972 - Old House - Fascinated, Barnabas stares at the book he holds in his hands. Willie enters, mumbling, I did everything I had to; anyone who wants to find Megan Todd'll have to look good and...he stops, realizing that Barnabas is staring avidly at him. What's the matter? asks Willie.  It may be just as well you didn't know, answers Barnabas. Willie insists--you're looking at me like you've never seen me before--does it have something to do with that book? He reads the title over Barnabas' shoulder--who wrote that book? he asks. You did, replies Barnabas.  What are you talking about? asks Willie.  Barnabas hands him the book.  Willie reads that the book is by William Hollingshead Loomis--but nobody knows my middle name! cries Willie--that's got to be some other Willie Loomis!  He reads the blurb on the back and sees his own face, reading, "He's the author of three best-selling books--PRIDE OF LIFE, GOLD HATTED LOVER, WORLD BEYOND THE DOORS, all of which have been made into major motion pictures. He is married to... Willie stops reading and smacks the book--lies, all lies, look at the clothes I'm wearing, I don't own clothes like that--where did you get this book? The east wing, explains Barnabas, but where it came from before then, I don't know. Willie reads, "It was published in Boston in 1965." I'm sure no records in our world say it was, says Barnabas.I don't understand this, says Willie--there's something written here, in my handwriting, but I can hardly read it.  I saw it, says Barnabas--"To the Cleo who inspired me," he reads. I never knew anyone named Cleo, scoffs Willie.  Cleo was the muse of history, says Barnabas.  History is supposed to be the truth, protests Willie, this is a pack of lies!--the life and death of Barnabas Collins--I mean, Barnabas, you never died!. (sure he did, after he was bitten by the bat.)  Not in this time band, but another, says Barnabas. You're scaring me, Willie protests.  I didn't mean to, the vampire assures him-- but you should be aware of the fact that there are other existences, and in one of them, you were quite a well-known fellow, just as I was born in the 18th century, heir to Collins lands, rich in years, died in 1830, grieved by my descendants and most particularly, by my loving wife, Josette. It says that right here in the book, says Willie. The beginning, and end, yes, says Barn, but I still have to read what's in-between, then I must go to Stokes--go to him and tell him I want to see him. If that's all you want, go to Collinwood tonight, advises Willie, Mrs. Johnson says Stokes is having supper there tonight. Good, says Barn, then I have time to read the book before I see him, and see if there are anymore surprises in this book for me. I don't think you ought to look for anymore surprises, advises Willie uneasily--they're no good--take that book and burn it.  The problem can't be disposed of as easily as that, says Barn--something exists, and I must understand it--and I will understand it no matter what happens--now let me read. All right, agrees Willie, but don't forget--I warned you!  Willie goes. "Of one thing there is no doubt," reads Barnabas, "Barnabas Collins was born in the middle of the 18th century, heir to Collins lands that spread from..."  He reads further ahead "...and so, rich in years, he died in 1830, grieved by his descendants, and most particularly by his loving wife, Josette. "Josette!" murmurs Barnabas aloud, entranced.

Collinwood - Eliot heartily greets Liz, taking her hand in both of his--it's good to see you, knowing you're yourself again--after Paul's death, you seemed distracted. It was a terribly difficult time, agrees Liz, but the difficulties aren't over yet--Carolyn married Jeb yesterday. Wasn't this sudden? queries Stokes.  That, agrees Liz, plus precipitous, stupid and rash. (Tell us how you really feel, Liz.)  I'm afraid for her, adds Liz, but I didn't have the heart to stop her because Carolyn loves Jeb so much--I ignored the warning voice in my ear and gave my blessing, but I can't ignore it any longer--Jeb didn't tell me where they were going, even Carolyn didn't know; she told me she'd call me when she got settled, but I haven't heard from her, and I'm afraid for my daughter, terribly afraid.

Jeb, suitcases in hand, opens another door to yet another hotel room. He looks warily around, jittery, and turns on the light. On the wall, he spots the shadow, which is now much larger. He turns off the light; it disappears. It's in here! he mutters to himself, frantic--I knew it would be, it's been everywhere I've gone, waiting for me, but I'll get away from it, somehow. Carolyn puts her hands over his eyes, scaring him; he gasps. She giggles--I promise not to hurt you, she says.  He hugs her fiercely. I won't hurt you, amends Carolyn, providing you take me to dinner--the manager says there's a marvelous seafood restaurant...  She turns on the light.  Jeb hastily turns it off. Why? she asks.  We're leaving this place--right now! insists Jeb.

Jeb, says Carolyn, we aren't going anywhere until we have a talk.  She turns the light on and he flips the switch down--keep it off, he begs.  I don't understand why, she says. My eyes are killing me, he complains, driving into the sun all day... No wonder, says Carolyn--we stop someplace, and no matter what hotel we stop at, you decide you have to leave, keep going. I just want things to be completely right, he says. Things will be perfect, she assures him, if we'll stay in one place--how about here, she asks hopefully?  No, he says--we have to get out of here!  Why, since you said your eyes were tired from driving? asks Carolyn. We can leave the car here, says Jeb, we can take a plane!  Where? she demands. Anywhere, says Jeb. I want to stay here! cries Carolyn. We can't! insists Jeb. Why not? she asks. He doesn't respond.  I want an answer, says Carolyn firmly--what aren't you telling me, what are we running from?--the way you act, look, the things you say--if there's an explanation, I want to understand. You can't understand, he insists. Give me the chance, she begs--I'm your wife, I must understand what all this means. The honeymoon is over! shouts Jeb--over!--now let's get out of here!--let's go!  He picks up the bags and storms from the room.

Collinwood drawing room - Liz twirls a glass of sherry in her hand and tells Stokes, I suppose a mother worries about an only child. ANY child, amends Stokes. If I'd just hear from Carolyn, Liz frets. Barnabas enters--"You've heard nothing?" he says.  No, answers Liz--what does it mean?--I wish I knew. So do I, agrees Barnabas. Eliot, may I speak with you? asks Barnabas.  Talk to him now; urges Liz, I've been going on about Carolyn and I'm sure Eliot would welcome a change of subject. Eliot assures her, as a bachelor, I don't feel qualified to judge whether or not you are overreacting.  I'm sure you have a theory about the care and feeding of children, says Liz--you have a theory about everything. She rises from the sofa and adds, I'll tell Mrs. Johnson Barnabas is staying for dinner. I did everything I could to keep Mrs. Stoddard calm, says Stokes, but I fear Carolyn's marrying Jeb could be disastrous--what do you wish to discuss? Barn closes the double doors and asks about Stokes' theory of parallel time--if I understand it correctly, a person can be traveling down more than one time band simultaneously. That's the theory, agrees Stokes, it's a matter of different choices--for instance, if I'd chosen to marry my high school sweetheart, I'd be living a totally different life somewhere with her, with several children perhaps--according to the theory, there may be some Eliot Stokes who is doing exactly that--there may be many Eliot Stokes living all manner of different lives. Fascinating, says Barn. But only a theory, says Stokes. Do you think it possible? Asks Barnabas.  From your tone, says Stokes, I take it you do. Yes, says Barnabas--in a room in the east wing, I have seen a most extraordinary thing.

7 PM - Barnabas has related to Eliot everything he's witnessed in the east wing, with Liz, Julia and Willie leading completely different lives. If there were only a way to reach them, says Stokes. There is, says Barnabas, taking the book out of an envelope--there has to be, for this has reached me. Eliot examines the book, shocked--what does this mean? he asks.  It's a history of my ancestor, says Barnabas, and in that time band, he married Josette, had children, and died in 1830--of course in our own time band, he left Collinwood in 1799? and never returned.  I want to go check out this incredible room for myself, says Stokes. As Barnabas leads him there, Eliot ponders--what am I doing in that time band?--or am I even alive?--when I was 10, I nearly drowned, perhaps in that time band, I wasn't rescued--perhaps there, I've been dead a long time--do you wonder what your life might bave been? inquires Stokes.  Significantly, Barnabas answers, "Yes, I do."

East Wing - Barnabas throws open the doors, but finds the room dark and empty. Both Stokes and Barnabas are disappointed.  I wonder why it's there sometimes, yet not others, muses Barnabas. I guess the time band is always there, says Stokes, but can only be glimpsed occasionally through the warp--I have a small rip in my sleeve, and when I hold it a certain way, the rip seems to disappear; to see it you must stand in the right light and position. And I have been standing in the right place, the right light, surmises Barnabas. Yes, agrees Eliot, perhaps that is it--theoretically, others could see it, too, under the right circumstances--I wish I could, for this is proof of what had only been a theory--until now. Its real importance will come if and when I can cross over, says Barnabas.Don't, warns Eliot, it's too dangerous, we know so little, you might become trapped. Barnabas interrupts him--I know the dangers, he says, but do you think I can pass up the opportunity of crossing over if it comes?  I don't know what to wish for, says Stokes, but I advise you to keep watching this room, let me know, but for all our sakes, don't do anything that might destroy you. Barnabas licks his lips, not answering.

Jeb and Carolyn return to the carriage house. I want to let Mother know we're back, she says. I'm not stopping you, says Jeb. Aren't you coming with me? she asks. Nope, he says. I don't understand, she says, you hardly spoke on the drive back--why are you so angry--please tell me!  Nothing to tell, he says--go to Collinwood. What will you do? she asks. Unpack, he says. It would help considerably if you could see what you were unpacking, she says--and she turns on the light. Jeb spots the shadow and is immediately terrified. What's wrong? demands Carolyn.  Stop asking me, he commands--if you want to go see your mother, go see your mother--get out and stay out!  His cruelty shocks her. This is where I belong! she cries. He pushes her away--I don't want you, he says--I made a mistake, I don't want you. Maybe we both made mistakes, she says, and leaves the cottage. Jeb, devastated, looks ill. He sees the shadow and turns off the light. What kind of life is this?

Collinwood - Liz carries the glasses away on a tray.  Seeing Carolyn, she puts it down on the table and takes her daughter into her arms. "Darling!" she cries. Realizing Carolyn is upset, she asks where Jeb is. He went right to the carriage house, answers Carolyn.  It's not ready yet, protests Liz. It doesn't matter, says Carolyn quietly, he'll be staying there, I'll be staying here--that's the way he wants it. Carolyn! cries Liz, not comprehending. Carolyn leans against the doorframe--I don't want to talk about it, she says, inches away from crying.

Old House - Barnabas returns--I talked to Stokes, Willie he says.  I've been thinking a lot about that book, confesses Willie. So have I, says Barn, and about the life in which I loved and won Josette. Well if that life existed, says Willie, it ended in death, Barnabas, and don't you forget it! Barnabas considers this profound statement.

Carolyn sits in the drawing room--why did Jeb force a quarrel between us? she wonders--I'll never understand it, but I have to--I've got to!

Cottage - Carolyn finds the door locked. Why is it dark? she wonders, why is the door locked?--did he leave me? She rattles the knob, then starts to unlock it. Leave me alone, demands Jeb from inside. It's Carolyn, she says.  Go away and stay away! says Jeb.  NO! she insists, entering the cottage and flying to his side--you've got to tell me, she begs, you can't just sit here in the dark!  She turns on the light.  Jeb gazes at her fearfully. Spotting the shadow, she screams.  Jeb holds her close--I didn't want you to see it, ever, he says. What is it? she cries. He hugs her--I didn't want it to hurt you, Carolyn. It's going to hurt you--kill you--isn't it? she asks miserably. Not if I sit in the dark, says Jeb.  Carolyn, close to hysteria, says, I won't let it--we'll get away from it. There's no place to go, he insists.  There has to be! says Carolyn--and drags him from the cottage. The shadow, huge now, appears in the room, seeming to fill it.

NOTES: Poor Carolyn, going on her honeymoon, having to deal with her groom forcing her to pick up and go when all she wants is to cuddle in his arms. At least now she's seen what's been troubling her husband. Although it was cruel of Jeb to push her away in such an abrupt manner, was only trying to protect her.

Willie proved himself a man of intelligence and profundity when he told Barnabas not to forget that the Barnabas in the alternate time band died--and which is preferable, living death or the real thing? It's also funny the way he reacts to his counterpart's talent at writing--and I guess our Willie shares the same unique middle name that the other Willie does! Willie is so cute in this scene!

Stokes proves himself a good friend to both Liz and Barnabas, listening with sympathy to the former and warning the latter not to attempt to join that other time band for fear of getting trapped there. Stokes is a bright guy, knows his stuff, but Barnabas, as we all know, is impetuous, especially with the vampire curse hanging over his head. His counterpart's normal life looks too good to him right now--and THAT Barnabas married Josette and had children with her--the very life the present time Barnabas was denied!


973 - Collinwood - Carolyn holds in her hand the cutout Angelique made.  Each night, explains Jeb, it grows larger and larger and each day, every night, it reaches out a little further. Don't think about it, urges Carolyn. I didn't want you to know, he says, but you insisted. Now there are two of us to fight it, she assures him.  One of these days, predicts Jeb, it's going to kill me as it did in the vision. What vision? she asks.  I have enemies, he says. Who, and why? she asks. I told you that you must accept me as I am, he says, and why not?, he says bitterly--I won't be around much longer anyway.  There might be something they can do, she suggests--if it's gone during the day, whoever made the cutout must be made to remove it completely.  That person won't help me, says Jeb. Is it Nicholas Blair? She asks.  What made you think of him? asks Jeb.  He's evil and wants to hurt you, she says, I know that. You know too much, says Jeb. I'm sure it's Nicholas, she says--I should go to him. No, says Jeb, don't do anything, I'll take care of it. How? she asks, every night the shadow grows larger. He vows to do something now, but says, the less you know, the better. One thing I must know, she says--you do love me, you're not sorry? I do love you, very much, he swears, holding her and caressing her hair.

Cottage bedroom - Sabrina, twisting a handkerchief in her hands, sadly tells Quentin, Chris and I both know there will be a full moon tomorrow, but Chris refuses to discuss it. What do you expect him to say? asks Quentin. I expect him to trust me, says Sabrina, share the danger. No one can do that, says Quentin. I want to try, she says, help Chris--I don't care how much he tries to shut me out, I will--I thought of one way--get rid of Bruno--Chris won't mention it, but I know he's worried about the fact that Bruno knows all about him--and Bruno is waiting for Chris. Quentin sits on the bed. I wish Chris had killed him when Bruno captured him, says Sabrina. Don't wish him that, says Quentin--every life he takes gives him great pain--very great pain--and he looks as if he knows exactly what Chris is experiencing.He isn't to blame for that, says Sabrina. I know that, says Q--but the pain is still there. You have great insight, she says, seem to understand how others feel--please try to understand how I feel, she begs--Chris has forbidden me to get involved, but I feel I must. What will you do? asks Q. Offer Bruno money, says Sabrina, if I offer it to him, perhaps he'll take it and go away. You'd do this for Chris? asks Q. I'd do anything for Chris, says Sabrina firmly, I want to marry him. No, says Quentin angrily, you can't think about marriage until this curse if over, you've got to believe that. How can it be over unless Bruno goes? asks Sabrina--that's why I must get to him! Quentin thinks it over and agrees, maybe Chris can be driven out of Bruno's mind--you and I will go discuss it with him--you can't go alone--I'll be back in an hour, we'll tackle Bruno together.

Carriage house - Bruno uses his sharp knife to cut up an apple. Jeb enters.  Don't you believe in knocking? demands Bruno--what do you want? Jeb approaches him slowly. Why did you come here? asks Bruno--I asked you a question, now answer me!  He points his knife at Jeb.

Things aren't like they used to be, man, says Bruno--when I ask you a question, you answer me! That knife can't hurt me, says Jeb. Bruno drops it on the table--the knife doesn't need to hurt you, he says--you're already dead, and nothing can help you--when you had your little temper tantrum, you destroyed yourself as well as everything else--why did you come here? demands Bruno, answer me!  I know things are different between us, says Jeb--not much friendship left. You're wrong, says Bruno, there's NONE!--how could there be after what you did--destroyed everything for all of us--if it had only been me instead of you, I'd never have disappointed Nicholas the way you did. Speak to Nicholas about me, begs Jeb--he's the only one who can help me. Save your breath, advises Bruno--you haven't gotten much left.  Angelique Rumson put a curse on me, says Jeb, and describes the shadow destined to destroy him. You don't destroy that easily, says Bruno. I know this can destroy me, says Jeb, because Angelique has powers, as does Nicholas, and you have to help me. You don't seem to realize how you hurt Nicholas and all of us, says Bruno. I did it all because of Carolyn, says Jeb desperately, I love her very much--we're married now! You're kidding, says Bruno--does she realize that very soon she'll be a very young widow? Bruno, says Jeb warningly.  When you're out of the way, says Bruno, I'll make a play myself for the rich, young, beautiful Carolyn--who will need a lot of consoling.  Jeb grabs Bruno threateningly.  You do want help, don't you? asks Bruno--I will go to Nicholas and tell him what Angelique is doing, but it won't do any good--Nicholas could help you against her, but even if he did, it wouldn't make a difference--you have less and less existence as time goes by. If I can beat this shadow, says Jeb, I can beat anything--I can LIVE, and I will, I've got to, for Carolyn. jeb looks as if he's about to cry.

Collinwood - Carolyn, pacing the drawing room, decides to take a drink. Maggie comes in--welcome home! she cries, and gives her a friendly hug--how's married life?  All right, says Carolyn.  Something is wrong, says Maggie--I don't mean to pry, we all want you to be happy. I love Jeb very much, Carolyn assures her. All right, says Maggie doubtfully, I'm just not used to seeing you drink in the afternoon--what is it? You missed our wedding ceremony, says Carolyn--have a drink with me now. I shouldn't, says Maggie, I have to get dressed--Barnabas is taking me out to dinner. Oh, says Carolyn, perhaps someday you and Barnabas... Maggie chuckles, blushing, then asks, do you recommend married life? Yes she does, answers Jeb from the doorway. Maggie greets him uncertainly, offering her congratulations. Thank you, says Jeb. Maggie leaves. Carolyn closes the doors--what happened? she asks--did you see Nicholas? No, says Jeb, I'm sure Nicholas won't help me, and I'd just make a fool of myself if I went to him. Carolyn draws him into her arms, soothing him. How much longer will it be until you're a young widow? he asks. Don't say that she begs, kissing him possessively. It's beginning to get dark, he notices--how much larger will the shadow be tonight?

Later - Maggie comes downstairs. The pitchfork has reappeared on her hand. Quentin, she thinks, smiling with anticipation, where are you?
It's 7:30 - Sabrina waits for Quentin. Although he's right outside her door, he notices the pitchfork on his hand and decides, I should be with Maggie.  He leaves.

Sabrina impatiently waits for Q--why he isn't here? she wonders--does it mean he changed his mind about going with me? She falls back on the bed, thinking, I have no right to be disappointed if he has, even a good friend can only be expected to do so much. More has to be done, she muses-- Bruno must be dealt with, for Chris' sake, no matter how dangerous he is, and I will deal with him, alone if I have to. . .no, I won't go entirely alone.  She takes a gun from the top dresser drawer--this will go with me, she vows.

8:30 - He has changed his mind, he's an hour late, Sabrina thinks to herself. She holds money in one hand, the gun in the other--which will it be, Bruno?--the decision is yours.  She puts the money into her purse, then holds the gun, wondering, dear God, what am I doing with my brother's gun (where is dear old Ned, anyway)? I must, for Chris' sake--I'm not like Quentin, and can't change my mind. She slips the gun into her purse.

Out on the terrace, Quentin and Maggie are smooching it up real nice. I have to go, she says.  Huskily, he says, you don't have to go anywhere. Barnabas is waiting, she says. It doesn't matter, he says.  Maggie agrees--nobody matters.  We're the only two people in this whole, wide world, says Q. I've never felt this way before, she says, I'm frightened. Don't be, urges Quentin, and they kiss up a storm.

Carolyn and Jeb cling to each other as she shadow appears. It's happening so quickly, she says. Turn off the light, says Jeb. That won't save you, insists Carolyn.  Turn off the light! yells Jeb.  She does. The shadow seems to be gone. Go to Barnabas for help, Carolyn suggests--he knows many things. He knows, all right, says Jeb, but we won't go to him, he isn't a friend of mine. That may have been true once, says Carolyn, but not now. Forget about Barnabas, says Jeb, do me the favor. Go to Stokes, suggests Carolyn, show him the paper, there might be some way!  I don't think so, says jeb.  Carolyn, near hysteria, asks, how do uoi know unless you ask him?--I don't understand you--forget Barnabas, Stokes, Nicholas--are you trying to forget me, too? Wordlessly, he takes her into his arms, holding her close.

Sabrina goes to the carriage house to see Bruno.  You're most welcome, he says. Noticing he has on his coat, she says, I can make this fast. No, he assures her, I have all the time in the world for you. But I don't, she says coldly, I only have until tomorrow night. His expression sobers--when the moon is full, he says, and I thought you came all this way because you were interested in me--it's a long way (?)  I'm only interested in one man, says Sabrina. I'm interested in him, too, says Bruno--when the moon is full.  Please leave him alone, pleads Sabrina. You're very appealing, says Bruno, but it's not enough. Is this? she asks--and pulls out the wad of money. He takes it in his hand.  You can have all of it if you leave this place, says Sabrina--forget you ever heard of Chris, forget about him. You asked me a question, says Bruno, and a lovely creature like yourself deserves an answer--"No, it's not enough!" I'll get more, she swears. No, says Bruno cruelly, Chris Jennings is more valuable to me than a pile of money--and whoever controls him controls a source of great power, and so far, that person is me--I intend to use him, the right way. There is no right way, objects Sabrina. Oh, yes there is! shouts Bruno, when I'm finished with him...  You'll kill him, finishes Sabrina. Let's not look too far into the future, taunts Bruno, you might find it a little depressing...now I really must go. She puts the money back into her purse--wait, she says--and pulls out the gun.  I'll let THIS speak for me, says Sabrina--and points the gun at him. He gazes at it--what do you intend to do? he asks.  I love Chris, she says, and I'm not going to let anyone hurt him--I'm going to kill you!

NOTES: Go, Sabrina! I think Bruno is a real SOB, and death is too good for him! I wish Sabrina would torture him a bit first. Poor woman, so in love with Chris she's willing to give up what must be her life's savings, and even risk prison!

Jeb and Carolyn against the shadow--while the special effect continues to elicit giggles, their feelings for each other are still so real, intense, I can't help but hope they make it. Although I don't believe in Jeb's sudden transformation into good guy, I do believe Carolyn loves him very much, and I would like to see her happy. Her scene with Maggie, wherein she suggests that she and Barnabas might get married someday, was a total hoot when you realize she blew off her date with Barnabas to suck face with Quentin on the terrace. They do make a nice couple, don't they, and oh, those long, slippery kisses!  See how Angelique either directly or indirectly screws up the lives of everyone? Her pitchfork love spell left Sabrina to go alone to see Bruno, a dangerous move. Quentin and Maggie's passion can't have a good effect on her relationship with Barnabas.

Now, why was Jeb unable to reveal to Carolyn who put the shadow curse on him--Angelique--yet so readily able to tell Bruno? Why didn't he feel he could tell her that important fact? Just wondering.

Love, Robin

968 - Jeb and his foster father fight to the death. They struggle fiercely, Philip trying to force Jeb over, but Jeb manages to escape, leaving Philip in a vulnerable, crouching position. Jeb orders Philip, get up--I'm going to let you go, because I've killed enough and don't want another death on my conscience--get out of here! cries Jeb.  Philip dashes off. Jeb hears a rustling sound behind him--Philip attempts to run at him, a last-ditch effort to send him into the sea, but Jeb dodges the attack--instead, it's Philip plunges over the cliff's edge. "PHILIP!" screams Jeb, but the sea under Widows' Hill claims yet another life. I didn't want it to be this way, murmurs Jeb. Neither did I, says Peter Bradford, still wearing his odd neckwear, but it doesn't matter, you won't escape. "Doesn't matter?" demands Jeb, "a man just died there because of you!" I won't rest until you're dead, vows Peter. Then you never will, says Jeb--you can't kill me, why don't you realize that before more lives are lost? It doesn't matter how many lives are lost, says Peter, only one thing is important--that I kill you, Jeb Hawkes. You never will, predicts Jeb, walking away. You can't get rid of me so easily, Peter warns him, I can follow you, and lead you without your knowing it, and I'll lead you back here to Widows' Hill and push you off--and you'll be destroyed, I'll destroy you.  No, Peter Bradford, says a female voice behind him, you will not destroy him. It's Angelique. Who are you? Peter asks.  I'm no ordinary woman, she says--I'm watching Jeb Hawkes, in whom I have a special interest--and he belongs to me--I am the one who will destroy him. What did he do to you? asks Peter. I had comfort, position, a wonderful marriage, a man who loved me, explains Angelique--and because of him I lost it all--he's going to pay dearly for that loss.I can make him pay, Peter assures her, I drowned him once before--that's the only way he can be destroyed--by drowning. That's the only way YOU can destroy him, corrects Angelique, I have other ways--I told you, I am no ordinary woman. And he's no ordinary man, says Peter, if you fail, he'll go unpunished, marry Carolyn. Oh, it's come to that, has it? says Angelique bitterly, all the more reason why I shall not fail--I shall go and look for Jeb Hawkes, as soon as I return you to your grave. I don't want to, protests Peter--he might get away. He won't, says Ang, I promise you, Jeb Hawkes has a very short future--now go back, Peter Bradford, she intones.  The ghost begins to shrink and soon disappears.  Go back into the darkness knowing he will soon follow you and you will have your revenge, adds Angelique--go back now to where you belong, you will be avenged!  Peter is completely gone. Angelique smiles evilly.

Liz, distraught, finds Carolyn's note stating that she left with Jeb, she hopes her mother will give them her blessing, that she loves him very much. Carolyn enters.  You can't do it! insists Liz. You can't change my mind, so please don't try, urges Carolyn--I was at the carriage house, looking for Jeb--I made up my mind a few hours ago, I was going away with him; we talked on the telephone and it was going to be in a few minutes, but he never showed up, and he's not at the carriage house--I can't imagine what happened to him. I know, says Liz--and sits beside her daughter on the bed--painful as it may be, better to find out now rather than after you're married--Jeb doesn't really want to marry you--he changed his mind at the last minute. That's not true, says Carolyn, he was worried about something terrible happening, kept talking about it, but wouldn't say exactly what. The phone rings.  I'll get it, says Carolyn, whatever it is, I must hear it for myself. She picks up the phone; it's the (new) sheriff, asking about Megan. We don't know where she is, says Carolyn--what's wrong?--oh, no, yes, of course we'll phone you if she comes here. She hangs up. Liz asks what happened. Philip Todd escaped from jail, says Carolyn--no one knows where he is or where to begin looking for him. Jeb, standing in the doorway, suggests, "Look for Philip in the water below Widows' Hill."

On the phone with the sheriff, Jeb describes what happened between him and Philip on Widows' Hill--he turned and charged at me...I'll repeat it as an official statement--however, it must be today, after that, I don't know where I'll be. Carolyn listens in dismay. I answered their questions and they answered mine, says Jeb--Philip had a nervous breakdown earlier this evening--when they called the doctor, he escaped--they don't know what caused the breakdown, but don't think it was the first one he had--they're pretty sure these periods of madness only come on him when he feels the need to kill. This time, he almost killed you, says Carolyn. Seeing how upset Carolyn is, Jeb reassures her--he didn't kill me.  I know, she says, but...I heard you tell the sheriff you were going away. I am, says Jeb, with you--we're getting married, remember? Intensely relieved, Carolyn goes into his arms--I thought you'd changed your mind. Not a chance! he promises. She  clings to him and says, everything seems like a threat, I'm so afraid of losing you. You won't, he says--I'm going to the police station so we can get out of here. Wait a minute, says Liz--I don't approve of the marriage, but I can see Carolyn loves you, and if I let her walk out of here, I'll lose her forever--stay here and get married at Collinwood, the way you should, begs Liz. No, says Jeb, there's no need for a big wedding, no time--we'll go off as we planned, it will be better that way. Carolyn takes her mother's hands in hers--let me speak to Jeb alone for a few minutes, she asks. Liz leaves.  Mother has come a long way, points out Carolyn, couldn't we...? Jeb refuses to wait around while Liz invites half the state of Maine to a big Collins wedding (yeah, like Dan Curtis would spring for the bucks!)  It doesn't have to be a big wedding, says Carolyn hopefully, it can take place just the way we planned--I'm sure my mother can arrange for a special license, the only difference will be it will take place here, with my family. No family, insists Jeb definitely, no one is to know about this until it's over. Carolyn agrees--anything she says, as long as you marry me. I hope I get that chance, says Jeb, looking none too sanguine.

Collinwood drawing room - Angelique sits with Liz, sipping coffee--I meant to call you, Mrs. Stoddard, she says, and I'm glad we ran into each other in town--it's hard to call when all the news is bad. I'm so sorry to hear about you and Sky, says Liz--I thought you were so...  "Perfect for each other," finishes Angelique, "so happy."--yes, we were. Jeb enters to report to Liz, I took care of the matter at the police station.  Angelique stares at Jeb. I took care of the marriage license, says Liz, so you and Carolyn can pick it up whenever you want. She introduces Mrs. Rumson to Mr. Hawkes. Mrs. Rumson? repeats Jeb. Mrs. Sky Rumson, grins Angelique. We stayed with them at Little Windward Island, explains Liz.  Mr. Hawkes has been there, reveals Ang. I don't think I have, says Jeb.  Really, says Ang, I could have sworn we had, Jeb and Sky were such good friends. Liz expresses surprise at this connection.  I met him a few times when I was taking pictures for his magazines, says Jeb, but I'm not a friend of your husband's.  I must be confusing you with some other photographer, suggests Ang. Of course, says Jeb, I'll go get Carolyn. Ang puts down her cup, stands and walks over to Jeb. Are you and Carolyn planning to get married? she asks. Yes, answers Jeb--today, here. Well, says Ang, there's an old Irish saying--"may ye have all the luck ye need." Thank you, he says, not quite knowing how to take the fury in her eyes mixed with her pleasant tone.

Carriage house - Jeb enters to find Angelique waiting for him. I expected you sooner, she says, but don't feel bad--I spent the time repairing my nails--she shows him a pair of nail scissors. Tell me, she asks, casually cutting something from black construction paper, what do you know about me?  Not much, answers Jeb, except that you're very beautiful--and that you're Mrs. Sky Rumson. I know a great deal about you, she says--for instance, you should have been destroyed when the box was destroyed, when the cairn blew up, and the room burned--that should have been the end of you, too. How do you know about all that? demands Jeb. You have a tremendous will to live, she says--unfortunately, that's not enough against me, because I know too much. What do you know? he asks. For one thing, she says, still cutting, I know the way Peter Bradford was going to do away with you. But he didn't points out Jeb, and neither will you, because no one is going to lure me near water again. I don't need water or to lure you anywhere, she says--I have the means to destroy you right here in this room.

In her bedroom, Carolyn accepts a pin from Liz that belonged to her great-great-great-great-great grandmother. That should certainly make it old enough, chuckles Carolyn. And you can carry my hanky, says Liz, handing it to her. Thank you, says Carolyn, for all this--and for accepting Jeb. Liz looks away.  I realize you haven't really accepted him yet, says Carolyn, but you have given him a chance. Carolyn puts her hand over her mother's. We're all giving each other a chance, says Liz. But it's going to work, says Carolyn--I know it's going to work--no matter what fears you or Jeb have, I'm sure of that--I love him very much, and I'm very glad we're being married here. I had imagined you would have a big wedding, sighs Liz. It isn't exactly what I had in mind, either, concedes Carolyn, but it's the one I have and I will make the best of it--I have new stockings, now all I need is something blue. She opens her desk drawer to look.

I didn't ruin your marriage to Sky! Jeb angrily tells Angelique--your husband did that himself, by his own selfish greed--now stop talking about it, and stop threatening me with your powers, because I haven't got the time. No, she says, you have to go to Carolyn, don't you?--then go, and may this follow you wherever you go--until it consumes you.  She takes the construction paper figure she's been cutting out, which looks like a black ghost, and presses it over his heart.  Jeb takes it into his hands and examines it.  What is it? he asks, making a face at her--what is this thing? You'll find out in time, she assures him, you'll be seeing it again. When? he asks-- how? You'd better get dressed, she advises, taking the figure from his hands, you don't want to keep your bride waiting. You can't do anything to me, says Jeb defiantly. Can't I? asks Angelique--will you wonder if I can after you leave here?--will you wonder when you hold Carolyn in your arms...it would be too cruel of me to let you wonder--I think I might as well tell you now, so that you'll know before you go away. She sits by the fire.  Come over here, Jeb--I will show you what's going to happen--or would you prefer to find out for yourself?  Jeb looks into the fire as ordered.  Tell me what you see, she says.  I see a bedroom, says Jeb.  We see the flames and the colorful disco ball, then Jeb, lying on a bed. It's me, asleep, says Jeb--it can't be!  It can be anything I want it to be, corrects Angelique. What's going to happen to me? asks Jeb.  You'll see, soon enough, promises Ang.  In the vision, Jeb awakens and spots a shadow on the wall, attacking him, enveloping him. He screams as it chokes him to death. Jeb draws away from the horrifying vision in the fire. "Have you seen enough, Jeb?" she asks, "or do you want to see more?" Jeb grabs the cutout from the table--"That shape was the same as this," he says, "only horrible and deadly." Ang smiles, then giggles. All right, says Jeb, I admit you have powers, you can make me run, scream and die in your visions, but you can't make it work. Oh yes I can, Ang assures him. No you can't, says Jeb--you can make me die, but only by water. "By drowning--the way you did at Widows' Hill so long ago?" asks Angelique--"Oh, no, I will prove to you, Jeb, that death waits for you around every corner, not just on Widows' Hill--and it will follow you wherever you go!"

Liz slips a blue sapphire bracelet around Carolyn's wrist--it makes you a traditional bride, she says. In a very small way, agrees Carolyn, who wears a simple pink dress (no white in her wardrobe?) That doesn't matter, says Liz, "Happy the bride..." "...the sun shines upon," finishes Carolyn, looking unhappy--"but the sun won't shine on me, will it, Mother, because Jeb can't wait--I'll be married at night--in darkness."  (very sad, wasn't it?)

Collinwood foyer - Jeb checks his reflection in the mirror. For those who have been waiting for him to wear different clothing, he's in a 70's leisure suit (shudder), white shirt and tie. He tells himself he looks good, fine, and everything will be fine. Then he sees Angelique's avenging shadow reflected in the mirror. It can't be! he cries--the world is full of shadows, all kinds, and none of them can hurt me!--there's no need to be afraid, no need!  He turns on a lamp; the shadow fades and disappears. Carolyn comes downstairs and asks, Jeb, what are you doing?  The bulb was burned out, he says, I was just seeing if it had been replaced.  Is that all? she asks, you looked so serious!  She hugs him--you're going to be a wonderful husband, she says, I can see that now (a man willing to change a lightbulb--does it get any better than this?)  They walk hand in hand into the drawing room. Liz answers the door to the minister--thank you for coming at our convenience, she says. Jeb looks at the wall and once again spies the shadow.  Carolyn has to call his name twice to get him to join her. The shadow dances a bit, then disappears.

NOTES: Yes, the shadow is a dumb, dumb special effect, I thought so back in 1970 and think so now. It would have made so much more sense for them to just go directly to Angelique taking revenge on Jeb, which makes sense, than to have her wrestling Peter Bradford for it--he never should have appeared in this storyline in the first place. IMHO.

Poor Philip, rest in peace. All you wanted to do was run a small-town antique store with your wife, perhaps crank out a few red-haired babies, and instead you ended up with the foster child from hell and your dream burned to the ground. A sad, undeserved ending for a man with simple desires.  Pity.

I always find I get a lump in my throat when Carolyn prepares for her rush-rush marriage to Jeb (are all the locals betting on the birth date of Carolyn's "premature" baby)? This gal should have had a BIG wedding, with all the trimmings, but Curtis preferred to spend the money on the awful special shadow effects instead of giving the Collins offspring a grand affair. A shame. At least put a white dress on the poor girl! And only Mama Liz as the witness/matron of honor?

Angelique was SUCH a bitch in this ep! Granted, she has every right to be pissed at Jeb (instead of the trumped up nonsense with Peter Bradford/Vicki), but it almost sounds like she wants to take equal revenge against an undeserving Carolyn--for daring to love and be happy when she herself couldn't!  This witch is cold!


969 - Drawing room - Jeb plants a wet, pre-wedding smooch on Carolyn, who notes how nervous he is. I've never been married before, he says, then hesitantly asks, "I haven't changed my mind--have you?"  I always imagined I'd have a very large wedding with bridesmaids and parties, she says, but now the only thing I want is to be married to you.  He grins and kisses her again. Liz enters and tells the smooching couple, Reverend Brand thinks we should begin--he has a vestry meeting later, so if you're ready. We're ready, Carolyn assures her mother.  Liz laments about how impromptu this all is. Carolyn takes her hands--it's the way we want it, she says. I know, says Liz, but...Reverend. Brand, stand by the fireplace.  He does. Jeb suddenly smacks himself in the forehead--I forgot the flowers! He goes into the foyer, picks up a bouquet lying on the table and hands it to Carolyn.  How lovely! she exclaims.  Jeb and Carolyn stand before the reverend.  Liz, looking as if she's going to cry, stands behind them. He begins the ceremony, "Dearly beloved, We are gathered here in the sight of God and the eyes of this company to join together this man and this woman..." The camera pans back for a long shot as we fade out...
Jeb slides a wedding band on Carolyn's hand and stares down at it.  "With the power invested in me, I now pronounce you man and wife," says Reverend Brand. (We're even cheated of seeing the entire ceremony, blast it!) Jeb and Carolyn kiss heartily.  Liz wipes a tear from the corner of her eye. The Reverend hugs Carolyn, wishing her the best, then shakes Jeb's hand. Carolyn hugs her mother, asking, wish me happiness. I do, says Liz, I wish both of you every happiness--Reverend, you must have a glass of champagne before you leave, we must toast the bride. Jeb volunteers to open the champagne. Carolyn rapturously observes, I don't feel a bit different, I expected to, I thought I'd feel like a different person with other worries, but then, I've always worried about Jeb, ever since I first met him. Jeb comes in and chuckles--and you still married me? And I'd do it all over again, she assures him, smiling. Jeb pours the bubbly into glasses.  How long are you going to be away? asks Liz--since you're going to be living in the carriage house, I want to make some changes. We haven't even discussed where we're going, says Carolyn. Far, far away, laughs Jeb. Really, where? asks Carolyn--it doesn't have to be a secret even from me. You married a very mysterious man, laughs Jeb. Are you going to be gone a week, 10 days--you really must tell me, insists Liz. Now that I'm your son in law, says Jeb, I might as well tell you we don't believe in timetables and plans--we're just going to get in that car and keep right on driving--and when we get there, we'll decide where we're going to go. Rev. Bland dubs Jeb "an unconventional young man." Very, agrees Jeb--and when we get uptight about being there, they'll just head home--simple as that. Rising his glass, Jeb says, I want to toast my bride--may we have much time together. Yes, agrees Carolyn, much time. Julia walks diffidently down the stairs.  Jeb greets her--come in, he says, join us, help us celebrate, offer us congratulations--we're married. Julia's eyes fly open in astonishment. Jeb presses his head against Carolyn's and says--it's a surprise, you never thought it would happen, did you? Stunned, not knowing what to say, Julia doesn't reply. Come in! urges Jeb, every celebration needs guests. Julia enters the drawing room, hugs Carolyn and wishes her happiness--Jeb, take care of your bride, then accepts a glass of champagne from Liz. "To my husband," toasts Carolyn, "may neither of us ever forget the way we feel as this moment."  Julia, you must be very surprised, says Liz.  I am, agrees Julia. Everyone sips their champagne. And you're probably not the only one, Doctor, remarks Jeb, I think there are going to be a great many other shocked faces around the estate tonight. He smiles and drinks his champagne, raising it to someone who isn't there.

Barnabas rises for the evening and begins to light the candles in the drawing room. Sky Rumson stands in the shadows. Mr. Collins, he says, I didn't mean to frighten you--do you know how much I hate you? Is that what you came here to tell me? asks Barnabas. I hate you for so many reasons, says Sky. Beginning with Angelique, says Barnabas. Where is she? demands Sky. I honestly don't know, says Barnabas.  She told you to tell me that, guesses Sky. "Angelique asks me nothing and tells me nothing," says Barnabas, "we are not friends."  "You're much closer than friends, you're enemies," says Sky, "and I know that neither of you can resist torturing each other--she's known you for a long time, she'll remember you long after she's forgotten me, I know that!--you've got to get me to her, because she's the only one who can help me." She would no more help you than she'd help me, Barnabas points out. She must, insists Sky--you must convince her, because you are responsible for what is happening to me. Nothing is happening to you, says Barn, Jeb destroyed the box, all of you are released. Not me, says Sky, I made my deal with a Mr. Strack, but that's not what I blame you for--what I blame you for is this--and he yanks away the scarf covering his throat and shows Barnabas' Megan's handiwork. Megan! cries Barnabas. Yes, says Sky.Barnabas, ashamed, looks away.

Collinwood - Liz collects the champagne glasses on a tray. Jeb, I'm going upstairs to change, says Carolyn.  He hugs and kisses her and says, I wish we could go away right now. I promise not to be long, says Carolyn.  Liz exits the drawing room, too--Jeb, I'll hurry Carolyn as fast as I can. The ladies go upstairs. Jeb, alone in the drawing room, loosens his tie, exults, married--yes, married--no one stopped us, or came running in when the minister said if any man knows any reason this couple should not be united, speak now or forever hold their peace--even Angelique stayed away!...forget what she showed me, she was just trying to scare me, that paper on my forehead (it was on his chest, but who's quibbling?), mumbling those words--killed by a shadow, Nicholas says she has powers, I have none now, but nothing has happened, and nothing will. The shadow appears on the wall beside Jeb, growing, quivering. Jeb cries out and backs away, crying NO!He closes the drawing room doors and leans against them on the foyer side, remembering that Angelique said that shadow would grow, kill him. CAROLYN! WE'VE GOT TO GET OUT OF HERE! screams Jeb.

Old House - We see Barnabas' portrait. Sky tells Barnabas, I am Megan's victim, as she was yours--what you did to her is not going to happen to me, vows Sky. Barnabas apologizes to him--I didn't know, he says.  You knew she had to find blood somewhere, accuses Sky. I did try to find her, says Barnabas. Not nearly as hard as I tried to find her, says Sky--suddenly hearing her voice in my mind, begging me to come to her, and me not able to stay away--I can't have it anymore, I won't! Barnabas drops his head in shame. Angelique can help me, says Sky, she has powers, more than anyone, and I need her help. I swear, says Barnabas, I don't know where she is--but there may be a better way--where is Megan's coffin? It was in the crypt (what crypt?), reveals Sky, but tonight she told me she hid it somewhere else. But where? asks Barn, you must tell me if I'm to help you. The east wing of Collinwood, says Sky, I don't know which room, but she won't be there until dawn, and you have to be back here at that time--I don't know how knowing where she is will help you. I have a friend who will help, explains Barnabas--if she summons you, go to her--we must find her! Julia comes in, surprised to see Sky. Barnabas tells the latter that, with your permission, I'll tell her everything. Sky nods. If you find Megan, says Barn, tell Julia tomorrow, she will know what to do. Sky turns to Julia and says, "So we're going to be on the same side at last, Dr. Hoffman--must I stay while you go through it, Mr. Collins?" Of course not, says Barnabas--tomorrow, go to Julia, she'll tell you what to do. Sky leaves. Julia tells Barnabas, I have no idea what this is all about, but before you tell me, I have something to tell you--"Jeb and Carolyn are married." Barnabas is clearly stunned.

7:55 - Collinwood - Jeb stands in the foyer, scared spitless.  Carolyn assures her mother, I'll call you as soon as we stop somewhere. "Oh, darling!" moan Liz, hugging her. Jeb puts on his coat, about the shadow--it won't follow us, it can't, we'll escape it, we've got to, nothing is going to ruin this, NOTHING! Liz keeps calling Jeb, who is so engrossed in his own thoughts, he doesn't respond. When he finally realizes his new mother-in-law is talking to him, bidding him goodbye, he apologizes, assuring Liz, everything is great, and is going to be. Jeb puts an arm around Carolyn, pulling her away from Liz, who wishes them a good trip. Liz closes the door after Jeb and Carolyn, looking absolutely miserable. She picks up a box from the table and says, forlornly, "The rice, we forgot to throw the rice."  She sets it back down on the table.

10:00 - Liz sits on the sofa in the drawing room. Barnabas and Julia enter.  Liz stands, asking, did Julia tell you?  Yes, Barnabas replies. I'm going to miss her so, says Liz, I suppose the best thing to do is to keep busy--I wanted them to live here, but Jeb insists on the carriage house. I'm sure that's very wise, says Julia. I want to go check to see what damage the fire did, says Liz. I'll go with you, volunteers Julia--now. Will you? asks Liz--might as well, I feel at such loose ends--I'll go get the key. She leaves the room. You're very clever, Julia, compliments Barnabas, this will give me the chance to search the east wing. I wasn't thinking of that at all, admits Julia--I was feeling sorry for Liz--Barnabas, Jeb can't change into his true form, can he?  No, Barnabas assures her, I'm sure of that--when he destroyed the box, he lost all of his powers. How is he still alive? queries Julia.  I don't know, says Barnabas. But the other form is real, says Julia, this form we see now is just a materialization--what will we do?  If I'd known before, says Barn, I'd have done everything I could to stop that marriage, but we must remember, he did save Carolyn, and must simply wait and watch for the slightest sign he is making her unhappy before we do anything.

I can do some things correctly, says Jeb, according to your mother's plan.  He carries Carolyn into their modest honeymoon suite (looks like the Collinsport Inn to me). She laughs, and they kiss with great fervor. Jeb looks carefully around the room.  What are you looking for? he asks. Nothing, he says. Ah, you're lying to me already, I can tell, she teases.  I have nothing to lie to you about, he assures her--here we are in a strange hotel room, nobody in the whole world knows where we are--no one can knock on the door, or call us--Carolyn, we've left the whole world behind, with all its sorrows! Yes, we have, agrees Carolyn--there's no one alive except you and me, and nothing can change that. Nothing, agrees Jeb, and they kiss again, passionately.

Collinwood drawing room - You're right, Julia, says Barnabas--you must offer to give Megan the injections. Even if we aren't sure we'll work? asks Julia. But they must work! insists Barnabas. Liz enters.  (what if she overheard them?)  I'm sorry I took so long, says Liz, but Mrs. Johnson was very upset--I should have persuaded Carolyn and Jeb to let her attend the ceremony; in fact I should have insisted, but Jeb was determined to keep it a secret. Don't get upset about it, Julia says kindly, it's over with and you did everything you could about it. It helps to know you and Barnabas think so, says Liz, comforted--are you ready? Yes, says Julia. I can't imagine what started that fire at the carriage house, says Liz--Jeb said it completely destroyed one room, and that was all--it's so odd--would you like to join us, Barnabas?  I'll just find a book, if I may, he says, and go on home. Wait if you want to, says Liz, we'll only be gone an hour. The ladies leave. The east wing, thinks Barnabas, I must find her coffin.

Carolyn and Jeb lie side by side in each other's arms in what one hopes is post-coital bliss. Jeb, wearing just the bottoms of pajamas, rises from bed (nice chest!) He turns on a light, which goes on before he hits the switch, glances around, and spots the shadow. OH NO! he cries, rushing to Carolyn, who awakens, confused. Mike R. Phone makes a prominent, lengthy appearance above their heads as insists, we have to go, now, I can't explain, just listen to me. Why? she asks sleepily. We've got to drive on, he insists--I'm sorry, we've got to go. All right, she agrees, perplexed, we will.

East Wing - Barnabas searches for Megan's coffin (cheeky of her to put her coffin in Collinwood), thinking there are so many places to hide, no one's been down these halls for years. He opens a pair of double doors and is startled to see a gorgeous room, vibrant with colors. He tries to enter but is unable to; a barrier prevents it. "Why?" he asks aloud. "I can't get in! Why?" He spots a black and white photo of Quentin and David sitting on a table, and the written on it is, "Your loving husband, Quentin." Liz enters.  Barnabas calls to her, but she doesn't respond. "Why can't you hear me?" demands Barnabas. Liz opens a closet and starts taking dresses out of it.A woman who looks exactly like Julia, dressed in black, asks Liz, "What ARE you doing?" Julia! cries Barnabas in a hoarse whisper. I'm clearing out her clothes, says Liz. "You will not touch her clothes," orders Julia.  He will want the room open, insists Liz. Oh, will he? asks Julia sarcastically. "You know that," says Liz, "it will be THEIR room." It will not, says Julia--it is hers, it will always be hers. "SHE is dead," says Liz. Barnabas listens, entranced. "She will be back," says Julia defiantly, "no one else will ever live here, it will always be hers. "Don't say she'll be back," insists Liz in a scared whisper, scuttling over to the doors, "don't say she'll be back, what if the children hear!"  Liz closes the doors. Barnabas calls to Elizabeth, then Julia, rattling the locked door, wondering, what's happening to me?--they can't be in that room--but it wasn't my imagination. The doors fly open.  Barnabas enters the room, but this time, it's empty, no light or furniture. But it wasn't a dream, he tells himself--what was it?  Puzzles, he leaves the room.

Liz and Julia return to Collinwood.  I'll get the workmen started on the carriage house tomorrow, says Liz--so much to be done. Barnabas stands on the stairs, flashlight in hand. He sees them come in and says their names. I had forgotten how shabby the carriage house is, says Liz--Julia, I have some marvelous chintz samples in the study.  She leaves to get them.  "You were at the carriage house, Julia?" asks Barnabas.  Yes, she replies.  "You were no place else?" Barnabas asks. No, says Julia--did you find Megan's hiding place? No, says Barnabas, but I have found something else--I don't know what to say--Julia, it sounds insane, but I just saw you and Elizabeth--in a room in the east wing! They stare at each other.

NOTES: This is our first glimpse of 1970 parallel time, a sometimes fascinating storyline that is filled with bright colors and beautiful sets. It has its drawbacks, too, but I don't want to go into them here. The cast was making HOUSE OF DARK SHADOWS during this time, and most of our beloved main characters are gone for eons, especially at one ep per day, which is all we saw in 1970!  Two eps per day makes the waiting less lengthy and excruciating.

Believe me, seeing Jeb and Carolyn twined together in bed is about as risque as DS ever gets! He's wearing the bottom of the PJ's and it appears that she's wearing the top. Although it's highly doubtful that Carolyn was a virgin before (she and Buzz must have smoked a little pot and gotten it on off-camera, and who could resist the sweet charms of Joe Haskell?), we can safely assume she isn't one now. No surprise that Carolyn had a small wedding, but couldn't we have at least heard the entire ceremony? This is Carolyn Stoddard, one of the mainest of main characters, it seems just plain wrong to treat her wedding with this little pomp. I know what the plotline said, but come on! I did love Carolyn and Jeb's euphoria after the ceremony, it was very true and real, and Liz' sadness was palpable. She doesn't really think Carolyn got the best possible guy, but she knows her daughter loves him, so what can a mother do? Decorate the little house where the newlyweds will be living (if Jeb ever decides to come back at all).

Felt the teeniest bit sorry for Sky in his predicament with Megan, but even more so for Barnabas, who was so ashamed and sad at what had happened to Sky. Blood sucker Barnabas may be, but eternally, he has a soul.

We had seven speaking characters in this episode, one more than usual.  Way to spring for the big bucks, Dan!

Love, Robin

I can be bitchy like Angelique.

Clueless like Vicki.

Selfish like Carolyn.

Tough like the original Maggie.

Silly like Carl Collins!

Love, Robin

I've tried to explain my feelings for Barnabas to myself countless times--since 1967!  Even at 13, I knew he was a vampire and a bad person who was mistreating Willie, forcing Maggie to become Josette against her will and kissing Vicki's hand with the same mouth with which he was draining calves' blood.

My parents were divorced and I lost a live-in father figure when I was five.  So perhaps Barnabas was the father I never had.  Why would I want a killer for my father?  He was courtly, handsome, had a wonderful voice, spoke with excellent diction and genuinely seemed to regret the awful things he had to do.  I also thought it was cool that he had this power over people.  I felt powerless over my own life, so that makes some sense.

Now why didn't I latch onto kindly Dr. Woodard instead?  Or even Roger?  Hormones!  Barnabas, for all his wickedness (or perhaps BECAUSE of it) churcned up my womanly desires.  Call it sick, perverse, whatever--when you develop a crush like the one I had, it's like being a vampire--you've got to have your fix!

I don't think my brain was involved in my feelings for Barnabas back then.  I couldn't help myself!  And I wasn't alone.

One fact I consider indisputable is that Jonathan Frid/Barnabas saved DS from cancellation and kept it on long enough to bring in David Selby and other popular actors for fans to adore.   Yes, MB, had Selby been brought in instead of Frid, DS might have become equally or more popular.  However, it did not happen that way, and DS probably would have been canceled during 1967, never to be heard from again.  Selby became very popular, but not for me--it was Barnabas all the way.  Barnabas had a mysterious, dangerous spark that ignited deep, dark and forbidden things in me.  I very much doubt Quentin could ever have done the same.

Love, Robin     

964 - The zombies carry Julia downstairs, where Roger interrupts them. My God! he cries.  One of the zombies holds his arms behind his back. Put her down! Roger orders, let her go!  Another zombie whacks him across the face, leaving him unconscious, too. They let Roger slump the floor and carry Julia out of Collinwood, their faces deadly white, shuffling along, leaving the door open. Roger lies on the floor, unmoving.

Julia awakens in a chair and finds herself in Jeb's carriage house--why, she wonders, did they leave me alone? She opens the door and finds a zombie barring her way. No! she cries, and closes the door on him. She runs her hand over her face. Sky Rumson exits the other room and says, it's good to see you again--of course, you don't think so. No, I do not, she answers--why have I been brought here? No questions, he says--you are here, and fine, just enjoy it. Impossible, she retorts. You're impatient, says Sky, always so eager to get to the bottom of things.  Those men that brought me here are dead! she says. That should satisfy your curiosity, I should think, he says. I don't know what powers you have, she says. Very few, he admits, unfortunately. Who has the power to raise the dead, she asks, Nicholas Blair? I suppose it would be Jeb, then, she realizes. No questions, he repeats. Yes, questions, she insists--why have I been brought here and why are you the one to greet me, and where is Jeb? He's here, he assures her. She looks at the door to the other room and asks, is that Jeb's new room?--why have you told me all this--does it mean he's going to kill me?  (She sounds so brave, too!)  I won't kill you if you do as I ask, he says, and you'll know what, soon enough.

Roger awakens just as Quentin arrives at Collinwood. What happened? he asks, helping him up.   Roger says, "Dead men." What are you talking about? asks Quentin. Dead men, I know it, says Roger--they got Julia!

Sky offers Julia a glass of sherry.  When she refuses, he asks, do you mind if I have one?  I don't care what you do, she says. He goes over and pours a drink. I will never tell you where Barnabas' coffin is, if that's what you want to know, she says. You never stop thinking, do you, doctor? Asks Sky--use your imagination--ask one more question. The sound of Jeb's Leviathan lungs emanates from the room.  He's in there, Julia realizes, in his other form. Sky offers to let her see what he looks like, but Julia waves a dissenting hand at him, runs from the door and says, "No, no!" I believe you're afraid, says Sky. Julia reminds him--I've seen what he does to people. That's right, you saw Paul Stoddard after they'd met, says Sky--I'm sorry you're not interested, it would make it much easier, because, you see, you are going in that room, doctor. No, protests Julia. You must, says Sky, he wishes it. I will not do it! she cries. Sky opens the door and says, Come, Dr. Hoffman. She tries to escape through the front door, but the zombie awaits her.  Sky grabs her, twists her arms behind her back and says, you are going into the room. She struggles.  I won't release you until you're in the room, says Sky--"Get in there!" he insists, tossing Julia in.  She leans against a coffin and beholds Jeb's true form.  She begins to pound on the door, sobbing, begging Sky, let me out, help me, let me out! The creature comes closer.  Julia's face contorts in horror. She holds her hand up to her face. "Don't touch me!" she wails. "Don't touch me!"  However, Jeb comes closer.  Julia screams.

Julia begs Jeb, don't touch me!  He retreats, breathing more gently, and she calms down. Jeb appears to her in human form and says, "You thought I was going to kill you, didn't you, doctor? Well, I may. It all depends on you, entirely on you, so play it cool." She looks at him, scared.

Collinwood - Roger asks Quentin, why did they take Julia?  Q replies, it's Jeb's declaration of war on all of us--Barnabas, Julia, me and you. Are they going to kill her? asks Roger anxiously.  Unless we can stop them, says Q. How do we know where they went? asks Roger. Not the carriage house, says Quentin, he's too smart for that--they'll try the crypt at the cemetery. It may be a trap, says Roger--they'll know you or Barnabas would try to rescue her. You're right, says Q, but we can't simply forget about her. Of course not, says Roger, but we must be clever--more clever than they. Both men try to think of a plan.

Jeb knocks at the door, signaling Sky, who enters the room. You may go now, Doctor, says Jeb, not the house, that would be impossible, but you may leave the room, you seem to hate it so. Julia exits the room. I think you confused the good doctor, Jeb, says Sky. Go to Collinwood, Sky, orders Jeb--find out if Megan's back--you didn't know Megan was missing, did you, doctor? asks Jeb. No, says Julia. I thought, somehow, that Megan might be at the Old House, says Jeb--she wasn't no, one was.  Why would she be there? asks Julia. Why don't you tell me? counters Jeb. The only reason she'd be there, says Julia, would be if you sent her there. Jeb tells Sky, Mrs. Stoddard will fill you in; Rumson leaves. Why did you do it, why did you let me in that room? asks Julia--did you think I'd be so terrified, I'd die of shock, like Paul?  No, I want you alive, says Jeb, I know what you're doing for Barnabas--curing him--you did it once before. You want me to stop curing him? asks a puzzled Julia. If you want to help Barnabas, you're going to help me, insists Jeb--you saw me in that room, do you think I like being like that?--that's it, doctor, that's the ballgame, you know I go into that room, and can't help myself--I change into that--that thing! You have no control over it? she asks. Sure, I can hold it back for five or ten minutes, says Jeb, but then I can't, I just used to accept it, got kicks from it, but now I never want to be that again--not until I saw a look in someone's eyes when she saw me like that--I don't ever want to go to that room again. They make you go in there? Julia asks. They do now, says Jeb. And you want to be human, like us, lose your power? she asks. I don't want my power, says Jeb, I want to be human, I want you to help me!  I can't, Julia says.  Don't say that, please! He begs. I don't understand anything about what happens to you in there, she explains--there's some kind of chemical change. You did know about the vampires, didn't you? he asks. She looks reluctant to answer, then suggests, there might be certain experiments we could make--try hypnosis, perhaps some chemical way of prolonging the periods before you change, I don't know. Promise you'll try, he asks. If you'll promise me to do something for me and keep your word, she says--leave Barnabas alone!  Jeb thinks it over, then agrees--I'll leave Barnabas alone. Send someone to Collinwood for my medical kit, she says, if your servants haven't destroyed everything--I'll need blood tests to see what can be done, set up a table and work in this house.

Collinwood - Quentin and Roger fret. Quentin paces--we're wasting time, he complains. We have no plan, insists Roger.  I want to go to the cemetery, says Q. That's suicide, says Roger. If he isn't there, I'll go see Jeb at the carriage house, says Q. Someone knocks at the door; Roger answers. It's Sky Rumson, here to see Mrs. Stoddard. Is she expecting you? asks Roger. Quentin answers quickly, saying yes she is, show the gentleman in. Quentin is grinning. Sky enters the foyer.  Do we know each other? asks Roger.  I've met Sky, says Quentin--heard a lot about him from his wife. Tell Mrs. Stoddard I'm here, Sky asks Roger.  She'll be down shortly, says Quentin--why don't the three of us have a nice chat?  He introduces Sky to Roger and ushers him into the drawing room. Roger gives Quentin a weird look, but Quentin waves his hand in a "trust me, I know what I'm doing" gesture. I know you like art, Mr. Rumson, says Q--you might find some of the paintings enjoyable. Something is cut out here, but Sky apparently says he isn't interested.  I'm sure you can find some things fascinating, says Quentin--do you collect weapons?  No, says Sky--are you sure Mrs. Stoddard will be down shortly?  Quentin, standing by the crossed swords on the wall, yanks out one sword, knocking the lamp to the floor as he does so. It makes a loud crash, but none of the three actors seems to notice. Quentin holds the sword threateningly at Sky, and says yes, I'm sure you'd like to see both of them, that would be a treat, wouldn't it?--there's someone we would also like to see--Julia Hoffman--now where is she?  He holds the sword up to the frightened Sky's throat.

Sky stands stiffly, claiming not to know where Julia is. You're a bad liar, accuses Quentin--where is she?  This is insane, Sky insists.  WHERE IS SHE? shouts Quentin--do you  want me to move the point closer?--it IS very sharp. I don't know anything! protests Sky.  Maybe a nice long scar across your throat will help you remember, suggests Quentin venomously, or am I going to have to kill you?--I'll do anything to find out where she is. The coach house, confesses Sky.  I don't believe it, says Quentin. I swear--he brought her to the coach house for a reason, explains Sky. What reason? asks Roger.  Is Nicholas Blair is with them? asks Q. He doesn't know anything about it, says Sky. Are those other men with them? barks Quentin. Four! responds Sky. Where are they stationed? asks Quentin?  Outside each door, says Sky.All right, says Q, tell me, is there a password I can use to get by--come on, tell me!  "Live," says Sky, it's the only word they respond to. There, that wasn't so hard, after all, says Q, handing Roger the sword--watch him, I'm going after Julia. Quentin hurriedly leaves. Roger offers Sky a seat.  I prefer to stand, says Sky. I said, sit down! orders Roger.  Sky does, in a chair, remarking, this isn't quite the reception I expected in this house. Roger assures him curtly, I'm not here to offer you any explanation whatsoever.  Roger looks out the window and spots Megan Todd, her fangs bared. The sight distracts Roger enough so that Sky jumps him and escapes. He locks Roger in the drawing room. Roger pounds on the door, demanding to be let out.

In the woods, Sky tells Megan, "You can never go back there, you know--Mr. Collins will never forgive you for this. He's onto us."  I don't want to go back there anyway, says Megan in a sultry voice, eyeing his throat. You can't go back to Jeb, either, says Sky--for some reason, he's very angry with you, I don't know why. Don't you? she asks--I'll be all right. Somehow, he says, I think you really will be--I have to go. Why? she asks, must we go back there?--I don't want to see Jeb, only you--"Look at me! Are you afraid to look at me?"  Why would I be afraid of you? he asks--you're beautiful.Her mouth falls open to reveal her sharp new fangs, which she buries into his throat.

Jeb watches sand flowing through an hourglass (I thought that was DAYS OF OUR LIVES), musing, all I need is time. Quentin bursts in--where is she?  Jeb applauds his marvelous entrance. Have you killed her? asks Quentin. Ah, old Sky told you the password, realizes Jeb--I hadn't dared hoped you'd be here. They begin to grapple, fighting wildly. The four zombies enter and subdue Quentin.  Jeb introduces the foursome as "my forces." Quentin struggles, assuring Jeb, I'll be back.  I've heard enough, says Jeb. One of the zombie punches Quentin unconscious; they lift and carry him to the back room, where the coffin that confused me so much sits. They open it. Careful with him, gentleman, cautions Jeb, he bruises easily. They dump Quentin into the coffin and close the lid. "Do not grieve, gentlemen," says Jeb, "he is old...very old indeed, and he will soon join you."

Lightning fills the night sky as the zombies carry the coffin containing Quentin to the cemetery. They set it down. Bury him, orders Jeb, and using straps, they lower the coffin into the fresh grave. "May Quentin Collins soon learn to rest in peace," says Jeb. "Soon he will find himself in a coffin, and the air he breathes will become less and less and less, until there is none. I promised you a surprise, Quentin Collins, you know I keep my promises."  He nods.  The zombies begin shoveling dirt onto the coffin, burying Quentin alive.

NOTES: Can Quentin die? Won't the portrait absorb anything that might kill him? And didn't Jeb stop and think that Julia might have almost as many problems with him harming Quentin as she does Barnabas? Why would she help him if he murders her friend?

Love those zombies, they're so ugly and helpful. Wish I had a few to help me with my housework!

Jeb wants to be human now, just because Carolyn hated him in that other form! It would have been plausible of developed slowly, but this seems to have just suddenly happened. Jeb used to love his Leviathan form, now he wants to be rid of it forever. Too fast!

Julia's outfit was flattering. She looked very attractive. Notice how quickly she moved to doctor mode? As scared as she was, as determined to protect Barnabas, here's another weird life form she can play with--although nowhere near the remorse of Barnabas.  You've got to love it!


965 - Jeb orders his zombies to bury Quentin, "May Quentin Collins learn to rest in peace," says Jeb. "Soon he will find that he is in a coffin, and the air he breathes becomes less and less and less, until there is none. I promised you a surprise, Mr. Collins, and you know I always keep my promises." He nods at one of the zombies (the one with one bad eyeball), who picks up a shovel and begins to pile dirt on Quentin's coffin. The second zombie helps the first, quickly covering the coffin with dirt.

Lightning flashes overhead.  Their task complete, Jeb orders the zombies leave--the only regret I have, he says, is not being able to see Quentin's face when he opens his eyes and realizes what has happened. Goodbye, old man, says Jeb, leaving the grave.Inside the coffin, Quentin opens his eyes. "Oh my God!" he thinks--I've been buried alive--and there's no way out!

Nicholas, looking quite dapper, hears the sound of glass against glass as he enters the carriage house.  He finds Julia mixing things up in a beaker in what is normally Jeb's transformation room. He greets her cheerfully.  I was told you'd come back, she says in carefully modulated tones. Who told you? he asks.  When she doesn't respond, he takes a guess--Barnabas Collins--what are you doing here.  Again, she gives no answer  Have you switched your alliance from Barnabas to Jeb? asks Nicholas. When she still doesn't reply, he says--come, come, I've never known you to be at a loss for words, Doctor!  She remains tight-lipped.You're leaving me to my own powers of deduction, he says, and grabs her arm, hurting her, dragging her away from the assortment of beakers and fluids. What is this equipment? he demands--and why is it here?--start talking!  I can't tell you, says Julia, you'll kill me.  Jeb? asks Nicholas--perhaps he didn't tell you *I* give the orders here, start talking or *I* will kill you. Jeb had me brought here and asked me to help him, admits Julia. Help him how? asks Nicholas. "You guess," snarls Julia in a delightfully husky voice. (I loved the way she said that!) Of course, he wants you to help him remain in his human form, Nicholas. Julia confesses he's correct. I don't know which of you--Jeb or Julia--is the greater fool--did you really believe you could help rid him of his true form? I told him I would try, says Julia. I'm glad I happened by, says Nicholas, because I believe your quaint little experiment is about to come to an end.  Blair knocks all the equipment to the floor as Julia cries out in protest.

A hysterical Maggie comes to the Old House, where Barnabas sits in a chair, contemplating, most likely, the sad state of his life. I had to come, she says, very upset--I had to see you!  You should have stayed at Windcliff, protests Barnabas, it's not safe here. I had to leave, she wails--I was sitting in my room and felt frightened--Quentin came to mind--something told me he was in danger--and I was the only one who could save him. You're imagining it, suggests Barnabas.  I never felt this way before, says Maggie--when did you last see Quentin? Last night, says Barn. You haven't seen him this evening? she persists. No, replies Barnabas, but I'm sure I could find him and show you he's all right. I've already looked and couldn't find him, frets Maggie.  What do you think has happened to him? asks Barnabas. I don't know, says Maggie, but I'm sure it's terrible, and he has very little time to live--maybe only an hour. She glances down at her hand upon which is etched the pitchfork of love.

In the coffin, air is running out.  Quentin is gasping--in a little while, he realizes, there will be none left at all...Maggie, if you could hear my thoughts...Maggie...Maggie, I love you!

Barnabas goes over to Maggie, who covers the pitchfork with her other hand.  You should have sent someone to me from Windcliff, rather than leaving, says Barnabas quietly."I'm going to go and find him," she says in a faraway voice. What? asks Barnabas. Quentin is counting on me to find him, and I will, says Maggie, rushing from the house. Wait! Barnabas calls.  When she doesn't, he grabs cape and cane and heads out after her.

Cottage - Julia and Nicholas have gone into the other room. What are you planning to do with me? she asks.  Calm your fears, he urges, I have no further need to dispose of you and am willing to let you go--as long as you promise to stay away from us and not interfere in something that is inevitable--you might impart that same info to Barnabas, he advises, helping her into her coat. He bids her goodbye, smiling at her (he does like her). Jeb, coming in as Julia is about to leave, is immediately incensed--we had agreed...  Your agreement has been canceled, says Nicholas-- now step out of the way and let the lady go--"I said, let her go!" Jeb steps aside, letting Julia exit. Nicholas looks totally pissed off. I'm getting very tired of you, says Jeb.  Your childish pranks are beginning to bore ME, says Nicholas.  They're not pranks, insists Jeb, I happen to enjoy being the way I am now, and intend to destroy the thing that's me in that room. Jeb, explains Nicholas, you can't do that because that is ALL you are--you destroy the thing in that room and Jeb Hawkes will cease to exist. How do you know that? asks Jeb. I know more about you than you do, says Nicholas, and I feel if I go on letting you make certain decisions, our entire plan will fail--therefore, I have come to a conclusion--we can no longer wait, the ceremony must go on tonight. I'm not ready for that! protests Jeb.  Do you love Carolyn? asks Nicholas. Yes, says Jeb, but...  Only as Jeb Hawkes, well, you cannot have her that way, says Nicholas, you can only have Carolyn after BOTH of you have reverted to the other form--that is the only way for both of you--we won't discuss this any further, continues Nicholas--I want you to call Carolyn at Collinwood and find some excuse to bring her here--she will then be taken to the shrine and the ceremony performed. Seething during Nicholas' entire speech, Jeb assures him, angrily, "The orders are clear."

Barnabas and Maggie search the cemetery.  Quentin is somewhere very close by, says Maggie. How do you know? he asks. I can feel his presence, she says. She stops at the newly-covered grave and kneels, touching the earth--come here, Barnabas.  He notices the grave has just been filled.  There's no headstone, she points out--Quentin is buried here, buried alive, cries Maggie.  She begins frantically digging into the dirt. Barnabas finds a shovel conveniently left behind by the zombies and begins to dig. He has so little time! Maggie wails as they feverishly work on the grave.

Carriage house - Jeb pours Carolyn a drink. She watches him carefully, then asks, "W'hat's wrong?--you sounded so urgent when you asked me to meet you here." He kneels beside her--I asked you here because...he begins.  Go on, she urges. He shakes his head--I'm not good at saying what I feel, he says. She touches his shoulder, his hair--try, she says. I have never met anyone like you; he says--something happens to me when I'm with you--whenever you look at me or touch me, I feel like I'm the way I'm meant to be, should always be. You are what you are, says Carolyn--why should anything make you want to be different? You don't understand, says Jeb--I'm not what I seem, there's another me, one you've never seen, one I don't want you to see. She pulls him around to face her--I don't know what it is you're trying to say, she says. "Only that I love you," he says, staring into her eyes--"And that I always want to be this way--and no matter what happens..."  What do you think might happen? she asks. "I wish I could tell you," he murmurs, gulping.  I'll tell you, says Carolyn--nothing will happen to separate us, ever, we will be together--she kisses him, hard.  When I was growing up, she says, I used to dream about falling in love, wonder when it would happen, how, and sometimes I'd be terribly afraid it would never happen--I'll never have that fear again, because it did happen--soon after I met you--Jeb, I love you very much, and nothing is ever going to change that. They kiss again, a deep, long, fervent one.

Hurry, Barnabas, pleads Maggie--open the coffin!  When he does, Quentin is inside.  Maggie takes him into her arms--are you all right? she croons. She and Barnabas help him out of the coffin. "I knew you'd come," says Quentin. We must get him out of here, insists Maggie.  My legs are a little shaky, says Q, but I'm all right. How did this happen? demands Maggie--who did it? Jeb Hawkes, says Quentin, who warned me he had something special in mind--whatever he is, he's a man of his word. Don't talk anymore, says Maggie, I'll help you back to Collinwood, and Julia will take care of you. (doesn't Barnabas notice how worried Maggie is about him--not to mention that psychic connection!--Angelique saved his life)

Carolyn and Jeb are making out pretty energetically.  I know you're terribly disturbed about something, aren't you? she asks.  Yes, he admits. Can't you tell me what it is? she asks. No, I can't, he says, but I've got to do something very important--I want you to wait here for me to come back--I can't tell you where I'm going, but trust me, wait for me. She holds his head between her hands--I'll wait for you, she swears, and gives him another kiss. (They kiss as if they mean it--whew, sizzlers.)

Old House - Barnabas and Maggie lead Quentin inside.  Julia holds the door open--what happened? she asks. Jeb tried to kill him! cries Maggie.  Julia, I must help Quentin upstairs, says Barnabas, and explain everything afterwards. Yes, I have things to tell you, too, says Julia. Maggie and Barnabas help Quentin upstairs. Julia, looking very unhappy, paces. Suddenly, the front door opens; Jeb stands there, staring at Julia.

What do you want? asks Julia.  You've got to find a way to help me, now, tonight! insists Jeb.  Coldly, Julia says, even if I were able, I just learned you tried to have Quentin killed tonight. I had a debt to settle with him, says Jeb calmly, as if that's a perfectly acceptable explanation. Fortunately, says Julia, he's still alive. I don't care either way, says Jeb, but there are a great many things I will change about myself--I will live and let live, I swear--if you will help me.  I have no reason to believe you, she says.  Believe me! he pleads--something happened to me that made me see things differently--I don't have time to tell you that now, but believe I will be a changed man. Even if it were possible...says Julia. It's got to be, he says desperately, and must happen tonight! Why tonight? she asks. If not, it will be too late, says Jeb. Too late for what? asks Julia, why? Just trust me! begs Jeb. He turns and sees Barnabas standing on the stairs.

Nicholas returns to the carriage house and greets Carolyn. She coolly asks, what are you doing here?  I wish you wouldn't be so formal, he says--your mother calls me Nicholas. That's my mother's business, says Carolyn--I asked what you're doing here. I'm sorry we were never able to become good friends, he says, but somehow, I am confident we soon will be. I wouldn't count on it, she says icily. I am counting on it, he says, grinning--I know how relationships can change, and I think you do, too. He holds up his cigarette case--keep looking at the light, Carolyn, find the center of the light, deeper, deeper, until you see the center, the center of the light. Hypnotized, Carolyn says, I see it.  Good, he says, then we can proceed--he puts away the cigarette case, opens the door, and orders two zombies, take her to the shrine and wait for me there. They move to obey.

Old House - Maggie comes downstairs, looking for Barnabas. Quentin joins her--he isn't here, he says, and it's just as well. You shouldn't be downstairs, says Maggie.  I couldn't help it, says Q--I had to come after seeing this mark on my hand--he shows her the pitchfork of love, which matches the one on her hand. I know, she says, I found it, too, earlier tonight. He covers her hand with his--I know now how you were able to find me, he says. I had to, says Maggie, falling into his arms, hugging him--I would have died if I hadn't!  Why is this happening to us? they wonder.  I have no desire to fight it, says Quentin--he brushes his hand across her hair--the only thing I care about is you--I love you.  She says it back, then they kiss, a nice, big, juicy one.

Shrine - Nicholas is dressed in cool black robes and holds a gold scepter. Jeb, he says, place the box on the altar and take your place beside Carolyn (who, hypnotized, stands docilely by.) Jeb obeys, placing the Leviathan box in the center of the altar. Are you ready? Nicholas asks.  Jeb takes Carolyn's hand in his. She stares blankly ahead. I'm ready, says Jeb. Nicholas puts in a call to the prince of darkness--I call upon the flame to summon you, beseeching all the dark creatures of nature to summon you here, to witness this ceremony, give your blessing to these two creatures who will soon become your obedient servants--I call upon the seven plagues, and upon the charred and blackened stars that reigned at my beginning, to draw you from the darkness of the earth and to be witness to the vows that are taken here tonight. Jeb, Nicholas orders, take the scepter and begin the vows. Jeb merely stands there.  Nicholas repeats his order. Jeb takes the scepter, turns and screams, "NOW, Barnabas!!" Barnabas appears, grabs Carolyn and quickly leads her away. Nicholas, yelling in protest, orders Jeb, "Stop them, you fool!" Instead, Jeb takes the scepter and begins hammering at the Leviathan box. "You fool!" screams Nicholas, "Do you realize what you've done?" Nicholas' eyes fill with horror--Jeb, we must both leave, he warns, or we will both go up with it. He hustles Jeb away from the altar, which is bathed in light, glowing. Rocks come crashing down noisily as the shrine is destroyed. Jeb grabs his stomach and, writhing in agony, falls to the ground in a convulsion of pain.

NOTES: Seeing Jeb and Carolyn together in this episode made their love seem believable to me, even if a lot of other stuff isn't. His change was too fast, but apparently they decided to turn him into a good guy since he and Carolyn love each other so much (and I guess Chris Pennock caught on with the audience). That Jeb betrayed the Leviathans this way is actually pretty cool, even if it seems hard to accept/believe. I love that he asked Barnabas to help him save Carolyn--very appropriate.

Julia and Nicholas are always a delight together. Their sparring is a joy to watch, and it's clear that while she may hate him, he likes and admires her a great deal, and it comes through clearly.

The pitchfork love between Quentin and Maggie won't last much longer, I'm relieved to say. It's great that it helped save Quentin, but could he really die, anyway, with the portrait absorbing anything bad that might happen to him? Seemed forced jeopardy to me. It was good to see Barnabas digging someone else up for a change, LOL, he's usually the one dug up!

Love, Robin

Two words. . .


Crazy Jenny


Love, Robin

958 - Julia exits the tower room and sees a black ghost wearing a wide-brimmed hat. She calls out to the specter, asking in a terrified voice, " Who are you?"It fades and disappears. She steps forward to stand where the ghost stood.

Julia sits on the drawing room sofa having coffee with Quentin, explaining, Willie and Maggie didn't see the presence that let them out of the tower, I saw a caped figure, but it was impossible to see who it was. There's another force in the house fighting the same force we are, he observes. And I'm grateful for it, says Julia, as, I'm sure, Willie and Maggie are. Liz enters--what are you two conspiring about? she asks. Quentin rises.  We were wondering when Maggie would be back, says Julia. I'm surprised Maggie didn't say something to you, says Liz, considering you always seem to know what's going on. I have to rely on you for this one, says Julia. Maggie left a note saying she'd be back as soon as she settled a family situation, says Liz. Quentin shoots Liz a dark look. The women agree they hope it will be soon.  It would be difficult to imagine life without Maggie at Collinwood, says Liz (yes, considering she was an accessory to Maggie's near-murder). Liz exits the drawing room.  I don't get it, says Quentin--yesterday she tried to kill Maggie, today she lies and smiles graciously, and wishes Maggie were back. This is a house of lies, says Julia, the only way to bring these people back to the truth is to smile and lie just as they do. Quentin agrees, grinning--I've had a few years' practice in the art of deception, so I should be pretty good. (He looks so handsome here!)  More coffee? Julia offers.  This is the perfect time for two friends to have a cup of coffee together, agrees Quentin. Julia takes the pot and is walking toward the kitchen when she runs into Roger--Mrs. Johnson just told me that Maggie left for a while, he says. Liz told me she had a family problem, says Julia. She's not the only one, says Roger wryly. He picks up the paper, turns, and notices Quentin. His face turns pale--"You've come back!" he cries.  (I guess this is the first time he's seeing him.) Quentin holds up his hand--no, I'm not who or what you think I am--I'm alive, not a ghost. What do you know about the ghost? asks Roger. Hastily, Quentin says, only that I look very much like him, unfortunately, but no unexpectedly--"I'm Quentin Collins."--his descendant. So, says Roger, offering his hand, at last I meet the cousin who appeared so mysteriously. If I hadn't had amnesia when I first came to town, there would be nothing mysterious, I assure you, says Quentin.  No, it can't be explained that simply, insists Roger--he was quite an unusual fellow, Quentin Collins--cruel, terrifying-- perhaps even murderous when he couldn't get his own way, and yet I'm fascinated by that man, and would like to know more about him--and I think you can tell me. In the foyer, Amy stands, listening to their conversation. It seems the original Quentin Collins disappeared when he was very young, says Q, in fact, he only lived with his great-grandmother for a very short time. Go on, encourages Roger.  Nothing more to tell, says Q--the only thing he left behind was his name. He left something else, counters Roger--a remarkable resemblance.  So I've been told, says Q--so many times that I'm beginning to feel guilty about the way he behaved--to your young son and the little girl.  When Julia returns with the coffee, Amy is no where in sight. You must not feel that way, of course, says Roger--Julia, Quentin and I have been talking--it seems he doesn't know very much about the original Quentin, we must correct that. Perhaps Quentin isn't interested in the past, suggests Julia--some people like looking forward to the future. Certainly, says Roger, I want to know where Quentin fitted into the family tree, and which branch... Oh, I really don't think you'd be interested in that, insists Quentin. Oh, we can stand a little shock or two every now and then, says Roger cheerily.  Abruptly, Quentin's theme fills the room; Quentin's face changes. What's the matter? asks Roger. Nothing, says Q.  Something is, insists Roger--you look frightened. That's absurd, says Julia--what could be frightening Mr. Collins?--there's no reason. Julia, stop acting as if nothing is happening when I can see that it has! orders Roger--I don't understand what or why, but something has frightened this man--as if the music had startled you. Quentin agrees, I was, rather, but I simply got caught up in this conversation to the point that I forgot we aren't alone in this house--I'm all right now, fine. Amy enters and says, in a wise-assed tone, "Look what I found--do you like it, Mr. Collins?"  She smirks. Quentin is quite uncomfortable.

Quentin's forehead furrows.  What's going on here? demands Roger. The music plays on, unnerving all but Amy.  What are you up to? Roger asks Amy.  Nothing, she replies--I was just playing a record in the study--it's so "old-timey", isn't it?  I don't think we need to hear that record, frowns Roger. Quentin exchanges glances with Julia.  Amy fake-innocently says, all the people who first listened to it are dead now, aren't they?--and gives Quentin a significant look. (Ouch!) I know we don't need that kind of talk, either, says Roger. I like it, says Amy, even if it IS scary--do you like it, Mr. Collins?--I asked you before, but you didn't answer. Q grins--yes, Amy, he says, I like it very much. I'll play it again, offers Amy.  Don't, Roger orders. I'm sorry, she says, I didn't mean to bother anyone, but with Maggie gone, I had no lessons--I was just looking for something to do.  I'll find something, says Roger, this house is full of good books, and we're going to find one of them. (good man, Rog, push reading!) Quentin closes the double doors after Roger and Amy leave, then turns to Julia and says, Amy knows who I am. Impossible, says Julia. Then why did she set the trap for me? asks Q. It wasn't a trap, just a coincidence, says Julia--if she felt you were the same man, she never would have come into the room like that!  She would never have before, says Q, but she's a very different girl now--yesterday, they made her capable of destroying Maggie, today it's me. You must realize that it's not possible for anyone to discover your true identity, says Julia.  Are you sure? he asks.  They can wonder, but can't prove anything, Julia assures him. Let's hope you're right, he says.

David's room - Quentin turned pale when the music was playing, Amy boasts to David--pale as a ghost--he is the same one, but I'm not afraid of him anymore, because Jeb is going to take care of him. David looks at her--maybe he will, maybe he won't, opines David--Jeb's got something else on his mind besides Quentin--something's after him, and he's frightened. Amy finds this hard to believe--frightened of what? I don't know, he says, but I must find out so I can protect him. How can you protect him? asks Amy.  I'm checking the book to see what's scaring him, says David--then we can sit down together and figure out how to fight it. Bring me the book, Amy, he says (still in the wheelchair)--from the fourth shelf behind that picture. Amy retrieves it and gives it to David.  The book has had all the answers before, he says, I hope it has this one.

Liz, on the phone with Jeb, says, it would be so much easier if "he" were one now, since he will be one eventually--no, he isn't suspicious, but he is my brother and David's father, and it's hard to close doors on him--he's so devoted to Collinwood, he'd be proud to know you feel that way. Roger enters.  Liz says a quick goodbye and hangs up. Who was that? Roger asks.  Jeb Hawkes, she says. Why were you discussing me? he asks. We were discussing the carriage house, says Liz--he finds it charming, and I thought I'd tell you about it. I don't think it's charming that he's staying there, says Roger, and can't understand why he is. There's nowhere else for him to go, says Liz. They still rent rooms in Collinsport, says Roger. Why, when we have so much space? protests Liz. That doesn't mean we have to take in every stranger, sniffs Roger. (I love this guy.) He's not a stranger, says Liz--he and Carolyn are very fond of each other. Fond enough so he moves in bag and baggage, complains Roger. I have a feeling that he and Carolyn...begins Liz.   Roger cuts her off--I feel that my niece deserves something better than an itinerant nobody who can snap a shutter once in a while, he says. That's another thing, says Liz enthusiastically--he's teaching the children how to take pictures!   "I can teach my own son how to take pictures, if you please," says Roger.  Really, says Liz irritably, just because I asked a young man to stay at the carriage house...  She starts to leave in a huff.  Don't go, urges Roger, not until we discuss our other guest--why is Megan Todd here?  With Philip in jail, says Liz, she's so alone, unhappy and ashamed of what he did. Which includes the murder of your husband! says Roger. I know it looks strange to the world, begins Liz.  Never mind the world, says Roger, it looks very strange to me--and I want to know why--I think these people should be sent away, they have some sort of danger about them, they're going to ruin this house. You're being melodramatic, accuses Liz. "Like Paul was when he first came back here," says Roger.  He was so terribly disturbed, poor Paul, says Liz. But he was murdered! blares Roger, and they wouldn't even let his body rest peacefully in its grave, who took it, and why, and what more do they want from us? There is no THEY, Roger, insists Liz. Why is Paul's body missing? cries Roger. Don't you think I haven't thought about that? she asks--it's a terrible thing, I hate to even think about it. You're going to think about that and other things, says Roger, because I am, too--you're different, as is David, and even little Amy has changed. You're imagining things, she says.  I am not! says Roger--there are things going on around this house that I don't like--and I'm going to find out what it is, I promise you that.  He leaves.

David's room - He's checked the book but has been unable to come up with anything so far. Thunder roars.  David finds just what they've been looking for--and it can't frighten Jeb if we get rid of it--and we can--it says that if the spirit of a dead enemy should manifest itself from beyond the grave, there is a way to dispel its presence. The lights go out, frightening Amy. Just the storm, says David--bring a candle over--hurry. No sooner does he light the candle than a wind blows it out. It wasn't the wind, says David, there's a presence from beyond the grave in the room with us--I can feel the chill. Yes, she agrees, terrified. Don't be frightened, he says, you've got to fight it. How? she asks. By reading the book, he says--give me the flashlight in the top drawer. He turns it on and continues to read.  The book is suddenly yanked from the table by an unseen presence and falls to the floor. It doesn't want me to read the book, says David. Amy, clutching herself, refuses to get the book when David tells her to get it for him. For Jeb's sake, get it! he commands, but the book has burst into flames. Amy and David watch, horrified as fire hungrily devours the Leviathan book.
Thunder fills the room, panicking the two children. Let's get out of here before it comes after us! cries Amy, gripping one of his wheelchair handles. It's not coming back, David assures--it's gone.  How do you know? she asks. Can't you feel it? he asks, the chill is gone. The lights come back on. It came to do what it had to do and now has moved on, adds David. Amy kneels on the floor before the wreckage of the book--what will we do now? she wails. I don't know, says David.

Old House - Quentin is gazing at Barnabas' portrait. He answers the door.  It's Roger, who asks for Barnabas. He's not here, says Quentin, I was looking for him, too--would you care to join me?  No, thank you, says Roger, I think I'll keep walking.  I walk when I'm troubled by something, says Q. Is it as bad as that? asks Roger--does it show that much? Yes, says Quentin, it does. I think I will stay, if you don't mind, says Roger--I want to talk to Barnabas about a problem I have, but it might do better to talk to you--you're a member of the family and a stranger at the same time--you should have a clear perspective of Collinwood, seeing it for the first time (ha!) I don't know, continues Roger--perhaps I'm wrong after all--everything seems strange to me--events, people, my own sister seems a stranger, my own son lies (nothing new) and disobeys me, everything is small, yet it all adds up to some enormous horror I can't understand--but I must understand it, I must. Quentin offers Roger a seat and says, I'll take a big chance and tell you an incredible story, and if you believe it, I'll be taking a chance, too. What do you mean? asks Roger. "Because what I'm going to tell you," says Quentin, "could cost you your life." Roger looks at him, eager to listen.

Collinwood foyer - David, I can't reach Jeb, frets Liz--where could he be? I don't know, he says, but we've got to--he's got to know about the book!  I'd go over and leave a note, says Liz, but the storm seems to be getting worse. Go anyway, says David, it's important!  She leaves.

"To think that my son is involved in something so horrible," says Roger, his face sickened by what Quentin has told him. "Well, at least I know what I must do--take him away as quickly as possible."  They'll kill you before they let you take him, warns Quentin. I'll have to take that chance, insists Roger. Will you take the chance on them killing David, too? asks Q, because they will, you know. And if he stays here, what will happen to him? asks Roger, I can't even think about it.  We're trying to fight it, says Quentin--Barnabas, Julia and myself--we could use your help. "If you lose your fight," realizes Roger, "I lose my son--horribly."  What are you going to do? asks Q.  I don't know, answers Roger.

David, back in his room, writes in pencil in a black and white notebook. The storm rages. I wish Aunt Elizabeth would hurry and bring Jeb back here--I wish the storm would stop, I don't like it (isn't he used to the perpetual storms by now?). The lights go out. It wasn't the storm that knocked them out before, he says--that chill is back, and HE'S come back, whoever he is, he's come back. WHO ARE YOU? cries David, I've got to know! The door blows open.  We see a booted, caped figure hanging out there, swinging back and forth. WHO ARE YOU? WHAT DO YOU WANT? cries David, terrified.  He watches the hanging figure as it swings back and forth...

NOTES: I admit, that figure hanging outside David's bedroom is pretty spooky, but when you learn who it is, you're going to sigh and say how ridiculous it is--and how unhappy you are to hear about the sad resolution of another pair of DS characters.

Louis Edmonds turned in a sterling performance today. His scenes with Joan Bennett, in which he's alternately pissed off and worried about the her and the rest of the family, were breathtaking to watch. His bluster always has masked a deep sense of family love, and it shows again when  Quentin tells him about the Leviathans. You know that, while Roger told Q he didn't know what he is going to do, he will decide to fight this ugly force that is threatening his family, especially David.

Joan Bennett plays evil sooooo well.  You just wanted to smack Amy for her little trick with Quentin's music--but that's the mark of a good actress, when they make you want to rise up and do physical damage to her character because she's that convincing.


959 - David, in his room, muses, I can't shake the feeling that something is terribly wrong, and wishes the storm would stop. The lights blink out--but it wasn't the storm before, he realizes, and not now--the chill is back--HE's come back!  We hear the creaky swinging of the rope, see the booted, hanging figure. David gazes at it, terrified, and wipes his face with his hands in disbelief.

David yells for help from his wheelchair--"There's someone hanging in the hall!"  He wheels forward, closing his door, but can still hear the sound of the rope outside. Bruno enters.  David, what's wrong? he asks.  "Didn't you see him?" asks David, who quickly describes the man hanging in the hall. Bruno rushes out.  The lights come back on and reveal that the hanging figure has disappeared. Bruno reports this to David.  It was there just a second ago, says David--whenever the lightning flashed, I saw a man's figure, hanging there--I didn't imagine it!  I believe you, Bruno assures him, but I hope everything will be OK now--Jeb sent me. Why didn't he come to see me himself? asks David. He had someone very important to see after your aunt told him about the book burning, says Bruno, sitting on David's bed, so he sent me to talk to and protect you--Jeb is very concerned about you. The incident that happened last night--tell me about it, says Bruno. I was sitting, reading the book, says David, when the room got a strange chill and the lights went out, as if there was someone in here with me--the book flew right out of my hands, then caught fire--I can't understand it, and neither could Aunt Liz--we were both pretty scared. We will figure this out, vows Bruno--someone from beyond the grave is trying to contact you--first job is to find out who and why. Why is it so obvious that it's someone who's dead? asks David.  Because, says Bruno, only the spirits of those we have killed would dare to harm us this way.

Sabrina and Carolyn are hanging out together in the Collinwood drawing room.  Smiling mysteriously, Carolyn reminds Sabrina--it's almost time--are you going to get ready? I'm ready now, says Sabrina, just not sure I'm willing anymore. We already made the appointment, says Carolyn, for 6:30.  What good would it do to change my appearance? asks Sabrina--it won't change anything else between me and Chris.  You've come a long way in a short time, says Carolyn, when I first met you, you were barely able to speak. Being able to speak hasn't helped very much, laments Sabrina. I think it has helped, says Carolyn--and I also feel that it will help for Chris to see you looking as you did when you two were engaged. It might have the opposite effect, warns Sabrina--it might drive him crazy to see me as I was then. Bruno comes downstairs, listening to the ladies' conversation. There's something very unpredictable about Chris, says Sabrina, something I don't understand.  I know his moods very well, says Carolyn. They're more than just moods, insists Sabrina.  Bruno creeps closer, eavesdropping intently. He's very disturbed about something, says Sabrina, but I don't know what it is. Bruno enters the room, interrupting.  Carolyn greets him--Bruno, have you met Sabrina?  Already had the pleasure, says Bruno--how are you?  Fine, she says, then turns rudely away from him.  I was upstairs with David, showing him some photos Jeb had taken, explains Bruno--then David began telling me family stories, the house--I was wondering, is there a family history I could look at? Carolyn goes to get the one in the study. Left alone with him (and he's wearing a mud-colored suit today, not the godforsaken fur), Sabrina shoots Bruno a look, then goes to the window. He joins her--I didn't know you knew any of the Collinses, he remarks. Not very long, says Sabrina--Carolyn's been    very helpful to me. I'm glad we have this chance to be alone, says Bruno--when I saw you here, I couldn't help wondering if you knew there would be a full moon tomorrow night? She turns away. I see you know, says Bruno. No, denies Sabrina, I hadn't even thought about it. Don't you think you should? he asks. I'll make it a point to stay indoors, she says caustically. Very wise, says Bruno, if you should have another unfortunate experience like the last one, I might not be here to rescue you, and I don't want anything to happen to you. Thank you, she says, but doesn't sound as if she means it at all. Carolyn breezes past her, bringing the Collins book to Bruno--it covers our history back to the 17th century, she says. It was a great pleasure seeing you again, says Bruno, and leaves. How much do you know about that man? asks Sabrina. Very little, says Carolyn, except that he's a friend of Jeb's.  He makes me feel uncomfortable, says Sabrina--he strikes me as the kind of person who can't be trusted. I felt the same way the first time I met him, says Carolyn, but now consider him to be completely harmless--we'd better go, or we'll be late. The ladies leave.

Up in David's room, Bruno reads the Collins history book--I've reached the part about Joshua Collins and family, late 18th century, he says--how accurate is this book? It's the official Collins family history, explains David. But not necessarily the truthful one, guesses Bruno, and if any of the family was connected with the Leviathans, it might not be mentioned in this book. Why do you think it's one of my ancestors? queries David--it could be anyone at all, who stayed in the house or worked here in the past. Then it wouldn't be mentioned in this book, says Bruno, slamming it shut--it's time I got back to Jeb--I'll stop downstairs and tell your aunt to watch over you.  I'll be all right, David assures him. They wish each other good night, but as Bruno is leaving, the lights go out.  Bruno is choking, grabbing at his neck, gasping, something has me by the throat.  Wildly, he tries to free the constriction with both hands, struggling against the unseen figure choking him.

David watches in horror as Bruno dances around his room, knocking things down, trying to get rid of the long noose choking him (where did the rope come from?) He nearly takes one of the walls with him, knocks over the desk chair, falls to the floor.  BRUNO! calls David over and over. The lights come back on.  Bruno is able to loosen the rope throttling his airway.He holds up the filthy hemp rope.  David states--that it's a noose. And covered with mildew, adds Bruno, like it's been sitting in someone's basement for years. How did it get here, around your neck? wonders David. Someone or something put it there, says Bruno--I felt hands on my throat--whoever it was was trying to kill me--I'll be fine, I've had scares before tonight--and you should be OK now.  I don't think anyone should stay in my room tonight, opines David.  Bruno agrees--I'll arrange for someone to move you.

 8:50 - Carolyn enters Collinwood, urging Sabrina, "Come in--don't be nervous, come in!  Sabrina, sporting a chic, short hairdo, freshly covered with Miss Clairol's finest chestnut brown coloring, shyly enters the foyer behind her. Chris will be here in another 10 minutes, says Carolyn, so you should go into the drawing room. I don't think Chris will recognize me, says Sabrina.  Bruno, coming downstairs, says I almost didn't--you look very beautiful.  Sabrina thanks him.  Come up and see David, Bruno asks Carolyn--he said he was afraid of something. She agrees go up and see her cousin--Sabrina, I'll just be a few minutes. Bruno, glancing at Sabrina over his shoulder, follows Carolyn upstairs. Sabrina checks herself out in the mirror and stands there, a picture of half-smiling hope.

I have a bad feeling and don't want to sleep here tonight, Carolyn, says David--I'm afraid. I wish you could define this feeling, she says.  You wouldn't believe me, he insists.  Try, she says.  I feel like someone has been in the room, he says, an unseen presence--maybe I'm wrong, but what's the harm in letting me sleep somewhere else?--at least I'll feel more comfortable. Carolyn agrees--I suppose it can't do any harm. She obligingly wheels him to another room.

Someone knocks at the front door and Sabrina, realizing she's the only one available to answer, opens it. Chris stares at her.  She walks away. Sabrina, he says.  Is that all you're going to say? She asks.  "You're very beautiful," he adds (wise man!) Then you approve the change? she asks. Very much, he says. I was afraid you might not want to remember me, she says, the way I once was. I'll never forget it, he says, seeing you this way, it's almost like no time has passed since we first met and nothing tragic had ever happened to us. He stares at her lovingly, but runs into the drawing room--I almost lost my head! he says, angry with himself--time HAS passed, and tragedy has been our specialty. Don't talk that way, not tonight, she begs. It's something we had best not lose sight of, he says. I haven't, she assures him, and never will, but we aren't going to discuss it tonight, because I want this to be very special.She touches his face, pleading with him, let it be that--for me.  They kiss, long and passionately, twined together. Bruno watches them...

Bruno disappears into the kitchen area.  Chris and Sabrina finally break their smooch. I want to go to the cottage so we can talk alone, she says--I can call Carolyn from the cottage--please, Chris, it's very important!  He smiles and agrees; they leave together. Bruno exits the kitchen and looks at the closed door.  Carolyn comes downstairs and assures Bruno that David's fine--I don't think anything was wrong--my cousin is one of the world's best attention-getters--what happened to Sabrina?  She left with a young man, says Bruno, seemed very anxious to be alone.  Carolyn grins--did you meet Chris Jennings?  No, says Bruno, they were going out as I was coming downstairs, and I don't think they saw me. Then the change in her didn't upset him, says Carolyn--I'm so glad for that. Why should it upset him? asks Bruno. I don't know, says Carolyn, but Sabrina seemed to think it would. She offers him a brandy.  He accepts. Are they in love? asks Bruno. Pouring the drink, Carolyn explains, they were engaged a few years ago, something went wrong, no one knows what. They must know, says Bruno. They don't talk about it, says Carolyn, handing him the drink, but they started seeing each other again recently, and...  You seem to badly want this thing between the couple to work out, notes Bruno. Yes, she agrees, and I know Sabrina wants it to, but Chris is a strange young man--every once in a while, he gets very moody and disappears for a few days--I guesses he goes off by himself.  I'm surprised I haven't seen him before in town, says Bruno.  He lives in a cottage on the estate, says Carolyn, between here and the Old House. I hope they stay as happy as they seem right now, says Bruno--thank you for the drink and the family history book, but I must leave right now.

Chris and Sabrina are making out in the cottage.  We must stop, he insists we're just repeating the past. Yes, I knows, she says, caressing him. We can't let that happen, he says. We can and they should, she says, putting her head on his shoulder, we shouldn't let anything interfere with our happiness--last time we were just a few days away from being man and wife, and quite accidentally, I saw you go through the transformation. And almost got yourself killed, he reminds her. Oh, this time we shouldn't let anything get in the way, she says. Do you think we should still get married? asks Chris, amazed. We still love each other, she reminds him.  It's insane, he protests, you would spend your life in constant danger. Not constant, she assures him, I  understand everything now, and know we can find a way to live together--and the way to protect me when the time comes. I don't want to think or talk about it, says Chris. Sabrina says, "You don't love me."  It's not a question of love, he says. Oh, Chris, she says, I know we can find a way to help you--there must be a cure. Cure first, us after, responds Chris--I'll take you to the car. We won't give up, she swears, and they hug. Bruno skulks around outside the cottage, watching as the couple leaves, Chris' arm around Sabrina. Bruno enters the cottage, flashlight in hand, and searches the dark room, which is occasionally illuminated by flashes of lightning.  He finds a length of chain in a dresser drawer, handcuffs (kinky!), and a gun.  He checks the chambers for bullets. Chris returns to the cottage, turns on lights, takes off his coat and sits in a chair, looking unhappy. He spots the chain, handcuffs and flashlight on the dresser, then hears a voice behind him ordering him, "Stand still."  Bruno, holding the gun to Chris' back, says, "Turn around, slowly, be very careful, this is loaded and I know how to use it." (I see a figure walking around outside the window.)  Chris turns, slowly, and asks, who are you?  I came to meet you, Mr. Jennings, says Bruno. How do you know my name? asks Chris. I know a great deal about you, and surmise a lot more, says Bruno--you and I are going to spend a good deal of time together, Mr. Jennings, we're going to watch the full moon rise. Bruno laughs cruelly.

NOTES: Chris is in a real pickle here, since Bruno has apparently figured out the handcuffs and chain are used for something other than sex games. I remember feeling very concerned for Chris in this episode, and sad for him, too, that even though Sabrina is more than willing to marry him, he pushes her away. They do kiss as if they mean it, long ones that appear to have some tongue action, or implied, if nothing else. I give their kissing a big nine our of 10.

It's so sweet the way Carolyn arranges for Sabrina to get her hair done, even if the finished product does look like a wig. Her makeup did make her look much more attractive, but there's something about her mouth that has always bugged me--and what happened to dear brother Ned, anyway? Did she kill him and bury him on the Collins estate? Where the heck did she find any room?

Bruno is an SOB, and I wished him lots of ill after what he did in this episode--and trust me, it gets worse!

Who is the mysterious ghost hanging, literally, around Collinwood?

Love, Robin