolyn, and runs from the room. Liz calls after her. "Mother, leave me alone!" wails Carolyn. You shouldn't have come here, Liz tells the perplexed Shaw. I certainly didn't expect this kind of effect. You resemble my daughter's late husband, explains Liz. Oh, says Shaw, I am sorry. You had no way of knowing-it's not your fault, says Liz--come in. He opens a large purse hanging on his shoulder and takes out her horoscope-figured from this day until December 31, 1970. She asks him into the drawing room and closes the doors. It's a day by day analysis of what the stars and planets have in store for you, says Shaw. She looks fearfully at the folder he holds--tell me what it says, she asks. No, he says, if I did that, I'd be here all day long. Does it say whether I'll live through a disaster? she asks anxiously-will David, my nephew, be all right?-is there any sign we're going to lave Collinwood? No, he says, after a deliberate pause. Thank God, sighs Liz, taking the folder from him. It was an interesting sign to draw up, he says, your sign is Pisces, which is very fortunate-Neptune in Pisces, the ruling planet of Pisces, and there was one very curious thing-you seem to have a propensity for the occult-although under adverse circumstances, Neptune may interfere with your psychic powers.I have no psychic powers, says Liz. Oh yes we do, says Shaw, we all do, intuition borders on the psychic, and during this period you might find Neptune interfering with your intuitive gifts-it's just a word of warning, that's all. I see, says Liz. Read it, come and call me, he says, I'll be happy to discuss it with you. Fix a price, she asks, sitting at her desk. Please don't make a shopkeeper out of me, he insists. You're a very strange young man, she says, taking out her checkbook. I also have my values, he protests-and yes, one more thing about the horoscope-I'm not infallible, and you might find out one day your experiences are quite different from what the horoscope is telling you-come to me, I'll catch whatever mistake I made, and adjust the rest of horoscope. She writes out a check and asks, "You'd be willing to do that?" He leans over her and says, you might have come to me as a whim, but charting the future isn't a whim with me. She hands him the check. He looks at it, folds it over and says, I'm sure I can be of future service to you (and her checkbook, I bet). He bids her goodbye, gives her an enigmatic smile, and departs.

David and Hallie sit on the bed in her room, going over some letters David found in a trunk in the attic. One, he points out, has the same handwriting that was on last night's note. The writing that looks like mine, she says. This one is dated 1840, says David, holding up one of the letters. Hallie wonders--how could someone back then write like I do now? He hands her another letter. "The handwriting looks like yours!" she says. Yeah, but it's got a lot of strange curlicues on it, scoffs David. Hallie reads, "Where Abner Collins frowns, warning all not to enter, I will meet you tonight." Who is Abner Collins? she asks. Some dead relative, replies David. (LOL) "Come to the playroom if you value your life," reads Hallie. There is no playroom, says David. Is there a picture of Abner Collins? she asks. Yes, in one of the back halls, says David-let's go find it! Why? she asks. Maybe there's a room I don't know about! he says excitedly. No, says Hallie. You want to know about the playroom, and about that lady from last night, he reminds her. They head off together.

They find Abner's portrait, located next to a door. David puts his hand on the doorknob, flippantly promising--to show you what hasn't been seen... Don't joke, David, she says, dead serious...what hasn't been seen by the human eye in over a hundred and thirty years, he continues, and opens the door. A closet, she says, disappointed. It isn't big enough to be a playroom, opines David-unless they had small children-he grins at her. The carousel music begins to play. David puts his ear to the wall--it sounds like it's coming from behind it, he says. Hallie, frightened, says, I don't like it, let's get out of here. She runs out; he follows. They can still hear the music, and both smell lilacs, too. Daphne's ghost appears, beckoning them. Hallie, terrified, runs off. Wait! calls David, and follows. Daphne's ghost disappears, as does the linen closet, and in its place is the now-familiar playroom, the carousel turning and playing the same tune

NOTES: Does Daphne mean ill or good for Hallie and David? It's hard to tell right now, she just beckons to them to come to her. Since Kate Jackson couldn't say any lines because she was still attending acting school, her character had to be silent. She doesn't seem malevolent, does she?

So we have handwriting on old letters that, save for fancy curlicues, looks just like Hallie and David's. What's the meaning of that? Are they to be possessed by ghosts? This would be the umpteenth time for poor David.

I love the new David. He's always been ballsy, but now he's talking back to the adults in his life who have always tried to push him around. He can have all the secrets he wants, and heck, if he wants to sit on Hallie's bed and talk ghosts, dresses and letters, that's his business! I love the way he teases Hallie. They don't seem like teens of any era, but DS, to me, was a parallel universe, and I never expected anyone to be like they were in mine. Nothing was required to make sense, be contiguous or jive with earlier history.

The playroom is there, all right, like a ghost in and of itself. Creepy, isn't it?

Poor Carolyn. Of all the 12 faces in the world, a guy has to show up on her doorstep who looks exactly like Jeb. She can't get a break, can she?

Liz is so uncertain about her future, she's consulted with what appears to be a shady guy in Sebastian Shaw. Is he on the level? Does he really have talent for this, or is he just after Liz' checks while making it appear he isn't interested in money at all? Notice how he covered his butt by saying his predictions might not come to pass, and he'll just have to come "adjust" them accordingly. Doesn't Liz smell anything odd here? The odor of Jason McGuire, perhaps? Or is she just too wrapped up in her fears?

Lots of mysteries, interesting ones, and if Hallie and David should be making out rather than chasing ghosts, who am I to judge? : )


1075 - Hallie and David run into his room. You saw her, too--admit it, demands Hallie. If only it wasn't so dark, says David. She's the same woman I saw in my dream, the same woman from the gazebo, says Hallie, I'm sure of it. So what if she was? asks David. She's a ghost, doesn't that scare you? asks Hallie. A little, says David. You're as frightened as I am, she accuses, don't pretend you're not. Stop talking for a minute, orders David, I'm trying to think something out. Let's figure out who she is and what she's doing here, says  Hallie. We know she has something to do with the playroom, music and scent of lilacs, calculates David. That doesn't tell us who she is, says Hallie, what she's doing here. There may be a way to find out, says David--we have to find out where the music is coming from, where the playroom is--we need a lot more clues. He goes to his desk, removes the letters they found, and glances through them. He hands a bunch of crumpled up letters to Hallie--do you want to find this out or not? he asks. Cringing, she reluctantly takes and begins to read them.

Julia and Barnabas are going through massive tomes down in the drawing room. After all our research, complains Barn, the only things wey've been able to find out are Tad and Carrie's dates of birth and death. This can mean a great deal says Julia--Carrie and Tad died at about the same age that David and Hallie are now. We've got to find much, much more, insists Barnabas. So far, we haven't come up with much, agrees Julia. At least the fact that they both died at the same time warranted some explanation, he says. Try to remember that the Collins family history isn't famous for accuracy, says Julia--I mean, what happened to you was important, and you were deliberately omitted. The fact that so little was written about them, says Barnabas, would indicate that something unusual happened to them. Possible, says Julia. Quentin comes in and says, "Still pouring over the family history, eh?" Yes, and no success, says Julia. I don't know whether admire your tenacity or be exasperated by your stubbornness, he remarks. Julia massages her neck--at the moment, she says, I'll settle for sympathy for my stiff neck. Seriously, says Q, I wish there was something I could do. At least you're not accusing us of outright madness, says Barnabas. Quentin opens the window and gazes out--I'm not sure that's necessarily virtuous of me, says Quentin. What are you looking at? asks Julia. The moon, says Quentin. The moon? asks a shocked Barnabas, exchanging looks with Julia (they're side by side on the sofa now; Barn was in a separate chair earlier in the scene). It's full tonight, says Quentin. Julia rises and goes over to him. Barnabas rises and stands back. Julia looks at the full moon, too, then at Quentin, and asks, are you all right, or in any danger? No, the portrait is secure, he assures her, no, I was just thinking about Chris--I hated to see him, Sabrina and Amy go away like they did--I can't help thinking about what may be happening to them--especially on a night like this. Poor man, says Julia, shaking her head--that poor woman. I forget how fortunate I really am, says Quentin, these small pleasures like tonight--I can enjoy the eclipse tonight with the same joy and wonderment I did when I was a kid--there's a total eclipse of the moon tonight. Barnabas and Julia sit back on the sofa again. Quentin jovially asks, can I persuade you two to drop what you're doing and come watch the eclipse in the tower room this evening? We'd better continue working; says Barn, we may come up with something. I'll let you know when the eclipse has its big moment, says Quentin, at least perhaps you can take time out then. Perhaps, responds Julia, distracted. There's something a little mysterious and frightening about the moon going totally dark when the earth's shadow crosses s over it, says Quentin. This observation makes Barnabas look up from his book. I suppose so, says Julia. Quentin leaves. Barnabas rises and asks, Julia, did you hear what Quentin just said? Something about the eclipse affecting him, says Julia. Tonight the moon goes dark, says Barnabas, as the earth goes between it and the sun--do you remember the first clue that Carolyn wrote, that tells us when the disaster will take place--the night of the sun and the moon--that night, Julia, is tonight! Julia's eyes widen.

Julia rises from the sofa--what are we going to do? she asks. If we at least knew what was going to happen, we could try to prevent it, he laments. But we don't, she reminds him,  concerned. The first thing we must do is ensure Hallie and David are all right, says Barn. Don't you think we should tell them, just in case they see anything unusual? Elizabeth wouldn't allow that, he says. It's for their own good, she points out. What are we going to tell them? asks Barnabas--that they're going to die and come back as some mysterious ghosts to haunt Collinwood?--we can't do that. Can I hint to them they that might look for something? asks Julia. Of course, says Barnabas, by all means. Julia looks out the window--it's beginning, she says--the shadow already touching the moon. Barnabas looks up to see the beginning of the eclipse. Julia leaves the room.

David and Hallie are studying the letters. Here's one you wrote, he says. David, I did not write these letters and neither did you, she counters. You know what I mean, he says, some of them look like you wrote them, some look like I wrote them--this one just happens to look like you wrote it: "When you hear the carousel play, please come into the room"--but where is the room?--the portrait of Abner Collins didn't find it for us. Tomorrow, reads Hallie, the sun will shine on Rose Cottage. Rose Cottage, repeats David, it's not on the grounds--keep looking for the ones that talk about the playroom. Here's another about Rose Cottage, says Hallie. Just the playroom, reiterates David, I don't care about the cottage. Hallie ignores him--listen, she says: Tonight I will tell you who is going to live in Rose Cottage. Just the ones that tell about the playroom, says David. Here's one that looks like I wrote it, says David: Don't ride on the carousel too long, it can be dangerous--what does that mean. Hallie asks, are you sure we're playing a game? Of course, says David. But if it is a game, then who's playing it with us? asks Hallie. SHE is, of course, says David. Hallie looks scared.

All right, so she is playing it, says Hallie,  but we don't know why.  For the fun of it, says David. I'm not so sure, says Hallie. What do you have against doing something different for a change? asks David--just keep reading the letters. There's a knock at the door. They hastily shuffle all the letters back into the desk. Julia asks to come in. By the time she enters, the kids are reading textbooks. She smiles at them--Hallie, she says, I was looking for you but couldn't find you. Maggie gave us an extra lesson because we've been so lazy all summer, she explains. Is there anything you want? David asks Julia.Do you want to go sailing tomorrow? asks Julia (horseback riding, sailing, they have the life, huh?) I'll talk to Maggie. She won't let us, says Hallie, she told us today, no more time away from lessons unless there's a lot of improvement. Julia, puzzled, says, I'm very sorry about that--is everything all right? Sure, says David, thumbing through the textbook. Have you noticed anything unusual going on around the house? asks Julia. I haven't, says David, have you, Hallie? No, she says--did you have anything particular in mind, Dr. Hoffman? No, I suppose I was just reacting to the eclipse, says Julia. Eclipse?  asks Hallie. Didn't Maggie tell you about it? asks Julia--there's an eclipse of the moon tonight. We forgot, says David, thanks for reminding us. Do you want to come watch it with me and Quentin? No thanks, says David, it is rather boring watching a shadow cross the moon--and it takes so long--I'd better stick to my studying. Why don't I come here later when the moon is fully gone and let you know? says Julia. That will be after midnight and we're supposed to be asleep, says Hallie. But this is something special, smiles Julia. I really think we'd better study, says Hallie. Thanks anyway, says David All right then, she says, giving them one final glance before leaving the room. David locks the door. (If I heard that door locking and I were Julia, I'd have come back knocking. Leaving those two hormone-changed teens alone in a locked bedroom together? Noooooo!)

Drawing room - Quentin repeats, "The night of the sun and the moon." That's all Carolyn wrote, explains Barnabas--I'm sure she meant tonight. What do you think we ought to do? asks Quentin. Julia has gone upstairs to see if the children are all right, says Barn, but I feel they should be gotten out of Collinwood immediately, for their safety. Impossible, says Quentin, pouring himself a drink--I may believe that, bit Elizabeth never will. She must be made to understand, insists Barnabas. Quentin downs a healthy swig. Are we to stand around waiting for the second clue to take place? asks Barn. What would that be? asks Q. Again, it's cryptic, says Barnabas, says an unfinished horoscope. Barnabas, says Quentin, are you sure of that? Yes, says Barnabas, positive. Do you know why Liz won't send the children away? queries Quentin.  Because she doesn't want to frighten them, guesses Barn. . More than that, says Quentin, she is convinced that for the remainder of the year, nothing will go wrong here at Collinwood. That's a rather dangerous assumption, opines Barnabas. She's convinced of that because she just had an astrologer draw up her horoscope! reveals Quentin. Barnabas regards his cousin with alarm.

That's the next clue, says Barn--the unfinished horoscope. I saw the finished chart in Liz' room, says Q. No disaster was mentioned? asks Barnabas. Completely the opposite, says Quentin, it states that Collinwood is to come under a siege of unrelieved tranquility. It must be unfinished, says Barnabas--where is Elizabeth? She went to Portland for a day or two, answers Quentin. I wish she were here, frets Barnabas, I want to tell her there's danger for the entire house.She would probably disregard the horoscope as having anything to do with the sun and the moon, predicts Quentin, and she'd also say it's not unfinished, it's absolutely complete.   Then something must happen to Hallie, David or somebody else before she'll even listen, says Barn. Julia joins them. Did you see the children? asks Quentin. I did, she says, but I'm not sure they're all right; it's just an instinct, but I felt they were hiding something from me, but I don't know what--their whole manner was too casual. But it isn't unusual for kids their age to keep secrets to themselves, says Quentin. I have a respect for their privacy, agrees Barnabas, but this is no time for them to keep secrets. The only thing they can do tonight is watch over them, says Julia. I'll go look in on them, volunteers Quentin, I don't share your fears, but don't think we should take a chance, either. He leaves the room. Julia looks out the window at the moon--it's half dark, she notes--I wonder when the next clue will be. Barnabas solemnly says, I'm afraid it won't be very long from now.

David's room - Quentin opens the door and gazes down at the sleeping David. He draws another cover over him, turns and leaves, closing the door behind him. David, fully dressed, not asleep, gets out of bed and exits his room. He meets a fully-dressed Hallie in the hallway, who says, Quentin checked on me, too, a few minutes ago. They walk off together.

Drawing room - Quentin does have a point,  Barnabas, says Julia--Elizabeth's horoscope IS finished. It's funny, notes Barn, that someone in this house was in touch with an astrologer.  Quentin joins them--the kids are sound asleep, he says. Is it possible we've been wrong? suggests Julia, perhaps this isn't the night of the sun and the moon, but something else. I wish it were, says Barnabas, but in any case, we must keep close watch tonight--whatever is going to happen might not happen to the children, it could happen to anyone. I wish this eclipse were over, frets Julia. Quentin checks out the window--it's almost covering it now, he announces--the eclipse should be complete in a few minutes. The kids arrive at the playroom door--this has got to be the place, says David--we shouldn't have run away before--read me the note again. It's so dark I can hardly see it, says Hallie--look, David, there's no light coming through the window. It's the eclipse! says David.

Barnabas, Julia and Quentin gazes out the window--the moon is completely covered.
Hallie and David hear the music. What does the note say? asks Davids. She reads, "When the music ends, the play begins." I wish it would make more sense, he says. I'm getting frightened again, says Hallie--I can't help it. I think the music is coming from behind this door, says David, his hands on the door. The music stops. Hallie wonders why. When the music ends, repeats David, the play begins--something else  has got to happen--what? I don't think anything is going to happen, says Hallie--I want to go back and return tomorrow and look--I'm gong! She walks away. Wait, urges David. The playroom door abruptly opens, but it's not a closet anymore--it's the playroom, and the carousel is turning, churning out the music.

NOTES: The ghostly playroom has appeared to the children now, and we can assume the "play" is going to begin. The odd thing is, we sense that Shaw's horoscope for Liz is not only unfinished, but bogus, because he isn't so much interested in telling her the future, but in draining her bank account. So Liz' horoscope isn't what it seems at all.

Julia has to know that something is really weird with the kids if they prefer to study rather than go sailboating with her. They aren't behaving like normal kids at all, not even for Collinwood!

We learn, through one sentence of dialogue, that Chris, Sabrina and Amy have left Collinsport. Considering they were part of a major storyline, this seems wrong. Of course, it is right for Quentin to see a full moon and wonder what's going on with his blood relative. It just seemed such a shuffle-off for such important characters.

Given how frightened Julia and Barnabas are for the kids' safety, I think I'd just kidnap them, if necessary. Julia seems to be doubting what they learned in 1995 now, just because Quentin says Liz' horoscope is finished. Nothing is what it seems, and they have to keep that in mind at all times.

I liked the scene where the adults are gazing out at the total eclipse of the moon while the kids, who have completely fooled them, are dressed, in the hallway, and discovering the ghostly playroom. Quentin, Julia and Barnabas are truly clueless here, concerned though they may be.

It's sweet how much Quentin loves the kids. The way he stared down at David before adding another cover was lovely. He never got the chance to be a father to either of his own kids, so one senses he's adopted David, Amy and Hallie as his own surrogate children.

Love, Robin

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

1066 -
David and Barnabas stare at each other. Barnabas asks the boy, don't you recognize us?--it's Barnabas and Dr. Hoffman--speak to us! he implores.  He won't speak, says Julia. Suddenly, David turns away and fades into the wall. The ghost of David Collins, says Julia. Barnabas, amazed, steps forward. Yes, why has it come back to Collinwood now? wonders Barnabas. Perhaps he's been here ever since the catastrophe, suggests Julia. If only we'd been able to communicate with him, laments Barnabas. Did you see the expression on his face when he looked at us? asks Julia. Yes, says Barnabas, it was absolutely no recognition--I'm convinced this room holds the key to what we're looking for--I know this room didn't exist in 1970, and yet this room had something to do with what happened then.  Even though it didn't exist? asks Julia. Strange as it sounds, yes, replies Barn, yes. How can we find out what happened, we've been trying to from the beginning? she queries. I think Quentin knows more than he's telling us, says Barn, I'm so anxious to know why he reacted to the ghost when he saw it like he did. Yes, says Julia, why did Quentin run off like that?--and more important, where did he run to? They agree they had better find him--he's in no condition to be running around by himself. They exit the playroom.

Quentin, clomping downstairs, tries to leave through the front doors, but finds them locked. A fierce wind blows through the house. Quentin, gazing around fearfully, goes to the windows in the drawing room and looks out. A light fixture falls only feet from him. No, leave me alone! he cries--no, leave me alone, I didn't want to come back here, they forced me to come back in the house--listen to me--can't you hear?--if you let me go, I promise I'll never come back here again! He huddles pitifully between two fallen beams, staring skyward. The sounds of sci fi music fill the room, hurting Quentin's ears. He covers them, then runs into the drawing room, demanding, "Will you stop torturing me?" The kitchen door sways in the wind. He tries again to exit the house, banging on the door, but fails. The sounds stop, leaving an eerie silence. Quentin walks back into the center of the foyer, gazing upward, then looks to the landing, where we see the silent man standing, staring back at him. Quentin clings to the clock. The man comes downstairs. Stay away from me! pleads Quentin, God, please stay away from me, please!  He stumbles backward into the living room and falls to the floor. He curls into a fetal position, moaning, crying. We see what appears to be The Man enter the drawing room; he stands beside him, touching his shoulder. Quentin screams. The camera draws back and we see it isn't the man with the cruel face, but Barnabas who has touched him. Quentin, covered in debris from the floor, rises to his feet and clings to the crossed beams. What's wrong? Barnabas asks.  There's no way out, babbles Quentin--he has us trapped in here. Who has? asks Julia. Tell us who you're talking about, says Barnabas. He's going to kill us! blares Quentin, hugging the beam--and there's nothing we can do to stop it--he's out there on the landing, I saw him. We just came across the landing and down the stairs, says Barn, and saw nothing. HE IS OUT THERE ON THE LANDING, I'M TELLING YOU, I SAW HIM! says Quentin. I'm going to prove to you there's no one there, insists Barnabas and walks out of the room.  Where are you going? asks Quentin, following him. To the landing, says Barnabas. No, says Quentin, he'll kill you!  Barnabas goes anyway. He looks upstairs, then walks up, as Julia and Quentin watch. Barnabas stands on the landing--Quentin, he says, no one is here, you have nothing to be afraid of. Oh, yes I do! Quentin insists--I'm telling you, we've all got something to be afraid of, he has us trapped in this house--he begins to laugh wildly--and the door's locked and there's no way out!  Barnabas comes back downstairs and tries the front door. It opens easily. Quentin tries to bolt outside--we've got to get out of here!  You should return to the Old House with us, says Barnabas--Julia will give you a sedative. No, argues Quentin, as Julia seems to be experiencing a chill--I don't want anything from either one of you, you should of never come back here--never!  He runs off. Julia calls to Barnabas--I have the same feeling as I had the other night, she says--the presence of evil. He offers to take her back to the Old House. Someone is watching us, she says, clutching her jacket collar more tightly to her throat. Barnabas looks around--no one is here, he says.  No one we can see, she says--but the feeling is overwhelming. Come along, he says, escorting her out and closing the door. From the landing, the evil man watches them go.

As they are leaving Collinwood, Barnabas and Julia spot what appears to be David and a blond girl in a pink dress standing in the gazebo.

They haven't seen us, says Barnabas. Let's make sure they don't, advises Julia; they hide in the bushes. The music begins to play again. Where's it coming from? asks Julia. I don't know, says Barnabas. David holds out his arm to the young blonde girl, leading her off the terrace to the grass. They bow to each other; he takes her hand. They begin to dance, in a very old-fashioned manner. They didn't dance that way in 1970, says Julia.  Barnabas agrees. It's a minuet, realizes Julia, why are they doing that? They watch the children bow to each other again. Let's approach them, suggests Barnabas. No, says Julia, if we do that, they'll just go away--we should watch, wait and see if we can learn something. David and the young girl finish their dance.  She kisses him on the cheek. He takes her hand and they walk off together.They're leaving, says Barnabas. There's no way we can stop them, says Julia. David, wait, speak to us! calls Barnabas--that girl...who is she? David and the young woman walk toward the trees, fade, and disappear. I believe she's important to all this, says Barn--isn't it curious that David should be with someone we never saw at Collinwood?  Maybe she came after we left, suggests Julia. How much time has actually passed since we left? asks Barn. I don't know, answers Julia--Quentin might know who she is.  No doubt about that, says Barnabas, the question is, can we get him to admit it and tell us about her? We can try, encourages Julia, her hand on his arm--and off they go.

Old House - Quentin, still covered in house debris, looks up and asks no one, "Why won't you appear to me? Is it because of all the tragedy and death? Nothing can change all that--whatever's done cannot be undone."  Barnabas and Julia enter the house, overhear Quentin talking to himself, and quietly listen. "Just like," continues Quentin, "nothing can be done about the burden of guilty that I've felt for all these years--the memory of you is all I have left--oh, please, Daphne, please let me see you again."Barnabas and Julia stare at him, perplexed.

Barnabas approaches Quentin, who asks how long have you been standing there?  We just came in a moment ago, says Barnabas, but we couldn't help overhearing--Quentin, who is Daphne? I'll tell you nothing, says Quentin. Is she the girl we saw talking with David a short time ago? Barnabas asks. David? repeats Quentin--David Collins?--David Collins is dead!  We know that, says Barnabas, we all saw his ghost earlier in the playroom--you ran when you saw it. Quentin, voice trembling, asks Barnabas, why are you trying to confuse me?  Julia steps forward---you must know who you saw, she says. I did not see David in the playroom--it was Tad that I saw! cries Quentin. Barnabas, she says, that was one of the two names on that birthday card. Barnabas goes to Quentin--the child we saw was David, he says, there's no doubt about that--why do you think this person is named Tad? I am not going to answer anymore of your questions! says Quentin defiantly. Quentin, who was Tad?--tell us, demands Barnabas. Quentin grabs Barnabas by his lapels and shouts, "Now you get out of my way before..."  Before what, Quentin? asks Barnabas quietly. Quentin stares at him.  Barnabas adds, "I suggest you try to get a hold of yourself." Quentin slowly releases Barnabas' collar and turns away. Go upstairs and get some rest, urges Julia. There can be no rest now, scoffs Quentin, and goes upstairs, his gait one of defeat and exhaustion. Barnabas, it's almost dawn, Julia reminds him.  And another night's gone by, laments Barnabas, and each new clue that we find leads to so many more questions--three meaningless names. They're meaningless now, says Julia, but in time, they don't have to be--we'll learn who they are. Yes, in time, agrees Barnabas.  He walks to the cellar and closes the door behind him. Julia is thinking hard.

Quentin comes back downstairs. He sees Julia napping in the chair and observes her. She awakens--you frightened me, she says. Why should I frighten you? he asks. I didn't expect to see you standing there when I got up, she says. You shouldn't be afraid of me, he says softly, I never mean to hurt people--intentionally. Are you feeling better today? She asks. I was upstairs in the attic room and found the door locked, he says--who locked it? Barnabas, says Julia. Why? he asks. To protect your painting, says Julia. Where is Barnabas now? asks Quentin. It's still daylight, she reminds him--you know he can't come out until dark. I don't know what you're talking about, he says--anyway, it's going to be dark soon. Julia licks her lips, not expecting this.  Tell Barnabas I want to see him, says Quentin, and exits the room. Through the window, Julia sees the blonde girl who danced with David at the gazebo, beckoning her to come out. Julia leaves the house and follows the young girl, who leads her to Collinwood and opens the double doors. Julia follows her inside, spots the young girl on the landing, and follows her upstairs.  With that same weird, slanty camerawork, the blond arrives at the playroom and enters, closing the door behind her. Julia comes in right after she does, looking around the room for the girl, but can't find her. The door closes, locking Julia in. She tries the knob.Suddenly, the man with the cruel sneer appears across the room from her.

NOTES: This was a very short episode; usually I have nearly three pages from each episode. Ah, I see from the credits that the new blond character who did the minuet with David is named Carrie, played by Kathy Cody. However, it appears that the character wasn't David, but Tad?  How are Tad and David related? Another mystery in the pot.

David Selby is excellent in this portion of the series. Insane, childlike, sometimes seemingly normal, he imbues Quentin with pathos, empathy and sometimes makes us furious with him. What could have happened to make him this way, and who the hell is Daphne? Last time we saw him, he was under a spell put in play by Angelique to love Maggie (which might explain the picnic photo of the two of them looking so chummy).

Now Julia finds herself face to face with Gerard, the mysterious ghost who somehow had a hand in destroying Collinwood--or so it would appear.  What are his plans for her? Surely they can be nothing but evil, given the vibes he gives off now. And why did Carrie so willingly lure Julia to Collinwood to face Gerard?

Many questions, more every day, but where are the answers? How is it that Quentin seems to have forgotten that his cousin is a vampire? It's one fact that most folks would find hard to forget. Who--and why--was David doing such an old-fashioned dance with that girl--or was it David doing the dance at all?

It's getting very good indeed.


1067 - "A ghost whose mere presence corrupts the surrounding air," is how Thayer David describes the spirit Julia finds when she goes into the playroom and finds herself trapped with the snarly-lipped ghost himself. Nervously, she turns and sees him eying her from the opposite side of the room.

Fearfully, Julia asks, "What do you want? Please don't look at me like that, I can't bear it! Stay away from me...don't come any closer!"  He ignores what she asks, moving relentlessly nearer, and she repeats, stop looking at me that way, please stop! He simply glares at her, not saying a word, and locks his eyes with Julia's.

Barnabas rises from his coffin down in the Old House basement. He closes the lid and goes upstairs. We see the head of a walking stick, which is held in the hand of Eliot Stokes, who waits in the dark.  Barnabas comes out, calling to Julia, and is surprised to find this bulky person who isn't Julia sitting in his chair.  What are you doing, Eliot, sitting there in the dark?  It was still dusk when I came in; says Eliot, I must have dropped off in the chair while I waited for you. Barnabas asks for Julia.  She isn't here, reports Stokes--I'm surprised you didn't hear me when I called you--where were you, in the basement? Yes, says Barn, at the far end of the house--there was a flaw in the foundations back in 1970, and I was checking for further deterioration. Barnabas tells the lie smoothly as he lights the candles. And was there? asks Stokes. Considerable, says Barnabas.  I'm not surprised, says Stokes--everything here has deteriorated. Why did you want to see me? Barnabas asks.  I tried to revive Carolyn's memory about the night of the disaster, says Stokes, with as little success as you and Julia had. I have other things to ask you about, says Barn--there are apparently two other ghosts beside the evil spirit you mentioned--do sit down. Stokes sits.

Julia, dazed, walks downstairs at Collinwood. She wanders into the foyer and gazes up at the landing, where the ghost stares malevolently back at her. As if in a dream, she leaves the house.

Why, wonders Barnabas, am I getting the impression that you aren't being completely honest with me?  I am being honest, says Eliot--as I told you, I was in Europe when the disaster occurred, and know none of the details. Did anyone reported to you that two children were on the estate? Asks Barnabas. Eliot is puzzled--children? Yes, David Collins and a young girl, says Barnabas. You saw David? asks Stokes. His ghost, says Barnabas, and the ghost of a young girl--what do you know about them? Nothing, says Stokes. Do the names Tad and Carrie mean anything to you? questions Barnabas. Stokes thinks it over and says no, nothing.  Barnabas explains about the birthday poem he and Julia found in a playroom at Collinwood, written by Carrie for Tad. Eliot rises from his chair and says, there have never been any children with those names at Collinwood. I'm aware of that, says Barn, but the birthday poem must have had some meaning. I haven't the slightest idea what it is, says Stokes. Quentin insisted that David was Tad, explains Barnabas, and he also mentioned the name of a woman--Daphne. You talked to Quentin? asks Stokes. He's answered from the steps, by Quentin himself--"Yes, he talked to Quentin and now Quentin's going to talk to Professor Stokes."  His face is furious as he advances on Stokes, who asks, what are you doing here?  I was drawn here by an insatiable desire to put my hands around your neck, says Q and...  He begins strangling Stokes.  Barnabas moves behind Quentin and pulls him away. I told you I'd kill you and I meant it! yells Quentin. Barnabas, holding him at bay, demands, why, Quentin?  "Because he failed!" says Quentin--"He failed--look around, you can see for yourself!"  Eliot, what does Quentin mean? asks Barn.Scared, Eliot says Quentin will kill me--he's mad. Yes, agrees Quentin, mad, but why, Stokes--why--because of you and your phony exorcism--you said you'd rid Collinwood of the ghost in this house--and what happened?--you simply raised his wrath--if you had not angered him, none of this would have happened! Barnabas listens intently. Stokes walks gingerly around Quentin, begging Barnabas, keep Quentin at away from me--"He'll kill me!"  Eliot hurriedly exits through the front door as Quentin shouts to Barnabas, let me get Stokes, I want to put my hands around his neck!  Barnabas grips his arms, keeping him from going after Stokes, and says, "You're going to stay here with me." He pushes Quentin into a chair. He deserves to die, insists Quentin--you see what he's done. Perhaps, says Barnabas, he was only trying to do what he could! Julia enters, takes in the scene--I saw Stokes rushing through the woods--what happened? she asks.  He's in the woods? asks Quentin, rising from the chair--good, I'll find him. Once again, Barnabas grabs his arm, holding him back--Julia, give him another sedative, says Barn. Quentin insists--the only sedative I need is to get my hands around Stokes' neck--I'll be calm for the rest of my life. What's going on, Quentin? she asks.  Quentin believes Stokes' attempted exorcism caused this disaster, explains Barn--by bringing the wrath of the spirit down on everyone at Collinwood. He failed, accuses Quentin as Barnabas pushes him back in the chair, he failed. Of course he failed, agrees Julia, sounding far away--everyone will. She heads upstairs, looking really spooky, not saying another word.

Old House - Barnabas paces the drawing room. He looks upstairs as Julia comes down--how's Quentin? he asks. He's calmer, she says, I'm hoping he'll sleep. I can't forget what Quentin said about Stokes' attempt at exorcism, says Barn--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.  Which reminds me, says Barnabas, at sundown, where were you?--where did you go?  For a walk, she says, I felt the presence here and just wanted to get out for a while. She sits in one of the chairs. You didn't go to Collinwood, did you? he asks. Do you think I'd be that foolish? she asks. No, of course not, he says, smiling. They hear something upstairs. Probably Quentin, she says, why don't you go upstairs and see what you can do to help him?  I'll do what I can, says Barnabas, hurrying upstairs. After making sure he's gone, she goes to the desk, takes paper and pen, and writes something down. She glances upstairs and very quietly leaves the house.

Barnabas and Quentin come downstairs.  Come in and sit with me, invites Barnabas. Quentin is rubbing his temples as though in pain. I promise to say nothing to upset you, says Barn. Quentin complains, I feel like my head is going to explode into a thousand different pieces. Maybe Julia should give you more of a sedative, suggests Barnabas--where is Julia? He finds her note, which only says she's gone out. Maybe if I just sit down and don't move, don't blink--even my teeth hurt, says Quentin, still rubbing his temples. Barnabas wonders aloud, where could Julia have gone?

Collinwood - playroom - Julia enters and looks around. Someone's here--is it you? she asks--who is it? A woman dressed in red comes out and faces Julia. Who are you? Julia asks.  From behind Julia, the sneering ghost enters. The music begins to play. Julia tells the male ghost, someone else is here, I saw her. The female ghost disappears.  Someone was here, says Julia--I heard a sound, like the rustling of a woman's dress, and the scent of lilac--who is it?--tell me who it is. He sneers at her. Tell me why you sent for me, persists Julia--I know, you're afraid that I'll tell Barnabas that I've seen you, that we've met--I won't, I swear I won't--please don't look at me like that--I'll never tell!  He continues to stare at her.

Stokes gazes nervously upstairs, asking Barnabas, are you sure Quentin won't come down again?  Quite sure, he's sleeping, Barnabas assures him. He's dangerous, says Stokes, you should know that by now. I do, says Barnabas. He shouldn't be here, says Stokes, you ought to send him back to the institution. What if I told you I know of a way to cure him completely? asks Barnabas. I should be very skeptical, if you'll forgive me, replies Stokes. What's doing this to him? asks Barnabas. The devastation of Collinwood, says Stokes, and what happened to the people who lived there. That and the presence of the evil spirit? asks Barnabas. What are you suggesting? ask Stokes.  Isn't it obvious? counters Barnabas. Not another exorcism, says the Professor. What else? asks Barn. (There is an abrupt cut to the next scene here, and one senses something was taken out.)

Back in the playroom, Julia asks Mr. Nasty-Face, why do you keep looking at me?--what do you want of me?  He seems to tell her telepathically."Yes, I understand what you want...yes...yes..." she says, her face sad.

Standing inside at the Old House door, Stokes tells Barnabas, I wish I could persuade you to profit by my terrifying experience--please, don't do this. Of course I will speak to Julia before I do anything, Barnabas assures him. Stokes nods--as much as I'm against it, he says, let me know if I can be of any help if you do decide to proceed. Of course, promises Barnabas, and lets Stokes out. He goes back and re-reads Julia's note, perplexed.

Stokes walks through the woods and runs into Julia. The male ghost is with her, but disappears into the shadows before Stokes can see him. Are you all right, Julia? asks Eliot.  I am, she says she is, you just startled me, that's all. Who was with you? he asks, I was sure I saw someone walking behind you. Must be the leaves and the shadows, says Julia with a tiny smile. Curious, says Stokes, I could have sworn... I'm afraid Collinwood works on all our imaginations, she says. He gives her an odd look and agrees--come, he says, I'll walk you back to the Old House. You don't have to, she says, I'm almost there, and walks away. There WAS someone with her, Stokes tells himself, I'm certain there was!  He turns and hurries off. The ghost comes out of hiding, watching where Julia's gone.

Old House - I'm sorry, Barnabas, for just running out that way, says Julia, but I needed some air--how's Quentin?  Still sleeping, says Barnabas. I'd better check, says Julia, heading upstairs. Quentin is suffering so much, as is Carolyn, says Barn--"You will help me, won't you?" (Does he already sense something different about her?)She tilts her head, smiles--of course, she says, I'll do what I can. "I've not always been kind to my cousins," says Barnabas, "there are times when I was even cruel--to see what's happened at Collinwood, and what the Collins family has been brought to, at some moments it seems almost more than I can bear." You care about them very much, don't you? asks Julia. Yes, says Barnabas, they are people I love, people who have struggled and suffered--forgive me. He looks down as if ashamed. Julia comes back downstairs, stands beside him and says, we should try to get back to our own time--all we can do here is watch them suffer, and even worse things could happen. Leave here, doing nothing, knowing nothing? asks Barnabas. If we stay, she says, we don't know what could happen. Is anything the matter? Barnabas asks--did something happen to you out there just now?  No, she says, what makes you ask?  It just isn't like you to speak like this, he points out. Yes, I'm sorry I mentioned it, she says, of course we'll stay, and what will happen will happen. She goes upstairs, but first gives him a smile. Barnabas, smelling lilac, asks, who's here?--I sense your presence--appear to me.  A woman materializes before him. Who are you? he asks--please, I beg you, speak to me! Thunder rolls; wind fills the room, blowing out the candles. She begins to fade.Don't go! pleads Barnabas, come back, to me--come back!  She is gone. Barnabas picks up a piece of paper on which he finds written three woods: "She will die!"

NOTES: Wow! It looks like this creepy ghost has put Julia under his power, and you somehow sense whatever his plans, they bode evil for both Barnabas and Julia. The ghostly woman appeared to warn Barnabas that "she" will die. It could mean Carolyn, one supposes, but most likely Julia, now that Gerard has his claws into her. This is exciting!

Barnabas' idea to do another seance is a bad one. What makes him think he'll succeed where Stokes failed? Why bother when everything is already so messed up? He should go back to 1970 and prevent this from happening at that end, not this one. Stokes is such a good man, wanting to stay and help even though Quentin apparently blames him for the tragedy that befell Collinwood.

Sad speech by Barnabas, admitting he's done terrible things to his cousins (including biting Carolyn's throat and running down Quentin), but he does love them now, and wants to prevent this tragedy from happening. Julia tried to get him to go back, to escape the ghost's ugly influence, one senses, but as usual, Barnabas talked her out of what would be the best course of action. Of course, he doesn't know what happened to Julia, but was astute enough to notice SOMETHING did. He's less clueless than usual here, but his choices are dangerous.

The scenes between Julia and Gerard are creepy. "Stop looking at me like that!" she repeatedly pleads, but one senses his eyes are the windows to one very evil mind. It makes one tremble to think of what he has in mind for our hard-working supernatural hunters.

Love, Robin

1064 - The camera pans on a tree limb pressing against one of the Old House door knockers. As Barnabas and Julia enter, he asks, who could have been at the window?  She's sitting in a chair, looking stunned, and doesn't respond. The same man who tried to kill you? suggests Barnabas, lighting candles--yes, something strange about his appearance--he was wearing clothes from another century--a ghost from the past. I can't get it out of my mind! cries Julia, pressing her hands against her face as if trying to blot out the image. His arrogance, says Barnabas. No, it was more than arrogance, counters Julia, it was hatred, even more than hatred, it was the very essence of evil--I felt evil all around me--I was trapped by it--it made me aware of something deep inside me that I don't even understand--it's as though with that one look--you didn't feel it? She clutches her collar around her throat as if trying to protect herself. No, says Barnabas, apparently my powers protect me, or perhaps because I'm not truly human and immune to that  particular weakness. At least we now know the power that runs Collinwood, Julia says. Do we? he asks. Yes, it's a force of evil and corruption, she says. I don't doubt the evil of that ghost, says Barnabas --but is he the only force at Collinwood? I can't imagine any others surviving its presence, says Julia. (The Sam Evans-painted portrait of Barnabas above the mantle is askew.) There's the music we heard, he says. I know you said music is seldom used to frighten, she says, but I can't imagine there being another presence there.  I wish I knew, he says--you stay here and try to get some rest. Where will you go? she asks. Carolyn, he says, tell her about the ghost and find out what I can. I'll come with you, she offers.  Wouldn't you be better off staying here? he asks. Alone? she asks, with a tiny smile--I'm not that brave, Barnabas, not that brave. Barnabas blows out the candles and she follows him out.

Carolyn brushes her still-long (and still-blond) hair. (she doesn't look in her fifties)  Mrs. Johnson, sitting nearby, says, "I know what you're doing." Brushing my hair, says Carolyn--when I was a young girl, you used to brush it for me, remember? (when was that?--Mrs. J came to Collinwood when Carolyn was already an adult.)  Carolyn hands Mrs. Johnson the brush.   The older woman begins to brush her hair--"You're planning to go to Collinwood tonight, aren't you?" asks Mrs. J.  Carolyn archly eyes the other woman over her shoulder.  Perhaps, she grins. You can't--you mustn't, insists Mrs. Johnson. Why not? demands Carolyn, irritated. Because you don't belong there anymore, no one does, says Mrs. J. Carolyn begins to laugh, and says, "Dear Mrs. Johnson--if you only knew how wrong you are." Mrs. J stares at her, concerned. Carolyn opens her photo album and begins to look at the pictures. Mrs. Johnson begs--you're going to go there once too often. I can go there anytime I like! Carolyn says petulantly, like a child about to have a tantrum--my mother was a Collins, and so am I--do I need to remind you that you are only a servant? I only want to help you, says Mrs. Johnson miserably. Carolyn smiles--I must go this evening, she says--it's his birthday and he's expecting me--I should take him a present, shouldn't I--what should it be?  She rises from the chair and begins to look around the cottage. Frustrated, she asks, where are all the beautiful things I used to have?--I have nothing to take him, nothing!  Mrs. Johnson tries to soothe her--Carolyn, please.  Do you go to the house regularly? queries Carolyn. You know I can't go there! responds Mrs. Johnson, shocked. Who's getting it ready? asks Carolyn. Ready for what? demands Mrs. Johnson.  For when they come back, explains Carolyn.For when WHO comes back? asks Mrs. J. Everyone! cries Carolyn--my mother, Quentin, Uncle Roger... Mrs. Johnson grabs her by her shoulders and reminds her, they aren't coming home. Carolyn pulls away. But they are, she says, forcing gaiety into her tone, and when they do, the house must be ready for them. Mrs. Johnson again grabs her by the elbows-- they're not ever coming back! she says. Don't say that! shrieks Carolyn.  She calms herself, sits down and glances through the album, adding, "Especially when it isn't true."  We must make plans, Carolyn insists, celebrate with perhaps a picnic at the gazebo--it will be a beautiful, warm day, and David and I will go sailing, and...  She looks at a black and white photo of Maggie and Quentin. He has his arm around her and is holding a large thermos; she is carrying a picnic basket. What are you looking at? demands Mrs. Johnson, snatching the photo from Carolyn's hand. The younger woman is blathering about going sailing. Where did you get this? demands Mrs. Johnson. Give it back! cries Carolyn. That's the first time we saw him, says Mrs. J, pointing to the photo. You don't know what you're talking about, says Carolyn. There he is, says Mrs. Johnson. That's only a shadow, says Carolyn. A shadow, yes! says Mrs. Johnson, her eyes widening--a shadow that fell over all our lives!  No! cries Carolyn, grabbing the photo from her hands and ripping it up--there was no one there, no one there--she sinks down, torn photo in her hands, and begins to sob. Mrs. Johnson pats her hair, trying to comfort her.

Carolyn ties her hair back in a braid. Mrs. Johnson asks, why won't you admit you saw him then and have seen him since?  I would love to talk with you sometime, says Carolyn, but I'm very busy right now. You won't listen, laments Mrs. Johnson, will you?  Another time perhaps, not now, says Carolyn. No, you'll never listen, says Mrs. J. There's a knock at the door. Who is it? asks Carolyn. Julia and Barnabas, says the latter--may we come in? Carolyn, angry, says no, go away!  Barnabas enters with Julia anyway--I had to see you, he says--hello, Mrs. Johnson. You don't belong here, whines Carolyn, I want you to go away! --make them go away, she begs Mrs. Johnson, who takes her into her arms as if she were a scared child and says, "Please, don't trouble her, it does no good to talk to her, I should know."  We've got to try, says Julia--someone at Collinwood just tried to kill me. There are no murderers at Collinwood, says Carolyn with dignity (!)--there are only intruders who get whatever punishment they deserve. The man was dark-haired, continues Julia, with fierce, penetrating eyes--he wore clothes from another century. No! moans Mrs. Johnson, covering her mouth with her hands. It was a ghost, says Barnabas. It was HIM! says Mrs. Johnson. Who? asks Barnabas, who? No one, says Carolyn. You must tell us who! says Barnabas. Crying, Mrs. Johnson leaves the cottage.  Julia begs her not to go, but can't stop her. Carolyn is examining some ugly paste jewelry when Barnabas comes over and gently asks, tell us who that was. If we knew what happened, says Julia, we might be able to save you, Collinwood and everyone. Carolyn begins to laugh, a deep, creepy sound. Still trying to scare me, she says--you never used to be so frivolous, Julia. I have never been more serious in my life, says Julia. Well, much as I enjoy a serious conversation, says Carolyn, I'm going to have to ask you to leave--I'm very busy right now, you do understand?  An evil spirit  has control of Collinwood, says Julia--who is he and how did it happen?  If you're nice to me, says Carolyn, I'll invite you to the picnic I'm giving. Carolyn, chides Julia.  We might as well give up, says Barnabas--Carolyn isn't going to tell us anything. All right, agrees Julia. Barnabas bids Carolyn good night--I'll see you soon, he promises.No! says Carolyn, don't come to see me, I'm far too busy to entertain--besides, you're going to leave Collinsport, aren't you--for good? They don't respond, surveying her with pitying, solemn eyes.  She spits out, "Well, you'd better!--and don't say I didn't warn you!"  She follows them to the door, screaming after them, "And don't come back here ever again!"  She slams the door after them and locks it, then smiles and puts on an earring, giggling. She goes into a trunk and takes out a pink dress. My party dress, she chortles, he always loved it when I wore my party dress. She giggles and holds it against herself, dancing alone.

Mrs. Johnson paces the dark drawing room of the Old House. She looks out the window and sees Barnabas and Julia returning. They enter the house; he begins to light candles. Mrs. Johnson comes out and asks them, did Carolyn tell you anything?  Nothing at all, he says. You must not blame her, says Mrs. Johnson, she's blocked it all out--too painful. We know that, says Barnabas, we didn't try to torment her--we simply must know what happened, who this spirit is and how it got control of Collinwood. Why? she asks, what good would it do, you can't prevent it, why add the burden of those sorrows? We were just trying to tell Carolyn that we CAN prevent it, explains Julia. Can prevent it?--you're as mad as she is! exclaims Mrs. Johnson. Look at u very carefully, urges Barnabas--you noted that we haven't changed since you saw us 25 years ago--some terrible disturbance in time brought us here.  And when we get back in 1970, says Julia, we can stop everything that's happening here. You're both trying to drive me mad, too, aren't you? insists Mrs. Johnson, walking away from them. We know it's difficult to understand, says Barn, but try to believe us enough to tell us what you know. You have lived long enough to know there are things in this world people can never understand, Julia reminds her--we ARE telling you the truth. Mrs. Johnson surveys them doubtfully, then asks would it really be the truth?--could it be that it never happened?--you don't know the way I prayed that it was a dream and I could stop it. Perhaps we can, if you tell us what you know, says Barnabas. I don't know if I'm able, she says. Try, encourages Julia.  It all began when the days were so beautiful, you couldn't help but be happy, says Mrs. J--there was a spirit of joy at Collinwood, a feeling that hadn't been there in a long time--there was so much love among all of us at that time, until...one night... (the music begins to play)--one night, the house was so still, I could hear the waves far away against the rocks, and before I left the house, I was walking down the corridor outside of...of...the room that the children called the playroom--Mrs. Johnson suddenly gasps.She looks at the window. The same snarling visage Barnabas and Julia saw gives her a warning look, then leaves. Mrs. Johnson runs to the front door and screams, "No, I won't tell! I won't tell!  She runs from the house, Barnabas begging, don't go!  Julia nervously clutches her collar around her throat. Barnabas, she says, he was here, we've got to find Mrs. Johnson, for her own sake.  They leave, too. The ghostly man watches them, eyes gleaming with evil intent.

Mrs. Johnson roams the woods, walking painfully, slowly. She stops to rest, gulping, when she feels a hand on her shoulder. She turns, sees the cruel face of the man who is haunting Collinwood.  Her mouth drops open with terror as he catches and holds her gaze.

Julia, following Barnabas through the woods, explains, I was sure the ghost was there, and that's what stopped her from saying anything more--we've got to find her. We already have, says Barnabas. Oh, no! wails Julia. Indeed, they have found Sarah Johnson, Collinwood's housekeeper, lying dead against a tree. When they hear someone approaching, Barnabas hustles Julia into hiding.  Wind ruffles Mrs. Johnson's hair as Carolyn stands before her, dressed in the "party dress" she'd held up earlier at the cottage. Mrs. Johnson? says Carolyn--you shouldn't be here at this time of night--shall I help you home?--come, take my hand...  Realizing what has happened, she says, "No, please! come, it's cold here, you can't stay here like this, let me help you--please, you've always been so good to me, don't hurt me now, take my hand, reach out and take my hand, Mrs. Johnson, please take me and hold me like you did when I was a little girl...help me! Help me!"  She can't help you now, Carolyn, says Barnabas, standing over her.You did this--I should have known! she accuses--you killed her! Carolyn! chastises Barnabas.  When the sobbing young woman runs away, Julia urges Barnabas, let her go. Barnabas kneels down to look at Mrs. Johnson, and says sadly, "Whatever story she had to tell, we will never know, Julia. We'd better go to the sheriff."  They leave.  Mrs. Johnson looks at us with empty eyes.

Julia and Barnabas return to Collinwood.  What did Mrs. Johnson mean about the children's old room? she asks. Barnabas heads upstairs, Julia behind him. Hearing footsteps, they rush into the drawing room to hide. Carolyn comes in and goes upstairs. Barnabas and Julia quietly follow.

The childlike music plays.  Carolyn enters a room in a hallways that appears to be slanted (Batman style, for those who remember.)  She closes the door behind her.  Barnabas stops at the door--Julia, he says, I don't remember ever seeing this room. They hear the music begin to play again, and Carolyn giggling inside. And more than music, says Barnabas, turning the doorknob and entering the room, where Carolyn is babbling to someone.

NOTES: There's a serious time mix-up here--Carolyn makes reference to Mrs. Johnson brushing her hair and holding her as she did when she was a little girl, but Mrs. J joined the Collins household when Carolyn was already an adult, at the behest of Burke Devlin, who wanted Bill Malloy's former housekeeper to spy on the Collins family. She became a fixture after that, but she was NOT around when Carolyn was a child. Of course, Carolyn's madness may make her think she was.

So, we know a little bit more about this mystery, but there are many unanswered questions. Who is this creepy ghost who haunts Collinwood and struck enough fear in Mrs. Johnson that his mere touch and glance scared her to death? Whose birthday was Carolyn going to celebrate, and why the need for a fancy gift?

There must have been a picnic involved here, which would explain what Quentin and Maggie were holding in the photo. There was happiness and love at Collinwood--who could believe a fairy tale like that, LOL?

Now Mrs. Johnson is dead. Barnabas and Julia have followed Carolyn to a mysterious room. What's going on in there? We don't know for sure, but perhaps the next ep will bring us another clue.

Notice how nervous and scared Julia is becoming, more so every episode.  Whatever is happening is affecting her, too, giving her the same terror and paranoia that Carolyn, Mrs. Johnson, Stokes, and the clerk were suffering from. It isn't affecting Barnabas, perhaps for all the reasons he said, but Julia is growing worse, and one senses she is falling under a spell.


1065 - Barnabas and Julia enter a playroom filled with toys and stuffed animals. Get out! Carolyn orders--how dare you come here--get out!  Julia, staring at the far wall, asks Barnabas, did you  see "them?"  I did, he replies, but I'm not sure what it was. Go away! cries Carolyn. It looked like two people, says Julia, but they disappeared so quickly!  Barnabas glances around, pointing out,  it's not in the same condition as the rest of the house, nothing has happened to it. Julia wonders about the music. "GET OUT OF THIS ROOM, BOTH OF YOU!" screams Carolyn.  Try to  understand, begs Barn--we're trying to help you. You can help me by going away! she wails. She sits down in a rocking chair and holds a pillow to her chest. We saw something when we came in, says Julia--what was it? You saw nothing, insists Carolyn, because there was nothing to see. Was it the same spirit we saw staring at us through the window earlier? asks Barnabas.  Ghosts, that's all you seem to talk about, scoffs Carolyn. Because they exist, and you know they exist, says Barnabas. When we were outside the door, we heard voices, notes Julia--who was it? I was talking to myself, says Carolyn, rocking vigorously, I often talk to myself because I'm alone so much--I don't like being alone--I ask myself how long it will be before they all come back. Before WHO comes back? asks Barnabas. Everyone, answers Carolyn--do you know where they've gone?  Barnabas looks at Julia and patiently asks Carolyn, who are you talking about?  If you do know, says Carolyn, you must tell me, you mustn't keep it a secret from me.She grows petulant, gritting her teeth, and says, it isn't fair!  Barnabas and Julia exchange sympathetic looks. Carolyn is shaking a tambourine.  Julia goes to her and says, we want to know where everyone went, too, just as much as you do--won't you help us? How did you find this room? demands Carolyn. We followed you here, says Julia. No, says Carolyn, shaking her head, someone's been giving away secrets, been telling secrets!  Listen! Barnabas begs.  You must leave! says Carolyn--go, please. She opens the door. I won't leave without you, says Barnabas. You must, insists Carolyn, if you don't, I will have the sheriff arrest you--he is my very good friend and will protect the property from TRESPASSERS!  We will go, agrees Barn, but if you change your mind, come see us at the Old House. She slams the door on them after they've gone, then listens for their retreating footsteps. I won't change my mind, says Carolyn, he wouldn't like it--would you, Tad? Tad? You can come out now, it's all right--they're gone...Tad, please come back, she sobs, you're angry --it's all their fault, it would have been a lovely party and they've spoiled it--I HATE THEM!  She sits back down on the rocker, hugs the pillow to herself and begins to angrily rock, looking like a pissed-off child.

Eliot Stokes gazes at himself in the mirror in his living room, and takes a puff of a cigarette. He's wearing a hearing aid with a wire reaching to the pocket area, which we did NOT see in 1995--they were wireless by then. He reads a letter--there has been a change in Quentin Collins' condition--"I am sorry to report that it is not a change for the better."  He answers a knock at his door--Julia and Barnabas--and he does not welcome them. We must speak with you, she says. I have nothing to tell you, you know that, he says. It's been a long time, Eliot, says Barn, I might have expected a friendlier greeting. Barnabas! says Eliot--in heavens name, Julia, why didn't you take my advice and leave?  We're not leaving until certain things are explained to us, says Barnabas--we were at Collinwood, earlier.  I must warn you, says Eliot, you must stop going there--your lives are in danger. We already know that, says Julia. Something happened to you there? asks Eliot. Yes, says Barnabas, we saw the face of a man in the living room window. An incredibly evil looking man, adds Julia. And before that, says Barn, something fell from the foyer and almost killed Julia--Eliot, who was that man?  "Many people have seen things in or near Collinwood," explains Stokes.  Julia glances at the letter he was reading, which he placed on the desk, "But that doesn't necessarily prove they exist," finishes Eliot.  We didn't imagine that man, insists Barnabas. Julia picks up the letter and reads it. Eliot, how often have you been at Collinwood? asks Barnabas--what have YOU seen there. Nothing, says Eliot, absolutely nothing--Julia, what are you doing?  He takes the letter from her hands. Julia apologizes--I couldn't help seeing it--the name Quentin Collins is in that letter, she says. Quentin? says Barnabas--then you know where he is. No, says Stokes. Yes, you do know, Barnabas says, let me see the letter. Stokes hands it over. Barnabas and Julia read it--he's in a mental institution, notes Barnabas. The astounding thing is, says Stokes, he looks exactly the same as he did when he was committed in 1970--he hasn't aged--it's as if he were frozen in time. Barnabas hands the letter back to Stokes--we must go see him, he says. You won't find him there, says Stokes, I received word yesterday afternoon that he's escaped--and even if you could see him, he wouldn't be able to help you.  That seems to be the case with everyone, says Barn--why?--why is everyone afraid to speak?--how could you possibly stand by, do nothing, say nothing--you've got to tell us what you know, Eliot. Stokes walks away from them, then turns back and says, as God is my witness, I know very little more about this. He sits down in a sofa. How is that possible --weren't you here when it happened? asks Julia, sitting beside him. No, he explains, I wasn't, and I always regretted it--in the fall of 1970, I went to Europe, when I returned, I found Collinwood just as you two have--I asked questions everywhere with as little success as you've had. I don't understand this, says Barn. If you feel frustrated after just a few days, you can imagine how I feel after 25, says Eliot.I don't understand why you didn't tell me this after we ran into each other the other day, says Julia. I was terrified for your safety, he answers--shortly after I returned home, I heard rumors of strange happenings at Collinwood--I thought if I could undo what had been done, I might at least restore poor Carolyn's mind--I tried an exorcism and very nearly paid for it with my life. How? asks Barnabas. I saw the ghost, says Stokes, but that wasn't what terrified me so--it was the overwhelming sense of evil that surrounded me--it seemed to be smothering me to death--I turned and ran (Julia is listening carefully, in agreement with his feelings) I never saw the ghost again after that. And you never found out what happened to the rest of the family? asks Barnabas. No one has, says Stokes, they vanished--for all we know, they may all been buried somewhere in the house--the night it happened, Quentin Collins was found wandering in the woods, totally incoherent; Carolyn was found cowering in the tower room--they had both gone mad--I've always suspected that Carolyn was the only person who knows what really happened, but the secret is buried, perhaps forever, in the darkest corner of her mind. Barnabas and Julia look at each other.  Eliot, there are certain things we must find out, says Barnabas--and you're going to help us. I don't know how, says Eliot, but I am willing to try. We'll be in touch soon, promises Barnabas. They exchange smiles of goodbye and leave. Eliot picks up the letter. After they have gone, Carolyn enters and accuses him of telling them about the room. No, I didn't, my dear, he says. I don't believe you, she says.  You must, says Eliot--and do something else for me as well--sit down and let me talk to you.

Barnabas and Julia return to the playroom. What will we do if Carolyn is still here? asks Julia.  I doubt she will stay here this long, opines Barn. They enter the room.  What do you think you'll find? she asks. I have no idea, he admits, but this room is obviously important--why is it not in the same condition as the rest of the place?--any clue could be helpful. They look around. Julia finds a homemade birthday card and shows it to Barnabas. It's brand-new, she observes. Happy birthday to my dearest Tad, reads Barnabas, from your loving Carrie. Who in the world could Tad and Carrie be? wonders Barnabas.

Old House - Which way now? asks Barnabas. I don't know, she says, but I question whether or not Stokes was telling us the truth. About how much he knows?--yes, agrees Barnabas, he was frightened and confused, but he wasn't lying to us--if we could only find Quentin. If Quentin's been in a mental institution, he can't help us, says Julia (she has so little faith in her own profession)? I would still like to question him, says Barnabas--poor Stokes--he's so baffled by the fact that Quentin is as young as he was in those years--obviously, Quentin's portrait is still intact, if anything had happened to it, he would have grown old by now. They hear banging upstairs. We do have a visitor, says Barnabas, and he heads upstairs.

Carolyn sadly tells Stokes, there won't be another birthday party for a whole year--will it be that long before I see Tad again?  Stokes comfortingly pats her shoulder--I don't know, he says, but it really isn't very important, is it? Yes it is, she insists, very important!  Please, he begs, search your mind again, try to remember what happened that night in 1970. It isn't good to dwell on the past, she says, examining his things, picking them up, putting them down. We've been good friends for a long time, he reminds her, always confided in each other? That may no longer be possible, she says. What do you mean? he asks. You have new friends now, haven't you? she asks, beginning to hungrily eat from a dish of grapes. They're your friends, too, he says--Julia and Barnabas are trying to help. They spoiled my party, she says angrily--they should never have come into the room--why did you tell them about it?  She stuffs more grapes in her mouth. Stokes, defeated, walks away.

Barnabas and Julia enter a room containing a painting. Barnabas draws away the covering to reveal the very desiccated, hideous visage of Quentin Collins. Quentin himself, bearing a knife, leaps to attack his portrait. "QUENTIN! cries Barnabas.  Julia and Barnabas struggle to force him to drop the knife. "Let me kill him!" demands Quentin. Finally, Barnabas succeeds in forcing him to let go of the deadly weapon.He deserves to die! yells Quentin. You're talking about yourself! says Barnabas. You had no right to stop me! says Quentin--who are you, anyway? Look at us, says Barnabas, don't you recognize us? No, says Quentin, you can't be who you look like--they went away a long time ago. Julia nods. But we are, he says--I'm Barnabas and this is Julia.  No, says Quentin, beginning to laugh insanely, it's one of his tricks--yes, the attendants is always playing tricks on me. Let's get him downstairs, says Julia. She links her arm in Quentin's; she and Barnabas escort him downstairs.

Stokes' house - He hands the giggling Carolyn a bunch of grapes and reminds her, you often said everyone would come back to Collinwood one day--do you really believe that? Yes, she says, shoveling grapes rapidly into her mouth, they will all come back. Does that mean you know where   they went? he asks. Yes, she says. Can you tell me? he asks. She looks up at him--they never said goodbye, she says--I always thought that very strange. Did it ever occur to you, he says, that their coming back depends upon you--you never were able to remember what happened on that night in 1970--perhaps if you could remember, it would be possible for things to change--Collinwood could be as it was. Do you really think so? she asks. Yes I do, he says, please, try to remember something--anything.She thinks, closing her eyes--it's so strange, she says--there are times when I think I remember, times when I dream and seem to relive it all, times when certain things jar my mind--I saw a stillness in the night, a child's toy--she smiles--but I can never put all the fragments together--I just can't do it, she sobs. He puts his hands on her shoulders--I'll take you home, he says soothingly.

Old House - Quentin clutches one hand in the other, sounding like a lost little boy as he tells Julia and Barnabas, I still don't understand how you got here--why do you look the same?  But you do accept we are here, and who we are, says Barnabas. Oh yes, says Quentin, I accept anything and everything--except...my own innocence--I will never accept that.  What do you mean? asks Barnabas. I came here to do something, says Quentin, yes, and I failed--I failed again, I've got to go now. You must stay here now and help us, insists Barnabas, touching his cousin's elbow. Help you? asks Quentin. Something happened here at Collinwood 25 years ago, says Barnabas, do you remember what it is? I don't want to talk about that, says Quentin rapidly, I think about that too much, I don't want to talk about that!  Do you remember what happened? asks Barnabas. NO! says Quentin. Are you sure? asks Barnabas--anything, any clue would help us. Quentin grasps the railing--I should have prevented it, he says, but I didn't and I deserve to die. Quentin, says Barnabas, what were you doing in the woods that night? Quentin looks at him. I don't know, he says. Then you never actually saw what happened? asks Barnabas. I should have prevented it, repeats Quentin. But you couldn't have if you weren't even there, says Barn--what do you know about the playroom that exists at Collinwood? Nothing, says Quentin. How did it get there? demands Barnabas. I don't know what you're talking about, says Quentin. You know very well that there was no such thing there in 1970! says Barnabas. Quentin looks at him--oh yes, he says, there always was, always!  Would you be willing to take us there now? asks Barnabas. Noooo! says Quentin. Why, are you frightened of it? asks Barn. Why should I be frightened? asks Quentin. Then let us take you there, says Barn. No, no, it won't do any good, says Quentin.  Why? asks Barnabas. Julia steps in--it might not be wise to take him there, she advises. I'm telling you, it won't be any help! says Quentin defensively--listen, now, all right, if going there will help prove it to you, then I'll go. He opens the door and the other two follow him out.

7:55 - The threesome walks down the hallway to the playroom. Julia notes, we are hearing the same music we heard the other night. Yes, agrees Barnabas, before we saw that figure in the window. Quentin backs away from the door--I don't want to go in there, he insists. Are you frightened? asks Barn. No, says Quentin. Then we must go in there, says Barn--Quentin, we MUST go it!  The music stops as Quentin opens the door. He looks in. NO! he screams, and runs off--NO!  Barnabas looks in and sees a young boy dressed in a suit and tie. David! he cries. The child gazes back at him.

NOTES: Quentin returns, but unfortunately, not anymore in his right mind that Carolyn is. He was all set to kill himself by destroying his portrait, out of some sense of guilt. What did he do, nor not do, that unhinged his mind this way?

Barnabas, Julia and Stokes, the titanic threesome, try to whittle away at the minds of Quentin and Carolyn, without much success. There was something so eerie about the scene in which Eliot is trying to pry open Carolyn's mind while she shoves grapes into her mouth. She tells him it's not good to dwell in the past, but apparently, she is incapable of doing so. Her mind won't allow it. She is mostly concerned about Tad, whoever he is, and his birthday party. Who is he to Carolyn?

Now David has appeared to them, or at least his ghost. Will he give them some insight into what happened 25 years ago?

Excellent performances again by Barrett, Selby and Thayer David. Frid and Hall are in every episode and must have been absolutely exhausted by the time 1995 was over. Their frustration is palpable. Note how susceptible Julia seems to be to the evil influences around them.

Love, Robin

1060 - Maggie struggles against Stokes.  There's no use resisting, he says, you shouldn't scream, or you'll be very sorry. She frees herself from his grasp. Where is you husband? he asks. Why do you want to know? she asks.  Just answer the question, he orders--you'll find I'm easily provoked.  He's with the police, she reveals. And where is poor Angelique? he asks. She's dead, you know that, says Maggie. She's dead, but is she gone? he asks--has he had her body cremated yet? I don't know, please just let me go, begs Maggie. Stokes mutters, I never loved   her, never understood her or appreciated her, if I had, she wouldn't have died. He begins to cry, grabs Maggie's arm, and says, in some strange way, his failure was even greater than mine--his was negative, brought about by his indifference and stupidity, which he will pay for me.  And he drags her away--come with me! he commands..

Loomis House - Barnabas paces, then stands over and down at the sleeping Roxanne. She dreams: She sees a lamp, Barnabas standing there, promising "my darling, "--very soon we will be in another time, a time you never knew exited, that belongs to us--I will take you there. But I did know that time existed, she says, I didn't know how, just as I knew you existed, even though I'd never seen you, heard your name, oh I knew we'd meet someday...  He disappears.  Where did you go? she asks--don't leave me!  She runs upstairs, calling to him over and over. She reaches Angelique's room and throws open the doors; Barnabas is in there, trapped in a wall of flames, trying to reach her. She screams.Barnabas holds out his arms, but can't get to her. Roxanne awakens to Barnabas asking, what's the matter?  She stands and runs into his arms, crying, you're here--I'm glad you're all right. She describes her nightmare about him being trapped in a burning room--I thought I'd lost you. That will never happen, he promises--you will never lose me. They hug.

Stokes ties Maggie, who calls him insane, to a chair in Collinwood's drawing room, chortling, I wish Angelique could see you now--but her spirit will rejoice tonight. What will you do to me? she asks.  There comes a time to pay the piper, says Stokes, and your husband will pay tonight with his life. He laughs at her misery-filled face.

Loomis House - Barnabas gazes out the window, then asks Roxanne, what are you thinking about?  That dream I had, she says. You can't dwell on it, he insists.  i can't help it, she says, you told me about that other time, said you were going to take me to it. I am, very soon, he promises, smiling. Tell me about the other time, she asks, what is it like?--who will I meet there? It doesn't appear different from this time, he explains, but it is--the people that exist in this time have counterparts in the other time--they look the same, but their personalities are different, their destinies are different--for example, Timothy Stokes is a college professor in that time, kind and gentle man. It's all so hard to understand, she says, it sounds too good to be true. It is true, he says, you'll be much happier in that time, I assure you. He hugs her--it's been over an hour since Julia called, he says--Maggie should be here by now--I'm going to check it out, and will return very soon. He leaves.

2:40 - Roxanne sits in a chair, awaiting Barnabas' return. Julia and Quentin enter.  Julia introduces him to Roxanne. Where are Maggie and Barnabas? asks Julia.  Maggie never came back after you called, reveals Roxanne. This greatly concerns Quentin. Barnabas got worried about her and went to look for her. Something must have happened to her, says Quentin. Would she have any reason to go to Collinwood? asks Julia. No, says Quentin, she was going to come directly here. The phone rings. Quentin answers. It's Stokes, who says, I didn't expect you to answer. What do you want? asks Quentin.  I'm calling to extend an invitation to you, says Stokes. How did you know I was here? asks Quentin. Your wife was on her way to Loomis House, says Stokes--I assumed it would be just a matter of time before you joined her there--but of course, she didn't get there, did she?  Do you know where Maggie is? asks Quentin. She's with me, says Stokes. Where are you? asks Quentin. I've done nothing to her and will do nothing more to her, says Stokes, until you get here. Stokes, where are you?  Quentin demands.  I have her at Collinwood, says Stokes--listen carefully--come here alone and unarmed, is that clear?  Yes, quite clear, says Quentin, and hangs up, frightened. Stokes brandishes a gun, grinning with pleasure.

Loomis House - Quentin, wait for Barnabas to return and take him along, urges Julia. Stokes said to come alone, says Quentin, and unarmed. That's insane, says Julia. If I don't do as he wants, he may kill Maggie, says Quentin. If you do what he wants, he may kill both of you, counters Julia. I've got to go, says Quentin--I have no other choice. He leaves. How long ago did Barnabas leave to look for Maggie? Julia asks. About half an hour before you got here, replies Rox. We'd better hurry before we're too late, says Julia.  The two women hurriedly exit the house.

Maggie, terrified, watches Stokes pet his gun. "You're going to kill him, aren't you?" she asks. Let's just say that once this evening is over, all our little scores will be settled, promises Stokes. Quentin, don't come in! screams Maggie--he's got a gun!  Quentin, true to form, bursts in anyway, running to Maggie's side--are you all right? he asks. I am, she assures him.  Whatever our differences, Stokes, it's between the two of us, says Quentin--let Maggie go, I'll stay.  Quentin, objects Maggie. You'll both stay, says Stokes--has Angelique's body been cremated yet? Yes, says Quentin. You must feel very satisfied, says Stokes. I don't feel anything, says Quentin, I'm just glad it's over. It's not over yet, says Stokes, I intend to finish what Angelique started--I restored her to life, she was determined to resume her rightful place as mistress of Collinwood--unfortunately, now it's not possible for her to be with you--but it's quite possible for you to be with her. Quentin, he's going to kill you, says Maggie in a hushed voice. Don't be a fool, says Quentin---you'll never get away with it. I'm not trying to get away with anything, says Stokes, I have nothing to lose, and very little to gain except the satisfaction of seeing you dead--in life, they say a man's is judged by his achievements--my crowning achievement  was the restoration of Angelique, and you destroyed it!  He closes the doors and holds the gun on Quentin--I live now, Quentin, only to see you die, says Stokes.

Stokes stands very close to Quentin, pointing the gun at his face. The doors abruptly blow open, distracting Stokes.  Maggie screams.  Quentin karate chops the gun from Stokes' hand. Barnabas comes out from behind the drapes, announcing, "There has been enough killing, Stokes." Holding his hurt wrist, Stokes backs away from Barnabas--"Don't come near me," he says, "I know what you are, I know about you, stay away from me."  Roxanne enters the room.  Stokes grabs the opportunity and takes her by the throat, threatening, in one twist, I can break your neck, so stay where you are. Stokes drags Roxanne away with him and locks Quentin, Maggie and Barnabas in the drawing room. We must get out of here and catch him, says Barnabas--Quentin, take care of Maggie. Quentin unties Maggie. The front door is wide open, and Quentin announces, Stokes must have taken her out of the house. That's what he wants is to believe, says Barnabas--I'm going upstairs. Maggie insists they search outside.  Quentin volunteers to take Maggie to the Loomis House to stay with Julia (notice how he's suddenly not calling her Hoffman?) Take the pistol, you may need it, orders Barnabas.  Quentin and Maggie leave.

Stokes exits the kitchen area, holding a can of kerosene in one hand, covering Roxanne's mouth with the other.

Woods - Julia, now dressed in that hideous tweed suite, meets Barnabas in the woods and smiles at the sight of him. Have you seen Quentin and Maggie?--they're at Loomis House, they told me Stokes has Roxanne. Yes, says Barn, you saw no sign of him?  No, she replies. He must be out here somewhere, says Barn, perhaps we'd better go to the main house and search there. Do you think he'd keep her there? asks Julia. He's out of his mind, says Barn, capable of anything. They head off together.

Roxanne, furious, asks Stokes, why are we waiting here? They'll all be coming back soon, he assures her, my dear Roxanne, and when they do, I'm planning a little surprise for them. What are you going to do? she asks.  I want you to be surprised, too, he replies. Hearing the front door open, he clasps his hand over her mouth, stopping her scream--you see, he whispers, I was right, they're here!  Julia, we'll begin with the West Wing, says Barnabas, and they head upstairs. Barnabas Collins and Dr. Hoffman, says Stokes, we needn't wait for Quentin--destroying them will be revenge enough. He takes the can of kerosene in his other hand and begins to spill the flammable fluid on the floor. I've lost everything, he says, now Quentin will lose everything, too-- his beloved Collinwood reduced to ashes!  Barnabas and Julia will be trapped upstairs, Roxanne reminds him.  Precisely, says Stokes, and burnt to a cinder! He finishes pouring the kerosene and takes out a pack of matches. Needing two hands to light the match, he is forced to let Roxanne out of his grasp, and she flees. "Very well, go!" he cries, lighting the match, tossing it down on the floor. Flames and smoke begin to fill the room.Stokes goes into the foyer and yells up to Roxanne, who is running across the landing, "None of you will leave this house alive!" He pours more kerosene on the floor, trailing it around the table. The flames sound hungry as they devour the house.  Stokes lights a second match, tosses it onto the foyer floor, then bursts into insane laughter.

Angelique's room - If I could find them, says Barnabas, I would deal with Stokes and bring you and Roxanne back here and wait for the room to change. I smell smoke, says Julia. Barnabas  looks out the doors--the place is on fire!  Stokes must have started it, says Julia. And Roxanne is with him! Barnabas cries. Julia points to the flames--"Look!" she yells.  They realize they are trapped in the room. How will we get out of here? frets Julia.  (can't Barnabas just turn himself into a bat or disappear and appear elsewhere)?  I don't know, says Barnabas.  He hears Roxanne calling his name and calls back to her, shouting, give me your hand!  "Julia, I can't reach her!" he cries, frantically clawing at the air--"ROXANNE!"  "BARNABAS!" Roxanne wails back. "ROXANNE!" he screeches again, probably breaking his vocal cords. Barnabas! Julia calls.The room abruptly changes around them. "No!" moans Barnabas--"We've come back, and Roxanne is still in her time-oh, Roxanne, Roxanne..."

NOTES: Oh, boy, that was a lot of violence for one episode of DS, and I must say, they gave a great impression of a big fire without having much of the real thing, if any.

So, Barnabas has been separated from his dear Roxanne, returned to his own time, safely away from the flames. I still say Barnabas could have morphed into a room where there were no flames, saved Roxanne, but perhaps he didn't want to leave Julia alone. It was a huge error on the part of the DS writers and directors not to remember that Barnabas COULD have escaped the fire and probably saved both lady love Roxanne, and Julia.

Amazing performance by Thayer David as Stokes, who will probably be burned to death in his own conflagration. His insanity, crafty and loony, was cool to watch. His attempt to hold Roxanne while lighting a match gave me a chuckle.

I guess we assume Maggie and Quentin lived happily ever after with the few family members who are left. One last scene between them would have been nice, but we can imagine it.

Well, where do Julia and Barnabas go from here? Stay tuned, folks!


1061 - We see an unfamiliar photo of Collinwood and hear a voice we haven't heard in a long time-Mrs. Johnson-who tells us, Timothy Stokes has died in the flames of the fire he set in 1970PT.

Standing in the bleak darkness of what was once Angelique's room, now back in RT, Barnabas despairingly tells Julia, I've got to return to parallel time and find out what happened to Roxanne. You can't go back, says Julia--Angelique's room doesn't exist in parallel time anymore, it's been burned, destroyed.  Barnabas, bereft, realizes, I will never be able to go back. Fumbling with a button on her jacket, speaking in girlish tones, she assures him, if there were anything I could do, I would, but I'm just as helpless as you are. I've got to see her again, moans Barnabas, she's the only woman who ever made me forget my dear lost Josette. (Ouch, Barn, why not just stick a knife in Julia's heart right now and give it a twist or two?) The moment I saw her, so still and helpless, says Barnabas, I felt a love I hadn't felt since I first met Josette--I thought there was hope I could be cured and happy, live the life I wanted to live for so long--the life of love, tenderness...with her. (I felt so badly for him during this speech.)  Oh, Barnabas, says Julia, her green eyes filled with her own helpless, unrequited love for him. He sighs--it's been snatched away from me again--why is fate so determined to offer me a chance for happiness, then destroy it right before my eyes? You forget, she says, how rare a life of love can be--you're not the only one who's had so little hope--it's something one learns to live with--we can get used to anything if we have to.He looks into her eyes, finally, seeing something he can't or won't acknowledge, and walks away. As long as I exist, he says viciously, I'll despise this room for what it has done to me. It seems so different, remarks Julia. Yes, agrees Barnabas, what is it?--so damp-the smell of decay. They wander around the room.  Something has happened, says Julia. Barnabas, gazing into the hallway, calls, Julia, come here!  They look outside Angelique's room, where beams and walls have come down, trees have, impossibly, invaded the corridor--the house appears to have been completely destroyed!

We see an electric candlestick, one bulb gone, lying amidst rubble in Collinwood's foyer. The grandfather clock is missing its top, completely gutted. Beams lie everywhere, debris covers everything. Julia, carrying a candelabra, walks carefully downstairs.  She and Barnabas surveying the wreckage with horror. What could have happened? she wonders--where is everyone?--the place is deserted! No lights...Elizabeth? she calls in a child's voice...Carolyn?...is anyone here? Glass and plaster crunch under their feet. No, responds Barnabas. Where has everyone gone? asks Julia. I don't know, he replies. The wind in the corridor, says Barnabas. A war or hurricane? speculates Julia. She finds an unbroken crystal glass and, shivering, says, "It's as if it was left half-empty."  Barnabas enters the drawing room, where more beams have come down, leaving it almost unrecognizable--there was no war or hurricane here, he says--it's as if the house was simply abandoned.  Barnabas, in one month? she asks, astounded. The house is as still, quiet as the grave, he says--do you suppose that everyone we knew, all our friends--Maggie, Elizabeth, David--are dead? Julia horrified, says, I don't know. They continue to wander around.  She finds and picks up some papers on the desk she'd left there the night she went to parallel time--look how they crumble at my touch! Perhaps, suggests Barn, radiation has sped up the process of deterioration.  (Barn knows about radiation)? She gazes at the pieces in her hand--it could be, she says. What could have happened? he wonders. She finds another piece of paper that says, "We must leave Collinwood before the day is out--we must." It's a note in Liz's handwriting, unfinished, says Julia. Then they did leave for a reason, says Barn, walking amongst the rubble--but what is it? On the floor, he finds Liz' diary, which has been burned. I wonder why anyone would burn it? asks Julia.  It's as though they wanted everyone to forget they ever existed, says Barn. Hearing a door opening and closing, they go to see who came in. The door bangs in the wind, but no one is there. Just the wind, says Barnabas. I'm not so sure, she says. Barnabas opens the door and looks out, noting, the trees have grown right up to the door. In just one month? she asks, disbelieving.  Perhaps there was some disturbance warp in time, suggests Barnabas, and we've come back to another time--our own, but at some time in the future. I don't know, she says. That jungle out there, says Barnabas, it would have grown, but at a slower pace--it wouldn't have grown like this in a month or two! I'm frightened, says Julia, I feel like a child who's lost and will never find my way home. He gazes at her, concerned. She holds her collar tightly around her throat, berating herself for being silly--we've got to find out what all this means.  Perhaps there will be some clue at the Old House or in the cemetery, Barnabas suggests. Do you think everybody is dead? asks Julia. Not necessarily, he responds, but I must find my coffin before sunrise--time, past or future, our time, parallel time--the curse is still with me, he says dejectedly (another super-depressing moment for us, too). We'll go there now, she agrees--more than any cemetery I've ever been in, this house is like a grave.They leave. We get one last glimpse of the tree-choked house, the door off its hinges, the woodwork fallen over the fireplace, beams lying haphazardly, debris littering the floor--very creepy images, the kind that stay with you for years, as they have stayed with me. More than anything else that happened on DARK SHADOWS, these images of a Collinwood destroyed, marvels by Sy Thomashoff, have never left my consciousness.

Barnabas and Julia walk through the cemetery. I wonder what happened to the coffin in the basement at the Old House? she muses. With all the decay there, it's not surprising it's missing, he says. Julia finds a new grave, freshly dug. Read what it says there, says Barn.  She does, aloud--Henry Beecham, 1967-1995 (remember, folks, this is 1971). This grave was just dug, says Barnabas. 1995! repeats Julia.  Then there WAS some disturbance in the time warp, says Barnabas--25 years have passed!--no, I don't believe it! he cries--this grave here is not new, it's old, read it!  David Collins, reads, Julia, born 1956, died 1970. David died 1970, repeats Julia, sounding as if she's going to cry. Barnabas picks up a bouquet of fresh flowers from the grave. Put them down, leave them alone, demands a woman's voice.  An elderly, white-haired Mrs. Johnson stands there, demanding, what are you doing here, disturbing the peace of this poor child?   Mrs. Johnson! says an amazed Julia. Wasn't his life a torment enough? demands Mrs. Johnson, reaching to grab the flowers away from Barnabas, without your coming from the grave itself to disturb his rest?  Don't you recognize us? asks Julia. I've always tried not to believe in ghosts, says Mrs. J nervously, but now.... We're not ghosts, says Julia, we're alive! You disappeared 25 years ago, says Mrs. Johnson, and you look the same as you did then--how can you tell me you're still alive? It's too difficult to explain, says Barnabas. No, it's too easy! she cries, you disappeared and died, and now you've come back to disturb his rest. We haven't, Julia assures her.  Mrs. Johnson gently places the flowers back on the grave, railing, I won't let you--I was with him at the end, and if ever a child deserves peace, it was David--she begins to cry--I won't let them trouble you, she sobs, I couldn't save you at the end, no one could, but maybe I could help you! Barnabas asks, "Save them--what are you talking about?"  Suddenly coming back to herself, looking crazed, scared, Mrs. Johnson, says, I beg your pardon--Barnabas asks if David died. Now evasive, Mrs. Johnson says yes, he just died, that's all.  We've been to Collinwood and know something terrible happened, says Julia--tell us what it was. Did it have anything to do with David's death? asks Barn. I don't know what you're talking about, she replies, frightened.  You do, says Barnabas, tell us what happened. Nothing, she says, shaking. That's not true and you know it, says Julia. Please don't hurt me, begs Mrs. Johnson, I never hurt anybody, you know, I only tried to help. We're not going to harm you, Barnabas assures her, but you must tell us what you know happened at Collinwood and to David. Please, I can't talk about it, she says. Julia comfortingly holds the elderly woman's arms and reminds her, you were our friend, you know how we loved everyone at Collinwood, and now they're gone. Gone, yes, all gone, agrees Mrs. Johnson sorrowfully. Where and why? asks Julia. You must not ask and I must not tell (is this the military?), says Mrs. Johnson. Why not? asks Julia. Because it was too horrible, says Mrs. Johnson--why do you think I come here at night to put flowers on his grave, why can't I come in the day and see the sun and the grass and the flowers around where he is buried?--because no one is supposed to have anything to do with anyone named Collins--you're not even supposed to mention the name!  Answer the question, says Barnabas--what has happened? --is there anyone in the family still alive? Tears running down her withered cheeks, Mrs. Johnson repeats, with a sad smile, "Still alive-the Collins family...the Collins family...alive..."She bursts into tears as Julia and Barnabas exchange looks of fear, sympathy and concern.

They're all alive and quite well, reveals Mrs. Johnson, who has calmed down now. They are! says Julia excitedly. Where are they? asks Barnabas. Obviously making it up, Mrs. Johnson explains, Mrs. Stoddard is in Europe, she went to Rome and Mr. Roger's with her there, yes, they're quite well, and she writes to me, and from time to time, Mr. Quentin--he went to South America he got married and he's happy, he's fine..."  Are you telling us the truth? asks Barnabas. Yes, the gospel truth, every bit, she says.  It's hard to believe that people who have gone through this change can leave some unspeakable tragedy and be off as happy as you described, he points out.  Well, maybe I exaggerated a little bit, she admits, but...  Julia gently asks, tell us.  PLEASE DON:T TORMENT ME! begs Mrs. Johnson, I've tried to forget, 25 years I tried to forget, I don't know whether you are real or not, whether I'm imagining or dreaming, but leave me alone, leave me be, I've suffered enough, I'm old and tired, I can't tell you anything.  All right, agrees Barnabas, but isn't there someone who can tell us something? No, no one, says Mrs. Johnson. Let her go, Julia urges Barnabas.  He reluctantly agrees.  Mrs. Johnson starts to leave, then says, in a hushed voice, her lips trembling, "Frederick's, at Findley's Cove, the old shack at Findley's cove. She repeats it again.  Julia repeats it to Barnabas. We get a close-up of David's gravestone with the flowers piled at the base.

We see a lighted green candle, the remains of an unfinished meal on a table--plate, cup, silverware. The camera pans on what looks like an antique store, filled with items from Collinwood and the Old House.  Barnabas and Julia knock at the door of this home; when no one answers, they enter. The place was always empty, deserted, no one lived here, notes Julia. In parallel time, Roxanne lived here, says Barnabas--is she still there, is she all right?  Julia gazes at him, fear on her face. Barnabas apologizes--I couldn't help thinking about her.  She doesn't respond, just gives him a look. Everything here is from Collinwood, says Julia, who finds his portrait--whoever lives here knew Collinwood.Yes, he agrees, but how did they know it?  What are you saying? she asks. Perhaps these are the spoils of disaster, he says, perhaps the person who lived here is the one who caused it. We should know in a minute, she says--Barnabas, look, she says--the doorknob is turning.

NOTES: I remember being totally amazed at what Sy Thomashoff had wrought in this episode, it was so creepy to see Collinwood in ruins like that, and so realistically, too! Barnabas and Julia's tentative, terrified search of the house was very suspenseful as you wondered who--or what--would leap out at them. The idea of the forest encroaching on the front door gave me shivers.

We haven't seen Mrs. Johnson in a very long time, and Clarice Blackburn didn't appear in the 1970PT flashback at all, so to have her pop up again was like seeing an old friend, and very welcome. Her performance was sublime, her sorrow and madness mesmerizing. When she began to lie to Julia and Barnabas about what happened to the Collinses, you knew she was lying, trying to make it sound great to not only them, but herself, like a fairy tale she made up so she could deal with it without losing her mind completely.

And now, they find this cottage at Findley's Cove, filled with paintings and other artifacts from Collinwood, and they don't know who is living there--is it friend or foe, a Collins or someone who stole all these valuables from the house before tragedy struck?

This is a breath of fresh air after 1791, I thought so then and think so now. I feel awful for Julia, with Barnabas referencing Roxanne over and over, but it seems to be her unfortunate position in his life to clean up his emotions after he loses yet another SYT. I wouldn't have stuck around if I were Julia, but she's apparently a one-man woman.

Love, Robin

CrazyJenny, may your birthday be a wonderful day filled with joy, gifts and merriment.

And certainly no bad hair day like your namesake!

Love, Robin

Patti, I'm flattered.  I was born in December, 1953 (turning the big five-0 this year!), so I was 12 when DS premiered and 13 when Barnabas appeared on the show.  He jump-started my adolescence, I guess you could say, because that tortured vamp just got me sooooo horny!

I would have loved to have read Robservations, but this is in text format.  As much as I would have enjoyed reading them to you all, I'd undoubtedly have lost my voice forever after 1245 eps!  Then again, I can list a whole bunch of folks who would probably be thrilled if that happened.

Thanks for your good wishes, Josette!

Love, Robin

1058 - Barnabas looks once again at the blueprints of Collinwood, scanning them desperately. "She must be here somewhere," he says. A dejected Maggie enters. He's forced to tell her, we haven't found Julia. Quentin doesn't believe she's alive anymore, says Maggie, depressed. Barnabas looks aghast at this suggestion. Quentin's given up, says Maggie, he doesn't want to fight anymore--he says it's been useless since Hamilton saw him standing over Bruno's body...Barnabas, he isn't thinking of himself anymore, he just talks about what I should do, and it's almost as if he's already been sentenced. He will fight again, Barnabas assures her, we will find Julia, I'm sure. No, says Maggie, now I've got to do what Quentin wants me to do. But, if she's hidden somewhere...he objects. My husband wants me to leave Collinwood-forever, says Maggie-we've got to leave tonight. Maggie! cries Barnabas in disbelief. We must, she says, he doesn't want us here anymore, he says he'll never walk through that door again and can't bear to think of me here. But, if Julia is hidden here, repeats Barn. She isn't, insists Maggie, you and the police have proven to everyone but yourself she isn't here-we've got to go, Barnabas-we must. Barnabas, stricken, is unsure.

Julia sits on her cot, rubbing herself for warmth, wondering desperately, why haven't they found me? (and if she only knew while she was dreaming of Barnabas going off with Roxanne, leaving her behind, he was searching for her with Inspector Hamilton-how cruel can fate be)?

It seems so final, Maggie, says Barnabas, to close the house and leave. We have no choice, Maggie says. Wait until tomorrow, pleads Barnabas, let me talk to Quentin. It will do no good, she says, this house represents all the tragedy he's seen in his life-now, when I think how eagerly I looked forward to coming here with Quentin... Maggie if we leave here now and Julia's hidden, she will die! says Barnabas. She's not here--if there was any evidence she was here, I wouldn't go, but there's none! Maggie says. How ineffectual I feel, he laments, not able to do anything for Julia or Quentin, or to persuade Roxanne to go to the police. You've seen her? asks Maggie. No, says Barn--she was here but she got away, I couldn't find her-she's out there somewhere and we're here, unable to clear Quentin.

Woods - Roxanne walks. Stokes puts his hand on her shoulder, asking, are you taking a stroll? Stay away from me! she orders. I thought we were friends, my dear, he chastises her. Barnabas didn't kill Claude, says Roxanne triumphantly. What a persuasive man Mr. Collins is, says Stokes, I told you to stay way from him. You don't give me orders, she says disdainfully. Someone must, he says, because you're a fool-I told you the police were hunting for you and you ran straight to him-I suppose he told you I killed Claude North--and you believe him, even though the idea is preposterous, Claude and I were the closest of friends, as you know. Don't make me remember any of that! she says. Obviously, says Stokes, you'd prefer to think about Barnabas, well, what do you think of him, with those strange, psychic gifts of yours?-I'm sure if you told the truth about Mr. Collins, what you'd say would be most interesting-he's a man with a secret, you know. Stokes grabs her painfully by the arms-do you know it?--do you know his secret? I have no idea what his secret could be! she insists. I will find it out, I'm sure of that, warns Stokes, and he will learn that in any battle I have an incredible will to win. Even if it involves killing? she asks. There's no proof that I have ever killed anybody, says Stokes-there was proof that I have conquered death Yes, she says, and you used ME to do it! You should be proud, he says. Proud? she rails--you robbed me of my life-I know why you follow me, why you keep bothering me-I'll never let you use me again--never! She runs off, Stokes pursuing her, calling her name.

Collinwood - Maggie tells Barnabas, I can't begin to explain everything that happened around here-Quentin tried to explain and it makes no sense-why can't Roxanne help us? Barnabas says, there might be no need for that-if the police can establish the body they found was Angelique's, whatever Roxanne says could be superfluous. In that case, says Maggie, Roxanne can help them no more, only Julia? Yes, he says. Then I'm going to pack, says Maggie-at least I can do what he wants me to do. She leaves. Roxanne stands outside the drawing room window, watching Barnabas with longing. Barnabas goes over the blueprints again. Julia! he says to himself, Julia! He feels a hand curl around his shoulder-- Roxanne. You've come back! he says. I'm afraid when I'm not with you, she says. His mouth twitches; he gazes at her pretty throat with hunger.

Why are you staring at me? asks Roxanne. I don't know, he says. You must, she insists, you look so sad. No, he says. I thought you would be happy to see me, she says. I am, he assures her. You're not acting like it, says Roxanne, her hand on his arm--you're so cold. Perhaps because I must be, he says. Oh, Barnabas, why? she asks, when you act this way, I'm afraid even when I'm with you-that Stokes, he says you have a secret. Barnabas looks trapped. Do you? she asks, what is it? He moves away. I ask too many questions, she says--Claude used to tell me that. She follows Barnabas-I'm sorry, she says, I don't care what it is. You would, he insists. No, she says. Roxanne, I love you so, he murmurs. Delighted, she says, I want you to hold me. No, he says firmly. Is it wrong to love? she asks. For me! he says. I can't believe that, she says-I remember how kind and gentle you are, I remember how you took care of me, how you touched me when I opened my eyes-I know it without you saying a word, Barnabas, I looked in your face and I knew-that's when I began to love you-yes, love--there, I've said it! He looks miserable. Why don't you look at me, why? she demands. You must go away, he insists, we can never be together. Why? she asks, tell me! You wouldn't love me if I did, he says. Oh, Barnabas, she says, you trust me so little-you treat me as a child, and I'm not-how can you say you love me so much and then send me away? Because that is the way it must be, he insists. That is what YOU say, Roxanne bleats, but what I say. . .she begins. I don't care what you say, or feel, he retorts--my dearest, if you only knew I could give into this-but you must go! He turns away from her again. She calls his name plaintively. Go! he shouts, facing her again. She starts to walk away, but turns back-give me a chance, she pleads. I cannot! he cries, we can never see each other again-now go! Crying, she runs out of the house. Barnabas sits by the fire, puts his head in his hands, and lets out a moan of despair.

Woods - Roxanne walks, mournfully calling, "Barnabas!"

Back in front of the fire - Barnabas tells himself, I did what was right-there's no way for me with her, I feel, I shall do without her-I cannot make her what I am, I cannot give in to myself. Roxanne returns, her love a palpable presence in the room. This time, Barnabas takes her in his arms. Allow me to share whatever is wrong, she says-don't ever say no to me, please never say no to me! I cannot, he insists. Holding him tightly, she asks, what love--but sharing? He pulls away from her. Oh, you don't know, he says. I am willing to, she assures him-look at me-love me, Barnabas, love me! He stares at her a moment, then asks, "Whatever the cost?" Whatever, she promises, yes, Barnabas.He opens his mouth, nuzzles the nape of her neck and plunges his fangs into her yielding throat.

Nearly 6 PM - Collinwood - Maggie comes downstairs calling to Barnabas. He meets her at the stairs--Roxanne is here, he says. Will she go to the police? asks Maggie. She will if need be, he says. Go upstairs and get an article of clothing from Hoffman's room, instructs Barnabas. Why? she asks. Do as I say! he demands. He enters the drawing room where Roxanne now sits on the couch. Do you know how the world is? she asks dreamily-it's so very light when I'm with you, but when you go away, it's so very dark. He looks ashamed. Come to me, she pleads. He takes her in his arms--for so many years, I've wanted to hold someone as I'm holding you now, he murmurs. I am yours, that is all I know, she says. Are you all right? she asks. Yes, she says. There's something I want you to do for us, he says, you have certain powers, psychic powers. She seems upset at his mentioning this. Stokes told Julia that you did, says Barnabas-that is why... That is why Claude North was interested in me, she says resentfully. Will you use them for us? he asks. I don't like to use them, she says, turning away from him. Do they frighten you? he asks. Oh, you know even that, she murmurs, pleased. We have a woman named Julia Hoffman, he says, we don't know if she's dead or alive-if she's alive, we want you to tell us where--will you do that? Oh, Barnabas, she says, unsure. You must not be afraid, he says. Right--I will try, she promises, but you must not expect too much. I have faith in you, he says. Maggie stands in the doorway. Barnabas invites her in and introduces the two women-she is going to help us, Maggie, he says, make every effort to find Julia. If I can, Barnabas, Roxanne reminds him. I will abide by whatever Roxanne says, says Barnabas. Maggie hands him a scarf. Are you sure this is Hoffman's? he asks. Positive, says Maggie. Barn asks Rox, are you ready? She takes the scarf in her hands and sits down, gazing at it. What do you see? asks Barnabas. A tall woman, vivid, says Roxanne, he face is very white. Yes, yes, says Barnabas eagerly. I can barely see her, says Roxanne, she won't come in clearly to me. Where is she? demands Barnabas, twice. I don't know, says Roxanne. But you must-try, Roxanne, urges Barnabas. She concentrates, then says, she is lying down. Where? asks Barn. It's cold, says Roxanne-"She is dead! This woman is dead!"Dead!?--Barnabas looks helplessly at Maggie. (Of course, Maggie brought HOFFMAN'S scarf, not Julia's; why didn't Barnabas pick up on this right away; I did when I saw this episode the first time!)

Julia awakens in her cellar prison. A dream, just a dream, she assures herself-no, it was NOT a dream, I am here! Help me, somebody help me! she begs, her voice ragged.

After announcing that Hoffman is dead, Roxanne drops her head on her arms. Barnabas and Maggie run to her, making sure she's all right. I know I didn't tell you what he wanted to hear, says Roxanne sadly. But you did tell us what we expected was true, says Maggie, defeated. I've been a fool continuing to hope like this, declares Barnabas-- Angelique would never let an enemy live. We will close the house tonight, says Maggie. Yes, says Barnabas. I have some packing to do, Maggie says-thank you, Roxanne. She leaves. Barnabas sits on the sofa, dejected. What's wrong? Roxanne asks. What you just told me gives me great grief, he says-she was a true friend. Oh, I hate to leave you, she says. Then stay until dawn, he says. No, you should help Mrs. Collins, she says-I want to be alone now, Barnabas, I'm not afraid to be alone any longer, I know I have you. Always, he swears, and you will come back at dusk. Yes, she says. Let me take you to your house, I've never been there, he says. Findley's Cove, she tells him. Come, I'll take you there, he says. Maggie needs you right now more than I do, insists Roxanne. All right, he says. He leads her to the door and sees her out, their arms around each other. Roxanne, he says, if it weren't for Julia, tonight would be a very happy night for me, happier than you can imagine. She smiles at him, equally happy, and leaves.

Maggie comes downstairs, coat over her arm--there are many things I want to take with me, she says, yet Quentin said not to, he wants no memories of this place-"Do you think I'm doing the right thing?" He doesn't respond, but seems to be thinking hard.

Roxanne's home - You went back to Barnabas Collins, accuses Stokes-of course-what is his attraction, can you explain it? Please, just leave me alone! she orders. How can I? he asks, we are linked together, you and I, forever. Don't remind me, she snaps. I must, he says, before the police come-I must make sure you are on my side. I am not, I never was and never will be, she swears. Yes you will, he says, grabbing her. She pulls away, tries to go for the door--let me go! she cries. I cannot trust you, he says, trying to physically force her to stay. In the struggle he pulls off the scarf covering her Barnabas-inflicted love bites. She tries to hide them, cover them back up, but he stares at them carefully.My God, he says--so, that is his secret! He grins with pleasure.

Maggie stands gazing into the dark drawing room. The foyer lights are still on, and she is nothing but a dark shadow. Barnabas enters the house--the luggage is in the car, he says. I never thought it would end this way, says Maggie. All the generations of Collins have lived here, says Barnabas. We should go quickly, suggests Maggie. She turns off the lights in the foyer and wonders aloud, who shall ever turn them on again?-who will ever live here again? She touches his arm and asks, are you thinking of Julia again? Yes, he says sadly. But you do believe Roxanne? she asks Yes, he says, then turns to leave, shoulders hunched. They go outside. Barnabas padlocks the front door. Maggie enfolds herself in her coat, trying to ward off the chill, and says, "It's over, Barnabas, all these years of Collins, over for all of us." She walks away. He gazes at the house one more time and goes, too.
In the basement, Julia waits for rescue, unaware that they all believe she's already dead.

NOTES: Come on, Barnabas, you asked for an article of HOFFMAN'S clothing, not your own Julia's, why aren't you thinking, vampire man? Does that whiny redhead (and even though she is lovely, her voice is getting to me this time in a way it never did before; those upward inflections are really annoying) have your brain as well as your testicles in an uproar? I'm sure it really galls Julia fans to hear Barnabas declare his love for Roxanne after Julia is closing in on death because of her love for him. It seems so superficial, and the age difference IS embarrassing. When I saw this show the first time, I was only 16, and since Roxanne is so young, I probably was fantasizing about their romance and hoping there was some hope for ME! Now, from the vantage point of now, it's just plain hard to watch. All I know is, it's apparent he isn't thinking clearly at all, and he should have realized his mistake in having Roxanne try her talents on a piece of clothing that we all know belonged to the dead Hoffman.

Stokes seems to be losing his grip. He wants to bring his daughter back to life again and plans to use Roxanne to do it. Now that he knows Barnabas' secret, how can he use it against both Barnabas and Roxanne. That's a very dangerous weapon in the hands of a revenge-minded father. Wonderful performance by Thayer David, as always. The man is so good at playing this version of Stokes, I marvel at him every time I see this storyline.

Barnabas bit Roxanne, and she wanted it. Poor Julia has offered so many times, and he always turns her down. Always a bridesmaid, never a bride is Julia.

OK, now Julia has been left behind in a cold, empty house. Will someone rescue her? We can only hope Barnabas, lust-clouded though his mind may be, comes to his senses.


1059 - Roxanne's cottage - You know what Barnabas Collins is! Stokes yells at Roxanne--why don't you admit it? I will tell you nothing! she vows. You'll tell me if I have to throttle the life out of you! he threatens, going for her throat. Despite her struggles, he finds the marks-Barnabas made them, didn't he? demands Stokes. No! says Roxanne. Who else could have made them? demands Stokes, beginning to strangle her--"Tell me before I lose all patience!" She grabs his arm, trying to fight him off, but finally admits it's true. If only Angelique could hear that, how it would delight her, says Stokes, but she will know it in due time. Roxanne adjusts the scarf around her neck, then asks, what do you mean by that? The world hasn't heard the last of Angelique, Stokes assures her-I've restored her to life before and I will again-with your help. I won't help you! cries Roxanne, I'll never go through that again-I'm not the same person I was the first time you used me-Barnabas has changed me! Your devotion to Barnabas will vanish as soon as he is gone, says Stokes. Gone? she asks. There are many ways to kill a vampire, says Stokes, I don't know yet which one I'll use, but I will know before the dawn comes. No, you'll never have him! screams Roxanne, bolting for the door, but he prevents her escape and says, "Your future is with me, not Barnabas, in a few hours you'll forget he ever existed." He shoves her into another room as she struggles, begging, I'll do anything you want, if you just leave Barnabas alone. He locks her in. Stay there, my dear, he says, I'll return for you when I need you. He slinks off.

Loomis House - Maggie sits on the couch. You can stay there as long as you likes, says Barnabas. Thank you, she says, but I'll move to the Inn tomorrow-I'll be closer to Quentin. Of course, says Barn, why not try to get some rest? I doubt I'll be able to sleep, she says-everything seems so useless now. I know, he says, sitting in a chair, but the autopsy might help Quentin when the Inspector discovers Alexis is really Angelique--he may be more likely to believe the rest of our story. How soon will we know? she says. He's preparing for the autopsy now, says Barn-I can't believe that Julia's gone-I'll never forgive myself for letting her stay here. Stay here?--what do you mean? asks Maggie. Of course you wouldn't understand, says Barnabas, perhaps I'll tell you someday. Maggie picks up the scarf that Roxanne used to tell them Julia's fate--it would be a supreme irony if Quentin were to be freed by Hoffman, of all people, she says. "Good Lord!" says Barnabas. "What a fool I've been!" (Hurray-light has dawned!) Maggie asks, what do you mean? The scarf, he says, pulling it into his hands-the scarf belongs to Hoffman-it's Hoffman who's dead!--Julia may still be alive! He rises from the chair. What are you talking about? she asks. Of course you wouldn't understand, he says, and there's no time to explain-you simply must take my word and listen to what I have to say-there's still the possibility that Julia is still alive. Maggie doesn't get it. Listen, he advises, don't try to understand-go upstairs--at the end of the corridor, you'll find a closet with some women's clothes in it-bring it down here and wait for me-I'm going to get Roxanne-if Julia's still alive, it's possible she'll be able to find her. He drops the scarf on a small table. It immediately falls off. He leaves. Maggie doesn't understand.

Roxanne's cottage - Barnabas enters, calling to Roxanne. She bangs on the door, wailing his name, and goes into his arms when he releases her. I'm very glad you're all right, she says. Of course, he says, what happened to you-who locked you in there? Stokes, she says, he came here and he knows all about you-he forced me to tell him-I didn't want to! Barnabas assures her--it's all right. It's not, she says, Stokes is out looking for you now, and wants to kill you! I he will find Stokes later, says Barn, but I made a terrible mistake-there's still a chance Julia is alive-I'm taking you to the Old House and will give you an article of clothing from a DR. Julia Hoffman. Dr. Hoffman? asks Roxanne. Yes, he'll explain on the way over, there's no time now, he says.

Maggie brings down the blue overnight suitcase used by everyone in RT. She opens it on a table. Barnabas and Roxanne come in; he asks the latter to select any article of clothing she likes. I think I'll take the brooch, says Roxanne, holding it in her hand, concentrating on it. She sits at the desk, then places the brooch on the desk.Barnabas Do you see anything? asks Barn anxiously. Something's taking shape, says Roxanne. What is it? Barn asks impatiently. It's not clear yet, says Roxanne, it's taking shape very slowly. Tell me what it is! says Barnabas. It's a room, intones Roxanne, a very small room without windows. But where? demands Barnabas. She sees bricks coming into focus. I've never seen it before, says Roxanne--dark, cold, there's someone there. Who? asks Barnabas. A woman, says Roxanne. Do you recognize her? Barnabas asks. I cannot see, says Roxanne. What, Roxanne, he begs. It's the same face I saw before, says Roxanne, only now she's alive. The same face-not the same woman, says Barnabas--can you lead us to her? Yes, her eyes are open, says Roxanne, moving... Lead us to her, we will follow, says Barnabas. I think I can find the room, says Roxanne. She walks to the door, brooch in hand, Barnabas and Maggie behind her.

Julia lies on the filthy cot in her basement prison. I must stay awake, she tells herself, there might still be a chance-I must not fall asleep! She sits up on the cot.

Rox, Barn and Maggie enter Collinwood. Barnabas laments, Julia is in this house, and we almost abandoned her--lead us to where you think she is. Roxanne, finger outstretched, walks, the other two follow.

Julia is nearly asleep. Roxanne, Barn and Maggie enter the basement. She is here! cries Roxanne, very close by. Are you sure? asks Barn excitedly. I can feel her presence, says Roxanne. Barnabas calls to Julia-can you hear me? Julia, however, has fallen asleep and cannot. She moves her head, but doesn't awaken. Did you make a mistake, Roxanne? Asks Barnabas. His psychic girlfriend says, I can still feel Julia's presence. Maggie points to a door on the opposite wall, suggesting, it leads to a corridor. He goes to investigate, and Roxanne follows them. Julia sleeps uneasily, then awakens. She begins to sob helplessly, berating herself for falling asleep again. However, the searching trio hears her sobs. Barnabas looks around and realizes it's coming from behind the wall behind the bookcase. "Julia!" he calls.Realizing she's been found, Julia calls his name-Barnabas, is it you? She runs to the door. It is me, he assures her--thank God you're alive-how do we get in there? She hugs the door in her relief-- there's a lever there somewhere, she says. Barnabas searches for it.

Stokes arrives at Loomis House, skulking outside.

Loomis House drawing room - Julia drinks a brandy on the sofa--in my prison, she says, I didn't know if it was day or night, and then I really became frightened when Angelique stopped coming there and realized something must have happened to her-"I was terrified that no one would ever find me." Did Angelique admit she'd killed Bruno? asks Barnabas. Yes, says Julia, and the doll with Bruno's ascot on it is in a drawer in her room-Barnabas, we've got to get it and give it to the police. No, we'd better let the police discover it for themselves, advises Barnabas. Julia puts her brandy glass on the mantle. The phone rings. Maggie answers. It's Hamilton, who wants to speak to Barnabas. The vampire's face lights up as he says, "I see-yes, I'll tell Mrs. Collins at once!--tell me, what is Quentin's status now?" Maggie looks anxious. Barnabas tells the Inspector, I also has some news-Julia Hoffman's been discovered-yes, just as soon as possible. He hangs up and gives Maggie the good news--it's been proven beyond a doubt that Alexis is actually Angelique. Then Quentin is free! declares Maggie joyously. Not yet, says Barn, they still have to question Julia-but Quentin has requested that Angelique be cremated, and as soon as that's done, Roxanne, you will be free of Stokes-he will have no further use for you. They're waiting to see you, Barnabas tells Julia, do you feel up to it? Yes, she assures him, I think it's important we get it all over with. Maggie leads Julia away. Barnabas suggests to Roxanne, you had better come with us. No, she says, there is no need now-the police know everything I could tell them-Barnabas, I don't want to remember what Claude made me do. He smiles and says, "Of course, my love." He kisses her and leaves her standing by the mantle, looking moony and in love. As soon as Barnabas leaves, Stokes looks through the window, grinning when he sees Roxanne alone.

Stokes enters Loomis House, quietly closing the door behind him. Roxanne doesn't see or hear him at first, but he chortles, "So, your benefactor came to your rescue." What are you doing here? she asks angrily. Don't be scared, he says, I have every reason not to harm you. And, she says triumphantly, I imagine that you'll be interested to know your plans are going to change, too. What does that mean? he asks. The police have discovered the truth about Angelique, says Roxanne, and Quentin Collins has instructed them to cremate her body. He shakes his head-I don't believe that. You'll never be able to bring her back again! says Roxanne smugly. I blame Barnabas for this, says Stokes--he's done nothing but interfere since he arrived--if he hadn't come here, I would have succeeded--now I've failed-I won't go quietly, I'll have my revenge before I go-on Barnabas, Quentin...I'll have my revenge! he shouts, and races after Roxanne, who grabs the dagger from the desk-I'll kill you if you touche me, she warns, I swear it!Stokes laughs, takes off his hat, says very well, my dear, I'll save you for last, but first I'll give you the pleasure of viewing the dead, disintegrating body of Barnabas Collins. And, laughing madly, he leaves the house. Roxanne sits in a chair, holding the dagger poised for action.

1:30 - Roxanne awakens from sleeping on the sofa when she hears the front door open and close. Who's there? she cries. Barnabas takes her in his arms-"It's only me, Roxanne," he says. Terrified, she describes how Stokes came here about half an hour ago--I had to use this (the dagger, which she hands to him) to defend myself. He threatened you! says Barnabas, staring at the dagger. I made the mistake of telling him about Angelique's body, she says-he was in a rage, he promised to take revenge against you. It's too late for his revenge now, says Barnabas-I will get to him before dawn. What happened in town? asks Roxanne. Pleased, Barnabas explains, Quentin is cleared-Julia and I had to stay on, we're going to talk further with the authorities. The phone rings. Barnabas answers. It's Julia-I'm sorry, she says, but we will be here at least an hour. Has anything gone wrong? asks Barn. No, says Julia, but Quentin and I are waiting to make our final depositions-Maggie will be back there before we will-Quentin didn't see any need for her to wait here. I should have stayed with her until I was ready to go, says Barn. No, says Julia, you had no way of knowing-we'll be here another hour or two and then we'll be back. We'll be waiting for her, says Barnabas. He hangs up and tells Roxanne, Maggie is coming back, I'll wait for her here-then I will deal with Stokes. He takes Roxanne into his arms and hugs her.

A happy Maggie walks through the woods. Stokes grabs her from behind, clamping his hand over her smiling mouth. "There is no longer a first Mrs. Quentin Collins," he says, holding her tightly as she flails fruitlessly in his grip, "soon, there will be no second!"Maggie screams behind his hand, caught fast in his clutches.

NOTES: When Julia learns that Roxanne and Barnabas have fallen in love, she might wish that, instead of being rescued, she'd been left to rot in the basement. I don't think she'll be able to again play second fiddle to a SYT, even if that SYT did save her life. I'm glad Barnabas realized the problem with the clothing situation and sent Maggie to get the correct Julia Hoffman's article of clothing.

Stokes has apparently gone insane, taking over his daughter's plan of revenge to get rid of the Collins family. He's started with Maggie and plans to cut a swath of destruction throughout those who remain. Lucky for Amy and Daniel/David they're at the Inn and away from this madness. Who's staying with them, I wonder?

I don't know if it was wise for Roxanne to brag to Stokes that Angelique is being cremated, because I believe that news, and the final ruin of his plans, puts his already-fragile sanity over the edge. Then again, the shameless way she was used to keep his daughter alive gives her certain rights to hurt him.

OK, so Hamilton believes everything Barnabas told him now, and will free Quentin? Not terribly realistic policing, IMHO, but then again, perhaps law is different in PT. It seems to me that Hamilton needs hard proof, and all that's available is circumstantial, plus Julia's testimony is dubious, given her position in the household.

But hey, it was a pretty satisfying ep, wasn't it?

Love, Robin