I also like dom's idea of a DS musical. A friend and I once whiled away an evening trying to cast singers for the roles in a DS opera.

Carolyn tells Julia about a piece of jade she saw next to Angelique's body but refuses to answer any other questions, getting more and more agitated.

It becomes obvious that she must be protecting someone, especially when she ends the conversation by simply running upstairs. Barnabas returns right after that, and Julia asks him, Do you think Carolyn loves her husband? I presume so, he replies. At any rate, I know she wouldn’t want anything to happen to Will. Julia has concluded that Carolyn must be protecting Will, but Barnabas is astonished at this suggestion. Julia tells him about Carolyn’s behavior, so he decides to use his powers to ascertain the truth. He summons Will from the basement (what he was doing there is anyone’s guess) and sends Julia to fetch Carolyn back downstairs. After fielding a number of subtle hints from Barnabas, Will finally asks, Do you think I killed Angelique? Then he supplies the answer: No, because I liked looking at her too much to kill her. Are you sure that’s the truth? Barnabas asks. How could I lie to you? Will asks. Barnabas looks away, ashamed, knowing that it’s true--and why. Carolyn comes down; she and Will exchange a long anguished look, but then Barnabas orders Will out of the house.

Carolyn pleads for Will, but Barn insists he has to ask her some questions. Barnabas doesn’t want to force Carolyn to tell him whom she suspects, but he ends up using his bat powers to make her look at him and tell him. Finally she breaks down in tears. It’s my mother, she sobs. For once Barnabas is completely taken aback. I don’t believe Elizabeth is capable of such a thing! he exclaims (plus he’s fond of her, as he is of her counterpart in our time). His manner changes completely: Very gently and with great sympathy, he guides Carolyn to a chair and invites her to tell him all about it. Carolyn offers the evidence of the hatpin (the top ornament is jade), which she now tells us came from Elizabeth’s collection. Why do you think your mother killed Angelique? Barnabas asks, and Carolyn finally realizes, You don’t believe she did. She tells Barnabas, Angelique always treated my mother like some kind of poor relation--whenever she wanted something done around the house, Angelique took great pleasure in making sure that it didn’t happen. Barnabas tries to reassure Carolyn. I don’t think your mother has a killing temperament, he observes. After all, she had lived in the house for years with Angelique without trying to kill her earlier. It also turns out that before the séance, Carolyn and Will had a huge fight about Angelique. He used to go to Collinwood just to get a chance to see her, Carolyn tells Barnabas. He had even stopped writing. It wasn’t his fault, she says sadly. Angelique just had a way of making any man who looked at her fall in love with her. That night, I went to my mother and told her about the fight and that I planned to leave Will. My mother became very upset. I don’t want to believe that my mother killed Angelique. I don’t want you to believe it either. She’s had such a sad life, Carolyn pleads. Please don’t go to the police with what I’ve told you, she begs him. If anyone is guilty, it’s me. I went to my mother, crying over my marriage. I’ll deny everything if questioned, she vows passionately. I can’t promise you anything, Barnabas says, but I’ll wait till I have more concrete evidence. Remember, the pin was from your mother’s collection.

Very nice scene with JB and JK, one of the few they have together: At Collinwood, Elizabeth plays a desultory game of solitaire while her son-in-law keeps her company. Also being very fond of her, Will asks her what’s troubling her. Being very fond of him, she confides, I don’t want to live at Collinwood at the moment. May I stay with you and Carolyn for a few days? That’s not possible, Will replies quickly and unhappily. Carolyn is very busy with Barnabas (and then some!). Elizabeth turns from him in terror. I’m afraid Quentin is in the house, she admits. You have nothing to worry about here, Will assures her. Haven’t I? she asks.

Barnabas and Julia confer about Carolyn’s revelations. Barnabas mentions that three of the people who were at the séance--Cyrus, Sabrina, and Bruno--are now dead (though he omits to mention that at least two of them didn’t die as a direct result of the séance). He wonders if there’s a connection, but Julia says there can’t be. She tells him about the Apollo Belvedere (she calls it a small clay doll!) that Maggie found in her drawer. Barnabas is sure Angelique planted it there, but Julia tells him that Maggie thinks Quentin is trying to frame her. Barnabas says, I believe [correctly, as we know] that when Quentin went to the cottage in a fury to confront Bruno, Angelique tightened Bruno’s ascot around the statue’s neck to strangle him, so that Bruno died in front of Quentin. How clever she is, he says of his enemy. Perhaps we can get to Angelique by trying to revive the life force just enough to weaken her. It will be especially easy to do because I plan to bring the girl to the basement at Loomis House. This is far from the first time that Julia has seen that particular light in his eyes, and after pointing out that the basement is probably the first place Angelique would look, she flatly refuses to help him in any way. It would be perfect, he insists. Julia thinks he should look for Quentin, but he taps his cane on the floor impatiently as he insists that the girl comes first. He reminds her that he’s already an experienced reanimator: After all he helped bring Adam to life; this should be easy by comparison. And he already has someone lined up to help him move the body, so he doesn’t need her help anyway. He calls to Will and puts on his cape, though he has some trouble unhooking the cane from the hatstand.

We get our first hint of the next plot twist when Barn takes Will to the mausoleum. Guessing correctly that the PT version also has a secret room, he opens the panel. To Will’s surprise, there is a secret room. But they’re both amazed to discover that: (1) someone has been living there, but (2) seems to have left recently and in a hurry. Besides a cot, a table and so forth, Will finds some milk that’s still fresh. The unknown occupant is an artist; they also find a drawing, signed by “Claude North,” of the very girl who is supplying the life force. Will has never heard of a Claude North. The upshot is that Barnabas will have to find another place to put her, so it’ll be the basement at Loomis House after all. This room, Barnabas ruminates, for over a century was my refuge in my own time. Strange that it should serve the same purpose for someone else--someone connected with her.

At Collinwood, Elizabeth is looking over her hatpins when Carolyn comes in. The sight of them brings tears to Carolyn’s eyes, but she hides her reaction as well as she can. Wearily Elizabeth tells Carolyn, I’m planning to sell my hatpin collection. I’m sorry I ever started collecting them. I don’t want them in the house any more because I can’t bear the sight of them. (She keeps them in the same box that in 1897 contained the hand of Count Petofi!) Carolyn tries to hide her anguish and says she wants to talk about the séance. This upsets Elizabeth even more, especially when Carolyn insists, Angelique’s death was murder, and you know who the murderer was. Elizabeth reminds Carolyn that she doesn’t want to talk about it and asks Carolyn to take the pins to Portland. Carolyn promises to do it--not tomorrow but the next day.

Barnabas and Will’s next stop is Stokes’s house, after many reassurances from Will that Stokes is sure to be at the Eagle, where they usually adjourn on Wednesday nights to knock back a few. (I suppose Will bailed out tonight.) Sure enough the house is deserted, and they make plans to take the body out through the back door. But once inside, Will feels that certain chill in the air that denotes a Presence; Barnabas senses nothing, maybe because he already has no body temperature to speak of. But as he moves to open the door to the secret room, they hear a voice intone, I won’t let you do it. It’s Hoffman! Will gasps. She repeats, I won’t let you do it.....

Welcome, KARATE CHOP! We see our first one on the show in this episode. After all, it was 1970, and everyone was doing it.

"Alexis" seems to hint that Quentin could "solve" Angelique's and Bruno's murders if he's not in jail. Somehow that's enough to convince Quentin. 

Inspector Hamilton finds Quentin standing over Bruno's body and Mirandizes Quentin right then and there, arresting him on suspicion of Bruno’s murder--pending results of the coroner’s report. Quentin makes free with Bruno’s ROTARY-DIAL phone to call his lawyer, who has a four-digit number. Inspector Hamilton doesn’t care about fingerprints any more than the rest of the Collinsport constabulary.

What lawyer could Quentin possibly call? Larry Chase is dead, and Chris Collins is missing in action.

Ange does her best to plant the idea in Maggie's head that Quentin killed Bruno by saying that surely he couldn't have.

Hamilton has allowed Quentin to pack a few things for jail. His leather suitcase looks like something you'd see only at some fancy luggage store. For some reason, Quentin opens a drawer in Maggie's dresser--to steal her hairbrush?    He promptly finds the mini Apollo Belvedere where Ange put it. He quickly shuts the drawer before the inspector sees it, but at this point I’d say it’s not for Maggie’s sake but only because he prefers being suspected of murder rather than of insanity for suspecting witchcraft. Finally he tells Hamilton, I have nothing more to say--and even if I did, I’m sure you wouldn’t believe a word of it!

As Quentin comes down the stairs to the foyer, Maggie asks him, What should I tell Daniel? Eyeing her coldly now on account of the “voodoo doll,” Quentin replies, You should say I was called away on business. Why are you looking at me that way? Maggie asks. Quentin replies, I’m wondering what you think about everything. I don’t know, Maggie replies. It happened so suddenly. I don’t think so, Quentin says. What do you mean? Maggie asks. Quentin watches her carefully as he answers, I don’t know. Aware that the inspector is watching and listening, Quentin says, I want you to think about a lot of things. I feel the same, Maggie replies. And without another word or a farewell embrace for his wife, just a long, silent look, the Master of Collinwood departs for the police station, unaware of Maggie’s surprised hurt and confusion. Just outside the door, however, Hamilton comments, Your wife seems to think you might be guilty. Why don’t you ask her about that, Quentin replies. That’s a good idea, the inspector says.

Anxious to help, Barn is Quentin's first visitor. Quentin tells him about finding the "voodoo doll" (as everyone calls it) in Maggie's dresser. Barn is outraged at the idea that Maggie is practicing witchcraft.

Back at the Great House, Julia bitterly regrets that she and Barnabas didn’t destroy the life force when they had the chance--she actually stamps her foot in frustration. If we had killed the woman, none of this would have happened, she insists. (She doesn’t say outright that she blames Barnabas, but she’d probably like to.) To his credit, Barnabas admits she’s probably right. Julia points out the irony of the situation: If we destroy the body now, we would destroy the actual murderer too. We can’t afford to let anything happen to Angelique, Barnabas agrees, or we would have no way of proving she was behind everything. Drawing close to Julia, he tells her, I know that it is a great risk for you, but I want you to stay with her as often as you can and keep me informed about her plans.

Ange baits Maggie some more about Quentin. I’m not sure I want Quentin to come back now, Maggie admits. Even Cyrus Longworth, his dearest friend, believed that Quentin killed Angelique and lied about it to protect him. “Alexis” instantly jumps to Quentin’s defense: Although he has a bad temper and is prone to jealousy, he couldn’t have killed Angelique, because if he had-- then she breaks off, but as Angelique intended, Maggie finishes the dreadful thought, wondering aloud just how many murders her husband has under his belt. Angelique declares, We must both have faith in Quentin, and we must be true to that faith!

At the police station at 4:25, Hamilton tells Quentin that bail has been revoked: The coroner’s report has come back, and things look pretty bleak for Quentin--there are hand marks on Bruno’s throat, so it’s no longer mere suspicion of murder. Under the circumstances, Hamilton is also going to order an autopsy on the first Mrs. Collins. The prospect fills Quentin with horror (remember, he and Cyrus burned the body of “Angelique”), and he tries to forbid it. The inspector says he can’t do a thing about it because they can just get a court order. Are you afraid of what we’ll find? he wonders.

Maggie hangs up the ROTARY-DIAL phone after talking with Quentin’s lawyers and tells Barnabas that things have gone from bad to worse. She also tells him that the police have Cyrus’s journal now. Both Cyrus and Angelique were trying to protect Quentin, Maggie says. I only wish I had that much faith in him. Barnabas tries to comfort her and assures her that Quentin is innocent. They can help him as long as he cooperates with the authorities and doesn’t panic. For the first time, Maggie looks unsure.

Quentin’s last visitor for the night (at 4:32) is “Alexis,” who acts upset when Quentin tells her bail was denied. He says that doesn’t bother him as much as what the authorities will do when they discover there’s no body to exhume. They’re going to ask him and her a lot of questions, Angelique realizes. Quentin thinks the situation is hopeless. She says only as long as he’s sitting around in jail. That leaves only one alternative, which even Quentin guesses. “Alexis” says she’s willing to do anything to help him solve Bruno’s and Angelique’s murders.

In his office, Inspector Hamilton is on the ROTARY-DIAL phone arranging for the exhumation and autopsy of the first Mrs. Collins when he hears a piercing scream from Quentin’s cell. He rushes in, Quentin knocks him out with a karate chop and runs out the door, and the closing credits roll over the ascot-wearing mini Apollo Belvedere....

Patti, did you watch Fritz Lang's "M," with Peter Lorre? Grim but fantastic.

Actually, Elizabeth Stoddard did hold a gun on someone--well, almost. When she was a Leviathanite, Jeb told her to kill Julia. So in true Elizabeth Collins Stoddard style, she hid a gun in a gold lame bag. She took the gun out but couldn't bring herself to shoot Julia.

Once again, Barn is thinking with his, um, fangs. And not for the last time. 

Okay, I get it.

For those who care, the room where Stokes keeps the body has a polygonal window remarkably similar to the one via which young Jamison Collins escaped from Worthington Hall (the boarding school run by the evil Rev. Gregory Trask) in 1897 in our time band. Also, this ep. has eight (count ’em!) characters, a record for Dark Shadows and roughly analogous to a crowd scene in one of those Italian sandal epics.

Welcome, Donna Wandrey! Spoiler alert: The closing credits give us her character's name. Sheesh.

Barn rhapsodizes over Roxanne's beauty, utterly oblivious of how it might affect the OTHER red-headed woman right beside him (and not for the last time, either). Once again, he is thinking with his, um, fangs, and the consequences be damned. He practically wills Julia to examine the woman.

Roger has joined Angelique and Stokes in the drawing room, and tells them that he’s rather annoyed: Cyrus Longworth named him the executor of his will. Though he doesn’t mention the problem that Cyrus left everything to Yaeger in the event of his own death or disappearance, Roger thinks it’s going to be a real pain and wonders why Cyrus didn’t pick Quentin. Stokes reminds him, Quentin doesn’t need the fee that you’ll get out of the estate for your trouble. Roger gets insulted at the (probably true) implication that he actually needs money and leaves in a huff, taking his brandy with him. Angelique remarks, Roger and Elizabeth (brother and sister in parallel time just as in our own) live in a dream world--but not for long. She tells her father, I want you to improve your work. I still mean to destroy every one of the Collinses--except of course for Daniel. (She has finally remembered her son’s existence--or maybe it was the writers.) What exactly are you going to do? Stokes asks. Nothing, she replies. Someone else will do all the work for you, Stokes guesses. Tell me everything. There’s nothing to tell, Angelique says. I’ll simply be an innocent bystander who can’t believe all the evil that surrounds me.

Roxanne has a nearly undetectable pulse, so naturally Barn grabs her hand. Her eyes open for a moment, but it's enough for Angelique to feel that old chill coming over her. Her father/stepfather/whatever leaves Collinwood to investigate, but fortunately he has already consumed the pitcher of martinis.

Julia finally gets Barn to go, and he simply Disapparates just before Stokes arrives. Stokes finds Julia in the room and demands to know why she’s there. After a few pleasantries about how tense they are all feeling this evening, Julia figures out an answer: I was just returning to Collinwood, she says, when I had a premonition. I opened the door with a key that Angelique had given me and found the body moving its hand and with its eyes open. When Stokes doesn’t answer, she wonders, Are we going to start doubting each other, now that we should be friends? Somehow Stokes buys Julia’s story and decides to phone Angelique to make sure she’s all right. When he steps out of the room to do so, Julia heaves a big sigh and shuts her eyes in relief.

Angelique is on the phone, telling Stokes that she feels better. Maggie comes in and Ange takes the opportunity to tell her cheerfully that Quentin isn't back yet. I’ll wait up for him, Maggie decides. I once heard an old saying about how if a couple is quarreling, they shouldn’t go to bed angry. (I heard it was Mae West who said, “Don’t go to bed angry--stay up all night and argue.”) Roger arrives in time to hear this part and tells her, You shouldn’t bother waiting up for Quentin or you may never get to bed. “Alexis” promptly tells Roger to stop picking on Maggie, but Maggie tells her, Please leave me alone with Roger. I can handle him myself. After Angelique complies, he insults Maggie a bit more. She reminds him sharply, This house is mine as much as it is yours. Then she actually orders him to get out and leave her alone. ("I am Mrs. De Winter now.") Your house? I wonder--and for how long? is his parting shot.

Angelique doesn’t just go quietly to her room. Bruno is in his cottage playing the only piece he seems to know when she arrives. After he gets over how much she looks like Angelique (again), he asks, What happened when you went to the police with Cyrus’s diary? But it turns out that she’s done no such thing. Angrily he demands, Why haven’t you called the police to tell them about Quentin? After all, you were willing to pay me five thousand dollars for Cyrus’s diary. She says, Now that it’s mine, I’ll decide when and who to call. I need absolute rock-solid proof that Quentin was the murderer. Cyrus wrote only that he discovered the hatpin in the back of Angelique’s neck after she was dead--not that he actually saw Quentin or anyone else put it there. You have to call the police! Bruno insists rather too violently, gripping her arms and shaking her. Never touch me again, Angelique warns him. She makes him have a brandy, then just to show she has no hard feelings, she tells him, You’re much too young to be sitting around bored like this (i.e., with no sex life to speak of, though of course they couldn’t say that on TV in 1970) when one of the female residents at Collinwood would welcome your attentions right about now. I heard her say this afternoon how attractive she thought Bruno was and wondering why he has made himself so scarce. It takes Bruno a little while but he finally figures out she means Maggie. She is much more innocent than she seems, Angelique assures him. Oh, Bruno, she laughs, what makes you so irresistible to Quentin’s wives? Bruno considers this seriously, then replies, I don’t know. I guess we have the same taste in women. Bruno goes to Collinwood in hopes of scoring, leaving Angelique at the cottage.

At 9:10, the innocent Maggie is pleasantly surprised to see Bruno. She’s glad of his company (at first). I’m spending too much time alone here, she tells him. He tells her quite a bit about how wonderful he is (almost in so many words). I admire your self-confidence, she says ruefully. I don’t have much myself. Roger walks by the doorway and decides to listen in. He’s just in time to hear Maggie say, I don’t have any talents. Bruno replies, Not even for loving? Maggie turns toward him in surprise, and he says, Oh, yes, you do. I can see it in your eyes. You not only have a talent but you have a need for someone who appreciates it. As Bruno grabs her, Maggie hears someone at the door and calls out Quentin’s name. But it’s only Roger, who tells her, You’re lucky it wasn’t your loving husband after all. Then he strolls off, chuckling. Maggie wants Bruno to go after Roger and tell him that nothing happened, but Bruno only says, Who cares what Roger thinks? and grabs for her again. This time she really screams and backs away.

Sometime later, a disgruntled Bruno returns to the cottage to report that he has struck out. Angelique tells him (1) he moved too fast; and (2) Roger ruined things anyway, and he probably can’t wait to tell Quentin. As with the rest of his problems, Bruno immediately blames Quentin and declares that he’ll call the police if she won’t. Angelique tries to get the phone away from him, but he shoves her aside rather rudely. However, this time she smiles with satisfaction as Bruno tells the police, “I need to report a murder.”.....

Yes, wonderful! Thanks for posting, MB!