When you put it that way, it sounds a little bit like a death. We have to get used to the fact that we'll never see that person again in life.

Chris asks the operator to get him 7758. The phone rings at the Great House, even though that isn't the usual phone number for Collinwood!) I guess the Collinwood exchange is the only one in town! Chris asks for Julia, but Barnabas tells "Jennings" (without the Mister) that there's been an emergency with Mrs. Stoddard--too much information?

Barnabas practically wails, Why did HE have to come and take her away? Why? WHY? It was Vicki's choice to make, Julia replies, but that’s the last thing Barnabas wants to hear. Julia tells him, I spoke with Vicki after Jeff's disappearance. She was willing to sacrifice her life to be with him. This only makes Barnabas furious. Julia says, You must accept this for your own peace of mind! Through clenched teeth, Barnabas says, I'll accept she's gone and that I'll never see Vicki again--but I blame Jeff for interfering in the first place! I can't force you to see what you should see, Julia sighs patiently.

Meanwhile, poor Chris is without the sleeping pills Julia promised him. Amy wishes he could have come to the movies with her and Joe. After Joe leaves, she looks up at the sky, fearful when she sees the full moon. Although she's been at Collinwood only a short time, she has already adapted to the decor and is dressed entirely in green, even her shoes. Chris also knows that the moon is full--and why it's so frightening.

Barnabas told Julia he wanted to see Elizabeth, but where was he? Not with Elizabeth, because he would have known that she has left the house. Maybe he went back to Vicki’s room to indulge his misery one more time. With the gentle manner he always reserves for small children (and which JF does so nicely), he tries to explain to Amy about Elizabeth, but becomes alarmed when Amy says she left the house. After he leaves to get Julia, Amy puts on her green coat and runs out.

Chris finally goes to Collinwood, and Julia gives him the sleeping pills. At the mausoleum, Elizabeth tells Amy that soon people will think that she (E.) is dead but she won't be, and she'll be buried alive. If Elizabeth weren't under Angelique's spell, she would never say such terrible things to a little kid.

Poor Chris! Poor Joe!

Interesting idea, MT. But when were they going to explain [spoiler]the whole mother-daughter thing[/spoiler]?

We get one last, lovely scene with Elizabeth and Vicki--still nice even with faux Vicki no. 1.

A long time ago, when I had lots of free time, I transcribed the Barn-Vicki farewell. It really is lovely:

Barnabas comes into Vicki's room and finds her sitting in a chair and near despair over her plight. But she is always glad to see Barnabas and greets him with a smile. I was going to go to you, to say goodbye, she says as Barnabas listens in surprise. I'm leaving Collinwood, she explains. May I ask why, Barnabas says. I fell in love, married the man I love, then lost him, she says despondently. If I stayed, the memories would be unbearable. I understand, Barnabas says quietly (but with massive understatement). Vicki continues, I have to go away--where, I don't know, but I must go. If Barnabas was unhappy about Vicki’s marriage, he’s stunned at the possibility that he might never see her again. You're making a mistake, deserting the people who love you, he objects. Please don’t think of it that way, Vicki says. I care for you, he says in his gentlest, most persuasive tones. Come away with me. Let me take care of you. I realize it's too soon to ask, but Vicki, I want you to be my wife. [What incredibly bad timing, Barn!] She whirls around to face him. Sensing her astonishment, Barnabas says, Please let me speak. I know you don't feel for me as you feel for Jeff, but I believe you have some feeling for me. Of course I do, Vicki replies. Perhaps hoping to persuade himself, Barnabas continues, There's the possibility that, in time, your feelings might grow, and I might be able to make you happy. I'd do anything in the world to make you happy. Consider going away with me as my wife. You're the kindest, most considerate man I know, Vicki says gently. I feel close to you and always will.

Knowing what’s coming, Barnabas says softly, Please be sure before you say no. I'm honored you asked, she says, and I truly wish I didn't have to say no, but I must. Because you could never learn to love me? he asks (egotistically). No, Vicki replies solemnly. In many ways, I feel something like love for you, and if I hadn't met Jeff.... Jeff is gone, Barnabas reminds her. He isn't, Vicki replies, and while I know he will never return to me, I'll never stop loving him. I always will. My love for him will always exist in me, and so a part of Jeff will always exist, too. Poor Barnabas is so hurt that all he really understands is that Vicki will never marry him. [And what an idiot she is too!] Vicki continues apologetically, I'll never stop loving the man I _did_ marry. I can never have another husband. [So much for Burke Devlin!] I wish I didn't have to hurt you, she winds up. Please don’t apologize, Barnabas says. Apologies are always more painful than anything else. I asked you a question and you answered it. I want to leave it at that. When are you leaving? he asks. I don’t know, Vicki replies, but as soon as possible. It would be best to leave quickly, I feel. Then perhaps this should be our final farewell, Barnabas suggests. It would be easier that way, he opines. Goodbye, Vicki, he says quietly. Goodbye, Barnabas, she says. Barnabas takes a long final look at her face from about four feet away before he slowly leaves the room. (And no, gentle reader, being the gentlemanly courtly type that he is, he doesn’t even ask for a chaste peck on the cheek.) Before he reaches the door, Vicki stops him and says, Wherever I go, whatever happens to me, I'll never forget you. And I’ll never forget you, he promises. He walks out of the room, his face suffused with sorrow.

Vicki is so busy crying that she doesn’t see the blue light reappear--this time with Jeff inside it, wearing the simple eighteenth-century clothes of Peter Bradford. Her love brought him back--but only briefly, he tells her after an ecstatic kiss. She begs him to take her with him.

Downstairs, Roger finds Barnabas sitting miserably in a chair. Roger wishes he could help but has to leave for London. He promises to phone his sister when he arrives--a mark of the family's wealth in those days. Elizabeth waves goodbye, and we hear the cab drives off. She returns to Barnabas, surprised to see him here. I thought you were still upstairs with Vicki, she says. I just passed her room, heard her talking to a man and assumed it was you. Barnabas turns white, then runs out of the room and races up the stairs, Elizabeth close behind him.

You might feel lost in another century, Jeff/Peter warns Vicki. Not if I'm with you, she insists, holding him tightly. The clock is going to strike, he says. With Elizabeth right behind him, Barnabas tries the door--and finds it locked. Vicki! he calls out. Vicki starts with alarm at the sound of his voice. Peter tells Vicki, Take my hand and hold tight. I love you! he vows. I love you! Vicki replies passionately. Just as the clock strikes eight, Barnabas breaks down the door--but he is too late. Husband and wife are already chromakeyed. Barnabas and Elizabeth watch with grief and horror as Peter Bradford/Jeff Clark and Victoria Winters Clark/Bradford (Betsy Durkin in her final appearance on the show) slowly fade into the past forever. Vicki! Barnabas calls forlornly as he takes a step into the empty room.….

Gosh, MT, I'm probably the wrong person to ask, being a total nonbeliever in spiritualism! But as I understand it, the medium establishes a relationship with a contact--called the control--in the afterlife. When the medium enters the trance, his or her body is temporarily taken over by the control. The control speaks through the medium and  rounds up the spirit(s) the medium or the clients want to communicate with. I have no idea why the contact is called the control. At this séance, Madame Findley reaches out and expects to contact her usual control, but that person is somehow mystically pushed aside by Magda, who is desperate to warn everyone about Quentin. Magda takes over Madame Findley and speaks through her.

Fortunately for David, his father isn't dead. Elizabeth finds him at the bottom of the stairs. David and Amy wear their best innocent looks. Roger is sure someone inside the house tried to kill him. Elizabeth takes him upstairs. Downstairs and unseen by his father and his aunt, David twists the wire in his hands. Amy comes downstairs and reports that she woke Julia, who's getting dressed. What’s wrong? she asks. (Good grief.) Sad and frightened, David doesn’t reply.

As Elizabeth gets Roger a brandy--yes, he has some in his room!--she spots a tarot card--the Tower of Destruction--on the table. So welcome back, tarot cards. It wasn't there earlier, Roger says. Something is happening in our house. [But really, when is it not?] The kids visit him. He limps to the table with the brandy. David notices that he’s guarding his back, but Roger dismisses it. Why are you so concerned? he asks. I'll be all right in the morning. I’m so glad, Father, I’m so glad, David practically sobs as he gives Roger a hug. To his credit, Roger hugs him back.

Even though it's 1:00 a.m., Elizabeth phones Professor Stokes, who apparently is as much of a night owl as the Collinses. He agrees to come over (later) in the morning. When he arrives, he puts on his monocle to examine the card.

In the foyer, Amy remarks to David, You’re afraid to see Quentins. He calls you Jamison. He was my grandfather, David explains. [And yes, he is actually correct.] Quentin thinks you look exactly like Jamison, Amy says as if Quentin is paying David a great compliment. He told me to call you Jamison, too. You can ask him why, if we go upstairs, she wheedles. When they get to Quentin's Room, David calls out, Quentin! I won't do what you want anymore, not if it's like the last time! It's not fair to have me do things like that! Do you understand? The music begins to play. Quentin heard you, Amy explains. Maybe that's his answer. David becomes enthralled again as the music plays, and the cradle begins to rock. Jamison, you _do_ want to play the game! Amy says. Of course I do, David replies.

Welcome, Cavada Humphrey as Madame Janet Findley! I love her very first line: "Don’t tell me anything about the house, not the history nor personal experiences! I don't want to know what to expect!" She tries to reach her control--she's a medium--but Magda reaches out to her instead. (Good scream from CH here.)

The kids eavesdrop with increasing alarm. Stokes has to shake Mme. Findley out of her trance. She explains that there are two warring spirits in the house.

The kids race up to Quentin's Room, shouting that he has to tell them what to do!

Just wanted to add that the end of this episode (presumably aired on a Friday) is one of the scariest moments of the show. Imagine the fans' suspense over that weekend!

Thanks and apologies, MB. Sorry to make extra work for you.

This is such a suspenseful time in the story! 

We will see the moment of possession for each kid in the next episode.

I love the idea of Magda at large, roaming through the corridors while Quentin is stuck in the storage room. 

I don't think David is completely taken over yet, but maybe Quentin can send him some kind of vibe despite being trapped.

I have always thought that the "Game" is Quentin's oh-so-seductive euphemism, custom tailored to be irresistibly appealing to the kids (especially David), for the mischief--and worse--that he wants the kids to perpetrate. [spoiler]I'm sure he used the same term with Jamison.[/spoiler] If he had called it, for example, [spoiler]"kill your father by fastening a tripwire on the Great Staircase"[/spoiler], even David might not have been so enthusiastic.