948 - The bat flies up and down in the cage, squeaking wildly.  Jeb promises the creature, you'll meet Barnabas Collins very soon.

When Barnabas enters Collinwood, Julia anxiously asks where he's been. I had a long talk with Jeb, says Barn, during which we resolved our differences, reaffirmed our belief in the cause, and parted as friends, for the time being--when this period of peace is over, what then? What do you mean? asks Julia. After I spoke to Jeb, explains Barn, I went for a long walk and wondered what the ultimate struggle that must take place between me and Jeb will mean to my friends, the ones I love--I thought of the possibility of people getting hurt--and of Josette--how can I really do anything if Josette is their hostage?--if moving against them will mean terrible torture for her? Barnabas, if you don't fight...begins Julia. "I know," he finishes, "Carolyn and everyone else will face an inhuman fate.

Jeb returns to the antique shop with his grotesque pet.  He asks Philip, don't you know that all work and no play make Philip a dull boy?  Annoyed, Philip says, someone has to look after the shop. Does someone? asks Jeb--what are you up to now? Taking inventory of new merchandise, says Philip--but something is missing. Jeb holds up the covered cage.  Why did you take that? demands Philip. Jeb pulls the cage out of his reach--"I needed it," he says, "and not for catching woodlarks."  What do you have in there? Philip asks.  Wouldn't you like to know? taunts Jeb--well, you're not going to. I couldn't care less, says Philip--I already know--probably something to make someone die. Jeb laughs--it's not something to make anyone die--not directly--you've got the wrong idea--as a matter of fact, you always have the wrong idea--and I'm going to do something about it. Jeb gets in Philip's face, looking for all the world like he's going to kiss him.

Collinwood drawing room - The Leviathans know how to use our human feelings against us, Julia, says Barnabas.  What can you do? she asks.  While I was walking through the woods, says Barn, I about the dreadful choice I would have to make and decided there was only one way to fight them--Julia, we must contact Josette's (Julia's, he said first) spirit and find out the truth. Do you think she'll tell us? asks Julia.  I don't know, but I plan to try, he says. When? she asks.  Immediately, says Barnabas--who else is in the house? Only Maggie, says Julia. Good, smiles Barnabas, her psychic strength can help us--go get her. Julia leaves to do so.

10 PM - The trio assembles for the seance. Barnabas orders the ladies, join hands with me, keep the circle complete. I call to the spirit who once lived and loved here, he says--remember that life and love, hear us, from the darkness of the world you now inhabit, the everlasting depths of the grave, hear us, join our circle! Julia suggests, if Josette is a prisoner, they'll stop her from coming. We will open the door for her, says Barn--make it possible for Josette to escape for a while and join us--Josette, break the barrier and join our circle! The chandelier overhead begins to tinkle and the candle blows out. Julia wonders if it's Josette. Barnabas calls to the spirit, "If you are Josette, speak to us!" Maggie goes into a trance, moaning. Josette is with us, says Barnabas. Her or someone else from beyond, says Julia. It is I, mon cher, says Josette, it was so difficult to come here...

Josette's signature music begins to play in the background. Why it was difficult for you to come here? asks Barn--were the Leviathans guarding you? "I know of no Leviathans," murmurs Josette. This shocks Barnabas--are you sure?  I know of no Leviathans, reiterates Josette. How did you die? asks Barnabas. When you did not come to meet me, I took poison, says Josette--I could not live without you, and I knew this time, it would be forever. Barnabas' forehead crinkles. That night in my room, says Josette, I vowed you would never hurt me, that I would never hurt you again--I can hurt you, I know it, I know in some way I can keep you from doing something you must, unless we are free from each other completely. Are you only saying this to set me free to fight, because you know the Leviathans and what they can do to hurt you? asks Barnabas.  "I know of no Leviathans!" repeats Josette.  I wonder if you are concealing something from me, says Barnabas. I am not concealing anything, I swear, she says--come to my grave, I will show you tonight--come to my grave... Maggie's head falls to the table. Julia rouses the younger woman, patting her face and assuring her, you're all right. She helps her to the sofa.  What happened? asks Maggie. We had a seance and you fainted, says Julia. That girl, was she able to help? asks Maggie. We reached her, says Barnabas, I'll know tonight, but if she can help us, we will begin to move against the Leviathans almost immediately. What first? asks Maggie. First, we must destroy the Leviathan box, says Barnabas, then they won't be able to convert others and they will know who our enemies are. If the box is destroyed, what will happen next? asks Maggie--how will you get the box?--Jeb guards it very carefully. Jeb won't let Barnabas near it, says Julia, despite the friendship they seem to have forged. (Ima Fly makes a cameo appearance here.) We've got to find it, they've got to! insists Barn. Carolyn enters the dark room, remarking, what a cheerful group you are!  She turns on the light--didn't anyone notice it was dark in here?  (Must have wondered exactly what Barnabas, Julia and Maggie were doing in the dark.)  How are you feeling? asks Julia. Wonderful, grins Carolyn, getting away from here was a fine idea, but now that I'm back, I intend to have some fun. She picks up the phone.  Who are you calling? asks Barnabas. "Can't I have any secrets from you?" she smiles. "Hello?" she says, "It's Carolyn. I'm calling to remind you you have one unused date, Jeb." Barnabas looks worried. "Would you like to collect it tonight?" continues Carolyn--"that would be perfect" She eyes the trio after she hangs up and says, "It's true, I do owe him a date, and I like to keep things like that straight." She leaves the room.  He'll be busy with her, Barnabas says--we can go ahead with our plan!

Antique shop - Maggie stops by and greets Philip. You've had enough time with Barnabas Collins, says Jeb--what have you found out?  Nothing, she says, I don't think Barnabas trusts me. "I don't think I trust YOU," says Jeb. Maggie looks at him.  Philip reminds Jeb--Carolyn is waiting for you. That's right, agrees a happy Jeb, who takes his jacket and bids them good night. Maggie and Philip gaze at each other. She peeks out the shade on the door and says, Philip, Barnabas wants to see you--to meet him someplace, and you're not to tell Jeb. Why? asks Philip. Maggie simply stares at him.  Philip says, "Never mind, you don't have to tell me--I understand completely!"

Leviathan altar - This certainly has been a night for conversations, Barnabas, says Philip--Jeb talked to me earlier, accusing me of being weak--I told Jeb I'd try to do better, and one of the things I promised him was that I'd keep my eye on you to make sure you're as loyal as you should be. Now you know, says Barnabas--you can leave here and go to him and tell him everything, how I plotted against him.  "He was right about me," interrupts Philip, "I am NOT a strong Leviathan, and I don't need your help to undermine my faith, I have reasons of my own--two murders among them--and Megan, what they've done to Megan--that's my reason for hating them, Barnabas, that's my reasons for wanting to fight them, no matter what it costs me." It will cost you nothing, promises Barnabas, (famous last words!)  we will get away free, if my plan works--it will be dangerous, and your part in it will be very dangerous. What am I to do? asks Philip. Steal the Leviathan box from Jeb's room when I give you the signal, says Barnabas--will you do that?Yes, promises Philip eagerly--to pay Jeb back for all he's stolen from ME!

Carolyn fixes her hair in front of the mirror and answers Jeb's knock--I'm glad you're early, she says. She takes and hangs up his coat.  I've been thinking about you a lot lately, she says, and people always seem different in your thoughts. I wish I could read your mind, he says fervently, and know exactly how you feel about me--and I warn you, I'm working on it. He puts his hands on her shoulders; she caresses his arms. "And I'll help you," she says softly--"I care about you." Caring is for distant cousins and elderly aunts, says Jeb. How do you want me to feel about you? she asks. Moving in close, he says, "I want you to love me, and want me, need me--think you can manage that?" I can try, she promises.  They kiss, lengthily, deeply and with tremendous passion.

Barnabas goes to Josette's grave. Everyone is ready to go, to move against the Leviathans, except me, muses Barnabas--I can't as long as I have any doubt about you, Josette. Her music begins to play.  Barnabas calls, "Who is it? Who's there?--Josette, is that you?"  She appears, lovely in her wedding gown and veil, minus the protruding golf eyeball. It is I, she says, and I will tell you what you must know, how and forever. "You asked me if the Leviathans held me prisoner," she murmurs, "they do not, but you hold me, just as I hold you with my love--but now the time has come for both of us to go free." I cannot be free without you, protests Barnabas. "But you must," insists Josette, "for I belong to the past: for you there is a future, with someone else." But I don't want anyone else, says Barnabas. "Then you must be lonely, for you cannot have me," she tells him sadly--"But you will find someone else, I know it, and when you do, give her this." She hands him a ring. "The ring that you gave to me, give to her," says Josette, "whoever she may be." Barnabas takes the emerald and diamond ring into his own hand."This ring," says Josette, "a sign of your freedom--and of mine." She begins to fade.  Barnabas begs, "Don't leave me, Josette, it's too cruel!"  He surveys the ring, illuminated from the lightning of the storm.

Carolyn and Jeb kiss in the Collinwood foyer. "Carolyn!" murmurs Jeb, holding her tightly.  She clings to him, too. "I always want you to be with me, think of me, and dream of me," says Jeb.  Her face changes, turning from dreamy and lovestruck to upset. I did dream of you, she says, the other night, and I didn't like it--it wasn't an ordinary dream, it took place in the antique shop, and you told me that you were Michael, Alexander and the baby--you had blood on your hands, and I was frightened--Jeb, what's the matter, you seem frightened, too?  I'm just upset you would think such a thing of me, laments Jeb--blood on my hands. She apologizes--I didn't mean to see you that way, I didn't cause the dream. She presses his hand to her face. Of course, he says.  They hug. The clock chimes.  I told a friend named Bruno we would meet him at the Blue Whale, says Jeb. Carolyn isn't thrilled to hear they're meeting someone else tonight.  He's sharp, says Jeb--you'll like him, come along. Wait a minute, she protests, trying to pull away, I'm not sure...  Barnabas enters and greets them. We're going somewhere, says Jeb.  Carolyn corrects him--Jeb is, I'm not--I just don't feel like meeting someone new tonight--go on. That's ridiculous! says Jeb.  Ridiculous or not, says Carolyn, that's the way I feel about it--good night, she bids both men. Jeb calls up to her, wait a minute, but she's gone, disappeared upstairs.  A pissed off Jeb swings around Barnabas, takes his jacket, and leaves without a word. Barnabas picks up the phone and dials Philip--is Megan asleep?--Jeb just left and is on his way to the Blue Whale--that will give you enough time to do what must be done.

Upstairs at the antique shop, Philip enters Jeb's room. It contains a table and lamp, which Philip switches on. He searches the semi-dark room and finds the Leviathan box in a portable closet. His task complete, he turns off the lamp and leaves the room. When he goes downstairs, he runs into Jeb, turns on the light and asks, "Going somewhere, Philip?...isn't it a bit TOO LATE?"

NOTES: Oh, my, I was actually wondering if perhaps Philip was in cahoots with Jeb to "get" Barnabas, but it appears that Philip's passionate declaration that he wants out is true. What will happen to the poor guy now that he's been caught stealing the box? And what will happen to Barnabas at the fangs of that bat in the box?

Carolyn and Jeb were getting very chummy there, smooching out in the foyer. Perhaps the attraction is purely physical? Wonder if she'd want to cuddle up that close if she could see him in his true form? All that slime would sure mess up a gal's clothes and hair.

How poignant that Josette frees Barnabas from his commitment to her, if we never did see him give her the ring she returned to him.  Figures the woman, even if a ghost, would be the practical one! I always wondered why Josette didn't seem to have any sort of engagement ring from Barnabas. He's going to give it to someone, but I won't spoil and reveal who.


949 - Where were you going, Philip? asks Jeb--"You're going to take that box to someone, weren't you?"  Stammering, Philip finally answering yes, but refuses to tell him who. You don't have to tell me who, taunts Jeb, there's only one person it could be--and he's fooled me for a long time, but no more. Jeb takes the box away from Philip and says, if Barnabas wants the box, he can have it. This generosity puzzles Philip. Jeb adds, "When I'm ready. Philip, I'm a very obliging fellow," says Jeb, turning on the light--"I give people exactly what they want. You, for instance, made it clear from the beginning what you wanted is death--you couldn't have been stupid enough to act the way you have from the beginning unless you wanted to die, so I can only assume... " No!" cries Philip.  Jeb, reaching for a candleholder "...I'm going to give you what you want tonight--right now!"  Again, Philip cries, "NO!"Jeb lifts the candlestick high; Philip's face contorts in terror. Someone knocks.  Philip squeaks out, "Just a minute." Jeb puts down the candleholder--you're lucky, he tells his foster father, but your luck will run out very soon. The visitor is Lawrence Guthrie, from Augusta, investigating the mysterious murders in town--I know it's late, but I'd like to come in. Philip is more than happy to invite him in.  Jeb requests his ID. This is Jeb Hawkes, our boarder, introduces Philip. Guthrie takes out his wallet and shows his ID to Jeb, then says, Mr. Todd, I want to ask you the same questions Davenport asked. I don't mind, says Philip--I'll tell you anything I can--we were very upset about Davenport.  Why? asks Jeb, when such a man dies in the line of duty, isn't that the way he wants to go?Guthrie looks at the grinning Jeb and suggests, that's an odd point of view.  Mr. Todd, how long was Paul Stoddard here the night he was murdered?  Just a few minutes, responds Philip. Where did he stand? queries Guthrie. About where you're standing now, replies Philip. So he was never near that door? asks Guthrie. No, unless it was during the time my wife Megan came up to get him, says Philip. Jeb watches, his tongue thrust into his right cheek. I don't think so, adds Philip--I think the minute she left the room, he ran out--she said he was in a terribly disturbed state. Philip offers to awaken Megan to speak to Guthrie.  Don't bother, says the lawman--I'll talk to her another time. As the man walks around the shop, Jeb and Philip stare at each other. Jeb saunters up to the guy and asks, what were those questions about?--I'd like to know. I'd like to know a few things, too, says Guthrie--may I see your ID?  I wasn't here the night of the murders, says Jeb, pulling a piece of paper from his pocket and handing it to Guthrie. Yes, I know--where were you? asks Guthrie. Traveling, replies Jeb, cross-country, on both business and pleasure--I'm a photographer. You must have gotten some interesting pictures, remarks Guthrie--I'd like to see them someday--I'm an amateur photographer myself. He hands Jeb back his ID and says goodnight. Wait, says Philip hastily, I was just about to go out, I'll walk with you. Jeb cunningly asks Philip, do you want me to tell Megan you're going out?  Megan? repeats Philip, as though not remembering the name. She might be very upset you left, points out Jeb. Philip agrees--sorry, Inspector Guthrie, but I had better stay--my wife has been very nervous since these murders started. Guthrie leaves without him, not saying another word. Philip is furious. I've changed my mind about killing you, says Jeb--but if you ever get any ideas about betraying me, Megan is going to regret it very much.

Collinwood drawing room - Amy draws.  What is that? asks Carolyn, taking it from her to look at it.  --why are you drawing that?  It's pretty, the child answers. Carolyn disagrees--it's the last thing in the world I'd call it--what gave you the idea for drawing it, anyway? Mrs. Todd has one on her locket, says Amy. Philip has one on his ring, says Carolyn--I wish I could understand its fascination for everyone--it makes me feel uncomfortable. Quentin enters the room, sending Amy darting into Carolyn's arms. "Don't let him in here!" she cries. Carolyn assures her there's no reason to be frightened--I know this man who scared you in the shop, and you were wrong, then and now. No! cries Amy, twice.  What is it about me that scares you so much? asks Quentin.  You look like the ghost, like Quentin Collins, says Amy. That's because he's related to the man who frightened you, says Carolyn, he's a cousin of ours, who is also named Quentin--but not the same one--how could he be?  (ask Barnabas)  Amy clings to Carolyn, hiding her face.  She's being unreasonable about this, Quentin, says Carolyn--I don't know what to do. Well I do, says Q, leave us alone a minute. No! protests Amy. Please, says Quentin, I know this moment will be very painful, but less painful than your fear of me continuing. If you say so, agrees, Carolyn--Amy, I'm going to see Mrs. Johnson for a minute. I'm going to bed, insists Amy.  Quentin wants to speak to you, Carolyn reminds her. I don't want to speak to him, says a terrified Amy.  Carolyn soothes her--there's not a reason in the world you can't speak to him. Gently, Quentin repeats Carolyn's words. Carolyn walks from the room.  Amy turns away from Quentin. "Don't turn away from me," he says, reaching to pull her around to face him.  He takes her face in his hand and asks, can you feel my touch?  (lucky gal)! There's nothing to be afraid of in my hand, he says, just as there's nothing for you to be afraid of in me. He looks straight into her eyes--I know once you were afraid of someone named Quentin Collins, but I'm not that man, I swear it (but he's lying and we know it)!

Philip looks over an array of photos, amazed to see they're taken from around the country--and with the same kind of camera Jeb has. I have some followers loyal enough to get me anything I need, says Jeb, but this isn't going to do--that special investigator didn't like me--I can tell the way people feel about me--and I'm going to take care of him.  What if he didn't like you? asks Philip--you were rude to him, why should he like you--you answered all his questions, and weren't even here the night Paul died.

Guthrie, of the Augusta police, is on the phone, requesting, "anything you can find on Jeb Hawkes"--and he spells the last name.

Amy runs into the shop, calling Jeb--I'm so frightened of Quentin, because of what he is, I wasn't sure, but now I am--I had a dream, I was sure, no matter what anyone says--it was a terrible dream--David was missing--I went into this room, I heard his music (we see Amy's dream played out). The gramophone in Quentin's room is covered with cobwebs.  Amy enters the room, calling  David--there's something I must tell you, please answer. The door slams closed and Amy spots Quentin's reflection in the mirror.  "Quentin!" she calls--I came to warn you (and it's the mutton-chopped Quentin we and Amy see)--they're on their way here now, Maggie and Barnabas, they think David's here, and they know all about this room, and they're coming to get you. He regards her with anger.  Why? she asks--I came and told you, didn't I?--I didn't tell them about the room, Maggie remembered it in a dream, I heard her telling Dr. Hoffman she was here before!--I didn't have anything to do with it, you've got to believe that. He grabs her shoulder.  Don't punish me, she begs, please!Quentin speaks, "You will not tell Maggie, you will not tell Julia, you not tell anyone, especially Jeb!" He knew about you, points out Amy, and you weren't here then--somehow, this Quentin Collins is the same ghost who scared me before, and I'm still afraid of him. You don't need to be, says Jeb, not this time, I'll take care of it. He pats her hair--I'll take care of anyone who gets in my way. He grabs his jacket--I'll take you to Collinwood--pay a visit. Carolyn's busy talking to a Mr. Guthrie now, says Amy. I think I'll see her anyhow, says Jeb.  The two of them leave the shop. Philip enters, gazing after them.

"Then, Dr. Hoffman found him in front of the shop," explains Carolyn haltingly--she took him to Professor Stokes' flat, where he was killed. Guthrie thanks her for the information--I know it's been hard to talk about, he says--I also spoke to Philip Todd last night. Poor Philip, says Carolyn, there's been so much talk about the shop... Guthrie asks, do you believe any of it?  No, she says.  I also met Jeb Hawkes, adds Guthrie.  Carolyn smiles--your tone tells me you didn't like him, she says. Yours tells me that you do, comments Guthrie. Yes, I do, very much, says Carolyn. She answers the phone; we see it's Philip, still wearing his Naga ring, covering the phone with a handkerchief, asking to speak to Guthrie at once (do people really believe that changes their voices)?

Philip removes the handkerchief from the phone after Carolyn gives it to Guthrie. There's something I forgot to tell you last night, says Philip, introducing himself. I'll be right over, says the latter. No, not now, says Jeb, my wife Megan is here, and Jeb has gone to Collinwood and is coming right back, so come tonight at nine--Megan will be at a farm auction and Jeb having dinner with Carolyn--I'll be alone--one more thing, Inspector, says Philip, don't tell Carolyn or anyone else I called. No, of course not, agrees Guthrie, and hangs up. Carolyn asks, was it important?  Very important indeed, he replies.

9 PM - Philip unlocks the door and admits Guthrie. I'm going to tell you how Paul Stoddard was killed and who killed him, announces Philip.  I'm shocked you know, says Guthrie. It's an incredible, horrible story, says Philip, and it's going to be hard for you to believe.  Do you want to talk here or at the police station? asks Guthrie. The latter, says Philip, but before we go, I have something to show you--a room upstairs--it's an important part of the story. Philip leads him to THE room--go right in, he says. Guthrie does so.  Philip waits outside. Guthrie turns on the light and finds himself face to face with the heavily-breathing LLB monster. Let me out! begs Guthrie.  Instead, Philip turns the key, locking him in.  Guthrie screams as Jeb turns him to Leviathan Death Stew. Hearing the man's screams, Philip looks sickened. The heaving breathing dies away.  Jeb knocks to be let out and tells Philip--he won't be asking anymore questions--don't be so upset, you did your job well--Megan would have been proud of you. Megan? repeats Philip, looking pleased. You did your job very well, repeats Jeb--now let's see if you can do the rest of it.

10 PM - Carolyn runs to answer the knock at the door. It's Quentin, who anxiously asks for Barnabas. He's not here, says Carolyn. I'm supposed to meet him here, says Quentin--we'd like to talk to you.  I'm going out with Jeb, if he ever gets here, says Carolyn. You can't do that, insists Quentin. I'd like to know why not, says Carolyn.  You'll find out when Barnabas gets here, he says.  Suppose Jeb arrives first? she asks. I'll take care of Jeb, says Quentin. I'm sick and tired of all this, she complains--everything becomes a mystery, I can't even have a simple dinner with someone without people acting... He walks away from her.  Either you tell me what's going on or I'll go meet Jeb in town, she threatens--I've had all I can take for one day. He agrees to begin without Barnabas--I want to discuss your father's murderer. Do you know who it is? she asks--who?  I want to wait for Barnabas, he says.  Please tell me! she begs--why is it so difficult, is it someone I know, someone I care about?--who is it, tell me? Jeb Hawkes, reveals Quentin. Infuriated, Carolyn reminds him--Jeb wasn't even in Collinsport when my father was murdered. He was, says Quentin, you just couldn't realize it. I realize much more than you thinks, says Carolyn, that you and Barnabas are determined to keep me from seeing Jeb and don't care how you do it--you'll even use my grief over my father to keep us apart. It's the truth, says Quentin, Jeb did murder your father. Prove it, demands Carolyn. All right, I'll tell you everything! says Quentin. Jeb bursts in--I couldn't come, he says--something just happened at that antique shop--Guthrie was just murdered, and they got the murderer, the same who killed the sheriff, your father. Who? demands Carolyn."Philip Todd--he just confessed," says Jeb. Quentin looks at him steadily, a gaze that says, we both know that's a lie.

NOTES: Whoever played Guthrie wasn't the world's greatest actor, but we lose yet another to the Leviathan Lung Brat. Does anyone remember another DS character named Guthrie, and how he succumbed to fire thanks to Laura Collins? I wonder if there was any relationship?

Carolyn was bullied by Jeb, yet seems ready to defend him, no matter what. He must give off some pheromones that are blocking her intelligence.

Poor Philip, taking the rap for Jeb's crimes. He really is a fool, but one must assume Jeb is threatening Megan. And how did Philip get all that goo on his victims, anyway?  How are they going to be able to tie him to this crime--really?

Love, Robin

944 - The werewolf tries reaching for the moon poppy, and even breaks off the flower. He starts to draw it to his mouth, but at the last moment destroys it, tipping over a couple of pieces of furniture along the way.  It leaves the cottage.

Antique shop - On the phone, Jeb accuses Maggie of "copping out" (a fave slang term back then) in getting Barnabas to reveal where Carolyn is--keep on him, orders Jeb--is that clear?--it had better be! Bruno brings the angry Jeb greetings from Portland, a charming city. Glad you think so, grumbles Jeb. What's the matter? asks Bruno, didn't Barnabas believe Maggie had a long-lost aunt there? I don't know if he did or didn't, says Jeb--he wouldn't tell her where Carolyn is. She will, says Bruno, give the girl time. I want Carolyn NOW, pouts Jeb.  Bruno laughs--now or later, it's all the same.With me and Carolyn it's now, says Jeb.  I never met a girl who could matter that much, says Bruno, hanging up his fur jacket--with me, it's always now or later. A wolf howls, Jeb. You're not listening to me, says Bruno--what's the matter? I was just remembering a poem, says Jeb--even if a man is pure at heart and says his prayers at night, he can become a werewolf when the wolfbane blooms and the moon is full and bright. What made you think of that all of a sudden? Asks Bruno.  There's a werewolf out there!--it howls--don't you hear it? asks Jeb, his face twisted in fear. I hear a dog, shrugs Bruno. Not a dog, you stupid, it's a wolf, a werewolf, says Jeb. Bruno doesn't believe it. You'd better believe it, Jeb, and do exactly as I tell you--the most dangerous of creatures, the only ones we couldn't tame--they were more ruthless and cunning than we were--they were the enemy, and we tried to drive them out, kill as many as we could, but there was always one left, and it was always howling...!  Jeb covers his ears--I can't stand that sound, stop it!

Barnabas picks up the remnants of the moon poppy, realizing Chris couldn't eat it--the human part of him submerged too quickly, and the animal could only destroy.Sabrina enters, sees the flower in Barnabas' hand and screams in misery, taking the ruined petals into her own. Barnabas tries to comfort her, re-introducing himself--I'm trying to help Chris, too, he says. Nothing can help him now, she sobs. Don't think that way, says Barnabas. What other way is there to think? she asks bitterly--he's going to be killed tonight, I know it. You only fear it, amends Barn. No, she says, staring down at the flower, I know it, he will be killed as surely as this flower is destroyed, and it will be my fault--if I hadn't brought the flower, he wouldn't have stayed here by himself--he wouldn't have been able to get out into the woods where someone could get him! Barnabas assures her--he's gone out there before, he'll come back alive.  Not this time, she moans, I wish there was some way to tell him I only wanted to help--I wish I were in the woods with him now. Even if you were, you couldn't make him understand, says Barnabas--tomorrow. No, tonight, insists Sabrina, it's the only way I can save him. You're frightened, upset, saying things that make no sense, insists Barnabas. They do make sense, she says, I don't know why, but they do--I am the one person he won't hurt, or kill--he didn't kill me before, and won't now--that's why I must go to him. You're going home, says Barnabas, and I'm taking you there!  No, she cries. Then I'm giving you some brandy (?) because we must talk about it! he says.  There's nothing more to say, says Sabrina. There's a great deal more to say, insists Barn, pouring a brandy, because when Chris is himself again, the desire you have to help him will mean the only thing...he turns and sees she has gone. Come back! he calls out to her--you can't go into the woods alone--but she doesn't respond.  He heads into the woods to find her, still screaming her name.

The werewolf prowls the woods, searching for a victim.

Barnabas searches the woods for Sabrina, calling, answer if you can hear me!--you must! There's no sign of her, but she must be someplace, figures Barnabas--perhaps I'll get some of the Collinwood servants to help...  (Good luck finding them.)

Jeb covers his ears against the howling of the werewolf. Bruno assures him the creature has gone off somewhere else, but Jeb knows he'll be back. When he comes back, I'll be ready for him, says Bruno, drawing out a gun--just like I'll take care of all your enemies. (toady!)  What's that for? asks Jeb. It's best to kill, says Bruno. That won't do you any good, says Jeb, silver is needed, he isn't like any other of our enemies. We'll see what happens when he faces my gun, brags Bruno. It won't do you any good! insists Jeb.  I've got to go, says Bruno, if only to prove to you I don't talk--I do what has to be done, no matter how dangerous. The werewolf howls.  Jeb, like a scared child, covers his ears.

Barnabas returns to Collinwood. The phone rings, he answers. It's Angelique--I'm glad I found you there, she says--I must see you, come to the island immediately--I won't discuss it on the phone. You must! he insists.  Angelique refuses. Is Carolyn all right? he asks. I won't tell you anything, she says, until you're here--now come as quickly as you can. Dressed in black, her hair long and becoming, Angelique gazes at her old portrait.

Barnabas wonders why Angelique wouldn't tell him anything--must be a way of finding out something. Yes, there is--and he exits, leaving the door open.

Sabrina stands in the woods, listening to the howls of the wolf. It sounds so far away, she muses to herself, but it proves he's still alive--she smiles--Chris, you've got to stay alive until I come to help you, find you.

Jeb sits on the steps in the antique shop, covering his ears like a kid during a thunderstorm. When the sound subsides, he cautiously looks out the window. Barnabas enters and asks Jeb, are you going somewhere? No, I was just listening to the night, responds Jeb. It's a beautiful night, the moon so full and clear, says Barnabas. Jeb agrees, but--it would be a beautiful night if I had Carolyn. You'll have her at the proper time, says Barnabas. Angry, Jeb says, I don't think I'm going to make it to the proper time. The time of the Leviathans is a long time in coming, says Barnabas. Don't give me that stuff, says Jeb--how do those people who lived so long ago know how I feel about Carolyn now--and I want her now! Her mother wouldn't have taken her away unless she needed the rest, points out Barnabas. Her mother wouldn't have taken her away if you hadn't told her to, corrects Jeb. We're on the same side and it would be better if we didn't quarrel, says Barn. Are we on the same side? asks Jeb. YES, says Barn, excuse me--I'm going home. Prove we're on the same side before you go, insists Jeb--tell me about the werewolf. There's no such thing, says Barnabas. Don't tell me there's no such thing, says Jeb--such ignorance doesn't become a man of your history--you know there's a werewolf, and you know he's here.  There has been talk of a strange animal in the woods, admits Barnabas, but it's hard to tell in a village like this what is legend and what isn't. There's a werewolf here, insists Jeb, and he senses I'm here. I didn't know the werewolf was your enemy, says Barnabas. Now you do, says Jeb--listen more closely to the legends--I must find out where he is, who he is--and kill him before he kills me! cries Jeb, looking as if he's about to cry. Uh oh, thinks Barnabas.

Sabrina hears leaves crunching in the woods and calls to Chris--is that you? she asks.  It is the werewolf, and it comes toward Sabrina, who screams. No, I didn't mean to scream, she says, I won't scream or run away, I want to help you.The werewolf moves in closer...

Sabrina faces down the werewolf, who moves toward her. Bruno leaps in; man and beast battle each together.  Bruno pumps a bullet into the werewolf, who runs off.  You're all right, Bruno assures Sabrina--he's gone. Sabrina sinks to her knees, sobbing no. He doesn't understand her reaction--you had a bad scare, but I saved you. "Why didn't you leave me alone?" she wails. I don't get it, he says--the werewolf would have killed you. He wouldn't have hurt me, insists Sabrina, crying.

Angelique takes a drink while she awaits her first husband. She puts down the glass at the sound of the doorbell. Barnabas' first question when she lets him in is, "Where's Carolyn?" She and her mother are both sleeping, reports Ang. What's the matter? he asks. Nothing with them, plenty with me, she says sharply. She leads him into the living room and says, my life as Angelique Rumson is terribly important to me, especially Sky--I couldn't bear it if I lost him--"I WON'T lose him!"  I know that, says Barnabas. Then you must know that you must get Carolyn and Elizabeth out of here, insists Angelique. You said they could stay here as long as he was away! Barnabas reminds her. They can stay even longer as far as Sky is concerned, she says when I told him we had houseguests, he said they could stay here as long as they wished. Did you tell him who they are? asks Barnabas.  Yes, and he was very generous about it, says Angelique--he's a very kind and generous man--but I am NOT so generous, and I won't give up my happiness to help anyone. But if he approves...? asks Barn. Listen to me, says Ang, last night, Liz was looking at me very intently, and insisted I reminded her of someone. Carolyn suggested perhaps Liz had seen me in some magazine.Did she accept that? asks Barn. Yes, says Ang, she did, for the moment, but how much longer will it be before she recognizes me as Cassandra, who was married to her brother?--how much longer before I make a slip and reveal too much knowledge of the Collins family--and I won't just be revealing myself to Elizabeth, but a dedicated member of the Leviathans, and then we are all lost!  Liz is a dedicated member, agrees Barn, but I'm her leader, and she will do exactly as I say. Will she? questions Ang--will she even if Jeb tells her to do otherwise? She will do nothing to hurt Carolyn, that I know! says Barn passionately. Well you know a lot more than I do! says Ang--and you're a lot more confident that nothing will happen--if something does happen here...there's nothing more I can say, if Sky finds out about me, I'm completely lost!  Barnabas turns to her.  All right, he says gently, I'll take them away.  Thank you, she says fervently. Tomorrow, he promises. Now, insists Angelique. No, the danger to Carolyn is worse than ever, warns Barnabas--I'll come by tomorrow to take them away! All right, she agrees, but until then, I'M the one in danger--remember, if you fail to keep your promise...  I won't fail, he assures her, sounding totally exhausted.

Jeb sits in the dark antique shop. Bruno enters--there IS a werewolf, he reports--I saw him and shot him at close range--he ran off into the woods, badly wounded. But not dead--I told you you've got to use a silver bullet, says Jeb.  Next time, says Bruno, I'll get silver bullets, because next time the moon is full, I'll be right there, with him--because tonight I found a girl who wasn't afraid of the werewolf, who said she could control him! This excites Jeb. That girl must know him very well, says Bruno, so that girl is going to lead us to him, next time the moon is full--her name is Sabrina Stuart, she lives at the Inn with her brother--I took her home. Did you meet the brother? asks Jeb.  No, she said he was away for the night, says Bruno. (Ned on a date?--doubtful!)  Jeb wonders if that means....  (That her brother is the werewolf? Ned is definitely a pawer, but not a werewolf.)  I don't know, says Bruno, perhaps I should take care of him right away, just on the chance he...  No, says Jeb, don't be a fool--if you kill him in human form, it will turn him into an animal forever, and that's just what he'd like, so he can haunt me always and howl always. If it bothers you that much, says Bruno, I'll go take care of him now--remember, "You've got Bruno!" (LOL!) He leaves.  Jeb starts heading upstairs. The phone rings and he answers it. It's someone looking for him, someone with news about Carolyn Stoddard, oh, yes. Isn't that a coincidence? muses Jeb--Little Windward Island. No, tomorrow won't do, he says, grinning--it will be too late--it must be tonight, you understand? Listen very carefully--the ceremony must take place there, on Little Windward Island, and this is what I want you to do...

NOTES: Oh, no, Angelique was right, everything is going to come tumbling down around their ears now that someone has ratted out Carolyn. Who is it?

The scene between Angelique and Barnabas was excellent, as most of their scenes are. He could have refused to help her, I guess, thinking back on their past relationship and how often she stabbed him in the back, but he agreed to get Carolyn and Liz out of her home--perhaps a bit too late, something neither of them know yet.

I don't LIKE Sabrina, and I keep hoping the werewolf will just get rid of her. She annoys me more than Amanda did, and that's saying a lot. I do love the way she wants to help her man, but ewww, she just grosses me out, especially her mouth!

Bruno is just a toady killing machine for Jeb.  He doesn't even have Aristede's class.

It was fun to see Jeb afraid, cringing on the staircase like a little boy afraid of the dark. It's good to see his brassiness, his superior attitude, knocked down a few pegs.


945 - In Angelique's luxurious home on Little Windward Island, Carolyn stares into the fire, then goes over to gaze out the window. Liz sits in a chair. Angelique enters--would either of you like something before I send the servants back to the mainland? she asks her guests. Both ladies refuse.  Ang leaves the room. Liz, disturbed, goes over and asks Carolyn, what's the matter--you haven't spoken for over an hour.  When are we going back to Collinwood? asks Carolyn. When I feel you're completely recovered, answers Liz. Recovered from what? demands Carolyn--you make it sound as if I had some sort of disease. You gave us a terrible scare, says Liz, you can't deny you needed this rest. Carolyn agrees--but now I feel fine. Then we won't have to stay much longer, says Liz. Carolyn stares at her, and says, once or twice I had the feeling we left because YOU wanted to get away from Collinwood--you've changed lately--you don't smile as much as you used to, and something about your eyes...  It's your imagination, Liz--certainly, my concern for you hasn't changed. (And she looks more Leviathan than mother.)

The servants are gone, Angelique reports to Liz and Carolyn--we're alone together until Sky returns. How did you and your husband find this place? queries Liz.  Sky owned it before I met him, says Ang--he persuaded me to come live here. You mean you had to be persuaded? asks Liz, surprised. I had grown accustomed to city life, says Anf, where I met Sky, and wasn't sure I could exist in the solitude and isolation of this place. Have you? Liz asks. Yes, says Ang, and have never been happier.How did you meet Barnabas? asks Liz. Carolyn turns to hear this response, too. I was a model in England, says Ang, I met Barnabas at a party--after he came back to this country, he got in touch with me--we've been corresponding ever since (cool lie).  I see, says Liz--I can't get over the feeling I have met you somewhere before. Yes, you mentioned that before, says Ang, but I'm sure it's just someone who reminds you of me. The phone rings. Ang answers--it's Sky, who says, I'm at the little airport near Logansport--I want you to pick me up there--I made three phone calls on a big deal and I have to stay here to get the return calls. Can't you change the calls to here? asks Ang.  I'm afraid I might end up missing all of them, says Sky--in any case, I'd miss my last chance for a ride home after I finish talking to them. Ang promises to come get him, then hangs up--I'm sorry, Mrs. Stoddard--my husband is impulsive; I must go all the way to Logansport, and it will be several hours before I can get back. Don't worry, says Carolyn--we'll be fine. You're very understanding, says Anf--you know where everything is, so just make yourselves at home. She exits. Liz remarks to Carolyn how demanding Angelique's husband is--she must be very devoted to him.  Why were you so inquisitive with her? asks Carolyn.  I didn't mean to be, says Liz.  The phone rings, Liz answers--it's Jeb. He introduces himself to her.  I know who you are, of course, says Liz.  Return to Collinwood immediately--alone, says Jeb. I can't, says Liz.  Barnabas and I need you back in Collinsport, says Jeb, something has happened--there's no time for explanations; you won't tell anyone there "Mrs. Johnson" called. Liz understands--I will leave in half an hour, she promises.  You'll get further instructions when you get to Collinwood, says Jeb. "I'll be there, Mrs. Johnson," says Liz.   Is something wrong? asks Carolyn.  Mrs. Johnson called to remind me of some papers that must be signed by 9 AM tomorrow, says Liz, dreamy-eyed--I have to go back and tend to them.

Antique shop - Jeb admires a black and white photo of Carolyn.  Soon, he says, you will see me as I really am. He enters his "transformation" room breathing heavily as he morphs into his real Leviathan self.

Dressed to leave, Liz assures Carolyn, I'll get back ASAP. I wish I were going with you, says Carolyn.  So do I, answers Liz, but we've accepted Angelique's hospitality and can't just leave without an explanation. Carolyn is cool with that. Angelique will only be gone an hour, Liz says, so you won't be alone long. I'll be fine, Carolyn assures her.  I'll call you from Collinwood to check on you, says Liz.  They kiss goodnight; Liz leaves. Carolyn looks out the window and watches her mother's departing car. There's rustling in the bushes. It begins to storm. Carolyn picks up a book and sits down to read it, right near the fire. I can't stop thinking about Jeb, she muses, even though I barely know him--what happened to me in the antique shop the other night, why did I faint?--I don't understand any of it, or maybe I'm afraid to. She pours herself a cup of something. A painting suddenly falls from the wall, causing her to drop her cup with a gasp. She kneels to pick up the painting and places it on a table, then gathers up broken pieces of the cup. The door blows open. Carolyn, frightened, goes to close it, looking out into the night first. There's more rustling in the bushes. Carolyn sits back down in the chair and attempts to read the book. The phone rings, startling her. She answers it, shaking, and tells the caller, Mr. Rumson isn't here, I'm a guest--might I take a message? It's Mr. Cartwright (Ben?); Carolyn assures him, I'll give Sky the message. Hearing footsteps, Carolyn calls out "Hello?" The lights go off, she screams.  She tries the light switch, to no avail. She hears the sound of shattering glass and stands there, rooted, terrified. With a shriek, she covers her head with her hands and runs from the room. She races to her bedroom, feeling for her bed in the dark. She clings to the bedpost, then hears footsteps again, and a slamming door. She listens at her door and hears music, then leaves her room and sees a moving shadow behind a pair of double doors. Please answer! she begs whoever it is, and pulls open the double doors. It's only Sky, but Carolyn, nerves raw, puts her hands to her mouth and lets loose with peal after peal of screaming.Sky gazes stoically at her.

Sky pours Carolyn a drink--just take a sip, you'll feel much better, he assures her. I've never felt so scared in my life! She gasps. Sky kneels at her feet--it's all my fault, he says, I'm terribly sorry. She says she's just more jumpy than usual, Mr. Rumson. Call me Sky, he suggests.  She sips her drink and asks, where is Angelique?  We missed connections, he says--she must have been held up by the storm, and I knew an important call was coming here instead of the airport, so I managed to get a cab--I'm sorry we had to meet under such strange circumstances, the radio must have drowned out your calls to me. Carolyn gives him back the glass, her hand to her forehead.  Nothing is going right, says Sky--I'm sorry about the lights, too--the storm must have knocked out the electric--it's happened before; I'll have it fixed tomorrow. He looks out the window. We here the sound of breathing. Carolyn tells Sky about the call from Mr. Cartwright. It's important, says Sky--I must call him back--I'll go into the next room to make it--will you be all right? Yes, as long as I know you're nearby, she says. I'll be back in one minute, he promises, and leaves.  Carolyn sits back in her chair.  We hear Sky on the phone apologizing to "George" for getting back so late.

Carolyn dreams. She hears Jeb say, I knew you were a person in need of a whole new world, and I was the person who could give it to you... A disco ball twirls. Carolyn goes to the antique shop, calling Jeb--answer me, she begs, there are so many questions I don't understand. About what? he asks, standing in a doorway. I'm so glad you're here! she says. I've been waiting, if you'd come back, he says. Come into the light, she says playfully, I want to see you. Do you really want to see me? he asks, the way I really am, Carolyn?  I don't understand it, she says. I don't understand why you ran away, he counters, hid from me--or was it because you didn't like me, despite what you said?  Smiling, she says, I've known you for such a short time. Much longer than you think, says Jeb, or did you forget?--I didn't, about the way you used to look at me, caress my hand, the warmth of your kiss on my cheek. What are you talking about? she asks. Look at this, he says, maybe you'll remember everything--he holds up his wrist to show her the moon-shaped scar. She gasps, covers her mouth. He smiles--you remember me when I was Joseph, a cute, sweet little baby, or maybe you remember me as Alexander, sweet, little Alexander--and he takes down the death mask from the wall, holding it over his face. "Remember the way I used to try to scare you--with THIS?" he asks. She gasps, scared. Or maybe you liked me best as Michael--that's when I began to realize that I really wanted you--and couldn't wait to grow up and become Jeb--you can understand that, can't you? I can't believe you, Michael, Alexander and the baby were all him, she insists, upset, it's impossible. All true, he assures her, and somehow I knew you'd come back, and now that you have, you're going to be all mine. "Come to me," he demands.  When she turns, his outstretched hands are covered with blood. She cries out--you've got blood all over them, what have you done? When we met, I knew you were a person in need of a whole new existence, he says, a whole new life, and I was the person who could give it to you.Carolyn awakens, crying out, "What have you done, what have you done?"  Sky shakes her fully awake.  I fell asleep and had a terrible dream, she says. He holds her hand--I'll take you to your room, he says--you've been through quite enough. He helps the shaky young woman to her feet.

Outside, the creature breathes.

Sky leads Carolyn to her bedroom.  I'll be in my study right down the hall, he assures her--all if you need me. Thank you, she says--you've been kind. They bid each other good night, and Carolyn climbs into bed.

Sky looks out the window, smiling. He opens the front door wide.

In her bed, Carolyn sleeps.

We see a green slime trail leading from the front door.
The windows in Carolyn's room bang in the storm, and she gets up to close them.  As she's about to return to bed, she hears what sounds like breathing interspersed with clanking chains. Come quickly! Carolyn begs Sky. The double doors of her room blow open.  Carolyn screams shrilly. (That gal's got a great set of lungs.)

NOTES: Who thinks Sky is involved with the Leviathans? Who probably let Jeb know where Carolyn was?

Liz left the house in a car; isn't it so isolated, you can only get there by launch? Perhaps she was taking the car to the launch.

Love, Robin

940 - Collinwood - Carolyn sits by the fire, thinking. Lara Parker does the intro--Angelique will be in this episode.

We repeat the ending of the previous show, and it's different--Barnabas is smiling more, behaves more affable than nervous, as he did yesterday.

Jeb drains his glass and asks for another. Barnabas refuses; Jeb insists.  I don't have more than one drink at a time, says Barnabas. Jeb wonders--is that the real reason? Of course it is, says Barn. You're lying, accuses Jeb, your whole mood has changed--why?  You tend to forget that we are constitutionally different, says Barn. Maybe you forgot, suggests Jeb--you put something in that drink, didn't you?  Don't be absurd, says Barnabas.You didn't mean a word you said! Jeb says--you came here to kill me! You can't go around suspecting everyone's motives all of the time, insists Barnabas. Jeb looks at him--I just don't like you, he says. It's the symbol of authority you don't like, says Barnabas. You have no authority over me, remember that, says Jeb--we should review our plans for this evening--you do remember it's tonight, right?--you are to pick up Carolyn at the Old House at 8 o'clock--then you'll invent an excuse and bring her back here--once here, I'll take her upstairs and we will prepare for the wedding--does that meet with your approval? Of course, says Barn, I've told you before that I have no reason to distrust you judgment--may I go now? See you tonight, says Jeb. Barnabas leaves.

Old House - Julia, I find all this hard to believe, says Quentin--the children who appeared at the antique store were all different ages, and yet they showed up only a few weeks apart? Don't try to understand, just to believe, advises Julia--those children were all one and the same--he's grown up now, and his name is Jeb Hawkes. No human being can grow from infancy to manhood in a few weeks, says Quentin. That's true, she says, but it's not human--when Barnabas first came back from the past, he brought a box with him, a carved wooden box--once, when I was alone in this room, I heard breathing inside it--I never saw the contents, but Barnabas told me it contained an essence of something not human, something formless and terrifying, capable of growing at an alarming rate and of taking human form. What do these creatures want? asks Quentin, and why did they take over Barnabas when he was in the past? Julia explains--they're descended from creatures who lived on earth before the time of man--they're incredibly evil, and their aim is to become dominant on the earth again--the young man, who lives upstairs at the antique shop, is planning to marry Carolyn Stoddard--it's frightening, isn't it? There must be some way of stopping him, says Quentin. That's what Barnabas is trying to do this afternoon, says Julia. The door opens, Barnabas enters.  The poison I gave Jeb had no effect on him, reports Barnabas. Then the plan is for you to bring Carolyn to Jeb tonight? she asks. I am to have her here at 8 o'clock, he replies--have you told Quentin?  Everything you told me, yes, says Julia. We have so little time, perhaps not even enough, to get Carolyn away from Collinsport, frets Barnabas. Do you think we can persuade her to leave? asks Julia. I've already tried that, says Barnabas, but it failed--we will have to use trickery or force. Where can we take her? asks Quentin. Julia, what about Angelique, asks Barnabas--where is she?  I gave Angelique my word not to involve her with any of the Collinses, Julia reminds him.  That was before Carolyn was in so much danger, insists Barnabas--where is Angelique? Julia considers...

Little Windward Island - Angelique speaks pleadingly on the phone with hubby Sky--I don't care about your meeting, she coos, I haven't seen you  in a week--I want to be with you, for just a little while...I miss and love you...all right, she says, if you promise to call me back as soon as the meeting is over--I'll be waiting. She hears the doorbell and hangs up. Upon opening the door, she finds herself face to face with Barnabas.  Angelique bites her lower lip.

What are you doing here? demands Angelique.  I must discuss an urgent matter with you, he says. How did you find out where I was? she asks--silly even to ask, only Julia could have told you, and she gave me her word she wouldn't tell. I forced her to break her word, says Barnabas. Agitated, she invites him in.  Leading him into her living room, she begs, leave me alone--my whole life has changed, I'm very happy living here with my husband and want to stay that way. We're in terrible danger, explains Barnabas--with the help of your powers...  I've forsaken all my powers, she says, and my past, and am married to a man who loves me--if I revert to what I was, I'll lose him. Then you don't have to use your powers, says Barnabas, but there is a very simple way you can help us--Carolyn's life is in danger, and I must get her out of Collinsport--perhaps, without using your powers...  I still have them ALL, says Ang, but I'm forbidden to use them. All I ask if that you keep her here, says Barn--a few days, a week at the most--you have nothing to lose. They have wandered into the alcove where Angelique's ancient painting hangs. I have everything to lose, insists Ang--if my husband learns what I was--Carolyn knew me as Cassandra!  She won't recognize you, insists Barnabas, you had dark hair--please, he begs, help me this once--I'll never ask another favor again. Oh, she says bitterly, we both know that isn't very likely, don't we?--why is Carolyn's life in danger? Have you ever heard of the Leviathan people? he asks. They're creatures of the Underworld, she says, stunned. They don't plan to be that way much longer, he says. How did you become involved with them? she asks. Would it  matter if I explained or not? asks Barn. Yes, she says, please do.  And they sit so he can tell her the story.

Carolyn is playing the piano when someone comes to the door--Quentin.  I came by to see you, he says, and say thanks--I'm robust and healthy now, he says, his memory is back--and it's very nice to see you. Julia told me you'd begun to remember, says Carolyn, and I'm very happy for you--Grant. That's another thing, he says, we must discuss it right away--my name isn't Grant Douglas--can we speak in the drawing room?  Of course, she says. He closes the double doors once they're inside.  Is it a deep, dark secret? she asks. Prepare for at least a mild shock, he says--we are distantly related--I happen to be the great-grandson and namesake of a man who used to live here--Quentin Collins. Quentin? she asks, remembering nasty ghosts chasing them from the house--did you know you were Quentin before you lost your memory? Yes, he replies. Why did you introduce yourself as Grant Douglas, then? she asks.  I'm a writer, says Q, I've used Grant as one of many names--pseudonyms. It's a pleasure to meet you, she says. I stressed that we were distantly related for a reason, he explains--given half the chance, I'd like to take up a lot of your time, beginning tonight. I'm not free tonight, she apologizes. Tomorrow night? he asks. Completely open! she says, smiling. Good, he says. Jeb enters the drawing room--I let myself in, he says. Nothing you could do would surprise me, sighs Carolyn. She introduces Quentin to Jeb, who asks, are you a close relative?  "Distant enough to be reckless," promises Quentin. You talk right up, observes Jeb, don't you?  I have the feeling we met before--you don't mind if I call you Jeb? Not at all, says Jeb, but I don't think we've met before--I stopped by to confirm our date-- meet me at the Old House. This puzzles Carolyn.  Quentin comments, the Old House--how romantic!  Megan and Philip asked me to pickup something from Barnabas, says Jeb, so can you meet me at 8?  Carolyn agrees.  You shouldn't do that, warns Quentin--your father's killer is still loose, and it might not be safe. She'll be safe--with me, promises Jeb, smiling--Quentin, it's nice meeting you--you don't mind if I call you Quentin, right? Of course not, says Q, I want you to feel free. I'll see you at 8, says Jeb.  Carolyn escorts Jeb to the door while Quentin contemplates how much he already despises Jeb.

There was nothing I could do, Barnabas tells Angelique, I was their prisoner, and up until recently, they had complete control over my willpower. Now you mean to fight them? she asks. Either that, or see everyone at Collinwood destroyed, he says. You're taking a terrible risk, she says, concerned. I'm all right if I can maintain the deception, he says, but Carolyn is in extreme danger--please say yes. If I say no, says Ang, you're in a position to destroy my relationship with my husband. If you say no, I'll leave you in peace, Barnabas assures her. She agrees, very reluctantly--since my husband will be away for a week, but she must be out of the house before he comes back. Barnabas is cool with that--and very grateful. "And Barnabas, remember this, and remember it well, she says--I still have all of my powers--if because of you, and because of this favor I'm doing for you, if my happiness is ruined, I will never forgive you--never!"  She and Barnabas exchange a look.  He leaves. We get a shot of Angelique's portrait.

Old House - Go over it once, Barnabas tells Julia--what are you going to tell Carolyn? That a close friend of her father's got in touch with me, and I promised I would go to Portland to pick him up--I'd like Carolyn to come with me for company and will have her back at 8.  And your car will break down on the designated place on the way to Portland, says Barn. Julia nods. Nonsense, says Quentin, I don't see why you won't let me go to the antique shop and take care of Hawkes myself.  I'll explain in a minute, promises Barn--Julia, go get things ready.  She leaves.  We must proceed with care, Quentin, says Barn--to deal with him at the antique store would be suicidal. Why? asks Quentin. I already told you everything, says Barn--he isn't human; there are certain physiological needs he must go by--he has a room upstairs at the shop--he can change from his natural self to Jeb anywhere he wants, but to change from Jeb back to his true form, he must be in that room, there's no other way he can do it. Then why not kidnap him and keep him away from the room? asks Quentin. Risky as it is, my way is best, insists Barnabas.

6:45 - Julia comes downstairs at Collinwood, calling to Carolyn. The front door opens--it's Barnabas and Quentin. Carolyn isn't here, reports Julia.  She isn't due at the Old House until eight, says Barnabas. I've looked everywhere, she isn't here! says Julia, upset. The phone rings, Julia answers--it's for Barnabas. What are you doing at Collinwood? asks Jeb--you're supposed to be at the Old House--or have you made other plans? I'm not due at the Old House until 8, it's only a quarter to seven, says Barnabas. Forget about going there, says Jeb, because I've made other plans--I decided to obey my instincts, which tell me you aren't to be trusted--I called Carolyn and changed our date to seven. You can't proceed with this without my help! protests Barnabas. That's what the book says, Jeb retorts, and I decided the book is as obsolete as you are--"You'll have to excuse me--she just walked in." Jeb grins. Carolyn has entered the antique shop. Jeb hangs up, despite Barnabas' protests of "Listen!"  Barnabas hangs up and tells Julia and Quentin, "It's too late, Carolyn is there now, at the shop."

Antique shop - Some sixth sense must have told me to dress early, says Carolyn, or I wouldn't have gotten here by now. She smiles. You're here--that's what matters, he says, walking around her in a circle, staring at her. The way you're looking at me makes me uncomfortable, she says. I won't do it, then, he promises, I don't want you to feel that way. Do we have plans or are we going to keep the shop open? asks Carolyn. I'm waiting for the Todds to come back, they stepped out a moment, he says. What are we gong to do? she asks.  I'll surprise you, he promises. She agrees. You're everything I thought you'd be, he says, I'm going to be very happy with you. What made you say that? she asks. I felt it, he says--haven't you ever said or done what you felt? Sometimes, she says. I do it all the time, he says--everyone should, I always do as I feel...right now, he says, picking up a statue, I feel like doing this--and he drops it on the floor. You shouldn't have done that, she says, horrified--it was an antique and doesn't belong to you. Haven't you ever felt like breaking something? he asks, handing her another piece of statuary--go ahead, break it. And, staring into his eyes, she says, I wish I could begin to understand you. Maybe you can, if you just free yourself, he urges--go on, let it drop from your hand.She looks at it, then simply opens her hand. It drops to the floor and breaks. Jeb is pleased. He brings over some booze to celebrate her liberation. I don't get it, she says.  You will--soon, he assures her. He hands her a drink.  I'm not sure I want to, she murmurs. "Drink," he orders.  They both do, staring into each other's eyes. She looks out the window and says, I don't see any sign of the Todds. They'll be back soon, he promises. I hope so, she says, I'm anxious to leave. She puts her hand to her forehead and starts to pass out. He catches her--are you all right? he asks. I feel strange, suddenly, she says--everything is so blurry. She passes out. Jeb lifts her into his arms and says, "You're all mine now, Carolyn, this is the beginning of your new life." And he carries her toward the stairs.

NOTES: What is this, rufies he put in her drink? This is no way to get a woman to care for you, Jeb, what are you thinking?


941 - Jeb is about to carry Carolyn upstairs, but a familiar voice--Quentin's--orders, put her down--I don't know what you've done to her, but I'm taking her back to Collinwood. Jeb puts Carolyn down on the stairs and, a murderous look in his eyes, commands Quentin, get out--"You're not taking her anywhere." Yes I am, says Quentin.  He and Jeb get into it, tossing each other around, sending delicate antiques falling to the floor. Jeb grabs a stool and goes to break it over Quentin's head; Quentin ducks and Jeb misses. Jeb grabs a letter opener and tries to stab Quentin with it, but again doesn't hit his target.  It all ends when Quentin hits Jeb over the head with a bottle. Jeb falls unconscious to the floor.

Barnabas closes the drawing room window at Collinwood, fretting over why Quentin isn't back yet--if Jeb manages to get to his room and transform...I must go myself, now! He's about to leave when a cheerful Maggie comes downstairs, putting on her coat. I'm going into Collinsport, says Barnabas.  I'll come with you, she says, I need to go there, too. Noticing the too-serious expression on his face, she asks what's wrong.  Nothing, he says. "Are you lying to me?" she asks--"When are you going to tell me what's going on around here?--you asked for my help, I thought you trusted me."  I do, he assures her. Prove it, she says, getting right into his face.  Carolyn went to the antique shop--unexpectedly, he says. Then let's go get her, insists Maggie, hurrying away. It's not that simple, says Barnabas.  Explain, she says. Perhaps I'll tell you more, he says, we'll meet tonight at 10, but in the meantime, promise not to go to the shop.  Maggie agrees--10 o'clock. Liz comes out and asks Maggie, haven't you left yet?--Mrs. Sinclair said she'd keep the shop open until you came to pick up the needlepoint. Buttoning up her coat, Maggie says, I'm on my way. She heads out, giving Barnabas a look before exiting. Have I done something wrong? asks Liz--just tell me that. Nothing at all, he assures her. I've tried to follow the few rules I know, says Liz--you can testify to my faithfulness--David and Barnabas have seen our leader. . ..  Jabez? asks Barnabas. Is that what he calls himself now? she asks--no matter what name, he's the same boy who used to play here--surely he must remember me with some affection. He only recently matured enough to appear to us, says Barn. "Why have I been ignored?" demands Liz--"Barnabas, you haven't answered my question."  You'll meet him soon enough Barnabas promises, but now is not the time.  Does the book specify when I am to meet him? asks Liz--is that why you're so against it now? There's a knock at the door--perhaps that's he! she exults--perhaps Jabez has come to me. She opens the door, but it's Quentin standing there, an unconscious Carolyn in his arms. Liz screams. Barnabas helps Quentin bring Carolyn in.

Jeb awakens, touches his sore head, finds blood. He staggers to his feet, infuriated, and sends a bunch of pots and pans clattering to the floor. "I will get Quentin Collins!" he vows. "I will!"

8:15 - Barnabas speaks on the phone while Quentin paces. Doctor, says Barnabas, tell Dr. Hoffman that it's urgent she come to Collinwood immediately--she'll be right here, he tells Quentin after hanging up.  Quentin, I never should have sent you to the antique shop--I should have gone myself. We couldn't risk losing the only advantage we have, insists Quentin--if you don't keep up your pretense of being a Leviathan, we won't be able to find out what we need to know--be sensible, he urges his cousin. Then both of us must be sensible, insists Barnabas, leave Collinsport--I know Jeb will be after you, and don't want anything happening to you--I still feel guilty about what happened to Paul. Nothing will happen to me, says Quentin, but what are you going to tell Mrs. Stoddard?  I will think of something, says Barn--Jeb must not be mentioned to Liz, they have too much of a hold on her--and you will have to speak to her--she'll want to thank you. I'm not too sure about that, says Quentin--when she heard my name, she was shocked--with reason--what will we do about Carolyn now?  We'll do something, says Barnabas, I'm not sure what, but we will do something--stay here with her. He leaves. (The dialogue between these two was a real mess in this scene.)

Carolyn lies on her bed. Liz calls to her, but gets no response. Barnabas enters--Julia is on her way, he says. What happened to her? demands Liz. She went to the antique shop, says Barnabas.  Alone? asks Liz. Mr. Collins came, and she fainted, Barnabas lies--at least he had the foresight to bring her back to Collinwood--you must thank him. If she only fainted, says Liz, why hasn't she revived?  Julia will have to answer that one, says Barn--go talk to Mr. Collins.It all seems too strange, comments Liz, his being a descendant of Quentin--perhaps that's why I don't want to see him. We can hardly blame this Quentin for being the ghost, says Barnabas. Perplexed, Liz says, I didn't know the original Quentin had any children. We never really knew him, points out Barnabas--please go down and thank him. Liz agrees--Barnabas, let me know if there's any change in Carolyn's condition. She leaves. Barnabas stares out at the thunderstorm.

Outside, Jeb stares at Collinwood, his face a mask of determination and anger.

Drawing room - There's no need to thank me, Quentin assures Liz. Did you simply find Carolyn on the floor of the shop asks Liz. Yes, he replies. I don't understand, says Liz.  She glances out the window, then gasps--I thought I saw someone standing at the edge of the woods!  Quentin checks, but reports, no one is there now. If it's my imagination, says Liz, I must be more upset than I realized--I'll have Mrs. Johnson bring you some coffee--or would you prefer brandy?   Coffee, says Quentin, smirking. (COFFEE?)

9:30 - Quentin drinks his coffee in the living room.  Barnabas comes downstairs.  Liz runs out and asks, has Carolyn revived? She's beginning to, says Barnabas. Thank God, says Liz. Liz, says Barn, Julia has some very firm recommendations and I want to discuss them with you. If Carolyn is all right, says Q, I'll be on my way. Wait, says Barnabas.  I've intruded long enough, says Q--Elizabeth, I'll see you very soon.  Yes, she agrees, after this is all over. Don't go, Barnabas urges Quentin.  Nonsense, says Quentin. There's a storm coming, warns Barnabas, trying to keep Quentin there.  I'll be all right, says Q, and goes. What's going on? Liz asks Barnabas. Julia blames Carolyn's attack on the general state of her nerves and her poor health since her father died, explains Barnabas, so we decided you must take her away. Oh, have you? queries Liz. Julia is only speaking medically, says Barn, but personally, I feel...  Liz interrupts--is Carolyn in any danger?--I know our group must eliminate certain people...but there's no reason for Carolyn to be one of those, is there? No, answers Barnabas. I want Carolyn to be one of us, says Liz--they don't consider her an enemy because she isn't, do they?  No, they don't consider her an enemy, says Barnabas evasively. Thank heavens, says Liz, you have no idea how much I long to meet our leader--perhaps then he will honor me by allowing me to see him in his room as he really is. (yuk!)  It's not a pleasant sight, says Barnabas. What a strange thing to say, says Liz, shocked--whatever form our leader takes, I think will be beautiful--as you should, too. He doesn't respond to that, but says, when Carolyn becomes one of us, she must be in the best possible condition--we would want it no other way, so take her away. I'll make arrangements tomorrow, promises Liz.  You must go tonight, insists Barnabas--I've made arrangements for a charming retreat for both of you--a nearby, isolated island. What island? asks Liz.  I'll tell you along the way, promises Barnabas. I must leave some word! she protests. No one will want to speak to you or Carolyn for a few days, insists Barnabas--we will leave within the hour!

Jeb is lurking in the woods when Quentin passes, but he leaves the latter alone. Maggie comes by. She hears the sound of leaves rustling and abruptly finds herself face to face with Jeb. "YOU!" she cries.

What are you doing here? asks Maggie.He eyes her evilly, and smiles when she says, you shouldn't be here. Why not? he asks. Are you on the way to Collinwood? she asks. Is Carolyn there? asks Jeb, I've been waiting for her. She tries to walk past him, but he grabs her.  Why are you in such a hurry? He asks. Because it's going to storm, she starts to say.  Is that the real reason? he asks--don't go, he orders, staring into her eyes, not yet--not yet at all.

Liz helps Carolyn downstairs.  Why do we have to leave, Mother? asks Carolyn--it doesn't make any sense!  Julia thinks we should, says Liz. I want to know what happened to me in the shop, says Carolyn--I was there with Jeb, a photographer living in the shop--why didn't he bring me home? I don't know, says Liz. Before I leave this house, I have to find out, insists Carolyn. Don't upset yourself, says Liz. This is ridiculous, insists Carolyn, dialing the phone.  What's this Jeb like? Liz asks. I don't know him well, Carolyn says, dialing the phone five times--he's contradictory--sometimes he seems quite mad, other times, very charming. Carolyn gets no answer.  Barnabas enters--do you feel any better? he asks. She makes a face.  You will soon, he assures her. This is absurd, complains Carolyn--I can't go away until I learn what happened to my father. Forget about him, says Barnabas, take care of your health--and that's the end of it!--I'm meeting Maggie at 10. "Why are you treating me like this?" demands Carolyn. Because we love you want you to be happy again, says Barnabas--now come. And the three of them leave.

10:20 - antique shop - Jeb returns and begins picking up the items he threw on the floor earlier. Barnabas enters. Where is she? he asks. Carolyn? asks Jeb, don't you know? I'm talking about Maggie Evans, says Barnabas--where is she?  I guess you heard about Carolyn by now, huh? asks Jeb--have you hidden her away yet?  Her mother has taken her away, says Barnabas. You know what you were supposed to do, accuses Jeb, and you knew what I wanted, and you could have stopped her!  I believe the book, says Barnabas, and this isn't the time to bring Carolyn here--now where is Maggie?--I know something has happened to her, because she failed to keep her appointment, and I've learned from experience that when something happens, "You are involved." OK, Mr. Collins, says Jeb, I know where Maggie Evans is, and I don't care. You lie as well as you kill, says Barnabas--have you killed her? Jeb asks, "Why should I?"  You find reasons no one else can understand, says Barnabas. "You don't like me, do you?" asks Jeb--"You and your friend, Quentin--he is a friend of yours, isn't he?" I would hardly call him that, says  Barnabas--when he came to Collinsport, he was interested in Carolyn, and I kept him away from the scene so she'd be available to you. (you hit him with a car!)  But you brought her back to the house, says Jeb, not to me. She came back to Collinwood, he happened to be there, yes, says Barnabas. Why did you take her away? demands Jeb--perhaps he was...Jealous?--well, he's going to be a very unhappy man. Jeb, says Barnabas, you must listen to me--leave Quentin to me--now where is Maggie Evans? Grinning, Jeb asks, "You dig her, don't you?" (LOL)WHERE IS SHE? thunders Barnabas. "Don't talk to me like that!" shouts Jeb, his amused mood gone--I don't know where she is--besides, she's not my type, which I guess is pretty lucky for you, he smirks. I'm going to find Maggie, vows Barnabas, and if I discover you had anything to do with this, I'll... What, Mr. Collins, asks Jeb, what will you do? I'll call upon Oberon, Barnabas threatens, he understands punishment, he will tell me what to do about you. He leaves. Jeb is laughing, "He's in love with her!" he crows. "Where is she? Where is Maggie Evans?" And he laughs.

In a mausoleum (not that of the Collins, but a much larger one filled with gravestones), Maggie lies unconscious on her coat, arms crossed over her breast.

NOTES: There seemed to be a lot of trouble remembering dialogue in today's ep, but I always get a kick out of Jeb accusing Barnabas of being in love with Maggie. They've surely been showing them behaving rather intimately in a few scenes, especially when he hooked his finger over her hands, which were holding both of his. Jeb is behaving like his nasty SOB self, and it was fun watching Quentin give him a thrashing and walk away the victor, Carolyn in his arms. Carolyn doesn't seem to know what to make of Jeb, but she's definitely interested in this bad boy who seems three parts Buzz and one part petulant little boy.  Barnabas is really bucking the system; note how upset Liz got when he implied Jeb in his true form isn't pretty to look at. He's tipping his hand dangerously, and Jeb already doesn't like him and would clearly love to eliminate him.

Love, Robin

936 - (The beginning is repeated, but so much differently than it ended in the first ep, I include it here.)

Horrified, Barnabas kneels beside the dead, slime-covered body of Sheriff Davenport. Jeb comes in. "Caught you, Mr. Collins," he says. "Come to betray me?"

Jeb kicks his way through the debris--what are you doing here? he demands.  You didn't listen to me, did you? Barnabas asks Jeb--you got away with killing Stoddard, you think you can get away with this?You came here to betray me, accuses Jeb, to tell all you knew about Stoddard's death, to tell all you know about us. You have a vivid imagination, declares Barn. You deny it? asks Jeb. Of course, says Barnabas, and we'd better get out of here before...  No, says Jeb, barring Barnabas exit--not until you tell me what you're doing here. Someone may come, protests Barnabas. Talk fast, Jeb orders. The sheriff came to Collinwood, explains Barnabas, he knew I'd been to the antique shop when Paul was there, and found Stoddard's cufflink when he was searching the place--I came to explain! "That's it?" asks Jeb. Yes, says Barn.  How? asks Jeb. Barnabas doesn't think this is the time to talk about it, but Jeb does. I know we can be caught, warns Barn. YOU can be caught, says Jeb--I can say I came here and you were bending over the body. Why don't you trust me? demands Barn, I live by the rules. How old-fashioned of you, Jeb says. Do the same, Barnabas advises--you can't do this--there is to be no more killing. Can you stop me? asks Jeb, who kicks his way back through the debris and leaves. Barnabas throws one grossed-out glance at the slime-covered sheriff (who is played by a difference actor) and exits the police station.

Collinwood - Liz, oddly dressed in black widows' weeds, insists to Megan, you and Philip must attend the funeral--I don't care that gossip connects the shop with Paul's death. Roger hovers nearby, listening. I want everyone to know how ridiculous we consider the gossip, says Liz...all right, I'll see you there. After she hangs up, Roger says, you'll do nothing but encourage talk, having that couple at the funeral--you know how suspicious his death was. Paul died of heart failure, says Liz. Yes, but what caused his heart to fail? Questions Roger. We don't have to think about that, says Liz. Yes, we do, insists Roger--the police are thinking about it--something came into that room at Stokes' house. What was Paul doing there? asks Liz. Julia found him wandering around and took him there, says Roger. Why would she do that, wonders Liz--why not bring him back here, where he belongs? Ask her that question, suggests Roger. I have, says Liz, but didn't get a satisfactory answer. I'm sure she thought she was doing the best thing, says Roger. Then she believed Paul's mad stories? asks Liz.  I'm not sure there isn't an element of truth to it, opines Roger--something must have gone into that room--I'm sorry--Paul was a scoundrel, a worthless man, he caused this family nothing but trouble since he married you--let's not allow his death to cause more problems--we can inquire into it privately but hush it up publicly, that's all I meant to say."And you said it brilliantly, Uncle Roger," says Carolyn from the landing. She, too, is dressed in black, wearing a black hat and veil, her hair pulled back. "All in the Collins tradition," she adds sarcastically, "it should be a motto on our family emblem--hypocrisy above all!" She comes downstairs.  There's no point in upsetting yourself, says Liz.  "My father was murdered!" cries Carolyn.  Liz protests--the autopsy showed...  Showed only part of the story, insists Carolyn, the acceptable part--the part that would hurt no one--I intend to find out who killed him. Oh, Carolyn! sighs Liz.  I loved him, Mother, she says softly. You barely knew him, chimes in Roger. I knew him, says Carolyn, and I'm glad I had the chance--I knew him, just perhaps intuitively, perhaps because I'm part of him--Mother, surely you can remember loving him, sobs Carolyn, because you must have once, you must have! Liz turns away. Control yourself, Roger urges his niece--it's all going to be much more difficult if you don't. Carolyn pulls away from his intended comforting hug, shouting, "Collins are not supposed to cry!--well, this is the Stoddard part of me, the part that lets me feel!"  Liz attempts to comfort her--you must try, Carolyn, really--come along. The clock begins to chime.  It's time, says Roger--we're going. Not like this, says Liz, leading Carolyn into the drawing room. I know how difficult this is, says Liz, we're all trying to make is easier...  Out in the foyer, Roger looks at the clock, his face grim. Barnabas enters--you haven't left yet? he asks--good, I thought I was late. Thank you for coming, says Roger.  I owed it to Carolyn and Elizabeth, he says--and yes, even to Paul Stoddard. (it's nice to be able to attend daytime funerals, isn't it?)  You barely knew him, points out Roger.  I could have helped him, I think, says Barnabas. Nothing could have helped Paul, believe me, says Roger, who looks closely at Barn and asks, are you feeling well? Yes, of course, responds Barnabas. You look so worn, says Roger. Barnabas admits to a night of troubled sleep. What was the matter? asks Roger.  Nothing I can't handle, says Barnabas--Roger, have you been in town this morning?--there's been another murder--apparently the killer is no respecter of people and places--it happened in the police station--Sheriff Davenport is dead! Roger is shocked.

Roger expresses dismay that Davenport died the same way as Paul--how does something like that happen?--and this theory that the killer is a vicious animal is almost unbelievable, and yet... The killer IS an animal, pronounces Barnabas. You say that with some assurance says Roger.  Their discussion is interrupted by the ladies returning to the foyer. Barnabas tells Carolyn, I know how tragic this was for you--my condolences, Elizabeth. Shall we go, the car is waiting? suggests Liz. Left alone with Barnabas as the ladies exit, Roger asks Barnabas, don't mention the sheriff to the ladies; I'll tell them after the funeral--what kind of a monster could this be, wonders Roger, I wish I could understand! Barnabas looks depressed as he follows Roger out.

The Todds' antique shop is closed. Jeb returns there, looks at the sign, and lets himself in. Megan! he calls--Philip?  Alone, he looks pissed--they aren't supposed to leave without telling me, he says to himself, better learn to respect me and stop treating me as if I were Michael or Alexander--warn them to stop! He sees a piece of paper on the desk, and realizes they went to the funeral--Paul Stoddard's funeral. He grins.

Carolyn tosses a flower onto her father's coffin. She kneels, pressing her fist to her forehead. Roger, Barnabas and Liz surround her. Roger suggests they leave--this isn't doing her any good. Liz helps Carolyn to her feet. Soon there will be another grave, Roger quietly mutters to Barnabas--Sheriff Davenport. Barnabas looks guilty. Leave me here, insists Carolyn.  There's no need to stay now, insists Liz. Carolyn looks at her. Not for you, she says sadly. "Darling..." says Liz. He's here, says Carolyn, and I don't want to leave him alone. You must, her mother says. Do what you want, says Carolyn, near tears--let me do what I have to. Barnabas and Roger soberly gaze at her. "I could have saved him, Mother," says Carolyn. No one could, Liz says. That's what killed him, says Carolyn, people thinking that, I should have gone away with him, we would have been in New York now, I should have made him take Uncle Roger's money--he would have been alive. Now, Carolyn, cautions Roger. Carolyn walks away from them--I should never have let all of you tell me he was crazy, she laments.  Please! begs Roger. "I should have listened to him!" wails Carolyn--he was weak, confused, and didn't know what to do, we didn't help him enough!
Behind the grave of Jenny Collins, Jeb leers at his intended.  He smiles, and while he's kinda cute, it's not a pretty sight.

Carolyn, says Roger, we're going back to the house now. Wind blows her hair across her face as Carolyn, tears running down her cheeks, says, "And begin to forget--no, I won't! I won't ever, so don't ask me to, or expect it!" She walks off, Liz behind her, then Roger, then Barnabas.  Paul's grave awaits filling.

An angry Jeb sits down at the desk in the shop, brushing everything noisily off it.  He begins a game of solitaire and continually licks his lips (his snake heritage, one supposes). Barnabas enters the shop and asks what happened. "You're uptight, aren't you?" asks Jeb. (a blast from our past, folks! Uptight, everything is all right!) "You're wishing I were Michael--or didn't you like him, either?" I didn't come here to discuss my likes, says Barn--you sent for me--is there any news, have the police been here again? Why should they? asks Jeb--they were here after Stoddard's death, and found nothing. So you feel safe, says Barnabas--this shop is already suspect, something has happened here, they could come back again. I wouldn't care, says Jeb--the book doesn't say to like me, does it, but don't tell me, you'll start quoting the book.  He continues his card game. You resisted my advice, Barnabas reminds him, but listen to this--you are not to go up to your room again tonight, and if you do, don't change--I have less confidence than you have that the police won't be back. Jeb laughs, stands, faces Barnabas and says, "You're supposed to be head man around here, and you give me double-talk like that--that room is the safest place I can be, man, nobody can kill me up there--Paul Stoddard tried, you let the police come, no one can kill me--not even you. Barnabas looks uncertain. You haven't told them about me at Collinwood yet, have you? demands Jeb--you told Megan and Philip not to tell them, either--you're stalling--why?  The whole family is very upset, Barnabas reminds him. Perhaps, says Jeb, I can calm it. "I don't think so," says Barnabas, looking directly into his eyes. I sent for you, says Jeb, because they must know--and you must tell them. When I choose, insists Barnabas. You had better choose soon, advises Jeb--remember, Mr. Collins, we have ways of  controlling you. You're threatening me again? demands Barnabas. Not threatening, says Jeb, let's just say I punish you--I won't wait too long for Carolyn--tell me about her, has she ever been in love.  I don't care to discuss Carolyn here now, says Barnabas. Jeb stops him from leaving--do as I ask, he demands--has she ever been in love before? Barnabas tells him, "Before...she doesn't know you." You don't want her to, accuses Jeb. What I want has nothing to do with it, Barnabas, forget Carolyn now!  NO! shouts Jeb. You must, says Barnabas, by killing her father, you've given her more grief than she's ever known in her life!--and in addition, you've spoiled the whole plan--Paul Stoddard sold her to us and was going to give her away. I told you, you can give her away, says Jeb. The book won't allow me to do that, Barnabas reminds him. Incensed, Jeb tosses a chair to the floor, ordering, "FORGET ABOUT THE BOOK!" Allow her to recover, says Barn, give her time until... Until when? asks Jeb in a deadly voice. Until the time is better, says Barn. He gives Jeb dirty look, then turns on his heel and leaves, kicking one of the items Jeb shoved to the floor as he goes. After he exits the shop, Barnabas tells himself, I'll see to it that Carolyn's time never comes. He goes. Jeb childishly tosses another priceless antique to prove his point.

Liz works on some needlework in the drawing room. "Poor Mrs. Davenport," says Carolyn, "we must do everything we can to help her."--to think someone else is going through it now, just as I did.  Barnabas darts forward--you must go away, he urges his cousin. Liz looks up, surprised. Barnabas catches her look and says, why not?--it would do you so much good--go to New York, tonight, tomorrow morning. You can't be serious, says Liz. Carolyn needs a change of scene, says Barnabas.  I can't leave here now, says Carolyn.  Liz quickly agrees.  Elizabeth, it would be the best thing to do for Carolyn now, advises Barnabas.  Don't make me think, pleads Carolyn, not tonight. Barnabas urges her...  Carolyn stops him--I know you mean well, she says--there's only one thing I want to do now--call on Mrs. Davenport--I'm sure I can be of some help to her. I don't want you leaving the house tonight, protests Liz. I know what I must do, says Carolyn softly--no one is ever going to stop me from doing it again. She leaves.  Make her go to New York, Barnabas tells Liz.  You amaze me, she says--what good would it do for her to go? She needs a different life, he insists. Yes, agrees Liz, to become one of us--it would occupy her mind as it does mine. Barnabas looks evasive. She needs our sense of mission, continues Liz--Barnabas, make them receive her now. I can't do that, says Barnabas. You must, says Liz. It's not her time yet, says Barnabas--the book tells us when the time has come, and her time is not for months--and I won't hasten it. He walks away from her, leaving her alone with her confusion.

Antique shop - Carolyn writes Megan a note--I've been to Mrs. Davenport's, and stopped by to thank you for coming today--sorry to have missed you. Jeb comes downstairs quietly, sneaking up on her, and puts his hands over her eyes. She cries out, prying his hands away. "I frightened you," says Jeb, looking delighted. He introduces himself--I live upstairs--and you're Carolyn Stoddard. How do you know? she asks.  He chuckles, not answering. Where are the Todds? she asks.  Out, he answers.  She turns away from him.  Don't be frightened of me, he says. I have to be going, says Carolyn. No, he says, Megan and Philip told me so much about you. He brushes her shoulder with his fingers. You must forget about your father, he says. She gazes at him, astonished. "I will help you," he promises. I'm afraid no one can, she says. But you don't know me, he says, I know so many ways to help you, make you forget. She closes her eyes, then apologizes and says, I have to go.He stops her, a hand on her shoulder. You don't look at me when you talk to me, says Jeb. She turns to face him. That's better, he remarks. "You're shy, I like that--I like that very much." She stares into his eyes, but then, when he tries a more intimate touch, says, "Goodbye."  Tell the Todds I left a note, she asks, please don't forget. He promises not to, ever. She leaves the shop, and he follows her outside, repeating, "Never...never."

8 PM, back at the shop (more sloppy editing), Barnabas tells Jeb, I thought the matter was settled. It is not, says Jeb defiantly. I don't know why Carolyn was here tonight, says Barn. Because she was destined to, says Jeb, just as she is destined to walk up those stairs and enter my room. "Your room?" asks Barnabas. Yes, Mr. Collins, says Jeb, I need company there. "And she will become as you are behind that closed door?" asks Barnabas--"I don't believe it."  There are many things in the book, says jeb--you'd better start believing that now--Carolyn will be the first so honored, and then each one of you will be able to take on any form. Barnabas asks, "And will we be as mindless as you are when we change?" Be careful, warns Jeb. Barnabas goes on, "And will we murder as you do?" If it is necessary, says Jeb.  You cannot have Carolyn, says Barnabas--the rest of us will face our fate as we will, but "YOU CANNOT HAVE HER!" "I can and I will!" shouts Jeb--"Friday there will be a wedding, a wedding between Carolyn and me!" And he goes upstairs, leaving a horrified Barnabas standing there.

NOTES: Cheap funeral for poor Paul. No Todds, Julia--where the heck was everyone? Oh, yeah, six people per episode, I forgot.

Some loved Jeb, others hated him. He became DS' latest heartthrob, although he didn't attain the fan base that either Frid or Selby commanded. I thought he was cool back then, very anti-establishment and "hip." His use of the teen vernacular--uptight, man, etc., made him a fun, wicked character in 1970.

Now we know what the mission of the Leviathans is--to convert everyone to Leviathan form and marry off Carolyn to Jeb. I think Joe Haskell was a much better choice for her, or better yet, Tony Peterson.

Another death in only a few days--RIP Sheriff Davenport. Was the George you were talking to Sheriff Patterson? Come on home, George, there's a vacancy in the department!

Great performances by Nancy Barrett as the grief-stricken Carolyn, Liz, , Barnabas, Julia, Jeb, Davenport, everyone did a grand job.

Carolyn already seems fascinated by Jeb, despite herself. Barnabas and Jeb are already behaving like a father and son with a very dysfunctional relationship. I always felt badly for Carolyn that her family expected her to sport a stiff upper lip in her overpowering grief, and applauded her speech about hypocrisy. So true!


937 - Collinwood foyer - David is sitting in a wheelchair, the victim of a broken right leg. You're coming along well, says Julia.  David hands Maggie a pen and asks her to sign his cast. Julia gives his hair a playful swipe and says, David asked me to sign it before it was even dry. Maggie kneels and signs the cast. In a month, boasts David, I bet there won't be any white spaces left--I never broken a bone before, Dr. Hoffman.  I wish you'd tell me how you did this. I told you before, says David.  Tell me again, urges Maggie--I still doesn't understand it!  I was riding my bike down Crown Street, says David--I got on the path--this man jumped out of the bushes. Who was the man? Maggie asks--what did he look like?  The man was tall, says David, with blond hair and "weird" eyes. Julia hears this and frowns. Why didn't he help you to the hospital? asks Maggie.  I don't know, says David--when I fell, the man just walked away. I'm glad Megan found you and took you to the hospital, says Maggie--but you shouldn't have been in town, what were you doing there?  I don't have to tell you everything, insists David. "Were you going to the antique shop? asks Julia. Why would I go there? asks David--I wish the two of you would leave me alone--it's going to heal, isn't it?--I want to go show Mrs. Johnson.  he wheels himself into the kitchen. Maggie tells Julia, I just doesn't understand it.

Antique shop - "JABEZ!" Barnabas calls upstairs, furious. Jeb, on the stairs, turns and faces him. "You will not marry Carolyn on Friday, Barn insists. YOU will stop ME? demands Jeb. Yes, I will, promises Barnabas. Jeb laughs--when I was a child, you gave me orders, and I hated it then, but there was nothing I could do--but now I can do anything I want!  Now you will still obey the orders! commands Barn--now that you killed her father, the wedding must be postponed until we see how the book allows for this situation--Paul was to give her away!!  "I have seen her--and I WANT her!" says Jeb--I told you before that you could give her to me. You may be right, says Barnabas, but according to the book Carolyn cannot be forced--she must want you, too.  Force means one thing to you, and another to me, says Jeb--"Now why are you so against our marrying--really?" We have many things to do before the time comes, says Barnabas--the book says that there must be a timetable. There is, says Jeb, pointing to his head, and it's right here, and we will follow it--Friday evening, there will be a wedding in my room, and afterwards, you will prepare rooms at Collinwood for us--you will do that. Collinwood is not my house, protests Barnabas. No, agrees Jeb, it is MINE, I have seen to that, and you will do that or I will go to Mrs. Stoddard. NO! says Barn. You will do as I tell you, says Jeb.Barnabas stares into his eyes as though considering a refusal, but finally just nods and softly mutters assent. He starts to leave. After the wedding, says Jeb, Roger will become one of us. What if he can't be? asks Barn, there are those who can't, you know. Then he'll join the list of the expendables, says Jeb--there are a lot of people in that house I don't like--Dr. Hoffman--I think she's an enemy, don't you? She doesn't know enough to become an enemy, Barn points out. I've seen her, watching me, says Jeb, and you will think up a suitable fate for her--and that's an order! Then there's Maggie Evans. Maggie doesn't even know you, protests Barnabas, what threat could she possibly be? She was a threat to me as Michael, says Jeb, and will be a threat to me now--her parents are dead, so there will be no questions asked. Not true, you're wrong, says Barnabas. You will have to do some very clever thinking, says Jeb...Amy, I know she's one of us, but that was against my permission. You would even kill one of us? demands Barn. Yes, says Jeb, I'm not sentimental, she will have to go! He gives the spinning wheel a twirl, kneels, and adds, "The housekeeper,"  Mrs. Johnson will do as I say, Barnabas reminds him--as Mrs. Stoddard says! There will be other servants, I will see to that, says Jeb. "It is impossible!" shouts Barnabas. Jeb grabs Barnabas' coat and drags him down to the floor, on level with himself, getting right in his face and says, "I don't know what that word means, Mr. Collins, I only know that you have 12 hours to prepare for the wedding--or else!"  He smiles. "I know how difficult it must be to only exist at night--to feel the lust for blood, so that it drives you like an animal hunting for prey--and think of Josette, with Oberon and Haza standing guard over her--Haza can be much more cruel than I ever dreamed of--you know what you are supposed to do, what you are to make happen?" Beaten, Barnabas again nods, head bowed. "And you will not forget?" asks Jeb. Barnabas silently shakes his head, face hidden, ashamed. He rises to his feet and, without another word, leaves the shop. Jeb rises, too. Just as Barnabas opens the door, David wheels in. Barnabas, surprised, asks what happened. "You!" says David, noticing Jeb. Yes, me, says Jeb--welcome!  Why did you want to hurt me? asks David--"Barnabas, he's the one-I was on my bicycle and he jumped out of the bushes!"  Nodding at David's cast, Barnabas demands, "You are responsible for this?" Yes, says Jeb, stopping when he realizes Barnabas is about to leap at him. "I can do what I want now," brags the Leviathan brat, adding, "David must understand that I can be cruel as well as kind." "THERE WAS NO NEED FOR YOU TO HARM THIS BOY!" cries Barnabas. Jeb smiles directly at David and says, David and I will be very close, just as we were when I was Michael and Alexander--it's important David understand this, very important. David's eyes are locked with Jeb's.

Collinwood - Maggie reports to Julia, I can't find David anywhere. I haven't seen him, says Mrs. Johnson--where could he have gotten in a wheelchair?  I don't know, says Julia, but I have an idea--and she rises from the sofa. The front door opens; David rolls in. Where have you been? demands Maggie--you shouldn't have been out alone, you could have had another accident--I'll help you upstairs. I'll get myself upstairs, insists David--just hand me my crutches! Maggie turns to Julia.  He must learn it sooner or later, says the doctor.  She lifts the crutches off the foyer table and hands them to Maggie, who orders David, be careful on those stairs. Why would he be outside? Maggie asks Julia--sometimes I think something is happening to this house and everyone in it--David isn't the same little boy--I don't mean he's just growing up, it's more than that. Julia frowns.

David uses his crutches to enter his room. "Hello, David," says Jeb--let me help you.  Jeb takes his crutches and slides them under his bed, then sits down on the bed with David and asks, do you understand why I had to do what I did to you?  I do, says David solemnly. Good, says Jeb, I'm glad you do, even if Barnabas doesn't--the two of us always understand each other. "You were Alexander and Michael, weren't you?" asks David. Jeb grins. Yes, he admits--I call myself Jeb now--and you will always do exactly as I tell you. Yes, agrees David.  Good, you're a good boy--you get an A, says Jeb, ruffling David's hair--remember the radio your father picked up in Boston for you? asks Jeb--you gave that to me, when I was Michael (actually, Alexander)--I knew  then how close we'd be, when you'd learned what you must, and now you have--so I am going to give you something. Jeb displays his leather watch.  That's neat, proclaims David.  Take it, says Jeb, as a graduation present. You don't have to give me anything, insists David.  Jeb removes the watch, revealing the telltale moon-shaped birthmark on his wrist. I want you to take it, says Jeb--and hands it to David. Maggie enters the room and stares at Jeb. "You're the one who caused his accident," accuses Maggie (how did she know?)--what are you doing here, how did you get in? Jeb stands to face her. "I'm Jeb Hawkes," he announces.

David watches the adults talk. Jeb just came in to see me, he explains to Maggie. Yes, I felt responsible says Jeb. How did you get up here? she asks--I didn't see you come in. I didn't want to disturb anyone, just see David, answers Jeb. You knew we wouldn't let you, Maggie says. Yes, says Jeb, I guessed that. You can leave now, says Maggie sharply--the boy needs his rest--I mean that! Sure, Miss Evans he says.  How do you know my name? she asks. I've heard about all of you, replies Jeb, who then exits the room. Maggie quickly tells David, I'll talk to you later.  David admires the new watch on his wrist.

Foyer - Neither David's father nor I will appreciate your visit, says Maggie--if you wanted to help, you should have done it when he fell. Julia, in the drawing room, listens in. You seem to think there's something sinister in my coming here, says Jeb, but there isn't--I always do what I want. Julia joins them.  You can verify that I'm loyal, kind and sometimes obedient, says Jeb--can't you, doctor? Maggie, surprised, asks, do you know each other? Yes, we met, says Jeb.  Julia eyes him sharply. "Although the doctor seems speechless now," adds Jeb.  I'm surprised to see you here, she says.  It's nice to see you again, says Jeb, although I must apologize for my rudeness at our first meeting. He offers Julia his right hand and she takes it, immediately noticing the moon-shaped scar. I can answer Miss Evans' questions, says Jeb. Yes, some of them, at least, says Julia, trying to cover. Jeb bids both women good night--we'll be seeing each other again, he promises.  He gives them an insolent grin as he leaves.  Maggie asks Julia, "Who IS he?" I wish I knew, answers Julia. He's frightening, insists Maggie--his eyes, the way he stared at me, reminded me of that terrible little Michael--why was he in David's room, why? You  must find out, says Julia. Maggie agrees--I will. She walks away.  Julia picks up the phone and dials Grant Douglas.

Jeb was just sorry, David explains to Maggie--Megan told him I broke my leg. He's a stranger, says Meggie--why didn't he come to the front door and ask about him the way a stranger would? He came in the back door, says David. That was wrong, says Maggie. He's different from other people, says David.  Maggie agrees. He shows her the watch Jeb gave him. She sits down on the bed to look at it--why did he give you that? she asks. Because he was sorry, repeats David--there's nothing wrong with that and you can't make me give it back--I like Jeb. Why? asks Maggie.  I don't have to tell you everything, says David.  Maggie assures him otherwise--tell!--I'm not leaving until you do; there's more to it than you're telling me

Julia answers Quentin's knock at the door. I need your help to solve the mystery of Jeb Hawkes, she explains. I never heard of him, says Quentin.  Julia murmurs something about the mystery or Paul Stoddard's death and the others. And you want me to play detective? asks Quentin. I don't want to talk about it here, says Julia--David and Amy are upstairs. You don't trust them? asks Quentin, chuckling. Not David, not the way he's behaved tonight, says Julia--please come with me, she begs--Barnabas helped you, you've got to help me. They leave.

You shouldn't talk that way about Jeb, David cautions Maggie. I don't understand, she says--he caused you to have an accident and you talk about him as if he were a hero. You mustn't hold him responsible, David insists. She touches his face--"You're frightened," she says. I'm not, says  David--not of Jeb, not now. What do you mean? asks Maggie, pouncing.  Not since he gave me this, says David, admiring his new watch.

We see the grave of one Michael Hackett, born 1957, died 1970. Julia stands there holding a flashlight; Quentin holds a shovel. (Looks like a grave-digging expedition to me). When I saw the birthmark on Jeb's wrist, explains Julia, I knew it was the same person as Alexander and Michael--we must dig up this grave. But you told me you saw Michael in his coffin, says Quentin. I did, agrees, Julia, but I'm learning not to trust what I see anymore--something so terrifying is going on, I'm sure the supernatural is involved. You think they buried him, then tried to resurrect him? asks Quentin. I'm not sure, admits Julia--I think so. If what you think is true, says Quentin what will you do? I won't know until I find out, says Julia. Here goes, says Quentin, and begins to dig.

Collinwood drawing room - I couldn't sleep, Barnabas tells Maggie--I took David to the door and tried to... You found David? asks Maggie--you brought him home? Yes, says Barn, I found him at the antique store.  Why was David there, asks Maggie--who is this Jeb Hawkes?I wish I could answer your questions, says Barnabas, but I can't--there's something equally important on my mind--I'm very concerned about Carolyn. I am, too, admits Maggie. I tried to get her to leave Collinsport, says Barnabas, forget her father and go somewhere else (amazing how everything thinks it so easy to FORGET a deceased loved one), but she won't. I tried, too, says Maggie.  We think alike, says Barnabas, his face softening--you don't know how gratifying it is to find that out--I don't think the antique shop is quite the answer for Carolyn, and now that Jeb is there, I'm frankly afraid. He rises from the sofa. I just have a feeling, says Barnabas--I know he's interested in her, asks about her, I have the feeling it's more than just a casual relationship--since you and Carolyn are such great friends, discourage her from going there, advises Barnabas.  Maggie rises, too--it means a great deal to you in some way I don't understand, she says--I'll try to do everything I can. They look at each other, a mutual understanding forged.

Quentin has dug up Michael's grave. He opens the coffin, dirt falling from the lid.Julia shines the flashlight on the interior...

We've known each other for so long, Barnabas, says Maggie, and yet I never felt you were so concerned about the family. "I'm concerned about all of you," says Barnabas. She smiles--I'll do everything I can about Carolyn, she promises. Thank you, he says.  We sense a definite romantic spark between them. I should go check on David and make sure he's asleep, says Maggie, I don't trust Jeb. You're very wise he says.  She leaves. Barnabas wonders--am I wrong involving her, even to the extent I have?--but I must have help to end this... He goes into the foyer and looks upstairs. Julia enters--I must speak to you immediately, she says. I'm tired, complains Barnabas.  I won't be put off again, insists Julia--you've got to listen to me this time. I will not, he says--I told you not to involve yourself.  I'm already involved, says Julia, more so than before--I just dug up Michael Hackett's grave, and found an empty coffin. He gazes at her, startled. What does that mean to you? she asks. Nothing, he says, turning away. I'll tell you what it means to me, she insists--I pronounced Michael dead two weeks ago, I'd have sworn he was dead, but for some reason it had to be faked that he was dead--I don't know how, but I do know why--"In fact, I know so much about what is happening," proclaims Julia, "that you had better tell me everything."  Barnabas faces her and knows the jig is up--"All right, Julia, I will tell you the whole story," he promises.

NOTES: David Henesy really did break his leg, skiing, I believe, and they fit it into the storyline.

I guess Julia can't ever do her own digging, she always asks Stokes or Quentin to do the dirty work. That always struck me funny.

What will Barnabas reveal to Julia--the truth or more falsehoods?  Viewers were not liking the nasty, non-vampire Barnabas and were writing in and saying so, plus ratings were slipping after the highly popular 1897 storyline.  This is one reason why the evil Barn is now turning back into a true hero.

Love, Robin

932 - Amanda screams and runs from the room. Julia follows her.  Grant steps forward to stares at the portrait, which now reveals an unrecognizable face, completely distorted, covered with boils and scabs, reflecting a man who has lived too long and without hope for redemption.

No, moans Quentin--that face! Surely you know why that face looks as it does, says Julia--do you remember? I remember nothing, insists Grant, clinging to a wall. Look at it again, she insists, you must!  No! cries Grant. Julia turns to look at it herself. The hair is so scraggly!

That face, Amanda muses to herself, is that the way it would look if not for the portrait? And I--would I look like that, too, if not for Mr. Best? What difference does it make, why did Ie run--he'll remember me now, he must, he'll remember he's Quentin--I must go back. Instead, she finds herself face to face with Mr. Best. It's storming. No, she cries, you can't come for me now. Did you forget your appointment with me? he asks--am I early?--it would be most unlikely. He checks his watch. I have five more minutes, says--you must give them to me. I wouldn't cheat you, he says, not if you were right. There's something I must do, she says.There always is, sighs Best, ah yes, even when we should perhaps be composing ourselves, we worry about the everyday things. He might have remembered, says Amanda. Wishful thinking, says Best.  I left him before I knew, she admits. Really? asks Best, I find mortals most difficult to understand. Let me go back to him, she begs. I promised myself never to be moved by you again, he says. You were once very kind to me, she reminds him. Don't make me regret it, he says. All I ask is to walk in that room and see him, see if he knows, she begs. Best considers her plea. You must, she says, let me find out--you must!

Does it mean nothing to you? prompts Julia--look at the portrait--are you that afraid? All right, he agrees, turning slowly to look at the hideous visage in the portrait. One eye droops, half closed. The teeth are grotesque. You know, says Julia, watching Grant's face."Aren't you afraid to be alone with Quentin Collins?" he asks her. Quentin! she cries. Yes, he says, I remember the day that portrait was painted, oh yes, every minute of it--oh, God! he moans, returning to cling to the wall, murmuring, "Good God!"

Yes, I may have forgotten my life, says Q, but that portrait hasn't--there I am as I truly am, every slight, act of cruelty I ever committed is written into that face--every cheat, lie, sin, trick--and yet you can still look at me?  She nods. Julia, he says, I remember you, too--that's what I called you when we first met, when I brought Amanda...Olivia... She's Amanda Harris, reveals Julia. Where did she go? demands Quentin. I don't know, says Julia.

Best checks his watch and tells Amanda, I'm truly sorry--but you've asked me to break the rules too often, I'm afraid--come. Not yet, she pleads, not yet. It won't be unpleasant, he assures her. I'll never see him again, she wails. Perhaps you will, he comforts her. She looks at him--you're only saying that so I will come with him, she accuses.  Don't try to understand everything I say, he says, my mind is much more complex than yours, or anyone's--I pride myself on that. Just one moment with him, please, she cries, one moment.

She saw this? asks Quentin, horrified. Do you still love Amanda? asks Julia. I have always loved her, insists Quentin. Find her and tell her, says Julia, or... I can't explain, but a stranger will come and take her away forever, unless you find her and tells her you love her, she will die--tonight.

Quentin goes outside, but the only thing left of Amanda is a handkerchief monogrammed "Olivia Corey."  She was here, realizes Quentin, I'm going to search for her.

Best leads Amanda into the "stopping off" place She hesitates, but goes in. He starts to close the door.  Please, don't, she says.  One last look, my dear? asks Best. Let me go outside once more, she begs. One can never leave by this door, only enter, says Best. Amanda looks around--it's over, she laments. Not quite, he says--isn't it pleasant?--how I'm maligned. This is what death is? she asks. Only the first stage, he says, this is a passing through place. He goes to a desk and rings, as if it's a hotel lobby. My little hotel, says Best.  When will I leave this place? Asks Amanda.  It depends on my whim, he says--you will be most comfortable, I'll see to it--you must excuse me, I have others to meet. Don't leave me, she begs. Are you so afraid, you think Death a good companion? he asks--I'm flattered--it's been so long since anyone begged me to stay--but I must not give in to human emotions. He leaves. She stands at the closed door, then looks around at her multi-colored surroundings. She tries the door knob.  Let me out! she cries, pounding on the door.

A bellboy, dressed all in white, laughs at her, and in a British accent, asks, do you want to be let out?  Can you? she asks. Sure, he says, holding up a key. Why are you doing this? she asks. Why not? he responds. Go on, try it, he urges, handing the key to her. She does, but it doesn't work. The bellboy laughs.  Stop it! she screams.  I've gotten a lot of them with that one, he says, but there's no getting out of here, by that door, anyway. Is there another way? She asks. Would you believe me if I said yes? He asks.  I don't know, says Amanda.  She offers him a bracelet--it's very valuable, she promises. “What good is that to me?" he asks--say, I remember you!--you were here 70-80 years ago!Yes, she says. He brought you here from the river, then let you go--you're one of the lucky ones, you are, I never had your luck, he says nastily, adding, as she leans her head miserably on the desk, that I'm here to show you to your room. She cries.  Don't, he says--I don't even like to remember crying--funny, the things you remember, the things you can't even do anymore--are you ready now? She nods.  I'll give you a nice room, he promises, holding up a bunch of keys, and leads her away.

She's gone, Julia, says Quentin--I'll never see her again. She sympathizes. I found her and didn't even know it--why didn't you tell me who she was!?  Would it have helped, my telling you? asks Julia, considering you didn't know who YOU were?  Quentin is forced to agree. You know, he says, she asked me if I could love her, just today, if I could say I loved her--if I'd have said it, it would that have saved her. Julia, unable to answer, advises, don't think about it. How can I think about anything else? he asks sadly. There are many things you have to think about, says Julia--I don't mean to sound callous, but you must start thinking about...  Stop telling me what to do, will you? he shouts--get out of here and leave me alone!--there's only one person I want to see, now get out!  I'll leave, says Julia, but I will be back. She goes. Quentin says, helplessly, "Amanda!" He picks up a letter opener and contemplates suicide--yes, I will be with her yet. He prepares to cut his throat. Mr. Best enters.  Give me the letter opener, he demands. Who are you? asks Quentin. My name is Best, says Mr. Death, and it's not your time to die. (CAN Quentin ever die?) It was hers, yes, Amanda's, says Best--so you're Quentin? You took her from me, says Quentin, lunging at Mr. Best with the letter opener.  The latter simply holds out his hand and Quentin drops the intended weapon. Don't, says Mr. Best. I am impervious to attack--you are not, he warns. Give her back to me, commands Quentin. So you do love her--how interesting, comments Mr. Best. Bring her back, let me tell her, cries Quentin. And lose her myself? asks Best--she's had her chance! All right, says Q desperately, give me my chance--make a wager with me. You will wager with me? asks Best. Yes, says Q. You live by courtesy of Count Petofi, says Best--I know that, but even in my realm, there are arrangements that can be made. Make one for me, begs Q, I was ready to join her, you know that. And you would stay with her? Best inquires. If I had to, to be with Amanda, says Quentin--please, bring her to me, let me take her away--I love her like no other woman's ever been loved. I wonder, says Best--I like experiments, you know, you two, lovers lost, separated by half a century, and yet both still young...interesting, most interesting. Will you do it? asks Quentin passionately--will you?

The bellboy writes Amanda's name in the register on the desk. When Quentin and Mr. Best enter, the bellboy leaves. Do you like the place? asks Best--charming, isn't it? I have only one thing on my mind, insists Quentin--"Where is she?"--will I have to stay here forever? he asks Mr. Best, who is blathering about the place not being what Quentin expected--charming.  You have to stay here forever unless you can get out, explains Mr. Best. Quentin tries the door.  No dragons, no guards, the door simply won't open for anyone but me, says Best. You said that you'd bring her here so I could take her away, Quentin reminds him. "You don't think of yourself, do you?" asks Best--I like that--look, over there. Another door lights up.  Quentin finds that one unlocked. There is thunder, lightning. That is the way out, says Best--seldom used, but my life is dull sometimes, and now and then I sometimes amuse myself by giving someone who impresses me a chance to escape--it takes courage--you have that--and cunning--but that remains to be seen. What's out there? asks Q. You will have to find that out, if you want to leave with Miss Harris, says Best. It's a trap, accuses Q.It's many traps, says Mr. Best, many!--you want to try? With Amanda, says Q. Yes, agrees Best, good. He closes the door. Before she comes, says Best, ringing for the bellboy, I want to give you one word of advice--if you touch her, or she touches you, she is lost to you forever--if both of you reach the outside world, and you can, though you think not, but if you do, you will be together for eternity, whatever that means--but if you touch her, is lost, and if you lose your way, you will be, too--do you understand? Quentin does. Here are two candles, says Best, your only weapons--sometimes I think I'm too compassionate, but that's the way I am. "Good luck, Mr. Collins," bids Mr. Best. Quentin takes the two red candles from the desk and carries them to the Door to Hell. "We must not touch," he says aloud. Amanda enters, spots him, says his name, and reaches out to touch him...

NOTES: Now the lovers must fight their way out of Hades--if Amanda doesn't touch Quentin, that is. Why wasn't she given the same game rules as he was? Poor woman, Quentin finally realizing his true identity--and his love for her--just as her time has run out. Odd that Best considers two candles weapons in such a hellhole.

Barnabas reminded me of a man trying to train an unruly pet when he was forcing the Leviathan creature back into its room. It almost turned on its master!

Julia once again is saving the day, running from Grant/Quentin to Amanda to Stokes to Paul. She is undeniably the heroine of this storyline!


933 - How awful to be reunited and unable to touch! What a cruel thing to do to lovers!

Stop! Quentin orders Amanda, who is about to touch him--I nearly lost you!  I don't understand, she says--I was told you were here, and to come to you. Weren't you told not to touch me? he asks. No, she says.  That means the test has already begun, says Q grimly. Test? she asks, confused--I thought we could be together! And we will be, Quentin promises--in the land of the living--we are not allowed to touch, he warns, no matter how much we want to, because if we do, can't take you with me--every minute we're here, we're in danger--I thought it wouldn't start until the journey out; I didn't expect it quite so soon. Amanda is frightened, uncomprehending. Of course you are, he says soothingly, but I'll be here, as close as I can, and when it's all over, I'm going to hold you so tight--"I love you!" he says.  We must not forget, she says. Quentin lights the two candles and hands one to her. She takes it carefully, avoiding his touch. Let's begin, he says, there's no point in holding back now.

Antique shop - Megan, on the phone, says, in that shape, you really can't count on anything. Philip, still in a suit, stands beside her. Did the sheriff seem suspicious about your call? he asks. No, says Megan. I hope you're right, says Philip. I had to call, she says, to find out what was happening. You found out nothing, says Philip angrily, and heads upstairs. That's not true, says Megan to herself--if he was just wandering around town, the police would have picked him up by now--that means he's run for it, it may even mean he's dead, she adds, smiling--then we wouldn't have to worry about his talking to anyone!  Megan! yells Philip frantically.  She runs to the steps, asking what's wrong.

Stokes' house - Paul sits on the sofa, staring blankly ahead.  You must stop hiding from whatever it was, advises Stokes--you must try to talk to me, realize that you're safe now--safe. Paul says nothing.

Philip, stands before a wrecked wall in the Leviathan room--I went by the room, he explains to Megan--it seemed too quiet, somehow--and it was empty--why did he do it, he knows how worried we are about Paul Stoddard being gone, now with him gone, too, who knows what's going to happen?

In Hades, which seems to be little more than a large cave, Quentin and Amanda drop down into an area containing a skeleton. I'm anxious to keep going, she declares. The question is, he says, which way? He chooses one way--stay here, Amanda. He tries another path. Amanda drops her candle, throwing the area into darkness; she backs into a huge spider's web. Caught, she screams, unable to free herself.

Quentin comes running to help Amanda. In what I consider to be pretty decent special effects for the time, we see shadows of Amanda, struggling to free herself from the clutches of a gigantic spider. (I hate them!)  I can't get out of the web! Wails Amanda--Quentin, help me!  Hold on, he urges, try not to move around, you'll be all right. When Quentin comes upon the actual scene, the spider very close to Amanda, he cries, "Oh my God!" The spider, an ugly black thing that looks like it's constructed of pipe cleaners, makes an nasty noise, like a rattler, and pulsates in the web, as though sensing prey nearby and hungry for it.

Quentin stares in horror at the spider.  What is it? asks Amanda. (she doesn't know?)  The spider moves closer to Amanda.  Don't struggles, says Q tells, stay still. He picks up a rock and tosses it at the spider, which drops from the web. Quentin crushes the downed creature, which makes a few sad noises before it dies.  "That takes care of him," says Q. Amanda, still trapped in the web, calls to him. He goes over and chops at the web to free Amanda (and does accidentally touch her, although they don't acknowledge it). Freed from the web, she says, I never saw anything like that web, that THING! (No spider webs in her world, I guess.) Try not to think about it, he says. I wish you could put your arms around me, murmurs Amanda, it would be worth anything. Not an eternity without you, he says softly--hey, he says, not daring to touch her--stay close behind me, especially now that we don't have any candles. How will we keep from being separated? she asks. He takes off his coat and hands her one sleeve. We must keep hold of the coat--we'll never be separated, he assures her.

Antique shop - There's only one thing to do, says Philip--go for Barnabas. No, protests Megan, Barnabas will go looking for him. And find him and bring him back here, where he belongs, insists Philip  HE doesn't want it that way, says Megan--he doesn't want to come back here, not until he does what he has to do. What are you talking about? asks Philip. Don't you know, understand? asks Megan--don't you understand him at all?--he's gone to find Paul--he hates him, always has. He can't just do away with him! says Philip. He can do anything he wants to, she says. That will only make matters worse, points out Philip. And it's so good with Paul Stoddard free? demands Megan--ready to talk to the first person he sees--now you said it would be best if he were dead! I didn't say that, YOU did, says Philip. It doesn't matter--it's true, says Megan, but none of us is smart enough to find and take care of him--HE can! I still think we have to tell Barnabas, says Philip. You will tell him nothing, says Megan, her voice filled with cold, commanding cruelty--you will do nothing, you will just wait--just wait! And she gives her husband one of those bitchy warning glances.

Hades, Quentin and Amanda work their way over rocks. She twists her ankle, but insists, I can go on. That's a good girl, he praises--oh, God, do I want to hold you!  She grins and works her hands through her hair, then laughs ruefully. They each take their part of the jacket.  When I had to drop the jacket, says Amanda, I was so afraid I'd lose you. Gazing at her with love, he says, we didn't come all this way to lose each other. And they go on, linked only by his coat.

Stokes' house - Rid yourself of the shock of your experience, Mr. Stoddard, urges Stokes--think of it as something that happened to someone else--tell me what happened to him--to someone else? Paul is silent. Stokes is frustrated. He exits the living room, leaving Paul alone. Paul rises from the sofa, still wearing his Leviathan-destroyed suit. He goes to the phone, picks it up and begs the operator for the police. So, says Stokes, standing at his elbow, you CAN talk. Paul runs from him, closing and locking himself in the same room into which Adam disappeared (aka Bermuda Triangle Room). Open the door, please, coaxes Stokes, I won't harm you, now that you can speak, I might be able to help you. Stokes, unable to get in, he picks up the phone Paul dropped and dials Julia.

Quentin and Amanda arrive at a bridge. He spies a light at the end of it--beyond that passageway, there's safety--if they can just get across that bridge. We can't cross that bridge, wails Amanda, it's the final trap!--we're caught!  I know you're tired and frightened, says Quentin, but we've made it this far and can make it the rest of the way. How can we? she asks. I'll test the bridge, offers Q--if it can hold me, it can hold you. I feel there's so little time left! cries Amanda.   (OK she was getting on my nerves by this point)  You can't feel that way, he cautions, come on. He starts to step on the bridge.  Amanda begs, stay here with me, just one moment longer. If I do, he says, I'll take you in my arms. If you go, she says, I'll lose you. No you won't, he says, I promise you that. The wind blows as he takes the first step on the bridge. Thunder rolls. He slowly walks across the bridge, holding onto ropes looping across. Amanda watches fearfully.

Stokes awaits Julia's arrival. Thank heavens--maybe you can do something with him, says Stokes. Are you sure he can talk? she asks. Well enough to phone the police, he says--and he can move fast enough to have locked himself in there. Mr. Stoddard! Julia calls through the door. LEAVE ME ALONE! demands Paul. Stokes and I want to help you, says Julia, more than anything, but you must help us by telling us. I WILL TELL YOU NOTHING, yells Paul, "I WILL TALK TO THE POLICE!" All right, says Julia, I'll call the police. Do you think that wise? asks Stokes. Julia puts a shushing finger to her mouth. Mr. Stoddard, we'll do whatever you want us to do--call the police--now, you can hear me if you listen very closely. She dials operator and asks for the police.  Connected to the sheriff, she identifies herself and tells him it's urgent--come here immediately. We see she had her finger on the cut-off button for the entire call. She hangs up. Stokes and Julia look at each other. There's a loud, rumbling, terrible noise erupting from the room in which Paul has locked himself; he begins to scream. The creature is snarling, and Let us in! Julia begs Paul. The door opens.Paul, covered with a slimy substance, lurches out.

Quentin has reached the end of the bridge--I made it!  I feel so far away from you, says Amanda mournfully.  Only till you cross, he says. I'm frightened to cross alone, she says. You'll never have to do another thing alone as long as you lives, Quentin assures her--please, to me--cross the bridge, come on. She takes a first faltering step, then another.  Quentin encourages her every step of the way. She looks down, scared, noting, it's so deep...

Julia pronounces Paul Stoddard dead, then stands, wiping slime from her hands. Stokes comes out and reports, the room is a shambles, completely destroyed--wood broken, furniture torn apart. Who else was in the room? asks Julia. No one, answers Stokes, just a strange smell and some sort of slime substance.Paul is dead, says Julia--this time we had better call the police.

Don't look down, Quentin urges Amanda--keep walking forward. No! she cries, I want to go back. She turns.  Come to me, begs Quentin, come on, you can do it! She turns back toward him.  He continues to cajole her to keep moving forward, toward him. She walks, her eye on the prize, but loses her footing and abruptly falls through a broken board, disappearing from his sight."AMANDA!" screams Quentin.

NOTES: More choppy editing, and I suspect much was cut out.

RIP, Paul Stoddard. There is a better place than Collinsport, or at least we must hope so.

Has Quentin lost Amanda for good?  Did her whining make you glad she fell?  What did you think of their trip through hell?  Does it fit your concept?

Love, Robin

928 - Antique shop - Julia sits at the desk, making out the paperwork for Michael's death certificate. Philip, I'm sorry, she says.  The formalities must be dealt with, he answers. I wish I knew what happened to him, she says.  The answer is on the death certificate, says Philip--his heart just failed--but for me and Megan, it will be more difficult to find an answer--I'm sorry--I didn't meant to be rude, you've been wonderful both to the boy and Megan afterwards. Has Michael ever been sick? asks Julia.  Megan joins them.  Should you be up? asks Philip. I couldn't lie there anymore, she says in a wounded voice--too much to be done--I want the funeral quickly.  Perhaps it can't be done quickly, suggests Julia. What do you mean? asks Megan.  The boy's death trouble me, says Julia--it's almost classic, actually, but I would really rather have some   discussions with my colleagues at the hospital, and have one of them examine him. Colleagues! snaps Megan, oh, you're really something!  Julia is trying to do what's best, says Philip soothingly. For whom? demands Megan--for him?--you want to talk about Michael?--discuss it with me, I'll tell you everything you need to know. I was just asking Philip if he'd ever been sick, says Julia. Yes, when he was very small, says Megan--but his parents gave him so much love, they willed him to be healthy and strong, and when they died, that will was taken away from him; he was all alone!--we all tried to help, first Mrs. Hutchins.  She was a neighbor Michael stayed with in Coleyville after the accident, explains Philip. She was crazy about that boy, says Megan, she tried, well, we certainly tried, but without them to lean on, without Burt and Evelyn...  Evelyn was Megan's favorite cousin, says Philip, the deaths were a terrible shock to her, too. Talk about classic cases, sobs Megan--that boy died because he didn't want to live anymore, his heart stopped beating because it was broken! Megan runs off. I'll finish filling this out and you can make whatever arrangements you want, says Julia. He thanks her. Is there anything else I can do? asks Julia. Tell Carolyn and the others what happened, says Philip--tell them not to call, or come to see us--until Megan is ready. He leaves.  Julia considers everything.

We see a red candle, flowers, and Michael lying on a funeral bier, arms crossed over his chest. Megan stands over him.  Philip joins her--it's time to go, he says, we must leave. I can't seem to tear myself away, says Megan--I want to look at him a while longer. Be reasonable, encourages Philip, everyone is waiting. I know, she says, but I must be alone with him. All right, he says, I'll leave you alone, he agrees, but only for a minute. Megan gazes down at the child.

Stokes takes the painting, A View of South Wales, sets it on the arms of a chair, then pours himself a drink. There's a knock at his door, Julia enters. Where have you been? he asks. At a funeral, says Julia. Anyone I know? asks Stokes. No, these people just moved to town, says Julia, I don't think you know them--I see the painting has arrived.  I've already told Osmond, says Stokes--he's setting up his equipment and will get right to work--you don't seem as excited as you should be, he observes--is something wrong, perhaps you don't think it's what we're looking for? I'm sure it is, says Julia, but I'm not quite sure what's disturbing me.  I'll get you a sherry, he offers--make you more willing to talk. Where is Coleyville? asks Julia.  About 20 miles down the coast, a dreary little place, says Stokes--why?  Someone mentioned it, that's all, she says, accepting a drink from him. You look pale, he says.  I haven't had anything to eat since breakfast, she says.  I'll get you some English biscuits as well, says Stokes, and goes to get the food.  Julia sets her drink down on he mantle and twirls the globe on his desk. Twenty miles, she muses--just what would I find there?  She again twirls the globe. Stokes brings out a tray with the food--I'll tell Osmond we're coming, he says, but first we must have a serious talk.  Julia has gone, leaving Stokes holding his biscuits.

Julia has apparently driven to the home of the woman who supposedly looked after Michael after his parents' death. A sweet, old woman's voice bids her to answer. Julia checks out the bird cage near the door. The old woman comes out--I was lying down, she says--not feeling too well, lately. I'm sorry, Julia says. Yesterday, relates the woman, I heard some tragic news. I know, says Julia, and introduces herself to Mrs. Hutchins--Dr. Hoffman from Collinsport.  Megan told me how you cared for Michael, says Mrs. Hutchins. I happened to be nearby, says Julia, and wanted to stop and see you--I was with him when he died--I wanted to talk to you about him.The woman starts to cry. It was a terrible shock to all of us, says Julia. Not to me, says Mrs. Hutchins, not the way that boy GRIEVED for his parents--was the funeral nice?  Very nice, says Julia. When Megan called, I told her I couldn't make it, says Mrs. Hutchins, that's why I had to give up the boy, not well enough to handle him. Was he difficult? asks Julia. All the Hacketts are pretty spirited, says the woman. (Any relation to the infamous Buzz?) His father, Burt, was the most mischievous little boy! Then you've known the family a long time? asks Julia. Yes, says Mrs. Hutchins--and to think they're all gone and I'm still here! She shakes her head ruefully. It was nice of you to allow me to come, says Julia--I appreciate it. You're the kind one, says Mrs. Hutchins, coming to comfort me--may I escort you to the door? Go back to bed, urges Julia.  "Manners," says Mrs. H, "I always taught that to Michael." She sees Julia to the door and out, then leans against it, seemingly miserable. Another door opens; Philip, dressed in a suit, comes out--you did very well, very convincing, he praises. I still don't know how you found out about me, she says petulantly.  I know a number of people who, at the time, will prove very useful, says Philip--and you have proved that. He hands her an envelope filled with cash, which she accepts greedily and begins to count. It's all there, he assures her, as we agreed--enough for bottle after bottle. Annoyed at his implication, she peevishly says, "I'm not WELL!"  Please, he begs, you fooled Dr., Hoffman, but don't try to fool me. Mrs. H. speaks to her bird--Dr. Hoffman was such a nice lady, I wonder if it was right that I fooled her. It was right, says Philip, and that's all you need to know. Why did I have to fool her? asks Mrs. H, appealing to Philip.  No more questions, he says--it was part of our arrangement--and you are to forget me, Dr. Hoffman and the boy--it's all something you dreamed, after too much whiskey. One thing I must know, says the woman, was there really a little boy who died, or did you make him up too, like Burt and Evelyn?--please, she begs, tell me that. We were just through all that, snarls Philip--for your own good, forget it! And he moves to leave. She looks at all the pretty money as Philip leaves the house. Julia, hiding in the bushes, spots him. (boy, she is GOOD!)

Megan unpacks more antique from a box, and places a pitcher in the window. She finds a toy soldier and stares at it rather sadly. Philip returns.  Gleefully, he says, Dr. Hoffman was there, and she's completely convinced! Megan grins--it's all over, she says. All over, agrees Philip. Now I'll have to learn to stop looking for things Michael would like, says Megan, gazing wistfully at the toy soldier.

Stokes demands, Julia tell me what's going on--you can't just walk out of here like that! Julia apologizes--there was someplace I had to go. Coleyville, he guesses.  I'll admit that much, she says. I hope your trip was worth the time, says Stokes.  It was, she assures him--I need to talk to you--I desperately need your help--something is going on---the way Barnabas has been acting, Paul Stoddard's mental condition, the series of strange little boys who have been coming and going in that new antique shop, all blond, and blue-eyed, with the same birthmark on their wrists--all of those things are linked up somehow!--today, says Julia, the oldest and latest of these little boys died. Stokes it shocked--then it was his funeral you attended this morning? Yes, she says, I pronounced that boy dead, a classic case, all the symptoms were as if they read out of a book; I saw him in his coffin, I was there when they buried him, and yet, something disturbs me terribly about his death--ever since Barnabas returned, there is something evil in this place that is threatening all of us!Stokes looks puzzled and perturbed--we must try and stop this danger--the question is, how do we begin?  (I love this guy!--no questions, just right to action)

So the minute I saw Philip coming out of that woman's house, explains Julia, I knew she was lying, but why would she lie about that boy's death? The entire story raises a great many questions, remarks Stokes. Julia agrees--I'm positive that Barnabas can answer all the questions, if he would. Paul Stoddard is another person who knows something, suggests Stokes. But he's so frightened, says Julia. I think you could win his confidence, he says. I believe I could, agrees Julia. I want to pay a visit to the antique shop that specializes in a succession of strange, disposable little boys, says Stoke. (Great line!) The answers are there, insists Julia. I suppose they're closed, since it's the day of the funeral, says Stoke. No, Carolyn told me Megan wanted to work today, keep busy, says Julia. That's a perfectly acceptable explanation, says Stokes. They always have perfectly acceptable explanations, complains Julia angrily.

Antique shop - Megan holds the toy soldier. It's late, says Philip--I'll close the shop. Not yet, says Megan, gazing at the toy. You look tired, he notes.  It isn't that, says Megan--I miss Michael so much.  Stop thinking about him, advises Philip--he had to be gotten rid of. "You were glad, weren't you?" Megan snaps. Stokes enters the shop--am I too late? He asks--has Carolyn left for the day?--I'm Professor Stokes, a friend of the family. She greets him warmly. You do have a charming shop, says Stokes, glad you have something beside patchwork quilts and Colonial silver--I was admiring your locket--that doesn't come from this part of the world, does it?  I don't know, says Megan hesitantly.Megan, please, chides Philip, a dealer isn't supposed to admit ignorance. (The camera focuses on the locket, which is turned around, revealing the back, not the front. Oops!!)  Well, smiles Megan, I took it because I thought it pretty. Megan turns it around, looking down at it as she holds it in her fingers.  This is, too, says Stokes, taking a piece of statuary--perfect for the dear old lady who invited me to dinner. Megan smiles at this latest sale.  Let me wrap it while you browse, Philip offers. No time, says Stokes, pulling out his wallet, but I'd like to come back later and look around more carefully--I'm especially interested in old New England prints, if you run across any. I'll keep my eyes open, promises Megan. When Stokes accepts his package from Philip, he notices a Naga ring on his hand. Goodbye, says Stokes.  I hope your hostess likes her present, says Megan, after the departing professor. Philip and Megan exchange serious looks.  You had the same feeling about Stokes that I did, says Philip. "Yes, he could be dangerous to us," agrees Megan--"It's strange the way someone can always sense those things about THE OTHERS!"  He's a very intelligent man, comments Philip. But not quite intelligent enough, says Megan, pulling down the blind on the door--all that talk about what a hurry he was in? He's standing across the street watching! Philip wonders--perhaps I shouldn't have worn the ring, I'm sure he noticed it.  It makes no difference, insists Megan--married people often like the same things--I'm tired of all this waiting, hiding, and pretending we are like other people--we are not!  If they were, she adds, voice softening, I couldn't have given up Michael, seen him lying there, dead. He grabs her by the arms and shouts, I told you to stop thinking about him, it only upsets you!  She pulls away and looks outside, then begins closing the covers over the windows. "Goodbye for now, Professor Stokes!" she says nastily. I didn't realize how dark it is out, says Philip. Or how quiet it's become, without Michael, says Megan.  Philip again grabs her--forget about him--Michael is dead!  He goes to turn off the lights, but she stops him, suddenly    scared.  No, she says, do you hear something? They do--footsteps coming downstairs--Michael! He smiles at them."I've decided not to go through with it," he says. They stare at him, stunned.  He grins.

NOTES: Get Michael back in his coffin, damn it! Bury him forever!

That old lady was a hoot.  Loved her bird, too.  Is she a Leviathan or just someone they hired?  She was so funny, feeling guilty about fooling Julia--but she loved the money and the prospect of bottles and bottles of booze.  I guess we know what her hobby is, huh?

Julia has made substantial headway in this mystery now, and I'm proud of her for hiding in the bushes. She has amazing intuition, and she knows this whole thing smells bad. Go, Julia!

Love the scenes with Stokes. He was right to be angry with Julia for leaving so abruptly, and for once, she told him what was going on. I think he really likes her, and he's certainly a good friend to her, helping her most of the time without question! This is one of the few times he seemed really annoyed with her.

Funny blooper with the turned-over locket. They should have pinned it to Megan's blouse, then it wouldn't have turned over that way. Stokes should have tried hiding himself better; he isn't a good detective of he couldn't stay hidden better than that and they spotted him across the street!


929 - Barnabas looks like a vampire as this episode opens, or at least like someone who hasn't gotten enough sleep. He stands outside Michael's room, waiting for...what?

Michael comes downstairs, acting supercilious--I decided not to go through with it, he coolly tells them. Megan is especially taken aback.

Philip turns around and gazes at Michael, hatred in his eyes. Get back to your room, he orders. Perhaps you didn't hear what I said, Michael begins.  Philip, furious, says, I don't care what you said or decided, get back to your room or I'll drag you there myself!  Don't threaten the boy! Megan begs her husband. He'll ruin everything! protests Philip. I'll talk to Michael, volunteers Megan.  She turns to her dead son and gently explains, it's too late to change everything--I know how you feel about staying alone, and I'm really sorry. "I don't want to go back to the room!" insists Michael.  Megan drops the gentle tone--you must go back she says bitchily--all the arrangements have been made, we went to a great deal of trouble--don't you understand? He doesn't WANT to understand, Philip says.  Megan pretends she didn't hear him and says, Michael, darling, look, it's going to be very bad for all of us, including you, if you're seen again--go back to your room. No, I've made up my mind and like the way I am right now, and don't want it to end. You have no choice! spits Philip--Megan, I'm not going to stand here all night while you try to talk him into going upstairs; either you do it right now or I will do it!But you WON'T, retorts Michael. Philip, who has had it, physically grabs Michael, forcing him upstairs. I don't want to go! screams the boy--I want to stay!!! The phone rings.  Megan, distracted, reluctantly answers it. It's Carolyn, offering Philip and Megan an invitation to come to Collinwood and spend the evening with us--given your grief and all...  I think that would be very good, says Megan--I'll talk to Philip and get back to you. Megan, after a brief hesitation, ascends the stairs.

Philip, breathing heavily from his efforts, has tossed Michael into his room and locked the door. We hear the snarling breathing of the Leviathan creature. Megan joins Philip--is Michael all right? she asks. Yes, stop worrying about him, says Philip, annoyed. Did you do anything to him? Megan.  I would think, says Philip testily, you'd be more concerned that Michael did something to me!  Megan looks guilty, a little, but hears--loudly--how angry the creature is with them. What if he decides to leave the room again? asks Megan nervously.  He can't, Philip assures her--the door has been locked from THIS side!  I know, she says, but he gets bigger and stronger every day. Philip agrees--I'll add a heavy bolt to the door. Inside, the pissed-off creature seethes.

Collinwood - Paul creeps downstairs and into the drawing room. He opens a drawer in an armoire (where any of the kids could find it) and takes out a gun. Hearing a door slam, he slips it into the pocket of his robe. Carolyn finds him--what are you doing here? she asks.  I thought I would move around a bit, he says--I'm feeling better. You look better, too, she says--I think it's wonderful. Looking a little loony, he says, I've discovered I'm allergic to the medication I'm taking, so I decided to stop taking it. I'm sure Mother will be delighted to see you're looking better, too.  Don't tell your mother you saw me down here, he says, you know how finicky Liz has been about my illness; she would say I'm up prematurely--you know what I mean. She agrees. Could you bring me some food, asks Paul, but not tell anyone you're doing it?  Haven't they been feeding you? she asks, surprised. Yes, of course, he says but that doctor they got for me, he's a clever one, putting the medicine in my food--yes, but I'm onto his tricks--I'm allergic to that medicine, and I'm not going to eat anything brought to me, unless you bring it--I know I can trust you--I'd better get up to my room--she'll come to me soon, won't you? Yes, she assures him.  Paul walks off, looking suspiciously to the left and right. Carolyn shakes her head, upset, then shrugs and head off to the kitchen.

Paul returns to his room. A box has been left for him, and when he turns, he sees Barnabas Collins standing there, gazing at him.

What are you doing here? Paul asks Barnabas, and pulls out the gun.  I advise you to put it away, says Barnabas. No, says Paul, I'm quite willing to use it, too, if you force me. You already have more problems than you can handle, says Barn sympathetically.Yes, thanks to you, accuses Paul.  I'm here to help you, says Barnabas. Help me? asks Paul--do you think I'm idiot enough to believe that? Look on the bed, says Barnabas, don't be afraid. Paul sees the box--what is it? he asks. Your clothes were taken from you after that night you went into town, Barnabas reminds him--I brought them back for you--if you look in the envelope, you'll find enough money to get you away from Collinsport and far away. It must be a trick, says Paul.  I'm helping you escape, Barnabas solemnly assures him--before anymore harm comes to you. I'm more concerned about what harm might come to Carolyn, says Paul.  I promise I'll protect Carolyn after you're gone, says Barnabas. Does that mean she's no longer part of that PLAN you were involved in? demands Paul.  Please don't ask anymore questions, urges Barn--I'm guaranteeing Carolyn's safety--are you willing to go or not? Paul looks in the envelope, checks the stash of cash, and agrees to go. Good, says Barn, get ready to go in an hour's time--I'll see that you get out without being seen. Barnabas leaves the room. Paul opens the door, looks out, closes it--Barnabas believed me--that's good, because I don't believe HIM--I'll leave, all right, but not before I'm assured Carolyn is out of danger, not before I find out more about Barnabas and his friends at the antique shop.

Philip has finished adding a deadbolt to Michael's room. I'm worried about him, frets Megan.  He can't get out now, Philip says. Perhaps we should stay here and not go to Collinwood tonight, suggests Megan.  Mrs. Stoddard asked us to be there, Philip reminds her--and we are going!  He stalks off, Megan looking after him. Michael continues to breathe heavily, an obscene phone caller out of control.

Liz sniffs a bottle of medicine, smiling. She recaps it, pulls something from her pocketbook and affixes a label to the bottle.  Carolyn comes in--when is Dr. Reeves going to get here? she asks. He isn't, says Liz--he has an emergency at the hospital, but sent over some new medicine, I'm taking it up to Paul now. I'll take it up to him, volunteers Carolyn--I might have more success in getting Paul to take it than you would. Yes, agrees Liz, you can get him to do just about anything--thank you.  Liz hands Carolyn the bottle and smiles.  Carolyn answers a knock at the door, welcoming Philip and Megan. They join Liz in the drawing room.  Philip closes the doors.  We had a major problem at the shop, he reveals--Michael got out of his room.  If someone had seen him, says Megan, we could never have explained it--he went back into his room, and I'm sure he'll stay there. I expect Barnabas will be very pleased, says Liz--we should all have a drink to celebrate our little deception.  Philip and Megan smile back at her with satisfaction as the trio exchanges proud Leviathan looks.

Paul, dressed, counts the money Barnabas gave him. The latter begs him to hurry. Paul puts the money in his pocket--what's our next movie? he asks Barnabas. Carolyn knocks at the door. Get rid of her, Barnabas orders Paul, and hides behind the drapes. Why are you all dressed? asks Carolyn--you aren't planning on leaving the house, are you? She sets the medicine on the dresser. I told you, he says, I'm feeling better, and I need to get out for a few hours. Remember what happened the last time you tried to go out, she says. Yes, but I'm much better now, says Paul--that was over a week ago, you said so yourself downstairs--you must understand I hate being cooped up and want to show everyone I can manage on my own--I'd like to go into town, perhaps to the Blue Whale. You aren't planning to leave Collinwood, are you? she asks. Is that what you think, that I'll run out on you again? asks Paul.You haven't been happy since you've been back, says Carolyn. I will never desert you again, he says--if it will make you feel better, I'll take you along--it will be just like old times. She hugs him--that would be good, she says--if anything happened, I'd be there to take care of you--but could you give me half an hour before we leave?--the Todds arrived just as I was coming upstairs. That's the couple from the antique shop, says Paul, guarded. That's right, she says, what's the matter? Nothing, he says. Mother and I invited them here for the evening, explains Carolyn, and I really should put in an appearance, but I'll think of an excuse to leave and meet you on the terrace in half an hour. Fine, agrees Paul, hustling her from the room. Barnabas comes out of his hiding place. "What now?" demands Paul.  I didn't expect there would be company, says Barnabas, but that might make it easier--give me 10 minutes, I'll try to keep them all in the drawing room and keep the foyer free for you. Barnabas smiles reassuringly and leaves.

I think you're very fortunate to be the ones guiding the child, Liz tells Philip and Megan. We feel very grateful for that, Megan assures her.  Philip agrees. Megan, sounding like a religious fanatic on a tear, says this crisis has been a very good test for us--the time isn't far off when our people will become a group, come into our own, there will be many more responsibilities then, and we must be prepared to meet them--when the time is right, our people, from various parts of the world, will converge here, right here, we will establish our own society right here in Collinwood--that's one of the reasons YOU were chosen, Mrs. Stoddard!  Liz looks delighted--Barnabas told me that the Collins family prestige and money will be very helpful to us, but, says Liz, that's all he told us. "What more do you need to know, Elizabeth?" asks Barnabas, joining them. Liz goes to him, welcoming him--I was hoping you'd drop by this evening. I'm glad, says Barnabas--your curiosity seems to be nagging at you. He closes the double doors. No, she says, I just want to know exactly what our ambition is. We are waiting for HIM, says Megan. And what do we hope to accomplish, after he arrives? asks Liz. We must be prepared for whatever is in store for us, says Megan. Well said, praises Barnabas. I only asked because I've been thinking about the future, says Liz--I'm starting a new life, but part of the old life is still very dear to me--specifically, Carolyn.  Megan, confused, stares at Philip. "What about Carolyn?" asks Barnabas.  I've been worried about what's to become of her, says Liz. Don't worry about her, says Barnabas. I want my daughter to share this experience with me, says Liz--I want her to become one of us.This catches Barnabas off-guard, but he recovers--it's only natural for you to be concerned, he says, and I'm also concerned for Carolyn's future. Megan, noticing something odd about his response, his behavior, watches him closely. I'm glad to hear that, says Liz. Megan comes over and asks Barnabas, are you feeling well?  I feel fine, he says, but she still looks perplexed. Carolyn enters, apologizing to Megan for taking so long--I was on the phone. Megan wipes her eyes and says, we needed to be interrupted--all I can talk about now is Michael. That's to be expected, says Carolyn, taking her hand.  I don't know how I will live without him, laments Megan. You have to, says Carolyn.  (duh!)  I know, admits Megan.  You two are much better off out of the antique shop tonight, remarks Carolyn.  At that moment, Barnabas spots Paul coming downstairs and exchanges glances with him before closing the doors. Liz calls to Barnabas--who's in the foyer? Barnabas doesn't respond at first, then closes the doors and says no one, I was just looking at the time. (How, given where the clock is?)  Paul opens Megan's pocketbook, which is lying on the foyer table, and steals the keys to the shop. In the drawing room, Carolyn suggests to Liz--Philip and Megan stay the night.  We can't, says Megan--we have to return to the shop right after dinner--but thanks for the consideration.

Antique shop - Paul lets himself in with the stolen key, closes the door behind him and rifles through the desk. He looks over the shop and focuses on the stairs.

Collinwood - Megan and Philip bid Liz and Carolyn good night, thanking them. Feel welcome at Collinwood any time, urges Liz.

Paul stands outside the door of the Leviathan lung brat, then unlocks the bolt. He finds the door locked, tries another key on the ring, then goes in...  NO! Paul cries, backing away...

NOTES: Here we see the contrite Barnabas, trying to make amends for his transgressions against Paul in the name of the Leviathans. Paul doesn't trust him, understandably, but now Megan is suspicious. She's so dogged in her loyalty to the Leviathans! Now Philip, more pragmatic (and hating Michael more than Megan despite the common cause) ran him upstairs and shoved him into the room--good for you, Philip!  The kid's going to ruin everything!

Liz isn't yet aware of her daughter's contribution to the cause? Why not? If Liz is truly one of them, she should be happy that Carolyn is so important to this plan. Or do they feel she would begin to waver if she knew the whole plan and her daughter's part as Leviathan bride?

Poor Paul, trapped with the lung brat! Will he live or die? Will he retain his mind, or lose it? How do you feel about not actually seeing the creature? Is your imagination working to put a picture of him in your mind, or do you wish they had shown you the real Leviathan lung brat in all his slimy, green glory?

Love, Robin

924 - Gazing up at the familiar face of Barnabas' former wife and tormentor, Julia's face registers utter shock. "Angelique," murmurs Julia. The name suits her, doesn't it? asks Sky. The painting looks so old, says Julia--it's strange. Whoever painted it did a good job, says Sky--she's dressed as she was at a costume ball, just before I met her--the painter even painted it on an old canvas. She's very beautiful, remarks the astonished Julia. The best model we ever used, boasts Sky--that's how I met her, saw her photo in my magazine--FASHION, you probably read it. Occasionally, says Julia (somehow, I can't picture that). I decided to do a layout, just of her, he says. You haven't known each other long then, says Julia. I went to the city myself to supervise it, says Sky--it's unheard of, a publisher taking charge, but I met her, and while I never believed in the old songs, "Love At First Sight," "It Only Takes a Moment"--embarrassed, he stops blathering--you've got me talking about my favorite subject.  I see I have, says Julia, disturbed. The phone rings. Sky answers--good, he says--to Julia, he adds, the plane has landed on time, she's in the launch and should be here in 20 minutes, so if you will excuse me, there are magazines for you to read--mine, of course--amuse yourself. Don't worry about me, says Julia.  He exits, leaving her with what surely must be a jumble of wild, confused thoughts.

Doing schoolwork at the desk in Collinwood's drawing room, David sneezes.  He asks Maggie, who sits nearby, do I have to do all this right now? He wipes his nose with his hand. Yes, you do, she says, and your handwriting had better be more legible this time. Why do I never get to do anything I want, he complains.  You know that isn't true, chides Maggie.  Why couldn't I go to Michael's house to play? He asks.  You're coming down with a cold, says Maggie. Yeah, and staying here is going to make it go away, says David sarcastically. And you have work to do, says--you can't spend all your time at the antique shop. I don't see why not, he says. Megan and Philip don't want you two boys under foot all the time, she says. They like it, insists David. You must get under foot some of the time, says Maggie. You wouldn't understand, he says. What? she asks. Nothing, he responds. Something, she counters. I was just thinking, he says. Think about finishing your theme, she says. He continues to work, drops the pen on the desk, and announces, it's done. Already? she asks--when are you going to learn that schoolwork is important?  I know exactly what is and isn't important, says David, verging on nasty--"You don't have to worry about me." The doors swing open--it's Michael. "Hi," he says. Michael! says David, excited. You didn't come to my house, states Michael. SHE wouldn't let me, says David, gesturing to Maggie, who doesn't look glad at all to see the intruder. It doesn't matter, says Michael, I've come here. It's great, enthuses David. I didn't want you playing with David because he's coming down with a cold, explains Maggie. I don't get colds, scoffs Michael. I'm surprise Megan and Philip let you come here, considering they knew I wouldn't let David go out, says Maggie. Oh? asks Michael. You aren't going to make him go home, are you? asks David. "You wouldn't do that, would you, Miss Evans?" pleads Michael, sounding like an Eddie Haskell wannabe. Come on, urges David. I certainly should, for your sake, says Maggie. For His sake, Miss Evans? asks Michael with icy politeness. If you boys start running around and David gets overheated. . .begins Maggie.  David, really excited, says, we won't--we'll sit and play quietly, won't we, Michael? The latter assures Maggie, I know lots of games we can play. While we're playing, you can grade my theme, says David--we won't go out of the house or anything. Maggie, staring at Michael, says, well, if you two boys start rough-housing, he'll have to go home--David really is coming down with something--"You can stay." What do you want to play?" asks David.  Michael, staring at Maggie, shrugs. Maggie returns to join the boys and asks Michael, is something is wrong?  What could be wrong, Miss Evans? asks Michael. You keep staring at me, she says. David, uncomfortable, asks Michael, do you want to play Wall Street? "It doesn't matter what game we play, David!" says Michael, annoyed--"You know that. David goes to get the game.  Maggie starts to tell Michael to remember...  "To clean up?" asks Michael-- "Miss Evans? We know."

Sky and Angelique Rumson exchange a big, happy anniversary welcome home kiss. I missed you, he says.  Beaming, she says, I missed you, too. We aren't alone, warns Sky--there's a woman here to talk to you about the Tate painting--get rid of her quickly--I've got champagne on ice and big plans for the day. She loops her arms around his neck--I won't let a thing interfere with us, she assures him--they hug. Angelique checks her face in the mirror.  Do you have any idea how much I love you? he asks.  Nearly as much as I love you, she replies, throwing her arms around him again. As they hug once more, we see she's wearing a big diamond rock on her left hand. Angelique really does gaze after him with longing before going to meet the woman who has come to see her.  Julia's back is to Angelique, who greets her with a cheery hello. Julia turns. "Hello, Angelique," she says.  Angelique's face contorts with disbelief and shock.

Mortified, Angelique rushes to close the doors. "Why did you come here?" she asks Julia. Not to find you, the latter assures her. I want nothing to do with you, says Ang, any of the Collinses or anything at Collinwood, do you understand?  Julia shakes her head. "I've changed, I'm different," insists Angelique--"I have everything in the world I want." "Do you indeed?" asks Julia disbelievingly. "EVERYTHING," emphasizes Ang--"And I won't let you or any of them take it away from me."--I'm afraid you will tell them--no one there will believe I've changed--Barnabas would never believe I love and am loved. Barnabas might surprise you, Julia.Bitterly, Ang says, that's one thing he would never do--Barnabas always laughed at me when I spoke of being human.  Have you given up your powers? asks Julia, astonished. Of course, says Ang--willingly!--you don't believe me?--do you think I'd be standing here begging you, when with just a few words, I could wipe this meeting from your mind and be safe again?--no, that was part of the agreement--if I could find a man who could honestly love me, then I could live as a human--and I am! She turns away from Julia--I knew this would happen, she laments--I would see one of you, one of you would find out I was here...this house, Sky loved it so much, I couldn't bear to let him sell it--he knows nothing about me, and must not--the past means nothing to me now. If it means nothing, says Julia, then why do you have Quentin's portrait?  Surprised at how much Julia knows, Ang admits, I have it because Sky gave it to me. Why did he happen to choose this particular picture? asks Julia--was it chance? No, admits Ang--when Sky asked me to marry him, I wasn't sure; I didn't know if I could give it all up--one day as I was wandering through a gallery, trying to make up my mind, I saw that (she nods her head toward the View of South Wales). You knew that Quentin's portrait was underneath? asks Julia. I was at Tate's studio the night he covered Quentin's portrait and began that picture, says Angelique--so the picture came to mean for me everything my life had been up until now--all those weeks of trying to make up my mind about Sky, I would go to the gallery, look at the painting, and remember...Barnabas, Quentin, all the rage I felt, all the unhappiness, every plan I made had gone wrong--one day Sky picked me up at the gallery; he knew the owner, who told Sky that it was my habit to come to the gallery and sit there every day and look at that picture--he bought it for me, as a surprise wedding present. Now if I ever have a single regret, I come to look at it, and am very glad to be as I am now-- "Julia," she says earnestly, "we became friends in the past, please let us be friends now, don't tell them I'm here, please don't." I won't, promises Julia, if you give me the picture. But I can't, protests Ang. Quentin is in trouble, reports Julia. Ang is surprised to hear Quentin is at Collinwood.  A man I assume to be Quentin arrived a few weeks ago, says Julia, but he's lost his memory, and I am sure the portrait will help him regain it--he's just as he was, he hasn't changed at all. Don't tell me those things, begs Ang, I don't want to hear them! Allow me to take a View of South Wales and have it transferred to another canvas, asks Julia--your husband need never know--if you ever felt anything at all for Quentin, you must do this, Angelique--you must! Stricken, Angelique considers Julia's words.

Michael and David play Wall Street. Michael steals from the bank.  I caught you, announces David. No you didn't, counters the future Leviathan leader evenly. Yes! says David. I saw you take it!--why did you do it?  Because I have to win, says Michael. You have to? repeats David--"Then there's no point in playing the game. He rises from the chair and walks away, arms crossed over his chest. "Sit down!" orders Michael--"You haven't finished your move." I don't plan to, says David. Look at me, commands Michael.  Reluctantly, David does so. You will sit down, orders Michael, and finish the game. David sits and says, "And you will win.". "And I will win," agrees Michael. Maggie enters--David, she says, if Michael will excuse you for a few minutes, I'd like to discuss your theme with you. To David, Michael says, "Michael won't." What did you say? demands Maggie. Innocently, Michael replies, "Nothing, Miss Evans." I think you said that you wouldn't excuse David, says Maggie, but this is about his homework and doesn't concern you.  David reminds her--we're playing a game.  You can stop your game, insists Maggie--this theme is illegible, there are whole sentences here I can't read. "You really should let us finish, Miss Evans," says Michael, an implied threat in his voice. David agrees--please. Please don't tell me what to do, Michael, insists Maggie. David's little lecture can wait, can't it? asks Michael rudely-- besides, I don't know what's so important about handwriting--I've never seen a grown-up's I could read! Neither have I, says David, and that includes yours, Maggie. So why don't you just go back to your room? suggests Michael (this kid has cojones, I have to give him that)! Angry, Maggie says, you apparently didn't understand what I said earlier--you do not give me orders, David is in my charge, not yours.I don't understand what you're so upset about, says Michael--we said he'd come to you when we're finished. She and Michael stare at each other for a few tense moments.  All right, she says--five minutes, David, and you're to come to my room--alone. She leaves. "I HATE HER!" Michael says. You can't, says David. And she hates me, says Michael. David points out, if you hadn't said...  She'll be sorry, promises Michael. Come on, we should just play, says David. The game is finished, says Michael, you go listen to her lecture, and then...then we're going to have some fun. What are you going to do? asks David. "Fun for us, anyway," says Michael, grinning. I won't do anything to hurt Maggie, says David. We won't hurt her, says Michael--as soon as it gets dark, we just have a nice new game to play, that's all. And he grins at David.

Angelique and Julia are seated in comfortable chairs.  I'll send someone to pick up the painting the day after tomorrow, promises Julia--it will be back before next weekend. Ruefully, Angelique says, I'm deceiving him already--the influence of Collinwood.  Tell him you want to lend it for an exhibition, suggests Julia. He'll want to know where, says Ang, he has that kind of mind, very thorough--no, we had better do as you said--you pick it up--and please keep my secret, begs Ang, don't even tell Quentin. I promise, Julia assures her, and I keep my promises. Don't misunderstand this, says Ang--I don't even want to see YOU again. That can be arranged, Julia says. Sky joins them and asks, have you settled it yet?All arranged, says Julia, shaking Ang's hand--thank you very much. She shakes Sky's hand, too.  He offers to take her to the launch. Not necessary, says Julia, heading out. Angelique looks worried, but once she and Sky are alone, he asks, did you get what you wanted?  No, she replies. What's wrong? he asks. She giggles and says, wrong?--what's wrong is that you're too sensitive, and know me too well. She curls her arms around his neck. I don't know you nearly well enough, he says.  Very seriously, she says, you do, you know me as I am now, and that's all you have to know. She kisses him passionately.

Collinwood - night - storming, no surprise - Maggie comes out looking for David and Michael, who are no where to be found. When she heads upstairs to find them, all the lights go out. Upstairs, David holds a candle.  You shouldn't have taken the fuses out, David tells Michael. I just wanted to see if she's scared of the dark, says Michael. David protests--I don't like this game--can't we stop? No, says Michael--she's coming. They run and hide out of her view. Maggie, also bearing a candle, enters her bedroom, calling to David. Her door blows closed; she finds she's locked in. DAVID! she calls, is that you?--answer me, I know it's you or Michael, if you don't answer me...David!  David, on the other side of the door, asks, what's the matter, Maggie?  You know perfectly well, she says--open this door! David unlocks the door.  He and Michael stand there. The fuses have blown, says Maggie--I want you to help me find the fuse box. I didn't do anything, insists David. Well I know who did, says Maggie, looking at Michael--I've had enough of your tricks for the day--I'm calling Philip and Megan and having them come to pick you up. You don't need to, says Michael, I'm ready to go home now, and will call them myself. He walks off, furious.You shouldn't have done that, says David. I don't know or care what you mean by that, says Maggie, but that boy is not a suitable friend for you--I hope you realize it--I don't want him to come back here again. No, Maggie, says David, don't say that, please! He walks away, into his own room, leaving Maggie alone in the hall. Maggie returns to her bedroom, where she finds the lights work; she blows out the candle. She prepares her bed for sleeping, but is interrupted by the sound of heavy breathing. She looks around, fearful. She moves around her bed, then listens at her door. She presses her ear to the secret panel, which opens. That's where the breathing appears to be coming from...

NOTES: Angelique seems very happy, and sincere in her desire to have nothing to do with the Collins family. Her wistful remark to Julia about how she's already deceiving her husband, blaming it on the Collins influence, was telling. At least she agreed to help Quentin by loaning Julia the painting. Did she really give up her powers, willingly? And does she really desire to be human? Sounds like she means it, but let's wait and see. Can one painting be taken from the top and moved to another canvas? Is it possible?

Sky is cute, but most feel he's a rotten actor at this stage of his career, and the comment usually made about him is "wooden." Make your own judgment on that one. Ang got a handsome, rich fella, and more power to her!

Michael is a nasty little brat, and we worry what he has in store for poor Maggie. That he must always win--even if he must cheat--is an annoying facet of his character.

David didn't seem like his Leviathan self in this episode, did he? He was very cowed by Michael, afraid for Maggie, much as Philip seemed to be out from under the Leviathan influence the other day. Normally, David would let Michael do whatever he wants--look how he just gave him his coveted radio when Alex wanted it! Even David chafes at this new version of the Leviathan leader.


925 - Maggie follows the sound of breathing, calling to David.  Are you making that ridiculous noise? She demands--stop this!" She finds that the secret panel has closed behind her, making it impossible for her to return to her room. "DAVID!" she cries, terrified.

Maggie walks through the secret passageway, the sound of the breathing continuing. "David, why are you doing this? Are you angry because I sent Michael home? Michael!" To herself, she says he'd said he was going home--but maybe he didn't. "Michael is that you? Answer me!"  She determines to find another way out of this place, and the camera focuses on two flickering lights in a brick wall that look much like those in 1897. We wonder how it just so happens that they are lit in this secret passageway.

At the antique shop, a nervous Megan tries to work, but is too agitated to do so. Philip comes in.  It's nine-thirty, says Megan angrily--you were supposed to be back at six to help me with the accounts!  I was held up at the Carson place, he says defensively; the lot was bigger than I expected. I called the Carsons at 7:30, she rails--they told me you had just left! I see, he says. Where have you been for the past two hours? demands Megan. He looks at her.  Is it something I shouldn't know? she asks. Philip resentfully explains--after I left the Carson's, I drove the truck to the bluff overlooking the North Cove, and sat there for two hours! Doing what? she asks.  Looking at the ocean and thinking, he says. Thinking? asks Megan sarcastically. About us, our life and what we're doing to it, outlines Philip--about the way we've changed and the things we've done. Megan's face softens. We had no choice, she says. Why not? asks Philip, other people are free to choose the way they live their lives, not us?  She thinks about it--I don't know or understand it, she says. Yes, that's what's so frightening, says Philip, neither do I. Why don't we close up the shop now and go to bed, suggest Megan, touching him provocatively. Good idea, he says--where's Michael?  He's spending the night at Collinwood with David, says Megan.  This totally whacks Philip out--"At Collinwood--are you out of your mind?"  What's the matter? she asks lightly--it was Michael's idea. Of course, says Philip, furious, and you went right along with it because you don't know how to say no to him--the way he runs your life, the way you fawn over him, pamper him--well, I think you've gone to far this time. There are times you're more childish than Michael, accuses Megan.  It's dangerous to let him stay with David, persists Philip. Snapping the shade over the door closed, Megan says, that's absurd--I refuse to discuss it. Philip grabs her arm--you're going to discuss it, he insists. No, retorts Megan, I'm going to bed! And I'm going to Collinwood to get Michael! Shouts Philip.  No! insists Megan, wrenching free, you're going to stay here, stay right here and let him stay where he is. I don't want to take that risk, says Philip. Where do you get this ridiculous notion you have about this child? Demands Megan.  He's not like other little boys, says Philip, he's uncontrollable, incapable of abiding by set rules because he makes his own; there's no telling what he might do out there. It's not right to keep him cooped up in that room upstairs every night! insists Megan.I'm concerned for the safety of other people, says Philip, not what's right. Michael is a wonderful child who deserves the very best from us, says Megan, he can't get it if you keep criticizing and picking on him! "When are you going to stop taking HIS side?" cries Philip--can't I ever be right anymore? Stop it! she orders.  They stare at each other, a couple who was about to go to bed to make love, now adversaries. "I'm warning you, Philip," says Megan, stop persecuting him, let him live his life the way it should be lived, if you don't, if you don't..." You'll what? he asks. Megan suddenly changes, returning to her pre-Leviathan self. She launches herself into Philip's arms--what are we doing to each other? she wails.  He wraps his arms around her. Why are we fighting like this, we never used to, what's happening to us? she asks.  I don't know, he answers, but I sometimes wish I hadn't seen that box. No, says Megan, pulling away from him and staring at the Leviathan box, don't ever say that again, don't even think it--Michael could be taken from us! Would that be so bad? asks Philip. Yes, it would he, she says, under the spell once more.

Collinwood - A scared Maggie realizes she's been going around in circles as she tries to find a way out--there's no way out!  I don't know how to get out, I'm all alone in here, and I've got to find my way back to my room!

9:10 AM - Roger returns home. Michael and David are playing the same board game in the drawing room.  Roger overhears Michael telling David, "You'll sell when I tell you to!" It's not in the rules, protests David.  These are MY rules, insists Michael, and that's what counts. Roger listens at the drawing room doors, not liking this exchange.  He enters the drawing room.  you're up early, David, he observes--who is this young man?  Michael introduces himself--I came over early, he explains, because we had to stop playing last night before we finished. Michael is Alex' cousin, adds David. Yes, says Roger, forehead creased, I knew that before I opened the door. Didn't you like Alexander? asks Michael. I only met him once, answers Roger--didn't get to know him--where's Maggie? Asleep, I guess, says David--Amy slept over Tammy's house (glad she has other friends and can enjoy a normal life away from Collinwood). I'm going upstairs, says Roger--go on with your game. It's your turn, says David--you didn't pay me for that stock. You didn't tell me your father hated Alexander, accuses Michael. He didn't hate him, says David. He tries to resume the game.  Angrily, Michael says, you shouldn't keep things like that from me. Pay up so we can get this over with, says David.  The game is finished, announces Michael, I'm getting tired of it!  He shoves the game, pieces and all, to the floor.

Roger knocks at Maggie's door.  He finds her gone, and her bed hasn't been slept in. Puzzled, he leaves the room. The camera focuses on the secret panel.
Maggie continues to try to find her way out of the maze; another door closes and locks after her. She cries, "Who's out there? Let me out!"  (Looks like she's in the storage room outside Quentin's old room.)  Hearing the breathing again, she cringes in fear.

Roger comes downstairs and asks David, who's put the game away, do you know where Maggie is?--I couldn't find her anywhere. I haven't seen her all morning, replies David--she must be somewhere in the house--it's not like her to go off without telling anybody. Yes, I know, agrees Roger. Michael exits the kitchen, and listens as Roger sternly asks David, did something happen last night that I don't know about?--when I went to look for Maggie, she wasn't in her room, nor had her bed slept in. I don't understand, says David.  Roger leaves to make a through search of the house. Michael enters the drawing room.  Do you know anything about this? asks David. "About what?" inquires Michael innocently. Maggie's missing, says David, her bed wasn't slept in last night. How should I know? asks Michael, I wasn't here last night. I know, says David, but-- "Michael, did you do anything to her?" Of course not, says Michael, I haven't the slightest idea where Miss Evans is!

David and Michael play cards in the drawing room.  When David seems preoccupied, Michael asks, are you still thinking about that stupid governess?  I'm worried about her, admits David. Stop worrying, she'll turn up sooner or later, says Michael. Hearing his father come in, David anxiously asks, did you find anything?  No, says Roger--and I searched the entire house--I'm going to give her a piece of my mind when she does come back. It's your turns, David, says Michael.  Roger goes to answer the door. It's Philip, who has come to pick up Michael.  Roger invites him in. Philip bids Michael good morning. We haven't finished this game yet, says Michael.  I can't wait for you to finish, says Philip, I have work back at the shop. And David must start his lessons, adds Roger. "He can't do that until his governess comes back," points out Michael.  Roger looks at him, as does Philip, who asks Roger, is David's governess away?  We don't know where she is, says Roger--she seems to have disappeared. Philip stares at Michael, who smiles innocently, wiggling his eyebrows.

Megan dusts the deer head, and other items in the shop. She hears Philip arguing with Michael, who demands of Philip, let go of my arm!  Keep walking, orders Philip, you have some explaining to do!  Philip hustles the boy into the shop.  Megan asks, what's going on? That's what we're going to find out, says Philip, and he's going to tell us--I warned you it wasn't safe to let him go over there! Will one of you please tell me what's going on? cries Megan. David's governess ran off somewhere and he thinks it's MY fault, bleats Michael. Philip is still holding the boy's arm. She didn't run off, you did something to her, says Philip. Megan is angry at her husband for this accusation.  Don't look so shocked, says Philip--he's capable of it!  I don't believe it, insists Megan--I want to hear Michael's side. That isn't necessary, says Philip, I just want to find out what he did to her and where Maggie is now!  I didn't do anything, honest! Michael swears to Megan.  Philip grabs him.  Listen, he orders--she wouldn't have run off without telling someone. Leave him alone! says Megan.  Stay out of this, says Philip--Michael, Mr. Collins said Maggie didn't sleep in her room all night--suppose you tell me why. Megan, he's hurting me! protests Philip.  Megan forcefully calls her husband's name. I told you to stay out of it, rages Philip, if we're going to be responsible for your little darling, we'll be responsible for him in all ways. He drags Michael to the stairs prepares to administer a spanking. Stop it! commands Megan, don't you dare lay a hand on him--if you do, you'll be sorry! Philip, frightened by his wife's hysteria, releases Michael, who runs into Megan's arms, swearing, I didn't do anything wrong--why does he always blame me? She comforts him, assuring him everything will be all right, he isn't going to hurt my darling--no one is ever going to hurt you.Philip gives Megan a look of disgust and goes upstairs. Michael looks after him triumphantly and says, Megan. Philip hates me and never will understand me, and for that reason, I think we're going to fail. What are you saying? asks Megan. Philip SAYS he believes in what we want, explains Michael, and talks about our cause sometimes, but he doesn't really believe in it, not like you and I do. He caresses her face. I'm not wrong, he says softly, somehow hypnotizing her--there isn't anything more important than what we believe in, is there? No, nothing more important, she agrees--and Philip could make us fail. I don't think Philip should be one of us, says Michael. "I don't, either," says Megan, viciously adding--I'll do something about it. Michael, satisfied, leaves the shop.  Megan gazes upstairs. She opens the desk top and takes out a gun, then goes upstairs after her husband.

NOTES:  It always has to be the Leviathan child's way or no way.  Maggie and now Roger suspect the kid is trouble, at the very least, and even David's feelings seem to be losing their luster in the face of the kid's dictator complex.  Now Michael seems to have convinced Megan to murder her own husband!  I wonder why Megan and Philip are so different in their devotion to their leader.  Philip wants to treat him as a human son, administer a spanking if necessary.  Megan treats him like royalty--or like a son she prefers over her husband.  It's not healthy.

Will Maggie escape from the maze?  Will Roger find her?  Will David intervene?

This kid is something else, isn't he?

Love, Robin

918 - Selby's intro tells us that now, with Paul incapable of struggle, the members of Barnabas' cult must deal with still another member of the household who is dangerous to them.

In the hallway outside Paul's room, Liz tells David, Paul is almost asleep--don't worry, Mrs. Johnson won't leave him until he's completely asleep--there'll be no more danger from HIM, exults Liz.  Barnabas said you did well, praises David--he also said you are to leave him here and not move him until Barnabas tells you to. Whatever he says, agrees Liz Julia. Another reminder, says David sternly--Julia Hoffman is YOUR responsibility--what are you going to do about it?  Liz smiles and says, "Kill her." David grins, too, delight in his eyes.

Drawing room - 5:50 PM - Julia, worried, sits reading the newspaper--nothing in the papers about sudden, horrible death, or a sighting of a mysterious animal... She gazes into the fireplace--whatever Quentin did last night, no one knows about it yet--but someone has to know something...she closes the double doors and heads for the phone to call Olivia--did Grant come in at all last night? Perhaps he's in his room right now. Olivia promises to check and call her back. He's got to be in his room, Julia tells herself. She sits on the sofa and picks up the newspaper. Liz, a golden bag on her arm, checks to see if Julia is there. Liz takes a gun from the bag and cocks it, preparing to get rid of her enemy. The phone rings; Julia answers--Grant hasn't returned yet, reports Olivia.  I'd appreciate knowing when he does, says Julia, and hangs up. He hasn't come back.  Because he COULDN'T, ruminates Julia, because the full moon turned him into an animal with no mind, memory--just the need to kill. When I saw his room in a shambles, I knew, but if it did, Tate's portrait of him didn't have the power I thought, and if that's true, how will I help Chris at all? Liz enters, reaching into the bag for the gun. Is something the matter, Julia? asks Liz. Something is wrong, agrees the redhead, but I don't want to discuss it now. Have you stopped confiding in me because you find me unsympathetic about Michael? asks Liz. You weren't that, says Julia, it's just... What, then? asks Liz.  I found you a little short-sighted, admits Julia. Are you aware that Paul asked Stokes to take him to the police last night? asks Liz. No, says Julia. Stokes phoned me, of course, says Liz. I wish I could help Paul, says Julia. Liz starts to reach in the bag for the gun again, but stops, and says, I wish that, too, but he absolutely refuses; he's terrified of you. He's afraid of a lot of things, says Julia--I believe the root of his terror lies in the antique shop--I will find out what it is, and perhaps I can help. Liz once again reaches into the bag for the gun, drawing it out.Julia's back is turned away from Liz, who points the gun at her back, but suddenly returns it to the bag. Are you all right? Julia asks.  I just remembered something, says Liz.  She closes the door and puts a hand to her head, looking dazed. David appears on the stairs, gazing angrily at his aunt, his arms crossed. I kept remembering the things Julia had said and done for us, murmurs Liz--I couldn't bring myself to do it. I see, says David unsympathetically.  Do you? asks Liz plaintively--then tell me what to do.  David tells Elizabeth, the book is here, it can give you strength to put the past from your mind and think only of the time to come--the book is here to guide us.  The two of them retreat upstairs. Julia pours a stiff drink. An angry Chris bursts in--I got tired of my cage at Windcliff, he complains--I have different plans for tonight--we are paying a visit to Tate--I can't be both man and animal! he shouts. I wish I hadn't given you this hope, says Julia--although I believe it exists, Tate isn't the answer, he isn't capable of helping anyone--forget him and go back to Windcliff--sooner or later, I'll have an answer for you and Quentin. "Quentin and me," says Chris sarcastically, "if he IS Quentin!" He is, says Julia--I have learned that much--Grant Douglas disappeared last night, and no one knows what he is or he has done. "Grant Douglas least of all," says Chris, furious--the spirit of Jenny Collins told me to find Quentin and I'd be all right--perhaps I should just forget about that, too. Not necessarily, says Julia--for a while, Quentin did overcome the werewolf curse, and perhaps, when he regains his memory, he'll know something that can help. You don't believe that, Julia, accuses Chris, you say maybe he has overcome the werewolf curse--in fact, you're terrified he hasn't overcome anything at all, not now, anyway. You're right, she admits, I am terrified--if only I knew where he was!

Olivia's room - Grant returns, in a complete state of dishabille, calling to Olivia. He takes a drink and sinks into a chair, face bruised, his chest revealed through his blue shirt and vest.

David looks at the snakes in the Leviathan book and seems to fall into an orgasmic trance, breathing heavily. To Liz, he reads, "For the people of Leviathan, all others are enemies, but the enemies of Leviathan must not die by the hand of Leviathan, only their own kind, themselves can end their existence on the earth if they have stolen from the people of Leviathan. In that way, their spirits shall not return to war against us."  Liz asks what that means. That you're a true Leviathan, says David--something inside of you kept you from killing Julia, from disobeying the book. No, says Liz, not true--I wasn't thinking of the book, or Leviathan, I was thinking of her, and our friendship. No, denies David vehemently, you were thinking of Leviathan--you knew if you killed her, her spirit would come back to war against us, and you knew that because you are one of us--we do not kill because the spirit of a dead enemy is more dangerous than the enemy himself--it's all in the book, Aunt Liz, everything we must know and do is in this book.

Grant awakens in his chair.  Finding the booze bottle empty, he opens another and takes a drink. Julia enters and finds him. It's you! she cries.  Sarcastically, he calls her brilliant. You weren't in your room all night, says Julia. Equally brilliant, he says. Where were you? she asks.  He becomes peevish and asks, are you my doctor or my keeper?  He continues slurping down the booze. Do I have to check in with you every night? he shouts--stop staring at me, I'm not an animal in a cage! No, agrees, Julia, you're not that, and whatever happened wasn't your fault. It WAS my fault, insists Grant, I didn't have to hit the guy. Who did you hit? she asks. Last night, I got into a fight at the High Hat Lounge, says Grant--a guy was staring at the girl I was with. "You were at the High Hat Lounge in Portland last night?" demands Julia. Unless they moved it, says Grant, still drinking. What were you doing there? she asks. I went to try to find out what I could about Grant Douglas, he says--I didn't find out much--I seem to be a pretty solitary fellow, but I did find out a few things about Frederick Thorn--I kept asking questions--a guy recognized the locker key I had, so he sent me to the right storage house. I found what I put in the locker--he hands Julia a large envelope. She takes out the contents.  I'll save you trouble and time, says Grant--there were desperate letters from some girl wanting to know why Thorn abandoned her so quickly, a driver's license, which clearly showed he didn't intend to drive anymore--he was born in 1942, and there was a photograph cut from a newspaper of Olivia Corey--why, doctor, he asks, WHY? Julia shrugs--I don't know--are you sure you went to the Lounge?  "Am I sure?" shouts Grant--"Where in God's name do you think I was?--and what do you think I was doing?--what do you suspect I doing, or should I say Quentin Collins?--what kind of a guy is this Collins to make you run in here like there was no tomorrow?--well, come on!--come on, doctor, stand up and tell me!--well, what's the matter?--did the fact that I got in a fight last night change the image you have of me?--is that it?" Nothing has changed my image of you, says Julia, thrusting the papers back into his hand and hurriedly leaving. We see Olivia's picture.  Grant takes another swig of booze.

Collinswood - Julia, on the phone, tells Chris Grant WAS at the High Hat Lounge and got into a fight last night. So, says Chris, he isn't a werewolf, at least not now. It's strange, says Julia--they seem to accept him so naturally as Grant. But Julia, if he isn't, says Chris...The portrait worked, finishes Julia, so it still exists! They gaze at each other, hope renewed.  Chris gives her an adorable smile.

Grant is still drinking, staggering, when Chris comes to his hotel room. He asks Grant his help--I'm desperate--will you help me? "Are you sure you haven't been dipping into the whiskey supply?" asks Grant drunkenly--"You wouldn't be the only one."  I'm sober and perfectly serious, Chris assures him--I want you to come along and meet Charles Delaware Tate, an old recluse painter. Grant pours another drink and asks, what difference would my being there make?--I don't even know who this guy is. He knows Quentin Collins, explains Chris. Grant balls a fist and says, I've had enough of Quentin Collins to last me 10 lifetimes!!--I don't need to hear anymore about him from some decrepit old hermit. Chris dangles the bait, "Not even if it helps you to find out who you are--or don't you care?"  I care, says Grant--I want to know more than I want anything in this world, but I'm not Quentin Collins!  Laughing, Grant says, I'll go with you, if it will help you to get in, I'll claim I'm Quentin. OK, says Chris, because when we get there, I want to do the talking.

We see Barnabas' foyer portrait. Liz tells David, I failed him--he told me to deal with Julia, and I haven't. David, arms crossed on his chest, assures her, you will, when the time is right. I wish I knew when that was, says Liz.  You will, David says, I must go to see Barnabas and make sure he isn't angry with you. Liz watches David leave, then looks up at Barnabas' portrait.

The speaker outside Tate's home orders Grant and Chris to go away.  You'll see me, insists Grant, because I am Quentin Collins. The door opens; the two men enter. Tate sits in the same chair.  Don't come any closer, he orders--I want to take a good look at you--liar! cries Tate, you are not Quentin Collins--you are a young man. So are you, says Grant, who turns to Chris and says, "I thought you told me he was old." Yes, old in years, says Tate, but there are ways of remaining young, if one has true genius, and one is a true artist--isn't that right, Quentin?--you see, I call you Quentin because you are merely another example of my genius. You know him? asks Grant--do you think I'm Quentin? How could I ever forget you? demands Tate--you took Amanda Harris from me!  Who is that? Grant asks.Tate lets loose with one of his ugly chuckles. What's the matter, why are you laughing? demands Grant.  Tate asks if true love...  STOP IT! shouts Grant. I always knew she was a fool, chortles Tate. Grant picks up and tosses something at Tate, trying to stop the awful laughter. It appears Tate's head has been knocked right off his body. Grant covers his ears, unable to blot out the hideous laughter.  Even though Chris tries to stop him, Grant takes off, rushing from the house. Chris stares in horror as Tate falls forward onto his desk. His head appears to come off, rolling towards Chris, who picks it up. Tate's eyes are wide and staring...

NOTES: Definitely a creepy scene the first time around, when Tate lost his head. Loved Selby playing drunk and Julia's realization that he didn't turn into a werewolf the previous night, but was just in a mundane bar fight.

I think Liz was right when she said she couldn't kill Julia because of her feelings for her, rather than the Leviathan connection. Julia has done a great deal for Liz and the entire family; and there have to be residual feelings for this special doctor.

Chris and Quentin are related, although Grant doesn't know it yet. This is really a startling thing, considering they're about the same age. Cool!


919/20/21 - Chris stares into the dead eyes of the fake head of Tate (they did show Roger Davis' real head, and that looked very creepy, but the dummy head just looked...dumb). This isn't real, says Chris, stepping forward and affixing the dummy's head to the dummy's body. "All right, I know you're in here," says Chris--I'm not leaving until I find you.  He searches the room, finally finding the real Tate sobbing behind a curtain (a comparison of this whole business to WIZARD OF OZ is inevitable). This man is ancient, his face a mass of craggy hills and valleys.  Tate died years ago, he tells Chris--because *I* killed him when he got old and ugly, and I made a new Tate who was young and handsome--and now, he says, gazing at the "dead" dummy and taking the head into his arms, "He's gone, too."  Tate sobs.  No one is gone, says Chris--this thing is a creation, and you know it. My creation--and you destroyed him--you destroyed him! cries Tate--why did I let you in?--go away!  I can't--not yet, says Chris.  I have jewels and money, offers Tate.  I don't want your money, says Chris--I want you to paint my portrait, the way you did Quentin's--I know about that, about how it solved for Quentin the awful agony of the full moon! Then you're a...begins Tate. That's right, I'm a werewolf, admits Chris, who grabs Tate's lapels and gets right in his face--and you're going to start painting right now and not stop until you finish. I can't paint anything, protests Tate softly, if I'm imprisoned. He releases himself from Chris' grasp. Chris apologizes--I've been searching for an answer for so long, I'm desperate. I know that, says Tate, but I'm no answer. Not true, says Chris.  I can paint, but it won't help you, insists Tate--that was before, many years ago, there was a power, a force. I don't believe that, insists Chris.  Only because you don't want to, says Tate--everything I've told you is true--you can leave this house, leave now, says Tate, or I'll set my dogs on him. You've got to try, begs Chris. I can't paint and I'm not going to, says Tate. And I told you you ARE, insists Chris, grabbing him away from what looks like an old intercom on the wall--is it used to call somebody in the house, or your dogs--whatever it is, it won't work until you do that painting--and Chris yanks the wires out, rendering it useless. I'm not going to pain, says Tate again. I'll see about that, says Chris--give me the key to the room!  I don't have one, says Tate. A man like you has keys to everything, says Chris--now give me the key to this room!  Tate shuffles over to the desk where his dummy still sits, and hands the key over to Chris, who closes and locks the door. Tate holds the dummy head, sobbing as if someone had really died. Get out your canvas and paints, demands Chris. No, I don't have to help you, says Tate--nothing can make me do what you want. Not true, says Chris; you've been in this room for a long time with no concept of day or night, but they still exist, and there's going to be a full moon tonight--and you aren't going to leave this room tonight until you do my portrait! Chris waves the key and warns, "If I were you, I'd finish it before the moon is up." Realizing the predicament he's in, Tate reconsiders.

Antique shop - Carolyn dusts.  We're treated to the sight of another nasty animal head with big teeth. Someone covers Carolyn's eyes and she giggles, thinking it's Alex. They'll play later, she promises.  She turns and sees not Alex, but Michael, who solemnly surveys her. It isn't Alex, says Michael, he's gone--it couldn't be helped--"I'm Michael." Carolyn stares at him in shock.

After the accident, relates Michael, there was no one else to look after me, I had to come here, and that meant Alex had to "go away."  Carolyn expresses her sympathy--it must have been terrible for you. It was, says Michael. Your cousins will do everything they can to make up for your loss, says Carolyn, and see you're as happy can be. Michael curls his hand over Carolyn's.  I'm sure I'll be happy here, he says--because you're here. He gazes at her, obviously smitten. Uncertain, embarrassed, she turns, chuckles, and sets a spinning wheel spinning. Don't do that, Carolyn, he says (it sounds like a command)--don't laugh at me--you must take me seriously.  I do, she assures him; I'm sure we'll be good friends. He rises and walks away from her. I have a cousin about your age, says Carolyn, and a little girl staying at the house; I'm sure you'll like her a lot--make you forget all about me. Michael, totally serious, accuses, you're laughing at me again--I told you not to (treat me like a silly child, a line either flubbed or cut). I don't think you're a silly child and I wasn't laughing at you, she says--I'll prove it. How? he asks. Sort the stack of magazines on the desk for me, she asks, in chronological order--I wouldn't ask a child to do that, a child couldn't. He goes over and begins sorting the magazines, but seems pissed. She sits down and begins to dust a silver candelabra. Michael finds Megan's Naga locket on the desk under the magazines.  I have a gift for you, Carolyn, he says--hold out your hand and close your eyes.  "And you will get a lovely surprise," finishes Carolyn, amused--I will if you promise not to put a snake or frog into it.  Michael solemnly assures her, I wouldn't do anything that childish--do as I say. She closes her eyes and extends her hand.  Michael places the locket into it. She opens her eyes--it's Megan's locket, I recognize it, she says. It was hers, says Michael, but she gave it to me to give to you. You can't give away something that doesn't belong to you, says Carolyn. Infuriated, Michael says, "How dare you not believe me!"  "How dare you take Megan's locket." counters Carolyn. She apologizes--it's very generous of you to want to give me a present. Philip comes downstairs. You and Michael seemed quite involved, remarks Philip. We were arguing about a present he wants to give me, says Carolyn, and shows him the locket. Philip coolly says, I'll return it to Megan. You can't! cries Michael, she gave it to me.  Perhaps jokingly, says Philip, but there's no reason. Yes, there is, says Michael, so I could have something to give to Carolyn. Philip and Michael lock eyes. Carolyn, observing the intensity between them, says, I'll be just as happy with an ice cream soda, and even pay my own way--I should get back to work. Ask Megan, commands Michael, see what she says, see whose locket it REALLY is.And the baby-faced Michael looks much like Baby Face Nelson.

Grant walks the woods, wondering, why did I run away--was I afraid I'd kill him, or afraid he'd tell me more about myself? Who is Amanda Harris, and who am I, and how did he know me, and why did he just keep laughing at me--why?  Pondering all these questions, he moves on.
Tate paints Chris' portrait, but finally stops--I'm tired and need a rest, he complains. No rest, insists Chris, in a couple of hours, the moon will be up, and then, Mr. Tate...Suitably threatened, Tate rises to his feet and continues to paint.

Antique shop - Philip watches Michael watching Carolyn. She turns, catches his stare, and walks to another part of the shop, still dusting. Michael's eyes follow her;Carolyn turns and notices him still staring. I'm going for a cup of coffee, says Carolyn--may I bring something back for anyone?  Michael immediately offers to go with her, but Philip stops him. Some other time, says Carolyn, I have some errands to run this evening--and she exits. Carolyn lied--because of you, Michael accuses Philip.  No, because of you, says Philip--you made her uncomfortable staring at her. I can stare if I want, says Michael.  Not yet, you can't, insists Philip. Incensed, Michael runs.  Philip pursues him--I'm doing it for your own good, for the good of all of us, he insists--don't rush things, let them happen in their own time. Michael turns away. We've waited a long time to take our place in the world, Philip says--you have no right to endanger everything by moving too fast. And you have no right to talk to me like this, says Michael angrily. Yes, I do when you're stupid, says Philip--giving Carolyn Megan's locket was stupid. When are you going to ask Megan whose locket it really is? demands Michael--or are you afraid to? I'll ask her when she comes home, says Philip. When will that be, it's getting dark? asks Michael.  It's hard to tell how long an auction will last, says Philip. Here's something easier to tell, says Michael, I miss her and I want her here--she leaves me alone too much. Only when she has to, says Philip.  She didn't have to go to the auction, insists Michael. Yes she did, says Philip, we're trying to run a business. Nonsense, says Michael. Not nonsense, retorts Philip, it's something we've wanted for a long time! Well you'd better stop wanting things, says Michael cruelly--what I want is all that's important. We have lives of our own! cries Philip. DO YOU REALLY? demands Michael, and starts upstairs. Philip calls to him.  When Michael turns around, Philip says, you've got to try and understand--we appreciate the honor that was given to us and are doing the best that we can. "Are you? I don't think so," says Michael--"You only talk to me this way because I'm not as big as you are, well I won't be small always--remember that, because I'm going to." He goes upstairs, Philip gazing hatefully after him.

Something is bringing me back to that crazy man and his crazy house, Grant mutters to himself, and continues on.

The full moon has risen when Tate puts finishing touches on Chris' portrait.  Chris is in pain already when Tate announces, "It's done--take it and get out of here!"  Chris moans.  What's the matter with you? asks Tate. Chris rises from the chair--the pain has already begun, he gasps. Take your painting and get out of here, says Tate.  I can't go! Chris shouts--I can't even move!  You must, says Tate, you must! Get away from me, cries Chris, don't you understand, it didn't work! I told you it wouldn't, says Tate--don't blame me for that, I did what you asked, what you could. Chris lies writhing on the floor.  I can't stay here with you now, says Tate. "I can't do anything," moans Chris, transforming. Tate, locked in with the werewolf, tries fruitlessly to get out.The animal growls.  Grant comes to the door, hears Tate's scream of agony, and tries to get in.

NOTES:  Will Chris, in werewolf form, kill C. D. Tate once and for all?  Will Grant be able to get in and prevent it?

Isn't Michael a total brat?  His hormones are in high gear for Carolyn, but she already seems uncomfortable with his scrutiny.  This kid takes what he wants, that's obvious, but will he cross the line with Carolyn and botch his chances for love?  Perhaps Michael is right, and the locket is supposed to end up with Carolyn, but he should be sure first before he just presents it to her.  Sounds like we've got a rebel on our hands, doesn't it?  And his relationship with Philip is deteriorating more and more as the Leviathan kid ages.

Love, Robin