643 - (Louis Edmonds) - Darkness envelops the walls of Collinwood. There is danger in the night, for a seance has just been held in the great house, and the spirit of a mysterious woman has spoken from beyond the grave and a new reign of terror is about to begin.

Alone, Carolyn asks Chris why he stopped the seance. I was afraid, he says, afraid for you--I didn't like what happened to you.She doesn't believe him. You were frightened of something else, she insists. He levels with her--he doesn't know why he stopped it. Something just came over him, he felt he had to do it, he doesn't know why. Neither of them understand. She wonders who they contacted, who the woman was. He doesn't know anyone named Magda, and he doesn't want to discuss this. She suggests they talk of something else, then her face contorts. She still feels her presence, the woman, the one who contacted them during the seance. Chris looks around nervously.

"Good grief, Carolyn!" protests Chris. Don't tell me it's my imagination, she insists--she's here. How do you know? demands Chris. I can sense it. He scoffs, telling her to stop it. She accuses him of being scared, too--why did you stop the seance, what was I saying? You said something ridiculous about a curse, says Chris. Why does that upset you? She asks. I wasn't upset! Says Chris. She touches his arm--could it possibly have anything to do with you? She asks. You're going overboard, accuses Chris--stop talking of this insanity--it doesn't mean anything at all!

Amy, wearing David's robe, wakes him up--I have to speak to you, she says. He demands to know what she wants. He's angry, she says, Quentin--something's happened to make him very angry, I just know it.He says she's making it up. We have to find out, she says, you have the telephone, we should ask him. I've been talking into the phone, with no response, he complains. Try now, she says. David calls hello into the phone, but hears nothing--then he does--breathing! Say something, asks David, but there's no talking. Amy takes the phone herself. She listens. "Yes, I understand," she says. Quentin spoke to me, says Amy, and said "she" would try to stop us--we don't know who or what. "He wants to find him--and tonight," reports Amy.

Carolyn and Chris leave the drawing room. She says she's feeling better. He promises to call in the morning, and stop by to see Amy, too. Roger comes in and gives Carolyn a kiss. I still have work to do, says Roger. Carolyn sees Chris out.

Roger goes into the drawing room and opens his briefcase on the desk. A large book falls from the piano to the floor. Roger turns and looks at it. He picks it up and opens it. He finds a piece of paper inside, a letter. He looks at it, puzzled. When Carolyn comes in, he tells her it's a letter addressed to his father, Jamison, dated 1887. He must have been a boy, muses Roger. "Dear Jamison, you must return to Collinwood, I need your help. You must intercede with Oscar. Only you can save me." They wonder what it means. It's signed "Quentin." Roger doesn't know the ancestor, who spent most of his time abroad, well. Roger describes how he found the letter in the book, which toppled from the piano. He wasn't anywhere near when it happened. They wonder how it could have fallen. Carolyn says SHE did it--Magda--she wanted them to see the letter. This name is unfamiliar to Roger, but Carolyn explains about Magda's spirit being in the house. She wanted them to see the letter--but why?Roger and Carolyn sit before the fire. I'd like to call it nonsense, he says, the seance, the book falling, but I can't--neither of us imagined what happened tonight--what is the significance of the letter? "Stop them!" bursts out of Carolyn's mouth. She doesn't know why she said it, or what it means--it was Magda speaking through me, says Carolyn, a warning. Roger doesn't understand, but Carolyn says Magda is still there, speaking through her, warning them--someone in the house is in danger, and it could be any one of them.

Amy tells David Quentin wants them to go to the storage room, she knows that. David says she's just pretending to know. It's the only possible place, points out Amy--are you afraid? Of nothing, says David. Amy wants to find Quentin and see a real ghost. So does David. He shushes her, hearing something. Roger is heading upstairs with Carolyn, talking of making sure David is all right. David starts taking off his robe and orders Amy to hide. She hides behind the door and David hastily climbs into bed. Roger asks David if he's all right. The boy seems puzzled by the question. Roger says, "Never mind--you should be asleep," he tells his son. David says he woke up and couldn't sleep, so he decided to read. Roger tells him to get back to sleep and turns off his light, not spotting Amy hiding behind the door. She's about to sneak out when Roger steps back in, telling David if he needs him tonight, to come to him. This seems to confuse David, but he agrees. Roger leaves. Amy says it's a good thing he didn't find her, or he'd have sent her to bed--then they couldn't have any fun at all (give yourselves a few years). David says his father was acting really strangely; he never says goodnight, and this asking if he was all right business. . .Amy asks if Roger's gone to bed--we had better make sure everyone is asleep or they'll prevent us from finding Quentin. Amy is sure they'll find Quentin tonight, and she's very excited about it.

Down in the drawing room, Carolyn asks Uncle Roger why he was so concerned about David. It was just a feeling, he explains. He's all right, isn't he? she asks. Yes, he's fine, says Roger, no longer worried.

David and Amy check for sounds of others and David takes a flashlight from his desk. They head to the West Wing. David reminds her she must be real quiet, so she shouldn't speak until they are in the West Wing. She agrees. (Their hair looks the same color in the lights, reddish brown.) David tells Amy to stay close, it's going to be dark. The flashlight seemingly flies from David's hands. They're both surprised. It felt like someone took it from my hands, says David, but no one is here. He finds it on the floor and they resume heading to the West Wing. David feels a hand driving him away from the door. "It's pushing me backwards!" he cries.

The pressure disappears and they wonder what it was. Quentin did tell them someone would try to stop them, David reminds Amy--some woman, so it was probably her or her ghost. Amy is scared, and David admits to being a little frightened too--but not too scared to go on. He says she's more scared because she's a girl. (sexist little piggy!) David finds the West Wing door locked. Weird--it wasn't locked the other day. Someone locked it, says David, but there's another way into the West Wing, a secret way I know, and you must promise not to tell. She swears. Off they go. 4 AM. No one sleeps at Collinwood.

Roger and Carolyn, fully clothed, sit on the sofa. Roger suggests they head off to bed, but Carolyn doubts she'll get much sleep. He advises her to try. David and Amy have been listening outside the double doors, and scamper off when they realize Roger and Carolyn are exiting the drawing room. Roger offers her sleeping pills, but she refuses. She is exhausted, perhaps she'll sleep. He kisses her goodnight. Roger turns off the foyer lights and they both trudge upstairs.David and Amy exit the servant's entrance and go into the drawing room. David moves a red velvet chair and opens a secret panel. He ushers her in ahead of him, leaving the chair pulled out. An unseen hand pushes it against the wall. David and Amy walk up a flight of stairs into the West Wing. David leads the way, commenting that he thought he heard something. A large old grandfather clock suddenly falls in front of them, scaring them spitless. She must have done that, says David--whoever she is, she wants us to go back! Maybe we should, suggests a frightened Amy. David insists they go on, and she asks him to take her hand. He does. They enter the storage room, still holding hands. They call to Quentin, or anyone. He isn't here, says David, disappointed. I was so sure, says Amy. David suggests they leave, but the door closes, locking them inside. David can't get it open. "Try!" cries Amy, but it won't budge. They're locked in, they realize, gazing at each other fearfully.

NOTES: I do love these kids, but it's been too long since we've seen Barnabas. Sniff.

What was trying to prevent them from going to the West Wing--Magda? Seems likely, given the little we already know about her. What are these kids heading into? Aren't they cute together?

What is Chris' connection to all this--why did he feel compelled to halt the seance?


644 - (Joan Bennett) - The great halls of Collinwood echo with the rumble of thunder. The walls are illuminated by flashes of lightning. The storm rages, as if all the elements of nature were in conflict. Inside the great house, two angry spirits are in conflict, spirits of those long since dead. One of them has lured two innocent children to a deserted storage room in the West Wing of the house. In that room, unseen terror awaits.

David holds his robe closed as he announces they are locked in--and can't get out. He's clearly scared.Amy and David wonder if Quentin locked them in. Why doesn't he appear to us? wonders David. Perhaps it isn't time, Amy suggests. David doesn't want to be stuck here the whole night. The knowledge that ghosts only appear at night, and they might have to remain the entire night, upsets Amy. She's getting scared. Only babies get scared, says David, but Amy accuses him of being afraid, too. What if Quentin never appears and we really are locked in? stammers Amy--who will find us? David assures her they will get out somehow.

Carolyn awakens screaming. Liz and Roger rush into her room. Carolyn tells her mother and uncle she heard a woman's voice saying, "They'll die," over and over. Then she saw two little shadowy figures, children, dead--Amy and David. Roger and Liz assure her it was only a nightmare, but Carolyn says it was too vivid, and a warning. Carolyn insists Roger go check on David, and he agrees only to humor her. Carolyn gets out of bed and tells her mother something is wrong, she's sure. Liz says they shouldn't have held the seance.Carolyn wonders why she spoke of a curse at the seance. Roger runs in and reports the kids are gone from their rooms--David likes to explore and might have taken Amy with him--they must be in the house, says Roger. Carolyn gets her robe and says she'll help search for the children. Suddenly, Carolyn sees something being written on her mirror: JAMISON. The trio watches in horror, wondering what it means. Roger doesn't know. Carolyn reaches up to touch it, but the writing disappears.

David and Amy try to get the door open, to no avail. What will we do? laments Amy, but David has no answer. They spot an old armoire, and Amy asks what's inside it. Just cobwebs, says David. Amy asks what's in the chest. David never saw it before. Perhaps it's full of toys, suggests Amy. They open it. Only old clothes, says David, unimpressed. Amy pulls out a boy's suit, and a girl's dress--who did the clothes belong to? Some Collins ancestors, says David. Amy wants to put on the clothes and play dress-up, but David thrusts the clothes back in the trunk, insisting, in his macho way, that he doesn't play such games. Amy hears the sound of sweet music. Quentin must be playing it, she says, excited, and someplace nearby!

The adults search the house, but can't find the children. The West Wing, suggests Carolyn. Roger reminds her it's locked. Carolyn says David might have found another key. True, agrees Roger, and they head for the WW.

David and Amy hear the music coming from behind a paneled wall. David knows of no room behind there, but the music gets louder. Why is Quentin playing it? It might be a message that he's behind that wall, says David--perhaps we have to go to him. We can't go through a wall, protests Amy. David knocks on the wall, listening for hollow spots. The wall isn't solid, David explains.

Roger finds the WW door locked, so they can't be in there. Carolyn thinks they should search anyway. Liz and Roger don't see the point--David can't get past a locked door. (how long have these two lived with David? Hello?) The other two leave Carolyn behind, who tries the solidly locked door herself, then leaves.

Amy and David hear the music fading away. David muses that perhaps Quentin told them all he wanted them to know--that he's behind the wall. Why won't he appear to us? asks Amy (hey, this scene is a repeat of the one we just saw! A blooper). David tells Amy the wall is covering something up, and she wonders if Quentin is behind it. Something is, states David.

Roger, Carolyn and Liz troop downstairs. Roger is going to search the grounds, but won't let Liz--and don't phone Chris until after the kids are found, he says. Carolyn and Liz go into the drawing room and wonder why David had to go out tonight in a storm. Carolyn feels a hand pushing her toward the door. It's Magda--she must want us to go someplace, the only place in the house we haven't searched--the West Wing. Carolyn thinks they should go, and if Roger won't go with her, she'll go alone. Roger follows her, annoyed. He won't allow her to go alone. (How could they have filmed the same scene twice, or put it in twice? Weird?)

The trio of adults find the downed clock. Roger is sure it was standing last time he was up here.David and Amy hear their elders talking. Amy is all for hiding; David wants to call to them so they'll be discovered. Amy says they must have a key, and perhaps the adults will open it, leave it unlocked, and they can get out without their ever knowing they were there. Carolyn tells Roger to check the very locked room in which the children are trapped. The kids have hidden themselves behind a trunk. The door closes behind Carolyn, Liz and Roger.

Liz says she heard a noise from down the hall. They all leave the room to have a look, and Carolyn closes the door behind her. David and Amy, fearful they were being caught, wonder how they got in--they didn't hear a key turn in the lock. David, however, finds they still can't get out--it's locked again. Amy comments she isn't surprised; it's because Quentin wants them to stay and do something for him--let him out. The wall isn't thick, and she saw something while they were exploring. She hands him a crowbar--they could perhaps open the wall with that. David says he has the strength to open the wall, even if she doesn't. She's surprised he wants to do it, then says they'll be scolded if anyone finds out. David doesn't care, he's proceeding anyway. He starts prying open the bottom panel.

Roger, Liz and Carolyn return to the drawing room. Carolyn still feels the kids are in the house. Roger wants to search the grounds. Perhaps they went to the Old House, suggests Liz. Carolyn reminds them that some force pushed her toward the West Wing--why?

David bangs on the panels, pushing one out. Behind it, they see a door, so there must be another room on that side. David doesn't want to open it, and Amy agrees that she doesn't if he doesn't. David wants to go downstairs. Amy reminds him they're locked in. What will we do? wonders David. Abruptly, the door they uncovered opens by itself.David looks in with the flashlight, unable to see much. They aren't sure if they want to go in, but Amy does if David does. (they are so adorable together!) He volunteers to lead the way; he takes her hand and they start to go in--to face what danger?

NOTES: What are these crazy kids getting themselves into? What does Quentin want from them, and will it be in their best interests to do it?

Who was giving Carolyn these messages--Magda? Will she continue to search the West Wing until she finds the kids, who we sense are in danger?

Seems like we have two opposing forces, Magda and Quentin. One wants to save them, the other. . .well, we don't yet know what the other wants, but Magda clearly doesn't want what Quentin does.

Love, Robin

Actually, if we're going for the Erica Kane-vixen thang, I'd say DS' own was Angelique.  On the other hand, Erica was and is such an experienced conniver, I bet if SHE were pursuing Barnabas Collins, they'd have been married and divorced--three times!--by now (and without the use of anything but Erica's natural witchcraft).

Love, Robin

639 - (Grayson Hall) - The great house of Collinwood stands in majestic isolation under the brightness of a full moon. But none who live at Collinwood know that on this night, the fullness of the moon means something it has never meant before. It is the sign of a new and terrifying evil that prowls the woods of the Collins estate in search of a victim.

Liz stands, stricken with fear, but the creature turns and runs away. Liz sinks down onto a rock, and finds herself face to face with Amy Jennings!

Amy steps forward and asks Liz if she's all right. It was a big animal, says Amy--it ran when it saw me. Liz is perplexed. Amy assures her it's gone now. Liz wonders why the creature fled when it saw Amy. The little girl introduces herself--Amy Jennings, explaining that she's on her way to find her brother. Liz, still staring at the spot where she saw something, is distracted, and reveals, I live at Collinwood. Amy wishes she lived there, in the big house by the water. Liz takes Amy's hand and says she must come with her before the creature returns. As they walk off together. The animal returns, growling in the depths of the bushes.

Collinwood - Julia comes downstairs, worried. She eyes the silent phone, then turns as Amy and Liz enter the house. Liz almost faints as she describes the wild animal that almost attacked her. Liz sits in a chair describes what looked like a wolf--and, as incredible as it sounds--it was dressed like a man!Julia looks skeptical, but says if Liz saw it, there must be an explanation. Julia goes upstairs to get Liz a sedative and tells Amy to stay with her. Amy, who has been eyeing the portraits and such, asks Liz if she's Mrs. Stoddard. Liz thanks her for scaring off the creature. Amy shyly says that's OK--I have to be going; I'm looking for my brother. It's too late to be out alone, objects Liz. Amy insists it's only too late for those afraid of the dark--and she's not. I could see that in the woods, says Liz. Julia returns with a sedative and a glass of water for Liz, who doubts anything could help her to sleep. Julia wonders what to do about Amy, Chris' sister. Amy doesn't want to go back, but Julia says you must go--you shouldn't have run away; your treatment is important. Amy says she only needs her brother, and she'll find him. Julia promises to have Chris come to see her at Windcliff tomorrow. Heartbreakingly, Amy begs not to be sent back; Chris promised her he'd stay and never go away again--he'll take care of her. Julia explains--I'm responsible for you, Amy. Chris will do that, says the little girl. I haven't been able to reach him, explains Julia. Between the storm and the lateness of the hour, Liz suggests Amy stay tonight.Julia agrees, but "It's back to Windcliff tomorrow." Amy is pathetically happy. David comes in, wearing a green terrycloth bathrobe, and Liz tells him Amy is going to be staying with them tonight. Amy greets David, who returns the greeting. Liz asks David to get Mrs. Johnson. David asks an enthusiastic Amy if she wants to come with him. Together, they scamper off. Julia asks Liz how she feels now. Better, replies Liz. We should call the sheriff, advises Julia. Liz says she only got one look at the creature, who, seemingly afraid of the sight of Amy, ran away.

Woods - a wolf howls mournfully.

Amy's room - David tells Amy about his shell collection, promising to show them to her tomorrow. I must return to Windcliff tomorrow, she says. Next time, says David. Amy admires the lightning and even opens the window to get a closer look. David asks if she wants him to stay with her a little longer, and tells her he hardly ever has to go to bed early. (Who does?) He asks if lightning and thunder scare her, like most girls. No, she assures him--it can't hurt you. David points out that lightning can strike you dead--if she isn't afraid, he'll be going, he says, but she asks him to stick around and talk. They sit by the fire. Amy asks what it's like living at Collinwood. Like any other place, he says. She remarks on how huge the house is. David says no one has ever counted the rooms--there's a whole wing, the west wing, closed off all the time--I don't want to tell you why, it will keep you awake (isn't he cute?) She guesses it's haunted, and bets he's never been to the west wing. I sure have, he insists. Is it true it's haunted? She asks.  Maybe, says David. She thinks he's teasing her. David says, if you weren't leaving tomorrow, I'd take you there and show you the ghosts. (They are very natural together.) Show me right now, suggests Amy--"I love exploring houses--please" He agrees, but says they must be quiet and careful--if we're caught, Aunt Liz will be mad. They head to his room to get a flashlight.

The West Wing, filled with cobwebs, old furniture and portraits - David, flashlight in hand, leads Amy through the West Wing. He shows her the portrait of Thaddeus Collins, alive during the Civil War. They pass a door and David tells her it's a storage room, perfect for exploring. They go in. The room is filled with even more cobwebs (plus a brass bed that will play a big role in future episodes of DS). Amy pronounces this room exciting, with lots of secrets. David says this room is supposed to be haunted. Do you think it is? asks Amy excitedly. No, says David--just a legend--nothing has ever happened to me in this room--another room, down the corridor, has a secret passageway. Amy remarks on how lucky he is, living here. She spots a 19th century telephone on the floor and picks it up.David suggests a game--the kind that first pops into your head. A pretend game? asks Amy. David suggests they pretend all the junk isn't there and it's the same as it was when the West Wing was first opened. And see the people who lived there, too, suggests Amy. If we can't see them, perhaps we could talk to them--on the phone they found!--we can pretend to talk to someone who lived in the past. David doesn't know who lived in this room. Amy says she'll start. She picks up the phone and says, "My name is Amy Jennings, what's yours? That's a nice name. Where do you live? Somewhere near this room? If David and I came looking for you, could we see you? Could you hold on for just a minute?" Amy turns to David and tells him the West Wing IS haunted! David asks what she's talking about. I think the man I'm talking to is a ghost, she says. David looks upset and says that's enough pretending, but Amy assures him there really IS someone on the phone. David scoffs that she's making it up. The ghost's name is Quentin Collins, reports Amy. I've never heard of anyone by that name, says David. Amy suggests he listen on the phone; he'll find out. David takes the receiver and says, "Hello?" Not getting a response, he turns to Amy and starts to say, "Isn't that strange, I think your ghost has lost his. . ." Then he looks startled, stunned. I can hear someone breathing! He says. He takes the receiver away from his ear and we hear someone hang up. The phone, however, isn't connected to anything at all! (Yes, this creeped me out back in 1968, and a lot, too.)

Amy examines the phone, which they've brought up to the room where she's staying. David comes in with a book of photos and says he's never heard his father talk about Quentin Collins--this book goes all the way back to the Civil War, Amy can't imagine why Quentin wouldn't talk to David; he spoke to her in such a nice voice. They come across a picture of Quentin as a boy, then look for photos of him as an adult. They can't find any; perhaps there aren't anymore. Amy wonders where Quentin is. They find a photo of Quentin with his brothers and sisters, but can't identify which one is Quentin. When Liz knocks at the door, David hides the phone and photo album before Amy opens the door. Liz is surprised to find David here. He explains that he was telling Amy about the house. Liz tells David to go to his room. Amy helps Liz turn down the little girl's bed. David asks if Liz knows of an ancestor named Quentin Collins. Yes, he was my great uncle, says Liz--he left Collinwood while still young, went to France, and died in Paris--why do you ask? David explains that he saw Quentin's name in a family history and got curious.As if sharing a very private secret, David and Amy say goodnight to each other. Liz tells Amy to go to sleep, then leaves. Amy takes the phone out from under the bed and puts it back on the table. She turns off her light, climbs into bed, and settles down for sleep. At 2:15 AM, Amy awakens, slides out of bed and picks up the receiver on the disconnected phone as though she heard it ring. Why didn't you speak to David? Asks Amy--he was very disappointed. . .what? All right.? She listens very carefully. "Where do you want me to come? Will you be there?" She smiles. "All right--I'll come right now. Yes. Goodbye, Quentin." She hangs up and leaves her room, making sure no one is out there. We see actual rain hitting the window as Amy enters the West Wing again, gazing around with huge brown eyes. She enters the room where they found the telephone. "Quentin?" she calls. "I'm here, Quentin. Aren't you going to come out and see me?" And hopefully, she gazes around.

NOTES: Sad story of a werewolf brother and his lonely little sister, left by the only working member of the family, Tom, who became a vampire. Chris and Amy look like they come from the same family, too. David and Amy are delightful together. Grayson Hall once said that a child actress on DS acted, "Forty, if she's a day." I've never doubted she was referring to the flawless performance of Denise Nickerson. I think she's adorable--and damn, didn't you get chills when Amy was speaking to the unseen Quentin on that disconnected phone? One of DS' scariest moments, IMHO.


640 - (Nancy Barrett) - A little girl spends her first night in the great house of Collinwood, a night of strange, weird discoveries, for she finds an ancient telephone, its wires hanging loose. But when she picks up the receiver, she hears a faint voice from the past, a voice which orders her to come to him--she knows not why.

Amy stands in the West Wing room, calling to Quentin. "Aren't you going to come out and see me?" she asks. The door opens and David joins Amy. She's disappointed it's only him, and wonders how he knew she came there. David saw her pass his room, and asks if "he" sent her here. She nods. David takes her out of the room. They return to Amy's room and she accuses him of being afraid. He denies it--they aren't allowed in the West Wing--ever. To prove he isn't afraid, David uses the ancient phone. There's no one there, but when Amy tries it, she tells David "he's" angry with you for following me. Why? wonders David--Quentin is MY ancestor--I bet you didn't even talk to him, you just heard the name Quentin Collins, and are just playing a game--except I heard the breathing, heard the hang-up. David seems reluctant to believe it all. He suggests they have a seance, call Quentin. They sit by the fire and he explains that he's seen the adults call people from the dead a lot (LOL!). First we have to light a candle, says David, and does. They promise each other not to be scared. David says he's no virgin seance holder. He tells Amy to turn off the lights. They sit at the table, the old telephone in the center, along with the candle. David instructs her to touch hands on the table to make a circle, which must never be broken. Concentrate, advises David, on Quentin--he makes sure she isn't afraid one more time, then calls to Quentin. "We are calling you! Wherever you are, come to us! Tell us about the old telephone and why you spoke to Amy through it.""Quentin Collins, we are calling you. If you are here, speak to us. Give us some kind of sign!" Nothing happens, but David looks frightened as he proceeds to call Quentin again. The door opens by itself and they see a hooded figure in the hallway. It's just Vicki. and her dark hair, dressed in black. She switches on the lights. They were just playing a game, explains David. Vicki introduces herself to Amy--as Vicki Clark, David's governess. David explains that Amy got scared and knocked at his door, and Vicki apologizes for not checking on her. She orders David to his room; she'll stay with Amy. We'll see each other in the morning, agree David and Amy. As Amy looks over the ancient telephone, Vicki comments that the house seems scary. Where did you get it? asks Vicki. We went exploring, says Amy, who adds, I'm too old for bedtime stories--Tom used to tell me good ones of queens, kings and princesses--did you know Tom? Yes, answers Vicki, probably remembering the vampire who broke into her room. Amy asks to see Chris--Julia knows where he is--will you make sure I see him tomorrow? Vicki promises, first thing in the morning. Amy is thrilled--Chris said he would see me, but didn't--he's all the family I have, and I really want to see him--he hasn't gone away without me, has he? Vicki reassures her on that score. They hug each other and Amy looks happy. Vicki turns off the light and leaves Amy alone in the dark.

Chris, the object of her concern, lies on the floor of his room in the Collinsport Inn, muddy footprints on the carpet leading up to his sprawled out body.

Carolyn opens the door to admit Chris to Collinwood. It's been a long time, they agree. She observes he hasn't changed, and is glad. Carolyn introduces Vicki Clark to Chris. Amy has talked of no one but you, says Vicki. Carolyn agrees. Chris isn't happy Amy ran away from
the hospital. You were the reason she did that, points out Carolyn. Carolyn looks interested, smiling after Chris as he leaves with Vicki. She primps in front of the mirror.

David sympathizes with Amy--he doesn't like seeing his relatives, either (and he has been known to try to kill his father). David prefers being left alone, and thinks Amy would feel the same if she were a boy. Amy, however, is ecstatic to see her brother, who picks her up in his arms, exposing her underpants. Everyone leaves them alone. Amy asks Chris where hes been. He reminds her that she was supposed to stay at Windcliff. I was afraid you'd gone away again, says Amy, by way of explanation. I haven't, he assures her. You might have, she says--why do you EVER have to go away? I didn't say I had to do anything, he reminds her. She's thrilled at the prospect of staying with him, coming to live with him. What would you do while I had to work? asks Chris. She assures him she can take care of himself. No, you can't, he insists. I want to be with you! Says Amy. It just isn't possible, says Chris--I want to, more than anything. Then it's easy, she says. He promises to find her a home in town where she can stay--he's sorry, but that's the best he can do--one day, maybe I can explain it to you, he says.She looks at him reproachfully, pushing his guilt buttons. I want to stay with you, just tonight, she pleads. You can't! shouts Chris, tortured. "You don't want me!" accuses Amy--"You don't want me at all!" Chris protests, trying to take her in his arms, but she shrugs him off, angry. He apologizes and leaves the room. Amy, her back straight and proud, says aloud that she won't let him take her to that home--she won't! She caresses the phone like a pet cat.

That's ridiculous! Carolyn insists to Chris--you can't put Amy in some home--let her stay with us at Collinwood--my mother mentioned it, we have all this room. Vicki says you'd be doing us a favor. Chris refuses--it's out of the question. Carolyn begs him to come talk to Liz and let her convince him it would be all right.

David tries to comfort the depressed Amy--maybe you'll get to stay here, with us!--wouldn't you like that?--we'd have fun. Amy doesn't answer. David suggests another seance--this time, we'll contact Quentin--don't you even want to stay for another seance? Amy doesn't answer.

Blue Whale - The waitress clears a table as Chris and Carolyn come in for a drink. I owe you, he says--this problem with Amy is solved, temporarily. My mother said Amy can stay as long as she wants to, says Carolyn. "The generosity of strangers," comments Chris. We aren't that, says Carolyn. He agrees they aren't, but if someone had asked him yesterday, he'd have called the Collinses strangers to him. He smiles and thanks her. We'll become attached to Amy, says Carolyn, and you will marry and want to take her away--you and she will have two families, then. The waitress comes over. Carolyn orders a daiquiri and Chris a shot of Irish. I guess it seems really weird I don't take care of Amy myself, like Tom did, he says. Tom didn't travel as much as you did, Carolyn reminds him. Everyone must wonder why I don't just stay here, settle down, says Chris. We don't spend our time living other people's lives, she says. . .it worries YOU. The waitress brings their drinks. Carolyn asks if HE could settle down. Not now, he says. Psychologically incapable? she asks. Yeah, he says. That may change, she smiles. They exchange looks, clink glasses, toast. She hopes he'll consider what Liz asked--stick around for a week or so until Amy feels secure with them. Chris isn't sure. Carolyn remarks on how early it gets dark, and Chris checks his watch. I'm a summer person, says Carolyn, but anyone who spends winters in Maine is. Chris gulps his shot and hastily asks for the check, then asks if she has errands she wanted to do before the stores close. They can wait, she says. The waitress brings the check.Chris looks at her and spots a five pointed star on her face. She notes his scrutiny and asks if something is wrong. With terror-stricken eyes, Chris tells Carolyn he'll call her tomorrow, then races from the table and out the door. The waitress checks her face in a mirror. (The clock on the bar wall says 1.)

Chris returns to his out-of-the-way room and nervously checks his own reflection in the mirror, touching his face for a fur check. He looks out the window, takes a strap with a chain attached and bolts himself to the radiator with a padlock. He sits there, leaning back; his face transforms into that of a werewolf who, when the change is complete, appears to be much shorter and slighter than Chris! He works at the chain, trying to free himself.

The Blue Whale waitress is closing the bar (where the clock still says one, and rightly so). She hears someone trying to get in and says, "We're closed!" She begins turning off lights, then starts putting chairs upside-down on tables. She hears growling. We see the werewolf standing in the window. He leaps through the glass.The waitress screams as he attacks her.

NOTES: Not a bad action scene for 1968, folks. This was a lot of action for DS. They hired stunt man Alex Stevens to perform all the werewolf stunts, a fellow who was apparently not nearly as tall as Don Briscoe, so it seemed that, when the transformation hit, Chris shrunk!

Touching scenes between sister and brother as Amy begs to be able to remain with Chris, who has a problem with full moons that can't help but negatively affect her. We know what's going on, but Amy doesn't, and he can't tell her, either. He can only offer lame excuses. Amy, still grieving over losing Tom, wants her only remaining relative to stick around--and who can blame her? Already David seems like her little brother, and I'm sure the two child actors had a blast together working at the studio. I know some people find Denise Nickerson somewhat squeaky, but she was adorable and a great little actress, too!

So what will happen to that waitress? Is she a goner, like the hotel clerk? Poor Chris, like Barnabas, is a supernatural creature who just can't help himself!

Love, Robin

Adam realizes his true passion is Peter/Jeff Bradford/Clark.  He manages to time-warp himself to 1796, pushes Vicki (Betsy Durkin, of course) off Widows' Hill, and confesses his attraction to Peter, who, flattered at first, decides he's REALLY pissed at the big lug for murdering his wife.  They get into a fight at the crest of the hill and end up falling down to the bottom.  Peter lands on top of Vicki's corpse and is instantly killed.  

Adam does not miraculously survive this fall a second time.  He dies and winds up in hell for his misdeeds, where he learns that he must spend eternity with Danielle Roget.  She decides she likes the big lug after all and they resolve to haunt and torture the Collins family once Quentin, Beth, Gerard and Daphne are done doing so.

Love, Robin    

Excellent!  You really do know how to present a DS scene the way it SHOULD have happened instead of the way it did!

Out with one tall fella, in with the new one!

Hurray, Quentin!

Love, Robin

Denise Nickerson was a wonderful actress, and I'm sorry she didn't pursue it into adulthood.  I remember her in a moody movie of the week entitled, THE NEON CEILING.  Her performance was outstanding.  

I was glad they gave David a little companion, since I felt he really needed a sibling type to keep him out of mischief, but then again, she really didn't, did she?

These kids get into a whole passel of trouble, and it's so much fun for us!

Love, Robin

Didn't it make you feel just a little bad that Tom screamed, "LET ME LIVE!" over and over while Barnabas was destroying him?  That really got to me.

As for the question posed here, Randall's staking of his sister was emotionally upsetting for me.  To Barnabas, Tom was pretty much a stranger, but Randall was forced to destroy his own beloved sister, and his excruciating pain was all over his face and in his actions, a superb performance that was hard to watch.

Love, Robin