686 - (Joan Bennett) - There is a storm over the great estate of Collinwood, and as the lightning flashes, an ambulance leaves the great house. For this night, an aged silversmith arrived with important information which might give two people a clue to the danger that is threatening. But now the silversmith is dead, and no one knows how he died.

11 o'clock, drawing room - Barnabas ponders everything that's happening. Julia comes in--the autopsy shows Ezra died of heart failure, same thing that happened to Janet Findlay. Strange how so many hearts stop in this house, declares Barnabas (a funny line). I watched the autopsy, says Julia--Ezra was old and had heart trouble--there was no sign of violence on the body. Barnabas isn't convinced. She reminds him the room wasn't disturbed; if someone had been with him, they might have been able to save him. Barnabas is certain Ezra Braithwaite was murdered here tonight, and someone was, indeed, with him.

As usual, Julia tries to talk sense. How does he know he was murdered? Barnabas tells her about the ledger, which was sitting on the desk and is now missing. Julia can't believe someone killed Ezra to get the book. Barnabas tells her the jeweler had information he was going to pass on to me--he learned who he sold the pentagram to so long ago. Did you question David? Julia asks. No, says Barnabas, the boy was too upset when they found the body. Barn did question everyone in the house at the time (go, Barnabas Holmes). Who doe you suspect? asks Julia. The woman we saw, says Barn--the one who led us to Chris' house and to the woods where the pentagram was buried--it was directly responsible for Braithwaite being in the house. Julia protests that the woman wouldn't have killed the jeweler after doing all that--it makes no sense. What of the man Mrs. Johnson saw? asks Barnabas. Julia smiles and calls the housekeeper a repressed hysteric. But Maggie saw him too, says Barnabas--suppose this man and the woman we saw are in conflict?--she wants the secret known, he doesn't. Then we're all in danger, says Julia, and nothing can be done. The spirits have a helper, says Barnabas, and we must make that unwilling helper assist us, too.

David, in Quentin's room, takes the ledger off a dusty, cobwebby desk and brings it to his own room. He thinks to himself that Quentin won't know HE stole it from his room; he threw it on the desk and won't look for it again--I must learn why he did what he did. He sits on his bed and begins paging through the ledger. He looks at the accounts of the Braithwaites from January-June, 1897. Beth appears in his room. David looks at her, startled. She points to the book. Did Quentin send you? he asks, and begs her not to tell him about the book--I had to find out why!--he's terrible, he claims not to hurt anyone, but. . .I hate him.She advances on him, pointing to the book. I can't give it to you! he cries--please don't tell Quentin I have it. He cowers in his bed. Tell Quentin I don't have it, pleads David. Beth nods agreement. David is relieved she won't tell. He didn't send her. She wants David to open the book. He does. "You want me to know!" David says. He finds the entry about the pentagram, repeating Ezra's quote from the previous episode. David asks why this is so important--why would Quentin kill for it? The room fills with Quentin's music. He's coming, says David, climbing off the bed--I know Quentin is in the room, I can feel his presence. Beth appears to be gone. David speaking in that dead voice, his face trancelike, says, "All right, Quentin, I stole the book because you promised you wouldn't hurt him. I'm sorry, Quentin, I won't do anything like that again. I'll do anything you say, Quentin." The music ceases. David picks up the dropped ledger and tears out the incriminating page. Someone knocks at the door. David panics, calling to Quentin. He quickly puts the ledger page in his robe pocket and the ledger itself under his pillow. Barnabas and Julia are at his door. David lies that he didn't answer sooner because he was scared. Barnabas admits it's been an upsetting evening and doesn't want to make it worse, but--what about the ledger you mentioned Braithwaite having when he came to the house? It's important, adds Julia, softening the edge of Barnabas' tone. David asks why--what does it matter if he had a ledger? Someone took it if he had it, says Barnabas. Then I made a mistake, insists David--I saw SOMETHING under his arm. Barn asks if he put it on the desk, but David resolutely refuses to answer. Did you take the ledger? Barnabas asks.David turns and says, "You're always accusing me!" You put yourself in a position where I have to, points out Barn. I didn't want him to die, says David. Both adults say they know that. Then why are you accusing me? demands David, near tears--I wish I'd never opened the door, I wish I'd gone to Portland to get my father, then you wouldn't think I had anything to do with it! David stands, his voice rising; he shouts, physically struggling with Barnabas, "WELL I DIDN'T, YOU HEAR ME, I DIDN'T!" Barnabas tries to calm the boy down, gently holding his arms, and this is the tableau Roger walks in on. David races to his father. "He thinks I took the book!" blubbers the boy. "He thinks I had something to do with it!" Sobbing, he rushes into his father's embrace. (An amazing performance by Henesy; he is so very good here.) "Father, he hates me. . .he hates me," sobs David. Roger looks sternly at his cousin and asks what all this means. Barnabas looks like he couldn't possibly explain it.

A bit later, after Barnabas explains the situation, David sits at his desk, a tear still glittering in one eye. Roger expresses his sorrow for Braithwaite, a master craftsman--but surely Barnabas and Julia realize how upsetting it was to David? We do, says Barnabas. He and Julia leave Roger alone with David. "All this fuss over an old account book," scoffs Roger, before they leave. "Really, Barnabas, I think your fascination for the past has made you lose a sense of proportion." Barnabas protests, but Roger insists he wants to discuss it later.

Roger assures David he doesn't think he took the book. Roger feels the old man's death unnerved Barnabas for some unexplainable reason. David tells his father he missed him so much! But not enough to meet me at the airport, chides Roger--you were rude to Aunt Liz, says Roger, and it hurt me. David insists, I couldn't come. Roger wants a reason. David tells him much has happened in his absence--I knew you and Aunt Liz would just discuss Vicki and such, boring me. Roger finds "bored" a curious word to be in David's vocabulary at his age. David walks away from his father, preoccupied. Roger apologizes for criticizing him, reaching out to touch David's shoulder. On the plane, I was thinking, says Roger, that the two of us should be better friends, and I hope both of us will make an effort. David refuses to look at him at first; when he does, Roger is shocked to see he's crying. David denies doing so, but Roger gently encourages him to admit it and let me help you--tell me, in your own words, what's really been happening since I left. David says--I know nothing. This disappoints Roger, who, after being rebuffed, tells him, come find me if you change your mind. He leaves David alone in his room. David retrieves the ledger from under his pillow and gazes at the door forlornly, wishing he could get out from under this gigantic burden.

In the drawing room, Liz comments how she hasn't felt the same in this room since the seance, hearing that woman warning them--there's been nothing but trouble since. Handing her a cup of tea, Barnabas asks Liz if he and Julia can examine some family information, including receipts and records--we want to check them out tonight. Liz finds his request odd, at this hour, but figures, hey, why not?--I suppose you have a reason. Barnabas asks to explain the reason afterwards. Liz wants to know what's happening in her own house--I fear something is terribly wrong.Barnabas says sometimes one can't understand a story until the end comes. And I must accept that? asks Liz. Yes, say Barn and Julia. Liz sighs and asks for an explanation, even if they are proven wrong tonight--I will go get you the keys, but I want to check David first.

Julia asks Barnabas if SHE may know what he's looking for. A letter, perhaps, says Barn--a receipt or bill from the jeweler, a photo, a clue, just a clue. Whoever stopped the old jeweler will stop us, Julia reminds him. Roger comes in and sourly tells Barnabas, "I thought I left you in charge here." Barnabas protests--I can't be blamed for what's happened tonight. You upset David, accuses Roger. David was the last person to see Braithwaite, says Barnabas. All the more reason for you to be gentle with him, insists Roger. Barn asks to be frank--David's anger/hysteria happened because he knows more than he's willing to tell us. Are you accusing David of stealing the ledger? asks Roger. I'm trying to learn what happened to it, says Barn. Roger insists anyone could have come in and taken it when David went up to get you--"Really, Barnabas!" Barn defends himself--I spoke to Maggie, and they didn't leave the room. I wonder if your questioning left THEM in tears, too? asks Roger sarcastically. Of course not, says Barn. Roger accuses him of reading too many bad mystery novels lately--if there is any mystery at all--he points--the ledger was on the desk all the time!--you should have searched the room more carefully before accusing my son. Barnabas pages through the ledger while Julia tries to convince Roger it wasn't there before. How could it get there, asks Roger, did a ghost put it there? (yup!) Barnabas informs them a page is missing. Roger scoffs, irritated by the entire business.

Roger sarcastically asks if David is responsible for the missing page, too. I'm blaming no one--yet, says Barnabas. Are you going on with this farce? demands Roger, pretending there's a crime when none is evident? Liz enters, key in hand. Roger asks if they're off on another interrogation. No, we're not, says Barnabas patiently. Roger insists Barnabas to stay and finish with him; Julia leaves with Liz. Barnabas tells Roger he hasn't time right now to talk, but Roger says it's important--go upstairs and apologize to David! Barnabas protests--you don't know what's happening here! Roger says indeed I do--you are responsible for causing general hysteria among the children, my sister going on about voices and ghosts, due to a seance you should have forbidden, given Liz' condition and all she's been through. Barnabas can't explain. You can undo the harm you've done, says Roger--if you aren't willing to apologize to David, "Then you're no longer welcome in this house!"Barnabas is shocked at this announcement, and his mouth drops open in disbelief.

Julia and Liz enter a storage room. Liz asks Julia, do you want me to stay with you? No, says Julia. Liz wonders why Julia wants to do this--I'm concerned--Roger thinks nothing is wrong, since he only believes what he sees--he's lucky! Liz leaves Julia alone. It's dark in the room, so she lights a candle and begins looking through old books and albums. She brushes cobwebs from her hair, takes another album and leafs through it. She finds a picture and says, "God! It's impossible! 1897." It's a photo of the same woman who led them to Chris' cottage! Julia heads for the door, which suddenly slams shut, locking her in. The one light in the room goes out, and the windows blow in the wind, letting the lightning into the room. The chandelier sways. "Who is in this room?" demands Julia. "Answer me!" She stands in the dark, staring around, frightened.

NOTES: I know lots of you are Roger fans, but he is behaving like a poop head here. However, those of you who know the story know Roger gets his comeuppance. Excellent performances all around, great to see Rog at his pompous best back in the family fold. Barnabas should have attempted to explain more of what's happening, but for once, Roger is on his son's side, and wants Barn to do the right thing. But Barnabas has more important things to worry about.

Quentin is not a nice ghost! He kills, terrorizes children and even helpless old men!


687 - (Nancy Barrett) - The night is stormy and terrifying, blemished by the evil touch of the long dead. Somewhere in the shadows that engulf the great house of Collinwood, there exists a spirit whose wickedness stains the pages of Collins family history--a man who has returned from the grave, bent upon destruction.

Julia repeatedly demands to know the identity of the presence in the locked room with her, to no avail. Papers fly, winds blow, the chandelier sways, Julia holds her hand in front of her mouth as if warding it off. She asks what it wants of her, again demanding an answer. She begs to be let out of the room, trying the door again. She bangs on it, begging to be let out. Barnabas assures her he's coming. All the ghostly activity in the room stops, just before Barnabas comes in. She explains to him that someone else is in the room. Barnabas says no one is, now. She tells him what happened, how it all started when she found the picture of the woman who led them to Chris' cottage. When they look at the album, to Julia's consternation, the photo has been torn out, gone. Barnabas is shocked.

Chris and Carolyn return from a date, glad they have Collinwood to themselves. Carolyn pours a drink to celebrate the emergence of the "real" Chris Jennings, who didn't look troubled all night. You've been too busy enjoying yourself, she says, to worry about your deep, dark secret. "What secret?" he snaps, then apologizes. She feels she's spoiled the mood. No, I had a great, relaxed time, he says, kissing her hair. She asks why. You know the answer, he says. She, however, wants to be told, and they exchange one of the most passionate kisses we've seen on this show. He holds her. They wish every night could be like tonight--is it possible? Chris doesn't know, but kisses her neck. She feels he has a hang-up, and wants to help him with it. You can't, he says. Carolyn stands and walks away from him--are you married? she asks. He laughs--no, that isn't it. She wonders what's causing the barrier between them--how do you feel about marriage? she asks--no, I'm not proposing, I just want your opinion on the subject--I'd like to know where I stand in terms of the future--If there's no hope, I want to know it now (forward little minx, isn't she?).Chris assures her he believes in marriage 100% and will be married as soon as he's able. They kiss, gently. He asks to see her tomorrow night; they kiss more forcefully. I'm counting on it, she says, and they're really happy as she leads him to the door. One more smooch, and Chris is gone. (They really seem to enjoy the kissing.) Carolyn gazes at her reflection in the mirror and smiles, then lightly heads upstairs.

Chris' cottage - He arrives home, closing his umbrella against the rain. He's humming, happy. He turns on the lights and suddenly feels the pain of transformation! He is starting to take off his tie, get comfortable. He stares at himself in the mirror, horrified, and clutches a piece of furniture, not knowing what the hell is happening to him.

Barnabas offers Julia some brandy. Sure, she says, that should help. Are you convinced the woman in the photo was the woman we saw the other evening? he asks. I'm certain, she replies--that woman came into my room, wearing the same clothing as in the picture--we're dealing with a ghost, says Julia--too bad that photo disappeared, it would have helped us. The woman wouldn't have taken it away, so the other spirit must have done it, surmises Barnabas. Stokes is convinced spirits are at large in the house, why are they here and what are they after? The phone rings. It's Chris. He begs Barnabas to come over right now--I can't talk, just get here! Barnabas tells Julia something is wrong with Chris. They both leave for the cottage.

Chris' face shakes with pain. He crawls across the cottage floor to look out the window, then drags himself across a chair. Barnabas and Julia come in. Barn helps Chris into a chair. He tells them he's experiencing his pre-transformation pain.Julia checks him out. Barnabas reminds Chris there's no full moon tonight. Chris grabs Julia's hand, begging her to do something. Barnabas asks how long before the change begins. 15, 20 minutes, says Chris. We will get you to the mausoleum, says Barnabas. Chris doesn't think they can get them there in time. We'll take Julia's car, insists Barnabas, helping Chris to the door--I'll drive you to the tomb. Chris protests that it's too dangerous, but Barnabas tells him to stop arguing and let them go. Both men insist on leaving Julia at the cottage. Julia tosses Chris' coat over his shoulders and closes the door behind them. It's 1:10 AM.

Collinwood - Someone knocks insistently on the door of Collinwood. Carolyn, in night clothes, answers, and her suffuses with joy. "Jeff Clark!" she cries. The man however, isn't Jeff--I'm Ned Stuart, he says brusquely.She comments on how much he resembles someone she knew, who disappeared long ago. He barges in, asking for Chris. Why do you want to see him? she asks. We're old friends from out west, he says--is he here now? She explains that her mother is a Collins, but Chris isn't here--I don't like your questions, nor your searching for "old friends" in the middle of the night. He chides her for suspicion of strangers, an old New England custom. Carolyn says it's often justified. Ned says, I just arrived in town and wanted to see Chris, renew an old acquaintance--I want to wait for him. Carolyn informs him that Chris lives in the caretaker's cottage and is probably asleep. She offers to phone him, but Ned prefers to go there himself. Carolyn gives him directions. He thanks her and leaves, quickly. Carolyn is perturbed. She picks up the phone and dials. Julia starts to answer at the cottage, then decides not to. Carolyn listens impatiently to the ringing phone. Julia, grateful it stopped, sits down. Barnabas returns. We made it to the mausoleum without a moment to spare, he says--Chris did go through the transformation, but he's safely ensconced in the secret room for the night--this latest development makes it impossible for us to work; he could go through the transformation every night now--we have to find an answer, someone. How? asks Julia. Ned knocks at the door, asking for Chris. Barnabas and Julia gaze at him in astonishment, sure he's Jeff Clark. Ned introduces himself. Barnabas tells him Chris left half an hour ago and won't be back for several hours. Ned wants to wait. Barnabas introduces himself and Julia to Ned. Ned asks if she's a psychiatrist. Yes, says Julia. Barnabas explains Chris may be late getting home, and tired--can I help you? No, says Ned. Barnabas suggests he return in the morning. Ned remarks that everyone seems so protective of Chris--like they think I'm going to hurt him. Why are you here? asks Barnabas. I want to talk to him, that's all, says Ned, and tonight--Chris and I are old friends, who have known each other several years--I'm from out west. Chris never mentioned you, says Barnabas. Ned doesn't find this odd--he probably never mentioned my sister, either, who Chris knew much better than he knew me--they were engaged to be married--the engagement was broken when Chris disappeared one night, and my sister was left in no condition to tell me what happened. Julia asks if Ned's sister is dead.Death would be the logical conclusion, agrees Ned. Barnabas and Julia, suspecting the worst, exchange worried glances. What did Chris do to this man's sister?

NOTES: Never much liked Ned Stuart. I did enjoy Briscoe's performance today, especially in the pain sequences. He really looked like he was hurting! Ned is angry with Chris, perhaps wants to harm him. He believes Chris did something to his sister--did he kill her? Is Ned seeking revenge?

So we have something popping up from Chris' past--he was engaged! Here he's romancing Carolyn, assuring her he's 100 percent FOR marriage, but how can a guy with his little problem (now out of control) become romantically involved with anyone? How does he dare?

Good kisses between Carolyn and Chris. They seem to enjoy their scenes together, didn't they? But again, Chris' future is in jeopardy now. How can Julia and Barnabas not turn him in, under the present circumstances?

Love, Robin

682 - (Thayer David) - A nocturnal storm rages over Collinwood, but most of the residents of the great house are asleep. The hour is late. In one bedroom, a child sleeps peacefully, lost in a deep, dreamless sleep. The child has terrorized those who suspect he's not as innocent as he seems. Another bedroom of the great house is empty, the bedroom belonging to Maggie Evans. For she has experienced terror this night. She has roamed the darkened halls of Collinwood, sleepless. For she is beginning to realize that strange forces exist in this house, forces bent on destruction, forces beyond her control--and that knowledge will place her in ever-mounting danger.

Maggie stands in the drawing room, staring out at the storm. Mrs. Johnson comes in--I was locking up, she says--turn off the lights before you go up. Maggie asks the housekeeper about the man she saw in Matthew Morgan's cottage. Mrs. J protests, shivering--I don't even like to think about him. I saw the same man, Maggie tells her--tonight. Mrs. J is shocked--I didn't imagine him? Neither of us did, says Maggie grimly, I saw him in the West Wing.He's here in the house, asks Mrs. J? Yes, says Maggie, and the two of us are the only ones who believe he exists.

The West Wing storage room door opens. We see Mr. Jughans and Quentin standing there. The ghostly Quentin has a crooked half-smile on his face.

Mrs. Johnson wants Maggie to tell Liz. I already have, says Maggie, and she believed me, at first, but now thinks it was only a figment of my imagination--because of David. Maggie describes what happened when they found the clothes mannequin--Liz believed David, because she wants to believe everything he says. David knows something about the man, as does Amy, the women agree. The kids are wicked, insists Mrs. J. Maggie doesn't feel the children are responsible--that man, whoever or whatever he is, has some sort of terrifying control over them. What should we do? asks Mrs. J. Watch them closely, advises Maggie--the kids need our help. Both agree they're afraid of the children, but this must be done. We should go to bed, says Maggie, turning off the light--we'll talk in the morning. Maggie advises Mrs. J to lock her door, then wishes the frightened housekeeper good night. Mrs. Johnson turns off the foyer light and goes to the kitchen. It's 2:20 AM.

Maggie lies sleeping in her room. It's 4:10 AM. She dreams: She rises from sleep and drifts to the window, where her curtains are billowing. She leaves her room. The clock in the dream says 4:10, too. She walks down the hallway. In the West Wing, she enters the storage room and finds Mr. Jughans, who metamorphosizes into Quentin. He's malevolently gazing at her as she asks who he is and what he's doing here. He smiles at her, breathing heavily. He takes a scarf from his coat, twists it around his hands, and tests the strength. "Stay away from me," Maggie cries, but Quentin loops the scarf around her throat and strangles her, taking her down to the floor. He rises, staring down at her body, his eyes wide.

Drawing room - Maggie describes the awful dream to Barnabas the following morning. I was lying there, dead, she says, and he was standing over there.Maggie realizes Barnabas thinks it was only a dream, but to her, it was a warning to leave Collinwood. (I loved when he asked her, "What do you think it was?" sounding like a typical shrink.) It might have been, he agrees. Maggie is surprised he believes her. I think you DID see the man, says Barn, and he's a definite threat to the house. Maggie is relieved Barnabas believes her. I didn't imagine what I saw, says Barnabas--a strange woman dressed in clothes of another period--Julia saw her, too--she led us out of this house to Chris' cottage at a time when Chris needed Julia's help--he was quite ill. Maggie wonders what it all means. Barnabas says he intends to find out--I'll call Stokes--if anyone can find out anything, he will--when will Liz and Carolyn will be out of the house? Tonight, says Maggie, they're going to Bangor for dinner. (Sneaky pair here!) Good, says Barn, I'll ask Stokes over this evening and see what we can learn--you tend to the children, be as natural as you can. That won't be easy, says Maggie. Do it, says Barnabas, the children must not know we're onto anything. Maggie is grateful he believes her, that she and Mrs. Johnson aren't alone in this. I'll do whatever I can to help you, promises Barnabas. He sends her to tend to the children, his face filled with concern.

7 PM - Barnabas describes to Stokes how he and Julia saw the woman on the stairs.Barnabas offers to help the professor, but Stokes reminds him of Madame Findlay and what happened when he brought her to Collinwood--she died of a heart attack, but she was a strong woman in the prime of life with no previous heart condition, and I don't believe she died a natural death--I think something in the house, some force, killed her--I believe that, and I also believe that she might be able to help us--if something in the house killed Janet, her spirit still exists here--we will hold a seance and try to reach her spirit--if we succeed, she might be able to tell us everything we want to know.

In the hallway, Maggie and Mrs. Johnson discuss how relieved they are that the kids have gone to Bangor with Liz and Carolyn (I thought Quentin decreed they couldn't leave the house?) They behaved like angels at lunch, says Mrs. J., and David always complains about the meals I fix--I didn't leave them alone for a minute. Neither did I, says Maggie. They go into Maggie's room, where she brushes her hair. Mrs. J comments that they kids didn't have much time to get into mischief today. Maggie cautions her they have to keep watching. Mrs. J promises to help, even though she's afraid of them. Maggie says they behaved like ordinary kids with her. They marvel over how ordinary the kids can seem at times, and how hard it is to believe they're involved in all this. Mrs. Johnson sits down at Maggie' desk and picks up a scarf, toying with it in her hands. Maggie looks in the mirror and sees the scarf in the housekeeper's hand's. "In my dream, I'm strangled with this sash," says Maggie, voice trembling.

Maggie, Barnabas Stokes and Mrs. Johnson are seated around the seance table in the drawing room. Stokes holds the scarf. Maggie asks him what it was doing in her room. Stokes doesn't know, but perhaps they can find out--they will try to communicate with Mrs. Findlay. Barnabas says Stokes thinks she might be able to help them. Mrs. J makes a face--communicating with dead spirits makes her shudder. She doesn't want to do it, but Stokes says she must--only she and Maggie saw the strange man, and Janet's spirit may try to speak through one of them. Barnabas kindly tells Mrs. Johnson she HAS to do this. (An amusing moment) Mrs. J protests. Maggie reminds her she's also scared, but if they can find out anything--anything at all¢â‚¬¦ All right, agrees Mrs. Johnson, reluctantly. The sooner they begin, the sooner it will be over, advises Barnabas. Stokes has them put hands on the table, fingers touching, and reminds them not to break the circle. He tells them to think only of Janet Findlay--concentrate on her alone and clear your minds of everything but her image. Stokes calls to Janet Findlay, asking her to hear them--speak to us from beyond the grave--hear us, he intones, if you're in the room, give us a sign--we need your help. Stokes senses a presence in the house and asks it to make itself known. Sarah Johnson snatches her hands out of the circle. Stokes warns her, "Your hands!" She apologizes, replacing them on the table. As Stokes calls, we see the door upstairs on the landing opening. A spirit comes downstairs and enters the drawing room. Mrs. Johnson goes into a trance, asking "Why did you call me?" Stokes asks if she's Janet Findlay. Yes, she says. What happened? he asks."The children," she says, "the panel, the room." Stokes asks for more explicit details. "I found that room, I waited there for something to happen, and then, then. . .he killed me! He killed me!" she cries, and collapses on the table.

NOTES: Pretty exciting, and the performances were exemplary today. See how close and domestic Maggie and Barnabas are becoming? I enjoyed seeing them as co-conspirators, and it was fun to watch Maggie bonding with Mrs. Johnson in their shared terror. Liz is doing David a serious disservice in always believing him, always wanting to think him good.

Now that Janet Findlay has spoken from beyond the grave, will they come any closer to figuring out what's happening? She's revealed that "he" killed her, but of course, no name. WE know, and so do the kids. Will the living be able to forestall the dead?


683 - (Don Briscoe) - The great house of Collinwood appears majestic and serene in the fading afternoon sun, but there is no serenity within its walls. For Collinwood is a house that contains many secrets, dark, ominous secrets, and those why try to uncover them will find themselves in great danger. On the previous night, a seance was held, and the spirit of a woman was contacted. Her words will lead to the uncovering of other secrets, dangerous secrets. And those who are attempting to unravel the mysteries of Collinwood will find themselves in greater peril than they realize!

Black and white episode - We see a candle burning, wax dripping heavily down the sides.

Barnabas tells a shocked Julia that they learned that Mrs. Findlay was murdered, but she didn't give any indication of who did the deed--during the seance, Mrs. Johnson went into a trance and Madame Findlay spoke through her, reveals Barnabas. Mrs. F spoke of the children, a panel, waiting in a room, and said she'd been murdered--after that, Mrs. Johnson collapsed. Julia wonders why she mentioned the kids. Barnabas has three ideas in mind, and before revealing them, he goes outside the drawing room's double doors to make sure no one is eavesdropping. First, the kids might be in some kind of danger; second, the kids know who the murderer is; third, incredibly--the children themselves killed Madame Findlay. Amy appears up on the landing, staring down.

Julia finds the concept that the kids could have done away with the medium incredible. Why would they do, it, and how? Barnabas doesn't know, and wants to discount the possibility. Julia feels the second choice is the best--the kids know something they aren't telling. Barnabas agrees; he can't believe the kids are totally innocent, their behavior is too strange. Barn doubts he can get the children to admit anything; David is too clever--I don't want the kids suspicious of me, either. Barnabas agrees to speak to Amy; Julia volunteers to go get her. She finds Amy in the foyer holding an apple and a jump rope. Barnabas wishes to speak to you, says Julia. Amy willingly goes in and sits down next to Barnabas. He asks if she recalls Madame Findlay. Yes, says Amy--the woman asked me a lot of funny questions--I don't remember any of them, except that she went away--Mrs. Stoddard was looking for her. Julia lies that Madame Findlay was found--and fine. Amy has no idea where Mrs. Findlay went, however, and asks to go out and play with David. Barnabas cautions them to return before dark, and the little girl leaves. Julia tells him she believes Amy was telling them all she knows. Barnabas isn't sure. Mrs. Stoddard felt they shouldn't tell the children of Madame Findlay's death, so Amy has no idea about the medium's demise. I watched Amy when she was speaking to you, says Julia, and I believe she knows nothing--we should speak to Chris about the strange woman who came to tell me Chris was dying. Barnabas reminds her, seeming annoyed, that Chris already told them he knows nothing about that woman. Julia feels he might know more than he's able to tell them--I have a plan-wait, I'll be right back.

In his cottage, Chris stokes up a nice fire. Amy visits him. He's happy to see her--I was coming to see you at Collinwood. I wanted to see you now, she says. He offers her a soda. She refuses. I'm happier than I have been in a long time, says Amy--because of you--you're going to be all right, she says, smiling. He wonders why he wouldn't be.She tries to change the subject to her trip to Bangor yesterday, but he won't let her--I do want to hear about your trip, but. . . A knock at the door turns out to be Julia and Barnabas, who are surprised to see Amy there. David didn't want to play with me, she complains, so I came to see Chris instead. Julia suggests Amy return to Collinwood. Chris helps her into her coat, promising to see her later, hugging her goodbye. After she leaves, Chris tells them his sister is a strange kid, saying things he doesn't understand--she just told me I was going to be all right, and I had no idea what she meant. Julia asks him if he thinks Amy's changed since coming to Collinwood. He doesn't know. She asks about the strange woman who led them to him and saved his life--a tall blonde woman in a long, flowing dress--but Chris doesn't have a clue who she is. Julia asks him to trust them; she wants to hypnotize him--there might be a block in your conscious memory. He denies knowing anything about the woman. Barnabas says they must learn more about the mysterious woman, so Chris reluctantly agrees to go along, if they think it will do some good.

Amy walks home through the woods. She senses a presence and asks who it is. A woman touches her shoulder. She turns around--it's Beth, holding out a doll. Amy asks Beth why she's here. David is angry, says Amy--is Quentin angry, too?Beth silently hands Amy the doll. "No," says Amy, "don't tell, I know."

Julia turns off the light. Do everything I tell you to, she reminds him. He sits on the sofa. Julia takes out the glittering medallion, tells him to clear his mind of all thoughts and listen to my voice. She coughs, then, twirling the medallion, asks him to see the light, watch the lights, concentrate on them. Chris agrees. She orders him to try to find the center of the light. He thinks. . .yes, he's found the center. "Good," says Julia. I want to ask you some questions and you will answer them honestly, she says. He agrees. She asks him about the tall blonde woman in a long, flowing white dress--do you know her?Barnabas watches intently, listening carefully. No, says Chris, I don't know her. "Think, concentrate," says Julia. I never saw her and know nothing about her, he says. It's no use, Julia tells Barnabas, and snaps her fingers. Chris comes out of the trance. She tells him she believes he knows nothing about the strange woman--all three of them hoped he did. He apologizes for not being more forthcoming; he's disappointed, too. Barn and Julia take their leave.

Amy asks Beth why she wants her to do whatever it is she wants her to do. Beth puts a finger to her lips. All right, says Amy, no questions, she'll do it as long as no one gets hurt. Beth nods, reassuring Amy.

In the woods, Julia hears a sound, but Barnabas doesn't. Probably an animal, suggests Barnabas.

Amy calls to Beth, puzzled. She holds the doll, staring upwards.

At the front door of Collinwood, Julia asks Barnabas what they're going to do about Chris. What we have been, says Barn resignedly, until you come up with a better solution for him. What if I can't? she asks. I don't want to think about it, replies Barn. Julia says we must--if we can't help him, we've got to expose him, there's no other alternative. None, agrees Barnabas sadly.

Chris sits in the cottage. Ghostly, creepy music plays. He rises from his chair and leaves, passing by the window. He walks through the woods, then turns and sees Beth. "Who are you?" he demands, but quickly realizes, "YOU'RE THE WOMAN!"He asks what she wants. She points to the earth. He asks if she can talk. She points to the tree. He's flabbergasted when she simply disappears.

At Collinwood, Julia asks Barnabas if he's seen Amy--she disappeared again. She must be in the house, says Barnabas, folding his newspaper. Maggie and Mrs. Johnson are searching, too. Barnabas goes to the servants' quarters and calls to Amy. He goes toward the study and calls to her. Someone knocks at the door. It's Chris, who bursts in and tells him, I saw the woman! He explains what happened. Take me to the spot where he saw her, says Barn, and off they go.

Amy exits the secret panel in Collinwood's drawing room, doll clutched in her hand.

Chris points out the plot of earth where Beth directed him. A shovel is now leaning against the tree; they figure out Beth arranged for it to be there. Barnabas says we should start digging, but Chris is the one who takes the shovel and begins to dig.

Amy sings "Rock a Bye Baby" to the doll in her arms. Julia tells her they've been searching everywhere for her, but Amy casually says she was down in the basement, playing, and found this doll--I want to keep it. Julia says it's very old--I suppose you can keep it. Amy promises to be very careful and not let anything happen to it.

Barnabas and Chris unearth a grisly find--a child's coffin. The lift it from the unmarked grave. We should open it, says Barnabas--the woman brought you there for a reason and that coffin must be why. Chris uses the shovel to open the small coffin and opens it¢â‚¬¦

NOTES: Who's in the coffin? What child died? Why did Beth give Amy the doll? What made Beth visit Chris--just to lead him to the infant's grave? What clue is she trying to provide to this mystery?

The mystery is mounting--are Beth and Quentin working together or against each other? We suspect the latter. What was their connection in life?

Love, Robin

Big Moody Blues fan here, too from teenagerhood.  "A new mother picks up and suckles her son"--one of the lines that always gave me chills!

One of their songs, "For My Lady," always makes me think of Barnabas and Josette.  So pretty.

Connie, that was perfect!  You do such a great job on your little gifts to us.  

When down in Atlantic City recently, I saw a store sign that said "Robina's."  Wonder what she sells?)  Those who have read my DS novel of that name know why *I* started laughing in the middle of the boardwalk, and when my husband asked why, I said, "Nothing, Dan.  DARK SHADOWS just follows me everywhere, that's all."

Love, Robin

678 - (Don Briscoe) - A strange, distorted night in the great house of Collinwood, a night in which one woman wakes and sees a weeping, mysterious figure in her room--a figure that disappears without a word, leaving fear in its place.

Julia assures Barnabas that Chris is alive, but barely. They can't imagine what happened to him, and it surely isn't connected to his becoming a werewolf. Barnabas finds the empty whiskey bottle and sniffs it. There's something in it, he tells Julia (good nose!) She smells it--strychnine, she pronounces--I have to get some atropine, she says. Barn wants to take Chris to a hospital, but she asks if he thinks it's wise to involve the police. Barnabas agrees not. Julia will call Windcliff and have the necessary antidote sent ASAP. Barnabas kneels beside Chris and says, "I don't blame you. How often such a short time ago, I would sit in the Old House and doubt I'd have the strength to get through another night, and wonder if it wasn't best to die now." Chris begins to moan. He's coming to, says Barnabas. Julia reaches Windcliff. Barnabas says they must save him, not just for their sakes, but for Amy's.

In bed, asleep, Amy dreams, tossing her head back and forth on her pillow. Beth calls to her, her voice filled with tears. Amy asks where she is. "Oh, Amy!" sighs Beth--"What can we do?" Amy gets out of bed and asks if it's time to play the game. No games, says Beth--come to me, Amy. Amy walks toward Beth's voice, to the cottage, where Chris sits in a chair. "Don't come near the window, Amy!" warns Beth. The shade is drawn down. Amy asks if something has happened to her brother, and begs Beth to tell her. He's all right, says Beth, this time. Amy asks if she's talking about Chris. Beth tells her she saved him. "You must not tell him about me," warns Beth. "You love him as I love. . ." Amy refuses to believe Chris is all right and runs into the cottage, where Chris is slumped over in his chair. She begs Beth to tell her he'll be all right. This time, repeats Beth, this time, but tomorrow. . .tomorrow! What will happen then? demands Amy. He will try again, says Beth. Who? asks Amy. The murderer, replies Beth--he's coming, he's coming! The door opens. "Stop him!" Beth cries. Amy sees no one there, and tries to tell that to Beth, but she's disappeared. Hearing Quentin's music, she tells Beth it's only Quentin--come back, Beth! Amy asks Quentin to show himself--did you come to see Chris?--he's all right now, she assures him. Then Amy screams.Chris is dead in his chair, a knife protruding from his chest. David, his face swimming, tells Amy, I tried to stop Quentin, tried to tell him he's wrong--I didn't want this to happen, you've got to believe me. David begs Beth to tell Amy what he's saying, and Beth says he did try, but Quentin had made up his mind that Chris must die! Amy wakes up, screaming, staring wildly around. She climbs out of bed. "No, Chris can't die!" cries Amy, talking to the air. Amy looks outside her window at the dawning sky. She pulls her green dress from the closet.

Julia comes out of Chris' bedroom and assures Barnabas the atropine worked; he should be all right. "Thank God," says Barnabas. Julia asks about the figure who led them here; she's trying to help, too--how did she know to come to me in my room?. A friend from his past, suggests Barnabas. "A ghost?" asks Julia--not Chris' past, those clothes are too old. "A guardian spirit who wants him to live," suggests Barnabas. Does Chris know about her, they wonder. Julia ponders how she knew to come to me--how did the ghost know about me? She sips some coffee. It was as if she knew all about each of us, says Julia, who could and could not help him. Barnabas wonders why she disappeared as she did--she could have told them so much more--perhaps she'll appear again. Bemused, Julia says, "So, we're at the mercy of a ghost."Barnabas notes the woman's Victorian dress--1890's-- every detail will help eventually. Barnabas suggests that if Chris were a werewolf because of a curse, it's just possible that this figure has some connection with the curse. Chris comes out of his bedroom. Barnabas helps him into a chair. Chris, breathing heavily, asks what happened to him. You tell us, says Barn, showing him the empty whiskey glass--we aren't making judgment. Julia says, we know what's in the whiskey. Chris asks what was in the booze that got him sick. Julia and Barn exchange glances; Barnabas tells him to be completely honest. Julia tells him the whiskey was poisoned, which stuns Chris. Who put it there? asks Barnabas. Chris assures them he's considered suicide, but I now have both of you to help me--this isn't the time to do it--I never left the house, nor was anyone else there. Then Chris remembers--David, but he wouldn't have done this--the boy was here for a short while about 6 AM--he stayed right with me the whole time. Barnabas finds this startling. Chris calls David a good kid who's been nice to Amy. Barnabas tells Julia he must do something that might prove most interesting. Julia will stay with Chris. We no longer believe you tried to kill yourself, says Barnabas--we're glad we were wrong about it. He squeezes Chris' shoulder and tells him it's important he stay alive. In an endearing aw shucks manner, Chris asks why that's important.

Collinwood - Amy, in dress and coat, walks downstairs. She looks around, then leaves the house.

Julia gives Chris something to clear up his dizziness. Chris asks her how they found him. We avoided telling you because it's improbable, she says, but a ghost led me to you--you have a guardian spirit watching over you, and you'd have died without her. Chris has no idea who she is, and can barely believe she exists. Julia tells him to be thankful and get some rest. Amy comes to the cottage and is upset to realize her brother is sick. No, just an upset stomach, he assures her, but she knows better--she dreamed something terrible happened to him!Amy is near tears as Chris assures her he's OK, but she refuses to believe him. He can't believe she'd accept a dream over her brother's word. She describes that she dreamed Chris was sick, but she doesn't know what made him sick. She won't tell them anything further, and gets up to leave. Firmly, she tells him he's going to be all right--nothing else will ever happen to him--ever!

On the ancient phone in his room, David asks Quentin if he hurt Chris--"You mustn't hurt him!" David asks Quentin why he won't talk to him, but the ghost is apparently peeved. Barnabas knocks at David's door. David's surprised to see him--he didn't think grownups ever got up early. (hey, when you've been a vampire, daylight isn't to be wasted.) Barnabas asks to have breakfast with the children. David warns that it won't be fun--Mrs. Johnson is so grumpy in the morning. We can ignore her, says Barnabas--do you like having Amy in the house? Sure, says David, we have a lot of fun. That's good, comments Barn--I was speaking to Chris, who told me he's very pleased with the way you made Amy welcome here. David is surprised to hear Barnabas saw Chris, then covers his reaction by saying he wasn't aware Barnabas and Chris were friends.Of course we are, says Barnabas--are you friends with Chris?--you visited him yesterday, right? I was taking a hike, says David, and stopped by the cottage. Barnabas reveals that Chris was very ill the previous night. That's too bad, says David. He's fine now, Barnabas assures him. David is glad. Barnabas looks at him sharply. David adds that Chris promised to take me and Amy to the movies--oops, that sounds selfish--I wish people would never get sick. Barnabas agrees. David thinks he might become a doctor. Amy comes in and greets them. Barnabas tells David to get dressed--I'll go down and tell Mrs. Johnson to set a place for me. Amy wants to stay and speak to David for a few moments, but David sourly asks how he can get dressed then. Just a few minutes, says Amy, and Barnabas leaves them alone.

David asks her what she wants. You sound just like Quentin, she complains. I don't mean to, he says--I don't want to! I know why Quentin won't let me play the game anymore, she says--why did you let him hurt Chris? David denies complicity, but Amy knows Quentin tells him everything he's going to do. David protests he didn't know Quentin was going to do that. Amy accuses him not just of knowing, but trying to talk Quentin out of it--I know it!--why are you lying to me? His face contorts as he asks, "Amy, does Quentin ever scare you?" She nods vigorously. What will we do? he asks. Are you afraid of him, too? she asks. Yes, he replies. I'm going downstairs, she says, to tell Mrs. Stoddard about the game. You can't, cries David, you don't know what Quentin will do to us! It's the only way to stop him, she insists, and you won't stop me--no one can! David calls after Amy, terrified, trying to bring her back to him--and to her senses.

NOTES: Ah, love the domesticated Barnabas! He's catching on a bit to the kids, at least superficially. How did Quentin think he could get the kids to cooperate against Amy's only living brother? Obviously family loyalty to siblings is something Quentin has little familiarity with! Will Amy have the nerve to go to Liz and tell her all? Or will Quentin, using David, stop her?


679 - (KLS) - The night which has just ended at the great estate of Collinwood will be remembered by many who live there. A little girl has awakened from a frightening dream and she suddenly knows that the dream will come true--unless she can stop it.

On the landing, David stops Amy and tells her to be silent--Quentin will make them sick! Amy says the adults won't let them. David thinks they won't believe them and will punish them for going into the West Wing. Amy is insistent that they finish it, but David reminds her they must do as Quentin says. But we didn't know what he was like, says Amy. David shouts, "We do now, and don't you forget it!" He twists her arm painfully behind her back and covers her mouth. This is how Liz discovers them. David tells her they were just playing a game--jail-and Amy escaped and he had to catch her. Amy denies this, holding her hurt arm, and Liz tells him to remember he's older than Amy--go up to your room. David calls Amy a liar, insisting she was playing, but Amy says that isn't true--I know why he's saying that. David accuses Liz of believing a stranger over her own nephew. He races upstairs, furious.

Liz leads Amy into the drawing room. She asks if David often treats her this way. No, he was nice to me when I first came, admits Amy. Liz knows this isn't the first time he's mistreated her--Carolyn told her about the other day. It's only since we started. . .begins Amy--the game. Last night, after her dream, she knew why David wouldn't let her play the game anymore--because of Chris--Chris was in my dream.Liz asks her to speak more clearly, but Amy can't forget her dream, and Chris--and I get so scared! Liz comforts her. Amy asks her to try to make sure nothing else happens. Liz promises to try her best. Amy says that David took her to a room upstairs where they found an old telephone, which was the beginning of the game. Amy is all set to tell Liz who she spoke to on the phone when she spots Quentin standing in the room, glaring at her. She gasps. "He's here, in this room!" cries Amy, but when Liz turns, Quentin is gone. Amy is sure Quentin was going to hurt her. Maggie races in and takes the little girl in her arms. Liz doesn't know what happened, but Amy thought she saw someone. Liz shows her no one is there. Liz tells Maggie about Amy's scary dream. Amy says she never saw this man in her dream, but he was there, she knows it was him, and David told her. Amy stops again. Maggie asks her if she's scared of David. Sometimes, confesses Amy. Liz assures her she'll take care of David and stop that from happening anymore. She asks Amy to tell her about this game. Amy refuses--there's not much to tell--it's a make-believe game--we pretend things, that's all. Maggie asks her if she dreamed what she'd been pretending. Amy says she guesses that describes it. Liz asks if the man she saw was one of the make believe people. Amy guesses so. Liz sees how afraid Amy is and says she's going to see David. She asks Maggie to stay with Amy. Amy says that yes, David has been frightening her and no, he hasn't--she can't really explain.

David is in his room, pacing, his face twisted with anger. Quentin appears to him. David tries to explain that he tried to stop Amy from speaking, but Aunt Liz came in and there was nothing he could do--I told Amy not to tell, I swear--I realize you're mad at me, Quentin.But the ghost smiles, letting David know HE took care of Amy. David asks if Quentin is going to let them go or keep on and on and never stop?--there's nothing we can do about it, is there? Liz enters the room and asks who he's talking to, but Quentin is gone. David claims he was talking to himself. Liz asks if it's about the game he and Amy play. David doesn't know which game, but Liz says it's the one of the phone. David lies about a giant named Lars who lives in a house by the sea--Lars is being held captive by a wicked old witch. Liz is annoyed, feeling David is too old for games involving giants and imaginary people--I hoped Amy would be good for you. David calls Amy a dumb girl. She's a nice girl, corrects Liz. David claims she lies a lot, and gets all scared over nothing. Liz thinks he's scaring her, and orders him to stop playing it if it frightens Amy. David says he won't let her play anymore. Liz recognized Amy's tears as real, and doesn't accept his explanation. She tells him he's been behaving very badly and must stay in his room, at least the rest of the day, until he learns how to treat people properly. David is so incensed, he takes a football figure and throws it across the room.

Down in the drawing room, Maggie suggests to Amy that they take a walk to the cottage to see Chris. Amy says, I have something else to do, but can't tell you what it is--it's up to me. Maggie says she's here to help her and David, and she wants Amy to allow her to help. Not this, says Amy--I've got it all figured out now. Amy meets Liz on the stairs and assures her she's feeling better. Liz asks her not to disturb David. Liz tells Maggie she wishes they could figure out their problems as easily as the children do. Maggie tells Liz Amy is still upset, and that it's serious. Liz feels her nephew can be a very serious problem, he delights in living in an unreal world--we must face the problem, and I hope you can help--David hasn't been disciplined enough, (duh!), and originally, his flights of fancy were amusing--now they're not, since they're hurting Amy.She tells Maggie to discipline him in whatever way is necessary to assure David he's living in a real world with real people. (Good luck!)

Amy enters David's room. He's looking out the window, furious. He knows Amy didn't tell, Quentin told him. Amy admits David was right--Quentin was going to do something terrible to her. David agrees. We can't let Quentin do the things he does, insists Amy, we must form a united front against Quentin--I don't want my brother hurt. David insists Quentin doesn't care what either of them wants, or what he does. He won't stop hurting Chris, Amy realizes, and she thinks if they get Liz to take them into town, they could tell her there and never have to return to this house.He'd find us, David says. We should go to him, says Amy, and tell Quentin we'll play the game as he wants as long as he doesn't hurt Chris--Quentin doesn't want anyone to know about him; we'll promise to keep his secret if he leaves Chris alone. David rises from his chair and tells Amy to go. She asks if he'll try. David says if he tells Quentin that you'll tell everything about him if he doesn't agree, he just might do it. Amy begs him to go see Quentin now, but he says he must stay in his room. Amy volunteers to go, but David reminds her he doesn't want her in the game anymore. He promises to try--but she must go downstairs and wait for him. David's face is troubled as he lifts the receiver on the phone and "calls" Quentin. There's no response. David begs, "Where are you?"

Maggie enters David's room and hears him on the phone. She asks how he's doing. Fine, he says curtly, I like being alone. She asks if he's speaking to an imaginary friend on the old phone. He gives her a long, hostile look. She tells him she wants to be his friend. He assures her they are. She says his smile doesn't make them friends. He tells her Vicki never said things like that. Maggie says she has a different way of dealing with him. He complains he hates being "dealt" with. She apologizes for hurting his feelings, but says people do deal with each other, and he doesn't seem to care about anyone's feelings. He insists she doesn't know. Maggie says if he did, he wouldn't have to stay in his room on such a nice day. He retorts he'd rather be here, anyway. She asks where he got the phone. In the cellar, he lies--it's a magic telephone, but grownups don't believe in magic. Maggie tells him he'd better learn what's real, and takes the phone away to her room. David insists she can't take it. Maggie informs him that many things are his, more than he realizes--when you come to know that, I'll return the phone. She walks off with the phone. David begs Quentin to come to him--now.

6 PM - Amy glances at the striking grandfather clock.

In his room David grows increasingly frustrated because Quentin hasn't come to see him. It's important that I see you, the boy begs--you wanted me to go to Chris' house tonight, play the game with him--but I want to tell you about Amy's offer! "Oh, Quentin, please!" says David, then decides Quentin isn't coming. He takes a flashlight out of his dresser and starts to leave his room, but he hears Maggie exit her room and hastily retreats back into his own. She passes by, down the hall. David enters the West Wing. Maggie catches him and follows him into the West Wing.

Amy looks at the clock, frustrated. She sits on the stairs, staring up, wondering if David has spoken to Quentin yet.

David enters the storage room, Maggie following not far behind. She enters the storage room, calling David. He doesn't appear, even after she orders him not to hide from her. David listens, hearing her calling from Quentin's room.

NOTES: This could potentially bode ill for both children and Maggie. Amy's disjointed discussion with Liz about what's going on, one that left out Quentin entirely, couldn't have been of much help. Now Liz fears David is living in a dream world (as he has in the past), but this time, it's all real, especially the danger, and you hope, for the sake of everyone, that Liz and Maggie catch on to what's really happening. It still isn't clear why Quentin wants Chris dead.

On the other hand, Maggie has followed David to the West Wing and could be in immediate peril from Quentin. Neither David nor Amy wishes harm to those they love, but Quentin seems to have no love, for anyone, and will ruthlessly use the children to get what he wants.

How sad that Barnabas believed Chris had tried to commit suicide. The former vampire is really identifying with the werewolf, isn't he? All Barnabas had to do was voluntarily face the sun, but he could either never bring himself to do so or his sense of self-preservation wouldn't let him.

In any case, it's nice to see Barn and Jul with a positive project to work on together!

Love, Robin

Barnabas was an 18th century man, and probably heard Joshua utter those very same words to Naomi time and again.  I hoped that Barnabas would be less like Daddy, but I guess that while you can take the man out of the 18th century, you can't take the 18th century out of the man!

Barnabas had his own ideas about women, and they weren't terribly modern.

As for Angelique, her words might have been, "Do as I say or I'll put a curse on you!"  That would certainly make most people step lively to do her bidding.

Love, Robin

676 - (Clarice Blackburn) - Late afternoon at Collinwood. The great house is peaceful and quiet, and those inside know nothing of an arrangement being made on another part of the estate.

Barnabas leads Chris to the mausoleum, asking him if he has any memory of what takes place after the transformation. No, says Chris, and that's the most agonizing part of the whole thing. Did you know you attacked me just the other night? Asks Barnabas. I suspected as much when you came to the cottage next morning--I saw you were hurt. I fought you off with this, says Barnabas, holding up the cane--it's the only thing that can destroy you in your other form. They enter the mausoleum. You promised to take me someplace I couldn't get out of, Chris reminds him. "I did" Barnabas assures him. Looking around, Chris advises, kill me tonight--the gate won't hold me after the transformation. But this door will, says Barnabas, opening the secret panel, showing Chris the room with the coffin.

Barnabas tells him this room was originally a storage room for ammunition during the Revolutionary War. When Chris asks how he knows about it, Barnabas replies, "I am a Collins, I know a great deal about my family history," as though that's more than enough explanation. (I loved the grand way he said it, too.) Chris points to the coffin--it must have had other uses after the war, he observes. "Yes," says Barnabas, but doesn't elaborate. The coffin is empty, says Barnabas, but I don't know where the body is. Do you know and just don't want to tell me? asks Chris (sharp guy). Barnabas suavely changes the subject to the reason they are here. Why are we here? asks Chris. To prevent you from doing further violence this night, replies Barn. Why are you helping me? Chris asks gently. Barnabas softly responds, "Because I want to help you." Chris feels there must be more of a reason why he's willing to take the risk. Because I know you aren't responsible for what you do after the transformation, Barn answers. Will you bring me here for every full moon? Asks Chris. Yes, Barnabas tells him--until we can find a cure for your condition. That's a waste of time, insists Chris--the first transformation happened seven years ago--there's no time left to tell you more. Barnabas assures him there's still time--I need to know more about you to help you, insists Barnabas, so talk now. You aren't safe here with me, objects Chris, but Barnabas points out the silver wolf head on the cane again. Chris says, "It was just a few days past my 21st birthday. I'd just graduated college, was going to be an architect. Oh, I was going to be an architect to be reckoned with, bold, imaginative, revolutionary. I thought nothing could stand in my way. But something did, something I thought happened only in fiction. Suddenly I began to feel a great pain all over my body. It began to increase, I was terrified out of my mind. All of a sudden, it stopped, but then I got the most shocking thing that ever happened to me in my life. I looked down, and my hands, my hands had begun to grow hair, all over them! I looked in the mirror and there was hair growing all over my face, too!"I blacked out, and next morning, I woke up and was myself--I thought it just a nightmare, until I looked around and saw the evidence I've seen a hundred times since then--muddy tracks on the floor, clothing torn, furniture turned over, and always the news someone had been attacked and often killed by a vicious animal--and I knew the animal was ME! Barnabas assures him tomorrow morning will be better for him, but Chris shouts, "How can you be sure that even this place is going to hold me?" Foot-thick granite walls will do it, Barnabas assures him--I'll lock you in--I didn't show you how to open the door from the inside. The pains begin. Chris pleads with Barnabas to get out--for your own sake--it will happen in a few minutes. Barnabas wants to help him, but Chris says to just close the door, close it good, and pray that I can't get out of this place. Barnabas promises to return for him in the morning. Chris grunts with pain, and Barnabas pulls the ring in the lion's mouth, closing Chris in the secret room. He stares up at the moon.

David, wearing a suit and tie, finds Amy outside gazing at the moon, too. He tells her it's dinnertime. She says she's been out here a few minutes, looking at the moon-- sometimes it scares me, she says, I can't help it. You get scared of the funniest things, he comments urging her to come in the house.

Barnabas returns to the secret panel and listens. Chris' body has begun to change, and he leans against the coffin as the werewolf takes over his body. Barnabas hears the creature's growls, dips down his head, and appears to pray.

David and Amy play War with the cards on the drawing room floor. Mrs. Johnson comes in and nervously appraises them. She straightens up the place a bit. They keep staring at her, unnerving the poor housekeeper. She asks why they're staring at her. Just watching you work, says David innocently. We're tired of playing cards, says Amy. Mrs. Johnson suggests they go to bed. Maggie is coming to get us when it's bedtime, they tell her. David encourages her to keep working. She moves to another part of the room; they continue staring at her. You look pale, remarks Amy. I'm fine, Mrs. Johnson snaps. You ARE angry, says David--why? Amy asks if she did something wrong. Mrs. J accuses them of being up to something. David denies it. Neither of you are innocent babes in the woods, she says. You're still frightened of that man, says David. What man? asks Amy. The one Mrs. Johnson thought she saw in the cottage, says David. Mrs. Johnson insists she DID see the man. We didn't, agree the kids. David figures the man went away, no one else ever saw him. Only Mrs. Johnson, says Amy insinuatingly. The housekeeper orders them upstairs. They reluctantly leave, bidding her good night--"and pleasant dreams." The children exchange knowing smiles as they head upstairs.

Barnabas enters. Mrs. Johnson drops a glass on the floor and tells Barnabas she wishes he'd gotten there a few minutes earlier--the kids are trying to drive me crazy! Barnabas encourages her to sit on the sofa and calm down. He asks what the children did. She doubts he'll believe her, think she's crazy, but she caught the kids playing dress-up in a deserted servant's room, speaking strangely to each other. She ordered them to bed and thought that the end of it, but the next night, she saw the strange man down at the cottage--the door was locked from the outside, and I was sure the man was going to kill me--the look in his eyes--narrow, so evil!--very tall, long sideburns, wearing an old fashioned frock coat--when Maggie and the children arrived, the man disappeared.Mrs. Johnson is convinced the children are responsible for that man's appearance--when she found them playing dress-up, David was wearing the same kind of clothing that man had been. Barnabas assures her he doesn't feel she's lost her mind, but asks to hear more.

The kids go to the West Wing, into Quentin's room. Quentin waits for them, and they greet him eagerly. Amy asks for Beth. The cradle is gone, too. Are you angry with us, Quentin? They ask. David turns to Amy and says, in an adult-like manner, "No, it's not that, Amy. Quentin wants to talk to me alone." Amy agrees to wait in the storage room. David says Quentin wants her to wait downstairs. Hurt, she looks at Quentin, then runs out. The music begins to play. Quentin conveys his message to David, an evil smile on his face.David asks, what do you want me to do? Quentin sits down in a chair.

Amy goes downstairs. Barnabas asks to speak to her. She keeps looking behind her. Barnabas comments, you don't seem yourself. I'm fine, she assures him. He questions her about the man in the cottage, explaining that Mrs. Johnson was too frightened to describe him clearly. Amy says she never saw the man that night at all--she's quite sure. Barnabas wonders if David saw him. No, says Amy, he'd have told me if he had--he tells me everything, never keeps a secret from me, says Amy, unconvincingly. Barnabas notes this. She asks why he's anxious to find out about the man Mrs. J saw. I'm concerned about a total stranger wandering the estate, answers Barn.Perhaps Mrs. Johnson only thought she saw a man, says Amy--I don't know if it was real or imagined. Barnabas asks why she keeps checking the hall. I'm waiting for David, she says, apologizing for not being able to tell him more--but if Mrs. Johnson DID see a man, he's far away by now. We'll hope so, says Barnabas. He bids her goodnight, squeezing her shoulder.

David asks Quentin where the bottle is. The ghost rises from the chair and directs David to a rolltop desk, which opens by itself. David opens a drawer and finds a bottle with white powder in it--strychnine. That's poison! David realizes. David insists, I can't do it--Chris is Amy's brother, he can't do anything to hurt you!--I don't understand why you want me to, Chris has never hurt you--it's wrong, and I won't do it. David runs from the room, leaving Quentin's ghost infuriated. Amy diddles the piano keys, then looks out at the moon. David joins her. She chides him--it took you long enough. Quentin had something important to tell me, says David, claiming not to know why he didn't want Amy to hear. Are we playing the game tonight? She asks. No, we aren't playing anything, says David. What's wrong? Asks Amy. Nothing, says David, but he doesn't believe himself. Quentin takes the bottle of poison into his hand and looks at it, his face twisted in an ugly frown.

NOTES: I LOVE the way Barnabas wants to help Chris--giving him an alibi, locking him away so he couldn't hurt anyone else. If he'd only had one quarter of that compassion for Adam, the big fella might have turned out OK.

Chris' sad, angry explanation of how he first became a werewolf shines as one of Briscoe's finest performances.

Why would Quentin want to kill Chris, who we at least suspect must be an ancestor by now? This part of the story really puzzles me.

Once again, a sterling performance from Clarice Blackburn. She's so much fun, being a plaything for the kids, and so earnest in telling Barnabas her concerns and fears. He's great with her and with Amy. They bring out the best in Frid here.

Very enjoyable episode.


677 - (Grayson Hall) - The dawn of a new day at Collinwood. Most of those who live in the great house are still asleep. But for Barnabas Collins, there can be no sleep until he learns what happened the night before in the family mausoleum at Eagle Hill Cemetery. There, a young man, afflicted by a curse that transforms him from man to beast, has spent the night locked in a secret room.

Barnabas enters the tomb to check on Chris. His coffin has been overturned, the insides ripped to shreds. At first, he can't find Chris, but finally spots him huddled in a corner and wakes him up. Chris is startled. Fortunately, it's apparent nothing bad happened--Chris didn't kill anyone. Their plan worked--Chris stayed in the room all night. Barnabas helps him out of the mausoleum, saying, we'll go back to your cottage and work out the next plan. Chris, his sweater actually intact, seems relieved.

Julia is waiting in the cottage, a smoldering cigarette in the ashtray. She tosses the newspaper onto a chair and dials the phone with a gloved hand. Heading back to the cottage, Barnabas asks Chris about tonight. It will depend on whether or not there's a full moon, says Chris. If so, I will have to lock you up again, says Barn. You must stop me from killing, says Chris. . .and they walk into the cottage. Julia hears the word "killing". Barnabas demands to know how long she's been waiting there. Since dawn, she says, putting down the phone--I know your secret, she tells Chris. Barnabas assures the young man no one else knows besides the two of them. Julia assures him she hasn't told anyone, nor does she intend to--I'm willing to try to help you, but decided so reluctantly--I feel helping you is dangerous.Chris tells Barnabas, you should have listened to her, she's right. I've made my decision, says Barnabas and will follow through. Chris asks what they will do. We must wait one more night, says Barnabas. Julia doesn't understand why it might happen again. Barnabas explains that the phase can be anywhere from one to four nights, but no longer. Chris, however, fears it might. Julia asks if he knows how it happened. It just did, explains Chris. Barnabas promises Julia to reveal Chris' whole history to her. Chris thanks them for what they're trying to do; he just wishes he could be optimistic about the results. Barnabas encourages him; by being confined to the tomb, at least his violence was contained, a big step forward. Chris agrees. Julia will begin testing his blood tomorrow to see if it relates to the transformation. Chris is cautiously hopeful. Barnabas promises to come back for him before sundown. I'll see you tomorrow, Chris, says Julia. After they leave, Chris takes a drink, sits down and reads about his handiwork in the newspaper. David comes to the cottage. You're all right! he says to Chris--I thought I saw someone sneaking from the cottage. Barnabas and Julia were just visiting me, says Chris. I always get up really early, says David, praising the appearance of the cottage--I think it will do Amy good to have you around--are you serious about Carolyn? David babbles on that Carolyn serious about you, I can always tell those things with Carolyn. Let's not pry into any of each other's affairs, OK? Asks Chris, amused.David agrees, then asks if Chris is coming to work on the estate. Carolyn offered me a job, says Chris--I'm considering it--are there anymore questions, your honor?--how about a soda? (David seems like a nice little boy, not possessed here.) After they leave the room, the cottage door opens by itself, then closes. Someone pulls the stopper off the booze bottle; the strychnine is poured in by an unseen hand.

Chris tells David he prefers carbonated grape soda, and asks the boy to "split" after he finishes his soda--I was up all night. Why? asks David. Chris reminds him of his promise not to interfere. Why were you up all night? asks David. (can't take a hunt, huh?) I couldn't sleep, says Chris. David asks, were you worried?--maybe you should see a doctor. Chris, finding David's intrusion amusing and annoying, tells him, you're done with your soda, now please go. They part affably. Chris goes into his bedroom, unaware of the deadly addition to his decanter.

Amy, jump rope in hand, meets David when he returns to Collinwood. He tells her he went hiking. She wishes he'd awakened her so she could go with him. Amy thinks he's angry at her--you've been different since last night, when you said you didn't want to play the game. You're imagining it, insists David. You've stopped being friendly, says Amy--why? He calls her questions stupid and tells her to go ask Quentin if she wants answers. I did, last night in the West Wing, says Amy--but he wasn't forthcoming, either.

At the cottage, it's nearing 6:30. Barnabas asks Chris how he feels. I wish you'd stop asking me that, complains Chris. Barnabas apologizes--the sun is going down, and moon will rise shortly. Chris is obviously relieved; there won't be a transformation tonight--I always start feeling pain as the sun hits the horizon, and I don't feel it now--I've been through it so many times, I know every phase of it. I can imagine how relieved you are, says Barn.I got some rest, says Chris, but on days like this, I can never really rest for all the tension and anxiety. I understand that, says Barnabas. I feel better knowing nothing is going to happen, says Chris--I want to celebrate with a Drink. Barnabas refuses the offer--I want to go tell Julia what has transpired. Next month will be more of the same, Chris reminds him, at least one other night of the same. A lot can happen in a month, says Barnabas, but Chris isn't so optimistic. We will try, Barnabas assures him. Chris thanks him--you're a good man, Barnabas. There are those who didn't think so, says Barnabas ruefully. They're wrong, insists Chris, and sees him to the door. Chris helps himself to a drink, then looks outside, contemplating how short a month can be. He swallows the contents of his glass.

To his horror, Chris is suddenly stricken with pains similar to what he experiences prior to transformation. This can't be happening! he tells himself. "God help me!" he groans, doubling over.

Barnabas returns to Collinwood. Julia meets him in the foyer and tells him she has been reading THE LYCANTHROPE OF ANGIERS--I figure I should do some werewolf research, she explains, before I begin working on Chris--I have learned there are two schools of thought on werewolves--that a man becomes a wolf, or that it's a mental disease, and he only behaves like a wolf. We know it's not the latter with Chris, says Barnabas--we've seen the animal he becomes. Julia has found two ways someone becomes a werewolf--if bitten by another werewolf and survives, or if part of a curse. It must be a curse, says Barn--Chris would surely have known if he was bitten. Julia takes the book to continue studying before bed, and bids Barnabas good night.

Chris, overtaken by pain, stumbles around the cottage, finally collapsing to the floor. He grabs the phone and pulls it down beside him, falling unconscious.

In her room, Julia is trying to get some sleep, but awakens to the sound of a woman sobbing heartbrokenly. Julia sits up, demanding, "Who's in this room?" She sees the ethereal Beth drift from the corner of her room. Julia puts on a robe and follows the ghostly woman.

Barnabas spots Beth leaving the house and at first thinks it's. He follows her outside. Julia joins him and explains that the woman was in her room. Neither knows who she is, but they see her at the edge of the woods, on the path to Chris' cottage.

Chris lies on the floor, the buzzing phone near his hand. Beth comes in, kneels, touches Chris' chest, sobbing over him. Barnabas and Julia have seen her go in, but when they enter the cottage, Beth has disappeared. Julia takes Chris' pulse.He's dying! Julia exclaims. She and Barnabas stare at each other, horrified.

NOTES: Yes, you're a good man, Barnabas Collins, and you're pretty great, too, Julia. This is the beginning of their heroic efforts to help Chris and save the Collins family from evil. This new storyline is the favorite of many DS fans, for excellent reasons.

Will Chris die as a result of the poison mysteriously slipped into his booze? Was it Quentin who did it? I thought he couldn't leave the room. If so, why didn't he just do it in the first place, instead of trying to make David do it? Surely he knows David, unpossessed, wouldn't do anything to harm Amy's brother.Can we assume, then, that David, possessed by Quentin, did put the poison in the drink, or did someone else do it? And why? What's his beef against Chris?

We have some fascinating mysteries here, and it's going to be fun unraveling them.

Love, Robin

674 - (Grayson Hall) - A strange, windless day on the great estate of Collinwood. After another night of horror, a night where the moon shone full, and the wolf who walks like a man attacked again. And in the morning light, a ghost weeps over it, and sends an innocent girl on a mission she cannot understand.

In the second take of yesterday's ending, Chris seems ANGRY that his shirt has been burned. He calls to Amy, screaming her name, but she doesn't come back. He closes the cottage door, his face awash with worry.

In the drawing room at Collinwood, Barnabas asks Julia why Chris would lie and tell her he spent the evening at home. Julia calls it a stupid lie--and Chris isn't stupid. He might be desperate, suggests Barnabas--his room was a shambles, yet, when I went in an hour later, everything was straightened. He could have done that when he came in, points out Julia. The animal attacks began two months ago, recalls Barnabas, about the same time Jennings came to Collinsport.What are you saying? Asks Julia--it's an animal, not a man. There is one possible explanation, says Barnabas--the man turned into an animal. Seeing the expression on her face, Barnabas says, "Don't be amazed--there's a precedent for this--the first person killed was the clerk at the Collinsport Inn, where Chris was staying--Chris' attitude toward Amy is strange, you said so yourself--you had to practically force him to go see her at Windcliff. . .would you want to see a sister of yours if you'd been responsible for everything that had happened here?" I was reading up on werewolves, he continues, and I'm convinced that's what we are fighting--a man who, when the moon is full, becomes a wolf. I can't believe it protests Julia (but she believes in ghosts, vampires and witches?) When he becomes an animal, says Barn, his strength is almost superhuman--no ordinary bullets will have any effect, but one metal will work--silver--it explains how I stunned him with the head of my cane, and Carolyn's silver bracelets--only silver bullets can kill him--which is an irony for me--I remember my nights when they were so different than those I know now, when silver bullets filled me with dread, as they must Chris Jennings. Julia realizes he's positive this is Chris' fate, but feels the evidence is circumstantial--we must be sure before there's another murder. We will know tonight, he says--the moon will be full and the man will become a werewolf again. "Barnabas, you could be killed," she warns him. I'll have silver to protect me, he assures her. After we know, what then? she asks. Barnabas replies, "One thing at a time--first we must be certain that Chris is this way, and then we'll know what to do.

Amy is reading COLONIAL LIFE IN AMERICA in the study when Chris comes in. She knows it's him before she sees him, and calls him funny. She asks why he was frowning at her. He tells her he was thinking how grownup she's become--too grownup, maybe. She asks how that's possible, and shows him a book Liz gave her about a girl who lived in a house just like Collinwood, way back before any of them were born, before electricity--it's about an ancestor of Mrs. Stoddard's--do we have ancestors? We do, Chris assures her, just like other people. She asks about theirs, but he knows little. Liz knows all about hers, more than she tells, according to David, confides Amy--the Collinses have so many family secrets--do we have them, too? Chris says he doesn't know--he wants Amy to tell him (a werewolf in the family isn't a secret?) How would I know them? she wonders. Is there something you're afraid to tell me? asks Chris. Amy is confused. If there was something you needed to tell me, says Chris, you'd come to me and tell me as much as you could, if you didn't understand, right? Amy stares at him, nonplused.I guess I would, she answers. Chris asks if there's anything right now you want to discuss--something about ME, maybe?--I'm upset about this afternoon, your coming to the cottage, building the fire. She claims she did it because she was cold--I wasn't playing with matches. He asks about the shirt he found in the fire--why did you burn it? It was all dirty, she says. I agree, says Chris, but we can't burn all our dirty shirts. I saw it and threw it into the fire, she says.

Carolyn and a friend named Donna Friedlander join them in the study. Donna, who's been enjoying a tour of the house and is taking interior design, seems taken with Chris. She mentions all the fascinating antiques in the house--it's almost a museum (when people come to see `em). Carolyn sourly says she sometimes thinks it's exactly that. Chris spots the pentagram on Carolyn's face. Seeing how upset he is, she asks what's wrong.Chris tells Carolyn nothing is the matter. Carolyn tells Donna to come see the furniture in the drawing room. The two girls leave the study. Donna immediately tells Carolyn Chris is my type--moody. Carolyn agrees to that assessment, and walks away.

Chris stares out the window. Amy apologizes to him about the shirt. He isn't angry at her, he says, but she feels he's angry with someone. Myself, he says--do you understand that? Of course, she says, when I left your house, I was kind of mad at myself for burning the shirt, only. . .she stops. Her brother lifts her up high so he can speak to her face to face, then asks who or what called her from the cottage and made her leave. She claims not to know. Mrs. Stoddard or Carolyn or David. She said it was a woman, Chris says. Amy must know. Amy says she sometimes thinks she hears him. He isn't exactly calling to her, but--one night, she thought she heard him calling her name--I went to the window, it was so bright, almost as bright as day, the moon was so big, and I thought I heard you crying--that's silly, though, because boys don't cry--you wasn't crying, right? No, he hastily tells her. Perhaps you were just unhappy, suggests Amy--why? It's hard to lead your life without being unhappy sometimes, he says. I know you're unhappy sometimes, she says. He admits this, but tells her not to worry--it has nothing to do with you--I'm going to be sure nothing interferes with us, I promise that. He hugs her.

5 PM - Barnabas stands by the clock, his face filled with determination. You had to have posed for the foyer portrait, Donna remarks to Barnabas. Teasingly, he says if I had, think how old it would make me (cute joke, Barn). Julia sips tea in the drawing room. Barnabas is grinning as he enters the drawing room and observes how early it's getting dark. Carolyn complains she hates early sunsets. Donna is searching her purse for a bus schedule. Carolyn tells her next time she comes out, she's sure Barnabas will be delighted to show her his house, which he's kept almost as it was when the original Barnabas lived there. Barnabas supposes Donna would find it much too primitive. When Chris passes by, Barnabas stops him and invites him in. Donna is also eager for Jennings to join them. I have to go, insists Chris. Barnabas chastises him for always running off--I was just about to invite Donna to the Old House--why shouldn't we have an impromptu dinner party there? (Willie will love unexpected company, I'm sure.) Julia agrees it's a great idea. Donna is up for it, but Chris says no, even though Carolyn tells him Barnabas might not be in this expansive a mood some other time. Let's all go now, suggests Barnabas. Chris says he can't--I must go to Bangor to meet some guy who's flying out in the morning--it's business and I can't cancel it. Donna pipes up and asks him to drive her to Bangor--save her the dreadful bus trip. Of course Chris will, says Carolyn--he'll be delighted to have the company. Chris tries to wiggle out of it by claiming that he's leaving right now, but that's no problem for Donna--she's ready! Barnabas listens intently as Chris assures them it's all right. He turns away, his expression helpless, sick and trapped.

Donna thanks Carolyn for a lovely day and promises to come back. She joins Chris outside, who tells her his car is parked by the gate--I live on the estate, in a cottage. Donna asks to see it--sometime, and notices how very distracted he is. I've got a headache, says Chris, I get them all the time, like a migraine--I might not be able to go. She volunteers to drive, but he says these headaches last and he has to try to get through them. He offers her his car--leave it at the bus station with the keys under the seat--by morning, I'll be a new man. He races off, leaving Donna holding the keys.

Carolyn gathers up the tea items, explaining to Barnabas and Julia that she doesn't really know Donna that well--she's always been nice, too nice, I sometimes think--she acts as though we're the best of friends, which we're not. (is she jealous of Donna and Chris?) She hurries out with the tray. Julia reminds Barnabas that Donna IS driving to Bangor with Chris--speculation is a dangerous game, she warns, I was almost convinced. "I wouldn't stop being," advises Barnabas. But if he's driving her, says Julia--unless he's doing it deliberately. Barnabas says he wouldn't be, he has no control over what he's doing when there's a full moon. Then we shouldn't have let Donna go with him, points out Julia. Barnabas guesses Chris has made his apologizes and  returned to his cottage. How can you be so sure? Asks Julia. I saw an expression on his face when I was urging him to stay, says Barn--he was suddenly aware of all of us looking at him--"His face suddenly registered an instant reflect--panic. I understand it, Julia. Even I remember that."

Chris sits in the dark cottage, looking out the window. He pains descend on him. He checks his face for extra hair and turns on the light. A knock sounds at the door--Donna. She tells him she isn't going to use his car--it would mean you'd have to walk into town to retrieve it, and you aren't feeling well. Chris assures her he feels better--I took some medicine. Donna wants to come in to call a cab. He lets her in, telling her she can only stay a moment. She tells him she doesn't understand men--why is a guy like you living in a place like this?--not that it isn't nice, but. Chris points to the phone, sounding impatient. He groans with pain and orders her to go, get out, screaming the words at her. She wants to call Julia, but he shouts "NO!" He grabs the phone away from her. I was just doing it for your own good, she protests. "I should have known why I was attracted to you," says Donna--"I mean you're crazy!" He pleads with her to get out, his voice laced with agony. We see only Donna's eyes, huge, blue, looking like they're about to start from her head, and her mouth, which drops open to the size of an egg. We hear growling. Donna races from the cottage, screaming.

Barnabas tells Julia the moon is rising--I'm going to Chris' cottage. Julia reminds him Chris will have changed. Barnabas holds up his cane. "I have this--the power of the silver wolf's head is legendary. I subdued him once with this, I can do it again." He tells Julia to stay here. No, she says. "Yes," he retorts. "Do as I say." (tell him to go f*** himself, girl!) Julia's eyes turn to the sky, filled with fear. (Barnabas is such a chauvinist.)

The werewolf pursues a breathless Donna through the woods. Foolishly, she stops to catch her breath.

Barnabas once again finds the cottage in a topsy turvy state. He looks around, perturbed. Julia comes in. "It's happened, hasn't it--and he's gone."Donna Friendlander, covered with blood, eyes open and staring, lies in the woods, her body twisted and wrecked, dead.

NOTES: Powerful episode. Barnabas' empathy for this creature is so HIM, and now he is evolving into hero than anti-hero. His attitude toward Julia sucks, of course, but notice that she didn't STAY as ordered. Donna's body looked very scary for daytime TV, and her face when she saw Chris transform was amazing to behold. Denise Nickerson's performance continues to amaze me, and Frid did a wonderful job today, too, describing the werewolf to Julia and showing how much he understands the other man's pain.


675 - (Grayson Hall) - The sun shines fair over Collinwood, and the great estate seems calm. But the calmness is deceptive, for a lifeless body has been found on its grounds--the body of an unknown woman, who now lies in the Collinsport Morgue, shut out from this bright day because she made the mistake of being in the woods at the rise of the full moon.

The Collinsport morgue is one stark, sad, creepy place. Sheriff Patterson brings Carolyn in to identify Donna Fridlander's body, which, although it had no ID, the label on her skirt came from a Bangor store. Carolyn tells him she had a friend visiting from there yesterday. Donna left just before dark, and I'm sure it isn't her. Patterson draws the sheet back from the body and exposes the face. "Donna!" cries Carolyn--what happened to her?--I can't believe it--she left with Chris. "Who is Chris?" asks the sheriff. Carolyn turns a stricken face to him.

Patterson leads Carolyn into his office. She suggests it could have been the same animal who attacked me. He realizes it's a great shock to her, and gets her a glass of water from the water cooler. Carolyn tells him Donna knew only me in Collinsport, and this was Donna's first visit--she lived with an aunt. Carolyn wants to call her, but Patterson tells her later.I hadn't known Donna long, explains Carolyn, she was studying to be an interior decorator and we met through friends. Chris Jennings, Tom's brother, lives on a cottage on the estate--he was driving to Bangor for the evening and Donna was going with him. Patterson asks if she saw them pulling away. I didn't, replies Carolyn--Chris parked at the gate--I didn't see him today, but I did see the car there--I figured Chris got in very late, that's all. Donna never got to Bangor, says the sheriff, now we must find out if Chris did.

At the cottage, Chris' phone lies on the floor, off the hook. The room is a shambles once again. Chris, shirt blood-streaked, comes in and goes through the ritual of closing his blinds, then straightening out the room. He can't remember what happened. He hates coming back here, knowing last night was no different from the night before. He sees blood on his shirt and slams a lamp down on a table, smashing it to bits. We get a nice chest shot as he discards the bloody shirt and slips into a blue sweater. Under a table, he finds Donna's cute little black purse--that girl--Donna! He remembers. He smashes the purse down on the table and continues to right the room, clearly agonizing over what might have happened. Carolyn comes to the cottage; he lets her in--I tried to call, she says. The phone isn't working, says Chris. She relates the story of Donna's death, quickly, but the sheriff is at the door even as she speaks. I must ask you some questions, says Patterson. He spots Carolyn and seems to instinctively know she's here to bring Chris up to date--and isn't happy about it. Carolyn asks if there's anything illegal about that. The sheriff assures her there isn't, but asks if she plans to stay for the questioning. Chris insists she return to Collinwood, and he and Carolyn clasp hands before she goes. Chris tells the sheriff he knows about Donna's death, and as he's speaking, spots her purse on the table. I didn't drive Donna to Bangor, says Chris, casually dropping a newspaper on the purse, covering it--I got one of my migraines and told Donna to take my car and keys and leave it at the Collinsport bus station. Your car is at the gate, says Patterson, so apparently Donna never took it. I didn't go to town to pick it up, that much I'm sure of, says Chris. Patterson asks if he lives there alone. Yes, says Chris. Did you bring Donna to the cottage when you had your migraine? Asks Patterson. No, says Chris, I left Donna at Collinwood--I spent last evening resting because I didn't feel well, and spent the entire night alone--I didn't hear anything unusual. Patterson asks to see the rest of the house. Chris reminds him, you must have a warrant to search. Come with me, the sheriff orders Chris--there's something that doesn't make sense--Donna was killed very close to the cottage, and from the appearance of the body, she put up quite a fight--yet you claim you heard nothing. That's right, says Chris. Patterson suggests, "Perhaps you'll remember better in town--do you want to come with me or take your own car?Chris realizes he's trying to trap him and reminds him, I don't have my car keys, and you know it. Oh, yeah, I forgot, says the sheriff, you gave your keys to the girl? Chris leaves with the sheriff. The newspaper covers the purse on the table.

Barnabas surveys a headline in the COLLINSPORT STAR--"Mystery Murder." Julia and Barnabas feel responsible for Donna's death--if we hadn't let Chris take Donna with him, could we have stopped it? queries Julia. Barnabas doubts it--wherever Chris and Donna went last night was Donna's fault--she must have delayed him until the moon was up--the werewolf can't help it--he doesn't choose his victims. Carolyn bursts in to tell them Chris was taken to the police station. Patterson is making a terrible mistake, insists Carolyn; Chris had nothing to do with Donna's death.Julia asks if she's positive. Of course I am, says Carolyn. Barnabas asks her if she knows where Chris was last night. At home, says Carolyn defensively--since he didn't go to Bangor. Barnabas tells her Chris wasn't at home--we went to the cottage last night when we saw the car was still here--when I invited him to dinner, Chris insisted he had to go to Bangor. Carolyn accuses them of thinking Chris is involved. Julia says we don't know. I'm sure he's not, insists Carolyn. Are you. . .interested in Chris? Asks Barn. Carolyn tosses back an accusation that she'll disgrace the family by liking a man being questioned by the police. Of course not, says Barnabas, I just wondered how much you like him. She just gives her cousin a look. Quite a lot, comments Barnabas. Carolyn admits I DO like Chris enough that it's important I know everything about him--I want you to tell me if there's something you know that I don't. Julia lies and tells her they don't know anymore than she does. I'm going to call our lawyer, Garner, and ask his advice, says Carolyn. (while you're at it, send the son back in time to wrest Vicki away from doofus Peter Bradford!) She closes the double doors and picks up the phone out in the foyer.

Back in the drawing room, Julia asks Barnabas what they're going to do--that poor girl! We can't worry about her now, he says--I want to go to the cottage since I'm sure someone from the sheriff's office will be there to search it shortly, and I want to get there first.

On the phone, Carolyn asks for help from their lawyer--I'm concerned Chris doesn't know his rights, she says--the police might get him to say anything--call the sheriff and go there if necessary. Gardner tells her yes, and she's relieved. (why not Tony Peterson?)

Barnabas and Julia arrive at the cottage. What are you looking for? She asks. Signs of guilt Chris didn't have time to dispose of, says Barn--I want to search for the shirt he was wearing last night. He goes to check the bedroom. Julia half-heartedly looks in some drawers, finding nothing, then taps the table on which the newspaper-covered purse sits. She picks up the newspaper to look at it, then spies the purse on the table. She finds an ID inside--Donna's--and calls Barnabas, who emerges from the bedroom with the bloodstained shirt. Julia shows him the purse. I was right, says Barnabas--and I'm sorry I was. Julia wants to take the evidence to the sheriff immediately. Barnabas raises the shade and reminds her there will be another full moon tonight (how many do they have in Collinsport, anyway)? And he will change, wherever they're questioning him, says Julia--we must go warn them. Barnabas isn't finished, and he doesn't know what to do yet--"There are so many possibilities," he says.

Patterson questions a pacing Chris, who admits he MAY have left the cottage, but doesn't remember, can't think--I was sick, Chris reminds him, I may have gone out, but I wasn't myself. Patterson asks if he was drinking. I might have, Chris replies. I want to leave you here to try to remember, says Patterson sourly, and this time make it a story I can't punch holes in. Left alone, Chris stares out the widow. He asks Patterson what time it is. 4:30, says the sheriff--you have plenty of time. But I don't, realizes Chris, I must get out of here--and fast!

Barnabas rolls up Chris' shirt and tells Julia the police will probably be here shortly. You can't do what you're planning to do, she warns--it's madness. We'll discuss it on the way back to Collinwood, he insists. Listen to my viewpoint, she begs. I respect it, he assures her, but I must follow my own intuition this time--come quickly. (always ordering her around!) They leave the cottage.

Unnerved, Chris wonders how much time he has. Give up and get it over with, he tells himself--tell Patterson what happened last night, what will happen tonight. He calls to the sheriff--I remember everything! he shouts. Patterson is on the phone with Barnabas--I'm glad you called, Mr. Collins, thank you. Patterson joins Chris, much nicer now--you shouldn't be embarrassed over his blackout last night, Mr. Jennings--you're lucky you were out drinking with Barnabas Collins, the best alibi in town--I apologize for causing you so much trouble, but I know now that you spent the night at Barnabas' house. He advises Chris to drink milk to line his stomach before bingeing again. (whoa, Barn knows he did it, yet gave him an alibi! How ironic!)

Chris returns to the cottage, where Barnabas awaits for him in the dark. I don't know why you did what you did, says Chris, but I'm grateful--I appreciate it. However, the clock is striking 6:00 and Chris tells Barnabas, "Get out, I can't talk now!" You're coming with me when I leave, says Barnabas with assurance--"I know you, Chris, are innocent." Chris is grateful but still wants to be left alone--you don't understand, Mr. Collins. Yes I do, says Barnabas--the most important thing about you--that you are innocent. What do you mean by that? Asks Chris. Barnabas rises and says, "I know that you are the werewolf."Chris stares at him, disbelieving and stunned.

NOTES: Barnabas is one brave dude (or perhaps not too bright)--he knows Chris is on the cusp of changing into an animal who will not remember the huge favor he did for him--and tear him to ribbons once he transforms! It reminds me of the cojones Julia displayed when she faced Barnabas in her bedroom, knowing he was a vampire, hoping her offer of a cure was something he'd want.

Poor Donna Friedlander, we hardly knew ye. You were merely a bullseye, a quickie character with a one or two shot role as victim of a supernatural creature. They used `em by the dozen in STAR TREK. She had the hots for Chris and all it got her was dead. Pretty creepy, violent stuff, especially for daytime TV--and it left a lot to our imagination, instead of showing guts and blood all over the place!

Barnabas is such a softy here, in a good way. He's fond of Amy and knows her brother, Chris, is all she has left. His empathy is such that he understands what Chris is going through, because he, too, turned into a creature out of his control. And now that he's human, he wants to help this good man with a serious hair, teeth and claw problem. I think it's really sweet. Of course, Julia is the voice of reason, wanting to go to the cops, but Barnabas won't have that. He always seems able to get Julia to disobey the law, even though her instincts are the right ones.

Love, Robin

672 - (Grayson Hall) - The great halls of Collinwood are clothed in darkness, a darkness sinister and impenetrable--but not as impenetrable as the secrets of the great estate. For Elizabeth Collins Stoddard, the mistress of Collinwood, has been placed under a curse, and because of it has been buried alive. At this moment, she realizes her daughter is in danger, but she is trapped in her tomb, consigned to the land of the living dead.

(Good, Julia's in this episode!) Carolyn hears her mother's voice warning her she's in terrible danger--or at least she thinks she does, but then decides it isn't possible. The werewolf stalks Carolyn, climbing over rocks to get at her. Liz, entombed, tells Carolyn to go back to Collinwood, and hurry! Carolyn does return home, still hearing her mother's voice urging her to get inside the house--inside! But the werewolf has followed her to Collinwood!

Carolyn stands outside the door. The werewolf takes off when Julia opens the door. I was just coming out to look for you, Julia says, you were gone a long time. Carolyn explains she's afraid something happened to Chris--the cottage is a mess--what does it mean? Julia is sure he's all right, Chris can take care of himself. Carolyn hopes so. Julia is sure. They go into the drawing room. Carolyn gazes at a photo of Joan Bennett and tells Julia that when she was crossing the woods, I heard my mother's voice calling to me. Julia is skeptical, but Carolyn is sure. The voice was in your mind, Julia insists. Maybe, says Carolyn, replacing the photograph. She doesn't look convinced, and wants to return to Liz' tomb. Julia doesn't want her going through the woods at night--I'll send Barnabas with you, he's in the study. No need, insists Carolyn, and leaves again. The werewolf leaps nimbly down, apparently from a tree, and follows her. "Chris?" she calls, but, receiving no answer, continues on. The animal follows her. Carolyn hears more rustling and again asks who it is--no response. She arrives at the tomb. The werewolf leaps down, almost on top of her. She locks herself in the mausoleum and the creature reaches in an arm, trying to get at her. Carolyn screams wildly, turning away, and the creature manages tries to open the locked door. Liz knows Carolyn is in danger and wants to help her. Carolyn sobs for help. The creature finds a large stone to bash open the door. Liz remembers the bells--she has to make them ring! Her fingers are inches from the button, and she desperately wants so much to make the bells ring and save her daughter. Carolyn clings to her mother's coffin, circling it, begging, "Please. . .please!" I need to move one finger to that button! says Liz, reaching out, trying. The werewolf fiddles with the door, trying to get in!

Liz knows she must reach the button, make the bells ring--she must! The werewolf succeeds in making the door handle fall off. He enters the tomb and grabs Carolyn, slapping her across the face. Liz reaches the magic button and the bells peel, loudly. Blood is running down Carolyn's face. Carolyn hears the bell.So do Julia and Barnabas at Collinwood, who, while not sure what it means, rush to find out. The noise momentarily distracts the werewolf, enabling Carolyn to escape his grasp, but he snare her again, and gazes at her, about to strike. She covers her face, awaiting the worst. The werewolf gets a good gander at her silver bracelet. She backs into the coffin, the bells still ringing. The werewolf walks around the coffin. Carolyn screams. Barnabas and Julia enter the mausoleum. While Julia tends to Carolyn, Barnabas beats off the animal with his silver-headed cane, sending him racing out of the tomb. Barnabas assures Carolyn it's gone--we heard the bells, he explains. My mother alive, exclaims Carolyn, and we must open the coffin. Barnabas agrees, but insists on doing so alone. He tells Julia to take Carolyn back to Collinwood, but she insists on staying. "Open the coffin, Barnabas," she tells him. Barnabas does as she asks. Liz appears still. Julia checks her pulse, listens for breath sounds. She's dead, Julia says. Carolyn bursts into sobs, leaning against her mother's coffin. They help her back to Collinwood, leaving Liz, who is not really dead, in her coffin.

Julia and Barnabas help Carolyn into the drawing room. Julia asks him to get her bag, then pours Carolyn some brandy. The animal that attacked me--what is it? asks Carolyn. Julia doesn't know, but says it must be found and destroyed. Carolyn sips the brandy, her face bloody. It must be the same animal that attacked my mother, and Joe, says Carolyn, shaking--Joe said he was attacked by an animal, and no one believed him--it could have been this one. Julia says the animal seems human. It's dressed as a man, says Carolyn--what does it mean? Julia has no guess. Barnabas brings her bag, and Julia ministers to Carolyn. Barnabas wonders how Carolyn fought off the animal while they were on their way. She explains she didn't fight him off, she put her hands over her face to protect herself, he grabbed her, then stopped--something attracted his attention--her bracelet--it fascinated or scared him.Barnabas observes that it's silver--and the head of my cane is silver, too. Barnabas isn't certain what it means, but apparently has an idea. Carolyn asks Julia why the bells in the tomb went off. An accident, suggests Julia, or the scuffling during the struggle. Carolyn remembers that her mother said of the bells went off, it's a signal she's still alive. She was dead, reiterates Julia. Someone enters the drawing room--Liz! Carolyn covers her mouth and screams.

Carolyn runs into Liz' arms, crying, "Mother you're alive, you're alive!" Carolyn and Julia help Liz into the drawing room. I never believed in miracles before, cries Carolyn, but I do now. Julia takes Liz' pulse and finds it weak, but definitely there. You thought me dead, says Liz, but I wasn't. Julia assures her--I took every precaution, and you were dead. Liz knows how it happened--she remembers--it was Cassandra--she has special powers and put her under a spell.(Barnabas and Julia exchange significant glances.) One night, explains Liz, I found Cassandra on the terrace with Tony Peterson, and they were embracing--I was angry and threatened to tell Roger--Cassandra made me look deep into her eyes and told me what would happen--you'd think me dead and bury me alive--and it did happen--all I would remember was total darkness, until tonight--I awoke, sensing Carolyn in danger--I had to help her. I was in danger, says Carolyn, but not any longer. Thrilled her mother is back with them and alive, Carolyn hugs her. Liz is afraid of Cassandra--will she ever return? No, says Barnabas, never again. She might, frets Liz, and Roger might take her back, never believe my story. Barnabas assures her they believe her, and Cassandra won't bother her again--I'm certain of that. Julia agrees with him. Once in the darkness, says Liz, I had a vision of some woman who resembled Cassandra surrounded by fire, consumed in flames--I heard her screams and then she was gone. (Another look between Julia and Barnabas.) Julia insists in taking Liz up to her room to examine her. Liz looks around the room, so happy to be home, to be with her family. Carolyn happily hugs her mother again, and asks Barnabas if he ever thought this would happen. No, he says, and neither did you. We might never understand it, Carolyn says. Barnabas suggests she not even try--it was my mother who saved me by ringing the bells, says Carolyn. Barnabas orders her to remain home at night until the animal is found and destroyed. Carolyn promises, describing how the animal attacked her after she left Chris' cottage--I wonder if it attacked Chris--especially after the way the cottage looked when I went there to look for him--I'm frightened! Barnabas phones Chris--no answer. He suggests going to the cottage, but she fears him going out, too. He says he'll get Roger's gun. She thanks him profusely for doing this. He returns with a shotgun (?), puts on his cape and makes sure he takes his trusty, gold and silver cane of protection along before he goes.

Julia comes downstairs and assures Carolyn that Liz is doing well--you can go see her.

Barnabas, walking in the woods, hears growling and aims the rifle at the sound. The animal appears before him. Barnabas aims and shoots.The werewolf, seemingly immune to the bullet, leaps up and races at Barnabas!

NOTES: Well, the Liz is dead story is over, thank God. The werewolf is much shorter than Chris, which is weird. Carolyn's joy in her mother's resurrection was nice to see. Those looks Barnabas and Julia were exchanging were fun to watch. They KNOW stuff the others don't, and it's always enjoyable when they share silent confidences.


673 - (Grayson Hall) - This night has already brought terror to Collinwood, for a young girl was stopped and attacked by a strange, savage creature, and she barely managed to escape with her life. She is safe now, but the terrors of this moonlit night have not ended, for Barnabas Collins has left Collinwood on a dangerous mission--to hunt down and destroy the creature that moves through the darkness with one desire--to kill.

Barnabas, rifle at the ready, hears a sound and demands, "Who's there?" He sees nothing at first, but then the werewolf leaps down in front of him. Barnabas shoots, but the creature rises and attacks him!

Barnabas, his hands all scratched, struggles with the creature and drops the gun. When he begins striking the werewolf with his silver-headed cane, the animal gazes at the moonlight glinting off it and runs away. Barnabas stares at his cane, which probably saved his life, in awe. A dog howls.

At Collinwood, Julia paces, checks her watch, and waits. Amy comes downstairs, fully dressed, and tells Julia, "I have to go see Chris." No way, says Julia, go back to bed. Amy, however, is insistent--it will be too late if I don't see him now--something is happening; I had the scariest dream I've ever had, and my brother was in danger--I must see him to find out! Julia won't let her go, but Amy won't listen to this grownup. Please let me go, she begs. It's too dangerous, protests Julia. I'm afraid, because of Chris, says Amy. Julia tells her Chris is all right, but Amy sobs that she's scared, and tries to flee the house. She begs Julia to please let her go. Julia shakes her and orders her to stop--I'll go check on Chris at the cottage, I promise! The little girl, thrilled at Julia's offer, promises to behave and wait. Julia starts to go, then turns back. She takes a gun from a drawer in the drawing room with her, explaining to Amy she's taking it because it's dangerous in the woods. (Lots of firearms at Collinwood, huh?) Amy comes outside and gazes with trepidation at the full moon.

In the night, the wounded werewolf continues to trudge through the woods.

Julia knocks on the door of the cottage--no answer. She lets herself in, calling to Chris. She observes the overturned furniture and lamps, smashed glass, etc., and calls to Chris in the bedroom. She leaves the cottage, convinced he isn't there.

It's 4:45 AM. Amy paces the foyer, staring up at the clock, wringing her hands.

Julia, gun ready, walks through the woods. The werewolf is poised on a rock above her, growling. He falls down onto the ground, his shirt bloody from his injury, and lies unconscious.

Julia returns to Collinwood and lies to Amy that she woke up Chris--he's fine, and said to tell Amy not to worry--he couldn't come to Collinwood earlier because he had to go into town on business--he'll try to see you tomorrow, Julia assures her. Amy, happy, thanks Julia for going. Julia shoos her upstairs. Amy's worries are over, but Julia's have just begun--something HAS happened to Chris, and where the hell is Barnabas? The sun rises. The unconscious werewolf turns into an unconscious Chris, whose shirt is a bloody mess.A blonde woman in an 18th century dress stands over him, sadly shaking her head. (now who is that, and why?)

Chris awakens and stands. He sees where he is, checks his bloody, torn shirt, and wonders what happened last night. "Carolyn?" Did I hurt her? I have to find out. But first I have to clean up; I can't let anyone see me like this!

Julia worries in the drawing room. Amy comes in and asks if she's seen Carolyn; she promised to take her into town today. She can't, says Julia, she isn't feeling well--she had an accident. Amy, immediately concerned, wants to know more. You'll find out soon enough, says Julia--Carolyn was attacked in the woods by an animal. What kind? asks Amy. Julia claims not to know, and only adds that Carolyn is remaining in bed all day. I didn't want anything bad to happen to her, says Amy, puzzling Julia. None of us did, agrees Julia, but it's fortunate--she could have been killed. This really upsets Amy. Julia assures her it didn't happen, so she shouldn't think about it--Carolyn will be all right. She shouldn't have gotten hurt, says Amy sorrowfully, looking as if she's going to cry. All us us are sorry, agrees Julia, but you couldn't have prevented it. Amy knows differently. Julia suggests she visit Carolyn later. Amy, eyes suddenly vacant, says she wants to go outside (and she sounds mighty possessed). "Outside?" asks Julia. Amy says, I want to go outside and play--I'll see Carolyn later. You shouldn't go outside, warns Julia, but Amy begs to be allowed to stay near the house. Julia says in that case, it's all right. Amy heads outside.

Chris returns to the trashed cottage and closes the blinds. He rights the furniture and lamps, very quickly. Someone knocks at the door--Barnabas. Chris quickly strips off his shirt and puts on a robe. (Nice chest!) He opens the door to Barnabas, apologizing for keeping him waiting. Chris yawns--you didn't wake me, I was just getting dressed--I got plenty of sleep, he claims--I was here all night. Barnabas sits down and tells him Carolyn was worried about him when he didn't stop by to see Amy. Something came up, says Chris--urgent business. You should have called her, she was concerned about you, says Barnabas, then describes how Carolyn was attacked in the woods last night by a wild animal--I tried to track it down, but couldn't find it. Chris' face registers shock. "Carolyn isn't. . ." says Chris. "Dead?" asks Barnabas--"no." Chris thanks God. She was hurt, got some cuts on her face, says Barnabas. Is that all? asks Chris. Yes, says Barnabas, but still badly shaken up. Chris offers to come see her. That would be a good idea, says Barnabas. Chris promises to be there as soon as he gets dressed. He takes in a deep breath of relief that Carolyn is alive, and thanks God.

Amy walks through the woods, calling Beth. "Where are you?" she asks. "I have to talk to you, please, it's important." Beth appears, to Amy's delight. She asks why David broke his promise that Carolyn wouldn't be hurt--why did you let it happen? Beth looks sad.Amy realizes she didn't want it to happen--why did it, then? Beth begins to sob. I know you didn't want it to happen anymore than I did, says Amy--how can I protect Carolyn--or anyone? Beth puts her hand under Amy's chin and points. Amy knows there's something Beth wants her to do, and conveys it telepathically. "I know. . .I know," says Amy, trancelike, and Beth smiles.

Amy goes to the cottage and calls to her brother. She lights a fire in the fireplace.

Julia tells Barnabas she was worried about him when he didn't return.He explains, I felt I should keep searching until I decided it was useless--I did manage to shoot the animal, point blank, yet it didn't die--the blast from the gun should have killed any living creature. There's a knock at the door. That would be Chris, says Barnabas, surprising Julia--I stopped by the cottage to tell him about Carolyn. Chris comes in. Julia is relieved to see he's all right. Barnabas tells her Chris is fine--he spent the entire night in the cottage. Julia's face is a study in fascination at this news. I slept through all the excitement, says Chris, and wish someone told me, I might have been able to help. "But." says Julia, then shrugs and says nothing. She tells Chris to go up and see Carolyn, she's awake. Barnabas goes into the drawing room and Julia, looking confused, follows him. "He's lying," she tells him--Chris is lying!--he didn't have a peaceful night's sleep, I doubt he had any sleep at all. Barnabas asks for more info. She tells him, I went to the cottage close to dawn because I was worried about Chris--he was gone, and the place was a shambles--why would he lie? she wonders. Barnabas doesn't know.

At the cottage, Amy takes her brother's blood-stained shirt and tosses it into the fire the built. It begins to burn. "I've done it, Beth, just the way you told me to do it," she announces to the air. "Are you watching me?" Chris comes in and finds his sister seemingly in a trance. He asks what's wrong.Nothing is wrong now, I have to go--"She's calling me," says Amy--"Can't you hear it?" No, says Chris. "I can," she responds eerily, and races from the cottage. He sees something burning in the fireplace and grabs the poker to check out what it is. "My shirt!" he says, totally flummoxed.

NOTES: Beth told Amy to burn her brother's shirt--why was she so concerned? Are she and Quentin on opposite sides of this family feud? Apparently Beth doesn't want Chris connected with Carolyn's attack, and told Amy to burn it. Why?

Julia knows Chris was lying about his good night's sleep, but have she and Barnabas connected any of this to the supernatural? Barnabas, once a supernatural creature himself, might well have sensed another such creature in their midst. And since the wolf who walks like a man didn't succumb to that bullet wound, it must take a different kind of bullet to do away with him--or at least that's what legends say. Get thee to a silversmith and have some bullets forged!

Poor Amy is a really messed up little kid. You feel so sorry for her plight, her loneliness, her desire for a stable family.

Love, Robin