Nice one, MB! 

MT, you will have one more chance to see Mr. Frid do a choking bit, at the very end of the series. 

I've been waiting for that! 

This episode features an all-male cast (unusual for a soap in those days, I imagine) and a lot of screaming by Chris Jennings.

Bruno takes Chris to the same crypt where Maggie was a prisoner not long ago. [The opening voiceover says it’s at Eagle Hill, but the names on the wall are all Stockbridges--is it perhaps the same crypt that Vicki Winters and Frank Garner investigated long ago?] Bruno tells Chris to make himself comfortable, since he'll be there for 24 hours. He also provides Chris with company, no less than the late Sheriff Davenport. Chris screams with horror at the sight of him. Bruno gives the sheriff the gun, loaded with silver bullets, and tells him to shoot Chris after moonrise.

At the carriage house, Jeb castigates Bruno to someone--maybe Elizabeth?--on the phone. Bruno soon arrives, carrying a briefcase like an ordinary office worker. He had intended to show Jeb the mildewed rope--but when he opens the suitcase, the rope has vanished. Bruno suggests telling Nicholas about it, but Jeb snaps that he'll handle it himself. Even though he paces up and down, he can't think of what to do and gets mad when he spots Bruno watching almost condescendingly. He slaps Bruno around a bit until Bruno gets it right: Jeb leads, Bruno follows. Smiling, Jeb lets him go, but Bruno is furious and humiliated. Jeb doesn’t seem satisfied, even after beating him up, and is still in a state. He asks Bruno what happened after he left Collinwood. Bruno is still angry, so he tells Jeb, Sabrina was at Collinwood, and I took her back to town. I couldn’t find out anything about the werewolf. Why didn’t you use a little “persuasion” on Sabrina? Jeb wonders. Bruno insists she knows nothing either. Jeb is still nervous, but he forces himself to laugh as he remarks, Hey, Bruno, that doesn’t sound like you. Are you soft on her? Bruno doesn’t answer, instead asking what Jeb’s next move will be. Jeb tells him, Tomorrow morning, I’m going to see David. He might remember something from the book about how to deal with the spirits of the dead. Then, despite insisting earlier that he doesn’t want to change to his true form--or maybe he can’t fight it any longer--Jeb goes into the Leviathan room. Still angry, Bruno throws his glass to the floor, shattering it. There is a way to deal with you too, Jeb, he thinks to himself. Maybe I will use it.

Twenty-four hours later, the sheriff tells Chris that he has to chain him to the wall. Chris screams again at the touch of the sheriff's cold, undead hand. The sheriff tells him to manacle himself, but the cuffs are so loose that Chris could easily get out of them.

Jeb saunters into Collinwood, a large white envelope in hand. Roger steps out of the drawing room and glares at him with disgust. Why didn’t you knock? he asks angrily. Mrs. Stoddard told me to feel free to come and go as I please, Jeb replies carelessly. Then feel free by all means! Don’t let me stop you! Roger says, his voice dripping with sarcasm. I won’t, Jeb says and starts upstairs. Why are you here anyway? Roger asks. Waving his prop, Jeb says, I’m going to show David some of my photos. I don’t like you asking so many questions. I don’t like my son’s choice of friends, Roger retorts. In fact, since David hasn’t been himself lately, I forbid you to see him. I don’t know how you’re going to stop me, Jeb says and goes upstairs. Roger goes back to the drawing room and phones Quentin--who has had the grace not to impose himself on the family but is still staying at the Collins Port Inn. Roger tells Quentin, I’ve had my first run-in with Jeb--and I hope it will be the last. I refuse to stand by and let Jeb corrupt the lives of everyone around me! Quentin apparently tries to argue him out of it, but Roger declares, I’ll have him run out of Collinwood, off the property, even out of the state if necessary. Somebody has got to stand up to Jeb and tell him what a cheap, insufferable pig he is! He slams down the phone and turns around to find Jeb in the doorway, listening to him.

I don’t care if you heard everything, Roger says defiantly. I know you were talking to Quentin, Jeb replies--and if so, then you know a lot more than I thought you did. I must say your boldness surprises me, Jeb comments. You’re surprised? Roger asks. Jeb tells him: You probably thought that Quentin's stories about us were exaggerations. But let me tell you, Mr. Collins, they were not. It is all true about us. Let me tell you another thing--while you are still in one piece. We don't tolerate defiance. If you think that you can break me, that you can ruin me, you can't! You must think about your son, and your sister and all the other people. Think about how much you love them. Think how you would feel if something happened to them! Because something could happen to them, he winds up with a sarcastic smile--and to you too. You are a monster! Roger says, horrified and infuriated. Jeb warns Roger, Don’t mess with me. Don’t rock the boat, Mr. Collins. You just leave things the way they are. He leaves the house, and Roger immediately calls Quentin again.

Bruno is still at the carriage house, pacing and thinking to himself, I’m a lot smarter than Jeb thinks. I wasn’t born to follow but to lead. Jeb will know it soon enough. I’m glad I said nothing about the werewolf, because it would have spoiled the greatest chance I’ve ever had. If anything happens to Jeb, Nicholas will appoint a new leader. I’m sure I can convince Nicholas that I’m the best qualified. It will be dark soon--and then Jeb will be dead. He is about to leave when Jeb returns and wants to talk. Oh, man, Bruno asks, are you still uptight? I am, Jeb replies--our enemies increase instead of decreasing. I just met Roger, but I’m more worried about that spirit. I have a feeling it isn’t Paul Stoddard. Bruno says he has to go find the werewolf. Why are you in such a hurry to leave? Jeb asks. Sit here and cool it. You won’t leave till I tell you to.

At the crypt, the sheriff tells Chris it’s almost time. You can’t go through with this! Chris exclaims. I have my orders, the sheriff replies in his usual dull tone. I can’t disobey even if I wanted to. Why not? Chris asks. You have nothing to lose! Yes, I have, the sheriff disagrees. Even as I am now, I have something to lose. The moon rises, and Chris screams in pain as the transformation starts. He screams even louder when he sees with despair that his hand has become a hairy paw. Soon the transformation is complete, and the sheriff aims the gun with silver bullets.....

Bruno (wearing a brown corduroy suit) rescues David. Bruno says Jeb was upset about the book being burned and that "only the ghosts of those we have killed would dare to harm us."

Carolyn is helping Sabrina steel herself for an impending appointment. Bruno sends Carolyn out for the Collins Family History and gets his first chance to be alone with Sabrina after “rescuing” her from the werewolf. He reminds her that will be full tomorrow night. She can't help reacting, but says she plans to stay indoors. He leaves, Carolyn returns. Sabrina is worried about Bruno, but Carolyn opines that he's "harmless."

Bruno is up in David's room, reading about the Collinses and finding nothing. Suddenly the lights go out and something invisible chokes Bruno with a rope around his neck. He staggers about the room theatrically for a few moments before collapsing to the floor. He finally manages to get free of the rope, and the lights come back on. The rope turns out to be a hangman’s noose, covered with mildew. Bruno is unharmed, but they both decide that David shouldn’t sleep in his room tonight.

At almost 9:00 p.m., Carolyn returns, scouts the foyer and tells Sabrina it's okay to come in. MAKEOVER! Sabrina's dark hair is in a kind of layered bubble cut. Unfortunately not Chris but Bruno is the first to see the "new" Sabrina, and his eyes widen appreciatively. You look very beautiful, he tells her, but right now at least he doesn’t let his obvious attraction stop him from asking Carolyn to help him with David. Sabrina goes into the drawing room to wait for Chris, who will arrive soon.

David tells Carolyn he's afraid to sleep in his own room, so they decide to move him to another one--after all, Elizabeth told Vicki that Collinwood has 40 rooms!

Chris finally arrives, and after some hesitation, he and Sabrina embrace, just in time for Bruno to see. They leave without ever knowing that he saw them. Over brandies Carolyn very unwisely tells Bruno Chris's back story. She finishes by saying, Chris is a very strange young man. We can almost see the wheels turning in Bruno’s mind as Carolyn goes on to say, He gets moody and disappears for a few days every once in a while. Bruno wonders why he hasn’t seen Chris in town; Carolyn tells him Chris lives in the cottage. Bruno hastily says he’s just remembered a pressing engagement and almost runs out of the house.

At the cottage, Sabrina and Chris have obviously reconciled. [The actors have a hundred times more chemistry than Carolyn and Jeb!] Chris still thinks they must stop, but Sabrina says, I don’t want anything to interfere. This time nothing should stop us, she declares. We should get married. You would be in constant danger, Chris says, horrified. We can find some way to protect me, Sabrina replies. I refuse to give up. But Chris says, First we’ll find a cure, then talk about “us.” They indulge in a final kiss. Bruno (in the unfortunate rabbit-fur coat) watches from outside as Chris prepares to walk Sabrina to her car. When they leave, arms about each other’s waists and aglow with happiness, Bruno slips into the cottage. A quick search turns up some heavy chains, a pair of handcuffs--and a gun loaded with silver bullets. He doesn’t bother to hide the signs of his search. When Chris returns, at first he is too preoccupied to notice. But suddenly he jumps up to examine all these objects right out in the open, along with Bruno’s flashlight. Almost before he has a chance to think, Bruno is behind him, holding the gun to his back. [Through the window we can see several people walking back and forth and otherwise milling about.] Turn around, Bruno orders. What do you want? Chris asks. Conversationally Bruno says, I’m here to meet Chris Jennings. I already know a lot about you besides your name. I promise we’ll spend a great deal of time together. Together, we will watch the full moon rise! he says and laughs heartily.......

True, RQ, but that's part of his job. Somehow or other, he always gets the job done.

In the first Barn story line, Willie actually is pretty brave. He puts himself between Barn and Maggie when Barn is about to kill her. Later, he goes the mausoleum at the earliest break of day to get her out of the coffin (still scary to me).

P.S. I love your tag line!

Uncle Roger, we really don't see Roger much after this? Oh, dear. I just don't remember. I know he's in 1970PT, though.

No sooner do we get invested in these characters than TPTB write ’em off. *sigh*

Me too, definitely!

MT, this episode was written by Violet Welles.

Between episodes, Julia has gone into the Tower Room. When she comes out, she sees what scared Jeb--a very badly chromakeyed, distorted shadow of a figure wearing a cloak and hood. She calls to it, but it fades away. So yeah, a ghost.

The next morning, Quentin (wearing a spiffy dark blue suit) is having coffee with Julia while they discuss their mysterious new ally. Elizabeth comes in and gives them a sticky, sweet smile as she tells them that Maggie has gone away for a few days. Elizabeth wanted to kill Maggie only yesterday, Quentin observes, and now smiles as she says she misses her. We have to fight back with deception, Julia replies. I’ve had a few years’ practice at it, Quentin says dryly, so I ought to be pretty good.

Julia leaves to get more coffee--Collinwood still has a problem keeping servants--meets Roger in the foyer. They chat briefly, then Roger enters the drawing room--where he is completely taken aback when Quentin, who must have been expecting this encounter, steps into Roger’s line of sight. Roger saw Quentin’s ghost once, just before the family abandoned Collinwood to him; now he backs away in fear. Quentin hastily assures him, I’m alive and no ghost, rather a descendant of the “original” Quentin Collins. They shake hands. Roger says, The ghostly Quentin was cruel, terrifying, even murderous when he couldn’t get his own way. Even so, I want to know more about the original. As they talk, Amy Jennings stands just around the corner outside the doors. I don’t know much, Quentin replies to Roger. The “original” Quentin Collins disappeared when he was very young and only lived with his great-grandmother for a very short time. Roger comments on the remarkable resemblance. I’m starting to feel a bit guilty about how my ancestor behaved, Quentin replies. Amy has slipped away by the time Julia returns with coffee. Roger wants to know where Quentin fitted in the family tree, but Julia tries to change the subject.

Suddenly Quentin’s Theme begins to play. Quentin is momentarily electrified when he hears it but tries to pretend he isn’t. You seem frightened, Roger comments, watching him carefully. Once again Julia tries to get Roger off the topic, giving Quentin time to recover. I forgot we were alone in the house, he comments. Amy steps into the drawing room. Do you like the music? she asks Quentin knowingly. Roger asks Amy what she’s up to. Amy says she found the record (as she calls it). It sounds old-timey, she says, and adds with obvious relish, All of the people who first listened to it are dead now. Quentin looks at his great-granddaughter with a mixture of sadness and revulsion. She asks him again if he likes it. Finally he answers with a smile, I like it very much. She wants to play it again, but Roger marches her out in search of a good book.

Quentin thinks that he's been made. Julia tries to reassure him that Amy didn't really recognize him, but Quentin is wary of the little girl who could destroy all of them.

Amy smugly recounts her exploits to David--still in a wheelchair. She's sure Jeb will take care of Quentin. But David is more worried that Jeb is scared of something, so they consult the Book.

Elizabeth is on the phone with Jeb--she wants to bring Roger into their little club, but when Roger comes into the room, she hangs up. Roger doesn't like the fact that Jeb is staying at the carriage house--or that Carolyn likes him. Carolyn deserves better than an itinerant nobody who can snap a shutter once in a while, Roger comments. Even more offensive to Roger’s sense of propriety is the fact that Megan Todd is staying at Collinwood. Elizabeth says, She is alone what with Philip in jail, and unhappy and ashamed. I know it looks strange to the world-- Never mind the world, Roger says, it looks strange to me. I think they should all be sent away. They have some sort of danger about them and will ruin this house. You’re being melodramatic, Elizabeth accuses him. Like Paul when he first came back? Roger asks. And who stole his body? It’s too horrible to think about, Elizabeth says dismissively. I suggest you start thinking, Roger says. You’re different, and so are David and even Amy. You’re imagining things, Elizabeth says. Something is going on around the house, and I don’t like it, Roger says. I will find out what it is. For the first time Elizabeth looks worried.

Yet another storm breaks over Collinwood as David reads from the Book: “If the spirit of a dead enemy should manifest itself from beyond the grave, there is a way to dispel its presence.” The storm kicks up and all the lights go out. They light a candle, but a gust of wind suddenly blows it out. There is a presence here from beyond the grave, David says. They both feel the unearthly chill, but David says, We must fight it by reading the book. Amy get a flashlight, but suddenly the book flies out of David’s hands with a loud clap of thunder. David tells Amy to get the book, but just as she finally steels herself to do it, the book becomes a casualty of seemingly spontaneous combustion. Amy wants to get out, but David is calm. The spirit has left, he tells her, now that it has done what it had to do. They wonder what they will do without the book, which is now a charred, illegible mess.

Quentin has taken up guard duty at the Old House when Roger comes looking for Barnabas. Quentin notices that Roger is greatly troubled and invites him to confide. Roger agrees. It might be easier to talk to a member of the family who is still a stranger, he says. Everything seems... strange to me--events, people. My own sister seems to be a stranger, my own son lies and disobeys me. [What’s different about that?] Everything is small yet it all adds up to something enormous. It is like some enormous horror that I can't understand. I must understand it. I must! Quentin invites Roger to sit down and tells him solemnly, I am going to take a chance--a big chance. I am going to tell you an incredible story. If you believe it, you will be taking a chance too--because what I am going to tell you could cost your life.

Sometime later the storm is in full swing. Elizabeth can’t reach Jeb on the phone to tell him about the loss of the book. David says she has to go and leave a note, even though the storm is getting worse. She leaves David looking very worried and scared.

Quentin has told Roger about the Leviathans. Roger is horrified that David is mixed up in something so dreadful. I’ll take him away as fast as possible, he decides. They will kill you before they let you take David, Quentin warns him--and they’ll kill David too. But what will happen to David if he stays? Roger frets, full of anguish for his son. Barnabas and Julia and I are fighting the Leviathans, Quentin says, and we could use your help. If you lose your fight, Roger says with pain, I lose my son--horribly. I don’t know what to do. But it seems he will join the fight.

Alone in his room, David waits for his aunt to return. I wish she would hurry back, he says to himself, or even better, bring Jeb with her. The lights go out again and once more David feels the chill. He calls out but gets no answer. Suddenly the bedroom door blows open, and David stares out in horror and revulsion. The lower half of a dangling body slowly swings back and forth above the door--a man’s body. The legs are clad in knee-high boots.....