1093 - David, come away from the dollhouse, urges Hallie, don't look again.  It doesn't matter if we look or not, he says. How did we get in there, sitting at that table? She asks. I don't know, he says. What does it all mean? asks Hallie.  It's what's going to happen to us, he replies  We're going to be trapped in there? she asks. Forever, he says solemnly. What are we going to do? she cries, sitting back in the rocker. We can't do anything, says David. We must! she wails.  We've tried to tell, to burn the dolls, to run away--they just won't let us, says David. Hallie bursts into tears.  David kneels beside her--don't cry, he begs. (This is very sweet.) We've got to try and tell someone, she insists. We can't, says David. Barnabas and Dr. Hoffman are still reading those books, she reminds him--perhaps they'll find out something without us telling them anything. David doesn't answer. You don't want them to! she accuses. Yes I do, he says. You don't act as if you do, she says.  Maybe because I know it's something we can't change, he says. Don't say that, she pleads. The music begins pouring from the turning carousel. David goes over to it--listen, he says. It won't make me feel any better, she says petulantly. Yes it will, says David, I'm not afraid anymore, honest. He smiles. Maybe it won't be so bad at Rose Cottage, he says--you know, we might even like it there.

Carolyn enters to the playroom hallway looking for David and Hallie.  She hears the music issuing from behind the door. She opens it, but finds herself in the linen closet, the music still playing behind the back wall. She exits and goes to the door across the hall.

Listen to the music, Hallie, says David, maybe you won't feel so bad if you do--the music makes you understand. About Rose Cottage? asks Hallie. We won't be alone there, I know that now, says David. Who will be with us there--Gerard? asks Hallie bitterly--or Daphne, or Tad and Carrie? Others, too, promises David. What do you mean? she asks. Just come and listen, says David. NO! says Hallie, turning her back. "You'd better come and listen," advises David--they want you to listen--come and do it, Hallie. Convinced, she joins him, staring at the carousel.

Carolyn exits the room across the hall, wondering where the music is coming from. David tries to leave the playroom quietly enough so his cousin won't hear him, but she turns and catches him. David! she cries--I've been looking for you--what are you doing up here? I was looking for Hallie, he says. And why would Hallie be here? she asks, folding her arms over her chest. I don't know, says David--she likes to explore the house sometimes. She's probably the one who's playing the music, says Carolyn, let's find her. Music? asks David innocently. You must hear it, says Carolyn. I think it's a radio, he says, coming from the other wing--somebody just has a window open--anyway, why would Hallie come here to play music? I don't know, says Carolyn, but we're going to find out--Hallie!  I don't think she came here this time, says David--I've looked everywhere. You aren't supposed to be in this wing and you know it, Carolyn reminds him. Yes, I know it, he agrees. She hustles him away from the playroom door. Inside, Hallie is smiling, nodding, saying yes, yes, I know--I know, hypnotized by the music--and by what else?

Drawing room - Where can Hallie can be? Carolyn asks her cousin. She'll turn up someplace, he assures her. With Maggie sick, the two of you really should be more considerate and not go wandering around without telling me, she chastises. We will be, promises David--is Maggie feeling better? I'm going to look in on her, says Carolyn--and don't go disappearing again, she warns, it's nearly your bedtime. David nods. Hallie comes in.  Where have you been? Carolyn asks.  In the kitchen, says Hallie, I was hungry. I looked there, says Carolyn. I was in the pantry, I heard someone come in, says Hallie. You and David get ready for bed, orders Carolyn--I'll come in and say goodnight. She leaves. You were right about the music, David, she says--I feel different. I knew you would, he says. And I know what we must do tomorrow, she says. What? he asks. Something very important, very special, she says. Tell me, he urges. Tomorrow--you will know soon enough, she promises.

The next day, Hallie's room - You'll have to do it because my wrist still hurts, Hallie tells David.   (don't ask me what my dirty mind churned up at that line). Do I have to? asks David. Gerard wants it done, she says--do what I told you to do and I'll be back in a little while--lock the door so no one can catch you--"I'll be back."  David sits at a table,  In front of him, on the table, are scraps of material. He's wearing a pink shirt and black vest with a matching belt. He takes a scissors and folds some material around a clothespin, then wraps a rubber band around the top, making a little head. Hallie knocks; he lets her in. She's brought some green material. Did anyone see you? he asks.  Of course not, she says, pushing away the scraps on the table. She lays out the green square of material--David, you'll have to cut this after I draw the outline.  Why? he asks--tell me why? Cut along the lines after I'm finished, she says, it has to be done, David. She draws an oblong shape. David begins to cut it out.

Maggie's room - Are you sure you want the drapes drawn? Carolyn asks Maggie. Yes, answers the latter weakly. The sun is so warm today, says Carolyn.  The light, complains Maggie, it's so bright, it hurts my eyes--making my head ache. Carolyn draws the drapes and turns on a light. Are you feeling worse? asks Carolyn--should I get Julia?  No, says Maggie. Did they call the police? asks Carolyn. I don't know, answers Maggie. They certainly should have, says Carolyn--remember about a year ago, there were attacks like this?--how odd it is. Maggie, very pale (and a vampire victim for the second time in her life), looks away.

Drawing room - David hands Hallie a marker--is this what you need? he asks. Yes, she says. Why? he asks. It draws on cloth, says Hallie. Why do we have to make this doll? he asks. David! she warns sharply, closing the doors. No one will hear us, he says--tell me--you understand every single thing we're doing, and I'm not going to do another thing until you tell me. The doll is going to be someone, explains Hallie--someone who's going to live with us in Rose Cottage. Who? he demands. There's a knock at the door. Answer it! she orders--go on!  He goes to the door, looking back once at Hallie. He opens the doors. It's Sebastian Shaw--is Maggie here? he asks. She's here, but sick, says David. What's wrong? asks Shaw. I don't know, says David--no one tells us anything. I'll go upstairs and see, volunteers Hallie--perhaps Maggie will see you. She goes upstairs. I also came to see you, David, says Shaw--I have something to tell you--I don't know if you'll understand, but I can't do your horoscope right now. All right, says David. Shaw, perplexed, reminds him how anxious you were for me to do this yesterday. That was yesterday, says David. I thought you wanted to know about the future, says Shaw. No, it's not important, says David mildly--I'll go see if Carolyn is coming soon. He starts to leave. David! calls Shaw. David turns and says, there's no point in knowing the future--it's just going to happen anyway--and he heads to the kitchen.

Carolyn comes downstairs.  How is Maggie? asks Shaw.  I'm not sure it would be a good idea for Maggie to see you, she says--she really isn't herself. What's wrong? asks Shaw. She was bitten, says Carolyn. By what? he asks. By an animal in the woods, says Carolyn.I think you'd better tell me more about this, he says, I really don't understand. Carolyn invites him into the drawing room.

Hallie and David return to her room. What took you so long? she asks. I had to come up the back stairs, he says. You have to draw a face on this, she says, returning to the table. Whose face do I have to draw? he asks. I don't know, she says, I honestly don't. When will we know who's going to be with us at Rose Cottage? he asks. Soon, she replies, very soon. He begins to draw the face.

Drawing room - Carolyn explains to Shaw--Dr. Hoffman doesn't know what kind of animal it might have been. Neither do I, says Shaw, but looks like he knows more. Was she bitten anywhere else besides the neck? he asks. No, says Carolyn--I don't understand why she isn't better--she's been given blood transfusions. What else does Dr. Hoffman say? he asks. That if Maggie remains calm and stays in bed, she'll be all right, but it seem to be affecting--I won't say her mind, but her spirit, certainly, she seems so depressed, says Carolyn. Yes, says Shaw, miles away. That doesn't surprise you? asks Carolyn. He looks at her--it's just the shock, I suppose, he says--did that girl tell Maggie I was here, that I came to see her? Carolyn nods. But Maggie doesn't want to see me, he guesses. Carolyn, embarrassed, says, "She really isn't very well." Don't make up excuses, says Shaw. All right, I won't, replies Carolyn--no, she didn't. Tell Maggie to get well soon, for me, he says, and I'll come and call on her later. Phone first, Carolyn advises. In other words, you don't think she'll see me then, either, he says. I don't know, she says. Tell Maggie I don't give up that easily, says Shaw--not on anything. Carolyn nods and smiles.

David has completed the doll, which now has long blonde hair. It even looks like her a little, praises Hallie. Like her? asks David--I thought you didn't know who it was! Hallie looks guilty, and says like...like...Tell me who it is, he demands. Like Letitia, she says.  Who is that? he asks.  I don't know, she admits, but we will know, soon--we must go to the playroom now.

Playroom - Hallie, how do you know so much? asks David. I just do, that's all, she says--put it in the house, she orders--do you want to live in Rose Cottage all by yourself?He puts the blonde doll into the dollhouse.

Dogs howl. In Maggie's room, Carolyn sits on her friend's bed--Shaw was so disappointed he couldn't see you, explains the blonde--are you sure you don't want to see him? Maggie, pale and distracted by the howling, doesn't respond. You haven't heard a word I've said, says Carolyn.  Maggie tries to get up.  Carolyn, trying to keep her in bed, says, "You can't, Julia said not to." No, Carolyn, says Maggie, I have to get up. She rises and puts on a robe. I'll straighten your bed for you; offers Carolyn, you'll be much more comfortable. What time is it? asks Maggie.  Five past seven, answers Carolyn. I've got to leave, Maggie insists. You mustn't, says Carolyn, pushing Maggie's hair off her forehead--let me finish your bed, you'll be much more comfortable. The dogs howl outside. Maggie listens intently.

We hear the music, see the light on in Rose Cottage, and the turning carousel. The rest of the room appears dark.

Maggie's room - Carolyn hums the carousel song. What's that lovely tune? asks Maggie. Carolyn continues straightening Maggie's bed.

Hallie's room - Maybe we shouldn't have done it, Hallie, says--anybody who goes in that room is going to know Gerard. Do you want to live there alone? she asks. You'll be there, he points out.  But you were the one who said this morning that we wouldn't be alone there--you were happy! she reminds him. Looking pained, he says, I don't know--I like all these people in the house. David, we did the right thing! she assures him.

Maggie opens her window and looks out, listens to the howling dogs.  You shouldn't even be up, protests Carolyn. I don't feel like it, says Maggie, i see no reason why you should stay here--what was that tune you were humming? I think I remember it, says Carolyn, and hums it again, accompanied by the music box music in the background.
We see the spinning carousel and the lighted doll house, where three now reside. Carolyn enters the playroom. This room, she says to herself--I can't be here--why am I here? Her forehead furrows. How could this be--there IS no room--this doesn't exist--it doesn't! She goes over to the carousel and listens to the music. Who wants me? she asks, looking around--who called me here?

NOTES: Who, indeed? Do they plan to put the entire Collins family and other inhabitants in the dollhouse? Is that Gerard and Daphne's plan? When Julia and Barnabas came to 1995, was the entire family relegated to dolls, living in Rose Cottage? What a concept!

Anyone get the idea that Sebastian Shaw knew more about what happened to Maggie than Carolyn did? I think Carolyn is over his resemblance to Jeb now, although when he said he didn't give up easily, it reminded her of Jeb.

The kids aren't very good at arts and crafts, but that was surely Carolyn. Now she knows of the playroom. Who will be next to join the Rose Cottage club?

Why aren't Barnabas and Julia watching over Maggie? It's night time now, why are they not protecting her?


1094 - The intro tells us the doll is named Letitia, who must be connected somehow to Carolyn. Gerard, silently snarling, appears behind Carolyn.  her eyes widen as she feels his evil presence.

Carolyn turns, spots Gerard, and covers her mouth, muting a scream. Who are you? she asks.   He comes after her, and she finds herself trapped in the playroom. He puts a hand on her shoulder. She turns to look at him; they lock eyes. He touches her hair, caressing it, and smiles. Like her mother, Carolyn begins to succumb; she smiles back. I know you, she says, I don't know how, or where. This playroom! she exults, and Rose Cottage! She reaches in and takes the blonde doll into her hand. She grins.Leticia! she says, I'm Leticia, oh, Gerard, how could I have forgotten? He looks stoic.

Collinwood - Julia comes downstairs, asking Liz, have you seen Carolyn?  Not for hours, says Liz, who is reading a book. I left her sitting with Maggie, says Julia, but she's gone. Did Maggie say where she went? asks Liz. She didn't know, answers Julia. She probably thought of something she had to do, suggests Liz. But I told her how important it was, says Julia, not to leave Maggie alone. Why is it so important? asks Liz. Hesitantly, Julia says, I'm just worried she might have a relapse, but she left Mrs. Johnson sitting with her. Why hasn't Maggie gotten better? asks Liz--and why can't she be left alone at night?--I don't understand. She just gets very restless, explains Julia. Perhaps because she's well enough to be up, suggests Liz. Julia offers Liz more coffee; she refuses. She pours a cup for herself. It's very difficult to understand, says Julia--Maggie is recovering, but still suffering from shock. I wonder what kind of animal it could have been? asks Liz. None of us has any idea, says Julia--what are you reading?  A fascinating new book on astrology, replies Liz--a whole new world has opened up to me--I know you don't believe in my horoscope, but I find it a great comfort that the future isn't as obscure to me as I once thought it was. Obviously astrology is reassuring for so many people who believe in it, says Julia. I find it easier to believe my horoscope than yours and Barnabas' predictions, says Liz. We were here in 1995, Julia reminds her--this house was in ruins. I'm sorry, says Liz, but I tend to think it was a dream--no ghosts appeared. None we know of, says Julia. You're not being sensible, says Liz, if anyone had seen anything in the least out of the ordinary, we would have heard of it. Perhaps, says Julia. I know that dreams can seem very real, says Liz, but there comes a point when one must admit... The point has not been reached yet, says Julia, there are still three clues--the destruction of Rose Cottage...  Whatever Rose Cottage is, interrupts Liz, you haven't been able to find that out yet. The murder, Julia reminds her. Please, Julia, objects Liz, I don't even like to hear that word. Neither do I, says Julia, but a murder will take place!  You say Carolyn will sing a song, says Liz--that's the last clue, isn't it?--I look forward to that clue, but none of the others, because Carolyn has no song--in fact, Carolyn cannot sing--take a mother's word for it.

We see the twirling carousel moving in the dark. Carolyn laughs, asking Gerard how he remembers him, and all the lovely times we had back then, in those days--before Carolyn Stoddard was even born?--You've given me the sight, haven't you, so that I can see a path I never knew yet feel I was a part of, just as Leticia was? Gerard nods. Carolyn smiles--I'm so grateful to you, she says, so grateful--but remember how Leticia used to thank you?--to please you? She gazes up at him, smiling saucily--"I will, too, Gerard--I promise--I promise--and soon."  She giggles and scampers off. Gerard watches her go, very pleased.

Julia sits at the drawing room desk, Liz in a chair. No matter how much you pooh-pooh it, says Julia, I'm not going to give up trying to find out everything I can about these clues. And you think those old diaries will tell you? asks Liz. Possibly, says Julia, Quentin's diary under her hands. Whose is that? asks Liz.  The original Quentin's, says Julia, and opens the diary to an entry written on exactly this same day in 1839. What terrible event happened? asks Liz, coming over to stand beside her. Nothing, seemingly, says Julia--he had a vision of the future. Did he find us in it? asks Liz. Nothing as dramatic as all that, says Julia.  And tomorrow? asks Liz. Quentin got books delivered from his booksellers in Boston, says Julia, a collection on witchcraft that he ordered from England, and in the evening, there was a concert here in this very room. Carolyn enters.  Where have you been? asks Liz--I thought you were staying with Maggie. Carolyn opens a drawer--I have to get a kind of present, she says. For whom? asks Liz.  Carolyn darts around, opening and closing cabinets. For everyone, responds the blond. Are you feeling all right? asks Liz. Of course, Mother, says Carolyn--excuses me. Liz follows--I should talk to my daughter, she says. Julia reads in Quentin's journal, "After a most pleasant concert, we settled down to an evening of champagne and whist."

Carolyn opens a trunk in a very filthy part of the attic. She finds a gown that enthralls her, black with a feather purple collar. I remember, she says happily. She tries on a bonnet with long ribbons and looks at herself in a cracked, dusty mirror. She ties the ribbon under her chin, and admires her reflection. Liz enters. Carolyn! she says, surprised.  You're supposed to say how pretty I look, says Carolyn. Why are you here in this room? demands Liz.Why are you here, Mother? retorts Carolyn. I followed you, says Liz, you behaved so strangely. Carolyn pushes the bonnet off her head and rummages through the trunk again.  What are you looking for? asks Liz. Everyone in this house is always looking for something, Carolyn replies belligerently--Julia and Barnabas prowl in and out of rooms, you don't follow them around--find books and diaries, why can't I be allowed to help? Leave it to them, insists Liz, now take off that silly bonnet. No, refuses Carolyn--you're talking to me as if I were David or Hallie--I'm not, Mother, and I have not finished here. I'm certainly not going to leave you alone here, asserts Liz. Oh, but you are, Mother, says Carolyn. What is wrong? demands Liz. Mother, please! says Carolyn, still looking through the trunk, nothing, I've just become interested in the past, that's all. Why? asks Liz.  I can't concentrate if I'm asked all these questions, complains Carolyn--now, I'm doing nothing wrong, am I? No, says Liz. Then let me do it, Mother, please, says Carolyn. Will you come down soon? asks Liz. Soon, promises Carolyn--YES!  Very well, we'll talk later, agrees Liz, and leaves. Carolyn finds a booklet in the trunk and is please--"Of course," she says, "here it is--Gerard's surprise."

Shaw stops by to see Maggie; Julia answers the door--I'm sorry, she says, but she hasn't been seeing anyone today. She's not worse, is she? he asks. No, she just had a restless night, says Julia.  Is she going to be all right? asks Shaw. If she continues as she is now, yes, says Julia. Go up and ask Maggie if she'll see me, please, asks Shaw.  Julia, smiling, agrees--wait in the drawing room, she says. He finds Liz' horoscope on the table in there and opens it. Carolyn enters. Mr. Shaw, she says, then bursts into tears, covering her face with her hands. Shaw looks at her, shocked.

Carolyn apologizes for her odd reaction. I'm sorry, too, he says, i thought you'd gotten over that feeling about my looking like your dead husband.  It's not that, she says, then has another, similar reaction. I'd like an explanation, he says--if it's something I did, I can avoid doing it again. It's nothing you've done, she says--just seeing you, I just felt so sad, but not because of Jeb, but because...because of...you're so very unhappy. I never thought of myself like that, he says. Because you're terribly dependent on someone, and you don't want to be, says Carolyn, speaking like a seer or psychic. That's ridiculous, he says--I'm dependent on no one. You are, I can see it, says Carolyn. You couldn't see it when you first met me, could you? he asks. No, she admits, not then. I haven't changed, he says. I have, she says, indeed, yes, I can see into people now, honestly, past the surface--deep, deep, I can see their sorrows and their hurts. Julia enters.  Carolyn continues--I suppose you might call it a sort of second sight. Is that true, Carolyn? asks Julia. Carolyn whirls around to look at her. Julia apologizes to Carolyn, then turns to Sebastian--Mr. Shaw, Maggie is asleep. I don't believe you, he says.  Why would I lie? asks Julia.  Carolyn is about to leave the room, but Julia asks her to stay--Mr. Shaw, Mrs. Stoddard would like to see you in the upstairs sitting room, and directs him where. He goes. I'm fascinated, Carolyn, says Julia--all these years we've known each other and I've never known about your second sight. Perhaps I didn't know I had it, suggests Carolyn. You were serious, weren't you? asks Julia. Furious, Carolyn says, you shouldn't have been listening!  I couldn't help hearing, protests Julia--when did you realize you had this gift? What business is that of yours? demands Carolyn. Anything strange that happens in this house is my business, insists Julia. You've made it so, accuses Carolyn. your mother and i thought you behaved very peculiarly last night, reports Julia. you have no right to judge me, says Carolyn. If something has happened to you, says Julia, that you haven't told us...  Screams Carolyn, "I don't know what you're talking about!"  You do, says Julia, why do you pretend you don't?--last night you said you wanted to help us! I can't help you, says Carolyn, near tears, and runs from the room, Julia calling her name.

On the landing, Liz tells Shaw, I'm just as concerned about Maggie as you are--even more so, I think--but she's getting the best of care. I'm sure she is, says Shaw, but could you please just ask her if she could see me for just a moment?  I'm sure she will when she feels better, Liz assures him, and starts going downstairs, Shaw behind her. When Maggie is better, says Liz, I want you to do her horoscope--I've become quite a believer. I'm glad to hear that, says Shaw. I can't believe I ever discounted astrology, says Liz, oh there's a fascinating book you must read, it's in the study, I'll go get it for you. Carolyn exits the kitchen, listening, and joins Shaw. "Why don't you tell her the horoscope is false?" she asks--"Why don't you admit that it's all a lie?" His eyes nearly bulge out of their sockets.

You see, says Carolyn, I do have second sight, Mr. Shaw--or else I wouldn't have known that. You don't know anything, he says hastily--you're totally wrong about that horoscope. No, she says, I can't see why you did it, even looking at you, but you deliberately wrote predictions that are false. Will you go tell her that? he asks. I won't, she assures him, it means too much to her, I just wish I knew why. Mrs. Hawkes, says Shaw, nearly shouting, I'm very serious about my work! You don't need to tell me that, she says. I believe every word I wrote in that horoscope, every word! He cries. She grins, then laughs--you sound so convincing when you say that, she notes, if I didn't know better. YOU KNOW NOTHING! he shouts. Severely, she says, "You know that's not true."  Liz comes out and hands him the book. Shaw bids them good night and quickly exits the house. Good afternoon, Mr. Shaw, says Carolyn significantly.  He gives her a long look before closing the door behind him. What were you and Mr. Shaw talking about? asks Liz.  Nothing at all, says Carolyn. That's not true, says Liz--I want to talk to you. Not now, says Carolyn, it's going to be dark. What does that have to do with it? asks Liz. I have to light the candles, says Carolyn--for my surprise. What are you talking about? asks Liz. I'm very nervous about it, says Carolyn, but I'm trying to be calm--you may call everyone in. Why should I do that? asks Liz. Carolyn begins to re-arrange the chairs in the room.  What are you doing? asks Liz--why are you behaving this way?  I want everyone to be comfortable, answers Carolyn. All right, you may call them in, says Carolyn. Frantic, Liz calls for Julia. Carolyn stands before the fireplace--I'm not going to be as good as I should be, she says, I haven't practiced for so long, I think everyone will understand. She starts to light the candles.  Carolyn, go to your room, insists Liz. Now? asks Carolyn, lighting the candle, not now, not until after my surprise--you aren't going to ruin this for me, Mother. Carolyn! says Liz, upset. The candles are lit. Is no one else coming? asks Carolyn, running to look into the foyer--where are the others? Gerard stands there, staring at her. She turns back and takes her place in front of the fireplace. I can start now, says Carolyn. Start WHAT? asks Liz. My concert--please sit down, says Carolyn. Liz sits on the sofa. Smoothing back her hair, Carolyn says, "For my first number, I should like to sing my very favorite song." Liz, horrified, says, No, Carolyn, no!  Please be quiet! orders Carolyn, or else you'll ruin the concert for everyone!  She clears her throat and sings, "I wanna dance with you, want to dance my cares away--I'll be so close to you, in your arms I'll always stay!"Julia comes out to the landing, hears what's going on. "The clue!" she realizes, and hurries downstairs. CAROLYN, STOP! cries Julia, racing into the drawing room. Carolyn is still singing away, ignoring Julia, who again shouts for her to stop.

NOTES: Another clue, and so soon! Does Carolyn have to finish her song in order for the rest to happen? Julia is doing her best to stop her, but it doesn't look good. Now Liz is supposedly under Gerard's influence, too, so why did SHE try to stop Carolyn from singing--or does he only work on one person at a time and can't maintain control over both Liz and Carolyn together?  Liz seemed much more herself in this ep.

For a man who wants to stay away from Collinwood, Shaw is making an awful lot of appearances there. We know it's because of Maggie, but to be accused by Carolyn, who suddenly has the gift of second sight, of lying must have really stunned him. Will he forgo his relationship with Maggie now? What of Carolyn's insistence that he's terribly dependent on someone? Who could that be? Interesting that she was able to see into his lies now, but won't squeal on him. Doesn't she now know that everything Barnabas and Julia told them is true? Or is she so besotted by Gerard (and what kind of relationship did Leticia have with him, anyway?) that she isn't thinking quite straight?

Liz had some fun baiting Julia about the clues, but is that because of Gerard's influence or simply because she has forgotten that she had realized the truth about Gerard and he made her forget? Or was she just playing head games with Julia?

Why does Gerard make everyone put on ancient clothes?  Is he trying to force everyone into a new persona?

Will yet another clue slip by before the coming catastrophe, or will Julia be able to prevent Carolyn from finishing the song she started--and will it even make a difference if she does?

Love, Robin

1089 - Gerard locks eyes with Liz, staring her down as the carousel music plays. Who are you? she demands weakly--what are you doing in this house?--tell me who you are--stay away from me, please--stay away from me!  He closes the door, leaving the two of them alone in the dark of the drawing room.

Hallie and David, in especially terrible clothes today, are in his room. He's pacing. Stop thinking about it, she urges. I don't know how you can be so calm, he says. I'm not a BIT calm, she says, exasperated, but I think we should start thinking about other things.  What do you want me to do, he asks, forget all of this happened to us?  No, she says, but we should be grateful nothing has happened for the past two days. That's what's bugging me most, says David--why hasn't anything happened?--why haven't we seen Gerard, Daphne, Tad or Carrie?  I don't want to think about it, says Hallie.We've got to think about it, insists David, because there's a reason! Maybe it's because we haven't gone to the playroom, says Hallie, do you think that's it? If they wanted us to go to the playroom, says David, we would have gone--I don't know, but I think they have something in store for us. David, she says, do you think maybe we are free, that the spirits have been put to rest?  I know a way to find out, he says. I don't think we should, opines Hallie. But we have to find out, insists David--there's an old legend that says if you stand on someone's grave at midnight, you can tell if their spirit is at rest or not--I'm going to stand on Gerard's grave--tonight. I don't think you should, she says (and I think it sucks as an idea, too). I have to, he says, my mind's made up, don't try and change it (he sounds like Barnabas)--you don't have to come if you doesn't want to. Well, I don't want to, she insists, turning away from him--but I can't let you go by yourself--whatever happens, we're in this together.  She looks at him, and he nods (nice moment).

Gerard is still eye-locking with Liz in the drawing room.  He puts out his hand and makes an odd series of circles close to her face. She turns, now in his control. "I understand everything now," she says, entrances--"the children will not leave this house."

Julia comes downstairs, books in hand, and overhears Liz say, "I know what must be done, and it will be done." She opens the doors and finds Liz alone in the dark. She looks around--who were you talking to? she asks. Liz just looks at her.

Liz, dazed, claims Julia startled her. I was on the telephone, with my lawyer, says Liz in a weird voice. Julia hears the carousel music and says, "I see."  Something wrong? asks Liz. I don't know, says Julia--are you sure no one else was here? Quite sure, says Liz coldly. I'm sorry, says Julia, I just have that strange feeling again--that feeling of evil. I think the idea of spirits in this house is a figment of someone's imagination, says Liz, just as icily--my horoscope has convinced me more than ever that we are not on the brink of a catastrophe. What about the message in your horoscope yesterday? asks Julia--'an enemy will become a friend.' (With friends like Gerard...well, you know the drill.)  Obviously, it had no meaning, says Liz.  I still think we should take the precaution of getting the children out of the house just in case something happens, says Julia. I've already told you, says Liz--I'm certain the children are perfectly safe here. I hope you're right, says Julia--I found something interesting in one of these books. Where did you get them? asks Liz.  Upstairs in the library, says Julia--I found there really was a ship called the Java Queen. At this moment, Liz doesn't recall the model ship David found in the attic. The real Java Queen was shipwrecked near here on this very day in 1841, reveals Julia.It's a fascinating coincidence, says Liz, but that's all you can make of it. Liz leaves the room after shooting a nasty stare at Julia.  It's more than coincidence, I'm sure of that, says Julia. David and Hallie sneak out of the house behind Julia's back. Julia, engrossed in a book, doesn't even hear the door open. She sits down to read: "On Thursday, the 27th day of August, 1841, the Java Queen, notorious scavenger of the seas, was caught in a storm off the rockbound coast of Maine near the fishing village of Collinsport. Her crew of 23 brigands and cutthroats perished at sea. For years it was believed that he infamous captain, whose identity was never known, survived the wreckage and vowed to unite his evil followers in death, causing them to rise from their graves to kill and plunder once more."  This little tale scares Julia.

Cemetery - Gerard's grave. "In darkness he did live and die." David reads his epitaph aloud and wonders what it means. Hallie neither knows nor wants to--I want to get this over with and go home!  It isn't 12 yet--we must do it at the stroke of midnight, says David. What about the fenced-in area? asks Hallie.  He points to the gate, which has been locked more than 100 years--during the 18th and 19th centuries, he explains, they used to bury criminals and misfits here--most of the graves are unmarked, and there are a lot of legends about them. What sort of legends? she asks. (Sure, David, that's what she needs--to be terrified even more!) About how cruel and mean they were, says David--they must have been, in order to have been buried there--the story is that their souls had no place to go, they weren't wanted in heaven or hell, so they were left to molder in their graves and try to come back from death. Understandably, Hallie says she doesn't want to stay here anymore; it's almost 12. David checks his watch--10 seconds to go--pretty soon we'll know whether Gerard's spirit has come back or not. Hallie breathes heavily, terrified when lightning flashes. Let's leave, she begs.  We have to stay a few more minutes, he insists. She grabs his hand in her fear, holding it in both of hers. Please, she begs--look!  Standing in the bushes, glaring at them, is Gerard.

Gerard approaches Hallie and David as the carousel music plays and the storm crashes around them. He reaches for them with outstretched hands intended to throttle; both run away. They arrive at the front door of Collinwood.  Hallie, breathing hard, says I guess we know what we wanted to know. Be very quiet, warns David--go the back way. He opens the door. Julia, hearing them enter, hides in the drawing room and calls to them--why were you outside just now? We were just walking, answers David. Do you know it's almost one in the morning? she asks. Yes, says David. Nobody walks at that time, says Julia--what were you doing?  She gets no answer--all right, she says, let's go upstairs and talk to Liz. Don't tell my aunt, pleads David. Then suppose you come into the drawing room and tell ME about it, says Julia, brooking no refusal. The kids join her but are silent. She crosses her arms--I'm waiting, she says. We were upstairs in my room, talking, says David.  And David wanted to take me for a walk, continues Hallie, to show me the stars. Yes, agrees David, I was going to show her Gemini, only we can't see it from my room. Julia, skeptical, nods. So you went outside, I see, she says--and that's the whole story. Yes, and the truth, he says--are you going to tell Aunt Elizabeth? I don't know, says Julia. Please don't, begs David, it will just make her upset. And there's really nothing to be upset about! says Hallie, upset. Julia asks, "Isn't there?"  Of course not, says Hallie. I think there is, says Julia, I think you both know more than you're telling. David spies a letter signed with a G in one of Julia's books. While Julia is distracted offering Hallie proof that she's on their side--agreeing not to tell Mrs. Stoddard--if they will help her. David steals, folds and pockets the letter. How can we you? asks Hallie I want you to feel free to confide in me, says Julia, because I can help you. Hallie and David both claim not to know what she's talking about. Julia looks at the children--all right, she sighs, go up to your rooms--I won't tell your Aunt Liz, not now. Thanks, says David, you're a real friend--he leads Hallie upstairs the back way. Julia picks up her books, frustrated, realizing they know so much more than they're telling--but how can I ever get them to admit it? She sighs and takes her books to the foyer, where she spots Liz on the landing. I tried to go to sleep but couldn't, says Liz, setting on the railing the very bust that toppled over and almost hit Julia in 1995.Julia immediately recognizes it as such--the one that fell and almost killed me! She stares at the bust's blank eyes.

Liz arranges the bust in the odd spot--Julia, do you like it? she asks. Julia doesn't answer.  Is something wrong? asks Liz.  Where did you find the bust? asks Julia. It's been around the house for years, replies Liz. What made you decide to place it there? asks Julia.  I tried it in various places and thought it might look best there, says Liz--why do you ask? When Barnabas and I were in the future, I was in the foyer, says Julia, and that bust was there, and I was directly under it--and someone or something caused it to fall--if it had hit me, it would have killed me. Liz apologizes--but I don't know what you're talking about. Don't you see? asks Julia, it's just another sign of what's to happen--that bust was there, in the future, because you placed  it there now!  I think you and Barnabas are much too preoccupied with what the future holds, says Liz--if you take my advice, you'll forget all about 1995--I believe that disaster you mentioned is never going to take place. And she wanders into the drawing room, leaving Julia to gaze with alarm at the dangerously-placed bust..

Hallie's room - David looks over the letter he found, explaining to Hallie, I took it from one of the books Julia had. Why? she asks. I noticed how old it was and saw it was signed with the letter G--I figured it was from Gerard, he says. What does it say? she asks fearfully. He reads: "Know ye who do not rest, in the town of Collinsport, in the dead of night, watch for the signal as ever before, the green flag in the window, three times shall is wave, as it did in days of yore." The kids admit that they don't understand a word of it, but I'm going to find out, vows David. Haven't we had enough for one day? wails Hallie. You know how angry Gerard is with us, says David, we have to do something to please him--if I go to the tower and find a green flag, I'll know I'm right--and I'll wave it three times and see what happens.  I think you should go to your room, she says--to bed!  Gerard is very angry with us, he reminds her, don't you know what he can do when he's angry?  He leaves, Hallie begging him not to. She closes the door, sensing disaster.

David enters the tower room, candle in hand, and reads from the letter "The green flag in the window--three times shall it wave." He looks around, opening an armoire, closes it. He spies a green flag above one of the windows, takes it, goes to one of the windows, opens it, then sticks the flag out the window and says, "Gerard, if you can hear me, I'm following your instructions."  He begins to wave the green flag.
In the rife-with-evil section of the cemetery he told Hallie about, one of the graves begins to quiver. Are the dead on the rise?

NOTES: Once again, trouble looms big here. Why David would want to do something like wave a green flag, I don't know, unless he's under Gerard's spell as much as Liz is. Poor Liz, once under the influence of Leviathans, now this. She always ends up being in trouble because the bad ghosts and powers need her. Now Gerard's got her, too, and just when she finally came to her senses.

Julia keeps trying to get the kids to confide in her, but they never do, even when she has them cornered.

Is Gerard's intention to bring back the dead from the Java Queen? One can't imagine why David would have told Hallie that creepy story or Julia have learned that info unless it had some special significance.


1090 - David stops short of waving the green flag the third time as a storm fills the tower room with lightning and thunder. Hearing the sci fi sound, he drops the flag. Gerard, he says, is that you?--Gerard, are you angry with me?--I was just doing what I thought you wanted me to do--I'm sorry, Gerard, I don't even know what the note means, I was just trying to please you--what does it mean?--Gerard, tell me what would have happened if I'd have waved the flag the third time--please answer me! Julia, still wearing that horrific brown dress, enters--who were you talking to? she demands. What are you doing here? he asks. What are you doing here is more to the point, she insists--tell me who you were talking to? Myself, he says. You're lying, she says, I heard you calling to someone. No, he says, you can see for yourself there was nobody here. But there was, wasn't there? she asks. I don't know what you're talking about, he says--I'm getting out of here. She stops him--I know why you came here, she says--but I don't know what you expected to find. I have no reason for coming here, he says. There is a reason--you took a piece of paper out of a book in the drawing room, she accuses, I saw you do it, you didn't think I did. He hides the note behind his back--maybe you just thought you saw me do it, he suggests. I know what I saw, she says, reaching behind his back. They struggle.  Let go of me! he cries.  She pries the note from his hand--I know, she says, because I read it before I put it in the book--I don't know what it means, but you do, don't you? No, says David. Then why did you come up here to this room? she demands. I was just curious, says David. Julia finds the green flag lying on the floor,. And you knew you'd find the green flag up here, didn't you? she asks. David denies it. What does this flag mean, and who does it belong to? asks Julia. I don't know, I was just curious, insists David. Listen to me, begs Julia, every day you let go by without telling me or someone else what's happening, you are in more danger--don't you understand that?--you must tell me everything that's been happening! David, hugging himself from cold or fear, insists, "There's nothing to tell!"  What do you know about the Java Queen? asks Julia. Nothing, he says, it's just a model ship I found in the attic. It's the model of a real ship that existed in the 1840's, she says, and the man who wrote this note was its captain and his name was Gerard, wasn't it? I don't know anyone name Gerard and never have, David says. You have seen his spirit in this house, insists Julia. NO! screams David.Be sensible, says Julia urgently, the man whose spirit you have seen is evil--he is using you and Hallie. I don't want to talk about it anymore, says David, who attempts to leave. She calls his name, warning, I'll have to talk to Aunt Liz. "WELL GO AHEAD, BECAUSE I DON'T CARE!" screams David.  He exits the tower room, leaving Julia frustrated again.

Barnabas enters the drawing room to find Maggie sitting by the fire.  I'm surprised to find you still awake, he says. I couldn't get to sleep, she confesses. If something's troubling you, I wish you'd tell me, he says--after all, we've had so little chance to talk to each other since I've returned. I know, she says, seeming disappointed--I should have made a point of talking to you before this. About what? he asks. About the children, she says. Has something happened to them? he asks. Yes, I'm certain, says Maggie, I don't know exactly what it is, and that's what's so frustrating--but something has happened to change them, that much I'm sure of. Describe that feeling, he says. The children have become cold and distant, she says, they rarely smile anymore and seem uninvolved in their lessons--it's almost as if they're doing the lessons for my benefit, not their own--I blamed myself at first. You mustn't do that, says Barnabas, whatever is happening to them is not your fault. Barnabas, she explains, there have been times when I've felt a kind of presence in this house, not something I can defined, but it's made me uncomfortable, even frightened me--it's that feeling of being watched without knowing who it is--I felt that presence in my room tonight--that's why I couldn't sleep--I feel that presence in this room right now--Barnabas, it's a terrible thing to be frightened of something you can't see. Throughout her speech, Barnabas has been watching her intently.  He holds out his arms and she moves into his embrace.  He pushes her collar aside to expose her throat...

Julia interrupts Barnabas before he can thrust in his fangs, sharply calling his name, sending Barn and Maggie flying apart.I'd like to talk to you, Barnabas, says Julia. Come in, he invites-- Maggie and I were just talking about the children (and what ELSE did you try to have?)--she tells me she's noticed a very definite change in them. Through gritted teeth, Julia says, I'm more concerned about them than ever. Why? asks Maggie. I just had an unpleasant scene with David in the tower room, explains Julia. What was he was doing there this time of night? asks Maggie. He wouldn't tell me, says Julia, he got very angry and left--Maggie, I think you should go and find out if he's gotten to bed. I'll do that immediately, agrees Maggie, and leaves Barn and Jul alone. Julia crosses her arms--I have the feeling I arrived in the doorway just in time, she says. Just in time for what? inquires Barnabas. I saw you looking at Maggie's neck, she accuses, she almost became your victim once before--you found it very difficult to resist her--and that's why you went to parallel time. I'm in complete control of myself, Barnabas assures her, and if at any time I feel I'm losing my control, I will stay away from Maggie--believe me, she's perfectly safe!

Next day - 9:30 - Julia leaves the kitchen area, still wearing the ugly brown dress. Maggie comes downstairs.  Did you speak to David? asks Julia. No, he was already asleep by the time I got to his room, says Maggie. It's imperative you get through to him, says Julia--he won't listen to me or Barnabas, so you are the logical choice. I will do my best, promises Maggie--do you have any idea what's caused this change in him?  Fear, says Julia, but finding the source of that fear is impossible to do--stamping her foot--"But we've got to keep trying!"  Julia goes upstairs. Maggie enters the drawing room, sits down and starts reading the newspaper. David comes in--I want something from the desk, he says. I'm glad you're here, notes Maggie--there's something I want to talk to you about.  David, rummaging through papers, says, I can't talk now, I have something to do, someone to see. Who's that? asks Maggie. Just a friend, says David--don't worry, I'll be back in time for my lessons. He leaves the house, some kind of blue paper in hand, Maggie calling after him in frustration. (She looks pretty in red today.)

Sebastian Shaw is doing paperwork at his place when David stops by.  Though Shaw isn't expecting him, he willingly opens the doors to David. What can I do for you? Shaw asks. I'd like to have you do my horoscope, he says. Why? asks Shaw. I'd just like to know what's going to happen in the future, replies David.  Stuttering, Shaw asks, has something has happened to make you concerned about the future?  No, I was just curious, says David--and if it's a question of money, I have $40 saved up--he shows him the envelope he took from the desk. "Put that money back in your pocket, David! says Shaw, infuriated by the sight of it. David complies--won't you do it? he asks Shaw. I didn't say that, says Shaw, feeling badly. Are you afraid? asks David, of what it might tell you? Of course not, says Shaw. Then you can do it, says David. I need a little time to think it over, insists Shaw--go home--I'll be in touch. All right, agrees David, if that's the way it has to be. Leaning against the doors after closing them, Shaw thinks to himself, "I can't go on this way!--I've lied to Mrs. Stoddard, to all of them--the boy is going to die unless somebody does something soon--I can't stand by and let it happen--I'll go to Mrs. Stoddard and tell her everything!"

Maggie is doing paperwork at the drawing room desk when Shaw knocks.  Mrs. Stoddard is out for the day, she says. When will she be back? he asks, it's very important I speak to her. I expect her later on this afternoon, says Maggie--is there anything I can do to help?  Are you one of the family? he asks. She introduces herself as Maggie Evans--I work for Mrs. Stoddard. Clearly smitten by her prettiness, he says, it's nice to meet you. Maggie smiles back, looking at him intensely--I've heard of you, she says--Mrs. Stoddard has often spoken of you, quite often, I knew who you were when I opened the door. Thanks for not reacting the way everyone else does, he says. You mean your resemblance to Jeb Hawkes? she asks--I was prepared for that. He grins--I wasn't prepared for YOU at all, he says--I've heard your name mentioned, but no one ever said how lovely you were. You're very direct, she says, smiling back.  Does it frighten you? he asks. No, I find it disarming, she says. I want to disarm you a little further, he says--would you like to go to dinner tonight?"You're a very unusual man," says Maggie, pleased--I am flattered. But you're going to decline, he finishes. Actually, she says, I'd be inclined to say yes--she smiles some more. (Lots of teeth in this scene, all those grins of attraction.)

Shaw is back at home when Roxanne comes up to him and asks, why did you go out today?  How did you find out I was out today? he demands angrily. I have my ways, you know that, she reminds him coolly--where did you go? To buy some materials, he says. That's all? she quizzes. Yes! he says--that's all.You're being defensive, she says, I think there's something you're keeping from me. There is something, he agrees--I've decided I'm going out tonight--unless you have any objections. None at all, she assures him--it was unwise of you to leave today, and in the future, you will exercise more caution--"You understand what I mean?" she says significantly, eyes flashing. Your meaning is all too clear, he says--good night.  He leaves. Smiling, she follows.

Collinwood - drawing room - Maggie is having dinner with Sebastian Shaw, Julia tells Barn.  I can't imagine how THAT came about, remarks Barnabas. I don't understand why something like this upsets you so, says Julia.  (poor woman)   She only met him this afternoon for the first time, Barn points out, what does she know about  him? What do any of us know about him? asks Julia. I know enough that he's either a charlatan or complete, deliberate liar, says Barn--that horoscope he charted for Elizabeth is obviously a fake--Maggie is seeing a man who can't be trusted--that's what troubles me. With a sly smile, Julia asks, "Are you sure that's all, Barnabas?" I am positive, he says, annoyed. They hear Maggie return, thanking Shaw for a lovely evening. I hope I can see you again, he says.  I don't see why not, she says. She thanks him again and they bid each other goodbye--still smiling. She closes the doors, then leans against them, very happy. Barnabas greets her--Julia and I were wondering if you had a chance to talk to David. I had no more luck than you did, she says. They all go into the drawing room and close the doors.

Shaw returns home and slams the door.  Roxanne, angry, sits in a chair right near the door.  "You came back earlier than I expected you," she notes.  I didn't say I was going to be late, Shaw says. That's true, you didn't, she says--did you enjoy yourself? Yes, I did, he says. Did she enjoy herself? asks Roxanne. Who? he asks. Why, Miss Evans, of course, she says sarcastically. I should have known you'd be a little bit too curious, he says. I just happened to be passing by the Collinsport Inn, she says, and I just HAPPENED to see the two of you at a table!  Will you forgive me if I find all this a little hard to believe? asks Shaw. Sebastian, I'd forgive you almost anything, she says--are you planning on seeing Miss Evans again?  As a matter of fact, I am, he answers. She gives him a dirty look.

The camera focuses on a large model ship on an armoire in the drawing room. All we can do is maintain vigilance, Barnabas tells Maggie and Julia--Maggie, watch David as closely as possible. I will, says Maggie. I'm going back to the Old House, says Barn--is there anything else you want from me, Julia? (How many possible answers are there to this question, including "Bear your children"?)  No, answers Julia, I'm going to be looking through some old books and will let you know if I find anything new. Maggie volunteers to walk Barnabas to the gate--I need some fresh air. They walk off together. Julia gets a book from the desk and sits on the sofa with it. She flips it open.

Midnight (the clock appears in neat squares with fancy camerawork) - Julia stands, still reading the book. She hears someone come in and goes to see who it is. It's Maggie, who, Julia realizes, has been gone almost an hour. Maggie wanders to the stairs, not very steadily, and nearly passes out. Julia takes her into her arms.Maggie's head tips backward, revealing two very large, bloody puncture wounds on her throat. Julia stares at them in disbelief--did Barnabas break his promise?

NOTES: Did Barnabas lie to Julia and attack Maggie? He seemed to be considering it for a few moments there. This answers the question of whether or not he's still a vampire, but he claims he has "control."  I figure Julia is supplying him with Windcliff blood. Wasn't he really needing it badly before he went to PT? Did Barnabas attack Maggie and lie to Julia, who had to go through bouts of jealousy in this episodes, one with Maggie, the other with Roxanne?

And what happened to the Quentin/Maggie romance brought on by Angelique? Where is she, anyway? She wanted Barnabas back, was stirring up trouble, then she's gone, along with their curse. I hope she came to her senses. Barnabas gave Maggie a ring before PT, but I guess that doesn't hold any meaning, either, since she's now dating Sebastian and he's still mooning over Rox.

I hope you paid close attention to the scenes between Sebastian and Roxanne. There are some clues in there, I won't say to what, but definite clues to this mystery.

Poor David. I can understand his need to have his horoscope done, and Sebastian's unwillingness to do it for him. He's lied to much to the family, how can he tell the truth now--and to this child he knows it going to die? And yet, morally, he feels he has to, and he's right.  But, if he goes to Liz now, what good will it do, since she's completely under Gerard's influence? She will hand the kids right over to the evil ghosts, as things stand now.

And poor David is having so many fights with Julia, who is only trying to protect him. One wishes she could spank the truth out of him, but a tad (LOL) old for that.

Love, Robin

1087 -

How bizarre!-- SciFi repeated an episode

Robservations #1087

1088 - We see the carousel turning, superimposed over Gerard's nasty face.

Gerard is about to slip the rope around Quentin's neck when Julia comes down the hallway and hears Quentin's voice. She opens the door to find Quentin alone. What are you doing here? she asks.  I might ask you the very same question, he counters. She looks around--I thought something was wrong, she says, the way you behaved downstairs. Because I wouldn't have another brandy? he asks, that's not as wrong as it is unusual, eh, so you followed me here? I'm worried about you, she says--I'm worried about you here in this room. And you expect an explanation, of course, he says sarcastically, all right, let's see--the truth is rather boring, I should expect you to want another story, filled with intrigue and romance. Oh, Quentin, she protests. Despite your refusal, says Q, to accept my story about being so tired, I was going straight to my bedroom, and as I was, I happened to hear a noise while going past the door to this wing--I heard somebody walking, I thought it might be David, then I got in front of this door and thought I heard the noise again, so I came in here, but didn't see anyone--then I heard your voice--but there's nobody here, as you can see. Julia feels the chill--don't you feel the evil in this room? she asks--HIS evil?  His evil? repeats Quentin.  Whose room this is? she asks.  I don't have any idea, he says. Was it his? asks Julia.  Was he a servant? asks Quentin. How do you know it's a servant's room? Julia asks. Caught, Quentin says, my ancestors didn't live quite this simply, their rooms were a little more luxurious--I think we should go. No, they should wait here, she says, if you heard a noise...  Quentin angrily says, I'm not so sure I heard one now--you and Barnabas have made us all so jittery, everyone keeps hearing things, looking for a sign of a catastrophe that you keep saying is supposed to happen. Quentin, chastises Julia. Well I'm sorry, says Quentin, but you and Barnabas have created such a tension, when any of us respond to it, we immediately become suspect! That's not true, says Julia. Oh, come off it! he exclaims--one minute ago you were quite willing to accuse me of consorting with spirits. Julia apologizes--you're right, of course, but you doesn't know how insidious Gerard is. Gerard--that's just a name to me, says Quentin (the name of a ghost who was about to strangle you, Q!)  It will be much more, promises Julia. Is this Gerard in love with the other ghost, the one I'm supposed to be so enthralled with?  I don't think Gerard capable of love as we understand it, she replies. But, says Quentin, there WAS a connection between them, wasn't there--some link? Julia looks at him oddly--why? she asks. For the future, Julia, so I'll know, he says angrily.  They exit. We see the rope Gerard held lying on the floor.

Next day, drawing room - Julia, I'm getting like one of those silly women who read their horoscope every morning--I never thought it would happen to me, says Liz, but then, many things have happened that I never expected. She looks over Julia and reads--"an enemy becomes a friend."--I wondered about that, says Liz--I have enemies, I'm sure, but whether I'd want one of them as a friend is something else again. It might be important, says Julia. Or it could turn out to be like a loved one meeting a stranger, says Liz, dialing the phone--Sebastian Shaw--I'm puzzled by something in my chart--could you come clarify it for me this afternoon? He consults a blank appointment calendar--I'm afraid I'm all booked up today, he lies. Really, she says, annoyed--when you drew this up you said you'd be glad to discuss anything that puzzled me. He sighs--perhaps I can make some time this evening, he says--around 8?  If that's the earliest you can make it, it will have to do says Liz. After hanging up, Liz complains to Julia, I can't believe his waiting room is jammed with people until 8 tonight. Neither can I, says Julia--what do you suppose he does with his time?  (I thought he was so good at this--why no other clients?)

Gazing at the blank appointment book, Shaw tells himself, I don't want to go to that house--tonight or ever! Why do I have to see Collinwood again??

Quentin goes to Daphne's room--why did I come here again? he wonders--didn't last night teach me it isn't safe?--if Julia's followed me now, what will I say?--I don't care, I must see her. He enters the room and finds the rope lying on the floor. Was this here before?--why don't I remember?--Is Julia right, are Daphne and Gerard. . .Daphne, he calls, please, I must see you! Please, you don't have to explain anything, just let me see you. He won't let her come to me, he frets, sitting on the bed, we have so little time, they're going to find out, I know it! Daphne, can you hear me? he says--we have so little time left!  He drops the rope on the bed and exits the room.

7:45 - You have 15 minutes, Roxanne tells Shaw--it will take you that long to drive to Collinwood. Teasingly, he says, psychics don't drive, they transport themselves on magic carpets--don't you know that?  There are many things I don't know about you, she says. Of course, you want me to go, he says. You may not, she says, smiling. I MAY not, he says, I may obey my instincts, and stay here, with you, and not answer the phone.That would be very foolish, she says. Every single thing we've done here has been foolish! he says, furious. You thought it wise at the time, she says. I don't know why, he says, I've always told the truth, it's been a fetish with me. I know that, she says, almost mocking him. Why did I deliberately lie to her and spin out that fiction she calls a horoscope? he asks. You thought it best to tell her what she wanted to hear, she reminds him. You weren't with me yesterday, he says, that witch of a doctor throwing those clippings at me, accusing me of helping destroy them--and that boy, so frightened. Don't be so hard on yourself, darling, you can't stop what's going to happen! she reminds him. I can warn them, he says. They've already been warned by that Barnabas, she says. Mrs. Stoddard would listen to me, he says. That's what you wanted--isn't it? she asks pointedly. He looks away and says, ashamed, yes, that's what I wanted. We needn't give up your plan, she says, I'll go with you tonight. To watch me? he asks. Help you, if I can! she cries. He looks away, unsure. Won't it be better if I come? she asks. It's always easier when you're around, you know that, he says.

We see Liz reflected through Quentin's brandy glass. You seem depressed tonight, she observes. Without reason, he says. There's always a reason, she says. Oh, my, how analytical we have all become, he says mockingly, probing each other's moods--I think I'll probe the meaning of some book--in my room. He goes upstairs. Julia answers the door to Sebastian and Roxanne. Face to face with her, Julia says, "You must be Roxanne Drew--Barnabas told me how much you look like the Roxanne we knew--I'm Julia Hoffman."  Shaw introduces Roxanne to Liz  as "my assistant."  Hello, says Liz--did you have anything to do with my horoscope?  No, responds Roxanne. If you don't mind, Mr. Shaw, says Liz, I'd like to see you alone. Shaw gives Rox a look before Liz closes them in the drawing room. Would you like to go into the study and wait? Julia offers Roxanne. No, responds the redhead, he won't be long. It's incredible, remarks Julia. What, my resemblance to the Roxanne you knew? asks Rox. Julia nods. Mr. Collins, says Roxanne, such a charming man, I'm afraid he had me quite confused with that Roxanne. Yes agrees Julia heartily, understanding why.

Shaw looks over the horoscope papers--Mrs. Stoddard, he says, astrology and charting the stars can't be that accurate to provide you with specific names of your enemy. There must be some way of finding out--please help me if you can, says Liz. There may be a way, he says--I have been known to have a kind of second sight. I'd be very grateful, she says. He sits--don't interrupt me no matter what, he insists.

Roxanne eavesdrops at the double doors.  Do you think something went wrong? asks Julia. No, says Rox--of course not, he just gives too much of himself sometimes. She listens again.
Shaw concentrates. I see a room that isn't used, not a living human being has used this room in over a century. What does the room have to do with the enemy? asks Liz. Don't ask, cautious Shaw--there's pale green walls, a bed, a table, and a figurine on the table, a woman with a long   dress, bending over a child, yes, a teacher! The image fades. Don't go into that room, don't ever go into that room! shouts Shaw.  His head tips backward as if he's going into seizure. Why? demands Liz.  I can't tell you anymore, he says. You've told me nothing about the enemy, nothing, objects Liz. Shaw stands--the enemy may not be of the living, he says. Liz is stunned.

Drawing room - Liz tells Quentin and Julia, I couldn't get Shaw to tell me anymore, she says--he said he didn't know. Surely he must have explained, says Julia, why he said the enemy could be a ghost. He simply said that was all he knew, says Liz. Quentin that was the room we were in, says Julia.  Julia...warns Quentin. What were you doing there? asks Liz. He thought he heard something, says Julia, we should go there now--it's in the West Wing, near where Barnabas and I were found.  NO! says Quentin--for once, would the two of you be sensible!  We ARE being sensible, insists Liz. He told you you were not to enter that room, Quentin reminds her.  I've been in it and so have you, says Julia. Perhaps we were mistaken, says Q, perhaps we're bringing all of this down upon ourselves. All of what? asks Liz. Julia and Barnabas are so anxious to have this disaster happen, accuses Quentin. Quentin! cries Liz. That's not fair, adds Julia. I know it's not fair and I'm very sorry, says Q, but it is a possibility if we go somewhere we shouldn't be, it may cause something to happen. This is my house and I feel I can enter any room I want to, says Liz. We've all got to admit this is a very dangerous time for everyone at Collinwood, says Q--by bungling things, it could be much worse--Julia, you said yourself you believe Shaw to be a true psychic--then accept that, and don't make Elizabeth go somewhere he told her not to go--it doesn't make sense!  You're right, agrees Julia, but you and I could go.Use your head! commands Quentin, if there is a spirit in that room, it will not show itself as long as you and I are there. Liz says, "But if I am, you think it will."  Quentin stands before her--you've got to promise not to go into that room, insists Q. I don't like...begins Liz.  Of course you don't, says Julia, but you must believe in Sebastian Shaw, and you know it. I'm going to my room, says Liz, I find this all very upsetting. Julia, actually wagging a finger, says, "You will NOT go into that room." Liz gazes at her, astounded--Julia, you sound like me when I'm talking to David--I don't want anything more to happen in this house--she stalks out. Deal with Sebastian Shaw, since she can't, says Julia, you must find out everything he knows. She leaves the room. Quentin gazes coldly after her.

Liz, of course, goes to the forbidden room and is about to enter, but changes her mind, walks away, then goes back and enters. She sees the very figure Sebastian mentioned in his vision!

Lilacs? Liz asks herself, why do I smell lilacs? Oh, it's so cold! Behind her, Gerard observes, his perpetual snarl on his face.

Shaw's house - I shouldn't have told Liz about that room, Shaw tells Roxanne, I know that!--I'm finished with her, I'm never going back there again, and if she ever calls, I'm not available, do you understand?  She turns away.  What's wrong? he asks. You wanted it so much, says Rox, it seemed like the perfect answer--she could have endowed a foundation for you, you could have devoted your life to a serious study of the occult, instead of being some freak who can tell the future--oh, Collinwood seemed so perfect. He grabs her and turns her around to look at him. It isn't! he shouts urgently, there's a disaster that's going to happen there, and I knew it, I saw it in the stars, I could have told her. You saw the future for us, too, she says, please, don't make any decision tonight. All I can see is those people there--they don't know! he says desperately.

Liz stands in Daphne's room--is someone here? she asks--I know there is. Quentin enters.  Annoyed, he says, "I knew you'd come here."  You frightened me, she says. Collinses are a foolhardy breed, he comments, come, Elizabeth. There's a presence in this room, she says. Stop it! he says. There is, she insists, I smell lilacs, and then I felt a chill--there's someone watching us now. It's your imagination, he says firmly. No it isn't, she replies, equally firmly--Julia and Barnabas were right, something terrible is going to happen here. Then your horoscope...he begins. Is wrong, I know that now, says Liz, and I know what I must do--where is Julia? I left her in the drawing room, he says. Liz hurries out. Quentin, left alone, says, "I told you we had very little time."

Liz runs downstairs, through the foyer and into the drawing room. "Julia," she cries, "we must get the children out of this house tonight!"She flings open the doors and, standing there in the dark, is Gerard Stiles, looking straight at her.

NOTES: Liz has met Gerard, face to face, and it's down to the wire.  Will Collinwood be destroyed?  Have they played right into his waiting hands?

Quentin is pissing me off. I know he's obsessed with a ghost, but he's putting his entire family at risk here, and he knows it and can't seem to control himself. I thought he had become stronger than that, but I guess not.

Julia is treading on a lot of toes--David's, Liz' (love the way she shook her finger at her), Quentin's, Shaw's--she's become a one-woman annoyance squad in her quest for answers, trying only to save a family she loves as her own. I love her feistiness, but considering how important she considers Shaw, she keeps pissing him off, which is foolhardy.

Quentin knows there is a Gerard, but his only concern is that he is a rival for Daphne's affections. Wonder what he'd say if he knew how close to attack he'd come, and that Julia stopped it?

What is with Shaw and Roxanne? Now we know what his plans were--to soak Liz for a big endowment, perhaps use Collinwood somehow--but he's lost his heart, given that he knows the place is doomed to destruction, and now that he's met the inhabitants, he can't go through with his plan.  Just how much power does Rox have over him, we wonder?

Getting to the edge now. Liz has seen Gerard--can he make her forget she saw him? She's finally all set to ignore the horoscope and get the kids out, but that doesn't fit in with his plans at all--so what will happen now?

Love, Robin

I went to the fest last night but was unable to attend today.  I plan to do so tomorrow.

The greeting given to me by ProfStokes was so sweet and generous, it nearly brought me to tears.  I posed with her for a picture.  She's an absolute doll, talking up Robservations like a born salesperson!

I'm so sorry I missed her portrayal of Maggie Evans today!  What a shame!

I wanted to pass along something nice--when Cheryl and I got on the elevator alone last night, both Lara Parker and David Selby got on a few moments later.  (Jim Pierson was there, too, but the least said about him the better).  I greeted Selby as "David" and said a too-eager "Hi!"  Selby held the door so Cheryl and I could exit before him--what a gentleman!  It was totally unexpected and a total delight.  Selby is very handsome with salt and pepper hair.  John Karlen is boistrous and hilarious, keeping the audience laughing non-stop.  KLS had a booth selling all her books and was more than willing to pose for ohotos and give autographs.  She looks as young as ever, with blonde-streaked hair!  Marie Wallace is gracious, gorgeous and very patient.  Lara Parker related her stories with a twinkle in her eye.  Roger Davis was. . .well, I exited the auditorium before he got onstage, so I can't really say.  Diana Millay claimed to have spoken to Jonathan Frid a few weeks ago, but we have our doubts.

There were some very STRANGE people there last night, and I mean stranger than ME!!!

For all of those wondering if I remembered to get your 2004 DS calendars, I did, and will mail them out to you when I get a chance.

Love, Robin

1086 - As Tad and Carrie stand on a mysterious staircase, beseeching them, come into the room!, David asks Hallie, take my hand. No, she says, we mustn't go to them. They're calling us! objects David. And while the two of them argue what to do, Tad and Carrie disappear. They're gone, says David, where did they go?--and he tries to dart into the room. No, David, we mustn't, insists Hallie, pulling him out and dragging him from the room. Outside the room, David asks, were we going to follow? You started to, she says, and you wanted me to go, too. Yes, says David, upstairs, Carrie and Tad. He goes to the door again.  Don't, says Hallie. The staircase, says David, where did it come from? He opens the door, but all they see is a linen closet--the staircase is gone--where are Carrie and Tad?  What happened?

Quentin pours a drink in the drawing room. Liz enters--do you know where Julia and Barnabas are? she asks. The Old House, he says, pouring over some books and papers. I didn't want them to overhear me, she says--I didn't want to encourage them in their ridiculous prophecies.  What might encourage them? he asks, sipping his drink. Nothing very important, she says, but I must admit, I feel a sense of something in this house. Like what? asks Quentin, rather sharply. I can't explain it, she admits. But you do feel a presence or something? he asks. No, nothing like that, says Liz. Have you seen or heard anything? he asks anxiously. Please save the ghost stories for Julia and Barnabas, says Liz, annoyed. All I'm trying to do is find out exactly what you're talking about, says Quentin, less impatiently. I read something in my horoscope for today that made me uneasy, says Liz--it said that a loved one would meet a stranger. Oh, what kind of a stranger? asks Quentin. It didn't say, says Liz, sometimes it's all so ambiguous.Yes, like life itself, notes Quentin. A loved one could be anyone in the house, says Liz--a stranger--Quentin, you haven't seen any strangers on the grounds today, have you? Quentin guiltily considers her question--no, no one, he lies, and takes another swig of his drink. Notching how weirdly he's behaving, Liz asks, are you sure?  I haven't seen anyone today or tonight that I haven't seen before, he says--"I swear it!"  He drinks, knowing he lied by omission.

In David's room, the Java Queen on the desk, David tells Hallie, the important thing is, we didn't follow them. But we almost did, says Hallie shakily, and if we had...do you realize what would have happened?  Yes, says David, we'd have been lost from our own time forever, where no one could ever find us. Oh, David, what are we going to do? she asks, wringing her hands. Nothing, he replies--we can't do anything, I know that now. Yes we can, she says, we can run away. (Jack and Diane, watch out.) Yes, from Collinwood, Collinsport, says Hallie, far away where we can't find or follow us!  But they would, says David.  No they wouldn't, insists Hallie, not if we were far away from the playroom--and the stairway, from the rooms in this house--David, please, we've got to! Do you really think it would work? he asks. We've got to try, she says desperately, there's nothing else left!  Come on, he says, and be quiet. His door locks by itself. Somebody locked the door, he tells Hallie.  Both kids are terrified.

Hallie sits on his bed, crying. Don't cry, urges David, and tries the door again. It's still locked, we know it is, sobs Hallie. Maybe if I bang on it, somebody will hear is, suggests David. We can't, says Hallie. I'm not gong to stay in here, says David. But how are we going to explain it? demands Hallie, who are we going to say locked the door, the ghost of Miss Daphne, or Carrie, or Tad?--no, David, we can't!  I'm not going to stay locked up in here! he says. It won't be for long, she sobs--they'll come to us, tell us what to do--and we'll do it. You can wait for them, but I'm not, insists David. He walks determinedly to the window--I'm going to unlock the door. HOW? wails Hallie. I'll climb out the window to the next ledge and down the latticework, then I'll come around and unlock it, he says.  He clears the sill and the table in front of it. David, don't! begs Hallie.  I can't just stand around doing nothing, he insists. He opens the window and looks out, and we see a crooked image that reminds us of when Maggie considered jumping in PT. It's dangerous, warns Hallie--let me come with you! No, he says, you might fall. But I don't want to be alone in this room! she wails. Don'[t worry, I won't be long, he promises, and begins to climb out. Please don't go! she begs--please be careful, please! He sets off on his way, Hallie watching.  Alone in the room now, she smells the scent of lilacs. The camera pans away from her, making the room look huge, and Hallie small, as she speak to the air:  You're here, aren't you, Daphne? she asks, I can smell the lilacs--you're going to punish us, but we didn't run away--we couldn't--you can stop us from doing anything!--we can't do anything, we're lost--we're lost!  She sinks onto David's bed and cries. Liz overhears Hallie's sobbing and calls in, "Hallie, is that you?--are you in there"  Hallie tries to compose herself, responding, "Yes, Mrs. Stoddard."  Why are you crying? asks Liz--open the door. Hallie rises from the bed--I can't, she says--it's locked from the outside. Liz unlocks the door, joins Hallie and asks, who locked you in this room? Hallie turns away, scared.  Who locked that door? demands Liz. No one, blathers Hallie. That's ridiculous, says Liz, someone had to lock you in here, and I insist on knowing who it was--was it David?--answer me--was it David? Yes, Hallie admits, it was David.

5:50 - David sneaks quietly into the house, closing the door softly.  Quentin, drinking in the drawing room, seems pretty drunk by now. "A stranger!" he says, coughing on a sip, I wish you were a stranger, Daphne, I wish I'd never seen you--oh, but I know when the scent of lilacs comes, I shall be lost to you--perhaps I am the stranger--I wonder what Quentin would be doing now--would he be silent?--I wonder if I'm Quentin or a stranger. David, overhearing this off soliloquy, comes in and asks, who are you talking to? The dregs, David, he says, the dregs of this glass--that's where all the answers are (how many alcoholics believe that?)  What did you  mean by a stranger? asks David. Oh, says Quentin, well, I'm in immediate danger of becoming a stranger to my glass, but that can be easily remedied--he refills his glass again and drinks. Ah ha ha! he chuckles drunkenly, friends again, he says, tapping the glass and swilling more. Good night, says David.  Yes, says Quentin--good night to all of us. He calls to David as he's heading upstairs and asks, are you all right?  Yes I am, David assures him, and goes upstairs.  Quentin drinks.

Hallie, asks Liz, why did David do this cruel, stupid thing to you?  (he wanted to lock a love slave in his room, Liz). Can't you tell me exactly what happened? asks Liz. He just locked the door, that's all, says Hallie, desperately striving for lies. But you're trembling, says Liz, there must be more to it than that!  There isn't, says Hallie--there isn't, please, there isn't!  David enters the room.  Come in here, Liz orders--there's something very strange going on, and I want to know what it is. David and Hallie stare at each other, her lips trembling.

David, Liz asks, did you lock Hallie in this room? Yes, says David.  Why?--didn't you see you frightened her? demands Liz. I didn't mean to, says David. That's right, I was being silly, says Hallie. Please, says Liz, I don't want you to make apologizes for David--why did you do it? It was only a game, answers David. A game? asks Liz, I can't believe my ears--do you realize what a cruel and stupid thing you did?  Hallie is gazing at David, silently begging him to go along. Yes, Ma'am, says David. I can't imagine what kind of person would do such a thing, can you? asks Liz No, says David. Game or no game, says Liz, I'm shocked and disappointed--Hallie is our guest--and we're supposed to do everything we can to make her life pleasant and comfortable while she's here--now. David apologizes.  Apologize, orders Liz. (little dialogue slip-up). Please, begs Hallie, it was my fault as much as his--I was playing the game, too. I'm sorry, Hallie, says David, you don't know how sorry I truly am. I do, she assures him--I know you would never do anything to hurt me. The intensity of their statements to each other makes Liz look from one to the other for a few moments--well, off to bed, both of you, she says--and David, I don't want to find you outside this room again tonight--is that clear?  Yes, he says. Almost to herself, but aloud, Liz murmurs that probably safer, having him in here alone, away from strangers. Hallie gazes at her, puzzled. Liz bids them good night and leaves the room. Hallie says, "'Strangers'--what does she mean, do you think she knows?"  I don't know, says David--Quentin said something about strangers earlier.  We've got to be careful, says Hallie, they must not ever find out. I wish they would, says David. But they won't--ever--says Hallie, because we won't tell them! She starts to leave, but David stops her--look, on the mast, there's a flag, he says. Hallie looks--a pirate's flag, she notes. That wasn't there before, says David. I know it wasn't, says Hallie. Then who put it there? asks David. I don't know, she says, and don't want to know.  She leaves his room. David stares at the flag.

Quentin reads through his ancestor's diary at the drawing room desk. NO! he says firmly, putting it down. Liz enters--what's wrong? she asks. Nothing, he says, I'm just reading a diary I found for Julia. I'd like to see it, says Liz  It's just some ravings by a mad ancestor of ours, says Quentin, his name was Quentin Collins--of course, he chuckles, he happens to be a great grand uncle of mine. Now I am curious, says Liz. It's all rather ridiculous, honest, says Quentin.  I still want to see it, she says.  He reluctantly gives it to her. The entry, says Liz, is the same date as today, but it's 1840. Yes, says Quentin. Is this what you were reading? she asks. Yes, he answers testily. Perturbed by what she reads, she asks Quentin, what does it mean?  Exactly what it says, I suppose, responds Quentin. Liz reads, "Tomorrow, we bury Carrie and Todd (Tad)." Quentin, a smudge of dirt on his cheek, looks morose.

David lies asleep, the ship right next to his bed. Liz, in a pink robe, enters, noting to herself--he's asleep, safe, no strangers to trouble his day--the day is over and nothing happened--he's all right, and I thank God for it. She kisses him and leaves his room. (She adores this child so much, always has, even when he was very, very bad.) David dreams: His door opens and a man, dressed in 19th century clothing, stands in the doorway. David leaves his bed and goes to the man, walking slowly. He meets Gerard in the corridor outside his room; they communicate silently. Hallie joins them.  Gerard walks away. The children follow. The scene is shot Batman-style, weird angles that make the viewer feel disjointed. David and Hallie go downstairs, where Gerard waits in the foyer. They hear a horrific rattling noise--an approaching carriage?--and run upstairs and kneel on the landing, looking down. Liz, dressed in 19th century clothing, comes running in, calling to Quentin, begging, tell me where they are, take me to them! Quentin, also dressed in period clothing, comes out of the drawing room--you can't go in there, he says. I must see them! she says, be with them. They enter the drawing room.  We hear screams, then sobbing. Elizabeth, says Quentin, we did all we could. The kids stand and come downstairs. They hear Liz and Quentin exiting the drawing room and hastily hide in the kitchen area. Quentin comforts Liz, who is crying and holding a handkerchief. Some things in this world we can do nothing about, he says, and helps the crying woman upstairs.Hallie and David leave their hiding place and go into the drawing room, giving each other a frightened glance. They open the door and are shocked at what they see: Carrie and Tad, laid out on biers, dead.

David awakens, screaming, "No, no!"  He climbs out of bed and into the corridor, where he meets Hallie and learns they had the same dream of a horrible looking man leading them downstairs. Please, I know, she says. Who was he? demands David. Carrie points behind him--look!  It's Gerard himself, smiling.  He advances toward the children.Hallie screams and runs away, but David, seemingly locked into communion with the ghost, stands firm.

NOTES: We have contact! Gerard has appeared to kids, first in dreams, now for real. He already appears to be doing something to David's mind. This is the stranger Liz read about in her horoscope, and they met him after she had already checked him while he was asleep, having no idea that until midnight, it's still the same night, and David and Hallie have met a most dangerous stranger.

Quentin is feeling angry, guilty and impotent, so he's drinking a lot, which we all know never solves anything. One wishes he would get hold of himself; this isn't the Quentin we came to know and love in 1897. Do they have to dumb and water down a character when he becomes a good guy? Quentin used to have an edge, but he's lost it here, and he's no fun. I did like the scene where he made friends with the glass filled with booze, but it wasn't and isn't a good message to send to kids.

Tad and Carrie are dead. What does that mean to David and Hallie? We realize that Tad and Carrie were calling to the kids, urging them to hurry, because they knew they were going to die, and they wanted Hallie and David to save them somehow, probably by giving up their own lives to save those of their 1840 counterparts. Creepy, creepy stuff, for sure, but at least Hallie prevented David from going--which he really wanted to do.

I can't believe Liz actually accepted the lame "game" explanation for why David locked Hallie in his room. Given their ages and hormones, you'd think she'd figure it was for sexual purposes, but of course, we aren't supposed to think of David and Hallie as sexual beings even though they should have been, and it would have made more sense if there was a hint of that--more fun, too. Liz DID give them a funny look, so perhaps she wasn't as convinced as she said she was. Despite her misgivings, the kids met that bad old stranger and she was none the wiser.

What is the meaning of the pirate flag appearing on the Java Queen? Was Gerard a pirate? That would be interesting. One more bad portent for the children, who, despite all the worried adults around them, truly are alone in their plight.

That was one scary dream David had. Carrie and Tad died--how?--and Hallie and David could have disappeared, too, and still might, if Gerard has his say. More mysteries here, and we're heading for a denouement that will lead us to another flashback which I, personally, enjoyed for the most part.


1087 - Gerard pursues David into his room. Who are you? demands David.  He recognizes him as the same man in my dream--how could you be in my dream and here?  Gerard grimaces, then grins.Don't smile at me, begs David. Gerard comes toward him.  Stay away! cries David tells him to stay away...don't...DON'T! he screams.

Hearing David's screams, Julia runs to his room. Gerard, disappears. The carousel music starts to play; Julia hugs herself against the chill. He's been here, he's been in this room, she insists, I can feel that he's been here.Who? asks David. You tell me, she demands. No one's been in this room except for me, he says. Then why did you scream? she asks. I had a nightmare, he says, a terrible nightmare. Tell it to me, says Julia. It was about a war, he says. Don't lie to me, she commands. I'm not lying, he says--what right have you got to say I am? We always tell each other the truth, she reminds him. I am telling the truth, he says, I had a nightmare--he pours and drinks some water. Was there a man in your dream? she asks.  There were lots of men in my dream, he says. I mean a man with dark hair and cold, evil eyes, says Julia. What makes you think you can describe a man from MY dream? asks David, it's awfully weird of you. Tell me, she says gently. There was nobody like that! he says. Are you sure? she asks. There were soldiers, he says, lots of them, and tanks, and airplanes, and bombs--they were bombing Collinwood and I was in it--and that's the truth. Is it? she asks. Yes, he says. If you're keeping something from me....  He walks away. Don't turn your back to me, she says, it's very important that I know of anything unusual going on. What's so unusual about a dream, or a kid having one? he demands angrily--I can't do anything around here without one of you jumping on my back, asking me about -- "unusual' things!" --well the unusual things around here are YOU, and Barnabas, and Quentin! His voice rises with fury. Be calm, says Julia. YOU calm down, says David--pretty soon someone's going to come in here and say, “David, why aren't you asleep yet?' How can I go to sleep in a house like this, with all of you people crawling all over the hall? All right, she says, I'll let you go to sleep. Thank you, he says, somewhat curtly. I hope you don't have another nightmare, she says. So do I, he says defiantly. She leaves his room. The carousel music begins to play. I didn't tell her anything, nothing at all, he tells the air, because I know you wouldn't want me to--listen, if I promise never to tell, will you not make me have dreams like that--will you? (Sad, pathetic, a riveting performance from Henesy.)

Quentin is with Daphne in her wreck of a room. What's happening in this house? he asks--you can tell me if only you would--I've lived in this place for so many years--why have you waited so long to come to me? She answers by kissing him.  He holds her--when are you gong to tell me? he asks.  She doesn't respond. Gerard enters, finds them in each other's arms, and glares at Daphne over Quentin's shoulder. Quentin can't see the jealous, enraged spirit.
Gerard's glare forces Daphne to push Quentin away. What's wrong? he asks--why the sudden change?  She opens the door, dismissing him.  You always expect me to come when you want me, he says, then dismisses me as child--but I'm not letting it go any further--you're going to tell me all the whys or else I'll do what I should have done before all of this started. She turns away from him, miserable, covering her face with her hands. He places his hands on her shoulders to comfort her--I wonder why I'm always so willing to give you another chance? he muses--but I'll give you one more chance!  He leaves the room. She closes the door, where Gerard awaits her. He grabs her arm, forcing her to accept a feather pen from him. She glares right back at him.

Collinwood - Sebastian Shaw sits at the desk in the drawing room reading something in Liz' horoscope about David. Julia enters and greets him--are you reading your own work? she asks. Mrs. Stoddard was puzzled by a phrase of mine, he says. Yes, says Julia, 'A loved one will meet a stranger.'--have you figured out who the loved one is?  When I do figure it out, he says, I'll tell Mrs. Stoddard, not you. Embarrassed, Julia smiles--I seem to be intruding, she says, I understand the way you feel, but we are all very concerned. Julia, holding newspaper clippings and an envelope, explains, I've been reading up about you. A file on me! he says, gazing at what's in her hand. Yes, I have some friends in NY who are fascinated by the occult, she says--the McClellans, do you know them?--they sent me some articles--I'm very impressed--you've had a great deal of excellent publicity, and have made many predictions that have come true--you're quite in demand. You're surprised, he remarks. No, only that you're here in Collinsport and plan to stay, says Julia--why are you? Do you consider yourself a friend of mine, Dr. Hoffman? he asks. I barely know you, she says. Exactly, he points out, why should I tell you something even my closest friends don't know?--I chose to come to Collinsport, I chose to stay in Collinsport--do I need your permission for that, Doctor? Of course not, she says. Exactly, he says again, because I don't think I'd get it. You're wrong, you would, indeed, she assures him, if you would use your talent to help us. What makes you think I haven't? he asks. Because the other day you were playing the piano, she says, and you played a tune you said you made up, but you know there is only one place you could have learned that tune. Shaw nods his head, then looks down, grinning--I wasn't aware, he says, that there are only 12 basic tunes (and 12 basic faces, right?)--isn't it possible that I hit upon one that you'd heard? Speaking emphatically, Julia says, there are SPIRITS in this house, every time those spirits appear, that tune is heard--they're very vengeful spirits, and they want to destroy this place. How do you know that? he asks. I know...  .I know! she assures him passionately--he will start with the children--you can see the horror in that--why won't you help us, why are you willing to have them destroyed?  I'm destroying nothing! shouts Shaw. You are, says Julia--you aren't helping us by your silence and evasions--if you said one word to Mrs. Stoddard, she would take the children from this house! I have that responsibility? asks Shaw, me, a stranger?--something tells me that you're imagining all this, Doctor, and I've seen women like you before--hysterical women who imagine ghosts all over the place when there are none--you'll excuse me if I don't help you, Dr. Hoffman.  He races from her presence. David, on the stairs, stops him from exiting the house. You did my Aunt Elizabeth's horoscope, right? asks David--I'd like to talk to you about something, please. Shaw looks guilty.

Up in his room, David questions Shaw about the stranger a loved one was supposed to meet per Liz' horoscope. Is that what you wanted to ask me, you're sure? asks Shaw. Yes, says David, they're all very worried about me. Are YOU, David? asks Shaw. I don't understand adults, says David, I think they really believe in horoscopes. And you? asks Shaw. I don't know, says David.  I think you do, says Shaw, even more than the adults--tell me one thing, David--did you meet a stranger? No, answers David, just you, and that was today, not yesterday--"Nothing terrible is going to happen to me, is it?"Why? asks Shaw. Everything is going to happen the way you told Aunt Liz, says David--you meant all that, didn't you?  Shaw, looking guilty, says, I meant it. He leaves David's room without another word. David looks uncertain.

Evening - Gerard gazes malevolently through drawing room window at Quentin, who sits reading a note that says, "I will tell you all tonight--midnight--my room, Daphne."  Julia enters and feels a chill, but Gerard is gone. Do you feel the chill, Quentin? she asks.  He offers her a brandy, which he has located right on the table next to him. I came here to find Liz' horoscope, says Julia, she said I might study it--I'm afraid I made rather a fool of myself with Sebastian Shaw--I don't understand him at all. Quentin hands Julia her brandy; she thanks him. Is it necessary that any of us understand Mr. Shaw? asks Quentin. It may be, says Julia--I keep looking for some help.  Julia, says Q, enlisting soldiers before war has been declared has never been a popular thing to do. She smiles--how alone Barnabas and I would feel without you, she says. I really haven't been very much help, says Quentin. No, but we can count on you, at least, says Julia, and that means a lot. Quentin, guilt on his face, walks to the sideboard and says, Barnabas should know I'm really not that dependable, in fact, it's not one of my famous traits. No one is fooled by your own version of yourself, laughs Julia, sipping her drink, complaining, I still feel cold--have you seen David this evening? No, why? asks Quentin. It's just so quiet here, says Julia, it's almost eerie--I think I'll go check on him. She leaves the room. Quentin gazes at his glass and says, twice, "Midnight."  He checks the clock--9 PM.

Julia, in David's room, examines the pirate's flag on the ship. David enters--what are you doing here? he angrily demands. She points out the flag--it was never there before, she says. I don't think that's your business, he snaps. I was just curious, she says. You have no right to be here! he insists. David! she says. I have a right to some privacy, don't I? he asks--do I have to put signs up? There's no reason to be this angry, she says. You can just get out of here, he says, and you don't have to come back until you're invited--and I can guarantee you won't be, because I'm tired of all your questions and snooping--tired!  I'm sorry, says Julia, and leaves his room. David gazes at the pirate flag on his ship.

Gerard lifts a heavy piece of rope and winds it around his hands.  Daphne sits by. He pulls it tight, looking at her with satisfaction.

10:30 - Julia sits in the drawing room, reading a book. David comes downstairs and enters--are you still looking for Rose Cottage? He asks.  Yes, she responds. Julia, says David, (he usually calls her Dr. Hoffman), I shouldn't have talked to you the way I did before--I'm sorry. It's all right, she assures him, I understand, it was wrong of me to come to your room when you weren't in there. You aren't mad, he says--I'm glad, because I don't like when people are mad at me--what if something happens? Like what? she asks. Like what if something happened and I never got a chance to make up? he asks. Julia rises from the sofa and puts her hands on his shoulders--you'll have lots of chances and lots of fights and I will have, too, I hope, she says. That's all I wanted to say, he says, good night. She offers to go with him--I left Liz' horoscope in your room. He offers to go get it--maybe you'll find out where Rose Cottage is tonight. That can wait until tomorrow, she says, putting her hand on his shoulder. It can? he asks. Yes--why can't it? she asks. I don't really know why I said that, says David, I really don't. Julia follows David upstairs.

In Daphne's room, she shakes her head at Gerard, who cruelly grabs her throat and touches her face, then kisses her. (Don't they have an odd relationship?)

Quentin is drinking again. Five more minutes and I'll know, he realizes, looking at the clock. Julia comes in to show him something fascinating from Liz' horoscope tomorrow--it says an enemy will become a friend. Good, we can always use new friends, says Quentin. It doesn't make any sense, insists Julia, Liz has no enemies. I'll think about it on my way to bed, says Q.  Julia stops him--I'll have a brandy with you, she offers. Another would keep me awake, says Q. Stay, she urges, Barnabas will be back in a few minutes and will want to see you.  Then you and Barnabas can figure out the mysteries of Collinwood yourself, he says testily. I don't understand you, she says, you're our leading nice person, and here you are. . . I've changed, Julia, he says curtly, haven't you noticed?--good night. He hurries away, leaving Julia gazing after him, puzzled. It's exactly midnight.

Quentin goes to Daphne's room, closing the door behind him. Daphne, are you here? he calls--please let me see you, I want to know so much! Daphne, I have got to know. From the window, Gerard appears, the rope gripped in his ghostly hands, about to slip it around Quentin's throat!

NOTES: Gerard wants to kill Quentin, probably out of jealousy, and Daphne wants to stop it, but Gerard must be the stronger of the ghosts. Will she save him or will Gerard throttle him?  Or will his portrait make it all moot?

David had every right to be angry at Julia's intrusion in his room, but she has his best interests at heart, and it was nice that they made it up. She's become like a second mother to him, Liz being the first. He is a big boy now, and he is chafing at all the adults interfering in his life--but he and Hallie need it desperately. His make-up scene with Julia was sweet.

Nice scenes between Quentin and Julia, too, but I WISH he could tell her what's really going on!

Quentin's in big trouble now. Will his portrait show those rope burns on his neck?

Henesy's acting is top-notch here. You feel his desperation, his sensation that he's losing control of everything.

Love, Robin

1084 - This can't be, it's impossible! bleats David, peering into the doll house. They're the ones you threw into the fire, says Hallie--they are! They aren't even burned, notes David. I know, says Hallie, and we're not free at all, still under their control, and there's nothing we can do about it--nothing. Don't say that, he says. But it's true, she wails, you know it's true--you know they're always watching us--and they know we tried to break the spell and will be angry with us, especially Daphne! He puts his hand on her shoulder to comfort her. You think Daphne will try to punish us? asks David. I don't know what to think, says Hallie, but I do know something terrible is going to happen to us;. The music begins to play. The carousel music, says David. But look, David, yelps Hallie, the carousel isn't moving! And indeed, it isn't. Where's the music coming from? wonders David. I don't know, says Hallie, it sounds faint--I don't think it's coming from this room! It is, says David, I'm sure of it.

Collinwood drawing room - Julia tells Eliot I don't see why we have to involve Sebastian Shaw in any of this. The fact is, says Stokes, you and Barnabas have accomplished almost nothing--when you returned to Collinwood, you had six clues to go on, three of them have become reality--the night of the sun and moon turned out to be a lunar eclipse, nothing happened, it was the same with the other two clues, the picnic and unfinished horoscope--nothing happened. Nothing that we KNOW happened! amends Julia, miffed. We must find out before it's too late, insists Stokes--there are only three clues left, somehow, we must be prepared for them. He sucks on a cigarette. How? demands Julia, lovely in lavender. I still think Sebastian Shaw could help us, says Stokes. You really do believe in his psychic abilities, says Julia. If he's a fraud, says Stokes, he's an extremely credible one--when it comes to clairvoyance, I'm not easily impressed. Julia stands--it wouldn't hurt to see him, she says, but we must decide what to tell him. I say tell him everything, says Stokes, beginning with the transition of parallel time into the future. Do you think he might have a little difficulty believing the story? asks Julia. Why should he? asks Eliot, if he himself can transcend time mentally, he should be willing to accept that it may be transcended physically. If he could enlighten us on just one of the clues, says Julia--the one I feel is most important--the night Rose Cottage was destroyed--I would give anything to know where and what Rose Cottage is.

Playroom, David searches for the source of the music. I don't understand, he says--the music must be coming from someplace in this room. I know! Hallie announces--it's coming from inside Rose Cottage. It isn't possible, insists David, how could music be coming from inside a doll's house? I don't know, she says, but it is!  Suddenly, they see lights coming on in the entire top floor of the dollhouse!

We must be dreaming this, insists David.  I saw the lights go on, agrees Hallie. How could there be lights inside a doll house? asks David, there's no electricity (batteries?). I don't know that, either (and this is getting tiring)!I'm going to find out, he says, and moves around to the back of the doll house. Don't, begs Hallie, please!  He looks inside anyway. His mouth drops open--there's a man inside, and it's not another doll!--come see!  Hallie moves to join him, reluctantly-- no one else is in there, she says, just the dolls. He's gone, says David, but he was there, I swear it. I believe you, she assures him--I think I'd believe anything after all that's happened--I just wish we knew what to do. David puts his hands on her shoulders--maybe there is, he says--we could go to my room and write down everything that's happened to us, everything we've heard and seen in this room--come on. They leave the playroom.

Worried, Julia checks out the front door. Stokes comes out of the drawing room--try and relax, he urges--I'm sure Mr. Shaw will come as soon as he can. Julia apologizes, her hand at her throat--I'f be a lot more relaxed if I didn't feel Gerard's presence in the house. I wish you she could describe your feeling to me, he says. I can't, says Julia, I just know that his spirit is here, but it isn't as overwhelming as it was in the future. Something to be grateful for, remarks Stokes, it must mean that Gerard is not yet ready to strike. Julia shrugs. They go into the drawing room.

In his room, David opens a notebook--Hallie, we should describe the music--it's what drew us to the West Wing--and the playroom. I don't know if we should start anyplace, she says--writing it down is the same as telling it, and if we tell it, they'll be angry with us! This isn't the same, insists David, this is something we have to do. But why? demands Hallie. Because it's the only way they'll know what happened to us--after we're gone, says David.  (Creepy, especially the mournful way he says it!)

8:20 - Stokes answers Shaw's knock at the door--thank you for coming on such short notice, says the Professor. Shaw asks who the other of the "we" is. Stokes invites him into the drawing room and introduces him to Julia, who shakes his hand. Perhaps you can tell me what this emergency is about, says Shaw. Your remarkable talents, says Stokes, made it possible for you to see into the future--what would you say if I told you that Dr. Hoffman had BEEN to the future?  Staring at Julia in astonishment, Shaw says, I'd say I'd like to learn a great deal more. And so you shall, says Stokes, please, sit down.

David, busy writing in the notebook, reads, "We wanted so much to tell about Rose Cottage, but for some reason, couldn't, neither of us knew why, all we knew was that everything had gotten out of control.":  Oh David! wails Hallie, please hurry and finish! I want to tell the whole story, he reminds her, can't leave anything out.

...and that's how Barnabas and I got back to the present time, finishes Julia, who is seated on the sofa next to Sebastian. Shaw nods. Since then, we've all been trying to prevent the disaster, explains Stokes. That is a most fascinating story, says Shaw. The question is, says Eliot, do you believe it? I have no reason not to, says Shaw--I don't know if I can help you. You gave me a demonstration of your psychic powers, Stokes says, is it possible they could be applied to this? How? Shaw asks.  Can you confirm whether or not there are active spirits in this house? asks Julia.  Shaw considers--I don't know--I can try, he says. I am most intrigued by one particular clue, says Julia, the one about Rose Cottage. I have never heard of such a place, says Shaw. Neither has anyone else in this house, says Stokes--but Julia is convinced it does exist, somewhere. Could you possibly determine its location? asks Julia. Shaw hesitantly says, I hope the two of you don't think of me as being all-powerful--there are many times when I concentrate and absolutely nothing happens. Could you simply concentrate on Rose Cottage? asks Julia--find out what happens--it may be a matter of life and death, Mr. Shaw. He agrees to try--I'll do what I can. Shaw covers his face with his hands, rubs his eyes, then looks skyward. Rose Cottage, he says...Rose Cottage...he gets a vision of the twirling carousel playing music, then the playroom itself. We see his eyes superimposed over all this. He sees the dollhouse, some of the furniture and toys, then it all fades.Spent, he says, I don't think I can help you. Then you saw nothing at all? asks Stokes. I saw something, says Shaw, but it didn't look anything like a Rose Cottage. Tell us what you saw, urges Julia. Very little, actually, he says, I saw a room, nothing more. What kind of room was it? asks Stokes. I don't know, says Shaw, the vision was unclear. Perhaps it was just a room in Rose Cottage, suggests Julia, which really wouldn't help us at all. Shaw shakes his head--I'm sorry, he says.  Our immediate concern is for the safety of the children, says Julia--would you be kind enough to talk to them? Why? he asks. We feel they know a good deal more than they're telling us, says Julia, perhaps if you talk to them, you might have some psychic reaction to what's happening in this house. All right, I'm willing to try again, says Shaw, but can't promise anything. We understand, Julia assures him. Stokes volunteers to go upstairs and get the children. Julia offers to get them some tea--Mr. Shaw, make yourself comfortable, she says. He wanders the room, looking troubled.

Hallie watches David write as he describes--just tonight, I saw lights go on in the dollhouse, and when I looked inside, I saw a living man no bigger than a doll.  When Hallie looked in, he was gone. You can stop now, David, she says nervously, that's all we know!  I just want to add one more thing, he says. Stokes' knock at the door sends them quickly shoving the notebook into the desk drawer. Come downstairs and meet someone, he offers. Obediently, the kids go.

As Julia brings out the tea tray, she hears someone at the piano, playing the same music she and Barnabas heard in 1995. We see someone's hand on the piano, picking out the notes.

Julia enters the drawing room and puts down the tea tray on the table.  Shaw sits at the piano, playing the familiar playroom melody. What do you take in your tea? she asks.  Nothing, he replies, continuing to play the tune. Julia brings him a cup of tea--it's an interesting melody, she remarks. I really wouldn't call it playing, he says. What's the tune? she asks. Something I made up in my head, he says. Just now? she asks. That's right, he responds. You've never heard it before? she asks. No, he says, never before. I don't believe you, she insists. He taps two wrong notes and says, "I beg your pardon?"  I don't believe you, she says, because it happens I'm familiar with that tune. Coincidence, he says.No, says Julia, it is not, Barnabas and I heard it in 1995, and I can tell you where you heard it before--earlier, when you were concentrating and saw the vision of that room--you heard that tune. He rises from the bench--I only saw the room, he says, I didn't hear anything. There is no way you could have just made up the melody, she insists--you heard it during your vision, and know it has something to do with the spirits in this house! I know nothing of the sort, he says, angry.  Oh, or does it have something to do with Rose Cottage? she persists. I don't know what you're talking about, says Shaw. You either heard or saw more than you're willing to tell us, she accuses. I did not, insists Shaw. When I first heard of you, says Julia, I suspected you were a fraud, now I'm beginning to think you're something worse, a man with genuine second sight who apparently uses it only for monetary gain. I'm not willing to listen to this claptrap, he says angrily--"Good night, Doctor!" He leaves the house. Julia is downcast.  Stokes and the children stand at the top of the stairs. David and Hallie, go back to your rooms, instructs Julia--Mr. Shaw just left.  Run along, urges Stokes, we'll talk later. Stokes comes downstairs--what happened? he asks Julia.  I was too outspoken with him, she admits, Mr. Shaw knows more than he told us, when I came back with the tea things, I found him playing a tune on the piano, the very same tune Barnabas and I heard in this house in 1995. Stokes asks, are you sure?  Positive, I'd know it anywhere, she says. Stokes surveys her solemnly.

Entering his room, David tells Hallie, I just have to add one more thing--then I'll hide it. The notebook, however is gone. Who could have taken it? demands an Hallie, upset. I don't know, he says--perhaps Aunt Liz or Mrs. Johnson. No, we weren't downstairs long enough, says Hallie. Maybe Daphne took it, suggests David. Hallie says, "Oh, no, David, she mustn't read what you wrote!"  The frightened children leave the room.

Foyer - Julia, says Stokes, i quite agrees with your reasoning--Shaw must have heard the melody while he was concentrating, but what I can't fathom is why he didn't mention it to us. I shouldn't have been so blunt with him, laments Julia. I still have the feeling Shaw can be enormously helpful to us, says Stokes--if we can get him on our side. He and Julia bid each other good night and he leaves.

David and Hallie return to the hallway outside the playroom. As he reaches for the doorknob, Hallie says, we don't know it was Daphne who took the notebook. Who else would have? asks David. But if it wasn't, persists Hallie, we have to be careful what we say in there--we'll just look around, not say anything about the notebook. David agrees.They enter the room. Sitting together, side by side, are Tad and Carrie--who are reading the notebook!

NOTES: Pretty cool, huh? We have their 1840 counterparts reading what they wrote. That must mean Daphne--and probably Gerard--know all, and what does that mean for Hallie and David? Are the young ghosts trying to take over their bodies, or are the older ghosts attempting the same?

Julia became understandably angry at Shaw, since he IS hiding plenty, even the knowledge that these same two kids are doomed to die. If he had met them, would he have told all? Did Julia blow their chance at avoiding the inevitable? That would be most unfortunate.

The mysterious Rose Cottage has dolls that won't burn, its own lighting system, and a live, miniature man. Was that Gerard? Or someone we haven't met yet?

Perhaps Julia's accusations will give Shaw something to ponder--but will he buck Roxanne, who seems to have a hold over him?

Lots happening, mystery after mystery. And yes, Hallie's constantly saying, "I don't know" and moaning David's name over and over in that bleating way of hers IS growing annoying to me. She is shrill, isn't she, sometimes?


1085 - David and Hallie, stunned, watch their exact replicas reading their notebook. Do you see what they're doing? cries Hallie. They're reading what I wrote, says David. Please speak to them, begs Hallie, tell them we can't help them, we'd like to, but we can't--please speak to them! David steps forward--if there was something I could do to help you, he begins--but they disappear.  David and Hallie stare at the chairs in which their twins were seated. Hallie freaks out: "They know we're in the room--they're dead people--they're ghosts--and we look exactly like them--what's happened--why did they disappear like that?"  Calm down, urges David.  I'm scared, protests Hallie--what will we do?--we've got to get out of here, we said we'd never come back here again and we did--why?  We had to! says David. No! insists Hallie.  David picks up the notebook from the table and opens it. Put it down, says Hallie, don't touch anything in here, let's just get out!  We must not leave it here, he says. Put it down! she wails. Come and read it, he says. She joins him.  They sit down in the chairs vacated by Tad and Carrie. They abruptly seem like different people, and sure enough, they look at each other and smile. "Carrie," says David.  "Tad," she replies, "why would anyone be afraid of Miss Daphne? She's so kind, unless they did something wicked. Do you suppose they've done something wicked?"  This doesn't say, says Tad--I suppose we frightened them. We?--frightened them? asks Carrie--we're so fond of them--why would they think that?  I don't think they like us, says Tad. But they're so intelligent, objects Carrie, and friendly! Maybe we should ask Miss Daphne to explain this to us, suggests Tad. Perhaps, says Carrie, Miss Daphne knows everything--come, bring the book, we'll go across the hall and show it to her. The kids start to leave the room, but stop. I seem to recall that David and Hallie were here, notes Tad--I suppose they've gone--wonder where they went? The kids leave the playroom. Tad, notebook in hand, returns to Daphne's old room. Quentin passes by, unknowing, some books in his hand.

Julia sits in the drawing room, going over a small volume. Quentin brings her books--the last in the West Wing study, he says. Thank you, says Julia--put them on a table. He sits across from her--haven't you given up hope of finding some trace of Rose Cottage? He asks. After there was no mention of it in old tax records, says Julia, I have given up, for the moment, anyway. Why, asks Quentin, did you have me bring the other books?  I'm trying to find a staircase, she says. In a book? he asks teasingly. I'm trying to find a mention of it, she explains, or something that says something about the staircase Barnabas and I returned on from 1995. Oh ho! chortles Quentin, those mysterious stairs, eh?--he paces the room. They did lead from the playroom to a corridor in the West Wing, she says. There is no playroom, at least in this time, says Q. Nobody knows that better than I, she says, but the corridor is there, and if I can find a mention of the staircase, or the staircase itself, maybe it would lead to...  Lead to where? demands Quentin--the past, future? No, perhaps it could lead to some clue that would stop the disaster that's suppose to happen, says Julia. Quentin laughs--you and Barnabas don't give up easily, he remarks. We don't dare, says Julia, for the children's sake, and yours, and everyone's. He apologizes for joking about it, and offers to help. He takes a couple of the books, sits beside her, and is all ready to get to work, when Julia announces, I think I've found it--she holds up some papers and reads, "Proposed stairway into time." Somebody actually drew up plans under that heading? asks Quentin.Julia has found what appears to be small blueprints, and the signature if that of your great grand uncle, she says. Quentin looks at it, reads his own name, and the date--1840.

In Daphne's old room, a candle burns. Tad, I wonder where Miss Daphne is? asks Carrie--do you suppose she'll come? Tad picks up a new photo.  What it's doing in this room? she asks. Obviously, she wants it near her, says Tad wisely. They examine the photo. Daphne enters.  We were looking for you, says Carrie. Tad hands her the photo, which seems to anger her.  I'm sorry if it disturbs you, he says--we have something that puzzles us--he picks up the notebook. It's something David and Hallie have written, says Carrie, full of strange, curious things. Explain it to us, please, says Tad, handing the notebook to her. She glances at it, then hands it back almost instantly. If you're not going to explain it to us, says Tad, what should we do with it?--give it back to Hallie and David?  She hands a candle to Tad.  Ss she wants us to burn it, he realizes. Daphne nods.

Tad sets the notebook aflame.  Now we'll never know what Hallie and David were writing about laments Carrie. (The notebook, obviously coated with lots of flammable fluid, almost sets the three of them on fire, too!) I sure hope they won't be angry that we've done this, says Tad. I hope not, agrees Carrie. Maybe someday we'll be able to ask them ourselves what it means, says Tad excitedly.Do you think we will? says Carrie gleefully--do you think we'll be able to talk to them soon? The kids are ecstatic. Daphne nods.  Exactly when? asks Tad. They hear Quentin's voice outside, telling Julia, Barnabas and I were here before--are you sure that this is the place?  Tad, as Carrie, do you hear strange voices?

Out in the hall, Julia tells Quentin, this is the corridor where Barnabas and I found ourselves when we came back from 1995, at least I'm pretty sure. Someone's coming! says Carrie. Are they coming in here? asks a frightened Tad. Daphne holds up a hand over Tad and Carrie's faces, which apparently breaks the possession. Hallie, says David, what are we doing here, in this room? I don't know, he says. Outside, Julia explains, Barnabas and I used the staircase, I was almost unconscious; maybe this isn't the place.  According to the plans, says Quentin, this has to be it. The kids run to the door and listen. It's Quentin and Dr. Hoffman, says David. What if they come in here? says Hallie, what will we tell them? That door there, that's the one, says Julia. Barnabas and I were up here before, says Quentin, looking for the so-called playroom--all that is there is an empty closet. An empty closet? repeats Julia, with all that elaborate door frame? Open it and see, says Quentin. They're opening the playroom door, says Hallie. Sure enough, it's only a closet, which surprises Julia. What else could it be? chuckles Quentin, the other side of this wall is outside--this place it not big enough for anything other than a closet. Julia reminds him the plans specify that in 1840, Quentin Collins intended to build a staircase to time, right here, unless--I wonder what this door leads to. She's standing outside the room where Hallie and David hide. That's just another room, says Quentin evasively. Maybe we read the plans are wrong, says Julia, maybe the staircase is on THIS side. The kids' eyes grow round with terror.  Julia, says Quentin, you said yourself the plans specify exactly where the staircase is--now either we give up, or we go downstairs and look for more plans. Let me see what's in here, says Julia, about to open the door behind which the kids are hiding. David and Hallie huddle together in the corner, awaiting capture. Julia, if we're going to start opening and closing every door we come to, says Quentin, we'll never finish. I know, says Julia, but just let me take a quick look. She opens the door and enters. Quentin stands in the doorway.  The kids huddle behind the open door

Another bedroom, points out Quentin, like so many of the others. I wonder whose room it was, says Julia. Perhaps there are more plans we haven't gone through downstairs, says Q--why not go back and look?  We're looking for a stairway...time, says Julia. If you're going to go rummaging around through every room in this house, we might as well forget about the staircase, advises Quentin, taking her arm. One of his hands is shaking. I'm sorry, she says--yes, we can check for other plans, the staircase must be someplace, I was on it myself. As David helps Quentin close the door. When the adults are gone, Hallie asks, what they would have said if we'd been found here--how would we have explained?  I don't know; he answers--we couldn't have told them we were exploring up here again. Why can't we tell them the truth and say we were in the playroom across the hall? She asks, close to hysteria. Stop it, says David. And we saw Carrie and Tad, she babbles on, and they were reading the notes, and then they vanished. David grabs her hands--don't become hysterical, he says.  Why can't I? she asks--oh, David, for a minute there, we didn't know who or what we were!  He takes her hand again--stop it, he says, we should get out of here. Whose room is this? she asks.  I don't know or care, he replies--I saw Quentin in here once before looking for notes for Dr. Hoffman, so let's go. David, look! she cries, pointing to the burned up notebook. My notes--the things we'd written to let people know what happened to us! he cries--it's burned. That's why we were brought here, says Hallie--to destroy what you wrote!--David, nothing can help us now--no one will ever know what happened to us--WE will never know--and perhaps it's just as well.

Julia sits at the desk in the drawing room, looking at papers--Quentin, there were no other books or papers in the West Wing study at all? She asks.  I don't think so, he says--I'll go look again. Would you mind? she asks. I said I'd help, he reminds her, and leaves the room. On his way upstairs, Quentin is stopped by the scent of lilacs--then you're near--but where, I must see you, please, I must see you. He goes upstairs.

As they exit the room, Hallie tells David--Dr. Hoffman said something about a stairway to another time--what do you think it means?  I don't know--I wonder what they were talking about?  Hearing footsteps, the kids hide behind a wall. It's Quentin, who enters Daphne's room and finds her there. He goes to her--I knew you'd be here, he says. She reaches out for him. No, he says, I want to know what kind of power you've got over me--what's happened to my freedom?--I know, all you have to do is summon me and I'll come--you won't let me tell Julia and Barnabas about you--why?--is it because you have something to do with what is supposed to happen?--is that it?--Please, God, you've got to tell me, I can no longer lie to my friends--one minute I help them, the next minute, I betray them--I'm not going to continue with this--I must never see you again--do you understand?--never. He begins to leave the room.

Quentin stops in the doorway. Daphne has conveyed something to him; he turns and looks at her. He walks back into the room, slowly, as if drawn by magnetic force, and he kisses her. I should have known I could never get away from you, he says, smiling gently, that I'll never be free--it's too late for that. She shows him a small notebook, which he opens and reads, "The thoughts, words and deeds of Quentin Collins, Esq., as set down by his own hand, 1840." He turns back to her, but she's gone. Why have you given me this? he asks--are you trying to help us?--please, he begs, you've got to tell me, where are you?--are you trying to help us by giving us this?--or are you trying to destroy us? he asks, gazing doubtfully at the book in his hand.

Drawing room - I can't believe it, says Julia, what a strange man he must have been, wildly fascinated with the occult, raging against the stars and universe because he knew they were capable of changing, and that his relationship to them could be quite different--where on earth did you find this? In the West Wing, says Quentin--no mention of the staircase? Not yet, she says, but apparently he believed that time was quite fluid (Hallie and David head downstairs), and accessible--he must have been very advanced for his time, he conceived of things that others... Hallie and David are nearly in the drawing room when they hear Tad's voice bidding them to come--we're waiting for you. Hallie, come!  David, come, please! calls Carrie. The kids race upstairs.

No stairway? Quentin asks Julia, who is still going over the book Daphne gave him. Julia finds an entry stating, "There is no such thing as time--there's only space, physical space, and it is space that measures the distance between those points which we, in our ignorance and folly, insist are points in time--all time is one point, one moment, it is ever-existent, and ever accessible--and it is physical space that can be used to make all time immediately accessible, I intend to do precisely that.

David and Hallie are drawn to the seductive voices of their 1840 counterparts. They stand in the corridor outside the playroom. Don't go in, David, begs Hallie. They're calling to us, he says. We've got to try never to go into the playroom again, insists Hallie. But they're calling to us, we must go in, he says. They do.Inside, Tad and Carrie seem to be standing on something very high, towering over them, their hands held out in urgent supplication. Come--hurry! bids Tad. Please come! implores Carrie. Hurry, hurry, don't keep us waiting, says Carrie. Follow us, begs Tad. David and Hallie stare at them, unsure of what to do.

NOTES: Will Hallie and David do what the ghosts are begging them to do? And if they do, will they BECOME Tad and Carrie? One senses that Daphne had Quentin give Julia that journal to keep her busy while she, Gerard, Tad and Carrie took over the bodies of Hallie and David. Once
again, the adults, who know what is going to happen, are clueless, and it's occurring under their unknowing noses.

Nice kiss between Quentin and Daphne, but she is a bad ghost, that much is obvious, and is trying to help Tad and Carrie come back to life--which has to mean death to David and Hallie. Quentin tried to get away from her, but she apparently has a great deal of power over him, and she isn't letting go. The scary part is, she almost stabbed him just a few eps ago. While she kisses him with her mouth, her hands could be doing him wrong.

Julia is so diligent with all that research, but if she really wants to know what's going on, she should instead be secretly tailing Quentin, Hallie and David, spying on them. It's all happening and she is totally unaware! Get with it, Julia!

The special effects are crude here, but one must never lose sight of the fact that this was done 30+ years ago, and far removed from Industrial Light and Magic. The scenes containing both Tad and Carrie and Hallie and David are not terribly well-done, but back then, they looked pretty cool, believe me.

I am growing very annoyed with David, but especially Hallie. She's just sooooo annoying. I don't remember how long this lasts, but I'm looking forward to when we go into 1840 and we don't have to see these kids going back and forth to the playroom. Hallie whines and wails so much!  It's really getting on my nerves now. I wish she'd stop being so mealy-mouthed--and as Tad and Carrie, both kids are even more irritating.

Love, Robin

1080 -
Upset, Hallie says, David, the voice we just heard was yours, but your lips weren't moving--how can that be possible? He gazes at her, unspeaking.  Why are you staring at me like that? she asks--David, speak to me! she implores, please! She releases his hands and he passes out. What happened? she wails--can you hear me?

Liz, seated at the desk in the drawing room, pours over her astral charts. Carolyn enters and points out, you're being very religious about reading the horoscope every day. I still don't know who's right about the future, Barnabas or Sebastian. I thought you were convinced Sebastian was, says Carolyn. He's been amazingly accurate up until now, says Liz. What does he say about today? asks Carolyn. That it will pass without incident, says Liz.  That's accurate, says Carolyn--it's been a thoroughly boring day. But he says to be aware of tensions and crises during the night, adds Liz. What do you suppose that means? asks Carolyn. I have no idea, says Liz, I haven't felt any tensions, it's been a quiet evening--if there is a crisis somewhere, I don't know anything about it. Obviously, Sebastian has made a mistake, opines Carolyn. He said that might happen, says Liz defensively, and not to be upset if everything didn't go exactly as the horoscope predicted. Maybe I should call him and have my horoscope done, suggests Carolyn. No, says Liz, standing, I don't think you should do that. Why not? asks Carolyn. You know perfectly well why not, says Liz. If you can have your horoscope done... begins Carolyn.  You've never been interested in horoscopes and astrology and aren't now, says Liz.  Neither have you been until now, points out Carolyn. I went to see Sebastian because I was terribly concerned about what Barnabas said, says Liz--I sincerely wanted my horoscope done--your reasons for wanting to see Sebastian are quite different, adds Liz haughtily, and have nothing to do with your horoscope. Carolyn looks away and claims, it isn't true.  His name is Sebastian Shaw and always has been, insists Liz.How do you know that? asks Carolyn. I see no reason to believe anything else, says Liz--In the first place, you heard him tell you he wasn't Jeb, in the second place, if he was Jeb, why wouldn't he admit it to you? He may not know it himself, suggests Carolyn. What on earth does that mean? asks Liz, annoyed. Shortly after Jeb died, says Carolyn, I had a dream--in it, I saw Jeb and he told me he would come back to me one day--he said I might not be able to understand, and when it did, I would know it. That was just a dream, insists Liz. And Sebastian's appearance in Collinsport is just a wild coincidence, says Carolyn, irritated, I just don't believe it. You have no choice but to believe it, says Liz, because that's all it is, a wild coincidence, and obviously, an unfortunate one--I must insist you stay away from Sebastian. Are you forbidding me to see him? demands Carolyn. No, I'm thinking what's best for you, says Liz, let's leave it at that. Carolyn's lip curls with determination; she plucks the business card from the desk blotter, goes to the phone, and dials. She asks to speak to Sebastian Shaw. Please.

Playroom - Hallie tries to awaken David. When he finally comes to, he asks what happened. Don you remember the seance? she asks. Yes, we heard that voice, he recalls. It was your voice, Hallie informs him. How could it be? he asks, I wasn't speaking. But we both heard it, she says, there was something so frightening about it! I know, says David. We're going downstairs right now and tell your aunt about this room and everything that's happened it in, insists Hallie.

You can't be serious, argues David.  I am, she says.  Don't you realize how much trouble we'll get into? he asks. I don't care, she says--this thing has gone too far. We can't bring it to an end, says David. Don't you understand, she asks, whatever is happening here is dangerous!--we don't know what might happen to us if we don't tell someone--we've got to get it under control. In his mind, David again hears his own voice begging, "Let us live!" He turns to Hallie and says no, we can't say anything to anybody--and runs from the room. DAVID! she cries, exasperated.

Next morning - David is in his room, holding the Java Queen in his hands. Hallie knocks and enters--Mrs. Johnson said you wanted to see me. Yes, says David, I've been trying to figure out what happened last night. I think that's impossible because I think it's beyond our understanding, she says. Everything that's happened has a meaning, insists David--that woman from the room, this ship, the way it appeared in my room, and the clothes we've both gotten--and then the seance, and that voice, my voice, coming from no where--do you remember what it said? Yes, she replies, "Let us live."' David repeats that, wondering, what does it mean?  I don't know, she says, but I wish I did. I've been considering what you said, says David--I agree we must go to Aunt Liz and tell her everything that's happened. Hallie, thrilled, wants to go downstairs now--she's in the drawing room. David sets down the model ship and looks at it. He follows Hallie when she calls, but seems preoccupied.

Carolyn joins her mother in the drawing room--what's in store for us today, Mother? Liz, glancing through the charts, says that, according to Sebastian, it's going to be uneventful. No crises or tensions? asks Carolyn flippantly. No, says Liz. Good, says Carolyn, then it should be a safe day for me to go shopping in town. I don't see why not, says Liz. If anyone calls, says Carolyn, I should be back by late afternoon. Liz nods and says, "All right, darling." Carolyn grabs her purse and exits. Liz puts the folder down on the desk. Hallie and David nervously enter the drawing room. David calls to his aunt.  I didn't even hear you two come in, she says. Can we speak to you? asks David.  Is anything wrong? she asks. Something terrible has happened you should know about, blurts out Hallie.  She touches David's arm--you'd better tell her, suggests Hallie. He steps forward--it happened in the West Wing, he begins--we went exploring there, and... David is instantly silenced.  He and Hallie are stunned to see the Java Queen sitting on a table right in front of them!

Speak up, David, urges Liz--you were going to tell me something.  The two kids can't stop staring at the wooden ship. David looks at his aunt, who says, you mentioned something about the West Wing--you know you aren't supposed to go there! I know, says David, but we had an  accident there--I was chasing Hallie to her room, and knocked over a table that had a vase that might have been a family heirloom, and I thought I should tell you about it. Liz looks at him sharply--are you sure that's all you wanted to tell me? Isn't that enough? he asks. I suppose so, says Liz, and I appreciate your honesty, but nothing like this must ever happen again--neither of them are to go to the West Wing--this closes the incident. The kids indicate they understand; Hallie thanks her. Liz leaves the room. I couldn't tell, says David, I was too scared. So was I, confesses Hallie, as soon as I saw that (she indicates the ship). How did it get down here? wonders David, it was up in my room, both of us saw it!  Someone must have brought it here, she says. But who? asks David--you, me and Aunt Liz were the only ones here.  I don't know, she says, but it was someone that none of them could see.  I'm going to take it out of here, put it in the playroom, and leave it there, says David determinedly.  He takes the ship away.  Hallie nervously watches him go.

Sebastian Shaw's abode - Shaw asks Carolyn, why do you want your horoscope done?  Must one have a specific reason? she asks him. People are usually motivated by more than just a whim, he says. This isn't just a whim, she assures him--like everyone else at Collinwood, I'm interested in the future. I wonder if you really know the exact nature of my work, he says. What do you mean? she asks. I'm not a prophet, he says, just a simple astrologer, and I can't shape the future as you would want it to be. I'm not asking you to do that, she says. I'm totally guided by the stars and planets, he says, and whatever they have in store for you, good or bad, cannot be changed. I'm willing to accept that, she says--tell me, where are you from? New York City, he says, why? Just curious, she says--how long have you been in Collinsport?  Just about two months, he replies. Sounds as if you're planning to stay, she comments. Perhaps, he says. I'm curious as to why you chose this particular town, she says. No special reason, he says, it borders the sea--I've always loved the sea. She looks stricken.  "So have I," she says.  Yes, well, he says, uncomfortable--if we're going to get down to work, I must ask you a few questions--please sit down. She watches him.

David brings the ship back into the playroom and hears his own voice say, "You didn't tell--you want me to live! You DO want me to live!"  Startled, he looks around, then flees the room in fright. The carousel turns on by itself, the music playing.

Smiling, Carolyn thanks Shaw for giving me so much of your time.In my kind of work, he says, one must not hurry. When will my horoscope be ready? she asks. Difficult to tell, he says, I never knows if charting the stars will be easy or difficult, or how long it will take. She laughs delightedly--I can't think it would be difficult with me, she says--I've always thought of myself as a simple person. Astrology is quite different, says Shaw--you might not know how complex a person you really are. If you could give me some idea, she says, I could make plans to pick it up. It's not necessary, he assures her--I'll bring it to you at Collinwood. I would prefer to come to you, she says, if you don't mind. I see, he says, looking at her--I wonder if you would mind a question--is your mother aware of your coming here today? It was mentioned in passing, says Carolyn. My guess is she didn't approve of it--am I correct? he asks, moving in close. What difference does that make whether she did or not? asks Carolyn. It makes a difference to me, says Shaw--I would prefer not to be in the middle of any family quarrels.  I am well over the age of consent, says Carolyn, and my mother and I have disagreed before, but are still quite close--we will survive this disagreement --and so will you. I see, says Shaw, opening the door for her, I'll be happy to call you tomorrow, if possible. I will look forward to hearing from you, says Carolyn before exiting. He closes the door. What has he gotten himself into here?

Hallie joins Liz in the drawing room--have you seen David? asks the girl.  I thought he was in his room, says Liz. No, I looked there, I couldn't find him anywhere, says Hallie. I hope he isn't exploring the West Wing again, says Liz. Oh, no, he wouldn't do that, says Hallie, he felt terrible about what happened there. Maybe I'd better go look for him, says Liz. Oh, no, I'll look for him, says Hallie, I'm sure I'll find him soon. She leaves. Liz begins looking at her horoscope again. Carolyn returns.  Liz puts the folder back on the table, meets her daughter in the foyer, and asks, how was your day?  Uneventful, says Carolyn. There are no packages, observes Liz--I thought you were going shopping. I did, says Carolyn evasively, but I guess I just wasn't in the right frame of mind for it--I didn't see a thing I liked all day long--I think I'll lie down before dinner--excuse me, Mother. She goes upstairs.

Playroom hallway - Hallie goes to the playroom and angrily asks David, who is wearing the old suit he found on his bed and rocking away on the rocking horse, what's the matter with you?--you know you aren't supposed to be here, you gave your Aunt Elizabeth your word!--and what are you doing in those clothes? He doesn't answer.  It's no time to play games, she insists--let's get out of here! He ignores her.  Furious, she asks, "David, are you coming or aren't you?" He keeps rocking.  All right, she says, but don't say I didn't try--if you're going to stay here, you'll just pay the consequences--David, are you coming?--ALL RIGHT THEN!She exits the playroom and, to her amazement, finds David out in the hallway!

NOTES: Reminds us of when we used to see people in the PT room and then in RT, or vice versa. That rocking horse boy, who looked ridiculous, must be Tad, and his desire to "Let us live" must have something to do with Hallie and David. Sounds like more possession on the horizon, doesn't it?

These poor kids tried to do the right thing, but either Daphne and/or Gerard must be moving the ship around to scare them and prevent them from telling any adult what is happening.

Hallie is so shrill! She is getting on my nerves, and not for the first time.

Carolyn thinks/hope Sebastian Shaw is Jeb and doesn't know it. Poor girl, you can't blame her when the guy looks so much like her dead hubby. He seems to find her strange, and perhaps worries that she might mess up what he hopes to get going with Liz and her money. Then again, Carolyn has bucks of her own. Will he be trying to separate all the Collins ladies from their money while giving them false horoscopes?


1081 - That scene with David or whoever, rocking away, is truly creepy. Whether Tad or David, he's far too old for such childish activities.

Playroom hallway - What's the matter? David asks a stunned Hallie--what happened in that room? You! she says, you were in there! Come on, he says. "You were all dressed up, differently, in the clothes like you found in your room." she explains.  I think you had a hallucination, he suggests.  She denies it--I thought you'd put on the clothes for a joke--I spoke to you, but you just stood there, playing with that boat--your boat!  (continuity error, of course, he was on the rocking horse in the previous day's ep, not playing with the boat.) It's not MY boat, says David, it's Tad's--you saw Tad!  He looked just like you! wails Hallie. David goes to open the playroom door.  What are you doing? she demands--don't!  I have to go in there-- Tad's here to see me, says David.  He opens the door, calling Tad, but he's gone. David picks up the boat.  Do you think Tad is here? asks Hallie, but we just can't see him?  I don't know, replies David--Tad!--If you're here, please let us see you--please. They hear the sounds of children laughing--children who sound just like themselves.

Carolyn, seated on the drawing room sofa, reads ASTROLOGY by Louis MacNeice. She answers the door to Sebastian Shaw, who wants to talk to her about "that look in your eyes."  It's the resemblance to my dead husband, explains Carolyn, I'm sorry--did you bring my horoscope? He nods.  I so hoped you would, says Carolyn--I've been reading the book you gave my mother--it's fascinating, really. Isn't that a dilettante's word? he asks sarcastically--you don't believe in astrology at all, do you?  I never have, admits Carolyn. You're honest, says Shaw, that will make this easier--I started your horoscope, Mrs. Hawkes, but I had difficulty finishing it--you didn't come to me for your horoscope--it was all an excuse--I KNOW why you came, because of all the questions you asked--I'm not your husband, Mrs. Hawkes--you must have loved him very much to think that I was. The dead do return, states Carolyn, I do believe that. I'm not proof of that, he says, and you must accept that.  She looks sad.  I'm not going to finish your horoscope, he says (unfinished!)--I thinks it would be best, for your sake, if we never saw each other again. He starts to leave.  I'd be quite willing to have you finish it, she says. He turns--I only work for those who have the need to BELIEVE, he insists--and he leaves with a "Goodbye, Mrs. Hawkes." Barnabas, looking very handsome in a black suit, comes downstairs. "CAROLYN!" he cries, shocked. Did you think you were seeing Jeb? she asks--so did I. Who is he? asks Barn. Sebastian Shaw, says Carolyn. The resemblance is remarkable! remarks Barn. Merely a resemblance, nothing more, Carolyn assures him. He did your mother's horoscope, didn't he? asks Barn. Yes, she says, and he started to do mine, but isn't going to finish it--ever. Carolyn, that's one of the clues! says Barnabas excitedly.

The unfinished horoscope, says Barnabas. One of the clues from 1995? asks Carolyn--what does it mean?  I don't know, who knows what any of it means? he asks--where it Rose Cottage?--but that horoscope must be finished--perhaps if we can change one thing, perhaps we can change the course of everything--we all know the importance of chances in our lives; a meeting can start a romance, but if the meeting never takes place, our whole lives are changed (thinking of anyone in particular, Barn?) How well I know that, he says. So do I, agrees Carolyn sadly.We have much in common, says Barnabas, I, too, have lost someone I love--her name is Roxanne, but she's in parallel time, lost to me as Jeb is to you. But is she? asks Carolyn--we all exist in both times, as I understand it, so there is somewhere, alive, a Roxanne. Somewhere, says Barnabas. Perhaps you can find her, suggests Carolyn. Thinking about her doesn't help, says Barn--you must go to Shaw and have him finish that horoscope.  No, he won't do that, says Carolyn, he doesn't think I'm sincere. We must make him finish that horoscope! insists Barnabas.

David's room - So, you saw a ghost, Hallie, says David--you can't tell about Tad.  I'm going to, she insists. You can't, says David, the people from the room won't like it. I don't care whether they like it or not, says Hallie. They made you fall and hurt your arm, he reminds her--there's no telling what they'll do if they really get angry.  What do they want from us--really want? You heard them say they want to live, says David. But they can't! protests Hallie.  They can't, agrees David, but...I don't know, all I know is, you can't tell--remember when we went to tell Aunt Liz?--what they did was just a warning. All right, she agrees, if you'll promise something to me--that you'll never go into that room again, ever!--I mean it, David!--I won't go, either, but we can't go in that room, ever--please, maybe if we don't go in there, they will leave us alone--promise me!  He promises. And you'll keep it, too, she insists. I'll keep it, he vows. Oh, David, she rhapsodizes, I know they'll leave us alone, I feel different already--I guess growing up is learning to be sensible. I guess so, says David. So we'll go horseback riding or something tomorrow? she blathers. Sure, agrees David, smiling. And we'll forget this ever happened, OK? she adds. OK, he agrees. She leaves his room.  He closes the door, sits at his desk and opens a book. He begins to hear the carousel music and closes the book, looking disturbed, uneasy. He covers his ears and screams STOP IT! The music ceases. He hears his own voice in the room, saying, "David."  Are you here? cries David--leave us alone!  His dresser drawer opens by itself, revealing Tad's clothing. He takes it out and holds it up. Come to the playroom, David, urges Tad's persuasive voice, we don't want to hurt you, come to the playroom, the playroom. Will you be there? David asks the air. The playroom, repeats Tad, over and over.  David, discarding the outfit on the floor, leaves his room, walking as if in a trance.

Carolyn reads the astrology book. Hallie leans over--"Horoscopes?"  she asks.  Carolyn closes the book--I'm just trying to find out if I could really believe in it, she says--do you?  I don't know, says Hallie, I guess so, only. . I don't know why people want to know the future. It's reassuring, laughs Carolyn. Hallie points out, horoscopes can tell bad things, too, and there are so many bad things. So many? repeats Carolyn. More than I ever realized, says Hallie. Are you talking about your parents' accident or something that's happened here, since then? asks Carolyn. Oh, the accident, says Hallie insincerely, nodding.

David enters the playroom, where the music is in full swing, carousel turning. He looks at the turning horses intently.

8:30 - Hallie. on the foyer phone, assures Uncle Eliot, I'm fine, honest--everything here is just groovy (oh, my God, she actually used the G word, where are the Bradys?)--it is so a word, Uncle Eliot, well don't start lecturing me now--all right, I'll see you tomorrow, bye-bye.  Carolyn comes downstairs--Hallie, when did you last see David? she asks. About an hour ago, says Hallie. Where? asks Carolyn. Up in his room, studying his French, says Hallie (Maggie teaches French)? He isn't there now, says Carolyn. Maybe he went to...to Maggie's room for help, suggests Hallie. I looked there, too, says Carolyn. Do you need him for something special? asks Hallie. Why? asks Carolyn, do you know where David is?  No, answers Hallie--it's such a big house, he could be anywhere--and she goes upstairs.

David is still staring at the carousel, which stops turning and playing. He smiles and looks around the room, admiring the portrait on the wall (of Tad and Carrie)? Hallie stands outside the playroom door--I know he's in there, she tells herself--I must not be afraid, I mustn't!  She opens the door and launches into an attack--"You promised you'd never come here again!"  What are you talking about? he asks, sitting on the rocking horse--why would I say a thing like that? But you did! she insists, in your room, don't you remember? No, he says, getting off the horse--I'm getting old for some of these toys, I should seriously think of giving some of them away. David! she says. What did you call me? he asks. What's happened to you? she demands--I knew if we came in here something awful would happen, I knew it!  Whatever has happened, he says, Carrie, has happened to you, not me. Carrie? she asks. Where did you get those clothes, he demands, you'd better take them off before anyone sees you in them. Why did you call me Carrie? she asks. Oh, your questions are getting more and more absurd, he complains--it's your name! My name is Carrie? she asks. Yes, he says, and I never thought I'd have to introduce you to yourself--well, now I have. And you're¢â‚¬¦Tad, she says. At your service, he says, giving her a little bow. Get out of this room, she pleads. Why are you so upset--I'm perfectly willing to leave, he assures her. You are? she asks. Yes, he says, I've been waiting for you--you see, there's something we have to find. What? she asks. Rose Cottage, of course, he says. She looks at him, flummoxed.

Rose Cottage doesn't exist! says Hallie. "Tad" says, I don't understand you today. Tell me what it is, says Hallie--I know Julia and Barnabas are trying to find out about it. He repeats the names, not understanding--who are they? You don't know? she asks. I have never heard those names in my life, he says. Please let's get out of this room, she begs. Of course, he says, "Ladies before gentlemen, I believe."  He gestures grandly for her to exit. Oh, this room is so pleasant, he says, I shall truly regret the day when I am too old to come here. They leave the room; he closes the door. David, now tell me about Rose Cottage! she demands. He covers his face with his hands.  David! she cries, are you all right?  Why are we here? he asks  You don't remember any of it? she asks. No, he says, all I remember is that I was in my room. Come, please let's get away from here, she says, leading the way. Tell me what I said! he pleads. The camera pans to the playroom door.

We see a folder that reads, "CAROLYN STODRARD HAWKES" next to a sculpture of a hand that looks like an ashtray. Shaw picks it up and puts it in his desk drawer. Barnabas knocks at his door and introduces himself. I only see people by appointment, says Shaw. It's most important, says Barnabas, it's about my cousin, Carolyn. Shaw lets him in and closes the doors. I dealt with your cousin in the kindest way I knew, he assures Barnabas. I know that, says Barn, but I'm not here about your resemblance to Jeb Hawkes--you must finish Carolyn's horoscope. I must? asks Shaw, eyebrows raised. It's very important for her well-being, insists Barnabas.I'm an astrologist, not a doctor (shades of Bones again), says Shaw. You will be paid, of course, says Barnabas, and whatever your price, I'll be glad to double it. You're a generous man, comments Shaw. You will finish the horoscope as soon as you can, please, says Barnabas anxiously. Shaw refuses. But you must! says Barnabas. I will not, says Shaw--the only shoeman () who tells me what I must do, is me--it's very important that I live the way I want to, and work for those who I feel need my help--now I don't want to get involved with your cousin, and if I did her horoscope, I knew I would. You needn't do that, Barnabas assures him--you'll never have to see her again if you finish this. Shaw, astounded, asks, can you promise that?  Yes, says Barn. If you have such a hold over her, says Shaw, I should be doing YOUR horoscope, not hers--no, Mr. Collins, I choose who I want to work for--and I choose not to work for you, either. Shaw suddenly looks   heavenward, as if he's listening to faraway music--I must go to my meditation, he says--surely you aren't so insensitive as to interfere with that--don't bother saying goodbye, Mr. Collins. He goes into another room and closes the door. Barnabas follows, begging to the closed door, "Mr. Shaw, please!" A woman's voice calls, "Sebastian," and a red-haired woman who looks exactly like Roxanne, carrying a grocery bag, enters the room. Barnabas' face lights up."Roxanne! Roxanne, it's you!" he says reverently.

NOTES: Oh, boy, she's back, and he's ecstatic! Who is she, what is she doing with Shaw, and what was that weird thing in his eyes when he said he had to meditate?

Tad has possessed David and Carries has possessed Hallie so far. We're seeing a repeat of the TURN OF THE SCREW story again, with different twists, first one kid is possessed, then the other.

You've got to love Shaw, he's so bombastic, and even though his refusal to give Liz a price was interesting, you wonder if he's legit--and exactly what he does want? Will Barnabas tell him why the horoscope must be finished--and if he does, will Shaw even care? Rumor has it that Chris Pennock was stoned when he did much of his performance as Shaw, and that wouldn't surprise me. Pennock seems, then and now, like a man of the Sixties.

Love, Robin

1076 - David and Hallie enter the playroom. This is where the note said it would be, says David. It can't be, protests Hallie tearfully--that door leads to a closet, we looked in here before-this isn't real. It is real, says David, gazing at the turning carousel, this is where the music was coming from. Yes, you're right, says Hallie, gazing at the carousel with a smile on her face, seemingly mesmerized by it. This may be the ghost of a room, suggests David. Rooms don't have ghosts, says Hallie. I know, says David, but this room seems to appear and disappear just like one. What does it matter? wonders Hallie-we wanted to find the room and we have. And it doesn't scare you at all? asks David. Why should it scare me? asks Hallie, grinning with joy. I don't know, says David, a few minutes ago, you didn't want to come in here, now you're acting like it's the most normal place in the world. Ordinary? she asks--no, it's the most marvelous place there is. An old playroom that shouldn't even be here, remarks David. Hallie kneels down to look at the horses in the carousel--look at Apple, Charger and Jules, she says-and all the others, running a race no one would ever win. Who are Apple and Charger? asks David. The horses, silly, she says. And I suppose you knew them when you were a kid? asks David. Kid? she asks, what an odd term to use. I winder whose room this was? asks David. For the moment, says Hallie, it's ours. Yes, but all these toys, who do they belong to? asks David. Strange questions you're asking, says Hallie, sitting in the rocker. David mounts the rocking horse, looking ridiculous--I don't see anything strange in my questions, he says-all this junk must have belonged to someone at some time or other. Junk? Inquires Hallie in a voice higher-pitched than her own--"I don't understand." David gives her a look--stop acting like the world's #1 weirdo, he says. Weirdo?--what does it mean? asks Hallie. You know perfectly well that means, counters David. The word "weird" is not unfamiliar, she says, but the addition of the letter O makes it completely incomprehensible. Cut it out, orders David, jumping off the rocking horse. I'm completely at a loss, she says, rising from the rocking chair. David puts on a sailor's hat--I don't know what kind of game you're trying to play, HALLIE, he says, but it isn't very funny. Hallie? she repeats--why did you call me Hallie? I'll call you a lot worse if you don't cut it out, threatens David.She smiles--my name isn't Hallie, she says. I'd sure like to know what it is, says David. Why it's...begins Hallie, and stops, then seems to forget. What's the matter? he asks. Nothing, she says, I just don't seem to remember. David removes the hat then moves a lever that shuts off the carousel music. You don't seem to remember your name-is that what you're trying to tell me? he asks. What? asks Hallie, confused-this room, we shouldn't be here, she says. What were you saying about your name, asks David. What about my name? demands Hallie. You said it wasn't...he falters. She interrupts him-the scent of lilacs, do you smell them? she asks. She's here, she must be here someplace, says David, but where? I don't know, says Hallie, but I want to get out of here, quick. David tries to stop her, but ends up following her. A hand turns the carousel back on. It's Daphne's ghost.

6 AM - Collinwood - Quentin comes downstairs and goes into the drawing room. Julia, who has fallen asleep in the chair, awakens. Joyfully, he says, it's over, the sun's up, it's morning. Julia is all set to go upstairs and check the children, but Quentin assures her, I've already been up there, and they are sound asleep-apparently, everything is all right. Thank heaven, says Julia gratefully. Collinwood never looked more at peace than last night, says Q. Perhaps something happened we don't know about, says Julia. Consider one other thing, says Quentin, Carolyn's cryptic warning about the night of the sun and the moon-perhaps it meant nothing at all. It was the last thing she did before she died, Julia reminds him-she wrote those clues. You said yourself Carolyn was mad, Q reminds her-perhaps the warnings of disaster came from that madness. Perhaps, agrees Julia, but there's one important thing we can't let out of our sight-this room was in ruins-the whole house was in ruins, everybody was gone except you and Carolyn, and you were both insane-I saw it, it was horrible-perhaps those clues aren't really clues, and we won't get anywhere with them, but we've got to try to prevent that total disaster and those clues are our only guide. Concerned, she leaves the drawing room. Quentin, grim-faced, watches her go.

10 AM - Hallie gazes at the orange dress in her dresser drawer, but puts it away when David knocks. Are you all right? he asks. I don't know, she replies. Why did you run away last night? he asks. Wasn't it obvious, I was scared half to death, says Hallie. But she was going to appear to us, says David. I don't WANT her to appear to us, says Hallie--I want this whole thing to end once and for all! That room really shook you up, didn't it? he asks. I don't know what happened, says Hallie, it was so strange, so weird. Weird, repeats David, as in weirdo? What are you talking about? she asks. Don't tell me we have to go through this again, he says. Go through what again? she demands. Last night, when I called you a weirdo, you pretended you didn't know what it meant, and then there was that bit about forgetting your name. I swear I don't know what you're talking about, says Hallie-you're trying to make me more afraid than I am. Why would I want to do a thing like that? he asks. You mean I really acted like that, said those things? she asks. You honestly don't remember? he asks. I remember going into the room, she says, being so terribly afraid, and seeing all those things, and then the scent of lilacs. You don't remember forgetting your name or anything like that? he asks. Nothing says Hallie, but that settles it-she goes and takes the dress out of the drawer-this is going into a trunk in the attic-where it belongs! Don't do that, he says. David, a dress I put on, without knowing, says Hallie, music that comes from a wall-a ghost of a woman from another time-a playroom that materializes out of no where-I don't know what it means, and I have no intention of finding out! It may have been a little scary, says David, but wasn't it fun? Not for me! says Hallie. You seem to be having fun until just before you left, points out David. I should have been terrified the entire time, insists Hallie, and the fact that I wasn't frightens me most of all-this dress is going back, and that's the end of it. Hallie, wait, he urges, but she's gone.

Quentin pours himself a drink (some things never change). Julia comes in and asks, are you trying to combat the night's fatigue? Far from it, says Quentin, at least last night's excitement takes my mind off its favorite subject. Which is? asks Julia. Me-or at least my life, he says-it's been pretty drab lately. He drinks from the snifter. I hope we don't have too much more excitement, says Julia. I don't mean that, says Q-right now, I'm very lonely, there's no woman in my life. Smiling, Julia suggests, you're really looking for a drinking partner, rather than a woman. He grins--if I'm giving that impression, I don't mean to-and I'll stop, immediately. He puts the glass down on the sideboard, wanders toward the sofa and sits down. Noticing Julia sliding on her gloves, he asks, are you going into town? Yes, she says, I want to see if I can find out anything about Gerard Stiles-his birth, death, anything. Before you go, says Quentin, lifting a cup of coffee, may I compliment you on the way you look? You certainly may, says Julia (she in a high-necked navy blue dress that does look much better than the black and white tweed or the hideous green tweed they usually dress her in). And I am particularly impressed by that lovely perfume you've got on, he says. Thank you, says Julia, but I'm not wearing any perfume. There sure is a lovely scent in this room, says Quentin. i don't smell anything, says Julia. It's beautiful, he says. Try to describe the scent, she instructs. No, I really couldn't do that, says Q, sounding far away. I see, says Julia--good-bye. What is it?--I'm sure I know, he tells himself-of course, it's lilac, he says aloud, but out of Julia's hearing-the whole room, filled with the scent of lilacs. .

Cemetery - Julia and Quentin run into each other. I took it as a shortcut returning from town, says Julia. I often come here to think, he says-it's very quiet here-how was your luck in town? Not very good, no record of Gerard Stiles, she says, I don't understand it. Why can't you understand it? he asks. Because he's buried here, she says, and points out Stiles' grave. Quentin reads the tombstone and asks about the quote, IN DARKNESS HE DID LIVE AND DIE. I don't know what it means; she says, Barnabas and I saw it the other day and tried to figure it out, but couldn't. I don't understand, says Q. Look at the other tombstone, says Julia--Daphne Harridge. She died in 1841, says Quentin--I don't think it would mean that much to me. But you talked about her in the future, says Julia--I saw her, she was a ghost. Ghost? asks Quentin. Yes, explains Julia, in 1995, you were deeply involved with her, fascinated, and she had some kind of hold over you. What did she look like? asks Quentin. Very beautiful, says Julia, impassive, (Quentin smiles), and wherever she went, there was the scent of lilac? Lilac? repeats Quentin. Yes, does that mean anything to you? asks Julia. No, nothing, he says. Julia doesn't seem to believe him. Let's go, he suggests. We get a last view of Daphne's tombstone.

Heading downstairs at Collinwood, Hallie tells David, the dress is back where it belongs and that's where it's going to stay. As long as we stop arguing about it, says David. She hears the music. Listen, says Hallie. Listen to you tell me how afraid you are? he complains. No, the music! she says. What music? he asks. The music from the playroom, she says. I don't hear any music, says David. You do, insists Hallie. If you're trying to scare me, he says, it isn't going to work. Go on ahead, says Hallie, sounding reverent, I'll be along in a while. We're going boating, you know, he reminds her. I'll be there, she promises. I'm not going to wait for you, he says. I'll be there, she says, looking into the air. I don't believe you hear music, scoffs David-you're just making it up. He leaves.

The music isues from the playroom as Hallie approaches. Why did I come here? she wonders aloud. The door opens by itself. She goes inside and gulps, breathing hard. Daphne is there, gazing solemnly at her. Hallie walks toward the ghost--I knew you'd be here, she says. Daphne holds up the orange dress. How did you get it? Hallie asks. She holds it out to Hallie.I don't want it, says the young woman-I put it back, please, I don't want it. Her face still stern, Daphne holds out the dress. Tell me who you are, begs Hallie--why do you want me to have that dress?--I won't take it, I won't!, insists Hallie, turning away. Yet, she's compelled to look again as the carousel spins, playing it's tune. She accepts the dress from Daphne.

Quentin sits on the sofa at Collinwood, drinking again. Daphne Harridge, he murmurs to himself, the scent of lilacs...he rises from the sofa and wanders the room, as if looking for something. He sits in a chair, leaning back, and drifts into sleep, tilting his head back. He dreams. The drawing room door opens. Daphne enters, carrying a bouquet of lilacs.He wakes up and looks at her, smiling. Daphne, he says. She backs away. He calls her name--no, wait, don't go away, Daphne...Daphne! He awakens, stands, opens the double doors and looks around the foyer. Just a dream, of course, he says, stupid of me-but then he spots the bouquet of lilacs on the table, left by Daphne in his dream-but for real. He sniffs them. Daphne, I knew it was you, he says aloud, I knew it, you were in this same room, and your name is Daphne-appear to me, please-Daphne? Daphne? The camera goes long. We see Quentin holding the bouquet, a grinning goofily as he brings the flowers closer to his face.

NOTES: Daphne has now made contact with both Hallie and Quentin. You can already see Quentin becoming lovesick, and Hallie has accepted the dress from the unrelenting Daphne. What is Daphne's connection to Gerard, and to the living members of the household? Does she mean evil or good? One senses the former, but she doesn't have a mean face.

Love David and Hallie's bickering, they already sound like an old married couple. It appeared that she was possessed when they were in the playroom together, not comprehending words like "junk" and "weirdo." Was she perhaps possessed by Carrie? Why didn't Tad also possess David? It almost seems like the ghosts are playing divide and conquer.

Sorry, I have trouble believing the incredibly handsome, charming Quentin is having problems finding a woman. Perhaps living as long as he has, falling in love as much as he must have, watching women he cares for grow old and die, a dead woman is his best bet. In any case, Daphne has already begun to toy with his mind-but to what purpose?

Enjoyed the humorous scenes between Quentin and Julia. The blue dress really did become her; even if it was somewhat shapeless; she should always have been dressed like that, or better.

So, is Julia right? Does Quentin need a drinking partner more than a woman? Any volunteers on either (or both) scores?


1077 - Quentin cuddles the lilacs and says, "You were in the same room-and your name is Daphne-please, I beg you to appear to me, please, Daphne. He puts down the flowers, calling to her, but gets no response at first. Then she appears before him.

Sounding lovesick, Quentin says, "Daphne-oh, Daphne." She takes the flowers off the table and offers them to him. He takes them, smiling. She caresses the side of his face.Your touch, so soft and real, he croons, staring into her eyes. She walks away. Wait, don't go, Daphne, please-but she is gone, and the lights go out. Quentin lights a candle and calls to her--what happened?-don't go, come back! On the floor are the lilacs, pulled to pieces. He picks one up and sadly drops it.

David's room, Maggie holds a book and lectures him on coming home before dark when he takes out the boat-I've been worried sick about you! I just wanted to go to the lighthouse and back, he says. Not after dark, she warns him. There are lights all over the dock, he reminds her. I'm serious, she assures him--a fog or storm could come up. I know how to handle a boat, he says. I know you do, says Maggie, but sometimes things can come up unexpectedly and the best sailor in the world wouldn't know what to do. David's attention has been caught by a beautiful, modern model ship. Are you listening to me? asks Maggie. Of course I am, he says. Where did the boat came from? She asks. This? he asks, I found it in the attic, with a whole bunch of other old stuff. Really? she asks. Yes, where else would I get it? he asks. It's extraordinary, she remarks. I kinda like it myself, he says. Take care of it--it looks very valuable, she says. I will, I promise, he says. She puts an arm around him--confine your after-dark sailing hours to ships like that, she suggests. They laugh together. She leaves.David looks at the magnificent ship, then turns to find Daphne standing there, smiling softly at him.

Did you give it to me? he asks the spirit, I've never seen it before-or have I?--was it in the playroom, is that where it came from?-did you give it to me? She nods. I knew it, he says, tell me who it belonged to, I've never seen one like it before-is there a real one like it?--is there? Quentin knocks at David's door, making Daphne disappear. Quentin has brought his camera, which David wanted to borrow for the picnic (another clue!). Thank you, says David. i must say your gratitude is less than overwhelming, says Q, you've been wanting to use my camera for the last year, and now...Quentin stops. David, he says, I'd swear that I smelled lilacs. It's too late for them to bloom, says David. I know that, says Quentin, but it must be something else. Must be, agrees David. Unless someone was here wearing lilac perfume, says Q, sounding weirded out-Maggie or Carolyn here? Maggie just a few minutes ago, says David. It could be her, says Quentin-want to know something interesting?--I've heard it said that a scent like this, one that seems to fill the room for no reason at all, indicates that a spirit is present. A spirit? repeats David. Yes, you've never heard that? asks Q. Are you trying to tell me a spirit's in this room? asks David, smiling-if I didn't know any better, I'd think you were trying to scare me. Would it frighten you if you knew there was a spirit here? asks Quentin. Of course it would, says David. Quentin pats his shoulder, assuring him, I didn't mean to scare you--if you have any questions about the camera before the picnic, just ask. I will, David promises-thank you. Quentin leaves. David remarks, "The scent is gone now", and returns to examining the wooden ship, which we see is called the Java Queen.

Carolyn stands in the drawing room, a business card in her hand. She seems to be pondering what to do. She closes the double doors and dials the phone number on the card. Maggie bursts in, apologizing for interrupting her. I was afraid it might be my mother, says Carolyn-isn't that ridiculous-a woman my age being afraid her mother will catch her on the telephone talking to the wrong person? Who were you trying to call? asks Maggie. Jeb, answers Carolyn. Spotting astonishment on the other woman's face, Carolyn adds, "He's alive-I've seen him with his own eyes in this very house." You aren't speaking of Sebastian Shaw, are you? asks Maggie. Then you've seen him, too, says Carolyn, smiling. No, but I heard he bears a striking resemblance to Jeb, says Maggie. Couldn't he be Jeb? asks Carolyn.I know how much you miss and love Jeb, says Maggie, but you've got to accept the fact that Jeb is dead--Shaw is an entirely different person. How can you be so sure? demands Carolyn-we both know there are so many things in this world that can't be explained. She walks away from Maggie, who follows her and says, I would do anything in this world if it would bring Jeb back to you, but if you go on thinking this way, you'll only cause yourself more pain-and you've suffered enough. Carolyn gazes into the fireplace-what am I going to do? she asks-I want so much for it to be Jeb, I know it's wrong, to love the dead and go on looking for them, but I loved Jeb so much, I can't help looking, hoping I'll find him.

Quentin, in the hallway, wonders if Daphne had been in David's room-the scent of lilacs-did David see her and not want to tell me?--no, I'm sure he would have been too frightened not to tell me. Quentin senses someone following him-not Daphne. He looks around the corridor, turns and spots Daphne. She walks off. Quentin follows.

Quentin follows Daphne to a door. She opens it and goes in, closing it behind her. Quentin opens it, too, and enters. He calls to Daphne. The room is obviously unused; the bed is unmade and cobwebs abound. He lights a candle. picks it up, and finds a note on the desk. He reads, "I tried not to tremble, but I couldn't help myself-nothing in my life has terrified me more than the thought that you love me-nothing in my life has..." that's all it says, it was never finished-someone loved her, and it frightened her. He calls to Daphne--I have so many questions to ask, and only you can give me the answers-why do you come to me, then go away?--you must have led me here for a reason-if you need help, there's nothing I won't do, but you must appear to me. The note disappears. Quentin calls to Daphne, but she doesn't respond. He blows out the candle and leaves the room.

Maggie, Carolyn and David are in the woods, where David is taking Maggie's picture, telling her not to smile. Carolyn stands by, looking preoccupied. Don't smile? asks Maggie--David, that's how pictures are supposed to be. I want it to look natural, says David. Thanks, says Maggie sarcastically. David snaps the picture-good, he says-you pose, Carolyn. She apologizes-I'd rather not, she says, I've been such a grouch this afternoon, I'd look even more "natural" than Maggie. Thanks, says Maggie sarcastically but good-naturedly. I only have two shots left--come on, urges David. Carolyn kneels. David takes another photo of both of them. There's a blanket on the ground; Maggie is eating something. We should have gone out on the boat, says Carolyn. Maggie disagrees--not with a storm coming up. I wouldn't care, says Carolyn--oh, I'm sorry, I don't want to spoil the picnic, I'm just in one of my moods. Quentin joins them--David should take the pictures, he advises--it's going to rain soon. Maggie begins gathering up the picnic, mumbling, mouth full, we'd better go. I only have one shot left, says David-let me take one of Maggie and Quentin. My pleasure, says Quentin, helping Maggie to her feet. He takes up the picnic jug while she holds the basket, his arm around her. Should we smile or look natural? asks Maggie. David snaps the photo we saw in 1995 in Carolyn's album. David starts to tell them how to pose, then stops--I thought someone was standing behind you, says David. There's no one there, Maggie assures him. I guess I was mistaken, he says reluctantly. Quentin, his face intense, asks, was anyone in particular waiting there? I thought it might be Hallie, home from visiting her uncle, says David-now let me get this picture before the storm breaks. (It's been thundering for a while now.) Ready when you are, says Quentin, looking grim. Aren't you going to smile? Asks David. I wish you'd make up your mind, complains Maggie, laughing. He snaps the picture. We'd better get going, says Maggie. They gather up the picnic while Quentin stares off into the distance.

Collinwood - Carolyn looks out the window at the storm-I'm glad we got our picnic in before the storm broke, she tells Maggie-I'm sorry for sulking. You weren't sulking, you were thinking, says Maggie, who is sitting in a chair, working on needlepoint. It did help clear my mind, anyway, says Carolyn-last night I was being so stupid about Shaw. You were thinking about Jeb, that's all, says Maggie. No, says Carolyn, sitting in the chair near Maggie, I was going to call him, ask him all sorts of inane questions-now I'm not going to, at least I hope I'm not-I don't want to do anything stupid, I just hope I don't.

Quentin enters the drawing room. Did David get the pictures developed? asks Carolyn-I promised I'd have a look. She leaves for David's room. Quentin holds a large book in his hands. Will Carolyn ever get over Jeb? asks Maggie. She will, in time, I suppose replies Quentin. It's so futile to love someone who's dead, says Maggie. Quentin shoots her a forlorn look. He sits on the sofa, looking at the book--it's part of family history from around 1840, he explains. Is it interesting? she asks. It seems that I had a great-grand uncle with the same name as mine, he says--Quentin Collins-it's very strange to think that someone had my name, lived in this same house, 130 years ago.

David's in his darkroom, developing the photo of Quentin and Maggie holding the picnic stuff. Carolyn knocks; he invites her in. May I see the pictures? She asks. Some of them aren't bad, he comments. Did the storm ruin the last two? She asks. I don't think so, he says. She looks at the wet photo of Quentin and Maggie--it looks fine to me, she says. He agrees. It's a very good picture, she praises-may I see the rest? He takes back the photo and asks Carolyn, do you see anything special? Only that Quentin is handsome and Maggie, beautiful, responds his cousin, smiling-why? Look behind them and tell me what you see, says David. A lot of leaves, says Carolyn. You don't get the feeling that there's someone there, watching us? asks David. She looks at him, then at the picture, and says, I don't know-is there? I don't know, either, says David.We see Gerard stands behind them, watching with his patented evil snarl on his face. If there is, David asks, who is it? Lightning fills the room as Gerard glares at the Collins cousins, who do not see him.

NOTES: That last scene with Gerard scared the crap out of me! I was glancing down at my keyboard, then looked up and saw his creepy, malevolent face-and it gave me a start! Brrr. Now we know that not only Daphne is here, haunting the children, but is working on Quentin, too, making the lonely man fall in love with a dead woman. Is she setting him up for Gerard?

Such a sad picnic, yet another incident that preceded the disaster.

Nice to be a rich boy with your own darkroom, huh? David's a lucky kid. Didn't Carolyn expose the photos when she came in that way? Photo experts?

Carolyn mourns Jeb, understandably, but does she really believe Sebastian Shaw is him, or his reincarnation? Poor woman.

Love, Robin