990 - Liz and Roger come downstairs, wondering where Maggie, Quentin and Hoffman can be. It's not like Hoffman to leave the house, says Roger. I'm glad Maggie isn't here, says Liz--I hope Daniel will be more open-minded--do you think he will be? Daniel will always resent his new mother, says Roger. Are you speaking for Daniel or yourself? sniffs Liz. Roger doesn't respond. Liz opens the doors and, startled to see Sabrina sitting there, calls Roger to come in. "I have been sitting here all alone," says Sabrina, "for all of you--isn't it time for the seance to begin?" Liz looks at Roger, puzzled, and he returns an equally perplexed look.

Sabrina, asks Roger, what are you talking about? Where are the others? asks Sabrina--where is Cyrus? There will be no seance in this house tonight, Roger insists. But we planned it, protests Sabrina--Cyrus and Mrs. Collins. Maggie? asks Liz. No, not Maggie, says Sabrina--Angelique! Liz and Roger are astonished. You must sit, says Sabrina--all our hands must touch. What's happened to Sabrina? asks Roger. The clock strikes 11 PM. We can't just leave her here, says Liz. She thinks it's that night! says Roger, staring up at the clock--what other explanation could there be?--it was at the same time, six months ago, when we gathered in that room. Don't think about it, advises Liz. I haven't been able to think about much else since, he protests. We must do something about it, says Liz. I'll call Cyrus, says Roger. Liz goes back into the drawing room as the clock continues to strike.

(Somewhere I can't identify) - Sabrina lies on the sofa and asks Cyrus, why am I here?--I want to go back to the seance! That was six months ago, says Cyrus. I don't understand, she says--you were so anxious to come to this all week, and now you're pretending you don't want to. I'm not pretending, he assures her. You are, she insists--where is Mrs. Collins, she'll know I'm right--she called me at the lab, asked me to come here. Roger and Liz stand by, listening. What are you all doing to me? demands Sabrina--is this some joke, trying to pretend I'm crazy? Relax, says Cyrus, I'll get the doctor...I don't want the doctor! says Sabrina. Keep calm and rest, Sabrina, urges Liz. Cyrus explains to Roger--Sabrina was attacked in her room last night, but the sheriff hasn't found the man. I want to go check with the police, says Roger. Don't, says Cyrus--they're doing everything they can, this stranger who attacked Sabrina produced a horrible trauma for her. Why is she insisting on a seance? asks Roger. Moment of evil, says Cyrus--that's the only explanation I can think of. We can't live through that experience again, insists Roger, you know that, don't you? Cyrus nods. What are the men are whispering about? Sabrina asks Liz--is Cyrus trying to convince Mr. Collins to go through with the seance? Probably, says Liz. Cyrus shares an interest in the unknown with Mrs. Collins, says Sabrina--they don't think it's strange, what's happening tonight, but I think they should. Don't think about it, says Liz, the doctor will be here soon. Sabrina lies back, unconvinced.

11:30 - Cottage - Cyrus, says Bruno, I'm shocked to get a summons from the great house of Collinwood at this hour--and from you of all people?--does the master of the house know you've requested my presence? No, he doesn't, says Cyrus. I suggest you ask him, says Bruno. Mrs. Stoddard said it would be all right, says Cyrus. Oh, she's back, says Bruno--a lot has happened since she left that she doesn't know about. This is an emergency, says Cyrus--Sabrina is in a state of shock! What did you do to her? asks Bruno. Not a thing, as far as I know, replies the doctor. Why do you look that way if you didn't? demands Bruno--are you covering something up, and badly? No, says Cyrus, looking away, not at all. The more you deny it, the more convinced I am, says Bruno--what did you do to your lovely fiancee? Cyrus, guilty, says she was attacked in her room, and the shock has made her mind retreat to the night of the seance--I had the doctor examine her, and there's nothing physically wrong--I called Dr. Law, the shrink at the hospital, who said if she went through the seance again, Sabrina might be OK. Do you really want to really do it again, asks Bruno--will the same spirit appear again? No, says Cyrus. Will there be that moment of drama, says Bruno, just before... Nobody wants to do it again, says Cyrus. Least of all, me says Bruno, it's a tasteless idea, couldn't be done, ever. I know that, says Cyrus. Angelique was there that night, Bruno reminds him--beautiful, elegant, smiling--it was the happiest I'd ever seen her. Cyrus agrees. She knew Quentin hated her interest in the occult, adds Bruno, but she would never give it up--the lure of the unknown. He begins to play Angelique's theme, shaking his head, adding no, we can never live through that night again, because she isn't with us, and without her, the seance has no end. I know, says Cyrus. The smile on her face, remembers Bruno, her last smile. He plays on--the look in her eyes will never be seen again, he laments. Don't relive it again, advises Cyrus. Why shouldn't I? asks Bruno, at that table, it was the last time her hand touched mine--at that table, Angelique died! Cyrus looks tortured, not knowing what to say, as Bruno plays Angelique's music.

Bruno bangs his hands on the keyboard, angry--or DID Angelique die? he asks. Don't start that again, says Cyrus. I can't help wondering--and won't until I'm sure, insists Bruno--she had many tricks. Coming back from the dead isn't a trick, Bruno, says Cyrus. Perhaps that's all it is, says Bruno. Are you coming to the house or not? asks Cyrus. Bruno rises from the bench and suggests, maybe at the seance, we should ask the lovely Alexis to sit in for her late sister--why not?--the dead can't die twice--what if by some macabre miracle, Alexis IS Angelique?--think of going to a seance at which you died--not even the Angelique I loved could carry that off, not without giving herself away. Bruno smiles. We are doing this for Sabrina's sake, not your curiosity, says Cyrus. My curiosity is never satisfied, Bruno assures him, even about you, about this, about Sabrina--you're doing this to cover and hide your own guilt! Why would I feel guilty about Sabrina? asks Cyrus.I don't know, says Bruno, but you do--I know you well enough for that--if you do go through with the seance, it's for your own reasons!

Roger stands before Angelique's portrait and says, "No one will let us forget that night, will they? You want us to remember it, is that the reason for this monstrous joke?--it's the kind of situation that would have delighted you, if you were alive." Alexis enters the room and overhears him say, I can't go through that again--hearing those words, entreating the spirits to appear, waiting...waiting...then that final moment--he bows his head--"I know it will haunt me always, I know that." Alexis listens. Roger, sensing someone else in the room, turns, sees her, and is stunned. Angelique! he cries--you've come back! I'm not who you think I am, says Alexis. Who else could you be? asks Roger, his voice hushed with awe. Listen to me, begs Alexis, please, I don't know who you are, but you must listen!

In the room where Sabrina lies asleep, Quentin tells Liz, I won't allow a rerun of the seance--absolutely not! You must, insists Liz, the doctor gave her a sedative to calm her down, but she'll be awake soon, and we must decide by then. The decision, my sister (?) says Quentin firmly, has been made. She grabs his arm--if you talk to her, says Liz, you'd understand; I know how tough this is for you. Then drop the subject, he advises. I wish I could, says Liz--this is your house and I try not to intrude anymore than I can, but this time I feel I must--if you're worried about Maggie's reaction, she need know nothing about it. We must have a talk about Maggie, says Quentin. Why, what happened when we were gone? demands Liz. Quentin leads her away to explain. Sabrina sleeps.

Are you her twin? asks Roger. Surely she mentioned me? asks Alexis. Yes, says Roger. Is it so surprising that I'd want to come visit my nephew? she asks. You move as Angelique did, says Roger, speak as she did, you're the same--hands, smile, eyes--I can't believe it! You must, insists Alexis, because you'll find out soon enough that we're quite different--touch me, she invites, holding out her hand, you'll see I'm not a ghost if you touch me.Roger seems afraid, but he finally does grasp her hand in both of his. See, I'm quite real, she says. The camera pans to Angelique's portrait.

Drawing room - I'm shocked that Maggie just left, says Liz. Why would I lie? asks Quentin. I don't mean that, says Liz----you should have asked Alexis to leave. For a person who doesn't want to intrude in my personal affairs, you're doing a good job of it, says Quentin. Liz apologizes--I'm surely allowed to be upset, she says. That doesn't help, says Quentin, you should be quite aware of the fact that nothing ever goes well in this house. It isn't the house, says Liz, it's us--we make it happen! I don't need your moralizing, says Quentin, who opens up a really cool pop-up bar set inside a table and prepares a drink. Nothing we ever do is right, laments Liz. Speak for yourself, says Quentin sourly. I am, of course, says Liz--I'm thinking of that poor girl upstairs. Stop it! says Quentin angrily. I can't, says Liz. It's insane to go through with the seance and I won't have it! he rails You'll let that poor girl go on as she is? asks Liz. Not our responsibility, says Quentin. Maybe that's why life is so difficult, says Liz--we don't know what our responsibilities are. Roger enters with Alexis before Quentin can answer. Miss Stokes told me about Maggie, says Roger--it's very distressing. He introduces Liz to Alexis. The latter apologizes for interrupting and turns to go. She runs into Sabrina, who says, it's midnight--isn't that the time you said for the seance--Angelique--are we all ready? Alexis' eyes widen. Quentin looks truly pissed.

Quentin stomps out of the room without saying a word. Alexis closes the doors, leaving just the two of them alone in the foyer, and asks, what does that girl mean? Quentin is about to answer when Bruno and Cyrus enter. "I thought I told you never to come into this house, Bruno," says Quentin. Since there was an emergency...says Bruno.There's no emergency, asserts Quentin, you can go to another house and work your black magic, boys. I knew you'd object, says Bruno, but didn't realize how much. Quentin, if you won't take part, will you at least let us? asks Cyrus. Perhaps even Alexis would be interested in sitting in for her sister, suggests Bruno. Alexis is puzzled--sitting in? Haven't they explained what we plan to do? asks Bruno. No explanation needed, says Quentin, arms crossed. I think Alexis might be interested in knowing the circumstances under which her sister died, says Bruno. Quentin grabs Bruno, about to beat him, but Alexis pulls him away and demands, what's going on here?

Drawing room - Sabrina is arranging the participants, telling them where to sit. The others will come, she says--Mrs. Stoddard, sit down...why am I the only one who knows we must do this? I feel we must do it, agrees Liz, not just for Sabrina, but just because I feel we should. I refuse to participate, says Roger. Are you that frightened? asks Liz. Indignant, he walks over to get another chair, brings it over, and arranges it at the table.

Foyer - Alexis reminds Quentin--you told me that my sister died of a stroke. She did, says Bruno, that's for sure, but she died at THIS seance--afraid? he asks--aren't you willing to go through with it? No she's not, says Quentin, answering for her. I want to answer for myself, insists Alexis. It isn't necessary, Cyrus assures her. It might be fascinating for you, counters Bruno. Quentin snarls, about to attack Bruno again, but Alexis stops him--I'm willing, she says--do you forbid it, Quentin? No, he says, I don't, but I won't participate, and after you finish, Bruno, get out of this house! Yes, agrees Bruno--this should be very interesting. (There are SEVEN people in this episode, Dan went for the big bucks!) They enter the drawing room as Quentin heads upstairs. Will Quentin allow it? asks Liz. Yes, says Bruno. Alexis sits down. That's right, says Bruno-- that's where Angelique sat, right next to Roger. Alexis grins self-consciously. Liz remarks, I never thought we'd be in this room, sitting at this table again. Cyrus will start now, says Sabrina. Yes, says Roger, let's get this over with. He lights the candle with a match. Bruno brings over an empty chair, for Quentin, noting, it's almost exactly as it was before. A storm surges outside. There was a storm that night, too, says Bruno. Alexis, says Liz, are you sure you want to go through with this? Roger asks, "Are you?" Alexis looks at the faces gathered around the table and answers, firmly, yes. We can begin, says Roger. He turns off the lights and sits down with the others. Mike R. Phone appears clearly in the shot above their heads as Cyrus informs them, our hands must touch. Six pairs of hands appear on the table, fingers touching. Cyrus calls to the spirits of the dead, humbly entreating "any of you who wish to speak to us to hear our voices--spirits of the dead, we want to know what lies beyond this life we live--hear me, hear me! If one of you can speak to us, let him use one of us as his voice, give us the knowledge we seek. The spirit who appeared to us before, in this room, the spirit who appeared when I said these words before, come now, do not be afraid, we need your help--spirit, help us save one of us, show us you watch us and you know! Sprit, come to us, come to us--now!" Sabrina begins to moan. Who are you? asks Cyrus, are you the spirit who came to us six months ago. Let me go, she begs, twisting her head back and forth. You must help us, insists Cyrus. Let me go, she implores.She suddenly points to Alexis and says, "She's dying--can't you see, she's dying--murder, murder! MURDER!!!" Alexis collapses to the table.

NOTES: Weird stuff. Who was murdered? What was Sabrina talking about? Why was Alexis so eager to participate? Does she seem to smile like Angelique here? Why did she pass out? Is she the murdered or the murderer? What happened to make Angelique die at the first seance?

It's a lot of mystery, and it sure was fun to watch Bruno bait Quentin. There's no love lost between those two.

Frankly, the way I feel about Sabrina, I say let her stay in a state of shock and not do the seance, but this sure is fascinating to watch.


991 - Cyrus leads Sabrina to her room--you'll be all right, he assures her. No--what did I say? she asks, very upset--tell me? Quentin bursts in--you had to go through with it, he accuses-- Angelique was NOT murdered. Is that what I said? Sabrina asks. She died of a stroke, insists Quentin. What did I mean? wonders Sabrina. Is it possible that whoever spoke through Sabrina knows more about this than we do? asks Cyrus. No, says Quentin, it is not. It's true, says Sabrina, I remember--the voices told me Angelique was murdered! The two men gaze at her fearfully.

Study at Collinwood - Sabrina, upon what evidence do you say Angelique was murdered? asks Quentin. Cyrus kneels and asks, was the voice you heard the same as from the first seance? You believe her! says Quentin disbelievingly. What have I done?--Quentin; I'm sorry, says Sabrina. I'm sorry for you, says Quentin--the voice you heard was imagined, you were in shock. No, she says, I heard it and repeated what I heard. I don't believe in spirits or seances, says Quentin.But others do protests Cyrus, standing, holding Sabrina's hands in his. Exactly, says Quentin, do you think I want or need the torment you've brought to this house? Cyrus apologizes. Alexis is upset and Elizabeth is crying, says Quentin, and all for no reason. Why are you so sure? asks Cyrus. I won't let this talk start, insists Quentin. Too late, says Cyrus, it already has. Quentin angrily stalks out, slamming the door. Cyrus encourages Sabrina, tell me everything you know. I don't remember anything more, she says, I'm not holding anything back, why should I? I don't know, says Cyrus, but you haven't told me everything. I honestly have! says Sabrina. There is something you haven't told me! he persists. She stands, walks away, then says, you were always so fascinated with Angelique, she who talked to you about seances and other things; I was jealous of her at first, she was so beautiful and alive--you were attracted to her curiosity about everything, but also knew she was cruel and demanding--just how close were you to Angelique? He gazes at her, stunned. You don't want to answer that, she accuses. He turns away from her, not answering. Did you kill her? she asks. No! he bursts out--how could you think such a thing? I was suddenly afraid, she confesses. You said yesterday you loved me because I was gentle, he reminds her, and if you believe that, you she can't believe I did such a thing. You're so fascinated with evil, she says. I loathe evil! he passionately assures her, and would do anything in the world to get rid of it. You're attracted to evil, she says, fascinated by it, that's why you loathe it so much. It's nonsense, he says, adding, in a shout, "I did not kill Angelique." He gazes heavenward as he says it. I believe you, says Sabrina, but someone else in that room killed Angelique.

Alexis lies on the sofa. Don't be so upset, urges Quentin--have a brandy, it will help you. She is covering her mouth with her hand. He apologizes for all this--I never should have let the seance take place. Angelique was murdered, says Alexis, sitting up. You don't believe that, says Quentin--the girl was in shock, she had an attack of hysteria! How can you explain it away so easily? she asks. You can't take it seriously, he says. "Can't I, Quentin?" she asks. I don't believe voices from the dead know more than we do, he says. Was there an autopsy after my sister's death? asks Alexis. Yes, he says, kneeling behind the sofa--she died of a stroke, a ruptured blood vessel in the brain. She was too young for that, didn't you think so? asks Alexis. Everyone thought so, says Quentin. But everyone accepted it, notes Alexis. Yes, says Quentin. Even our father? asks Alexis. He had no choice, says Quentin. My father always makes choices, says Alexis, even if there isn't one--he's a very suspicious man--didn't he come running right away? Yes, says Quentin, he loved your sister very much. That isn't something you have to tell me, says Alexis bitterly, I was the one he didn't love. She rises and walks away, gaining back her composure. Who could have killed her? asks Alexis. No one, insists Quentin. Everyone at that table loved her, is that what you're telling me? she demands. I told you Angelique was not murdered, says Quentin. Yes she was! says Alexis insistently, she was murdered! You reminded me very much of her, the way you said that, says Quentin--the way you moved your head, just the way she used to when she got angry. Was she angry a lot? queries Alexis, with you? I won't discuss Angelique and me, he says. Why not? Alexis asks, you know I can't make up my mind anymore if you still love her! It concerns no one but me! asserts Quentin. Who could have killed her? shouts Alexis. No one! he repeats. She asks again.He yells, you must stop asking that! I won't stop, she assures him, nor will I leave Collinsport until I find out. All right! he says, furious, try and find out, but I'm telling you, there's no truth in it. He leaves, closing the double doors.

Foyer - Quentin runs into Daniel, who is coming downstairs--why is Cousin Elizabeth is crying? Asks the boy--did Maggie do something to hurt her? No, answers Quentin, Maggie isn't here--she went away for a while. But she's coming back, states Daniel, disappointed. Yes, says Quentin, of course. When? asks Daniel. I don't know, says Quentin--go up to bed. You haven't told me what's happened to her, Daniel reminds him. There's no need to know that, says Quentin, I'll walk you upstairs. Alexis exits the drawing room. Daniel runs into her arms, joy on his face. "Mother!" he cries, embracing her desperately--"Mother, you've come back!" Quentin and Alexis, upset, exchange looks.

I knew you'd come back! cries Daniel, that you weren't dead. Quentin sternly informs his son, this woman is your Aunt Alexis, your mother's sister who arrived from Europe while you were out of town. Alexis looks at him pityingly. Can't you see? Daniel asks pleadingly.We all know she resembles your mother a great deal, says Quentin, after all, she is her twin. Her twin? asks Daniel--It's not true--why are you lying? I'm not, she assures him. You're both lying! accuses Daniel--why?--you'll never tell me, you don't want to admit it--I don't understand, you'll never tell me! He runs upstairs. Alexis and Quentin verbally tussle over who will go speak to him, and Alexis wins. She hurries upstairs while Quentin looks miserable.

Study - Sabrina tells Cyrus, I think it's time to go home. Not until you feel better, he insists. You've been so patient with me, how worrisome I've been to you, she says. He turns away. What's wrong? she asks. I understand, he says. How can you, when I don't even understand myself? she says--I remember seeing that figure in my room, before I came here, that's the last thing I remember. Do you remember anything more about him? asks Cyrus, his voice trembling. No, she says, and then--I can see the woods around this house, it was as if I were in some other kind of life--why did I come here, if you understand, please tell me! How did you feel when that figure broke into your room? he asks. I was terrified, she says, there was such a feeling of EVIL about him, it was as if I were paralyzed--why did he come to my room? Don't think about it, he urges. But you asked me about it, she reminds him. I know, he says, I just hate talking about it--the police followed him and you're going to hear about this, Sabrina, and they saw him enter my house. Then it's someone who has a grudge against us, she suggests. No, says Cyrus. It must be, she says--did he take anything? No, says Cyrus--we will never see or hear from him again! How do you know that? she asks--how can you tell--why would he take my engagement ring when he took nothing from your lab? Cyrus, evasive, says I don't know! We're still engaged, she insists, taking his arm. I'll find the ring, I know it, says Cyrus. Even without the ring, she says, turning his head, her hand on his face, does it make a difference, what's happened tonight?--does it make a difference?--after all, it should, I'm your fiancee, who goes into shock and behaves most strange. They clasp hands. Your mind went from evil to evil, says Cyrus. That's odd enough! She insists. No, he says. What if it happens again? she asks. It won't, he assures her-- just leave everything to me, and don't worry about anything anymore. He hugs her and adds, I'm going to make sure you're never frightened like this again.

Daniel opens the window in his room, looking out at the storm. Alexis enters. She leans in close to him and asks, did you love your mother very much? Yes, he says, and we fought, too, it wasn't all mushy--but you know that. I know so little about you, she says. Don't say that! begs Daniel. You must accept the fact that I am a different person, says Alexis, perhaps I can be some of the things she was to you. I wish you'd just let me think, he says. Call me Alexis and then I'll go, she says. He makes a face and says again, please let me think. She leaves his room, clearly worried.

Foyer - Cyrus helps Sabrina on with her coat. I should go apologize to Mr. Collins, she says. That's not necessary, he assures her. It is, she says, he'll never forget what happened in this room tonight, he'll remember it as long as I will. He'll never accept it, says Cyrus. But you do, and others will, she says--what have I started? You haven't started anything, it started long ago, he says, at the first seance, it would have come up, someplace, sometime. Sabrina takes his hands and asks what will happen--I want to get out of this house and never come back--there is an evil here, I can feel it still, a terrifying evil here. He leads her away. On the landing, Alexis has overheard their conversation.

On the phone in his lab, Cyrus speaks to someone about the side effect of the ingredient I used in my compound--an unfortunate loss of memory--it doesn't matter what I tested it on, has it happened before? No record of it? Can the synthesis be reworked, eliminating what caused the amnesia?...would you start on it tonight, I'm most interested...good, good, thank you, goodbye. He spots the matchbook from the Eagle Bar on the desk and gazes at it, wondering...

Daniel's room - I don't want to be cruel, Quentin tells his son, but I'm forced to be. Why do you have to pretend she isn't my mother? asks the boy. Quentin clasps Daniel's hands and says, your mother is dead. Daniel turns away, miserable. Quentin apologizes, truly sorry--but you will hurt yourself even more by thinking of Alexis as anything more than your mother's sister--do you understand? Daniel is unresponsive. Think about it, urges Quentin, then turns off the light and leaves his son's room. Daniel lies in bed, looking like he's going to cry.

Eagle Bar - The bartender cleans up. Cyrus comes in and requests a sherry. The bartender says, I don't get much call for it, but we have some--I'll open the bottle--I haven't seen you around here before--first time yet. You didn't see me here last night? Cyrus. If I did, I don't remember, answers the bartender, but that isn't surprising, considering the excitement. What happened, asks Cyrus--did I miss something? A big bruiser came in, says the bartender. Big? Asks Cyrus. Yeah, pockets loaded with money, says the other man. What did he look like? asks Cyrus--maybe I saw him when he left. Tough, rugged, describes the bartender, not the kind of guy you want to meet on an empty street, believe me, or anywhere else--stood right where you are, threw a hundred dollar bill on the bar, wanted an unopened bottle of scotch. And you gave it to him? asks Cyrus. That was mistake number one, says the barkeep, I never saw a man drink like that, he must have had half the bottle, got meaner with every slug. Got meaner, you say? asks Cyrus. Yeah, says the bartender, you know Jake Crowley--I thought he was going to break his arm!--I tell you, Jake's the friendliest guy, he'll talk to anyone, least he would until last night--guess he won't again--one word, and before I knew it, this guy and Jake started arguing, and before I knew it, he had Jake's arm behind his back. That's dreadful, opines Cyrus, disturbed. I came around the bar to break it up, says the bartender, and whammo, I never got hit before that way in my life--three guys jumped him, but he shook them off like they were kids--he grabbed Lefty Blane, threw him through that window!--just got it fixed today. You don't know what caused it? asks Cyrus. I know, says the bartender--this guy, he was nuts--after he threw Lefty, he just stood there and dared anyone to tackle him--no one did, and then he straightened out his coat, and laughed this crazy laugh, and walked out, leaving all that money on the bar, too--I don't want to be here when he comes back for it. I expect that he will not be back, says Cyrus. He will, remarks the bartender. No he won't, says Cyrus determinedly.The bartender gazes at him oddly. Cyrus chuckles and thanks him very much, then wishes him good night. You didn't drink your sherry, says the bartender, holding up the full glass, but Cyrus is gone.

Daniel sleeps, dreaming, twisting his head in his sleep. He hears Angelique's theme song, then his mother calling him. He sits up in bed and asks, are you in this room? She laughs a very RT Angelique giggle. Don't laugh at me, please, begs Daniel--just let me see you again--I thought I saw you today. Did you see me? she asks. Where are you? he asks. Look toward the window, she says. She's standing there. I can't move, he says. Of course you can, she encourages. I can't! he wails, come to me, Mother, please come to me--don't go away, mother...mother! But she's disappeared; all he hears is her giggle. Don't laugh at me, he pleads, twisting against his pillow. Alexis comes in--what's wrong? she asks, sitting on his bed. He awakens--I had a dream, he says. Poor darling, you'll be all right, she assures him, hugging him. He puts his arm around her and says, only you must promise something--that you won't lie to me. Of course not, she says. That you'll always tell me the truth, says Daniel--promise? I promise, she says. I won't tell a soul, I swear, he vows. Tell anyone what? she asks. Remember your promise? he reminds her. She nods. You really are my mother, aren't you? he asks--you really are?--tell me, please! She looks over to see Quentin standing in the doorway, looking very pissed off.

NOTES: OK, so what will Alexis' answer be? Is this Angelique returned from the dead? Will she admit it to her son? They sure are keeping the suspense going!

Cyrus investigates his alter ego's bad habits and swears that big, bad man won't be back again. Sabrina says Cyrus is fascinated by evil, so what are the chances he won't bring forth the beast in himself again?

Quentin is not an appealing person in this storyline. I never realized before how abrasive he is. The other Quentin, in 1897, at least had a sense of fun, of charm--this version is so dreary and humorless!

Sabrina sucks! Sorry, I just had to say it!

Love, Robin.

986 - Stroka does the intro, haltingly, and it's hard to realize who it is.

Alexis, sexy in her sister's nightgown, looks genuinely sad when Quentin realizes his wife has left him. He goes into the drawing room and takes a drink of what looks like strong iced tea. Alexis asks if she's intruding, but he warns he isn't good company. She had no idea Maggie would leave because of her, says Ang--can't everyone see how different she is from her sister? Quentin says the resemblance is a but striking. Only superficial, she assures him, even though twins, they were always so different--she had an inner radiance that was reflected in her every movement--people were enchanted by her. Quentin looks evasive when she says this, like he doesn't believe it, but he says he knows what she means. It wasn't easy being her sister, Alexis assures him, believe me. Quentin says he can imagine, and walks off. Everything was so easy for her, says Alexis, and nothing was easy for me, especially imitating Angelique, and she tried to do that--what woman wouldn't want to be as she was? Quentin has refreshed his drink, almost to the top, and he's downing it quickly. Alexis asks his forgiveness, why didn't he stop her immediately? It's all right, he says. How very deeply you must have loved her, remarks Alexis. Believe me, says Quentin, no one knows more than I how extraordinary he was (said with some sarcasm). It was the last thing I wanted to do when I came downstairs, says Alexis, to talk about her, and here I am. It's all right, says Q, I know you'd want to talk about your sister. Please, she says, I know it's none of my business, but shouldn't you go try and find Maggie. Probably, he says. She's your wife! says Alexis. Quentin doesn't want to talk about it. Of course, says Alexis, then says her talents are the exact opposite her of her sister's--she could do no wrong, whereas... Quentin asks her to forgive his abruptness, it's one of his less attractive qualities. Alexis isn't so sure. He offers to arrange for a car for her--he's sure she'll want one, to go into town and see her father. I want to do that least of all, she says firmly--it's another difference between Angelique and me, she was devoted to our father, got along famously with him, but he and I have not been in contact for years, and I prefer to keep it that way. As you wish, says Quentin. She thanks him for his thoughtfulness, then bids him good night. He says it back, and drinks. He hears a piercing scream. We see Amy standing at the top of the stairs, hands pressed to her mouth, screaming, as she sees Alexis, "It's a ghost! It's her!" Quentin comes into the foyer and orders Amy to stop that. No, it's a ghost, shrieks Amy, can't you see her? Quentin orders her to stop it, this is Angelique's twin, Alexis, stop screaming and come down here. No, says Amy, trembling, I saw her in the casket myself. That's enough, says Quentin, and orders her to come down and meet Alexis. Amy walks slowly downstairs and Quentin introduces Alexis to his cousin Amy. Alexis greets Amy, who says her name isn't Alexis, it's Angelique. Quentin, annoyed, says she must understand--this is Angelique's twin, Alexis, and you're being very rude. Alexis says it's understandable, and offers to go up to her room so Quentin can explain it to Amy. Amy looks frightened as Alexis says good night and apologized for scaring her. She goes upstairs. In a low, frightened voice, Amy tells Quentin that Daniel said she'd come back, but I didn't believe it. Q asks her why she doesn't believe what he's telling her. Because I heard you...oh, I'm sorry, she says, I didn't mean to listen, but I couldn't help it, you and Maggie were talking so loudly, and I didn't like what I heard, anyway--I heard Maggie says she was leaving--did she? Yes, says Quentin. Of course she did, says Amy, but that's because Angelique came back and made her go away. That  isn't the way it happened, insists Quentin. Please, she begs, make Maggie come back, Daniel doesn't like her but I do. Quentin assures her this isn't something she should concern herself with. Please? she begs. He orders her upstairs, to bed, to sleep. But she's up there, says Amy.  Quentin, annoyed, repeats his orders, saying she's too old for this nonsense--go to sleep! All right, she agrees, but again asks him to make Maggie come back. "Amy, good night," he says curtly. Please, all you have to do is ask her and she'll come back! persists Amy--I remember the way she looked at you, she'd do anything that you asked her to do. Quentin looks stricken, but barks another good night, and she finally goes upstairs. He finishes his drink, telling himself he won't go after her, it must be her decision, completely, he will NOT go after her!

9 PM - Quentin looks in an address book and dials a number on the foyer phone. He places a person to person call to Mrs. Maggie Collins. He talks to her sister, Jennifer, asking if Maggie is there. Yes, he's told, but doesn't want to speak to him. Quentin insists, asking how Maggie expects to end this stupid quarrel unless she talks to him. Would it help if he came to New York? What does Maggie want him to do? All right, says Q, and asks Jennifer to tell Maggie he loves her and will be waiting for her. Yes, he says angrily, Alexis is here and is going to stay here until she meets her nephew, Daniel--goodbye. He hangs up.

At the cottage, Bruno asks Cyrus exactly what he's trying to say. Cyrus tells him for a moment he thought Bruno's prophecy would come true--that Angelique would find a way of coming back. (He's in a dark three piece suit and very handsome.) And now you think she has? Asks Bruno. Cyrus says not at all, but what does he think? What can I think? asks Bruno, I haven't even seen this vision of yours. But you're not even curious? asks Cyrus. Is that why you cam here this morning, asks Bruno, so early, to check out my curiosity level? No, I only mentioned it because I thought it might interest you, says Cyrus, but there is something that does interest me. You want me to come to the lab again so you can work on your experiments, asks Bruno. Perhaps later, says Cyrus, I only thought that I need Angelique's address book, the one in the room. Walk in and take it, says Bruno. He tried, says Cyrus, but I was caught by Chris and I don't want to go through that embarrassment again. You want me to steel it for you, is that it? asks Bruno. Cyrus stutters and says he just wanted to borrow it, temporarily. Bruno understands, and will get it for him for a generous fee. Cyrus agrees, but wants that address book badly. Quentin enters. Bruno says he didn't hear him knock. Quentin says he doesn't have to knock at his own door, and asks Cyrus to excuse them, he must speak with Bruno alone. They'll be in touch? Asks Cyrus. Probably, responds Bruno, and the doctor leaves. Quentin gives him one hour to pack his things and get off his property. And I'll give you exactly one minute to get off of mine, retorts Bruno. Please spare me that arrogance and argument, says Quentin. Gladly, says Bruno, holding up a piece of paper, will you kindly take a look at this, I anticipated your visit and kept it ready--a deed signed by your late wife giving me sole possession of this cottage. Quentin snatches it from him and reads it."A true patroness of the arts," says Bruno triumphantly, "in appreciation for all the compositions I dedicated to her--I'm working on one right now, would you like to hear it?" This is a fraud, says Quentin. Sorry, says Bruno, taking it from his hand, no such luck, we're neighbors and you may as well accept it. Quentin vows to have Chris look into this immediately. Bruno tells him Chris is a very clever lawyer and it should take him no time at all to convince Quentin his claim is legitimate. We'll see, promises Quentin. Bruno asks about Quentin's remarkable visitor, and Quentin says no, who told him that? I understand she bears a striking resemblance to Angelique, says Bruno. Twins usually do resembles each other, says Q, or haven't you heard? Twin--of Angelique's? asks Bruno. Don't make yourself too comfortable here, advises Quentin, until Chris has had a chance to investigate that deed, and in the meantime, what happens at the house--who comes, who goes--is of no concern to you. Oh, Quentin, says Bruno, does that include your wife--I understand she left last night. Quentin slams the door as he exits. A twin, speculates Bruno aloud, this I've got to see.

Amy sits by the fire at Collinwood and answers the knock at the door. It's Bruno, who walks wordlessly past her. She's upstairs in her room, says Amy. Who? asks Bruno. Quentin says her name is Alexis, says Amy. How do you know who I came to see? Asks Bruno. You always used to to see her, says Amy. Alexis? Asks Bruno, I've never even met her. Oh, yes you have, go upstairs, says Amy, go upstairs, you'll see--I wonder if they'll make YOU call her Alexis, too. And without another word to the spooky/spooked Amy, Bruno heads upstairs.

Alexis sits at the piano in Angelique's room, and invites Bruno in at his knock. He stares at her, telling her to keep playing. She asks what he's doing here. Until a moment ago, he says, clearly shocked, he was listening to a song of his--his name is Bruno. Oh, of course, I'm sorry, I didn't know--I like your music very much. Thank you, he says, kissing her proffered hand, it was one of your sister's favorites. He holds her hand, and she finally takes it away, saying she can understand why. Bruno says there was one passage where she invariably made a mistake--would she mind giving it a try?--perhaps she's better than he sister. Play the music in front of the composer? Asks Alexis, I'd make nothing but mistakes, I'd be so nervous. Try? he asks. She says it would be useless. He seems dangerously close to kissing her, and she asks if he wants anything else, given that he's staring at her. Bruno apologizes, there's a book he wanted to borrow. All the books are downstairs in the library, she tells him. This is a special book, says Bruno, it belonged to your sister, her address book, and there are some numbers in there of friends they had in common--would she mind his borrowing it? Alexis says no, she supposes not, it seems that the two of them were close, very dear friends, hmm? Very, he says, and finds the address book in the first drawer he checks. Are you sure you don't mind? Asks Bruno. As long as you think Angelique wouldn't have minded, says Alexis. Bruno is sure she wouldn't have, at all--he forgot to welcome her to Collinwood--he lives in the cottage on the estate; her sister deeded him the property before she died--please, visit me anytime you'd like. Alexis thanks him and smiles--she'll be here a few days, Daniel is away, and she wanted to stay and meet him. Of course, says Bruno, he is your nephew, and very much your sister's son, as you will soon see. Where have you been, he asks, that he's never had the pleasure of meeting her before? Living in Florence for the past few years, she says, I suppose I'll go back to New York after I leave here. Back to New York? He asks, I'm confused--you said you're from Florence, but going back to New York. I sailed from Genoa, she says, and I docked in New York before coming here, she explains. Of course, he says, then asks how the weather was in New York yesterday? The day before, she says hesitantly. I suppose it was warmer there than here? asks Bruno. Yes, she agrees, but not much. We'll catch up, he says, we always do. She rises from lounge in which she'd been sitting and goes over to look at the cover of the music score she'd been playing. The cover says, ODE TO ANGELIQUE, and under a photo of Bruno is says Bruno Hess.

On the phone in the drawing room, Quentin tells Chris it's got to be a fraud, or forgery or something--Angelique couldn't do a thing like that--is he positive?--they can't do anything? Stick to it, they must get that parasite off his property! Amy enters and hands him a telegram that came while he was out. He asks who opened it, and she doesn't answer at first, then says she couldn't help it, she thought it was from Maggie and wanted to know if she was coming back--she says she isn't sure, that she wants time to think it over. Quentin says what she did was very wrong. She knows, but what about what SHE did, Alexis or whoever she is--Maggie may not come back because of her, at least I'm not as bad as she is. Quentin is speechless.

Bruno plays his music at the cottage. Cyrus looks at the address book, and Bruno comments that now he can go on with that experiment of his. Possibly, says Cyrus, smiling, thanking him profusely. Don't thank me, thank a certain young lady, says Bruno. You saw her? asks Cyrus, what was your impression. She looks very much like Angelique, her twin sister, says Bruno. That's who she is? asks Cyrus.Who else could she be? asks Bruno. Cyrus is sure he doesn't know--does Bruno? Of course not, says Bruno. Cyrus thanks him for the book again, then leaves. Bruno stops playing, and picks up the phone. He asks the operator to get him the number of a New York travel agency, one that would have information about ships docking on Genoa this past week.

Quentin listens outside the door of Angelique's room, hearing Alexis play the song. He stands there a moment, then realizes she's crying. He sits on the bench beside her. I don't know, she says, maybe it's the music or this room, her room, she doesn't know. He puts his hand under her chin and says, "I understand"--and then he kisses her.

NOTES: What's with the kiss? I guess it's in sympathy--or does Quentin think he's kissing Angelique?

Looks like Bruno won't be ousted from the cottage so easily. He seems much like the other Bruno, but not so murderous.

Amy did get irritating, not believing Quentin's story about Alexis.  Then again, she is a little girl.


987 - Alexis draws back from the kiss, murmuring, "Quentin, please."  He apologizes--I didn't know what came over me. Yes you did, she says, rising from the piano bench, and so do I--you thought I was Angelique, just like everyone else--it's been that way my entire life, as if I didn't even exist, she sobs, staring at the portrait--"But I did think that YOU, at least..."No, he says, it can't be. Why shouldn't you be like everyone else? she asks-- Julia Hoffman and Amy--they  both think I'm some kind of ghost, and the way Bruno acted this afternoon...  Bruno? asks Quentin. Yes, he was here, mostly out of curiosity, I'm sure, says Alexis. Bruno was here in this room? asks Quentin. He heard me playing a song of his, explains Alexis, and came in with all kinds of excuses, but what he really wanted to do was see if I was real!  He won't come in here again, I promise you that, says Quentin. It really doesn't matter, says Alexis, I won't be here, I'm leaving--I really believed that you, of all people, believed who and what I was, but now...  But I do, protests Quentin, I do--you're Alexis, and what I did just a moment ago was very stupid and meaningless--please forgive me and tell me you'll stay. I really shouldn't, she says, there's been nothing but trouble ever since I've arrived, I even caused your wife to leave you.  It wasn't your fault Maggie left, he says. I wish I could believe that, but I still feel I shouldn't be here, says Alexis--maybe if I leave, Maggie will come back. I got a telegram from Maggie earlier today, says Quentin--she wants to think things through before deciding anything. With me gone, it would be easier for her to decide, says Alexis. Quentin looks odd. I'll miss not meeting Daniel, she says--I've looked forward to it so much, I can't tell you. She picks up the photo of Daniel and Quentin, gazing wistfully at it. You must stay, he insists, you have to--it would mean so much to Daniel-- please. Not nearly as much as it would mean to me, says Alexis--he's such a handsome boy. Then it's settled, says Quentin, you'll stay, and I give you my word that what happened just now never happens again, and as for Amy and Hoffman, I'll see to it that...  Alexis interrupts him--I don't want anything said to them, insists Alexis, it would make everything more difficult. I will talk to Bruno, Quentin assures her. Is he really as unpleasant as he seems? asks Alexis. Unpleasant isn't nearly the word to describe him, Quentin assures her--he has no idea neither he nor his curiosity will bother you. You're very kind, she says.  Then you'll stay? he asks eagerly.  Yes, she says, smiling.

We see the cute white rabbit in his cage. Bruno asks Sabrina, Cyrus' assistant, do you always wear that stiff white coat? She grins, putting away a book, and says, it suits my personality. I don't believe that for a minute, flirts Bruno. Pity, she responds. I bet you'd look better in something soft and silky, he says, touching her back. You won't have the opportunity to find out one way or another, she says archly. I'd like to bet on that, too, he says, and puts his arms around her. Cyrus comes downstairs and sharply calls, "Sabrina!"  Then he mildly adds, I'm expecting a package and would like you to let me know when it arrives. Bruno fingers his medallion guiltily.  Of course, answers Sabrina. Caught, Bruno is quiet for a moment.  Cyrus returns to his desk. Sometimes, says Bruno, I don't understand you at all. I'm not a complicated person, says Cyrus. Are you really this cool, or don't you care? asks Bruno. About Sabrina? asks Cyrus--oh, yes, I care very much. Then why wasn't there any blow-up--you saw what was happening? says Bruno. It didn't mean anything, says Cyrus.  How can you say that, knowing me the way you do? asks Bruno. I say that knowing SABRINA the way I do, says Cyrus. Don't forget, I'm a man with a lot of tricks, and I play the game pretty ruthlessly, warns Bruno. I know, says Cyrus, that's why I'm interested in you. He ties a rubber tube around Bruno's upper arm. Is that why you want to take samples of my blood? asks Bruno--you think ruthlessness is a blood factor?  We know so much about man's chemistry, says Cyrus, taking a hypo into his hand, and yet we know so little, so very little--he stabs Bruno's arm. Bruno winces--what is it you want to know? he asks. More, says Cyrus. More what? queries Bruno. Just more, says Cyrus. What makes me such an invaluable part of this experiment? queries Bruno. Do you think yourself invaluable? asks Cyrus. Why else do you pay me as much as you do? questions Bruno--you could get someone else. Patronizing the arts, says Cyrus, holding up the blood-filled hypo, after all, you are a composer, aren't you? Bruno rolls down his sleeve--I guess you aren't going to tell me anything, he says. Do I give that impression? asks Cyrus. Definitely, says Bruno sourly. Good, that's exactly the one I wanted to give, says Cyrus. I'm beginning to understand why you and Sabrina hit it off as well as you do, remarks Bruno--you two are very much alike, one thing on the outside, but inside, who knows? Cyrus just looks at him, not revealing anything.

We see pretty-colored fluids dancing in tubes, bottles and vials as Cyrus putters around.  What would you say, asks Bruno, if I told you I was conducting an experiment of my own? Good luck, says Cyrus, no curiosity at all on my part--as you've no doubt observed, I get absorbed with my own work. What if I tell you my experiment dealt with something that might interest you? asks Bruno, smoking a cigarette. Cyrus, adjusting something in his pipes, says, I doubt the two of us would be interested in the same thing. Aren't you fascinated with the occult? asks Bruno. Cyrus looks at him--my interests are purely scientific, he says, and the only thing I want to do is gain knowledge for the betterment of mankind. Maybe my motives aren't quite as pure, admits Bruno, but what if I told you MY experiment dealt with the dead coming back to life? Cyrus shows  interest--I ask if this came about because of your interest in Angelique's sister--do you really believe that Angelique will return?  Since you won't tell me about your experiments, I won't reveal anything about mine, says Bruno. Sabrina comes downstairs--Cyrus, the package arrived, but the messenger wants to see you himself. Tell him you're quite qualified to take it, says Cyrus. I did, says Sabrina, but he still insists on seeing you. Cyrus objects--I can't say hello to every messenger who comes by. The "messenger" appears in the lab--I'm Horace Gladstone, he says. You're Horace Gladstone? asks Cyrus, shocked. I thought you'd be interested in meeting me, says Gladstone. (He played Mr. Strack, folks.)  Excuse us, Cyrus asks Bruno and Sabrina--I'd like to speak to Gladstone alone.  I expect a progress report on my experiment soon, says Bruno--perhaps you will have one, too--"See you honey," Bruno calls to Sabrina in parting. She looks at him coldly. Bruno opens the door to the outside and leaves. Cyrus locks it behind him, then notices Sabrina is still there. You said you wanted me to help clean up, she says defensively.  After I've spoken to Mr. Gladstone, insists Cyrus. She goes upstairs.  Mr. Gladstone, I don't think it necessary for you to come all the way from Boston for this, says Cyrus. True, agrees Horace, but I was so very interested in meeting the man who is working with this--he holds up the package in his hand--particularly that chemical synthesis. If it's my credentials you're concerned about, says Cyrus, they're quite readily available. No, says Gladstone, I may not be as active as I used to be in the fields of chemistry and science, but I always retained a particular interest in the possibilities of this synthesis--its inclusion in your work aroused my curiosity, especially as to the aims of the experiment.  I'm sorry, says Cyrus, I don't discuss my work with anyone. Are you aware of the potency of the synthesis I've just given you? asks Gladstone.  More aware than you are, probably, responds Cyrus.Gladstone stares at him. Cyrus, scared for a moment, thanks Gladstone and dismisses him. One word of warning, says Gladstone--one of the reasons I'm no longer so active is that I felt I was coming closer and closer, even within the limited fields of chemistry, to truths better left unknown. Thank you again, says Cyrus, not commenting on Gladstone's warning--good afternoon. Good afternoon, says Gladstone.  Cyrus takes his package and locks the door after him.

Bruno is checking on the progress of his requested information about ships from Genoa docking in New York, and whether or not Alexis Stokes was onboard. (He stands in a room with only a lamp and phone, totally dark.)  Upon learning there were no such ships the entire week, he is pleased. He thanks the agent for the trouble, then grabs his throat and begins choking.

Alexis is playing his piece on the piano when the choking Bruno bursts in--stop what you're doing to me! he gasps--I know it's you!--you with your spells, he accuses. I don't know what you're talking about, says Alexis. The doll--please take them out before it's too late, he cries, clawing at his throat, sweating. Please leave, she demands, or I'll have to go find Quentin. You know I called the shipping office, don't you? he demands. Shipping office? she asks. Please, stop the pain! he screams. She takes a pair of garden shears from the nearby table, holds them up threateningly and orders him out--you're obviously mad! she wails. The pain stops suddenly, enabling Bruno to breathe. "It's in that drawer, isn't it?" he asks. Again, she says, I don't know what you're talking about, nor do I care--I opened the drawer to get the shears. You never sailed to New York from Genoa, accuses Bruno. I beg your pardon? she says. There have been no ships from Genoa the past week! he says. This is ridiculous, she says, pruning flowers. Why did you lie, why did you have to lie? he demands.  I do not owe you any explanations, she says. I want one anyway, insists Bruno.  Did it occur to you that I might have wealthy friends, and I sailed with them from Genoa to New York on their private yacht? she asks. Private yacht? gulps Bruno. And what interest could it possibly be to you, anyway? she asks, furious, sounding much like Angelique in RT.How dare you accuse me of lying, you don't even know me--are you going to leave, or do I have to call somebody? Bruno agrees to leave--but my experiment isn't over yet--not yet--why don't you want me to know the truth, I don't understand? Growing hysterical, she begs, no more, please, no more, I can't take anymore--please leave me alone?!!  She tosses the pruning shears back in the drawer, looking ready to explode.

You're so quiet, Cyrus, says Sabrina--you don't talk about it to anyone--and so secretive of your notes. You'll know all she needs to, he promises, when the time comes. Sabrina sets up some test tubes--when that will be? she asks. She finds a ring in a jewelry box.  Did you put this here? she asks.  What is it? he asks--yes, I did put the ring there--so you'd find it. It's for me? she asks. I don't know who else it could be for, he teases. She puts the ring on her engagement finger and says, before I put my arms around you and make a fool of myself, it IS an engagement ring, isn't it?  I hope so, he says shyly. Oh, Cyrus, she says, hugging him--darling!  Do you like it? he asks.  I love it, she says--and you.  You know how I feel about you, says Cyrus, but I must warn you, you're very aware of my work habits, and knows how I tend to concentrate heavily on my work. I don't mind, she assures him.  Some women would, he says--my whole life is centered about my work, all my energies and thoughts...  Your devotion to your work is one of the things I like about you, says Sabrina. He grins at her.  Not the only thing, she adds, but one of them.  Gently, she kisses him.  There is something, she says, but stops before telling him--I'm just about to poke my nose where it doesn't belong again. You can tell me, insists Cyrus. Sabrina says, "Your new experiment..."  Oh, we're back to that, says Cyrus, displeased. She instantly backs down--I shouldn't have mentioned it, she says--you have a right to work on anything you choose. Do I? he asks, do I really?  Of course--what a strange question, says Sabrina. Aren't there any limits? asks Cyrus--suppose I was to do something harmful to mankind--something evil. What are you talking about? she asks.  Nothing, says Cyrus, I was just bringing up age-old ethical questions, I tend to do that. I can't imagine you doing something that wouldn't be the best for everyone, says Sabrina.  Yes, he says, that's exactly what I want to do--achieve something that would help everyone in the world, bring out all the yearnings of good undeterred by evil impulses--they destroy and blunt all things in this life--if we could just find a way, we...He notes her shocked face and says, I get carried away, speak in cliches, sorry--shall we get back to work? You weren't just talking about your new experiment, were you? she asks, concerned. My experiment, scoffs Cyrus, heavens, no, have you ever heard such a long list of abstractions in all your life?--mankind, good, evil, darling--I'm a scientist, I deal with things that are scientifically obtainable--and no one's ever found an abstraction in a test tube, at least, not yet--good, evil, I'll never find that here.

Bruno goes to the cemetery and asks, are you here or someplace else?--I have to know! He enters the Collins mausoleum, which has the tombstone of Angelique Collins, 1939-1969, up on the wall. He begins to hammer away at it, intent on removing it.

NOTES: Gladstone is a very creepy, disreputable character, and will appear again in this storyline.

Bruno really scared Alexis, and if she is not Angelique, one can understand her ire.  When she got angry at Bruno today, she seemed much like the Angelique we know in RT.

They keep letting us know Barnabas is Will's prisoner, showing us the coffin to remind us, and today, even the portrait. We know he's gone for a loooong time, stop rubbing it in, damn it!

Cyrus talks very long-windedly and scientifically, I was having a hard time getting my mind around what he was saying after my long workday.  He sounds like a rocket scientist, doesn't he?

Sabrina is back, and I can't stand her in either timeline. She's engaged to Cyrus, who sure does know how to surprise a gal with an engagement ring--no getting down on one knee for Cyrus! He leaves it amongst the test tubes!

Love, Robin

982 - Maggie examines the note, figuring it's some monstrous joke--Angelique is dead! (I guess this Collinwood isn't much different from the Regular Time one.) Hoffman enters--has Mr. Collins returned yet? she asks. No, he hasn't, says Maggie sadly. Perhaps you'd like me to take you to your room, suggests Hoffman. That would be nice, Maggie answers. Hoffman points out, you  haven't eaten.  The young woman says, I'm not hungry.  Your rooms face the sea, says Hoffman. Did hers--Angelique? asks Maggie. No, replies Hoffman, grinning secretly--I'm sorry if I did something wrong, but these arrangements never upset Mr. Collins before. (I adore the bitch Grayson Hall plays in this storyline, she's a master manipulator and such a joy to watch in action.)

Old House - Will won't return until the Eagle closes, Carolyn tells Barnabas--that's the bar in the village--he spends more time there than here--thank goodness. (Does she hate her husband or his behavior? It's a fascinating relationship.)  It might not be wise for me to stay here, opines Barnabas. Now that we have the coffin here, you'll be safe, she assures him. The front door opens; Will enters, looking very dapper. Stunned at the sight of his subject sprung to life, he says to Barnabas, turn around!   When the vampire stands in profile, Will, pointing rudely at him, says it's like him, in my book!  It's Barnabas Collins, says Carolyn.  I KNOW THAT! shouts Will. Barnabas smoothly jumps in and says, I'm a descendant of the man you wrote so brilliantly about. Oh, says Will, you've read my book? Yes, I came on a pilgrimage to see you, says Barn, stroking the artist's ego. Did you hear that, Carolyn? asks Will--this calls for a little drink. Does it, Will? asks Carolyn bitterly. Will spies a copy of his book on the table. Look here, he says, you've brought a copy! Barnabas looks at Carolyn. What a difference this is going to make, exults Will--did my wife tell you we've been looking for one? It's like seeing an old friend! Noticing a page has been torn out, he is disgusted--the way people treat books, look, the pages are torn--oh!  Again, Carolyn and Barnabas exchange significant looks. Not long ago, either, says Will--I wish it were my fingers that were chopped off!  Carolyn darts forward--if that book was so important to you, she says, you wouldn't have lost your last copy. Drink in hand, he sighs, "Oh, honey, I'm a loser,"--you know, some people, everything sticks to, like fame and fortune, me, I'm just the opposite." He drinks, looking morose--"I can't even keep the bottle full.  When Carolyn turns away, he tries to reach for her, but she avoids him. Come on, it's a joke, he says. It's not a very funny one, she retorts--I've rented a room to Barnabas. Rent a room to a relative? asks Will--that's nonsense. He wants to pay us MONEY, Will, she says. (Where is Barnabas getting his money now; the family jewels surely aren't available in parallel time for his use, and since his departure was rather sudden, he didn't think to grab some jewelry to pave his way.)  I won't hear of it, insists Will.  It would do me a great favor; says Barnabas--I don't know how long I'm staying, but would like to spend my time in the house the original Barnabas loved so well. Oh, well, says Will, if you put it that way, but I must warn you, we like our privacy--I'm writing a new book. Carolyn bursts into cruel, lengthy laughter.Defensively, Will says, "Well I am, this week, definitely. So you see, I'm going to be pretty busy," he adds, taking another slug of his drink. I'll keep out of your way, Barnabas promises.  Everything is going to work out just fine, says Will. Barnabas looks like he wonders what kind of family he's gotten himself involved with--all this domestic chaos!

Maggie, in her designated room, looks depressed. Quentin enters--I don't want you to be angry, he says. Would you understand if I were? she asks--I don't want you to be angry, either. They hold hands. Why did you make that scene? she asks--if you don't tell me what I did wrong, I'll never know. It wasn't you, he says, holding her shoulders, it was me--accept that--me--I was wrong. How were you wrong? she asks. Don't ask me that, he says, looking pained.We're married, she reminds him, I have the right to ask. STOP IT! he cries, please. All right, she says, it's late, let's just go to bed (and one gets the distinct impression there will be no lovemaking in their Collinwood bed.)

Down in the cellar, standing by the open coffin, Barnabas tells Carolyn, I'm worried about that book. He's drunk, says Carolyn, and will remember nothing in the morning. (Although he might wonder where his cousin's room is.)  I'm not so sure, says Barnabas. I know him, you must see that, she says. Guard me carefully, says Barnabas--I'm in a an unfamiliar time without any touchstones, I'll need all the help I can get.

Collinwood - day - Maggie sits in the drawing room, writing her sister.  Hoffman enters to show Maggie the weeks' menus--if you want to make any changes...  I'm sure they're all right, Maggie assures her.  I wish you would look at them, urges Hoffman--to avoid any unpleasant scenes. Maggie takes the paper in her hand and says all right, I'll be happy to. Did you find the rooms comfortable? asks Hoffman. Yes, says Maggie--thank you. You can see other suites and choose one of them, the housekeeper suggests, looking like he has an ulterior motive for everything she's saying. No, says Maggie, it seemed fine to me.  And Mr. Collins? asks Hoffman. Yes, I think so, says Maggie. I thought he might resent the change, says Hoffman. Was HER room so different? asks Maggie, rising from the desk. It was beautiful! Hoffman rhapsodizes--the most beautiful in the house, I think. Where is her room? Maggie asks.  The east wing, of course, says Hoffman, the sun seems so much brighter there.Maggie looks unsure. Is there anything else I can tell you? asks Hoffman.  I wondered about Daniel, says Maggie--it seems to me if there's a young boy in the house, we should be able to hear him. Master Daniel isn't feeling well today, says Hoffman. I want to go see him, says Maggie.  He's resting and shouldn't be disturbed, says Hoffman. Quentin enters--I see you are settling everything, he says, pleased--I must go to the cannery for a couple of hours.  This displeases Maggie.  I have to go to work, insists Quentin, I've been away too long. I know, says Maggie, but I wanted to go over some menus with you. With me? he asks, amused--you and Hoffman work that out. The latter smiles, thin-lipped, happy at the bride's faux pas. There will be no further mistakes, Hoffman assures him. I'll see you about six, Quentin tells his bride--investigate the house and the rest of the grounds--there's lots you haven't seen. Maggie smiles and says, I know that.  Hoffman asks to see Quentin for a moment, and the two of them leave Maggie alone in the drawing room, Hoffman closing the doors on the new bride. Inside, Maggie listens at the door. In the foyer, Hoffman asks Quentin, do you think we should have Dr. Reeves look at Daniel? They both agree that isn't necessary. Who told him I was married? asks Quentin sharply. Mrs. Stoddard, sir, says Hoffman.  Before Daniel even got my letter? he demands. Yes, after the cable came, says Hoffman. I see, says Quentin--I must have a long talk with her. Hoffman smiles, pleased at making further trouble.

Drawing room - I wonder why Quentin didn't tell me Daniel resents me, ponders Maggie--I'd have understood--why didn't he tell me?

Old House - Will comes downstairs and pours a drink. Carolyn, wearing a robe, says, "Ah the hero--have you written much today?"  Shut up, he says--you know I just got up. With a hangover, she observes. He takes ore booze. Getting started again? he asks. Are you? she shoots back--that's more the question. I just looked in on our guest, Will says, sitting on the sofa. He's been gone all night, she says. Yes, and his bed not slept in, adds Will. Because I made it earlier, she says. Will holds the booze glass pressed against his chin--it's the same book I gave Angelique, muses Will, the one Hoffman threw out of that room. Carolyn fingers her throat. The one no one could find, says Will--it smells of her perfume. She has been dead six months, she reminds him. The room still smells of her fragrance, says Will. Carolyn wanders to the mantel.  How did Barnabas get the book? demands Will--has he been here longer than he says he has? He came here last night, she insists, now don't ask me anymore questions--I have a migraine. I'm sorry, says Will--I thought we'd go to the big house, meet the new mistress--it would be good for you to get out. Carolyn whirls on him and demands, when did you know what was good for me?  Will, still drinking, says, I'll go alone--yes, maybe I'll see Mr. Barnabas Collins--I'm looking forward to a chat with him. Will Loomis, she says sharply, shaking her head, don't you start anything with him--we need that money he pays us--and don't you forget it!

Hoping to compare the handwriting to the note she received, Maggie searches the desk for something Angelique wrote.  Hoffman enters bearing a tea tray.  Mrs. Collins, she says, I don't know who will be coming here today. Startled, Maggie rises from the desk. Aren't you going to continue the tradition? asks Hoffman--at tea time, anyone from the estate was invited to stop in. What a charming idea, exclaims Maggie. Mrs. Collins thought of that, says Hoffman. They are interrupted by Will, calling merrily, "Hello!" That would be Mr. Loomis, I think, notes Hoffman. Will enters--well, there you are, he says, don't introduce me, Hoffman, "I knew her daddy, good fellow, fine painter, we spent so many nights here--I'm so glad you're here at Collinwood." Maggie pours him a cup of tea, but Hoffman has already presented him with a glass of booze. Will shakes a finger at the teacup--it's bad for you, he says--tannic acid, very bad. Maggie looks stricken and embarrassed at her social faux pas.  Hoffman will tell you how I feel about tea, says Will.  He and the housekeeper share a laugh, making Maggie feel like a fool. Indeed I do, says Hoffman, and leaves the room. I wanted to catch Maggie alone, whispers Will--it's coming from a stranger, but sometimes, that's best. She looks scared. Don't trust her at all, warns Will, watch her, carefully. Maggie nods, afraid.

I know what it's like to need a friend in this house, Will tells Maggie--I owe Sam a few favors and am perfectly willing to let you collect them--has she given you any trouble yet?  No, says Maggie, I don't know... This house is full of hornets, warns Will, you've got to step carefully. I've only met Mrs. Stoddard, says Maggie.  Will, sipping his drink, says, she'll smile at you, your husband pays her bills, don't think I'm just a gossiping old writer, I am that, but more, too. Maggie stops him.  I have a note I haven't shown to anyone, even Quentin, admits Maggie, but I don't know what it means. She lets him read it. I never thought I'd see her handwriting again, says Will softly.  She's dead, protests Maggie, upset, and I don't believe in ghosts.  This is the house for them, asserts Will, still staring raptly at the note.

Barnabas, after rising from his coffin, contemplates to himself, I don't want to harm anyone, despite the failure of my hope that by transcending time, I could change what I am. Carolyn comes downstairs. I've been waiting all day for you to rise, she says, pulling off her scarf. Carolyn, he murmurs, trying to turn away from her. You need me now, don't you? she asks, her voice hoarse. He turns away.  "You can't start this and then just stop!" she cries, her voice rising with hysteria, "I can't let you do that, do you understand me, I won't let you, I'll tell Will everything I swear I will--you can't forget about me now, I'll tell, I'll TELL!"  Barnabas, goaded, tortured and miserable, grabs her into his arms, pulls her hair out of the way and gives her what she wants, sinking his fangs into her willing throat.

Maggie stands outside the east wing door. HER room, she thinks to herself, I must find HER room. She hears Hoffman's voice issuing from behind the double doors, cackling, "You should have seen her, pouring tea for Will Loomis!--the look on his face--she has so much to learn!"  Maggie opens the door and calls Hoffman, who exits the room and closes the doors behind her. I was talking to one of the chambermaids, explains Hoffman, you shouldn't be in this part of the house, we must clean it for her--it's almost dinnertime, I assume you are going to change--and, talking incessantly, she leads Maggie away from Angelique's room.

Old House - Will drinks. (I guess it's replaced his writing career.)  She's as pretty a girl as you'd want to see, says Will of Maggie--Carolyn, you're not listening to me. Weak, Carolyn says, I'm fine--leave me alone. She didn't know anything about your cousin Barnabas, not a thing, muses Will aloud--funny business, you'd think he'd have gone to the big house before he came here, I mean, I sure would have. Carolyn passes out on the sofa, exposing her bare neck.  Carolyn! calls Will.  When he spots the fang marks; his mouth drops open in astonishment.

Dawn - The cock crows. Barnabas goes downstairs to his coffin, opens it. "Not yet, Mr. Collins," says Will from a corner, holding up a cross. Barnabas cries out and darts away from the sight. The books are right, says Will, they tell you what to do even if vampires are legendary. Only Carolyn and I know they're not, don't we, Mr. Collins?--only she can't help you. Let me die, begs Barnabas. Oh I should, says Will, but I used to be a reporter--now, he says, his affable manner changing, his voice harsh, where did you come from--tell me?  Another band of time, reveals Barnabas, humiliated and defenseless, his hands pressed against his coffin--another time band exists, with another Will Loomis, another Carolyn, all living on this estate. You exist in this other time? demands Will. As I am, says Barnabas--you see I am the first Barnabas Collins, the man you've written about, son of Joshua. Will is intrigued. Barn explains about the room he discovered at Collinwood, Angelique's room--I watched you the day Julia threw the book into the hall--the book came from your time to mine, I picked it up. A book, says Will, at last! What are you going to do with me? asks Barnabas.I need you, Mr. Collins, says Will, I need you, you're going to make me my fortune--with a book!  Will opens the coffin. "A cross!" screams Barnabas.  Indeed, one has been affixed to the inside lid of his coffin. He turns away. I'm taking no chances, says Will--get in, he orders, then adds, with joy on his face, "You're going to be my prisoner, my hope, my salvation--yes, he says, my salvation."  He forces Barnabas into his coffin, imprisoning him.  Will then secures the coffin with chains, ensuring the vampire cannot escape.

NOTES: We won't be seeing Jonathan Frid for a long time.  A couple of weeks at two eps per day. He's off making HOUSE OF DARK SHADOWS, and soon, we'll see an exodus of other characters as they leave to take part in the movie. Selby, Pennock and Parker carry much of 1970PT while everyone else goes to the Tarrytown movie set.

Will has substituted drinking for writing, apparently, and his wife is very bitter about it. They have money problems, and now Will has figured to write INTERVIEW WITH A VAMPIRE, which I bet inspired Anne Rice's tale years later. That's how we won't see Barnabas for a long time; Will is interviewing him, off-camera, for the duration of the HODS movie shoot.

Poor Maggie, Hoffman is playing cruel games with her, and making fun of her as she talks to Angelique's portrait--or is it Angelique? Who sent Maggie that note? Is Quentin's dead wife absolutely dead, or only partly?

Love it when Carolyn goads the reluctant Barnabas into biting her. It was pretty hot.  She acted as if he'd addicted her to his wondrous lovemaking and was attempting to take it away!

Imagine Barnabas locked away in the coffin, only let out to be interviewed for Will's book. It always bugged me, a terrifying replay of that horrible slice of his life he endured for nearly 200 years after his father did the same--but at least here, he gets out once in a while--to be humiliated by Will asking intimate questions about his life.


983 - We see a chained coffin in which Barnabas lies, trapped. We will see it a lot--but not Barnabas.

Maggie, her hair very long (a fall?) paces the drawing room. Liz, looking calculating, bids her a warm good morning. Maggie greets her back. Call me Elizabeth, urges Liz--do you want to see the children now?  Do you know where Quentin is?--I'd like to have him when I meet the kids. I advise you to handle this alone, says Liz--after all, you are mistress of Collinwood, and Daniel must realize that sooner or later. Maggie looks unsure.

Daniel's room - Amy tells Daniel, I'm glad you've decided to meet our stepmother.  Daniel, dressed in a suit and tie, his voice impossibly deep, says, I'm going to do more than just meet her, I'm going to find a way to driver her out of this house!  He tries valiantly to break the comb he was using on his hair, but it refuses to break.

Amy chastises him--that's a terrible thing to say!  I mean it, insists Daniel--I want Maggie out of this house!  If you father married her, she must be a very nice person, says Amy.  That's not why he married her, says Daniel--he did it because he was lonely, "and still loves my mother very much, I know that." That doesn't mean you can't try to be friendly, says Amy. She's no friend of mine, David retorts, she never will be--she'll be sorry she ever came into this house!

Maggie, sitting by the fire in the drawing room, nervously twists her hands. Quentin and Liz enter.  What has Liz has been telling you? he asks. I'm just having a bad case of nerves, answers Maggie--I don't want to be a disappointment to the children. What makes you think you will be? he asks, taking her hands (he's wearing a DREADFUL 70's sports jacket, burnt orange and black, call the Fashion Police!)  I don't know, says Maggie, this is all so new, it could be a terrible adjustment for the children, somebody new. Look, says Quentin, in the first place, only one of them must make an adjustment, Daniel, and I'm sure he'll do that without any problem. He smiles. Come over, sit down and relax, it will be over before you know it--Elizabeth, stay with Maggie while I get the children. Chris sees Quentin exiting the drawing room and heartily shakes his hand, welcoming him home. They smile at each other.  Come meet the new Mrs. Collins, urges Quentin.  He introduces Maggie to Chris Collins--my cousin, my lawyer--and he also manages the estate for me. Maggie smiles at Chris and shakes his hand.  He welcomes her to Collinwood. Odd for you to be here, remarks Quentin, you're usually chained to your office until two. I need to talk to you, Quentin, about Bruno, says Chris. I'm not in the mood for any crises, says Q, but he frowns at hearing this, becoming angry--what about him?  He's come back, says Chris. I didn't know, says Quentin. Liz, looking like she'd rather be elsewhere for this discussion, suggests, why don't I up and get the children?  Quentin agrees--Maggie, excuse us, I want to talk about this right now. He closes Maggie, alone, in the drawing room, turns to Chris and demands, know how long Bruno has been here?  Elizabeth discovered him a few days ago, up in Angelique's room, reveals Chris--I don't know who let him in the house, but knowing Bruno, I imagine he let himself in. Maggie listens to the two men talking.Quentin agrees--where he is now?  I went down to the cottage, heard the piano playing, and there was Bruno, says Chris. What did you do about it? demands Quentin. Nothing, says Chris, I wanted to talk to you about it.  There's nothing to discuss; says Quentin, fuming, you know how I feel about Bruno!  I told Bruno he isn't wanted here, says Chris, but he insists Angelique gave him permission to move into the cottage. Quentin whirls around--Angelique is dead! he shouts--he no longer has her benevolence to fall back on--throw him from this estate ASAP--use force if necessary, don't let him take advantage of Angelique's name any longer--you can call me if there are problems. He stalks off, leaving Chris standing there, hands in pockets. Chris looks at the drawing room doors and enters.  I'm sorry for intruding this way and upsetting your her husband, says Chris. Do you think everything will be all right? she asks. Yes, says Chris, I think so--have you seen the estate yet? No, I haven't had a chance to see the house, she says. I'll be glad to do it at your convenience, he promises. Thank you, that would be very kind, she says. He wishes her happiness at Collinwood. I hope I'll have it, too, she says, not sounding at all sure--I want to make him as happy as the first Mrs. Collins did. Chris looks weird. Did I say anything wrong? she asks."Angelique," says Chris, "Angelique became a legend in he own time, a legend would be very difficult for anyone to live with."  He leaves the room, and Maggie, wondering helplessly if she'll ever measure up to Collinwood's former mistress.

Liz goes to Daniel's room, and tells the children, I've come to bring you downstairs. Is SHE there? asks David. Your stepmother is anxious to meet you, she says. My stepmother, says Daniel sarcastically. We're very anxious to meet her, too, says Amy, giving Daniel a look--you've got to meet her sometime. Liz agrees--and it won't be half as bad as you think, Daniel.

Quentin apologizes to Maggie for losing his temper over Bruno. She takes his hands and asks, who is Bruno?--why do you dislike him so much?  Someone I hope you never meet, says Q, the less said about him, the better. There's a knock at the door. That's the children, he says, and goes to answer it. He leads the kids in and introduces Maggie to his son, Daniel, and his favorite girl, Cousin Amy. How do you do? asks Daniel coldly.  I'm very pleased to meet you, says Amy sincerely--what should we call you?  Maggie, she suggests.  Quentin is cool. Daniel gives her dagger-eyes. Quentin and Liz leave them alone to get acquainted, Liz closing the double doors. Let's sit down and get acquainted, Maggie suggests.  Out in the foyer, Liz says, Quentin, you KNOW Daniel won't like Maggie--he was devoted to Angelique. Maggie will have to find a way to win him over, insists Quentin.  I don't envy her, says Liz--I don't envy anyone who must follow in Angelique's footsteps. He shoots her a dirty look.  Do I get a demerit for speaking out of turn? she says sarcastically. "I'll be in my study," he says icily, and leaves.

Amy sits on the sofa with Maggie, who explains, I lived in Collinsport as a little girl, but moved away when I was eight. Off by himself, Daniel works on a puzzle. Maggie goes over to him and says, I'm very glad we've finally met, I need your help--Collinwood is such a big house, and I thought you might be just the person to show me around the house and grounds. Have you met Chris, Amy's brother? Daniel asks.  Oh, yes, I did, she says. He'll show you around the estate, it's part of his job, says Daniel.  If I told Chris I wanted you to show me around...she says.  Chris wouldn't like that, says Daniel intensely--everyone at Collinwood has their own job to do, and does it--that's the way my mother wanted it. I'm sure that won't be changed, says Maggie. My mother used to talk about the order of things, says Daniel--she said Collinwood was like a perfect clock, never stopped running, you could depend on it, live your life by it. Smiling, Maggie says, it's a very lovely sentiment. The clock strikes noon.  Daniel remarks on the house--Maggie, have you met the gardener yet?--every day at noon, my mother used to go talk to the gardener--she took care of all the estate landscaping herself, which is why it's all so beautiful--my mother loved and understood everything that was beautiful, he adds, sounding worshipful. She looks at him quizzically--I know a little about landscaping, she says--I haven't been here long enough to know the routine...  Amy and I should go upstairs and give you a chance to do so, suggests Daniel dismissively--come, Amy.  It was nice meeting you, Maggie, says Amy, and they leave.

Foyer -You must be very proud of that performance, Daniel, says Liz. I knew you'd be standing here, listening, I just knew it, says Daniel.  The kids run upstairs. Liz enters the drawing room.  Maggie leans on the mantel, upset. It's going to take time, comforts Liz, you can't expect him to accept you without some difficulty. It was a total disaster! laments Maggie..The boy is living in the past, has never accepted his mother's death, says Liz--difficult as it may be, you will have to make him accept it. She must have been a very beautiful woman, comments Maggie. That calculating, ugly look on her face, Liz says, yes, that she certainly was. (But that was all?)

Angelique's room - Daniel and Amy enter.  We shouldn't be here, she says. (She calls him David, and I've been writing that name over and over--why didn't they just call him David instead of confusing me?)  Just come in and close the door, he orders. Why are we here? she asks. This is one room in the house where we can talk and no one will hear us, says Daniel, and because I've found a way to get rid of Maggie.

I'm not going to help with your plan because I don't think it's right, protests Amy. They're going through with it, he insists, I don't want her in this house. I'm scared! cries Amy.  You'll be a lot more scared if you don't help me, warns Daniel--and twists her arm behind her back (shades of Nora and Jamison). You're hurting me! she protests.  Are you going to help me? he demands. I'll do it, she says.  He releases her. I'll tell you  what to do in the next room, he says--there's a secret panel. We see Angelique's gorgeous portrait.

Quentin, kneeling at Maggie's feet, asks, how can you call yourself a failure after just one meeting?  She looks away--because it was, she says--Daniel hated me, and I think he always will. That's not true, says Quentin, he doesn't know you, and until he does, of course, it's going to be difficult. He takes her in his arms--you must be determined to show him you're his new friend--he'll come around, believe me!  Are you sure? she asks.  he hugs her--to know you is to love you very much, he says--he'll come around, I've got a lot of confidence in both of you.  He kisses her forehead, comforting her.

Daniel leads Amy to a brick wall--stand right here, he orders--my mother's room is on the other side, and she can hear everything we're saying in there--do you remember the right tune? Yes, she says, and I'll start humming when you say, "Mother please sing to me again." All right, says Daniel, don't forget, and don't change your mind about helping me. I'll be here, don't worry, she says. He leaves.

6:25 - Maggie stands in the drawing room, looking out the window, then paces, and finally settles down in a chair with a magazine. Daniel enters and says hello--I was looking for my father. He's in the study, she says. No he isn't, I just looked there, says Daniel. Sit and talk to me, she asks. No, I want to find him, insists Daniel. He hears the clock striking 6:30--it was silly of me, he says, i know I can't find him at this hour, anyway--my father is there every day at this time, and doesn't like to be disturbed--my mother's room, which he kept exactly as the same as before she left--he goes there, stands in front of her portrait and remembers her--and sometimes he talks to her. Maggie finds this disturbing.  (and the kid is DAMNED creepy.)  Why are you doing this to me?--trying to upset me?--I want us to be the very best of friends. Coolly, he assures her, I'm not trying to upset you, I just wanted to tell you where he is. I refuse to believe your father would go to her room every day at this time--he isn't the kind of man who would cling to the past that way. It just goes to show you don't know him very well, says Daniel nastily--my father loved my mother very much, and has never gotten over his death.Stop this! begs Maggie.  If you don't believe me, says Daniel, you can go upstairs and SEE! SEE FOR YOURSELF!  He leaves. Maggie paces, deciding what to do, and finally heads upstairs. Daniel and Amy watch her from the foyer.  How do you know for sure she's going to HER room? asks Amy. I'm confident that's where she's going, he says.--remember what you have to do. Yes, says. Liz exits the kitchen area and asks, what are you two whispering about?  Just playing a game, says Daniel innocently.  Liz gives him a look as saying, I know what's really going on.

Maggie knocks at the door to Angelique's room, calling Quentin. She spots the photo of Quentin and Daniel, noting the inscription, then sets it down. She looks up at the portrait. Daniel enters the room.  your father wasn't here, she says--he wasn't here!  Maybe he left before you came in, he suggests. I don't believe he was here, says Maggie. The boy looks at the portrait--how beautiful she is! he says.  I wish I could make you understand...begins Maggie.  Understand what? he cries, that she's dead and she isn't coming back, ever? Yes, she says. You're wrong! he cries--she is coming back someday! That's impossible, says Maggie. She told me she's coming back! he insists--she told me even since she's been away. He turns to the portrait--Mother, tell Maggie she's wrong--sing to me again, Mother!  I refuse to stand here and listen to you talk this way, insists Maggie--and starts to leave the room. She hears a woman's voice (NOT Amy's) crooning "Lullabye". She stops, startled, listening, and looks up at the portrait. Not possible, it's a trick, she says. Not a trick, says Daniel, she's still here, she never left, she's NEVER going to leave!  Maggie steps back--I don't believe this, she mutters, tears in her voice. She turns and sobs, "My God, stop it!" races from the room.  Amy comes in.  You were wonderful! praises Daniel--did you see her just now?--everything went exactly the way I wanted it--how did you get in here so fast from the secret room?  I never got to the secret room, she admits--Chris stopped me downstairs--I'm sorry. Daniel's face changes--you've got to be joking--I heard you humming!--so did Maggie. She couldn't have, because I wasn't there, insists the little girl.Daniel, stunned, asks, if you weren't there, who was?

NOTES: A very creepy ending, and Daniel is a very creepy child.

We see Barnabas' chained coffin as the credits roll. It makes me aware of how long this dry spell without him is going to be.

We've already seen David trying to oust Vicki from Collinwood, so this seems like deja vu all over again to me. We only recently saw Michael, with David's forced help, trying to scare Maggie. The retread just doesn't seem all that interesting to me. Playing tricks on governesses/new stepmothers is a been there, done that, IMHO. This ep seemed very long.

That orange jacket of Quentin's must go! Ick! It's awful, but that's what we wore back then. I just hope none of my outfits looked that terrible, but I know some did.

Liz is fun here, wicked and calculating. You wonder if she's instigating because she's bored. She's not as bad as Hoffman, but she seems the type who loves gossip and probably watches soaps, a far cry from our own Liz Stoddard.

Maggie annoys me in this storyline, I'd forgotten how much. She often stands there, mouth hanging open, like she hasn't a clue, and I, for one, tire of it very quickly. Quentin's endless temper tantrums and tirades become dull, too.

I do like certain parts of PT 1970, especially when Alexis shows up. She heats up the story considerably!

Love, Robin

Please allow me to extend my condolences to you and your aunt, Josette.

Love, Robin

Congrats, Debra, sounds like you might have the record--or darned close to it!

This board is very special, and Midnite, Dom and MB work very hard to ensure that this is a wonderful place to visit.  I feel like I'm cozily ensconsed in Collinwood's drawing room, having sherry with the Collins family.

I'm so glad you persisted and are one of our oft-posting cousins!

Love, Robin

Congrats, Patti, Senior Poster--your complimentary gift bag of Geritol, Depends and walking stick (complete with wolf's head) will be winging your way as fast as the X-Lax sends you running to the bathroom!

Good for you!  You're a sweetheart!

Love, Robin

978 - HAA does the intro, and very well, too.

Chris discovers the still-bloody marks on Sabrina's throat. "Oh my God!" he cries.

Chris asks Sabrina what happened--I want to get a doctor. I want Julia to treat me, insists Sabrina. He keeps asking what happened, but Sabrina won't talk; she just asks for Julia again. Chris gets Quentin on the phone, who says, Julia went into town a short while ago. Do you know where she went? asks Chris.  No, says Q--is something wrong?  Hearing something happened to Sabrina, Quentin promises, I'll be right down.  Chris kneels beside the weak Sabrina.  You must tell me what happened, he insists, you must--but she is silent.

Barnabas stands outside the Old House door, wondering, will I ever be able to wipe this night from my mind? Sabrina... I must control myself--I won't leave this house tonight, not until this insane urge ends!  He enters the house, hangs up his cape and cane, then goes into the drawing room. He draws matches from his pocket and begins to light candles. Jeb rises from a chair--don't light the candles, begs Jeb--"Don't make me see it," he pleads. See what? asks Barn. It keeps growing, says Jeb, pointing out the wavering, threatening shadow on the wall--it will kill me, just like she said it would, says Chris. Who? asks Barn. Jeb, contrite, desperate, describes the paper pattern she put on my heart--"Carolyn said to come to you, she doesn't know what I've done to you--Angelique did it, you've got to help me, Barnabas, you've got to."

Bruno's house - You look charming, Nicholas praises Angelique--black suits you well. It seemed only appropriate, says Ang--and you are in mourning, aren't you?  For Bruno? asks Nicholas, grinning. For Bruno, Megan, Philip and all the others, says Ang. (The two of these minions of Satan talk so cavalierly about the dead left behind in this situation, as if they're inanimate players on a chessboard--it's wicked and fun to listen to them). I knew I could count on you for condolences, says Nicholas sarcastically. Isn't your master going to be disappointed that your plan collapsed? She asks. Nicholas looks pissed that she pointed this out, and says, as long as I have one follower, my plan hasn't completely collapsed--"And I have your husband--you must remember, Angelique, I am always at my best when pressed."  I'll be fascinated with what you come up with, she says. I must do some re-thinking about what happens next, says Nicholas--but I've never even thanked you for your help!  She's puzzled. It was quite unexpected, but most welcome, he says--I had a certain fondness for Jeb, but obviously had to get rid of him--the shadow was a stroke of genius, I wish I'd thought of it myself, it was most helpful. Icily, Ang asks, "Is it indeed?" The perfect revenge, says Nicholas, even as far back as Barnabas Collins--you don't mind my mentioning him?  Why should I? she asks. Women always follow certain patterns, he points out--you established yours with Barnabas. If women follow patterns, so do men, retorts Angelique, even so do you--aren't you about to be recommitted to the underworld until you think of some new, monstrous scheme to amuse your master? Nicholas: At least this time you won't be able to go and tell him that I have failed--you have become human--you are not in good standing yourself. Nothing has changed, she says, I have all my powers back and am using them well--the shadow should prove that. Yes, you're right back where you were 200 years ago--loving Barnabas Collins, he tosses in her face--nothing ever changes with you, does it, Angelique? She glares at him.  Nicholas continues, I see I've touched you--that old familiar hatred in your eyes--I appreciate your condolences, but I am not finished yet, so save them for those who need them far more than I.

Sabrina was attacked in the woods and is very weak, Chris tells Quentin, who checks the marks on her throat, already knowing their source. You know what that means, don't you? asks Chris--you know what's happened to her?
"How would I know what had done this?" asks Quentin, uncomfortable. You acted as though you knew what it meant when you saw the marks, says Chris. You're upset, says Q, but don't start imagining I'm trying to keep something from you--did Sabrina tell you anything? No, answers Chris. Watch over her, says Quentin, I have to go back to Collinwood and warn the women not to go out tonight--keep trying to reach Julia. I want to call the police, insists Chris. I'll take care of that, too, promises Q--don't worry, as long as you're with her, what happened won't happen again. After Quentin departs, Chris kneels, looking anxiously at the unconscious Sabrina.

I know I haven't much time left, Barnabas, says Jeb passionately, but I love Carolyn, and she loves me, if it weren't for the shadow...go to Angelique, begs Jeb. She doesn't give favors, says Barnabas sadly. Go to her, Jeb pleads.  They are interrupted by Quentin, calling to Barnabas. Obviously you know each other, says Barnabas (of Jeb and Quentin?--of course they do). Slightly, yes, says Q--I must speak with Barnabas. I 'll see Angelique tonight, Barnabas assures Jeb, who thanks him fervently. After Jeb leaves, Barnabas resumes lighting the candles.  "That's a pleasant new friend you've got there," comments Quentin.  Angelique has put a curse on Jeb, reveals Barnabas. Good! says Quentin. He's going to die, adds Barnabas. "And he dares come here after what he's done? asks Q--Barnabas, I've just seen Sabrina."  Guiltily, Barnabas asks, do you think I wanted to do that to Sabrina? You're Chris' friend, says Q accusingly, one minute you help him, the next minute...Quentin, please, don't make me hate myself more than I already do! implores Barnabas. I don't care how you feel now, says Q--you placed that girl under your spell. She came here, says Barnabas, I couldn't help myself. You can't go near her again, warns Quentin. Barnabas hangs his head and says, I never wanted to. You've got to control yourself, insists Quentin--promise me!  Yesterday, I might have controlled myself, says Barnabas. Then you do it now! blares Q. The injections have failed, says Barn, I'm worse than I ever was before--if I had a gun with silver bullets, I'd give it to you and force you to use it on me.  Quentin, very upset, says, Julia must be able to do something. No, says Barnabas, shaking his head. "BARNABAS, YOU CAN'T JUST KILL SABRINA!" cries Quentin. Barnabas hangs his head and says softly, "No." Hey, says Quentin--I'm sorry, you know I understand what it's like to be under the power of some force--I don't think I'll ever forget those nights, knowing the moon is going to be full--do you forgive me?  You're right, says Barnabas, I must stop this--I will get through this night--stay with me, Quentin--we must see Angelique. You're not going to help him? demands Q--Jeb Hawkes tried to kill me!  Jeb saved Carolyn, says Barnabas, and loves her as we ourselves do--we must help her--now that you are here, I wants to see Angelique--the scene is less likely to degenerate into a quarrel--please stay. Quentin grins--I never thought I'd end up helping Jeb Hawkes, he says. Thank you, says Barnabas, then turns to t he candles and speaks to Angelique: "Hear me, come to me this night, Angelique, come to me."  (How often would she have wanted to hear that in 1795, when she was pursuing him!)

Sabrina awakens. Chris is on the phone, trying to track down Julia.  Sabrina leaps from the chair when he insists, I'm calling another doctor.  No, says Sabrina, I want Julia--a friend.  Do you love me? Chris asks. Yes, she replies. Then tell me what happened to you tonight, he insists. Sabrina clutches her coat around her neck and remains silent.

Old House - Help Carolyn? asks Angelique--well, at least you're not asking for yourself, Barnabas. She turns to face the two men--this is a surprise--why should I help Carolyn? You liked her when she came to Little Windward Island, Barnabas reminds her. Yes, says Ang, but why should she have love? When you don't? asks Q, getting to the real heart of the matter. Jeb isn't responsible for Sky Rumson, Barnabas reminds her. Then who is? asks Ang. Nicholas Blair, answers Barn, who must have sat in the depths of hell and planned all this--you owe an apology to Jeb--he's the one who told you about your husband--you would never have known the truth, and it would have been too late. (Didn't Barnabas tell Ang about Sky?) Angelique thinks this over and agrees to see Jeb.  Help him, begs Barnabas. I will see him here, alone, asserts Ang--what happens after that depends on him--bring him here.

Barnabas leads Quentin to the East Wing.  I could have had a drink while Jeb and Angelique were at the Old House, complains Q (some things never change).  There's something else you must know, says Barnabas--I have no idea what's behind that door. An empty room, guesses Quentin. Open it, says Barn, I'll explain later. Quentin opens the doors.  The parallel time room is alight with color. Someone's living here, notes Q. Look, Quentin, says Barn, pointing out the photo of Quentin and David on the table. Quentin tries to enter, but can't. What is this? he asks, tell me!  A door opens.  Wait and watch, urges Barnabas. Quentin sees a bespectacled man in a suit who looks just like Jeb searching through drawers. Jeb's at the Old House, says Q, confused.The man removes his glasses. He looks far more conservative than Jeb. He can't hear us, observes Quentin. No, agrees Barn. The man puts his glasses back on and goes to the bedroom area, searching through drawers in there. He finds a book and takes it. As he flips through pages, Chris enters and asks, "Looking for something, Doctor?" The Jeb lookalike replies, actually, I found it. Chris looks at Angelique's painting and says, "HER address book." Angelique, says Q, looking at the portrait. Stuttering a bit, the doctor says, you see, just before she died, she stated the name of a chemist in Boston.  Perhaps you should have written it down, suggests Chris. Yes, agrees the other man, I know and actually, I did, then I forgot where the paper was. How convenient, says Chris, surely you can do better than that. I'm not lying, says the Jeb-alike, no, it's very important I get in touch with this chemist. Why, is there some chemical you can't get in Collinsport? asks Chris--I have strict instructions to allow no one to take anything from this room without Julia Hoffman's permission--would you care to check on that? No, says Jeb-alike, returning the address book to Chris, I'll have to get along without it--and he exits. Chris returns the address book it to the drawer, then closes the double doors on Barnabas and Quentin, who asks, "What is this?" Barnabas says, "Look," and opens the doors on a dark, empty room. They enter it.  Incredible, comments Quentin. Yes, says Barnabas--"Quentin, you have just seen parallel time."

Old House - Angelique and Jeb sit bare inches apart, looking almost intimate. Only the fireplace glows.  Isn't it considerate of me, she asks, keeping us in the dark, just the two of us, as if we were alone. Yes, but it waits for me, says Jeb, for one little bit of light, and you know that as well as I do. Barnabas told me you're in love, says Ang--I'm a great believer in love. Please, Jeb begs, take the shadow off me. Make it disappear? she asks, I can't do that--it must kill. Why? asks Jeb--you can do it.  I can't, she says, but you can, if you're willing--do you still have the paper cutout I placed on your heart?--all you must do is place it on the heart of another. I can't kill anyone now, protests Jeb. How you've changed, remarks Angelique--don't you have any enemies at all, because I have one, and his name is Nicholas Blair--he knows all about the shadow--now, shall I tell you what to do? Yes, says Jeb eagerly, tell me, tell me!

Cottage - On the phone, Chris says, I don't care if she's in consultation, this is an emergency--she won't mind, believe me.  Apparently getting no where, he says, please give her the message when she's through--and hangs up--Sabrina, I'm going to the hospital, I want to bring you there.  Bring Julia here, insists Sabrina. I'll lock the door, relents Chris--don't let anybody in!  He leaves.  Sabrina rises from her chair.

8:30 - More hours to live through till dawn, says Barnabas, gazing morbidly at the mantle clock--I won't go out, I'll stay here, it's my only hope--think of other things, Jeb, Angelique, why was she so mysterious about how she was going to help him--can I trust her anymore than I? Someone knocks.  Barnabas doesn't answer. He stands there, hoping they will go away, but it's Sabrina, who opens the door and enters. Get out, he orders. You need me, she insists. I don't, he retorts. Don't lie to me, she says. For both our sakes, leave me! he begs. You can't help it anymore than I can, she reminds him, touching his arm. No! he cries. "You want me, Barnabas, that is all I know," she says--"You want me." Barnabas sinks his fangs into her throat for the second time that night.

Cottage - Nicholas takes a drink, thinking to himself, if I had my powers, there would be no Angelique here. Imagine her coming here to taunt me, yes, taunt me! The outer door opens. It's Jeb. He takes the paper shadow from his pocket, holds it up, then returns it to his pocket and knocks at the inner door. He enters and says, "Thought we'd never meet again, huh?"  I had hoped that would be so, answers Blair. But we must, oh, yes, too much has been left undone, says Jeb--we must talk, perhaps for the last time. Nicholas eyes him with evil intent.

NOTES: I think the main reason Angelique decided to help Jeb was because Quentin accused her of not wanting Carolyn to have love if she herself didn't. She chose to be magnanimous. Angelique may believe in love, but she has the oddest way of displaying it sometimes, LOL.

Jeb's desperation is so real, this is where Chris Pennock seemed a terrific actor to me. I know the character he portrays in parallel time, Cyrus Longworth, is totally different from Jeb and he does a fantastic job with it.

HAA turns in another splendid performance, and his confrontation with Angelique is explosive, as always. Lots of chemistry between these two; too bad no parallel time had them as battling lovers.

Sabrina doesn't make such a seductive vampire victim, does she?

Interesting stuff going on in parallel time--even the meek, mild Jeb look-alike had something going with Angelique, it seems.


979 - Jeb walks through the woods, contemplating the dangerous thing he is going to do to Nicholas. He must, according to the Louis Edmond's intro, trick Nicholas into accepting him in order for this to work.

Nicholas asks, one last time, does that sound ominous? I don't mean it that way, says Jeb--I was wrong to destroy the cairn. More importantly, you destroyed your true self, points out Nicholas. I wanted to be human, says Jeb. A most impractical desire, Nicholas assures him, you could have had the world, now all you have is the prospect of death--you're a fool!  I know that, says Jeb--I came to see if you can help me--can't you do something about that shadow? Nicholas laughs--should I allow you to live the life of a country gentleman?  I'll live any kind of life you want me to, swears Jeb.  I trusted you once, says Nicholas--it was a mistake. You can trust me again, says Jeb. Can I? asks Nicholas. I realize we can't go back to the beginning, says Jeb, but surely you have some use for me?  Very possibly, there is, says Nicholas--yes, perhaps we can recoup something that would be to my advantage, because it would have to be to my advantage--would you be willing to do anything I say this time?  I would, Jeb assures him.  Shall we drink on that? asks Nicholas, pouring drinks. Will you make the shadow disappear? asks Jeb. That is the only way it will end, says Nicholas, but I have someone in mind who interferes with me constantly, and I don't like that. He hands Jeb a drink and asks, who'd ever have thought we'd be allies again--to new and bigger projects, he toasts. Whatever they may be, adds Jeb, smiling. They both down their drinks. Do you have the paper Angelique used to create the shadow? queries Nicholas. Yes, at Collinwood, says Jeb. Nicholas takes out his gold cigarette holder and says, the shadow must be turned on her, and it will be a very difficult thing to do. He shines the light in Jeb's eyes as he speaks. I'll do it, says Jeb, staring at the cigarette case, then away. Look at me, commands Nicholas--keep looking...  What are you doing to me? asks Jeb. You've underestimated me, says Nicholas, and I you, I thought you cleverer--look at me!  Jeb is forced to obey. Did you really think you could go back, that I would give you a second chance? asks Nicholas--you will see your death in my eyes, your death and Carolyn's, too, for I am not a man who forgives, it's time you were realistic about that--you came here to kill me, but I am going to end up killing you--look at me! Jeb suddenly slaps the paper shadow over Nicholas heart.Blair, in agony, screams, bringing Sky bolting from the back room. Nicholas himself sees the shadow; his arms pinwheel as he struggles to get away from it. He topples onto the sofa, where the shadow creature envelops him, killing him. He dies, eyes and mouth open in horror. Sky tries to awaken him, but Nicholas Blair is dead.

Collinwood - Uncle Roger, please stop trying to find out what's wrong, pleads Carolyn. I can't, he says, I'm too concerned for you--you've changed since your married, more nervous and upset. Leave me alone, begs Carolyn.  I can't do that, says Roger--please let us help you--don't deny there is a problem. There is a problem, admits Carolyn, but I can't tell you what it is--don't ask me, it's for Jeb and I to solve, only how can we? she cries.  Roger takes his niece into the comfort of his hug.

Jeb returns to Bruno's house. Sky, who was kneeling beside Nicholas' body, rises and says, "You had to come back and make sure he was dead, didn't you?--well he is, but you won't get away with it!" Jeb backs away from Sky. He won't allow it! shouts Sky--he's not human, and he'll be back!  Jeb leaves.  Sky returns to Nicholas, gazing in consternation at the body. A ghost rises from it, stands, and says, Sky, you are alone now--all alone!--but I will help you, you must avenge this--Jeb Hawkes must die!  Sky nods, eager to comply.

I will do whatever you want, Sky assures Nicholas' spirit--tell me how.Yes, I still have some powers, says the ghostly Nicholas--I will use them.

Jeb returns to Collinwood.  I wonder if the shadow will still be awaiting me in this house?--has she tricked me? Hesitantly, he enters the house, looking around the dark foyer warily. He turns on the light and stares around himself, then enters the drawing room, turns on lights there, but sees no shadow. Carolyn! he calls eagerly.  She comes running downstairs. It's all over, he says, dancing her around, the shadow is gone. She hugs him. We're free! he exults, it's gone!  They hug enthusiastically. Are you sure? she asks--what happened? I had to put it on Nicholas, says Jeb--he's dead--he was going to kill me, explains Jeb, trying to hypnotize me, I took the shadow from my pocket, placed it on his heart--he screamed, and I ran out, I didn't even see the shadow--it's over!--when I think of all I put you through when all I wanted to do was give you happiness--now I will--we must leave here; go to anyplace, away from all this.  Where would that be? she asks, will we find one, or will there be someone there who hates you as much as Nicholas Blair does? No, says Jeb. How will you be sure? she asks--why did he hate you so? It's all gone, in the past, insists Jeb, no point in discussing it--let's just leave here tonight. We ran away once before, she reminds him. The shadow was on me then, says Jeb--this time it's different, we can forget everything that happened here. Yes, says Carolyn, hugging him, we can. I promise you that wherever we go, it will be different, he says. She looks unsure. Go pack, he says. We can't go tonight, she protests, I must tell my mother. Tell her now, urges Jeb, we'll leave tomorrow morning--oh, Carolyn, nothing can happen now, nothing!  He kisses her and urges, go tell your mother. Carolyn heads upstairs. Jeb sits down in the drawing room and hears Nicholas' warning voice: You'll never leave here--never!--the dead will not let you!  Jeb stands and looks around. David enters and asks, why are you here alone, Jeb?--I thought my father was in here with you. (David's voice is so deep now!)  No, I'm alone, says Jeb--I'm going to the carriage house to get some camera equipment--Carolyn and I are leaving on a trip, tonight. He rushes off, leaving David puzzled.

Roger goes to the east wing.  We must discover its secret, he muses to himself--is Barnabas right? Were we really seeing parallel time? Are all of us living different lives in different bands of time? Why am I afraid to open the door?--what is so threatening? Roger throws open the door and sees a young boy who looks just like David gazing up at Angelique's portrait, asking, why did you go away?--it's been so long, you promised you'd come back--you said, "Daniel, whatever happens, I'll be back"--please come back, I miss you so much!  Carolyn enters, laughing, and says, "So this is where you hide--if I were Quentin, I'd lock this room up."  Father would never do that, says Daniel. Don't be too sure, suggests Carolyn--when he comes back... When he comes back, says Daniel, gesturing to the portrait, she'll be here, too. Roger watches in astonishment as Carolyn says, no, she won't be, she's never coming back--when people die, that's the end of it--no, you're going to have a new mother now, she adds, looking at the portrait.Don't say that, protests Daniel, don't ever say that, I won't have a new mother, I won't!  I'm ashamed of you, says Carolyn--do you want the servants to hear you? and closes the door on Roger, who says, "Carolyn, surely you can see me, hear me!"  Roger pushes open the doors to find the room empty. He enters, thinking about a child who looks exactly like my son, and is called Daniel, the son of Angelique and Quentin--when will we know what this means--when?  The camera focuses on the blank spot on the wall where Ang's portrait hangs in parallel time.

Roger gazes around the empty room, remembering seeing himself here, leading a strange, different life than the one I'm living here--I must know what that life is--I must!

David, playing solitaire down in the drawing room, reports to Carolyn, Jeb told me you were leaving tonight. Are you sure you didn't hear him wrong? she asks. I wonder, says David, how come every time he tells you something, you're sure he gets it mixed up--he said tonight! Carolyn bites her lip, perturbed--why didn't he tell me?  I wish you wouldn't go, he says--I'll miss you--you aren't staying away forever, are you? No, she assures him, giving him a hug, this will always be home to me. All I know is, says David, when I grow up, I'm going where the action is! (Wasn't there a TV show by that name that followed DS back then?) Carolyn ruffles his hair.  Roger enters and asks, where should the action be--in your bedroom (?) Come on, David, it's late, says his father. Do I have to go now, Carolyn's going away? says David. Carolyn quickly assures her uncle everything is all right. Is it? he asks. What was the matter? asks David. Whatever it was, says Carolyn, it's over now. If you want to chat later, Carolyn, I'll be in my room, offers Roger. David hugs his cousin.  Come on, urges Roger, no nonsense. David slips his arms around her waist and says, I think I'll never see you again.  I think I'll still be here tomorrow morning, she promises, and sends him off with his father. It's 10:10. Carolyn falls asleep in a chair in the drawing room. At 10:40, she begins to dream. She hears someone knocking at a door, then Nicholas' voice calling her name: Carolyn Hawkes! he laughs--former Carolyn Stoddard, Mrs. Jeb Hawkes...Widows' Hill...that is where it will end, Carolyn, Widows' Hill! Would you like to see how it will happen? Would you? Jeb appears on Widows' Hill, calling to Carolyn. Colored lights twirl and dance.  Sky appears and says, Jeb, you killed Nicholas Blair. You're as free of him as I am, says Jeb, you can go back to your old life. No, Sky says. Don't try anything, Jeb warns him.  The two men get into a fight, tossing each other around the cliff. Finally, Sky pushes Jeb over.Carolyn awakens, horrified, calling "Jeb!"  She grabs her coat.  David asks, are you all right?  Go back to bed, she orders. Where are you going? he demands.  She doesn't respond; at first, but as she rushes through the kitchen, she tells her cousin, "To Widows' Hill!"  Why are you going the back way? he asks. "Faster!" she replies, racing out. David looks after her, concerned.

Jeb returns to Collinwood, photo equipment slung over his shoulder.  David, waiting for him, reveals that Carolyn went to Widows' Hill.

Widows' Hill - Lightning fills the sky as Carolyn calls to her husband. I feel silly about this, believing a dream--Jeb isn't here. She hears someone coming--Sky. Oh no, she says. Yes, he says--I am here even if Jeb is not--see, Nicholas didn't show you everything that was going to happen--he spared your feelings, not wanting you to witness your own death. She tries to run away, but isn't quick enough; he grabs her.  There is no escape, says Sky--and begins to strangle her.

NOTES: Nicholas tricked Carolyn via the dream into going to Window's Hill, intending to kill her first, I guess, before he did away with Jeb. Perhaps he figured that, once deprived of his wife, Jeb just might take a header on his own. Sky is such a wooden actor, though, it should have been so much better with a better actor.

Farewell, Nicholas--again! It was cool the way his ghost continued on to see to Jeb's demise. Can't keep a good-bad warlock down!

Will Jeb save Carolyn? Will he survive himself?

Why does Roger seem so anxious to learn about parallel time? Barnabas has good reasons, but Roger just seems to be intensely curious, nearly obsessed. Does he worry that his counterpart Roger is having a better life in PT and is jealous? Just struck me as odd.

We are winding down to the big finale of the Leviathan storyline. Who will live? Who will die?

Love, Robin