706 - (Grayson Hall) - The great house of Collinwood stands deserted. The living have sought refuge elsewhere, leaving an evil spirit to roam the cold, empty corridors alone. At the Old House, Barnabas Collins remains in a deep trance. He has employed the mysterious powers of the I-Ching and gone through the door to the infinite. And he has been transported back in time to the year 1897. And this night, he has been taken to see the dying matriarch, who lives only to tell a terrible secret to a grandson who has been away.

Edith sobs in fear, unable to speak. Barnabas listens at the door--ill he be exposed as a vampire? Edith sits up, dazed, looking for her dead husband, muttering that the secret can't be told this way--he will kill him, says Edith--my husband knew that knowing the secret would ruin my life, but he had no choice. . .Edward begs to know--I will take the burden from you, he assures her. The mausoleum, she mutters. Barnabas listens. Edward is puzzled--what does it mean? He asks. Barnabas rushes off. Edith lies there, motionless, as Edward continues to beg her for the information. I'm very weak, she murmurs. Try, pleads Edward.

At the Old House, Magda is putting the finishing touches on the furniture and such--it looks really nice. Magda is surprised to see Barnabas back so soon; she curtseys and sarcastically informs him she was going to arrange everything as he ordered--"Your majesty." He demands to see Sandor. Magda reminds, my husband is YOUR slave--you should know. Barnabas accuses her of insolence. Sandor went on the errand in town you sent him on, she tells him. Get Sandor, he orders, we must go to the secret room in the tomb and bring the coffin here--the room must look deserted for a hundred years, and as if she and Sandor were never there--do you understand? No, she replies. He gets in her face--"Idiot!" he spits. I don't understand, she says--who will open the door? He won't tell her that, or who they will be looking for. He barks at her to get her coat and go. Magda curtseys again, thanking him for his concern about her in the cold. "GO!" he shouts. Seeing he means business, she does.

Edward looks out the window. He checks Edith, who rouses from sleep, glad to see him. She asks for Judith, who was kind to her while Edward was gone. The secret, prods Edward. I know why Judith was so kind--she thinks she's getting the money, chortles Edith--YOU are not kind, you shouldn't have gone and left me. He again asks for the secret. Is Judith dead? asks Edith. No, concentrate, he says--the mausoleum. Yes, she says. . .

At Collinwood, Barnabas paces the foyer, nervous and scared. (Why doesn't he just run?) From the secret panel, a young man emerges, pistol in hand. He points it at Barnabas' head, scaring him. "Don't move," orders the man--I know where you're from and who you are--I know EVERYTHING about you! Barnabas cringes in his seat.

Barnabas tells the Willie-Loomis look-alike, you have the advantage, sir--I've never seen you before in my life. The man giggles, noting he's the spitting image of the painting. That was my great-great grandfather, says Barnabas steadily, the man's gun pointed squarely on his temple. Oh, that's your story, chortles the young man. It's more than a story, it's true, insists Barnabas--put down the gun. Admit anything that comes to your mind, advises the man--I hate liars, and people are always trying to take advantage of my family. "YOU are a Collins?" demands Barnabas. Yes! he laughs--old Carl doesn't believe them, he knows the truth when he hears it--start talking, my finger is on the trigger warns Carl. There's been enough disturbance in the house tonight without you adding to it, says Barnabas. Are you telling me how to act in my own house? asks Carl. Put down the gun and we can settle our differences, suggests Barn. I'm counting to 3, says Carl, one. . .two. . . Barnabas desperately says, I don't know what you want me to say; I just arrived from England!. . .three! "No, please stop!" cries Barnabas, flinging himself out of the chair. Carl fires the gun, which spews out a flag that says FIB! Carl roars over this joke and "the look on your face!" Barnabas, meantime, is horrified at this sample of a family member's bizarre sense of humor. It was as silly as yours looks now, retorts Barnabas (rather a humorous situation for our favorite vampire). Carl is indignant--just listen to you, it was quite a trick, and I'm sorry you didn't appreciate it as much as I did. He introduces himself as Carl Collins and shakes Barnabas' hand, then apologizes--I'm sorry you didn't like my fooling around, but things do get dead (LMAO!) around this place, you have to do something to pass the time. Smiling a bit, Barnabas calls Carl's a "curious way." Carol laughs and says I like you, you have a certain way of saying things--when he you him sitting there, I was thinking, ¢â‚¬ËœPoor man, coming at this time. . .' everybody playing leapfrog to get at Grandmother's money--I felt sorry you and wanted to cheer you up--this was a brand new joke, I just got this gun from Tacoma, WA, another of our states, named after our first president, the father of our country. Carl asks Barn who he thinks will get the money. I don't know, says Barn. I'm not going to wait for Grandmother to tell her secret, then die, I have my own ways of finding out, insists Carl--I won't be surprised when the will is read--I told you this because you have a kind face, and I know we will be good friends. Barnabas gazes at him, perhaps thinking of Willie. Carl whispers that he has to go now, find out you-know-what. Don't let me stop you, urges Barnabas. Carl hands him the FIB gun--you can borrow it, and go ask Judith what she's hiding--heck, everyone is hiding something!--you might get a big laugh. Barnabas thanks him, but says it's not the right time to do it, because of Grandmother. Edward's up there now, reveals Carl, listening to the secret and hoping she dies before morning--I know Edward--if he comes down, don't tell him you've seen me today. "I'd only have to tell the truth," says Barnabas indulgently, and they laugh together. Carl knows they are going to be buddies. Barnabas, on the other hand, looks like he's just been slapped with that dead fish.

Edward speaks to Edith, asking if she's feeling better. Every time she closes her eyes, she thinks she's looking at the room for the last time--so many things have happened in this room. . .has she told him the secret yet? No, says Edward. Why don't I remember the right things? she frets. "What are you doing here?" she demands--"You're dead!" No one is here, however, as Edward tells her. He's come for me, she says--"Daniel, keep away from me, I always hated you! You ruined my husband, you never were a father to him, you made us live in this house, I HATED it! I wanted to live in the Old House, I begged you"--but he said to be a Collins, you had to live at Collinwood. I learned what it was to be a Collins, all right, says Edith, I found out! Go away from me, don't come near me, Daniel, if I'm dying, I don't go with you--someone else! Edward tells her she isn't dying. She begs him to make Daniel go away. He tells her there's no one in the room. Edith asks if they're dancing downstairs--they shouldn't be, not with my husband so ill. Didn't mother warn not to tell Edith secrets, rambles the old lady, Edith can't help telling. She must have told you that, I remember it, the day before their wedding. . . Sourly, Edward reminds her he's her grandson. She hasn't told him the secret. Please, he begs, tell him.She looks totally foggy. On and on rambles Edith, complaining everyone is asking her the secret--Judith, Carl, Quentin. Poor Quentin. Edward doesn't want to discuss Quentin, he's upset she let him come back--Edward's always upset, laughs Edith. She must not start on that, she has no time. Barnabas listens outside. Edward opens the door and tells him she's asleep. He invites him in, apologizing for being curt--I didn't welcome you properly. Edith stirs. Edward asks Barnabas, tell me about yourself.

At the Old House, Carl smacks her hand and tells Magda he'll pay her next week, but she insists the cards don't speak the truth unless there is money in her hand. He hands her a bill and asks her to tell him all about the will--I think you know lots about the will--you could "help out" the cards a bit if you wanted to. She lays out the Tarot deck. There is much money, more than anyone knows, she says, exciting Carl. "How much?" he asks. She finds the joker, and he's thrilled. Everyone will be very surprised, she says. She's going to give the money to the joker--is that what it means? he asks eagerly.I didn't say that, amends Magda. Say it plainer, he demands. Grandmother likes your jokes, she laughs--there is murder behind the joker. This doesn't please him. Nobody kills for money, objects Carl. (and what fantasy world do you reside in?) Edith has the last laugh, says Magda--the queen is in her parlor.

Edward invites Barnabas to stay as long as he likes--it will be a relief having someone besides the gypsies at the Old House. Barnabas calls him enormously kind. Edith calls Edward to come close--my heart is beating so fast. He takes her hand. Listen, she says urgently, ask no questions. . .Barnabas' face looks very anxious.

Magda tells Carl the money will not stay with the person who gets it. If I get it, says Carl, it will stay with me, and not any of my siblings. Magda picks the death card and gasps. She rises from the chair, walks around the room staring at the air, waving her hands about. Carl demands she finish, but she shushes him, then says, "She is gone now! Edith is dead!" Carl is stunned--how do you know? The cards, and then I felt her spirit, says Magda. Where? asks Carl. She tells him the reading it over and they must wait for her will--the cards are silent. Carl grabs and shakes her, demanding to know if Grandmother told Edward the secret. No, she says. Someone has to know, asserts Carl. Someone does, she insists, but not Edward. He shakes her harder, insisting, tell me who does know!. Go! she commands, get out and grieve for your grandmother. I am going to, at least, she says sadly.

Edward closes Edith's dead, open eyes. "She's gone," he says, "but I am going to find that secret out somehow, if it's the last thing I do."He says this with determination to Barnabas, who furtively looks away.

NOTES: Terrific show. I love Grayson as Magda. I love Carl, who is so manic and silly and insane. I loved Barnabas' terror, and had to give him credit for bravery, coming not just back into the house, but into the old lady's room. Didn't they do a great job of keeping up the suspense of wondering if Edith will tell Edward about Barnabas or not? I think senility saved Barnabas more than anything here!

Fantastic!


707 - (KLS) - Barnabas Collins remains in a deep trance. He has employed the mysterious powers of the I-Ching and, in the basement of the Old House, he has gone through the door to the infinite, hoping to find and defeat the spirit that haunts Collinwood. But beyond the door, he has been transported back in time to the year 1897, a time of intrigue and terror for all who live at Collinwood.

Edward, wearing a black mourning armband, comes downstairs at Collinwood and checks his mustache in the mirror. He glances at the newspaper and puts it down, then goes to the desk, take a pipe, and sticks it in his mouth. He opens his can of tobacco only to have fake snakes fly out. Carl comes bouncing out from behind the drapes, laughing wildly. Coldly, Edward asks that he be warned about other booby traps he may have hidden in the room. Carl says that would take all the fun out of it. For you, yes, says Edward--you're so easily amused, you must be a very happy person. Carl gathers up his fake snakes and says, I am, most of the time. Edward suggest he can be happy ALL the time, in a sanitarium, where he can show his fellow inmates one prank after another. This turns Carl serious. Edward rants about him playing the buffoon--and only the day after a family member has died. I have plenty of respect for the dead! Carl shouts at his brother. Observe mourning in a proper manner, says Edward. Carl, his voice soft, tells him, I know something you don't know--Edith died without telling you the secret. Carl smiles enigmatically. Someone knows the secret, someone right here in this house! reveals Carl. Edward looks stunned.

Judith, dressed completely in black, comes downstairs. She demands that Edward tell her what this is all about. Sounding resigned, Edward tells her to go into the drawing room and wait. She gives him a look, but does as he asks. Carl bounds downstairs to report Quentin just got up and will be down in a minute. Edward orders him into the drawing room, telling him there are things to be settled--just go in! Carl finally does as he's told. Quentin, fixing his cuffs, comes down and calls Edward as predictable as the morning sun, calling a meeting before Edith is even buried yet--but he never did like to let the grass grow. Edward curtly shoos him inside, too, closes the doors, then tells them that Edith died before telling him the secret--but she did tell one of the other three! Judith and Quentin deny it, but Edward encourages Carl to speak. The Collins prankster tells them about how he was with Magda the night before, she knew the exact moment Grandmother died--and that she didn't reveal the secret to Edward--however, she said someone else knows it. She didn't tell the children, surmises Edward, or anyone outside the family, so it's one of us. Carl says, I'm not the one--why would I have told you what I did if that were so? Why not? says Edward--to cast suspicions elsewhere--I think you are sometimes crazy as a fox--it could easily be you and you know it. Carl says he'll swear an oath on not knowing the secret. Quentin suggests they get the Good Book and let Carl take the oath. This isn't a matter to be lightly treated, barks Edward. Quentin counters that it isn't a matter for a minor inquisition, either. Quentin is sure Judith knows it, and offers to let the prosecution state it's case.Judith, incensed, tells Edward to make him stop carrying on, but Edward refuses to help his sister. Quentin, getting in his sister's face, asks who in the house in the past week saw more of Grandmother than anyone else, and who did the utmost to prevent others from seeing her?--"dear Judith"? She tells Edward she doesn't know the secret. Both Quentin and Edward agree she wouldn't say if she did know. Judith had the best opportunity, argues Quentin, and she did. Judith insists she did not. Quentin points out, you never did lie very well. Indignant, Judith stands and tells Quentin, when it comes to straight-faced lying, no one can compete with you! Touche, says Quentin. Judith suggests Quentin tell Edward about his visit to Grandmother. Looking uncomfortable, Quentin says there's nothing to tell. Judith informs the others that Quentin tried to force the secret from Edith the night before. Edward demands to know if this is true. Quentin asks Judith if she feels "cleansed," now that she's done her duty? Edward demands an answer. Quentin admits it's true--it happened in a weak moment. Then Quentin must be the one, asserts Edward. Quentin doesn't follow his logic. You terrorized her, probably told her you'd kill her if she didn't tell, accuses Edward, so she gave up and told. Alas, no, the old lady wasn't afraid of dying, and didn't spill the secret, says Quentin. The siblings gaze suspiciously at each other.  Edward finally breaks the silence--one of them is lying, and they won't leave the room until he learns who it is. Carl complains he has things to do. Judith asks what if she didn't tell any of them--you only have the word of a gypsy to go on. Our grandmother didn't go to her grave with that secret, insists Edward--she told someone. Then Quentin interjects they're all forgetting Judith let in one other person to see Grandmother--Barnabas Collins. She would never have told him, scoffs Edward. Why not? asks Judith, he is a relative. Or claims he is, says Quentin. Edward orders Carl to go to the Old House and get Barnabas. Carl bitches that he's always the one being asked to do the errands, but Edward tells him to just go--and don't return without him. Carl stomps off. Quentin tells the other two he thinks Barnabas is a very real possibility--he could have forced it out of her. Force didn't work for Quentin, points out Edward, it wouldn't work for Barnabas--she either told him or she didn't, it's a simple matter.

Old House - Carl enters without knocking (this generation isn't different from any others). He calls to Cousin Barnabas, then enters the refurbished drawing room. Josette's portrait hangs above the mantle. Carl calls upstairs--no response. He hears a sound and turns around, puzzled, looking through the bars of the basement. It opens easily, and Carl's mouth forms a big, startled O.

"What are you doing here?" Carl asks Sandor. The gypsy makes sure Carl returns to the drawing room, then locks the basement door. "I live here," answers Sandor. In the cellar? queries Carl.What do you want? asks Sandor. I'm looking for Barnabas, says Carl. He isn't here right now, says Sandor, and I don't know where he is. Why are you still living here, now that Barnabas has taken over? asks Carl. We made a bargain, says Sandor--in exchange for certain duties, Barnabas lets us stay (yes, vampire protection being chief amongst them). He's hired you as his servants, says Carl. You could say that, agrees Sandor. Carl laughs, remarking of Barnabas, "He is a weird one, isn't he?" Sandor frowns at him. No offense, Carl assures him. Barnabas will be back tonight, says Sandor. I can't wait that long, complains Carl. Go away and return tonight, suggests Sandor. I can't do that, either, says Carl--I can't return to Collinwood without Barnabas, and they won't believe I can't find him--Edward doesn't believe anything I say. Sandor roars with laughter and pounds the furniture, suggesting, there's gypsy blood in you somewhere. Carl giggles along with Sandor, asking him what he means, and both continue to laugh as Sandor says no one in the family trusts anyone else. Carl has a solution--Sandor will return to Collinwood and tell Edward Barnabas is away. Sandor starts to object, but Carl is already up and running.

Rachel wanders out onto the terrace, seeming entranced by the quiet and beauty she finds here. She's patting her face with a handkerchief when Quentin joins her, leans in close and says "Good afternoon." She jumps, surprised. She hasn't seen all of the house yet, so he offers to conduct a tour-- he knows Collinwood more intimately than anyone else, and would consider it an honor to escort her. He asks her to call him Quentin, but she objects--Edward wouldn't approve of such familiarity. He agrees with her, but says Edward needn't know about it. He sits beside her, very close, and Rachel, uncomfortable with his scrutiny, gets up and walks away. He asks if she's frightened of him, or the house. She assures him of course not--I'm not afraid of anything, she says, then confesses she's just so new and unsure. He tells her to forget all that--she's found a friend and confidant in him--we can begin tomorrow--I'll show you through the house--we can cover the main structure, then the West Wing, where I live (and his bed, perhaps?). Eager to change the subject, Rachel asks about the tower. No one has been up there in 100 years, says Quentin, it's an old family legend that a woman committed suicide in that room in 1796. (Poor Naomi.) Quentin is leaning close to Rachel's ear as he relates this. So ever since then, everyone fears it's haunted, asks Rachel. Yes, says Quentin. Do you think it is? She asks. I consider it an interesting legend, but that's all, says Quentin. She asks if he believes in ghosts, and he counters, "Do you?" I don't know, she says. I think you do, teases Quentin--maybe that's what scares you about the house--don't worry, you're perfectly safe here. (And he's nearly licking her earlobe as he says it.) I know that, she says, thank you for being so concerned. I like you, he says, you're shy, innocent, and very beautiful. She thanks him. I think we'll be very close friends, he says. She looks as if she isn't quite sure how to take that. Quentin walks away, grinning.

Carl bursts into Collinwood, shouting for Edward. Prompted by Carl, Sandor explains that Barnabas left the Old House early this morning, and won't return until after dark. Edward wonders where he went. Sandor says, my master said he had some business to do. What business? demands Edward. Sandor says he was instructed not to answer any questions, so he can't tell him what he wants to know. Edward is irritated by this response. Sandor is about to leave when Judith, standing at the top of the steps, tells him she wants to speak to him. Coming down, she informs him that Edith passed away last night. Sandor expresses his condolences. Judith says that while Edith was alive, he and Magda were firmly entrenched here, and now, the two gypsies have 24 hours to vacate the Collins property. Sandor looks quite upset.

After dark - Rachel comes out on the terrace and to her surprise, spots lights on in the tower room.

Judith goes into the drawing room to speak privately with Edward, who asks her to be brief. She tells him his instructions concerning the tower room have been followed to the letter. He reminds her they were never to refer to that room again. I can't very well give you a report without referring to it, she says. I told you before I left that you didn't have to give me a report, says Edward. I need your guidance and advice from time to time! Insists Judith. No, he says, I told you what to do and you may dispatch the arrangements with your usual efficiency. There are certain risks involved, she reminds him. He asks if something went wrong. Not at all, she says--very smoothly--Beth visits the room three times a day, and makes the installment weekly payments to Mrs. Fillmore. Edward doesn't know why Judith is bothering him with all this, but she insists she felt he'd want to know. I have washed my hands of the entire affair, he barks--is Beth satisfied with her end of it? Judith haughtily says she should be, we're paying her enough--in fact, too much. Silence and loyalty cannot be bought cheaply, he reminds her.She'd do the same even if she were getting less, says Judith. I consider the excess payment a form of insurance, says Edwards--from this day on, I don't want to be told or reminded of that problem--I'm not interested in it at all. Rachel knocks at the door. When Judith opens up, the governess rushes in and tells Edward, I saw a light in the tower room while I was out on the terrace. That's impossible, says Edward. Judith hurries upstairs. Rachel explains she was speaking with Quentin a short time ago, and he told her about the legend of the tower room. True, says Edward, and Quentin made a mistake in telling you, because it stirred up your imagination, apparently. No, says Rachel, I did see a light. There isn't a light, counters Edward--was it an electric or candle light? Rachel explains it was too bright to be the latter, so it had to be the former. That proves you wrong, says Edward--there is no electricity in the tower room. He leads her out to the terrace to show her she was mistaken.

After Rachel and Edward exit the house, Judith hurries down, out of breath, acting as though a major catastrophe has been averted.

Edward leads Rachel to the terrace, and shows her the now-dark tower room. "Just as it was dark before and has been dark for over 100 years," he tells the disbelieving, shaking Rachel.NOTES: What a family! Talk about dysfunctional! Poor Rachel, getting gaslighted this way. What is the big secret of the tower? What were Edward and Judith discussing that Beth is involved in, but Edward wants to hear nothing further about? Quentin wants Rachel bad, doesn't he? He couldn't be more obvious. I guess he likes ¢â‚¬Ëœem innocent!

The whole family is squabbling over the secret. We know it's only about Barnabas, but they probably are sure it involves money and/or power, their favorite thing. Carl is such a silly clown, but good-hearted, too. More than his grandmother dying, Edward seemed concerned about learning the secret. They certainly don't seem to be mourning her much; Magda was more broken up about the old lady's death.

It's so much fun to see the enmity amongst these siblings, listen to their quibbling, back-biting and accusations. This was a wonderful storyline, and the interaction amongst these four characters was one of its best aspects.

Love, Robin

702 - (Grayson Hall) - The great house of Collinwood is haunted by an evil spirit who has possessed a child whose very life is threatened. Barnabas Collins, determined to fight the ghost, has resorted to an ancient Chinese mystic art, which may bring him into a meeting with Quentin Collins. But instead of seeing Quentin, Barnabas finds himself trapped in a chained coffin, not knowing that the time is 1897, and that Quentin Collins is alive, the prodigal son just returned to Collinwood. And as Barnabas struggles in the coffin, a gypsy walks to the mausoleum, determined to find the legendary Collins jewels.

(How things have changed--while Willie got bitten on the wrist, Sandor gets it in the neck, off camera, of course). You're dead! protests Sandor, backing away--stay away from me! He menaces him with a sword. Barnabas laughs at the puny effort, scaring Sandor into dropping the sword. "You're dead!" Sandor shouts, holding up his hands, trying to ward off the fangs-at-the-ready vampire heading for his jugular. He doesn't succeed.

Magda, thinking this might be the last time she comes here, if Sandor finds the jewels, stands grinning before the front door of Collinwood. Lost in dreams, she opens the door and enters. Quentin grabs her around the throat from behind, ordering her not to even try to scream, then chokes her, ordering her to agree. She threatens to tell Edith. Quentin finds this first name basis with his grandmother fascinating. She will throw you out again, warns Magda. Quentin bitterly reminds her that Edward tossed him out, not his grandmother, who never did and never will--if you help me. She laughs at the idea of helping him. Next time, threatens Quentin, I'll press harder.Her smile disappears. We should avoid a next time, if possible, advises Quentin--you can by doing something for me. She holds out her hand for money. There will be, he assures her--you'll help me get lots, and in such a simple way--you control Edith. I read my cards, truthfully, insists Magda. You haven't had an honest though in your entire life, accuses Quentin--you're after the same thing I am, money, and will do anything to get it, as I will--I'll give you 1/10th of my inheritance, after my grandmother dies--you must do something simple--impress upon my grandmother how much I have changed. My cards couldn't do that much, she says. I'll promise you the money in writing, he assures her. I trust no paper, Magda insists. Quentin grabs her, threatening to hurt her. She warns him that his grandmother knows how easily she bruises. They glare at each other, then she grins.

Sandor comes to consciousness with two fresh, bloody holes in his throat. He asks Barnabas what happened--who are you? Barnabas, a drop of blood in one corner of his mouth, tells Sandor he has no time for his questions--but you must answer some of mine--who are you? and Sandor tells him--I live at the Old House--and the year is 1897. I wanted to find Quentin, mutters Barnabas, but not. . .not (by becoming a vampire again are the unspoken words). Quentin just came home, Sandor reveals, tonight--he shipped out on a boat about a year ago, but I don't know where he went. I didn't want it this way, laments Barnabas, how can I help David if I'm back in another time--how? Sandor, who finds his words puzzling, asks, how did you get here (gesturing to the coffin). Get me some clothes, orders Barnabas. Sandor says he'll get him diddly. "Oh yes you will," says Barnabas harshly--you'll do whatever I want--you know that, right?--you will get me clothes, and protect me, tell no one about me. Yes, agrees, Sandor, transfixed by the stare of the vampire.1897, muses Barnabas, what did Julia and Stokes think?--is my body still there?--is this happening in my mind?--yet I'm here, as I was when put into the coffin, when it was chained--I must find out what I can, about Quentin, and Beth. Sandor asks what he knows about Beth. Barnabas turns the question around. She works at the big house, reports Sandor. Barnabas states, "She's in love with Quentin!" This surprises Sandor; it's news to him. He wonders how Barnabas even knows about Beth and Quentin. The trick of time, says Barnabas. Confused, Sandor says there is only one time--now. There are many times, explains Barnabas, you only have to find them. Barnabas orders the reluctant Sandor to take him home to where he lives. Sandor argues at first, but Barnabas reminds him he's a gypsy, and he knows what will happen to him if he doesn't. It's near 10, says Sandor. Barnabas tells him there are many things he must do and learn before morning. "Come," he commands Sandor, and they exit the tomb.

Quentin darts out at Magda as she's heading for the door, humorously asking if she told Grandmama she'd live forever. She knows that isn't true, says Magda--I told her what the cards said. Quentin asks if the cards suggested a sum of money for the gypsies. Magda doesn't answer. Quentin reminds her when his grandmother dies, Magda is going to need friends--and I have no prejudice against "your kind"--if Edith should die tonight, you would be forced to leave by morning. Magda says what must be. . .I might be happy to leave. Quentin says you've been here too long and have forgotten the road, you know that--did you discuss me with grandma? You were mentioned, in the cards, she says. Does Grandmama like me more now? He demands. She said many interesting things, says Magda, smiling enigmatically. He grabs her arms and demands to know if Edith told her about the secret. Don't touch me, Magda says, if you want my help. Will she help me? demands Quentin. A stunning woman in an amazingly beautiful dark pink dress comes downstairs, calling his name as if she isn't happy to see him. My lovely sister, he croons--I wondered how long it would be before the news of my arrival would take to reach you. She starts to ask what Edward will say, then spots Magda and brushes past Quentin to nastily say, "I believe Grandmama is finished with you." Cowed, Magda says she was just leaving, and does. I can't abide that woman, says Judith--how can Grandmama listen to her? She orders him into the drawing room. "Ah, a serious conversation," he quips--"Will you close the doors as Edward usually does?" Beth and the other servants listen, says Judith, they all do, all determined to find something out--everyone in the house is against each other. Quentin suggests Judith is against herself. That's a silly thing to say, she says--you saw our grandmother? People have been watching me, he says--she was delighted to see me. She's much worse tonight, says Judith. Quentin asks, "You mean than she was before I came?" Judith drops the civility and asks, why did you come back? Because I was born here, he says--I can't live my life as you do, "Contained in one little bottle, never breaking out, willing to float in the fluid and hitting the sides and even realizing it."She calls him disgusting. He smiles and says other people have told him that. I'm not a hideous medical specimen, she says--you've always hated me, she accuses. Not true, he says--I always thought you hated me--why didn't we ever get along? Because you always said things like that, she retorts. Judith offers him a grand to leave, but since she figures it isn't enough, offers him 500 more--it's more than you'll get in the will. He asks if she's read the will. No, she says. I believe you, he says. I'm only trying to avoid trouble, says Judith. When Edward comes back, do you have any idea how he'd feel about my offer? Queries Judith. That you'd be wasting the money, predicts Quentin-and he'd be right--I can take it, walk out of the house and spend it all, even in Collinsport, and be back tomorrow--what could you do? If you gave me your word, suggests Judith. He laughs--I'm surprised how fond of me you actually are, he remarks, and thanks her. I'm fond of my peace of mind, says Judith, and begs him to accept her offer. He refuses--I want to see Jamison and want him awakened--I have a present for him, and I want to keep my promise to see the child on my return. If Jamison asks him to leave, says Judith, will you go? If he can persuade me to, says Quentin, yes--if he tells me he doesn't want me here, yes. Do you mean it? asks his sister--if you do, I'll get him. I'm a gambler, says Quentin--of course I mean it. She hustles off to get him.

Barnabas and Sandor return to the Old House. Barnabas seems sickened at the idea they live there, and at the condition of the house. Sandor says it's drafty, with a leaky roof, about ready to burn down because no one lived in it for so long. Barnabas says, forlornly, "I have. I've lived here twice in my life." Magda's here, says Sandor--what will I tell her about you? Leave it to me, says Barnabas. Perhaps she isn't here, suggests Sandor--the old lady, Mrs. Collins, keeps her late sometimes. Sandor enters and calls to his wife, getting no response. Barnabas looks over the house, mortified at what he sees. I told you it wasn't much, says Sandor, to which Barnabas regretfully replies, "It was. . .it was."

Jamison comes downstairs to the drawing room, looking eagerly for his Uncle, telling him he's much too old for hide and go seek. Quentin steps out from behind the door in a leap, scaring him; they hug. Quentin notes he's a yard bigger, not too grownup at all--you've grown two inches. Jamison calls him crazy. I brought you something, as promised, says Quentin--guess what it is. Quentin goes over to the window alcove, where he hid the gift--it's to take you away with, he tells his nephew, who is thrilled. I have to shrink it and set sail, hints Quentin--and produces a beautiful masted ship--the Jamison Collins. The boy is thrilled to see it's named for him. Jamison turns to see his Aunt Judith gazing balefully at him. "I won't tell him!" cries Jamison. "I don't want Quentin to go away! I won't tell him, I won't, I won't!" He throws himself into his uncle's arms. "There's your answer, Judith," says Quentin quietly. "You didn't come back because of Grandmama at all," blares Judith--"you came back to finish ruining Jamison!" They gaze at each other angrily.

Sandor stares into his wife's crystal ball. Magda enters. I went to the mausoleum, she says--you  weren't there!--you found them, didn't you? No, he says. She accuses him of lying--I went into the secret room--the empty coffin--the jewels had to be there. "You are wrong, Madame," says Barnabas. Magda, immediately on the alert, asks who he is and turns to Sandor for an answer. Sandor grips his throat where his vampire marks are. I can answer that one myself, says the vampire--"Barnabas Collins." She gasps--the portrait in the hall. . ."Yes, Madame," agrees Barnabas, but your husband will testify to the fact that I am not a picture. I am quite alive." No one has ever mentioned you, says Magda, as Sandor stares, holding his throat. I am going to live here, says Barnabas, and the place is in a deplorable condition--where is the portrait above the fireplace? he demands--have you pawned it?--and the large bedroom upstairs, Josette's room, who is sleeping there. I am, says Magda. "I will not have it!" insists Barnabas.You will not have WHAT? she asks--who the hell are you, anyway?--Edith said we could live here, and she didn't mention you--I'll go ask her. Barnabas turns as if he's going to attack her. Sandor rises, muttering a warning, "Magda. . ." You have convinced Sandor, says Magda, but she is the one who keeps us there, SHE is. "Please!" Sandor begs her. There's a knock at the door. Barnabas orders them to answer it and not mention him, then slips away. Sandor orders her to do as Barnabas says--for your own sake. She asks him what has happened. He begs her to just answer the door, still clutching his throat. It's Quentin, who says, "Notice I knocked? I kept my manners, no matter what anyone else they may say." Barnabas listens and watches from the cellar door. Magda tells him to be quick. He's immediately suspicious--am I interrupting something? No, says Sandor, Magda is just tired. In expected more hospitality, says Quentin--and those interesting things my grandmother said today. I forgot them, she says. Quentin grabs her arm in an angry grip. Get out, she tells him. Something is wrong, says Quentin, and I want to know what. Nothing says Sandor nervously. "Just a nice quiet evening at home discussing my generous offer?" asks Quentin. Sandor says he isn't aware of the offer. Something is very strange here, Quentin insists. Magda tells Sandor, we can't discuss it tonight. Tomorrow, says Sandor, I will talk to her tonight if you will leave us. Quentin admits to being curious--I never knew Magda to be upset before--until tomorrow, he says, heading away with a bow. Sandor asks Magda, why didn't you tell me. She demands to know who THAT (pointing to where Barnabas retreated) is?--he has the mark of death on him, she says--tell me, she insists, then pulls his hand away from his throat. She sees the vampire marks. Sandor runs out. Magda gasps, points through the cellar bars at Barnabas. "VAMPIRE!" she cries.

NOTES: Such good shows. Selby is wonderful, Frid is wonderful, love the haughty Judith, the funny old Edith, and you can tell 1897 is going to be a hoot and a half.

The writing seems to have improved immensely, somehow, and the performers appear enervated by the new storyline. You sense everyone is having a great time with this storyline right from the beginning.


703 - (Joan Bennett) - The great house at Collinwood stands deserted. The living have sought refuge elsewhere, leaving an evil spirit to roam the cold empty corridors alone. For some, this night will seem an eternity. Barnabas Collins remains in a deep trance. He had employed the mysterious powers of the I-Ching and gone through the door to the infinite, hoping to find and defeat the spirit that haunts Collinwood. But beyond the door, he has been transported back in time to the year 1897, a time of intrigue and terror for all who live at Collinwood.

Magda calls for Sandor, "Wait, those marks!" She returns to the Old House and points at Barnabas. "I know what you are," she cries as he approaches her. "Stay away from me!" A bat comes at Magda, who covers her face in terror, crying, "No¢â‚¬¦no!"

Magda begs Barnabas to let go of her arm. He assures her he doesn't intend to harm her, as long as she upholds her end of the bargain--you and Sandor are the only ones who know about me--Sandor can't, because he's completely under my control--and you won't, either, because if you do, your husband will die--simple as that.She rubs her hurt arm--why did you come here? she asks. That's your concern for another time, says Barnabas--your present concern is to protect me during the day. She doesn't comprehend why he's so trusting--during the day, when you're vulnerable, I could come to your coffin and destroy you. Yes, agrees Barnabas, but you won't--when your husband found me earlier this evening, he was looking for the family jewels (go ahead, laugh!), wasn't he? Right, says Magda. I know where they are, says Barn, eliciting a big grin and gleaming eyes from Magda, who agrees to make "some arrangement." On MY terms, insists Barnabas. What are your terms? she asks. Cooperation, says Barnabas, and I will give you a small, valuable part of the family jewels. He shows her a big ruby ring, which she runs lovingly across her lips. One jewel? she asks, unsatisfied. There will be more, promises Barnabas, as long as you uphold YOUR end of the bargain. She assures him, as she plays with the ring, and tries it on, that he may consider his secret safe with her and her husband. Barnabas is pleased, but offers one word of caution--do not let your greed get the better of you. She assures him they won't betray him. Barn turns the conversation to Quentin--why he is so anxious to learn the family secrets? Everyone does, says Magda, explaining that she is the spiritual advisor to Edith Collins--although she admits she isn't privy to the secret, either. How does Quentin stand with Edith? Asks Barn. She knows he's bad, but he charms her well, says Magda, gazing into her crystal ball. Is Quentin dangerous? asks Barn. Very, says Magda--why are you so curious about him? I must learn everything I can about Quentin by tomorrow night, when he will be at Collinwood, says Barnabas, and they will be receiving a strange visitor--a distant cousin from England. (oh, that old ploy!) Barnabas smiles triumphantly.

Quentin comes downstairs at Collinwood, nastily remarking to Judith that kept herself busy while he was away, ingratiating himself with Grandmama. I am trying to fulfill a family obligation, she insists. That doesn't entitle you to be guardian to the old lady's room, insists Quentin--she's MY grandmother, too! He sits beside her on the sofa. She leaps up, saying she's sorry he came back, given how peevish and boring he is. He scathingly wonders where she suddenly got backbone. When you refused my money to leave, I decided to treat you the same way you treat me and everyone else, she says--perhaps it runs in the family--you can't see Edith, she's too ill--I decided it. Quentin wants a chance to see for himself, give a second opinion. If you go to her room, warns Judith, I'll tell her you did it against her wishes--do you wish to take that risk? There's a knock at the door, preventing Quentin's retort. It's Magda, to see Edith--I have a very important message for her. It will have to wait, says Judith, Edith is too ill. Magda reminds her Mrs. Collins is always eager to hear my sage advice.You can plead forever, says Quentin, but lioness Judith has spoken--you cannot enter the inner sanctum. Magda asks Judith again for an audience with Edith, but the stony faced Judith says, you don't advise ME. It's imperative, says Magda, a very serious warning. Judith says no again. Quentin, however, wants to hear about this warning--tell us, advises Quentin, and perhaps my dear sister will relent and allow you to go to the throne. I'm leaving the room, announces Judith, so this warning can pass from one  charlatan to another--and she flounces off. Magda insists it concerns the entire family. Quentin pipes up again, saying, we can't miss that. Judith agrees to listen. Magda advises going into the drawing room for complete privacy. Quentin tells his sister that while you hate the fraudulence of gypsies, I find it very entertaining. Yes, you would, she says sarcastically. Beth witnesses them enter the drawing room.

Magda looks into her crystal ball and tells them, it was the arrangement of the cards that gave me the warning about the stranger who will arrive tonight, after sunset. Who is it? asks Judith. Magda claims not to know his name, but says he will pretend to be a friend or perhaps a relative--don't trust him, because he is mysterious, malicious, his motives not pure. What does he look like? asks Quentin. I can't see that clearly, either, says Magda, because he is a creature of darkness, and we will all have something to lose by his presence--but Quentin the most to lose. Quentin exchanges looks with Judith, who looks perturbed. Beth listens, ear pressed to the double doors.

Beth scurries away, her hurriedly departing figure spotted by Quentin. Judith promises Magda she will pass along this warning to Edith as soon as she's strong enough to hear--I don't want her frightened. Magda warns them to expect the stranger after sundown. Rubbish, says Judith, after Magda leave, I don't understand why Grandmama takes the gypsy seriously. But now you do, points out Quentin--perhaps you should ingratiate yourself with Magda, too. Judith frowns at her brother.

Quentin visits Beth's room, entering without knocking. She is preparing a blue bundle and putting on her coat. Shouldn't you be knocking when entering a lady's room? Asks Beth, annoyed. I've never been a prisoner of custom, he says, and as a member of the family, I can go anywhere in the house. She retorts that he isn't master of the house. I might be, someday, he says. Ha, she responds--I find that concept ridiculous. Do you know something I don't? he asks. Maybe I do, says Beth--and I have to leave, to go into Collinsport. He moves close to her ear and says it's an odd time for a maidservant to go into town. I have errands to do, for myself, says Beth. It's not your day off--who gave you permission? Demands Quentin. She puts on a pretty blue bonnet, tying it under her chin. Your sister, she says--would you care to ask her? Not necessary, he says, I've already seen how Judith has taken charge since Edward's absence. "Then may I go?" she asks. He picks up the blue bundle and asks, are you taking it to a sick friend? She grabs it out of his hands and orders him to leave it alone. He finds an envelope that fell out, filled with money. "My, my, my," he says, counting it, smiling--three hundred dollars. You have no right to look through my belongings, objects Beth. This is actually yours? he demands, incredulous. Yes, she says.Where did you get this kind of money? He asks. (implying it couldn't have been legal and was probably on her back). I saved it, she says icily. From your meager salary? he asks, you saved all that?--I have a surprise--I don't believe you. I have one for you, too, she says--I don't care. He waves the envelope at her--I think you stole it. And I think you're contemptible! She shoots back, grabbing it out of his hand--get out and leave me alone. He grabs her before she can exit and says, what I like about you is that you have my kind of spirit. I don't consider that a compliment, she says. What's in the bundle? He asks. It's none of your business, she says. I could make it my business, he says, leaning in close. And I could tell your brother Edward about it when he comes back, threatens Beth. Oh, so it was Edward who persuaded you to stay on when your mistress left, observes Quentin, grinning--I didn't realize my brother was so fond of you. What does that mean? Asks Beth. Yes, says Quentin--that would explain your sudden wealth--you and Edward, what a cozy arrangement. And Beth, rightfully, smacks his face. He grabs her and demands, did you do that out of anger or guilt? "Anger," she says, her voice shaking with fury. Don't ever do it again, he warns. Don't give me reason to, says Beth, and I won't have to--"Now leave me alone!" she demands. He says, I can't do that, for the simple reason that you don't want me to. "Don't I?" she asks, her lips inches from his--"Next you'll be telling me I stayed here all this time just waiting for you to come back." Did you? He asks. Ask my friend in Collinsport, suggests Beth--you might even learn something from him--he's a gentleman. She leaves. Quentin smiles slightly.

Dusk. There's a knock at the door. Judith answers. It's Barnabas Collins, who asks for the master of the house. Judith gazes at him, nonplused. Is something wrong? Asks Barnabas. No, she says, but clearly there is. He explains, I'm from the English branch of the family (worked once, why not again?).It's a pleasure to meet you, he says. She introduces herself. Barnabas apologizes for not knowing who the master of the house is. Edward is acting head, explains Judith, but he isn't here right now. She invites Barnabas to wait in the drawing room while she goes to get Quentin. Barnabas stares around the drawing room.

Judith and Quentin head downstairs. She tells him she's upset because it appears what the gypsy said is coming true--this stranger arrived after sundown. It's probably just a coincidence, says Quentin. You won't say that when you see this visitor, says Judith. She looks past Quentin--at the portrait of Barnabas on the wall. If I didn't know better, she says, I'd swear it was him! Quentin suggests Magda affected you more than you realized--let's go in, suggests Quentin. Barnabas is lifting a sword from a set hanging on the wall when Quentin and Judith enter. Judith introduces Barnabas to her brother. "An unexpected pleasure, Cousin," greets Quentin, smiling broadly. Barnabas apologizes for not letting them know sooner of his arrival. Quentin warmly assures him, we're always delighted to welcome family members, no matter how distantly related. I arrived late this afternoon, says Barnabas, and I enjoy traveling. Quentin tells Judith Barnabas really resembles the portrait in the foyer. Ah, yes, the original Barnabas Collins, agrees Barnabas. Yes, says Judith, he lived a hundred years ago, in this house. Yes, says Barn, I'm quite familiar with his life, being a direct descendent, and all--Barnabas left Collinwood in 1798 (?), went to England and established that branch of the family. Quentin apologizes for not being familiar with Collins family history. Barnabas says, I'm not a historian. He turns down a drink and agrees to a cup of tea. Judith leaves to arrange it. I'm impressed with Collinwood, a beautiful house, says Barnabas--I understand Edward is away, but Judith said something curious--that Edward is the acting head of the family. Yes, agrees Quentin, touching one of the Swords--Edward fancies himself in that role, but Edith is the real head of the family, over 90 and unable to function--Edward, as eldest of the grandsons, assumes he'll be next in line. Logical, remarks Barnabas. If there were anything logical about Edith, says Quentin--but there isn't--what boat did you arrive on, Cousin? The Pride of Jamestown, says Barn smoothly, arrived 4:30 this afternoon. Yes, agrees Quentin, so it did. He lifts out one of the swords. Barnabas turns his back on him, asking about the portraits in the room--is the one of Joshua here? No, somewhere up in the West Wing, replies Quentin. "I see," says Barnabas quietly--I understand he built Collinwood, and is seems to me that. . .he turns and finds a sword point inches from his face, Quentin on the other end of it. "I advise you not to make a move," says Quentin. Is this a practical joke, Cousin? asks Barnabas, incredulous. "No," says Quentin, "no it certainly isn't. You see, it just so happens that I recently returned from England myself. I spent the better part of 6 months there, so I had ample time to discover there is no English branch of our family--and there never has been! Now," he says, smiling dangerously, "I give you exactly five minutes to tell me who you are and what you want here-or so help me, I'll run you through." And Barnabas looks totally bewildered and disturbed, having a sword threatening his throat in such an uncousinly manner.

(As the credits roll, Jonathan Frid passes into camera range, then hastily out, carrying his street clothes. It was nice to see him, too!)

NOTES: What a greeting from cousin to cousin! I never had the best relationship with my cousins, but I'd have been pretty astounded to have a sword thrust in my face by one of them! Loved the stuff going on between Judith and Quentin (talk about quibbling siblings!) Beth and Quentin (feel that sexual tension!), and Barnabas and Quentin. He sure is a fun guy, but violently tempered, for sure. He's after money, big money, and he wants to do anything he can to get it. How ironic that Sandor found Barnabas in the same manner Willie did--searching for jewels! Or does Barnabas just put that thought in the minds of greedy people so he can break free?

Quentin is a smooth operator--with the ladies, in particular, including Beth, Magda and Judith (who doesn't take any crap from him). But his tendency to hurt, either with words, as he did with Beth by implying that she's Edward's mistress, or by physical intimidation, as he did with Magda, he's a Collins to be reckoned with!

Love, Robin

698 - (Grayson Hall) - Night over the turreted house of Collinwood, a night made ominous by the eerie glow of a full moon, its rays lighting the deserted great house as well as the old mausoleum where, in a secret room, the animal who walks like a man hides from the moon's changing light. He hides, too, from two people from his past, one of whom knows his secret and cannot speak. The other is determined to force the secret out. And in their hotel room, Barnabas Collins makes a last effort to stop their curiosity, an effort which will, ironically, only increase the threat to the man he has sworn to protect.

There werewolf, imprisoned in the tomb, chomps his lower lip.

Barnabas demands his cane back, insisting Ned is needlessly upsetting his sister. Ned asks Sabrina why the cane frightens her--speak to me, he begs--does it have to do with the cane, is it the wolf's head? Barnabas wonders why he would ask that. Sabrina begins to moan and thrash. Barnabas warns Ned that what he's doing might cause a completely breakdown.

Sabrina's mind returns to the carefree day when she went to Chris' apartment at 5:30 to prepare for his birthday party. Chris is nervously pacing, staring at his face in the mirror. Sabrina, a pretty brunette, if you like weird mouths on people, is surprised to see him--you weren't supposed to be here--why didn't you go skiing? He stares at her, upset. You're angry, she says--Ned gave me the key, he had it from when he stayed last summer. She puts a silly party hat on her head and Explains, I was going to give you a real surprise party. She notes that nothing she does changes his dour expression, even making a fool of herself. She puts her hands on his shoulders and asks, why didn't you go away for the weekend as planned? He pulls away from her--I was going away, he says, but I got sick, and still feel sick--flu or something. Why didn't you call me? she asks. I didn't feel it important, replies Chris--I was going to call, but. . .the first pain hits him. Sabrina is surprised at this symptom of the flu. He screams, "Get out!", then apologizes, but insists, "You must leave."She wants to stay, and asks to call a doctor, but he pushes her away and says she'll leave the party stuff here, even though it won't be the surprise she planned. Why won't you let me help you? she cries, and leaves. He grabs his chain. Sabrina decides not to leave after all. She turns back and finds the werewolf chained to the desk. She opens her mouth to scream--and we're back to the present, where the gray-haired, gray-faced Sabrina is screaming. She passes out as Ned grabs her and Barnabas looks on, concerned.

Ned assures his sister everything is OK, Barnabas left to get a doctor. She opens her eyes. I'm grateful you're all right, he says. He hugs her, caressing her shoulders and hair, and asks her to try to tell him what happened. Julia and Barnabas come in. Ned tells her Sabrina just regained consciousness--she looked directly into my eyes, something she hasn't done before. Julia asks both men to leave--I want to examine Sabrina--I promise to let you know if Sabrina talks. Alone with her patient, Julia tells Sabrina, I realize you've been through this many times before. She listens to her heart with a stethoscope and takes her pulse at the same time. What about Barnabas' cane frightened you?Sabrina looks at her. Julia realizes she understands, and advises her not to talk--I believe you can talk now--talk to me, I'll do everything I can to help. Ned bursts in, demanding to know who was talking--was it my sister? Julia takes out a blood pressure gauge. Ned wants to know what was said. Julia asks Sabrina if she was talking, but there is no response. Ned asks, too, disappointed. Julia tells him Sabrina's heartbeat and pulse are normal, her blood pressure low, but not low enough to have caused her blackout. Julia advises him to move her to her hospital for more definitive tests. Ned flatly refuses, but Julia assures him Windcliff has an excellent staff of psychiatrists. SHE STAYS WITH ME! insists Ned. Barnabas enters. "All right," says Julia. She prepares a sedative, but Ned says no to that. Sabrina needs proper rest, says Julia. Ned, however, wants her awake--she might remember now and start to talk. Julia and Barnabas exchange glances. Ned yells, "No sedatives, doctor!" Julia tells him to find other medical advice. Barnabas asks if she shouldn't stay with Sabrina. Ned says it's not necessary--my sister will be all right. He opens the door to throw them out, but Barnabas looks at Julia and says significantly, "I'm sure Dr. Hoffman doesn't mean to cut herself off completely from a most interesting case. . ."  Julia says she's sorry and gives Ned sleeping pills for Sabrina. He curtly takes them. Barnabas tells Sabrina, I hope you'll be feeling better. Ned starts to hand Julia cash, but she haughtily says, "I'll send you a bill." She kneels and bids Sabrina and Ned good night, then Julia and Barnabas leave. Ned asks Sabrina what she remembered. He pleads with her to tell him, holding her hand against his face. He knows it had to do with Chris, that night, and almost takes her wig off with his violent caressing her face, begging her over and over.

At the Old House, Julia tells Barnabas Sabrina KNOWS. Why didn't she tell? he asks. She will, predicts Julia. Barnabas points out that she had every opportunity to tell--and now Ned, who stays at her elbow every second, is always there--we should have stayed with her. They agree it's tragic, Ned spending every cent he has to hunt Chris down. . .taking care of Sabrina himself--and the girl, she hasn't looked in a mirror since that terrible day. And Chris, poor Chris, having all this on his conscience. Julia asks what they can do--we are involved, if she talks, then Ned will go to the police--we've been shielding a werewolf. Are you afraid? he asks. We haven't been able to help Chris, she says. You were more patient when helping me, he says (love has everything to do with that). I will see Chris through this, vows Barnabas, as promised--I will end the curse, with or without your help, he says adamantly. She nods, gazing at him with love. Now they must find a way to stop Sabrina from telling her brother. . .

Ned demands that Sabrina tell him what happened--am I ever going to know? He hugs her, stands, says, I'll take you to your room--will you be able to sleep?--I can give you one of the pills--I'll get some water! She turns her head, rises from the sofa, stands, stumbles to the door. She looks at her reflection in the mirror and screams in horror and disgust. Ned comes out, holds her, kisses her--I know you remember everything that happened to you--tell me!--tell me about Jennings or I'll go out and find him, drag him here, make him face you--I swear. He shows her her reflection again--that's what Chris did to you!--LOOK! He forces her to stand there. TAKE A GOOD LOOK. She pulls away, sobbing. He accuses her of protecting Chris--you aren't still in love with him, are you? He grabs her, shakes her, demanding, stop looking at the moon and answer me!--you can't protect him, he's going to be punished, do you understand? She sits back in the wheelchair, her face as white as her hair. Ned tells her, I'm not going to give up!

6:20 - Julia tells Barnabas it's nearly dawn, time to go to the mausoleum--without a solution, laments Julia--how far-fetched all our scheming is!--there's no solution for Chris. Barnabas denies it.Julia says we'll let him out and hope he'll get through another day before being found out. Barnabas says every time we talk, I feel there's more of a connection between Collinwood and Chris. Julia doesn't know what's happening there, either, why did the ghosts want the children?--why did they get everyone out of the house?--I saw Stokes and Roger--they had a seance there and tried to contact the ghost, but all they heard was his laughter. Barnabas says, we must tell Chris about Sabrina and the cane. He'll have to spend his days waiting for the phone to ring, a knock at the door. . .no one can live with that kind of tension, protests Julia. People do, Barnabas assures her, and more than you realize. I think I should tell Chris, says Julia. Barnabas suggests perhaps Chris himself will have an idea about how to handle this.

Barnabas and Julia go to the mausoleum. She listens, but he says Chris is probably unconscious--when he changes, he blacks out. He pulls the ring to open the secret panel. This their horror, the werewolf is in there--he hasn't changed back into Chris.Julia and Barnabas exchange shocked, disbelieving glances.

NOTES: Once again, Ned and Sabrina do NOT interest me. She looks a lot better with pretty brunette hair, but that mouth! I never could stand it! As for Ned, I thought we'd seen the last of an obnoxious character being played by Roger Davis, but here we are, and this guy is unbelievable--it's hard to tell whether he's being brotherly or trying to commit incest with Sabrina! What a toad!

What a shocker, that dawn has come and Chris is still in werewolf mode, as if he didn't have enough problems! I do love Barnabas' compassion for Chris, it's so generous and kind--and empathetic. When he tells Julia that people live with the fear of discovery every day, you know he's speaking of himself, and surely, so does she. Hard to believe Barnabas didn't get the fact that Julia was more patient with him because she loves him.


699 - (KLS) - For the first time since it was built, the great house is all but deserted. Only young David Collins remains, the prisoner of a supernatural force. In grave danger of being killed off one by one, the family has been forced to move into the Old House. Now, another dawn has come, and while the family fears for David's safety, Barnabas Collins and Julia Hoffman must attend to another crisis, one the rest of the family knows nothing about.

Barnabas and Julia's crisis is larger than they imagined--Chris has not reverted back to human form!

Julia races away as Barnabas closes the door on Chris. He has to hit the werewolf with his cane to force him back into the secret room, but he does, leaving the animal nursing a hurt. Julia tells Barnabas that Chris should have reverted almost two hours ago, and both wonder IF he will. They are both very shaken. Barn says we should have expected something like this, after the time Chris changed when there was no full moon. Julia suspects it will get worse--perhaps he will even suffer being a werewolf all the time--the only answer is to. . .Kill him, finishes Barnabas. We aren't closer to finding a solution says Julia. We're closer than when we started, insists Barn. He's more unpredictable now, says Julia, more dangerous now than ever. We'll keep him in the room, says Barn. Julia reminds him that others know of the room. I will have Willie find a way to lock the outer door, says Barnabas.

Maggie starts when someone knocks at her door (she's in Josette's room, no surprise). It's Amy, who protests, I'm not always supposed to stay in my room--Carolyn stayed with me--I  don't like being watched all the time. Maggie says they don't want anything to happen to her. Maggie hasn't been to bed yet--I couldn't sleep, I kept thinking about David--do you know where David is? The little girl replies no, I don't. Maggie kneels and takes her hands--how can we ever reach you when you're as fearful as David was? Amy wants to retreat to her room, but Maggie won't let her  She believes the little girl can help them save David. Not so, insists Amy.Maggie remembers the night she pursued Amy through the woods to Collinwood, and realizes now, you wanted me to follow you--you lured her there because someone told you to. Amy says no. Maggie demands to know--did Quentin want me to come to Collinwood?--do you know who Quentin is? Amy says no. Maggie tells her, I know that wherever Quentin is, David is. Amy, covering her face with her hands, begs to go back to her room. Maggie forces Amy to look at her--Quentin is bad, he might possibly even kill David. Amy assures her David will be all right. Take us to David to see that he's safe, pleads Maggie. I can't, insists Amy. What will happen if you keep quiet, and something happens to David? Asks Maggie. I don't want anything to happen to David, says Amy, and, as Julia walks in, cries, "I'd like to help him but, if I say anymore, he'll do something terrible to Chris!" Julia's ears perk up at this, asking what Quentin has to do with Chris--did Quentin actually threaten to hurt Chris? Amy, afraid, can't say more. Julia volunteers to take Amy downstairs so Maggie can get some rest. Maggie climbs into bed, promising Amy that Julia won't ask her more questions--go along with her. Amy protests, I'm afraid--but allows Julia to lead her away. Maggie closes her eyes, and feels someone shaking her bed. She begins to grimace in her sleep as a dream comes upon her--she sees Quentin's face coming toward her, closer and closer.

Maggie's head twists back and forth on her pillow as the dream continues. She's in the storage room in the West Wing, walking around. She reaches out to touch a tendril of cobweb, sees Mr. Jughans, finds the secret panel and climbs through it into Quentin's room, where the gramophone is playing his music. She hears a sound, and turns. Quentin is there, smiling at her, holding the blue gown. She knows who he is--Quentin, and asks what he wants of her.He presents her with the dress, which she recognizes--it's not mine, she protests, I don't want it. He advances on her. She begs him to stay where he is. He pulls her close and kisses her, a real nice kiss, then grins at her. (so cute!) He laughs, shoulders shaking, then his face blurs. Maggie sits up suddenly, then races from the room, calling to Julia. The latter joins Maggie in her room. Where's Barnabas? Asks Maggie--I just had a dream and saw Quentin's face again--I saw the room where he took me the night before last, but can't remember where it was--it seemed he wasn't with me, I was drawn somewhere--I remember something else--the minute I woke up, I saw two images in my mind--first, a dark, long old staircase; the second was Mrs. Stoddard's room--I need to put the images into some sequence. Julia agrees she should try--remember the night before last. I followed Amy to Collinwood, begins Maggie, to the drawing room--I was staring at something behind me, and I turned around--Quentin was there--he didn't hurt me, he just kept smiling at me--he took me somewhere, up the old staircase, after that, I was in Liz' room, alone--I felt as if Liz' room was mine--I didn't leave the room, I was pulled someplace else. Where? asks Julia. Maggie recalls walking down a long corridor in the West Wing, standing in front of a door, still alone--but I knew someone waited for me beyond the door--I went inside, but I can't see that room clearly in my mind--when I first walked into it, I thought I saw the figure of a man, and I thought, he's caught us--I remember it wasn't a man at all, but a tailor's dummy with a face painted on it--Mr. Jughans!--I remember the room I was in--a storage room in the West Wing, and there's another room next to it, where I'm sure I'll find Quentin, and David!Julia wants to leave to find Barnabas, but Maggie says there's no time--David is in danger. Julia refuses to let her go alone and leaves to find Barnabas. Amy has been listening at the door!

Cemetery - Barnabas enters the mausoleum and listens at the door to the growling werewolf inside. The animal leaps all over the place. Julia races in and tells Barnabas Maggie remembered what happened and thinks she knows where David is. They hustle right out of there. Barnabas locks the outer gate.

West Wing, Collinwood - Amy enters, uses a crowbar to open the panel, then climbs through.

Julia knocks at Maggie's door, but she's gone. Barnabas hopes she didn't go to Collinwood alone. She promised to wait, says Julia. As they're leaving, then run into Maggie, who tells them Amy has disappeared. Barnabas tells Julia to search the third floor--Maggie and I will go to Collinwood--Willie and I searched the West Wing storage room, and found nothing. I'm positive that's the room, insists Maggie--there's a small opening in the base of the wall--someone must have covered it up, and I'm sure that's how David disappeared the first night I went to look for him. Barnabas rushes her out of there.

Amy has a little trouble with the panel, but finally enters Quentin's room and calls to David--I have something important to tell you--answer me, please. Quentin appears, touching her shoulder. I came to warn you that Maggie and Barnabas are on the way--they know about this room, they think David's here and are coming to get him--I know you're angry with me, but I did come to tell you, didn't I? Quentin looks thoughtful.

Barnabas and Maggie enter Collinwood and head upstairs.

A frightened Amy assures an advancing Quentin she didn't tell them about the room; Maggie saw it in a dream!--I heard her telling Dr. Hoffman. He touches Amy's shoulder, silencing her, her mouth still open.

Barnabas and Maggie enter the storage room and find the panel into Quentin's room. Barnabas says it was sealed up when he was there before, and whoever unsealed it used the crowbar. I intend to rip out the rest of the panels, says Barnabas--and find out what's in that room! Maggie looks scared as hell at the prospect.

NOTES: We have a very tense situation here--Amy and Quentin are just on the other side of that wall, and if Barnabas makes good his threat. . .will they find themselves face to face with Quentin's ghost, or will he just disappear, leaving poor Amy alone to face the adults?

Where is David? We haven't yet seen him. Where is Quentin keeping him?

Barnabas is determined to help Chris no matter what Julia says or thinks, and she, of course, will go along not just because she mostly agrees with him, but because she loves Barnabas and wants to keep him happy. Plus she genuinely likes Chris and wants to help him--if she can. Does she have another supernatural cure in her doctor's bag for Chris?

Lucky for Maggie she had that dream. How fortuitous. Do you suppose Beth or another sympathetic ghost sent it to her?

Love, Robin

694 - (Joan Bennett) - A violent night on the great estate of Collinwood, for one man has dared to battle the evil spirits who seek to rule the great house. And so the ancient chant of exorcism has been heard again, a chant exhorting the ghosts to leave. All who live here think the reign of terror is over--but the man who worked the seeming miracle waits in a room, determined to make sure the miracle is true.

Stokes keeps trying the door, then leans his back against it, staring at the fire spreading around his room. Quentin's image continues to laugh at him. Stokes, desperate, grabs, a candlestick and smashes the mirror, covering his eyes to protect them from the class. Miraculously, the fire goes out. Stokes stares around himself, asking for a moment, when Roger knocks at the door. Stokes assures him, I am NOT all right. Roger jiggles the doorknob. Stokes lets him in. I heard laughing, and a crash, says Roger--the mirror! I just received an answer to my ultimatum, says Stokes and I'm not surprised--if I were a ghost, which I will be someday, I wouldn't let words drive me away from his room, not even the words of the exorcist. Roger insists there are no ghosts and begs Stokes to tell Liz the spirits are gone (why should he need to, if there ARE no ghosts?). That's too dangerous, objects Stokes--Amy and David can't be left alone tonight. Roger, following him out of the room, says no, Professor, you aren't to leave the room until you agree to keep silent about this latest trick of your imagination.

David comes into the drawing room to wish Liz good night. They hug. He assures her he's OK; she's thrilled. You have to sleep late, she insists. David, however, says, I must awaken early and do something--I don't like secrets, not anymore, he confesses--I don't want to discuss the spirits now. Liz wants him to. I hate that about grownups, complains David--they sit around talking about things after they already happened. Once you banish all the secrets by talking, you'll feel better, Liz assures him. I want to make sure HE can never come back, says David--there are ways I can make sure--but let me and Amy figure out what must be done.Do whatever you must, she urges, but we've taken care of it. To their horror, Quentin's music begins to play. "It's HIS!" cries David, looking fearfully around the room. Come with me, Liz orders. "Where is it?" he asks. Liz leaves the drawing room to get Stokes. David is left trapped, alone, doors locked, with Quentin!

David and Quentin locks eyes. The boy demands, "Don't come near me or touch me!" Quentin renders David mute. Upstairs, Stokes reports to Liz and Roger that the music means the exorcism has failed. The children are tricking us, scoffs Roger. The children! cries Stokes--where are they? Panicked, all three adults rush from the room.

Quentin once again takes over David's mind. By the time the adults arrive downstairs, Quentin is gone and David is racing for the outside doors. Roger pursues his son. Liz asks Stokes why David ran from the house, assuming her nephew must have seen HIM. Roger would insist there's no one there to see, predicts Stokes. Liz wonders why the music has ceased. Our friend has no further need for it, says Stokes--we have to examine all possibilities, but first check to make sure Amy is all right.

David has run to the Old House. He tells Cousin Barnabas, "He can't find me here, he can't come here!" Barnabas kneels besides the chair in which David's sitting, asking what he means. David tries to tell him it's a man in his dream, but Barnabas demands the truth. Roger comes knocking and asks if David is in there. Roger comes in, angry at David for running out. He pelts the poor kid with questions. Barnabas suggests one at a time is enough. Roger wants to take David back to Collinwood, but the boy begs him not to. Roger accuses Barnabas and the Professor of causing this mess, frightening David.Tell Roger the truth, urges Barnabas. David tries to tell his father he has dreams that make him scared to go to sleep at night--I want to spend the night at the Old House. Barnabas advises Roger to allow it. Reluctantly, Roger agrees. Barnabas assures him it won't inconvenience me--and I must report to Collinwood for breakfast! (Lucky Barnabas doesn't sleep in a coffin anymore, that would be difficult right now.) Roger thanks Barnabas before he leaves, commenting, "What a night!" Barnabas returns to David, who says he wants to go to bed. Barn wants to finish their conversation--who drove you from Collinwood? Promise me I can stay at the Old House forever, pleads David--or else I don't know what will happen--I didn't mean to start it, it started as a game. Barnabas encourages him to keep talking. David describes the night he was showing Amy around the house--Quentin's appeared at the window, staring directly at me! says the boy. Barnabas can't see the ghost. David stops speaking immediately. "It was only a game," he says, we were just playing--they'll punish me, he says--I don't know what to do! David runs upstairs, sobbing, and Barnabas stares up at his retreating figure, his face shadowed with concern.

Liz tells Roger she's sorry she didn't think to send David to stay at the Old House before--now they don't have to worry so much about Amy, with Maggie there. Stokes says he's worried about each and everyone in the house. Melodrama! scoffs Roger. Stokes advises Liz--you should all pack your bags and leave. Sarcastically, Roger asks if they should burn the house when they go? Stokes remarks, you're treating all this very lightly--there have been two mysterious deaths in the house already and will be more--tonight, tomorrow. Roger accuses him of deliberately trying to frighten Liz, but Stokes assures him he wants to save David's and Amy's lives--the spirits that are roaming the house are determined to take the children for their own--they will kill anyone who stands in their way--let's stop the tragedy. Go to Barnabas, begs Stokes, once, if you don't, you will regret it every day of your life. Liz agrees--we'll all go to the Old House now--if it isn't convenient for Barnabas, we can stay at the Inn. Roger protests it's insane, but Liz ignores him and turns to go upstairs and awaken the others. I won't go, says Roger. I hope you change your mind, says Liz. Roger turns to Stokes and blames him for the whole thing. Stokes retorts, "I already know your opinion of me, Mr. Collins!" (I wanted to do a cheerleader's split for him, ¢â‚¬Ëœcause Roger's acting like an ass!) Stokes storms out, leaving Roger alone in the drawing room. He pours a drink, then, feeling a presence, turns around, sees nothing, shakes his head. Then he turns again, his face shadowed, feeling as if someone's watching him. He shakes his head, drinks, calls it ridiculous. He turns, thinking he sees something by the window. He searches both alcoves, wondering what he thought he saw. I'm getting as bad as the rest of them, he chides himself. The double doors close by themselves. Roger isn't pleased--someone IS here! Breathing heavily, he demands to know who's in the room. He turns--Quentin is there, giving Roger an especially malevolent look.Roger puts his fist into his mouth and gasps in horror.

2 AM.  Liz and Stokes head downstairs. I'm going to have to return tomorrow, she says, to get some things, but Stokes advises against returning at all. When will we get back? she asks. Soon, I hope says Stokes. He helps her into her coat. I sense you feel it will be a long time, she says soberly. I think we should attempt another exorcism, says Stokes, someone with more power than I have. It's incredible, says Liz, I never thought I would leave this house. Persuade Roger to leave with them, urges Stokes--I left him in the drawing room, adamant as ever. Liz enters the drawing room, Stokes behind her. Roger is sitting in a chair, looking totally stunned. Liz asks her brother what happened. He buries his face in his hands. "I saw him, here," he says brokenly.  And to Stokes, "You were right."I'm very sorry, the professor tells him.  Come with us, Roger, says Liz--we'll decide what to do tomorrow. Yes, agrees Roger. Stokes helps Roger stand. Roger turns. "Oh, God!" he says--"Please forgive me for doubting you. I never thought we would be forced to leave this house." I don't know what to do about anything, admits Liz--I'll turn out the lights. Tomorrow we will make an expedition to get your things, Stokes assures Roger--I'll put the bags in the car. Roger stands in the dark, commenting on the quiet. I could almost believe I'm alone, says Liz. He puts his arms around his sister and together, after she turns off the last light, they exit Collinwood. "We'll be back!" shouts Roger adamantly. "Have no doubt of that!" He closes the door.

Quentin's triumphant laughter fills the entire house. His music plays, swelling, joining the thunder, as we travel to the storage room, the hallways outside the West Wing, the main hallway upstairs, Maggie's room, David's room, his books abandoned on the desk, Roger's room, the drawing room, fire still burning in the fireplace, the foyer, the stairs. Quentin stands on the landing, laughing and laughing, surveying the home that he has now taken over, having succeeded in chasing out its current occupants.

NOTES: DARK SHADOWS at its absolute best! Louis Edmonds' performance here was incredible, first as the doubting Roger, then the Roger forced to believe. I love his "We'll be back!" Much better (and spoken many years prior to) Arnold S'. It rarely gets any better than this, my friends, does it? Loved the proprietary way Quentin takes over the house, too, filling the whole place with his cruel laughter and music. It makes my heart skip a beat every time Liz and Roger leave Collinwood. Very powerful television!


695 - (KLS) - A new day on the great estate of Collinwood, and a dawn different from any other, for not a single Collins sleeps in the turreted mansion. For the first time in two centuries, it is deserted. All have been driven out, forced to flee by an evil spirit who is determined to claim the children as his own. And now the ghostly figures roam the halls, reigning over rooms where once they were unwelcome visitors. And in another house on the estate, Barnabas Collins listens to the children playing and wonders how long they will be safe in their refuge.

David gazes out the window. Amy asks why. You know, he says. They can't be here, she assures him--we don't have to play the game, ever--we should go have Maggie tell us a story. Barnabas listens to this conversation as he heads downstairs. He asks David if he slept well. David answers yes politely and motions for Amy to come with him. Barnabas stops them and asks what "game" he was referring to. Just a game we used to play, says David, and hustles Amy away. Barnabas, intrigued, looks out the window, too. Someone knocks at the door. It's Chris. He tells him something weird just happened--he saw a man standing on the edge of the woods, standing and staring at the house, a tall man with sideburns and a long frock coat.Chris yelled at him, but the man disappeared, there one moment, gone the next. "So he followed them here," says Barnabas. "He knows where the children are."

Chris listens intently as Barnabas relates what happened to the Collins family the previous night--the house belongs to the ghosts now. Chris wonders about the woman who helped him, surely she isn't involved. Barnabas has examined all the records, trying to establish a connection between Chris and the mystery woman. I'm trapped, says Chris, I don't know why I ever thought I could get through this. You must, insists Barnabas. I don't know what's going to happen to me at night, Chris reminds him--I can't stay in one place, pretending I'm like other people; I can't get close to anyone, and should just keep going, running until I'm caught. You can't, says Barnabas. Chris wonders--how do you know so much about me? Barnabas doesn't answer--he looks out the window and spots David outside. He reminds the boy he isn't allowed to be outside alone--your father said so. You don't understand, says David. Maggie pops in next to Barnabas and tells David she's been looking for him. (I think Barnabas and Maggie look kind of nice together.) David complains it's like a prison in the house. She firmly ushers him inside--you have history to read, and there will be a test in an hour, she warns. All right, he says, and goes upstairs. He promised me he wouldn't go outside, Maggie tells Barn. Barnabas reveals what Chris said, about seeing a stranger staring at the house--a figure from another time. Quentin? she asks, explaining to Chris and Barnabas how she heard David say that name after he'd claimed to have fallen--he kept murmuring that name.I found a Quentin Collins in the books I was looking through, says Barn, and shows Chris and Maggie a photo album to see if they can identify the man. Barnabas reads that Quentin was born 1870, date of death, unknown. Chris and Maggie locate the photo of Quentin and show it to Barnabas. It's captioned: "Quentin, just before he left for Paris." Chris and Maggie say he looks the same age as in the photo, so Barnabas figures he died shortly after going to Europe--why didn't we know this, and why is his spirit haunting Collinwood now--and why has he decided to possess the children? Why?? Quentin stares back at them from the photo, implacable.

David returns to Collinwood, standing outside the front door. Amy joins him. He's annoyed she followed him. You aren't supposed to be here, she reminds him. He insists he had come here. Why? she asks--Quentin's in there, and he won't let you come out--have you forgotten how mean Quentin is, and how much you hate him? David opens the doors despite Amy's begging. She clings to him as they start to enter the house, begging him again not to go in. David says he has to get it--the telephone they first "met" Quentin on--get it, break it up, so he can't get to us anymore.Amy doesn't think he should go in, but he reveals a dream he had--I woke up and the phone was right in my room, and Quentin was trying to get to me through it--it rang and rang. . .dreams often tell of the future, you should know that! Amy tries to stop him. I'll go, she volunteers--Beth will protect me from Quentin. David refuses. Amy determinedly walks in, calling to Beth, asking for her help one last time--I must go to Maggie's room and get the telephone--is that all right? Is she really in there? Asks David. I think so, says Amy. Wait outside, she tells David, don't come in. He promises. She goes upstairs, staring nervously around, walking sideways. David stands, watching her.

At Chris' cottage, Carolyn admires a photo of Amy and Chris. She returns it to the mantle, smiling. Chris comes in. I expected to find the cottage empty, says Carolyn, but realized you hadn't gone when I saw the photograph--you'd never leave it behind. He says nothing. She wonders why he decided to stay--I have trouble reading you, she teases. Don't even try, says Chris.Funny, she says, for a day or so, I thought we had a bit of a romance going. You were wrong, he says. Carolyn denies that--you're being wrong now, she says. We HAD something going, he amends. You aren't very subtle today, she says. Why do you keep making me do this? Demands Chris, upset--part of the reason I was leaving was YOU. But why? she asks--you never offers an explanation for anything, and I believe there's a mystery in your past I can't help you with, can't know, and it makes it difficult to understand you--why can't you settle whatever it is within yourself? she demands. Maybe, just maybe, I'm trying to do exactly that, says Chris, and MAYBE I can only do it alone, completely alone! Do you want my help? she asks. I'm going to stay, says Chris, but we can't see each other anymore. Carolyn turns away, disappointed and heartbroken.

David is growing impatient waiting for Amy to come back--what's taking so long?--she just had to go to Maggie's bedroom--what if Quentin stopped her? What if. . . Of course, he cautiously enters the house, whispers  "Amy?" He goes upstairs, plodding carefully, calling her name a bit more loudly. He yells to her, receiving no answer, asking where she is. The door opens; she comes out and tells him the phone is gone!--I looked all over for it, even to Quentin's room to look for it--now what will we do? We'll figure something out, David says, when we get outside. Amy thinks Quentin isn't in the house any longer. David assures her he is, somewhere. He didn't try to stop me, she says. David still insists he's there. The double doors swing closed by themselves. Maggie comes bursting through them, demanding they come with her--you know you weren't supposed to be at Collinwood, what were you doing? The telephone, explains David we wanted it--it was in your old room, but it's gone now. Forget the phone, says Maggie--don't concern yourselves with anything like it anymore--stop running off, too. David and Amy agree. David says, I never want to go into the house again. Amy agrees. Maggie hugs them--it's good to believe you, she says. Amy wants to visit Chris. Maggie says it's OK as long as Chris brings her home.

Chris reiterates to Carolyn that for both our sakes, we can't see each other anymore. She cries. He asks her not to. She promises him she isn't going to, then says a soft, "So long, Chris--I hope sometime you'll find someone who can talk to you about whatever's bothering you. For a moment or so, I thought I might be the one." Finishing her sad little speech, Carolyn quickly leaves, brushing past Amy without a hello. Chris is surprised to see his sister--you aren't supposed to be alone, he says. Maggie watched me until I got to the door, she says--what's wrong with Carolyn? I don't know, Chris answers. She was crying, notes Amy--did you make her unhappy? I did, he admits, and myself even more so. (He really does look miserable, but if anyone would understand all this, it's Carolyn, living in that spooky old house.)

Old House - Maggie and Barnabas pour over books. He complains that it's astonishing how little was written about Quentin Collins--his life seems to have been uneventful until he went to Europe, but it could be inaccurate (in Collins family history?--get outta here!) There's nothing to indicate why he would want to drive the family out, possess the children. Maggie advises the exhausted man to get some rest, but he wants to go on. Why did he choose David? He had a younger brother (?) about David's age, Jamison Collins. That's no reason, why David?

David sleeps. Quentin's music begins to play, and he stirs in his sleep. He hears a phone ringing, and sits up in bed. Quentin's phone is on his table, in his room. David stares at it. Amy comes in--it woke me, she says in a weird voice--I'd forgotten how nice Beth is, how pretty the music sounds.

Maggie tells Barnabas she believes that today, David was really trying to fight Quentin--I believed him when he said he never wanted to go to Collinwood again--I'll look in on David before I go to bed. Don't despair, advises Barnabas--we'll learn what it's all about, and soon-I know it. Grimacing, he closes the book and thinks to himself, Quentin Collins--when he lived, I lay in my coffin in the mausoleum. . .he did not know about me, or I him. And now, now I must discover the secret of his life. . .how? How??

Maggie enters David's room and finds him gone--but the telephone is there. "He's gone!" she cries. (Lock them up and keep a guard on them!)

NOTES: It's fun to watch Barnabas and Maggie, hapless detectives, poring over books when what they should be doing is handcuffing those kids to their wrists and not allowing them out of their sight! It's apparent that Quentin still has control over them, especially when they troop over to Collinwood without permission. They aren't to be trusted. Maggie was too easily lulled into a false sense of security. Research isn't everything--sometimes tying the kid up works better!

Sad once again for Carolyn and Chris. She tried to figure out why he broke up with her, but he can't possibly explain that he turns into a werewolf that might just kill her--and without a full moon, too! Is there a chance Chris will relent and let Carolyn back in his life? What makes him think the family will even allow him to remain in the cottage, working for them, after breaking up with the family daughter?

Love, Robin

690 - (Don Briscoe) - Soon dark, threatening clouds will gather over Collinwood, and long, ever-lengthening shadows will creep menacingly toward the great house. By late afternoon, rain will come--a rain that will begin slowly, but steadily increase into a raging storm. And with the storm will come a terror of unimaginable proportions. Terror to a young woman who dares to solve the mystery of unknown forces that seek to possess the very souls of this she is entrusted to protect.

We see images of the tower, then Maggie's face. David's opposite arm is on fire in this episode, but who's quibbling? When Maggie finds him, he's lying flat on his face, instead of fetal position as we saw him at the end of the previous episode.

Maggie kneels beside David and finds his arm burnt. When she tries to rouse him, he calls to Quentin--don't hurt me--I'll be good! David awakens, staring wildly around. She asks who was in the room with him; she heard a man's laughter. David denies that anyone was with him, but Maggie is sure of what she heard.David claims he was pretending to laugh like a man, but she doesn't believe him--I would only harm you by pretending to believe you, she points out--who was in the room with you, and why were you lying on the floor? I was going to play, he insists. "With someone named Quentin?" she demands. David is horrified--who told you that? YOU did, she says. No I didn't, he cries, it was a game, I was just pretending!!!--make-believe! She shows him his burnt arm--no innocent game caused that, she says. He insists he fell while playing. Quentin is real, she says--the man I saw that night--and he's in this house. Sickened that his secret has been found out, David protests madly, then buries his face in his pillows. Maggie pulls him into her arms, holding him tightly as he sobs. What kind of a monster is he? asks Maggie, what has he done to you? She encourages him to cry--I understand, she assures him--I promise I'll find this man and you'll never have to be afraid again. David wrenches himself from her grasp, bellowing, "No one can do that!" He runs from the room, Maggie in pursuit.

Ned knocks at the door of Collinwood. David shoots downstairs, flings open the doors and races past Ned, who tries to stop him. Maggie comes down, asking Ned if he saw David. Stuart sensitively asks if he gives her the slip once a day. That isn't funny, says Maggie. Ned apologizes and tells her David went outside. She puts on her coat, pushing him off about questions he has, and leaves the house. He closes the outer doors and hears singing in the drawing room--it's Amy, working on a puzzle. He joins her and they introduce themselves. She tells him she can't find a piece that goes in one place. He tells her Maggie left to find her brother, David. My brother is Chris, she corrects. Jennings? he asks--I know him well--he'll be surprised to see me, predicts Ned--I'm the last person in the world he's expecting to see. Why do you want to see Chris? asks Amy. I have a puzzle I'm trying to put together, too, says Ned, and if I find the right piece, everything would make sense. What would happen then? asks Amy fearfully. It depends on what the picture looks like, replies Ned. Amy wants to help David find Maggie (that's what she said), but Ned stops her from leaving. He asks if she's afraid of him. I'm not sure, she says.Chris almost married my sister, reveals Ned. I didn't know that, says Amy. Ned is surprised to hear this. Amy backs away from him, right into Chris, who gives Ned an evil look.I was just telling Amy about Sabrina, reveals Ned.

Ned tells Chris he was looking for him, went to the cottage, but he wasn't there. Chris tells Amy to go upstairs and play. Amy, afraid, doesn't want to leave him. Chris gently tells her to go upstairs and let us talk. She goes. Whatever is between them must stay that way--leave Amy out of it! orders Chris. I know what it's like to love a sister, says Ned sarcastically. Chris looks guilty--"I know," he responds. If that's so, says Ned, I'm surprised you're willing to be alone in the same room with me. I wish you would be more direct in getting rid of me than poisoning my drink, says Chris. I might want to kill you later, says Ned, but I have questions first. Chris now realizes it wasn't Ned who poisoned him. Ned, however, is annoyed he has competition in the Kill Chris Sweepstakes. What do you want? asks Chris. To know what happened between you and Sabrina, says Ned, and why you left so hastily. There was no way to convince people I had nothing to do with her death, says Chris. What makes you so sure she died? asks Ned. "She didn't?" says Chris.  No, says Ned--I want you to come see her. I can't, protests Chris, I vowed I'd never go back there. I have her right in town, in the Collinsport Inn, reveals Ned. This surprises and dismays Chris. She's waiting to see you, says Ned. If she's alive after that night, mutters Chris--she knows. . . Knows what? demands Ned, she didn't tell me a thing! Chris finds that impossible. Ned grabs his lapels--I don't know about impossible, he says, but I know you are coming to see my sister--"Just come and see her," insists Ned, looking Chris directly in the face.

Maggie searches for David, begging him to return to the house. He hears her, but doesn't obey. He runs into Amy, who was also searching for him. "Did Quentin send you?" asks David, upset. Of course not, she says, I was trying to find out why you were hiding. I can never return to Collinwood, cries David--I'm so scared! Of what? she asks. Quentin saw me this morning, he explains, and he was so angry at me because I wouldn't. . .he stops, then finishes--I wouldn't do what he wanted me to do--we can't play the game anymore, it's horrible, Quentin is no friend--he wants me to drive everyone out of the house, and then, we'll live with him there, all alone. Amy protests she wouldn't like that. I told him the same, says David, and got punished. He shows her the horrible burn on his arm, calling it the worst pain he ever experienced. Amy gasps, covering her mouth. If I knew such terrible things were going to happen, says Amy, I'd never have played the game. David agrees. What are we going to do? She asks. I don't know, says David. We can't stay out here, she says, if we return to the house, he'll be waiting for us. We have to tell Maggie, insists David. Quentin will punish us, warns Amy. Maggie wants to help us, he says, if I tell her perhaps she will. Amy is afraid. If we don't do that, we'll have to stay here, says David--so we must go to Maggie, she's our only chance--no one else will understand our problem. Decision made, they're about to head home when they run into Quentin, his face bathed in a terrible light. Amy, horrified, begs David, tell him we didn't mean it--beg him not to punish us! David, enraptured again by Quentin's gaze, tells Amy, "It wouldn't do any good, Amy. Quentin is going to teach us a lesson that we'll never forget." Quentin grins.

Drawing room - Amy works on her puzzle. Maggie comes in, book in hand. David sits by the fire. He tells her he feels fine and asks, "Are you still mad at me?" I just wish you hadn't run from the house like you did, she replies. He apologizes, and Maggie pats his face. Amy finished her puzzle. Maggie and David go to look at it. It's very nice, David says in a disinterested voice. Maggie accuses him of not sounding impressed. That's boys for ya, says Amy to Maggie, boys don't like jigsaw puzzles. David asks Maggie if they're all alone here. (uh oh) We are, Maggie says--everyone else has left the house. David wishes there was something we could do. Amy wants to go outside and play, but Maggie says it's raining, so no go. David notes it's a couple of hours before bedtime--isn't there something we can do? Maggie suggests sitting and talking, getting to know each other, but they opt instead to play a game--like hide and seek. Maggie learned her lesson from the last time, when they went outside and disobeyed the rules, so they won't be doing THAT.Thunder crashes, giving Maggie a start. Amy asks if it frightened her. No, says Maggie, it just startled me. Amy thought it might be because we're all alone in the house. . . David again wishes there was something they could do. Amy suggests dress-up. David likes that idea. Maggie isn't thrilled, and asks David, hesitantly, why he seems so different from this morning. I'm in a different mood, says David, and they both beg her to play dress-up--it's so much fun. She agrees to let them play, but begs off joining them. They run upstairs to get dressed. David assures Maggie they'll be bringing her a surprise.

Later, Maggie is forced to go searching for the kids. She checks David's room--empty--then leaves to call to them in the hallway. The doorknob on David's closed door opens by itself.

At 7:05, Maggie comes downstairs. She opens the drawing room doors and seems to feel a chill in the room. She walks into the foyer. The outside double doors blow open, startling her, and she shuts them. She hears a man's laughter. Lightning flashes, thunder crashes. The landing door opens. Maggie goes to the study, calling to the children, but there is no response. She orders them not to hide--we aren't playing hide and go seek. More male laughter, louder. Maggie closes and locks herself in the study, terrified. She hears footsteps, then David and Amy laughing. (Chilling sounds!) Maggie backs away from the door as the footsteps get closer. She sees the doorknob being turned. Her eyes widen with terror. David and Amy's laughter. . .David asks if she can hear them--we can hear you, why don't you answer?--there's someone we want you to meet, and he wants to meet you, too--come on out, they urge her, HE won't hurt you! Maggie, trapped, trembles, fearing the unknown.

NOTES: Brrrrr, that was one scary last scene there. If I had been Maggie, I'd have been frightened to death! Aside from the irritating Ned scenes, this was a pretty good ep, and that last scene was a doozie. Bravo, DS, for some truly icy chills in the afternoon!


691 - (Clarice Blackburn) - In the great house at Collinwood, a young woman will soon face the most terrifying experience she has ever known. But she will not be alone in facing this terror, for on this night, the sinister forces that have plagued the great house will begin to fulfill their dreadful prophecy. They have vowed to drive every last Collins from the house--and now the time has come to make good their evil pledge.

Maggie watches in terror as the doorknob turns and she hears David and Amy calling to her to answer them. There's someone they want her to meet, and HE wants to meet her, too. "Come on out, Maggie, we won't hurt you. . ." cajoles Amy's voice.

The kids continue to beg Maggie to open the door--it's dark out here and we're getting scared! They wail. Maggie walks slowly over to the door, hand to her throat, and unlocks the door. She backs away. "Come in," she says. David and Amy, dressed in the old clothes, enter--as does Quentin.Maggie demands to know who he is, what he wants. The children happily assure her it's Quentin--he won't hurt you, he just wanted to meet you. . . David suddenly cries out, "No!" Quentin is holding a purple scarf in both hands, heading towards Maggie with clear intentions of strangling her. "You promised!" cries Amy. Both kids are horrified--Quentin lied to us! They're begging Quentin, promising to do as he tells them. Maggie screams, loudly, shrilly, Quentin turns to scare the kids out of the room and brings his attention back to Maggie. He is about to strangle her when she faints. The kids are huddling against the wall, holding each other. Mrs. Johnson comes in, sees him, and also screams, but by the time Mrs. Stoddard runs to her side, Quentin is gone. Liz runs to Maggie, asking what happened. Mrs. Johnson says he was there, the same man I saw at the cottage, in THIS very room. Liz insists it's impossible--you only preceded me into the room by five seconds. He's more than a man, insists Mrs. J, evil and sinister. Liz is more concerned about Maggie. Mrs. Johnson tells Liz, if you don't believe me, ask the children--she turns and asks David and Amy to back her up. They can't deny seeing him. David says we didn't do anything, it wasn't our fault. Mrs. J grabs David's arm to force him to admit it. He complains she's hurting his arm. Liz stands and orders her to stop it and take the kids upstairs. David begs his aunt--I don't want to be alone!--and Mrs. Johnson refuses to go anywhere "with that man about!" There is no man! says Liz, assuring David that Amy will be with him. (no safety in those numbers!) Mrs. J agrees to take the kids upstairs, but refuses to stay there--I will lock the door to keep them safe, but I'm not staying there. She grabs the protesting kids and takes them away. When Liz tries to rouse Maggie, she finds the scarf Quentin was going to use to strangle her. Liz looks like she suddenly believes. . .

Up in his room, David begs Mrs. J not to make them stay up there--"He'll hurt us!" cries David. She asks who, and they look at each other. Mrs. J accuses them that there is a man, but Amy protests it's just pretend, and tells David he can't tell anymore, he knows that. Mrs. Johnson says she's locking them in and going downstairs to tell Liz they DID see that man. The kids cling to the door, trying to prevent the housekeeper from leaving. Mrs. Johnson goes all over the room, even looking under the bed, explaining that there's nothing anywhere to scare them--you'll be safe here. You don't know! wails David. Mrs. J. agrees--but I'm telling Mrs. Stoddard what you said. They race after her as she exits, crying, begging her, clinging to the door. "Don't leave us alone! Come back!" they sob. Amy fearfully asks David what they're going to do--perhaps he won't come back tonight, she suggests hopefully. He will, says David--to punish us--you know he will! Amy bites her lower lip, looking as if she's going to burst into sobs.

Liz has Maggie, who is regaining consciousness, seated in a chair. "That man," says Maggie. There is no man, says Liz. There was, insists Maggie, standing there, about to strangle me. David and Amy. . . Mrs. Johnson enters and tells them that the kids are safely in David's room. "They're not all right!" Maggie shouts--you don't understand--I know what's wrong now--David and Amy are possessed! Liz and Mrs. J look shocked.
Liz asks what they're possessed by. By that man, replies Maggie. Ah ha! says Mrs. J. He isn't real, says Maggie, not a real man. You're  not making sense, says Liz. There was a man, says Maggie, but he's evil, sinister, something not real. . .  . . .A ghost? asks Liz. I knew it! says Mrs. J--what I saw at the cottage wasn't quite real. Maggie agrees--not real in a human sense, but he has Amy and David under terrifying control. Impossible, says Liz. Mrs. J explains how David's been yelling that HE is going to punish them--I know there is something terrible about that man, and those kids know what it is. Liz decides to talk to the children--it isn't that I don't believe Maggie, but. . . As Liz heads upstairs, Mrs. J goes over to comfort Maggie.

We must confess to someone, insists David. Amy, however is afraid Quentin will hurt Chris. He'll hurt everyone if we don't, says David--look what he tried to do to Maggie--kill her. Quentin appears in the room.

Both kids are frightened, but David bravely announces to Quentin, I'm not going to let you hurt people anymore, nor play the game if that's what it means. Quentin focuses a malevolent gaze on David, who says, "Amy, tell Quentin you won't play the game, either, for the same reason." She stands--I feel the same, she tells the ghost. Quentin waves his hand in front of Amy, who falls onto the bed, covering her face with her hands, screaming. What did you do to her? demands David. "I can't see!" Amy screams. David backs away, ordering Quentin not to come near him--I'll do anything you say if you leave me alone. David covers his face and sobs, "Leave me alone!" Liz, hearing Amy's cries, bursts into the room. Quentin is gone. Amy is rolling on the bed, "My eyes! I can't see anything." Liz asks David what happened, but he's silent. Amy sits up on the bed, wondering why she can't see anything. Liz orders Amy to take her hands down from her eyes, but the little girl is afraid to. You could see perfectly well downstairs, Liz reminds her, so you can see now. Amy uncovers her eyes as ordered--she CAN see! Liz demands to know what's happened to both of them, but neither will speak. David says it's all Maggie's fault--she made us play a game we didn't want to--she made up a man to frighten us, they say, speaking on top of each other. Liz tells David to stop it--wait for me to get back--I'm going to get Julia at the Old House. David slams the door--you can't leave us alone--he'll come back!! Who? asks Liz. HE, says Amy, and he'll punish us. David walks past Liz and says, "Quentin, we did what you wanted! Please, leave us alone! Leave us alone!" Amy chimes in. Soon both kids are racing around the room, begging Quentin to leave them alone.Liz listens to this and realizes Maggie was right--they ARE possessed!

8:35 - Maggie gazes at the grandfather clock in Collinwood's foyer. The front door opens, it's Liz. Maggie says Mrs. Johnson is with the kids; they wouldn't let me near them. No one was at the Old House, says Liz. (Hope Barn and Julia are dining out.) Call Stokes, Liz tells Maggie--if anyone can make sense of this, he can--I'll go upstairs while you make the call. The governess agrees. Liz walks slowly upstairs. We see someone run out of camera range as Maggie enters the study and calls Stokes. She begs for an answer as the wind howls. Suddenly, there is silence, terrible silence. The wind can be heard upstairs, too, by Liz, but then it stops abruptly. Mrs. Johnson runs out of David's room and tells Liz to come in--quickly! David lies on his bed, Amy is slumped down on his desk. They were both screaming and yelling, says Mrs. Johnson, then suddenly, everything stopped and they collapsed--it was so unnatural, they were yelling how Maggie was to blame, then there was deathly quiet--what does it mean? Liz doesn't know--outdoors, the thunder and lightning and rain just stopped! Liz suggests it's over, but Mrs. J opens a window and says it's still pouring--there are no usual house noises--it's quiet as a tomb. Liz chastises her for saying that, but the housekeeper is certain something bad is going to happen. As Liz is reassuring her that isn't so, Quentin's music begins to play--both women hear it. It's old music, says Liz, like an old record. Neither know where it's coming form, but it's getting louder. Amy stirs, raises her head. David, too, moves on the bed, sitting up, and says, "It's too late. It's too late to be afraid."He begins to laugh, uproariously, and his laughter joins with Quentin's and the swelling music, echoing all over the room. Liz and Mrs. Johnson clasp hands, absolutely petrified!

NOTES: Wasn't that last scene excellent? The sounds of silence--so creepy! Quentin is playing all of them like his own terrified orchestra! He's a bad, bad ghost!

The kids were a tad over the top, but then again, who wouldn't be in their position? It always makes me laugh when Liz denies supernatural influences; hasn't she seen her share, or is it that she's always in denial about such things from long practice living at Collinwood? There always has to be a "doubter", and it's generally Roger who pooh poohs the supernatural. When Barnabas does, however, that's stretching credulity too far for me--the man is a former vampire who married a witch!

It's fun to watch this happening with the trio of ladies--Liz, Mrs. Johnson, Maggie--unlikely fighters of wicked ghosts, but staunch protectors of the children.

Love, Robin

686 - (Joan Bennett) - There is a storm over the great estate of Collinwood, and as the lightning flashes, an ambulance leaves the great house. For this night, an aged silversmith arrived with important information which might give two people a clue to the danger that is threatening. But now the silversmith is dead, and no one knows how he died.

11 o'clock, drawing room - Barnabas ponders everything that's happening. Julia comes in--the autopsy shows Ezra died of heart failure, same thing that happened to Janet Findlay. Strange how so many hearts stop in this house, declares Barnabas (a funny line). I watched the autopsy, says Julia--Ezra was old and had heart trouble--there was no sign of violence on the body. Barnabas isn't convinced. She reminds him the room wasn't disturbed; if someone had been with him, they might have been able to save him. Barnabas is certain Ezra Braithwaite was murdered here tonight, and someone was, indeed, with him.

As usual, Julia tries to talk sense. How does he know he was murdered? Barnabas tells her about the ledger, which was sitting on the desk and is now missing. Julia can't believe someone killed Ezra to get the book. Barnabas tells her the jeweler had information he was going to pass on to me--he learned who he sold the pentagram to so long ago. Did you question David? Julia asks. No, says Barnabas, the boy was too upset when they found the body. Barn did question everyone in the house at the time (go, Barnabas Holmes). Who doe you suspect? asks Julia. The woman we saw, says Barn--the one who led us to Chris' house and to the woods where the pentagram was buried--it was directly responsible for Braithwaite being in the house. Julia protests that the woman wouldn't have killed the jeweler after doing all that--it makes no sense. What of the man Mrs. Johnson saw? asks Barnabas. Julia smiles and calls the housekeeper a repressed hysteric. But Maggie saw him too, says Barnabas--suppose this man and the woman we saw are in conflict?--she wants the secret known, he doesn't. Then we're all in danger, says Julia, and nothing can be done. The spirits have a helper, says Barnabas, and we must make that unwilling helper assist us, too.

David, in Quentin's room, takes the ledger off a dusty, cobwebby desk and brings it to his own room. He thinks to himself that Quentin won't know HE stole it from his room; he threw it on the desk and won't look for it again--I must learn why he did what he did. He sits on his bed and begins paging through the ledger. He looks at the accounts of the Braithwaites from January-June, 1897. Beth appears in his room. David looks at her, startled. She points to the book. Did Quentin send you? he asks, and begs her not to tell him about the book--I had to find out why!--he's terrible, he claims not to hurt anyone, but. . .I hate him.She advances on him, pointing to the book. I can't give it to you! he cries--please don't tell Quentin I have it. He cowers in his bed. Tell Quentin I don't have it, pleads David. Beth nods agreement. David is relieved she won't tell. He didn't send her. She wants David to open the book. He does. "You want me to know!" David says. He finds the entry about the pentagram, repeating Ezra's quote from the previous episode. David asks why this is so important--why would Quentin kill for it? The room fills with Quentin's music. He's coming, says David, climbing off the bed--I know Quentin is in the room, I can feel his presence. Beth appears to be gone. David speaking in that dead voice, his face trancelike, says, "All right, Quentin, I stole the book because you promised you wouldn't hurt him. I'm sorry, Quentin, I won't do anything like that again. I'll do anything you say, Quentin." The music ceases. David picks up the dropped ledger and tears out the incriminating page. Someone knocks at the door. David panics, calling to Quentin. He quickly puts the ledger page in his robe pocket and the ledger itself under his pillow. Barnabas and Julia are at his door. David lies that he didn't answer sooner because he was scared. Barnabas admits it's been an upsetting evening and doesn't want to make it worse, but--what about the ledger you mentioned Braithwaite having when he came to the house? It's important, adds Julia, softening the edge of Barnabas' tone. David asks why--what does it matter if he had a ledger? Someone took it if he had it, says Barnabas. Then I made a mistake, insists David--I saw SOMETHING under his arm. Barn asks if he put it on the desk, but David resolutely refuses to answer. Did you take the ledger? Barnabas asks.David turns and says, "You're always accusing me!" You put yourself in a position where I have to, points out Barn. I didn't want him to die, says David. Both adults say they know that. Then why are you accusing me? demands David, near tears--I wish I'd never opened the door, I wish I'd gone to Portland to get my father, then you wouldn't think I had anything to do with it! David stands, his voice rising; he shouts, physically struggling with Barnabas, "WELL I DIDN'T, YOU HEAR ME, I DIDN'T!" Barnabas tries to calm the boy down, gently holding his arms, and this is the tableau Roger walks in on. David races to his father. "He thinks I took the book!" blubbers the boy. "He thinks I had something to do with it!" Sobbing, he rushes into his father's embrace. (An amazing performance by Henesy; he is so very good here.) "Father, he hates me. . .he hates me," sobs David. Roger looks sternly at his cousin and asks what all this means. Barnabas looks like he couldn't possibly explain it.

A bit later, after Barnabas explains the situation, David sits at his desk, a tear still glittering in one eye. Roger expresses his sorrow for Braithwaite, a master craftsman--but surely Barnabas and Julia realize how upsetting it was to David? We do, says Barnabas. He and Julia leave Roger alone with David. "All this fuss over an old account book," scoffs Roger, before they leave. "Really, Barnabas, I think your fascination for the past has made you lose a sense of proportion." Barnabas protests, but Roger insists he wants to discuss it later.

Roger assures David he doesn't think he took the book. Roger feels the old man's death unnerved Barnabas for some unexplainable reason. David tells his father he missed him so much! But not enough to meet me at the airport, chides Roger--you were rude to Aunt Liz, says Roger, and it hurt me. David insists, I couldn't come. Roger wants a reason. David tells him much has happened in his absence--I knew you and Aunt Liz would just discuss Vicki and such, boring me. Roger finds "bored" a curious word to be in David's vocabulary at his age. David walks away from his father, preoccupied. Roger apologizes for criticizing him, reaching out to touch David's shoulder. On the plane, I was thinking, says Roger, that the two of us should be better friends, and I hope both of us will make an effort. David refuses to look at him at first; when he does, Roger is shocked to see he's crying. David denies doing so, but Roger gently encourages him to admit it and let me help you--tell me, in your own words, what's really been happening since I left. David says--I know nothing. This disappoints Roger, who, after being rebuffed, tells him, come find me if you change your mind. He leaves David alone in his room. David retrieves the ledger from under his pillow and gazes at the door forlornly, wishing he could get out from under this gigantic burden.

In the drawing room, Liz comments how she hasn't felt the same in this room since the seance, hearing that woman warning them--there's been nothing but trouble since. Handing her a cup of tea, Barnabas asks Liz if he and Julia can examine some family information, including receipts and records--we want to check them out tonight. Liz finds his request odd, at this hour, but figures, hey, why not?--I suppose you have a reason. Barnabas asks to explain the reason afterwards. Liz wants to know what's happening in her own house--I fear something is terribly wrong.Barnabas says sometimes one can't understand a story until the end comes. And I must accept that? asks Liz. Yes, say Barn and Julia. Liz sighs and asks for an explanation, even if they are proven wrong tonight--I will go get you the keys, but I want to check David first.

Julia asks Barnabas if SHE may know what he's looking for. A letter, perhaps, says Barn--a receipt or bill from the jeweler, a photo, a clue, just a clue. Whoever stopped the old jeweler will stop us, Julia reminds him. Roger comes in and sourly tells Barnabas, "I thought I left you in charge here." Barnabas protests--I can't be blamed for what's happened tonight. You upset David, accuses Roger. David was the last person to see Braithwaite, says Barnabas. All the more reason for you to be gentle with him, insists Roger. Barn asks to be frank--David's anger/hysteria happened because he knows more than he's willing to tell us. Are you accusing David of stealing the ledger? asks Roger. I'm trying to learn what happened to it, says Barn. Roger insists anyone could have come in and taken it when David went up to get you--"Really, Barnabas!" Barn defends himself--I spoke to Maggie, and they didn't leave the room. I wonder if your questioning left THEM in tears, too? asks Roger sarcastically. Of course not, says Barn. Roger accuses him of reading too many bad mystery novels lately--if there is any mystery at all--he points--the ledger was on the desk all the time!--you should have searched the room more carefully before accusing my son. Barnabas pages through the ledger while Julia tries to convince Roger it wasn't there before. How could it get there, asks Roger, did a ghost put it there? (yup!) Barnabas informs them a page is missing. Roger scoffs, irritated by the entire business.

Roger sarcastically asks if David is responsible for the missing page, too. I'm blaming no one--yet, says Barnabas. Are you going on with this farce? demands Roger, pretending there's a crime when none is evident? Liz enters, key in hand. Roger asks if they're off on another interrogation. No, we're not, says Barnabas patiently. Roger insists Barnabas to stay and finish with him; Julia leaves with Liz. Barnabas tells Roger he hasn't time right now to talk, but Roger says it's important--go upstairs and apologize to David! Barnabas protests--you don't know what's happening here! Roger says indeed I do--you are responsible for causing general hysteria among the children, my sister going on about voices and ghosts, due to a seance you should have forbidden, given Liz' condition and all she's been through. Barnabas can't explain. You can undo the harm you've done, says Roger--if you aren't willing to apologize to David, "Then you're no longer welcome in this house!"Barnabas is shocked at this announcement, and his mouth drops open in disbelief.

Julia and Liz enter a storage room. Liz asks Julia, do you want me to stay with you? No, says Julia. Liz wonders why Julia wants to do this--I'm concerned--Roger thinks nothing is wrong, since he only believes what he sees--he's lucky! Liz leaves Julia alone. It's dark in the room, so she lights a candle and begins looking through old books and albums. She brushes cobwebs from her hair, takes another album and leafs through it. She finds a picture and says, "God! It's impossible! 1897." It's a photo of the same woman who led them to Chris' cottage! Julia heads for the door, which suddenly slams shut, locking her in. The one light in the room goes out, and the windows blow in the wind, letting the lightning into the room. The chandelier sways. "Who is in this room?" demands Julia. "Answer me!" She stands in the dark, staring around, frightened.

NOTES: I know lots of you are Roger fans, but he is behaving like a poop head here. However, those of you who know the story know Roger gets his comeuppance. Excellent performances all around, great to see Rog at his pompous best back in the family fold. Barnabas should have attempted to explain more of what's happening, but for once, Roger is on his son's side, and wants Barn to do the right thing. But Barnabas has more important things to worry about.

Quentin is not a nice ghost! He kills, terrorizes children and even helpless old men!


687 - (Nancy Barrett) - The night is stormy and terrifying, blemished by the evil touch of the long dead. Somewhere in the shadows that engulf the great house of Collinwood, there exists a spirit whose wickedness stains the pages of Collins family history--a man who has returned from the grave, bent upon destruction.

Julia repeatedly demands to know the identity of the presence in the locked room with her, to no avail. Papers fly, winds blow, the chandelier sways, Julia holds her hand in front of her mouth as if warding it off. She asks what it wants of her, again demanding an answer. She begs to be let out of the room, trying the door again. She bangs on it, begging to be let out. Barnabas assures her he's coming. All the ghostly activity in the room stops, just before Barnabas comes in. She explains to him that someone else is in the room. Barnabas says no one is, now. She tells him what happened, how it all started when she found the picture of the woman who led them to Chris' cottage. When they look at the album, to Julia's consternation, the photo has been torn out, gone. Barnabas is shocked.

Chris and Carolyn return from a date, glad they have Collinwood to themselves. Carolyn pours a drink to celebrate the emergence of the "real" Chris Jennings, who didn't look troubled all night. You've been too busy enjoying yourself, she says, to worry about your deep, dark secret. "What secret?" he snaps, then apologizes. She feels she's spoiled the mood. No, I had a great, relaxed time, he says, kissing her hair. She asks why. You know the answer, he says. She, however, wants to be told, and they exchange one of the most passionate kisses we've seen on this show. He holds her. They wish every night could be like tonight--is it possible? Chris doesn't know, but kisses her neck. She feels he has a hang-up, and wants to help him with it. You can't, he says. Carolyn stands and walks away from him--are you married? she asks. He laughs--no, that isn't it. She wonders what's causing the barrier between them--how do you feel about marriage? she asks--no, I'm not proposing, I just want your opinion on the subject--I'd like to know where I stand in terms of the future--If there's no hope, I want to know it now (forward little minx, isn't she?).Chris assures her he believes in marriage 100% and will be married as soon as he's able. They kiss, gently. He asks to see her tomorrow night; they kiss more forcefully. I'm counting on it, she says, and they're really happy as she leads him to the door. One more smooch, and Chris is gone. (They really seem to enjoy the kissing.) Carolyn gazes at her reflection in the mirror and smiles, then lightly heads upstairs.

Chris' cottage - He arrives home, closing his umbrella against the rain. He's humming, happy. He turns on the lights and suddenly feels the pain of transformation! He is starting to take off his tie, get comfortable. He stares at himself in the mirror, horrified, and clutches a piece of furniture, not knowing what the hell is happening to him.

Barnabas offers Julia some brandy. Sure, she says, that should help. Are you convinced the woman in the photo was the woman we saw the other evening? he asks. I'm certain, she replies--that woman came into my room, wearing the same clothing as in the picture--we're dealing with a ghost, says Julia--too bad that photo disappeared, it would have helped us. The woman wouldn't have taken it away, so the other spirit must have done it, surmises Barnabas. Stokes is convinced spirits are at large in the house, why are they here and what are they after? The phone rings. It's Chris. He begs Barnabas to come over right now--I can't talk, just get here! Barnabas tells Julia something is wrong with Chris. They both leave for the cottage.

Chris' face shakes with pain. He crawls across the cottage floor to look out the window, then drags himself across a chair. Barnabas and Julia come in. Barn helps Chris into a chair. He tells them he's experiencing his pre-transformation pain.Julia checks him out. Barnabas reminds Chris there's no full moon tonight. Chris grabs Julia's hand, begging her to do something. Barnabas asks how long before the change begins. 15, 20 minutes, says Chris. We will get you to the mausoleum, says Barnabas. Chris doesn't think they can get them there in time. We'll take Julia's car, insists Barnabas, helping Chris to the door--I'll drive you to the tomb. Chris protests that it's too dangerous, but Barnabas tells him to stop arguing and let them go. Both men insist on leaving Julia at the cottage. Julia tosses Chris' coat over his shoulders and closes the door behind them. It's 1:10 AM.

Collinwood - Someone knocks insistently on the door of Collinwood. Carolyn, in night clothes, answers, and her suffuses with joy. "Jeff Clark!" she cries. The man however, isn't Jeff--I'm Ned Stuart, he says brusquely.She comments on how much he resembles someone she knew, who disappeared long ago. He barges in, asking for Chris. Why do you want to see him? she asks. We're old friends from out west, he says--is he here now? She explains that her mother is a Collins, but Chris isn't here--I don't like your questions, nor your searching for "old friends" in the middle of the night. He chides her for suspicion of strangers, an old New England custom. Carolyn says it's often justified. Ned says, I just arrived in town and wanted to see Chris, renew an old acquaintance--I want to wait for him. Carolyn informs him that Chris lives in the caretaker's cottage and is probably asleep. She offers to phone him, but Ned prefers to go there himself. Carolyn gives him directions. He thanks her and leaves, quickly. Carolyn is perturbed. She picks up the phone and dials. Julia starts to answer at the cottage, then decides not to. Carolyn listens impatiently to the ringing phone. Julia, grateful it stopped, sits down. Barnabas returns. We made it to the mausoleum without a moment to spare, he says--Chris did go through the transformation, but he's safely ensconced in the secret room for the night--this latest development makes it impossible for us to work; he could go through the transformation every night now--we have to find an answer, someone. How? asks Julia. Ned knocks at the door, asking for Chris. Barnabas and Julia gaze at him in astonishment, sure he's Jeff Clark. Ned introduces himself. Barnabas tells him Chris left half an hour ago and won't be back for several hours. Ned wants to wait. Barnabas introduces himself and Julia to Ned. Ned asks if she's a psychiatrist. Yes, says Julia. Barnabas explains Chris may be late getting home, and tired--can I help you? No, says Ned. Barnabas suggests he return in the morning. Ned remarks that everyone seems so protective of Chris--like they think I'm going to hurt him. Why are you here? asks Barnabas. I want to talk to him, that's all, says Ned, and tonight--Chris and I are old friends, who have known each other several years--I'm from out west. Chris never mentioned you, says Barnabas. Ned doesn't find this odd--he probably never mentioned my sister, either, who Chris knew much better than he knew me--they were engaged to be married--the engagement was broken when Chris disappeared one night, and my sister was left in no condition to tell me what happened. Julia asks if Ned's sister is dead.Death would be the logical conclusion, agrees Ned. Barnabas and Julia, suspecting the worst, exchange worried glances. What did Chris do to this man's sister?

NOTES: Never much liked Ned Stuart. I did enjoy Briscoe's performance today, especially in the pain sequences. He really looked like he was hurting! Ned is angry with Chris, perhaps wants to harm him. He believes Chris did something to his sister--did he kill her? Is Ned seeking revenge?

So we have something popping up from Chris' past--he was engaged! Here he's romancing Carolyn, assuring her he's 100 percent FOR marriage, but how can a guy with his little problem (now out of control) become romantically involved with anyone? How does he dare?

Good kisses between Carolyn and Chris. They seem to enjoy their scenes together, didn't they? But again, Chris' future is in jeopardy now. How can Julia and Barnabas not turn him in, under the present circumstances?

Love, Robin

682 - (Thayer David) - A nocturnal storm rages over Collinwood, but most of the residents of the great house are asleep. The hour is late. In one bedroom, a child sleeps peacefully, lost in a deep, dreamless sleep. The child has terrorized those who suspect he's not as innocent as he seems. Another bedroom of the great house is empty, the bedroom belonging to Maggie Evans. For she has experienced terror this night. She has roamed the darkened halls of Collinwood, sleepless. For she is beginning to realize that strange forces exist in this house, forces bent on destruction, forces beyond her control--and that knowledge will place her in ever-mounting danger.

Maggie stands in the drawing room, staring out at the storm. Mrs. Johnson comes in--I was locking up, she says--turn off the lights before you go up. Maggie asks the housekeeper about the man she saw in Matthew Morgan's cottage. Mrs. J protests, shivering--I don't even like to think about him. I saw the same man, Maggie tells her--tonight. Mrs. J is shocked--I didn't imagine him? Neither of us did, says Maggie grimly, I saw him in the West Wing.He's here in the house, asks Mrs. J? Yes, says Maggie, and the two of us are the only ones who believe he exists.

The West Wing storage room door opens. We see Mr. Jughans and Quentin standing there. The ghostly Quentin has a crooked half-smile on his face.

Mrs. Johnson wants Maggie to tell Liz. I already have, says Maggie, and she believed me, at first, but now thinks it was only a figment of my imagination--because of David. Maggie describes what happened when they found the clothes mannequin--Liz believed David, because she wants to believe everything he says. David knows something about the man, as does Amy, the women agree. The kids are wicked, insists Mrs. J. Maggie doesn't feel the children are responsible--that man, whoever or whatever he is, has some sort of terrifying control over them. What should we do? asks Mrs. J. Watch them closely, advises Maggie--the kids need our help. Both agree they're afraid of the children, but this must be done. We should go to bed, says Maggie, turning off the light--we'll talk in the morning. Maggie advises Mrs. J to lock her door, then wishes the frightened housekeeper good night. Mrs. Johnson turns off the foyer light and goes to the kitchen. It's 2:20 AM.

Maggie lies sleeping in her room. It's 4:10 AM. She dreams: She rises from sleep and drifts to the window, where her curtains are billowing. She leaves her room. The clock in the dream says 4:10, too. She walks down the hallway. In the West Wing, she enters the storage room and finds Mr. Jughans, who metamorphosizes into Quentin. He's malevolently gazing at her as she asks who he is and what he's doing here. He smiles at her, breathing heavily. He takes a scarf from his coat, twists it around his hands, and tests the strength. "Stay away from me," Maggie cries, but Quentin loops the scarf around her throat and strangles her, taking her down to the floor. He rises, staring down at her body, his eyes wide.

Drawing room - Maggie describes the awful dream to Barnabas the following morning. I was lying there, dead, she says, and he was standing over there.Maggie realizes Barnabas thinks it was only a dream, but to her, it was a warning to leave Collinwood. (I loved when he asked her, "What do you think it was?" sounding like a typical shrink.) It might have been, he agrees. Maggie is surprised he believes her. I think you DID see the man, says Barn, and he's a definite threat to the house. Maggie is relieved Barnabas believes her. I didn't imagine what I saw, says Barnabas--a strange woman dressed in clothes of another period--Julia saw her, too--she led us out of this house to Chris' cottage at a time when Chris needed Julia's help--he was quite ill. Maggie wonders what it all means. Barnabas says he intends to find out--I'll call Stokes--if anyone can find out anything, he will--when will Liz and Carolyn will be out of the house? Tonight, says Maggie, they're going to Bangor for dinner. (Sneaky pair here!) Good, says Barn, I'll ask Stokes over this evening and see what we can learn--you tend to the children, be as natural as you can. That won't be easy, says Maggie. Do it, says Barnabas, the children must not know we're onto anything. Maggie is grateful he believes her, that she and Mrs. Johnson aren't alone in this. I'll do whatever I can to help you, promises Barnabas. He sends her to tend to the children, his face filled with concern.

7 PM - Barnabas describes to Stokes how he and Julia saw the woman on the stairs.Barnabas offers to help the professor, but Stokes reminds him of Madame Findlay and what happened when he brought her to Collinwood--she died of a heart attack, but she was a strong woman in the prime of life with no previous heart condition, and I don't believe she died a natural death--I think something in the house, some force, killed her--I believe that, and I also believe that she might be able to help us--if something in the house killed Janet, her spirit still exists here--we will hold a seance and try to reach her spirit--if we succeed, she might be able to tell us everything we want to know.

In the hallway, Maggie and Mrs. Johnson discuss how relieved they are that the kids have gone to Bangor with Liz and Carolyn (I thought Quentin decreed they couldn't leave the house?) They behaved like angels at lunch, says Mrs. J., and David always complains about the meals I fix--I didn't leave them alone for a minute. Neither did I, says Maggie. They go into Maggie's room, where she brushes her hair. Mrs. J comments that they kids didn't have much time to get into mischief today. Maggie cautions her they have to keep watching. Mrs. J promises to help, even though she's afraid of them. Maggie says they behaved like ordinary kids with her. They marvel over how ordinary the kids can seem at times, and how hard it is to believe they're involved in all this. Mrs. Johnson sits down at Maggie' desk and picks up a scarf, toying with it in her hands. Maggie looks in the mirror and sees the scarf in the housekeeper's hand's. "In my dream, I'm strangled with this sash," says Maggie, voice trembling.

Maggie, Barnabas Stokes and Mrs. Johnson are seated around the seance table in the drawing room. Stokes holds the scarf. Maggie asks him what it was doing in her room. Stokes doesn't know, but perhaps they can find out--they will try to communicate with Mrs. Findlay. Barnabas says Stokes thinks she might be able to help them. Mrs. J makes a face--communicating with dead spirits makes her shudder. She doesn't want to do it, but Stokes says she must--only she and Maggie saw the strange man, and Janet's spirit may try to speak through one of them. Barnabas kindly tells Mrs. Johnson she HAS to do this. (An amusing moment) Mrs. J protests. Maggie reminds her she's also scared, but if they can find out anything--anything at all¢â‚¬¦ All right, agrees Mrs. Johnson, reluctantly. The sooner they begin, the sooner it will be over, advises Barnabas. Stokes has them put hands on the table, fingers touching, and reminds them not to break the circle. He tells them to think only of Janet Findlay--concentrate on her alone and clear your minds of everything but her image. Stokes calls to Janet Findlay, asking her to hear them--speak to us from beyond the grave--hear us, he intones, if you're in the room, give us a sign--we need your help. Stokes senses a presence in the house and asks it to make itself known. Sarah Johnson snatches her hands out of the circle. Stokes warns her, "Your hands!" She apologizes, replacing them on the table. As Stokes calls, we see the door upstairs on the landing opening. A spirit comes downstairs and enters the drawing room. Mrs. Johnson goes into a trance, asking "Why did you call me?" Stokes asks if she's Janet Findlay. Yes, she says. What happened? he asks."The children," she says, "the panel, the room." Stokes asks for more explicit details. "I found that room, I waited there for something to happen, and then, then. . .he killed me! He killed me!" she cries, and collapses on the table.

NOTES: Pretty exciting, and the performances were exemplary today. See how close and domestic Maggie and Barnabas are becoming? I enjoyed seeing them as co-conspirators, and it was fun to watch Maggie bonding with Mrs. Johnson in their shared terror. Liz is doing David a serious disservice in always believing him, always wanting to think him good.

Now that Janet Findlay has spoken from beyond the grave, will they come any closer to figuring out what's happening? She's revealed that "he" killed her, but of course, no name. WE know, and so do the kids. Will the living be able to forestall the dead?


683 - (Don Briscoe) - The great house of Collinwood appears majestic and serene in the fading afternoon sun, but there is no serenity within its walls. For Collinwood is a house that contains many secrets, dark, ominous secrets, and those why try to uncover them will find themselves in great danger. On the previous night, a seance was held, and the spirit of a woman was contacted. Her words will lead to the uncovering of other secrets, dangerous secrets. And those who are attempting to unravel the mysteries of Collinwood will find themselves in greater peril than they realize!

Black and white episode - We see a candle burning, wax dripping heavily down the sides.

Barnabas tells a shocked Julia that they learned that Mrs. Findlay was murdered, but she didn't give any indication of who did the deed--during the seance, Mrs. Johnson went into a trance and Madame Findlay spoke through her, reveals Barnabas. Mrs. F spoke of the children, a panel, waiting in a room, and said she'd been murdered--after that, Mrs. Johnson collapsed. Julia wonders why she mentioned the kids. Barnabas has three ideas in mind, and before revealing them, he goes outside the drawing room's double doors to make sure no one is eavesdropping. First, the kids might be in some kind of danger; second, the kids know who the murderer is; third, incredibly--the children themselves killed Madame Findlay. Amy appears up on the landing, staring down.

Julia finds the concept that the kids could have done away with the medium incredible. Why would they do, it, and how? Barnabas doesn't know, and wants to discount the possibility. Julia feels the second choice is the best--the kids know something they aren't telling. Barnabas agrees; he can't believe the kids are totally innocent, their behavior is too strange. Barn doubts he can get the children to admit anything; David is too clever--I don't want the kids suspicious of me, either. Barnabas agrees to speak to Amy; Julia volunteers to go get her. She finds Amy in the foyer holding an apple and a jump rope. Barnabas wishes to speak to you, says Julia. Amy willingly goes in and sits down next to Barnabas. He asks if she recalls Madame Findlay. Yes, says Amy--the woman asked me a lot of funny questions--I don't remember any of them, except that she went away--Mrs. Stoddard was looking for her. Julia lies that Madame Findlay was found--and fine. Amy has no idea where Mrs. Findlay went, however, and asks to go out and play with David. Barnabas cautions them to return before dark, and the little girl leaves. Julia tells him she believes Amy was telling them all she knows. Barnabas isn't sure. Mrs. Stoddard felt they shouldn't tell the children of Madame Findlay's death, so Amy has no idea about the medium's demise. I watched Amy when she was speaking to you, says Julia, and I believe she knows nothing--we should speak to Chris about the strange woman who came to tell me Chris was dying. Barnabas reminds her, seeming annoyed, that Chris already told them he knows nothing about that woman. Julia feels he might know more than he's able to tell them--I have a plan-wait, I'll be right back.

In his cottage, Chris stokes up a nice fire. Amy visits him. He's happy to see her--I was coming to see you at Collinwood. I wanted to see you now, she says. He offers her a soda. She refuses. I'm happier than I have been in a long time, says Amy--because of you--you're going to be all right, she says, smiling. He wonders why he wouldn't be.She tries to change the subject to her trip to Bangor yesterday, but he won't let her--I do want to hear about your trip, but. . . A knock at the door turns out to be Julia and Barnabas, who are surprised to see Amy there. David didn't want to play with me, she complains, so I came to see Chris instead. Julia suggests Amy return to Collinwood. Chris helps her into her coat, promising to see her later, hugging her goodbye. After she leaves, Chris tells them his sister is a strange kid, saying things he doesn't understand--she just told me I was going to be all right, and I had no idea what she meant. Julia asks him if he thinks Amy's changed since coming to Collinwood. He doesn't know. She asks about the strange woman who led them to him and saved his life--a tall blonde woman in a long, flowing dress--but Chris doesn't have a clue who she is. Julia asks him to trust them; she wants to hypnotize him--there might be a block in your conscious memory. He denies knowing anything about the woman. Barnabas says they must learn more about the mysterious woman, so Chris reluctantly agrees to go along, if they think it will do some good.

Amy walks home through the woods. She senses a presence and asks who it is. A woman touches her shoulder. She turns around--it's Beth, holding out a doll. Amy asks Beth why she's here. David is angry, says Amy--is Quentin angry, too?Beth silently hands Amy the doll. "No," says Amy, "don't tell, I know."

Julia turns off the light. Do everything I tell you to, she reminds him. He sits on the sofa. Julia takes out the glittering medallion, tells him to clear his mind of all thoughts and listen to my voice. She coughs, then, twirling the medallion, asks him to see the light, watch the lights, concentrate on them. Chris agrees. She orders him to try to find the center of the light. He thinks. . .yes, he's found the center. "Good," says Julia. I want to ask you some questions and you will answer them honestly, she says. He agrees. She asks him about the tall blonde woman in a long, flowing white dress--do you know her?Barnabas watches intently, listening carefully. No, says Chris, I don't know her. "Think, concentrate," says Julia. I never saw her and know nothing about her, he says. It's no use, Julia tells Barnabas, and snaps her fingers. Chris comes out of the trance. She tells him she believes he knows nothing about the strange woman--all three of them hoped he did. He apologizes for not being more forthcoming; he's disappointed, too. Barn and Julia take their leave.

Amy asks Beth why she wants her to do whatever it is she wants her to do. Beth puts a finger to her lips. All right, says Amy, no questions, she'll do it as long as no one gets hurt. Beth nods, reassuring Amy.

In the woods, Julia hears a sound, but Barnabas doesn't. Probably an animal, suggests Barnabas.

Amy calls to Beth, puzzled. She holds the doll, staring upwards.

At the front door of Collinwood, Julia asks Barnabas what they're going to do about Chris. What we have been, says Barn resignedly, until you come up with a better solution for him. What if I can't? she asks. I don't want to think about it, replies Barn. Julia says we must--if we can't help him, we've got to expose him, there's no other alternative. None, agrees Barnabas sadly.

Chris sits in the cottage. Ghostly, creepy music plays. He rises from his chair and leaves, passing by the window. He walks through the woods, then turns and sees Beth. "Who are you?" he demands, but quickly realizes, "YOU'RE THE WOMAN!"He asks what she wants. She points to the earth. He asks if she can talk. She points to the tree. He's flabbergasted when she simply disappears.

At Collinwood, Julia asks Barnabas if he's seen Amy--she disappeared again. She must be in the house, says Barnabas, folding his newspaper. Maggie and Mrs. Johnson are searching, too. Barnabas goes to the servants' quarters and calls to Amy. He goes toward the study and calls to her. Someone knocks at the door. It's Chris, who bursts in and tells him, I saw the woman! He explains what happened. Take me to the spot where he saw her, says Barn, and off they go.

Amy exits the secret panel in Collinwood's drawing room, doll clutched in her hand.

Chris points out the plot of earth where Beth directed him. A shovel is now leaning against the tree; they figure out Beth arranged for it to be there. Barnabas says we should start digging, but Chris is the one who takes the shovel and begins to dig.

Amy sings "Rock a Bye Baby" to the doll in her arms. Julia tells her they've been searching everywhere for her, but Amy casually says she was down in the basement, playing, and found this doll--I want to keep it. Julia says it's very old--I suppose you can keep it. Amy promises to be very careful and not let anything happen to it.

Barnabas and Chris unearth a grisly find--a child's coffin. The lift it from the unmarked grave. We should open it, says Barnabas--the woman brought you there for a reason and that coffin must be why. Chris uses the shovel to open the small coffin and opens it¢â‚¬¦

NOTES: Who's in the coffin? What child died? Why did Beth give Amy the doll? What made Beth visit Chris--just to lead him to the infant's grave? What clue is she trying to provide to this mystery?

The mystery is mounting--are Beth and Quentin working together or against each other? We suspect the latter. What was their connection in life?

Love, Robin

678 - (Don Briscoe) - A strange, distorted night in the great house of Collinwood, a night in which one woman wakes and sees a weeping, mysterious figure in her room--a figure that disappears without a word, leaving fear in its place.

Julia assures Barnabas that Chris is alive, but barely. They can't imagine what happened to him, and it surely isn't connected to his becoming a werewolf. Barnabas finds the empty whiskey bottle and sniffs it. There's something in it, he tells Julia (good nose!) She smells it--strychnine, she pronounces--I have to get some atropine, she says. Barn wants to take Chris to a hospital, but she asks if he thinks it's wise to involve the police. Barnabas agrees not. Julia will call Windcliff and have the necessary antidote sent ASAP. Barnabas kneels beside Chris and says, "I don't blame you. How often such a short time ago, I would sit in the Old House and doubt I'd have the strength to get through another night, and wonder if it wasn't best to die now." Chris begins to moan. He's coming to, says Barnabas. Julia reaches Windcliff. Barnabas says they must save him, not just for their sakes, but for Amy's.

In bed, asleep, Amy dreams, tossing her head back and forth on her pillow. Beth calls to her, her voice filled with tears. Amy asks where she is. "Oh, Amy!" sighs Beth--"What can we do?" Amy gets out of bed and asks if it's time to play the game. No games, says Beth--come to me, Amy. Amy walks toward Beth's voice, to the cottage, where Chris sits in a chair. "Don't come near the window, Amy!" warns Beth. The shade is drawn down. Amy asks if something has happened to her brother, and begs Beth to tell her. He's all right, says Beth, this time. Amy asks if she's talking about Chris. Beth tells her she saved him. "You must not tell him about me," warns Beth. "You love him as I love. . ." Amy refuses to believe Chris is all right and runs into the cottage, where Chris is slumped over in his chair. She begs Beth to tell her he'll be all right. This time, repeats Beth, this time, but tomorrow. . .tomorrow! What will happen then? demands Amy. He will try again, says Beth. Who? asks Amy. The murderer, replies Beth--he's coming, he's coming! The door opens. "Stop him!" Beth cries. Amy sees no one there, and tries to tell that to Beth, but she's disappeared. Hearing Quentin's music, she tells Beth it's only Quentin--come back, Beth! Amy asks Quentin to show himself--did you come to see Chris?--he's all right now, she assures him. Then Amy screams.Chris is dead in his chair, a knife protruding from his chest. David, his face swimming, tells Amy, I tried to stop Quentin, tried to tell him he's wrong--I didn't want this to happen, you've got to believe me. David begs Beth to tell Amy what he's saying, and Beth says he did try, but Quentin had made up his mind that Chris must die! Amy wakes up, screaming, staring wildly around. She climbs out of bed. "No, Chris can't die!" cries Amy, talking to the air. Amy looks outside her window at the dawning sky. She pulls her green dress from the closet.

Julia comes out of Chris' bedroom and assures Barnabas the atropine worked; he should be all right. "Thank God," says Barnabas. Julia asks about the figure who led them here; she's trying to help, too--how did she know to come to me in my room?. A friend from his past, suggests Barnabas. "A ghost?" asks Julia--not Chris' past, those clothes are too old. "A guardian spirit who wants him to live," suggests Barnabas. Does Chris know about her, they wonder. Julia ponders how she knew to come to me--how did the ghost know about me? She sips some coffee. It was as if she knew all about each of us, says Julia, who could and could not help him. Barnabas wonders why she disappeared as she did--she could have told them so much more--perhaps she'll appear again. Bemused, Julia says, "So, we're at the mercy of a ghost."Barnabas notes the woman's Victorian dress--1890's-- every detail will help eventually. Barnabas suggests that if Chris were a werewolf because of a curse, it's just possible that this figure has some connection with the curse. Chris comes out of his bedroom. Barnabas helps him into a chair. Chris, breathing heavily, asks what happened to him. You tell us, says Barn, showing him the empty whiskey glass--we aren't making judgment. Julia says, we know what's in the whiskey. Chris asks what was in the booze that got him sick. Julia and Barn exchange glances; Barnabas tells him to be completely honest. Julia tells him the whiskey was poisoned, which stuns Chris. Who put it there? asks Barnabas. Chris assures them he's considered suicide, but I now have both of you to help me--this isn't the time to do it--I never left the house, nor was anyone else there. Then Chris remembers--David, but he wouldn't have done this--the boy was here for a short while about 6 AM--he stayed right with me the whole time. Barnabas finds this startling. Chris calls David a good kid who's been nice to Amy. Barnabas tells Julia he must do something that might prove most interesting. Julia will stay with Chris. We no longer believe you tried to kill yourself, says Barnabas--we're glad we were wrong about it. He squeezes Chris' shoulder and tells him it's important he stay alive. In an endearing aw shucks manner, Chris asks why that's important.

Collinwood - Amy, in dress and coat, walks downstairs. She looks around, then leaves the house.

Julia gives Chris something to clear up his dizziness. Chris asks her how they found him. We avoided telling you because it's improbable, she says, but a ghost led me to you--you have a guardian spirit watching over you, and you'd have died without her. Chris has no idea who she is, and can barely believe she exists. Julia tells him to be thankful and get some rest. Amy comes to the cottage and is upset to realize her brother is sick. No, just an upset stomach, he assures her, but she knows better--she dreamed something terrible happened to him!Amy is near tears as Chris assures her he's OK, but she refuses to believe him. He can't believe she'd accept a dream over her brother's word. She describes that she dreamed Chris was sick, but she doesn't know what made him sick. She won't tell them anything further, and gets up to leave. Firmly, she tells him he's going to be all right--nothing else will ever happen to him--ever!

On the ancient phone in his room, David asks Quentin if he hurt Chris--"You mustn't hurt him!" David asks Quentin why he won't talk to him, but the ghost is apparently peeved. Barnabas knocks at David's door. David's surprised to see him--he didn't think grownups ever got up early. (hey, when you've been a vampire, daylight isn't to be wasted.) Barnabas asks to have breakfast with the children. David warns that it won't be fun--Mrs. Johnson is so grumpy in the morning. We can ignore her, says Barnabas--do you like having Amy in the house? Sure, says David, we have a lot of fun. That's good, comments Barn--I was speaking to Chris, who told me he's very pleased with the way you made Amy welcome here. David is surprised to hear Barnabas saw Chris, then covers his reaction by saying he wasn't aware Barnabas and Chris were friends.Of course we are, says Barnabas--are you friends with Chris?--you visited him yesterday, right? I was taking a hike, says David, and stopped by the cottage. Barnabas reveals that Chris was very ill the previous night. That's too bad, says David. He's fine now, Barnabas assures him. David is glad. Barnabas looks at him sharply. David adds that Chris promised to take me and Amy to the movies--oops, that sounds selfish--I wish people would never get sick. Barnabas agrees. David thinks he might become a doctor. Amy comes in and greets them. Barnabas tells David to get dressed--I'll go down and tell Mrs. Johnson to set a place for me. Amy wants to stay and speak to David for a few moments, but David sourly asks how he can get dressed then. Just a few minutes, says Amy, and Barnabas leaves them alone.

David asks her what she wants. You sound just like Quentin, she complains. I don't mean to, he says--I don't want to! I know why Quentin won't let me play the game anymore, she says--why did you let him hurt Chris? David denies complicity, but Amy knows Quentin tells him everything he's going to do. David protests he didn't know Quentin was going to do that. Amy accuses him not just of knowing, but trying to talk Quentin out of it--I know it!--why are you lying to me? His face contorts as he asks, "Amy, does Quentin ever scare you?" She nods vigorously. What will we do? he asks. Are you afraid of him, too? she asks. Yes, he replies. I'm going downstairs, she says, to tell Mrs. Stoddard about the game. You can't, cries David, you don't know what Quentin will do to us! It's the only way to stop him, she insists, and you won't stop me--no one can! David calls after Amy, terrified, trying to bring her back to him--and to her senses.

NOTES: Ah, love the domesticated Barnabas! He's catching on a bit to the kids, at least superficially. How did Quentin think he could get the kids to cooperate against Amy's only living brother? Obviously family loyalty to siblings is something Quentin has little familiarity with! Will Amy have the nerve to go to Liz and tell her all? Or will Quentin, using David, stop her?


679 - (KLS) - The night which has just ended at the great estate of Collinwood will be remembered by many who live there. A little girl has awakened from a frightening dream and she suddenly knows that the dream will come true--unless she can stop it.

On the landing, David stops Amy and tells her to be silent--Quentin will make them sick! Amy says the adults won't let them. David thinks they won't believe them and will punish them for going into the West Wing. Amy is insistent that they finish it, but David reminds her they must do as Quentin says. But we didn't know what he was like, says Amy. David shouts, "We do now, and don't you forget it!" He twists her arm painfully behind her back and covers her mouth. This is how Liz discovers them. David tells her they were just playing a game--jail-and Amy escaped and he had to catch her. Amy denies this, holding her hurt arm, and Liz tells him to remember he's older than Amy--go up to your room. David calls Amy a liar, insisting she was playing, but Amy says that isn't true--I know why he's saying that. David accuses Liz of believing a stranger over her own nephew. He races upstairs, furious.

Liz leads Amy into the drawing room. She asks if David often treats her this way. No, he was nice to me when I first came, admits Amy. Liz knows this isn't the first time he's mistreated her--Carolyn told her about the other day. It's only since we started. . .begins Amy--the game. Last night, after her dream, she knew why David wouldn't let her play the game anymore--because of Chris--Chris was in my dream.Liz asks her to speak more clearly, but Amy can't forget her dream, and Chris--and I get so scared! Liz comforts her. Amy asks her to try to make sure nothing else happens. Liz promises to try her best. Amy says that David took her to a room upstairs where they found an old telephone, which was the beginning of the game. Amy is all set to tell Liz who she spoke to on the phone when she spots Quentin standing in the room, glaring at her. She gasps. "He's here, in this room!" cries Amy, but when Liz turns, Quentin is gone. Amy is sure Quentin was going to hurt her. Maggie races in and takes the little girl in her arms. Liz doesn't know what happened, but Amy thought she saw someone. Liz shows her no one is there. Liz tells Maggie about Amy's scary dream. Amy says she never saw this man in her dream, but he was there, she knows it was him, and David told her. Amy stops again. Maggie asks her if she's scared of David. Sometimes, confesses Amy. Liz assures her she'll take care of David and stop that from happening anymore. She asks Amy to tell her about this game. Amy refuses--there's not much to tell--it's a make-believe game--we pretend things, that's all. Maggie asks her if she dreamed what she'd been pretending. Amy says she guesses that describes it. Liz asks if the man she saw was one of the make believe people. Amy guesses so. Liz sees how afraid Amy is and says she's going to see David. She asks Maggie to stay with Amy. Amy says that yes, David has been frightening her and no, he hasn't--she can't really explain.

David is in his room, pacing, his face twisted with anger. Quentin appears to him. David tries to explain that he tried to stop Amy from speaking, but Aunt Liz came in and there was nothing he could do--I told Amy not to tell, I swear--I realize you're mad at me, Quentin.But the ghost smiles, letting David know HE took care of Amy. David asks if Quentin is going to let them go or keep on and on and never stop?--there's nothing we can do about it, is there? Liz enters the room and asks who he's talking to, but Quentin is gone. David claims he was talking to himself. Liz asks if it's about the game he and Amy play. David doesn't know which game, but Liz says it's the one of the phone. David lies about a giant named Lars who lives in a house by the sea--Lars is being held captive by a wicked old witch. Liz is annoyed, feeling David is too old for games involving giants and imaginary people--I hoped Amy would be good for you. David calls Amy a dumb girl. She's a nice girl, corrects Liz. David claims she lies a lot, and gets all scared over nothing. Liz thinks he's scaring her, and orders him to stop playing it if it frightens Amy. David says he won't let her play anymore. Liz recognized Amy's tears as real, and doesn't accept his explanation. She tells him he's been behaving very badly and must stay in his room, at least the rest of the day, until he learns how to treat people properly. David is so incensed, he takes a football figure and throws it across the room.

Down in the drawing room, Maggie suggests to Amy that they take a walk to the cottage to see Chris. Amy says, I have something else to do, but can't tell you what it is--it's up to me. Maggie says she's here to help her and David, and she wants Amy to allow her to help. Not this, says Amy--I've got it all figured out now. Amy meets Liz on the stairs and assures her she's feeling better. Liz asks her not to disturb David. Liz tells Maggie she wishes they could figure out their problems as easily as the children do. Maggie tells Liz Amy is still upset, and that it's serious. Liz feels her nephew can be a very serious problem, he delights in living in an unreal world--we must face the problem, and I hope you can help--David hasn't been disciplined enough, (duh!), and originally, his flights of fancy were amusing--now they're not, since they're hurting Amy.She tells Maggie to discipline him in whatever way is necessary to assure David he's living in a real world with real people. (Good luck!)

Amy enters David's room. He's looking out the window, furious. He knows Amy didn't tell, Quentin told him. Amy admits David was right--Quentin was going to do something terrible to her. David agrees. We can't let Quentin do the things he does, insists Amy, we must form a united front against Quentin--I don't want my brother hurt. David insists Quentin doesn't care what either of them wants, or what he does. He won't stop hurting Chris, Amy realizes, and she thinks if they get Liz to take them into town, they could tell her there and never have to return to this house.He'd find us, David says. We should go to him, says Amy, and tell Quentin we'll play the game as he wants as long as he doesn't hurt Chris--Quentin doesn't want anyone to know about him; we'll promise to keep his secret if he leaves Chris alone. David rises from his chair and tells Amy to go. She asks if he'll try. David says if he tells Quentin that you'll tell everything about him if he doesn't agree, he just might do it. Amy begs him to go see Quentin now, but he says he must stay in his room. Amy volunteers to go, but David reminds her he doesn't want her in the game anymore. He promises to try--but she must go downstairs and wait for him. David's face is troubled as he lifts the receiver on the phone and "calls" Quentin. There's no response. David begs, "Where are you?"

Maggie enters David's room and hears him on the phone. She asks how he's doing. Fine, he says curtly, I like being alone. She asks if he's speaking to an imaginary friend on the old phone. He gives her a long, hostile look. She tells him she wants to be his friend. He assures her they are. She says his smile doesn't make them friends. He tells her Vicki never said things like that. Maggie says she has a different way of dealing with him. He complains he hates being "dealt" with. She apologizes for hurting his feelings, but says people do deal with each other, and he doesn't seem to care about anyone's feelings. He insists she doesn't know. Maggie says if he did, he wouldn't have to stay in his room on such a nice day. He retorts he'd rather be here, anyway. She asks where he got the phone. In the cellar, he lies--it's a magic telephone, but grownups don't believe in magic. Maggie tells him he'd better learn what's real, and takes the phone away to her room. David insists she can't take it. Maggie informs him that many things are his, more than he realizes--when you come to know that, I'll return the phone. She walks off with the phone. David begs Quentin to come to him--now.

6 PM - Amy glances at the striking grandfather clock.

In his room David grows increasingly frustrated because Quentin hasn't come to see him. It's important that I see you, the boy begs--you wanted me to go to Chris' house tonight, play the game with him--but I want to tell you about Amy's offer! "Oh, Quentin, please!" says David, then decides Quentin isn't coming. He takes a flashlight out of his dresser and starts to leave his room, but he hears Maggie exit her room and hastily retreats back into his own. She passes by, down the hall. David enters the West Wing. Maggie catches him and follows him into the West Wing.

Amy looks at the clock, frustrated. She sits on the stairs, staring up, wondering if David has spoken to Quentin yet.

David enters the storage room, Maggie following not far behind. She enters the storage room, calling David. He doesn't appear, even after she orders him not to hide from her. David listens, hearing her calling from Quentin's room.

NOTES: This could potentially bode ill for both children and Maggie. Amy's disjointed discussion with Liz about what's going on, one that left out Quentin entirely, couldn't have been of much help. Now Liz fears David is living in a dream world (as he has in the past), but this time, it's all real, especially the danger, and you hope, for the sake of everyone, that Liz and Maggie catch on to what's really happening. It still isn't clear why Quentin wants Chris dead.

On the other hand, Maggie has followed David to the West Wing and could be in immediate peril from Quentin. Neither David nor Amy wishes harm to those they love, but Quentin seems to have no love, for anyone, and will ruthlessly use the children to get what he wants.

How sad that Barnabas believed Chris had tried to commit suicide. The former vampire is really identifying with the werewolf, isn't he? All Barnabas had to do was voluntarily face the sun, but he could either never bring himself to do so or his sense of self-preservation wouldn't let him.

In any case, it's nice to see Barn and Jul with a positive project to work on together!

Love, Robin