676 - (Clarice Blackburn) - Late afternoon at Collinwood. The great house is peaceful and quiet, and those inside know nothing of an arrangement being made on another part of the estate.

Barnabas leads Chris to the mausoleum, asking him if he has any memory of what takes place after the transformation. No, says Chris, and that's the most agonizing part of the whole thing. Did you know you attacked me just the other night? Asks Barnabas. I suspected as much when you came to the cottage next morning--I saw you were hurt. I fought you off with this, says Barnabas, holding up the cane--it's the only thing that can destroy you in your other form. They enter the mausoleum. You promised to take me someplace I couldn't get out of, Chris reminds him. "I did" Barnabas assures him. Looking around, Chris advises, kill me tonight--the gate won't hold me after the transformation. But this door will, says Barnabas, opening the secret panel, showing Chris the room with the coffin.

Barnabas tells him this room was originally a storage room for ammunition during the Revolutionary War. When Chris asks how he knows about it, Barnabas replies, "I am a Collins, I know a great deal about my family history," as though that's more than enough explanation. (I loved the grand way he said it, too.) Chris points to the coffin--it must have had other uses after the war, he observes. "Yes," says Barnabas, but doesn't elaborate. The coffin is empty, says Barnabas, but I don't know where the body is. Do you know and just don't want to tell me? asks Chris (sharp guy). Barnabas suavely changes the subject to the reason they are here. Why are we here? asks Chris. To prevent you from doing further violence this night, replies Barn. Why are you helping me? Chris asks gently. Barnabas softly responds, "Because I want to help you." Chris feels there must be more of a reason why he's willing to take the risk. Because I know you aren't responsible for what you do after the transformation, Barn answers. Will you bring me here for every full moon? Asks Chris. Yes, Barnabas tells him--until we can find a cure for your condition. That's a waste of time, insists Chris--the first transformation happened seven years ago--there's no time left to tell you more. Barnabas assures him there's still time--I need to know more about you to help you, insists Barnabas, so talk now. You aren't safe here with me, objects Chris, but Barnabas points out the silver wolf head on the cane again. Chris says, "It was just a few days past my 21st birthday. I'd just graduated college, was going to be an architect. Oh, I was going to be an architect to be reckoned with, bold, imaginative, revolutionary. I thought nothing could stand in my way. But something did, something I thought happened only in fiction. Suddenly I began to feel a great pain all over my body. It began to increase, I was terrified out of my mind. All of a sudden, it stopped, but then I got the most shocking thing that ever happened to me in my life. I looked down, and my hands, my hands had begun to grow hair, all over them! I looked in the mirror and there was hair growing all over my face, too!"I blacked out, and next morning, I woke up and was myself--I thought it just a nightmare, until I looked around and saw the evidence I've seen a hundred times since then--muddy tracks on the floor, clothing torn, furniture turned over, and always the news someone had been attacked and often killed by a vicious animal--and I knew the animal was ME! Barnabas assures him tomorrow morning will be better for him, but Chris shouts, "How can you be sure that even this place is going to hold me?" Foot-thick granite walls will do it, Barnabas assures him--I'll lock you in--I didn't show you how to open the door from the inside. The pains begin. Chris pleads with Barnabas to get out--for your own sake--it will happen in a few minutes. Barnabas wants to help him, but Chris says to just close the door, close it good, and pray that I can't get out of this place. Barnabas promises to return for him in the morning. Chris grunts with pain, and Barnabas pulls the ring in the lion's mouth, closing Chris in the secret room. He stares up at the moon.

David, wearing a suit and tie, finds Amy outside gazing at the moon, too. He tells her it's dinnertime. She says she's been out here a few minutes, looking at the moon-- sometimes it scares me, she says, I can't help it. You get scared of the funniest things, he comments urging her to come in the house.

Barnabas returns to the secret panel and listens. Chris' body has begun to change, and he leans against the coffin as the werewolf takes over his body. Barnabas hears the creature's growls, dips down his head, and appears to pray.

David and Amy play War with the cards on the drawing room floor. Mrs. Johnson comes in and nervously appraises them. She straightens up the place a bit. They keep staring at her, unnerving the poor housekeeper. She asks why they're staring at her. Just watching you work, says David innocently. We're tired of playing cards, says Amy. Mrs. Johnson suggests they go to bed. Maggie is coming to get us when it's bedtime, they tell her. David encourages her to keep working. She moves to another part of the room; they continue staring at her. You look pale, remarks Amy. I'm fine, Mrs. Johnson snaps. You ARE angry, says David--why? Amy asks if she did something wrong. Mrs. J accuses them of being up to something. David denies it. Neither of you are innocent babes in the woods, she says. You're still frightened of that man, says David. What man? asks Amy. The one Mrs. Johnson thought she saw in the cottage, says David. Mrs. Johnson insists she DID see the man. We didn't, agree the kids. David figures the man went away, no one else ever saw him. Only Mrs. Johnson, says Amy insinuatingly. The housekeeper orders them upstairs. They reluctantly leave, bidding her good night--"and pleasant dreams." The children exchange knowing smiles as they head upstairs.

Barnabas enters. Mrs. Johnson drops a glass on the floor and tells Barnabas she wishes he'd gotten there a few minutes earlier--the kids are trying to drive me crazy! Barnabas encourages her to sit on the sofa and calm down. He asks what the children did. She doubts he'll believe her, think she's crazy, but she caught the kids playing dress-up in a deserted servant's room, speaking strangely to each other. She ordered them to bed and thought that the end of it, but the next night, she saw the strange man down at the cottage--the door was locked from the outside, and I was sure the man was going to kill me--the look in his eyes--narrow, so evil!--very tall, long sideburns, wearing an old fashioned frock coat--when Maggie and the children arrived, the man disappeared.Mrs. Johnson is convinced the children are responsible for that man's appearance--when she found them playing dress-up, David was wearing the same kind of clothing that man had been. Barnabas assures her he doesn't feel she's lost her mind, but asks to hear more.

The kids go to the West Wing, into Quentin's room. Quentin waits for them, and they greet him eagerly. Amy asks for Beth. The cradle is gone, too. Are you angry with us, Quentin? They ask. David turns to Amy and says, in an adult-like manner, "No, it's not that, Amy. Quentin wants to talk to me alone." Amy agrees to wait in the storage room. David says Quentin wants her to wait downstairs. Hurt, she looks at Quentin, then runs out. The music begins to play. Quentin conveys his message to David, an evil smile on his face.David asks, what do you want me to do? Quentin sits down in a chair.

Amy goes downstairs. Barnabas asks to speak to her. She keeps looking behind her. Barnabas comments, you don't seem yourself. I'm fine, she assures him. He questions her about the man in the cottage, explaining that Mrs. Johnson was too frightened to describe him clearly. Amy says she never saw the man that night at all--she's quite sure. Barnabas wonders if David saw him. No, says Amy, he'd have told me if he had--he tells me everything, never keeps a secret from me, says Amy, unconvincingly. Barnabas notes this. She asks why he's anxious to find out about the man Mrs. J saw. I'm concerned about a total stranger wandering the estate, answers Barn.Perhaps Mrs. Johnson only thought she saw a man, says Amy--I don't know if it was real or imagined. Barnabas asks why she keeps checking the hall. I'm waiting for David, she says, apologizing for not being able to tell him more--but if Mrs. Johnson DID see a man, he's far away by now. We'll hope so, says Barnabas. He bids her goodnight, squeezing her shoulder.

David asks Quentin where the bottle is. The ghost rises from the chair and directs David to a rolltop desk, which opens by itself. David opens a drawer and finds a bottle with white powder in it--strychnine. That's poison! David realizes. David insists, I can't do it--Chris is Amy's brother, he can't do anything to hurt you!--I don't understand why you want me to, Chris has never hurt you--it's wrong, and I won't do it. David runs from the room, leaving Quentin's ghost infuriated. Amy diddles the piano keys, then looks out at the moon. David joins her. She chides him--it took you long enough. Quentin had something important to tell me, says David, claiming not to know why he didn't want Amy to hear. Are we playing the game tonight? She asks. No, we aren't playing anything, says David. What's wrong? Asks Amy. Nothing, says David, but he doesn't believe himself. Quentin takes the bottle of poison into his hand and looks at it, his face twisted in an ugly frown.

NOTES: I LOVE the way Barnabas wants to help Chris--giving him an alibi, locking him away so he couldn't hurt anyone else. If he'd only had one quarter of that compassion for Adam, the big fella might have turned out OK.

Chris' sad, angry explanation of how he first became a werewolf shines as one of Briscoe's finest performances.

Why would Quentin want to kill Chris, who we at least suspect must be an ancestor by now? This part of the story really puzzles me.

Once again, a sterling performance from Clarice Blackburn. She's so much fun, being a plaything for the kids, and so earnest in telling Barnabas her concerns and fears. He's great with her and with Amy. They bring out the best in Frid here.

Very enjoyable episode.


677 - (Grayson Hall) - The dawn of a new day at Collinwood. Most of those who live in the great house are still asleep. But for Barnabas Collins, there can be no sleep until he learns what happened the night before in the family mausoleum at Eagle Hill Cemetery. There, a young man, afflicted by a curse that transforms him from man to beast, has spent the night locked in a secret room.

Barnabas enters the tomb to check on Chris. His coffin has been overturned, the insides ripped to shreds. At first, he can't find Chris, but finally spots him huddled in a corner and wakes him up. Chris is startled. Fortunately, it's apparent nothing bad happened--Chris didn't kill anyone. Their plan worked--Chris stayed in the room all night. Barnabas helps him out of the mausoleum, saying, we'll go back to your cottage and work out the next plan. Chris, his sweater actually intact, seems relieved.

Julia is waiting in the cottage, a smoldering cigarette in the ashtray. She tosses the newspaper onto a chair and dials the phone with a gloved hand. Heading back to the cottage, Barnabas asks Chris about tonight. It will depend on whether or not there's a full moon, says Chris. If so, I will have to lock you up again, says Barn. You must stop me from killing, says Chris. . .and they walk into the cottage. Julia hears the word "killing". Barnabas demands to know how long she's been waiting there. Since dawn, she says, putting down the phone--I know your secret, she tells Chris. Barnabas assures the young man no one else knows besides the two of them. Julia assures him she hasn't told anyone, nor does she intend to--I'm willing to try to help you, but decided so reluctantly--I feel helping you is dangerous.Chris tells Barnabas, you should have listened to her, she's right. I've made my decision, says Barnabas and will follow through. Chris asks what they will do. We must wait one more night, says Barnabas. Julia doesn't understand why it might happen again. Barnabas explains that the phase can be anywhere from one to four nights, but no longer. Chris, however, fears it might. Julia asks if he knows how it happened. It just did, explains Chris. Barnabas promises Julia to reveal Chris' whole history to her. Chris thanks them for what they're trying to do; he just wishes he could be optimistic about the results. Barnabas encourages him; by being confined to the tomb, at least his violence was contained, a big step forward. Chris agrees. Julia will begin testing his blood tomorrow to see if it relates to the transformation. Chris is cautiously hopeful. Barnabas promises to come back for him before sundown. I'll see you tomorrow, Chris, says Julia. After they leave, Chris takes a drink, sits down and reads about his handiwork in the newspaper. David comes to the cottage. You're all right! he says to Chris--I thought I saw someone sneaking from the cottage. Barnabas and Julia were just visiting me, says Chris. I always get up really early, says David, praising the appearance of the cottage--I think it will do Amy good to have you around--are you serious about Carolyn? David babbles on that Carolyn serious about you, I can always tell those things with Carolyn. Let's not pry into any of each other's affairs, OK? Asks Chris, amused.David agrees, then asks if Chris is coming to work on the estate. Carolyn offered me a job, says Chris--I'm considering it--are there anymore questions, your honor?--how about a soda? (David seems like a nice little boy, not possessed here.) After they leave the room, the cottage door opens by itself, then closes. Someone pulls the stopper off the booze bottle; the strychnine is poured in by an unseen hand.

Chris tells David he prefers carbonated grape soda, and asks the boy to "split" after he finishes his soda--I was up all night. Why? asks David. Chris reminds him of his promise not to interfere. Why were you up all night? asks David. (can't take a hunt, huh?) I couldn't sleep, says Chris. David asks, were you worried?--maybe you should see a doctor. Chris, finding David's intrusion amusing and annoying, tells him, you're done with your soda, now please go. They part affably. Chris goes into his bedroom, unaware of the deadly addition to his decanter.

Amy, jump rope in hand, meets David when he returns to Collinwood. He tells her he went hiking. She wishes he'd awakened her so she could go with him. Amy thinks he's angry at her--you've been different since last night, when you said you didn't want to play the game. You're imagining it, insists David. You've stopped being friendly, says Amy--why? He calls her questions stupid and tells her to go ask Quentin if she wants answers. I did, last night in the West Wing, says Amy--but he wasn't forthcoming, either.

At the cottage, it's nearing 6:30. Barnabas asks Chris how he feels. I wish you'd stop asking me that, complains Chris. Barnabas apologizes--the sun is going down, and moon will rise shortly. Chris is obviously relieved; there won't be a transformation tonight--I always start feeling pain as the sun hits the horizon, and I don't feel it now--I've been through it so many times, I know every phase of it. I can imagine how relieved you are, says Barn.I got some rest, says Chris, but on days like this, I can never really rest for all the tension and anxiety. I understand that, says Barnabas. I feel better knowing nothing is going to happen, says Chris--I want to celebrate with a Drink. Barnabas refuses the offer--I want to go tell Julia what has transpired. Next month will be more of the same, Chris reminds him, at least one other night of the same. A lot can happen in a month, says Barnabas, but Chris isn't so optimistic. We will try, Barnabas assures him. Chris thanks him--you're a good man, Barnabas. There are those who didn't think so, says Barnabas ruefully. They're wrong, insists Chris, and sees him to the door. Chris helps himself to a drink, then looks outside, contemplating how short a month can be. He swallows the contents of his glass.

To his horror, Chris is suddenly stricken with pains similar to what he experiences prior to transformation. This can't be happening! he tells himself. "God help me!" he groans, doubling over.

Barnabas returns to Collinwood. Julia meets him in the foyer and tells him she has been reading THE LYCANTHROPE OF ANGIERS--I figure I should do some werewolf research, she explains, before I begin working on Chris--I have learned there are two schools of thought on werewolves--that a man becomes a wolf, or that it's a mental disease, and he only behaves like a wolf. We know it's not the latter with Chris, says Barnabas--we've seen the animal he becomes. Julia has found two ways someone becomes a werewolf--if bitten by another werewolf and survives, or if part of a curse. It must be a curse, says Barn--Chris would surely have known if he was bitten. Julia takes the book to continue studying before bed, and bids Barnabas good night.

Chris, overtaken by pain, stumbles around the cottage, finally collapsing to the floor. He grabs the phone and pulls it down beside him, falling unconscious.

In her room, Julia is trying to get some sleep, but awakens to the sound of a woman sobbing heartbrokenly. Julia sits up, demanding, "Who's in this room?" She sees the ethereal Beth drift from the corner of her room. Julia puts on a robe and follows the ghostly woman.

Barnabas spots Beth leaving the house and at first thinks it's. He follows her outside. Julia joins him and explains that the woman was in her room. Neither knows who she is, but they see her at the edge of the woods, on the path to Chris' cottage.

Chris lies on the floor, the buzzing phone near his hand. Beth comes in, kneels, touches Chris' chest, sobbing over him. Barnabas and Julia have seen her go in, but when they enter the cottage, Beth has disappeared. Julia takes Chris' pulse.He's dying! Julia exclaims. She and Barnabas stare at each other, horrified.

NOTES: Yes, you're a good man, Barnabas Collins, and you're pretty great, too, Julia. This is the beginning of their heroic efforts to help Chris and save the Collins family from evil. This new storyline is the favorite of many DS fans, for excellent reasons.

Will Chris die as a result of the poison mysteriously slipped into his booze? Was it Quentin who did it? I thought he couldn't leave the room. If so, why didn't he just do it in the first place, instead of trying to make David do it? Surely he knows David, unpossessed, wouldn't do anything to harm Amy's brother.Can we assume, then, that David, possessed by Quentin, did put the poison in the drink, or did someone else do it? And why? What's his beef against Chris?

We have some fascinating mysteries here, and it's going to be fun unraveling them.

Love, Robin

672 - (Grayson Hall) - The great halls of Collinwood are clothed in darkness, a darkness sinister and impenetrable--but not as impenetrable as the secrets of the great estate. For Elizabeth Collins Stoddard, the mistress of Collinwood, has been placed under a curse, and because of it has been buried alive. At this moment, she realizes her daughter is in danger, but she is trapped in her tomb, consigned to the land of the living dead.

(Good, Julia's in this episode!) Carolyn hears her mother's voice warning her she's in terrible danger--or at least she thinks she does, but then decides it isn't possible. The werewolf stalks Carolyn, climbing over rocks to get at her. Liz, entombed, tells Carolyn to go back to Collinwood, and hurry! Carolyn does return home, still hearing her mother's voice urging her to get inside the house--inside! But the werewolf has followed her to Collinwood!

Carolyn stands outside the door. The werewolf takes off when Julia opens the door. I was just coming out to look for you, Julia says, you were gone a long time. Carolyn explains she's afraid something happened to Chris--the cottage is a mess--what does it mean? Julia is sure he's all right, Chris can take care of himself. Carolyn hopes so. Julia is sure. They go into the drawing room. Carolyn gazes at a photo of Joan Bennett and tells Julia that when she was crossing the woods, I heard my mother's voice calling to me. Julia is skeptical, but Carolyn is sure. The voice was in your mind, Julia insists. Maybe, says Carolyn, replacing the photograph. She doesn't look convinced, and wants to return to Liz' tomb. Julia doesn't want her going through the woods at night--I'll send Barnabas with you, he's in the study. No need, insists Carolyn, and leaves again. The werewolf leaps nimbly down, apparently from a tree, and follows her. "Chris?" she calls, but, receiving no answer, continues on. The animal follows her. Carolyn hears more rustling and again asks who it is--no response. She arrives at the tomb. The werewolf leaps down, almost on top of her. She locks herself in the mausoleum and the creature reaches in an arm, trying to get at her. Carolyn screams wildly, turning away, and the creature manages tries to open the locked door. Liz knows Carolyn is in danger and wants to help her. Carolyn sobs for help. The creature finds a large stone to bash open the door. Liz remembers the bells--she has to make them ring! Her fingers are inches from the button, and she desperately wants so much to make the bells ring and save her daughter. Carolyn clings to her mother's coffin, circling it, begging, "Please. . .please!" I need to move one finger to that button! says Liz, reaching out, trying. The werewolf fiddles with the door, trying to get in!

Liz knows she must reach the button, make the bells ring--she must! The werewolf succeeds in making the door handle fall off. He enters the tomb and grabs Carolyn, slapping her across the face. Liz reaches the magic button and the bells peel, loudly. Blood is running down Carolyn's face. Carolyn hears the bell.So do Julia and Barnabas at Collinwood, who, while not sure what it means, rush to find out. The noise momentarily distracts the werewolf, enabling Carolyn to escape his grasp, but he snare her again, and gazes at her, about to strike. She covers her face, awaiting the worst. The werewolf gets a good gander at her silver bracelet. She backs into the coffin, the bells still ringing. The werewolf walks around the coffin. Carolyn screams. Barnabas and Julia enter the mausoleum. While Julia tends to Carolyn, Barnabas beats off the animal with his silver-headed cane, sending him racing out of the tomb. Barnabas assures Carolyn it's gone--we heard the bells, he explains. My mother alive, exclaims Carolyn, and we must open the coffin. Barnabas agrees, but insists on doing so alone. He tells Julia to take Carolyn back to Collinwood, but she insists on staying. "Open the coffin, Barnabas," she tells him. Barnabas does as she asks. Liz appears still. Julia checks her pulse, listens for breath sounds. She's dead, Julia says. Carolyn bursts into sobs, leaning against her mother's coffin. They help her back to Collinwood, leaving Liz, who is not really dead, in her coffin.

Julia and Barnabas help Carolyn into the drawing room. Julia asks him to get her bag, then pours Carolyn some brandy. The animal that attacked me--what is it? asks Carolyn. Julia doesn't know, but says it must be found and destroyed. Carolyn sips the brandy, her face bloody. It must be the same animal that attacked my mother, and Joe, says Carolyn, shaking--Joe said he was attacked by an animal, and no one believed him--it could have been this one. Julia says the animal seems human. It's dressed as a man, says Carolyn--what does it mean? Julia has no guess. Barnabas brings her bag, and Julia ministers to Carolyn. Barnabas wonders how Carolyn fought off the animal while they were on their way. She explains she didn't fight him off, she put her hands over her face to protect herself, he grabbed her, then stopped--something attracted his attention--her bracelet--it fascinated or scared him.Barnabas observes that it's silver--and the head of my cane is silver, too. Barnabas isn't certain what it means, but apparently has an idea. Carolyn asks Julia why the bells in the tomb went off. An accident, suggests Julia, or the scuffling during the struggle. Carolyn remembers that her mother said of the bells went off, it's a signal she's still alive. She was dead, reiterates Julia. Someone enters the drawing room--Liz! Carolyn covers her mouth and screams.

Carolyn runs into Liz' arms, crying, "Mother you're alive, you're alive!" Carolyn and Julia help Liz into the drawing room. I never believed in miracles before, cries Carolyn, but I do now. Julia takes Liz' pulse and finds it weak, but definitely there. You thought me dead, says Liz, but I wasn't. Julia assures her--I took every precaution, and you were dead. Liz knows how it happened--she remembers--it was Cassandra--she has special powers and put her under a spell.(Barnabas and Julia exchange significant glances.) One night, explains Liz, I found Cassandra on the terrace with Tony Peterson, and they were embracing--I was angry and threatened to tell Roger--Cassandra made me look deep into her eyes and told me what would happen--you'd think me dead and bury me alive--and it did happen--all I would remember was total darkness, until tonight--I awoke, sensing Carolyn in danger--I had to help her. I was in danger, says Carolyn, but not any longer. Thrilled her mother is back with them and alive, Carolyn hugs her. Liz is afraid of Cassandra--will she ever return? No, says Barnabas, never again. She might, frets Liz, and Roger might take her back, never believe my story. Barnabas assures her they believe her, and Cassandra won't bother her again--I'm certain of that. Julia agrees with him. Once in the darkness, says Liz, I had a vision of some woman who resembled Cassandra surrounded by fire, consumed in flames--I heard her screams and then she was gone. (Another look between Julia and Barnabas.) Julia insists in taking Liz up to her room to examine her. Liz looks around the room, so happy to be home, to be with her family. Carolyn happily hugs her mother again, and asks Barnabas if he ever thought this would happen. No, he says, and neither did you. We might never understand it, Carolyn says. Barnabas suggests she not even try--it was my mother who saved me by ringing the bells, says Carolyn. Barnabas orders her to remain home at night until the animal is found and destroyed. Carolyn promises, describing how the animal attacked her after she left Chris' cottage--I wonder if it attacked Chris--especially after the way the cottage looked when I went there to look for him--I'm frightened! Barnabas phones Chris--no answer. He suggests going to the cottage, but she fears him going out, too. He says he'll get Roger's gun. She thanks him profusely for doing this. He returns with a shotgun (?), puts on his cape and makes sure he takes his trusty, gold and silver cane of protection along before he goes.

Julia comes downstairs and assures Carolyn that Liz is doing well--you can go see her.

Barnabas, walking in the woods, hears growling and aims the rifle at the sound. The animal appears before him. Barnabas aims and shoots.The werewolf, seemingly immune to the bullet, leaps up and races at Barnabas!

NOTES: Well, the Liz is dead story is over, thank God. The werewolf is much shorter than Chris, which is weird. Carolyn's joy in her mother's resurrection was nice to see. Those looks Barnabas and Julia were exchanging were fun to watch. They KNOW stuff the others don't, and it's always enjoyable when they share silent confidences.


673 - (Grayson Hall) - This night has already brought terror to Collinwood, for a young girl was stopped and attacked by a strange, savage creature, and she barely managed to escape with her life. She is safe now, but the terrors of this moonlit night have not ended, for Barnabas Collins has left Collinwood on a dangerous mission--to hunt down and destroy the creature that moves through the darkness with one desire--to kill.

Barnabas, rifle at the ready, hears a sound and demands, "Who's there?" He sees nothing at first, but then the werewolf leaps down in front of him. Barnabas shoots, but the creature rises and attacks him!

Barnabas, his hands all scratched, struggles with the creature and drops the gun. When he begins striking the werewolf with his silver-headed cane, the animal gazes at the moonlight glinting off it and runs away. Barnabas stares at his cane, which probably saved his life, in awe. A dog howls.

At Collinwood, Julia paces, checks her watch, and waits. Amy comes downstairs, fully dressed, and tells Julia, "I have to go see Chris." No way, says Julia, go back to bed. Amy, however, is insistent--it will be too late if I don't see him now--something is happening; I had the scariest dream I've ever had, and my brother was in danger--I must see him to find out! Julia won't let her go, but Amy won't listen to this grownup. Please let me go, she begs. It's too dangerous, protests Julia. I'm afraid, because of Chris, says Amy. Julia tells her Chris is all right, but Amy sobs that she's scared, and tries to flee the house. She begs Julia to please let her go. Julia shakes her and orders her to stop--I'll go check on Chris at the cottage, I promise! The little girl, thrilled at Julia's offer, promises to behave and wait. Julia starts to go, then turns back. She takes a gun from a drawer in the drawing room with her, explaining to Amy she's taking it because it's dangerous in the woods. (Lots of firearms at Collinwood, huh?) Amy comes outside and gazes with trepidation at the full moon.

In the night, the wounded werewolf continues to trudge through the woods.

Julia knocks on the door of the cottage--no answer. She lets herself in, calling to Chris. She observes the overturned furniture and lamps, smashed glass, etc., and calls to Chris in the bedroom. She leaves the cottage, convinced he isn't there.

It's 4:45 AM. Amy paces the foyer, staring up at the clock, wringing her hands.

Julia, gun ready, walks through the woods. The werewolf is poised on a rock above her, growling. He falls down onto the ground, his shirt bloody from his injury, and lies unconscious.

Julia returns to Collinwood and lies to Amy that she woke up Chris--he's fine, and said to tell Amy not to worry--he couldn't come to Collinwood earlier because he had to go into town on business--he'll try to see you tomorrow, Julia assures her. Amy, happy, thanks Julia for going. Julia shoos her upstairs. Amy's worries are over, but Julia's have just begun--something HAS happened to Chris, and where the hell is Barnabas? The sun rises. The unconscious werewolf turns into an unconscious Chris, whose shirt is a bloody mess.A blonde woman in an 18th century dress stands over him, sadly shaking her head. (now who is that, and why?)

Chris awakens and stands. He sees where he is, checks his bloody, torn shirt, and wonders what happened last night. "Carolyn?" Did I hurt her? I have to find out. But first I have to clean up; I can't let anyone see me like this!

Julia worries in the drawing room. Amy comes in and asks if she's seen Carolyn; she promised to take her into town today. She can't, says Julia, she isn't feeling well--she had an accident. Amy, immediately concerned, wants to know more. You'll find out soon enough, says Julia--Carolyn was attacked in the woods by an animal. What kind? asks Amy. Julia claims not to know, and only adds that Carolyn is remaining in bed all day. I didn't want anything bad to happen to her, says Amy, puzzling Julia. None of us did, agrees Julia, but it's fortunate--she could have been killed. This really upsets Amy. Julia assures her it didn't happen, so she shouldn't think about it--Carolyn will be all right. She shouldn't have gotten hurt, says Amy sorrowfully, looking as if she's going to cry. All us us are sorry, agrees Julia, but you couldn't have prevented it. Amy knows differently. Julia suggests she visit Carolyn later. Amy, eyes suddenly vacant, says she wants to go outside (and she sounds mighty possessed). "Outside?" asks Julia. Amy says, I want to go outside and play--I'll see Carolyn later. You shouldn't go outside, warns Julia, but Amy begs to be allowed to stay near the house. Julia says in that case, it's all right. Amy heads outside.

Chris returns to the trashed cottage and closes the blinds. He rights the furniture and lamps, very quickly. Someone knocks at the door--Barnabas. Chris quickly strips off his shirt and puts on a robe. (Nice chest!) He opens the door to Barnabas, apologizing for keeping him waiting. Chris yawns--you didn't wake me, I was just getting dressed--I got plenty of sleep, he claims--I was here all night. Barnabas sits down and tells him Carolyn was worried about him when he didn't stop by to see Amy. Something came up, says Chris--urgent business. You should have called her, she was concerned about you, says Barnabas, then describes how Carolyn was attacked in the woods last night by a wild animal--I tried to track it down, but couldn't find it. Chris' face registers shock. "Carolyn isn't. . ." says Chris. "Dead?" asks Barnabas--"no." Chris thanks God. She was hurt, got some cuts on her face, says Barnabas. Is that all? asks Chris. Yes, says Barnabas, but still badly shaken up. Chris offers to come see her. That would be a good idea, says Barnabas. Chris promises to be there as soon as he gets dressed. He takes in a deep breath of relief that Carolyn is alive, and thanks God.

Amy walks through the woods, calling Beth. "Where are you?" she asks. "I have to talk to you, please, it's important." Beth appears, to Amy's delight. She asks why David broke his promise that Carolyn wouldn't be hurt--why did you let it happen? Beth looks sad.Amy realizes she didn't want it to happen--why did it, then? Beth begins to sob. I know you didn't want it to happen anymore than I did, says Amy--how can I protect Carolyn--or anyone? Beth puts her hand under Amy's chin and points. Amy knows there's something Beth wants her to do, and conveys it telepathically. "I know. . .I know," says Amy, trancelike, and Beth smiles.

Amy goes to the cottage and calls to her brother. She lights a fire in the fireplace.

Julia tells Barnabas she was worried about him when he didn't return.He explains, I felt I should keep searching until I decided it was useless--I did manage to shoot the animal, point blank, yet it didn't die--the blast from the gun should have killed any living creature. There's a knock at the door. That would be Chris, says Barnabas, surprising Julia--I stopped by the cottage to tell him about Carolyn. Chris comes in. Julia is relieved to see he's all right. Barnabas tells her Chris is fine--he spent the entire night in the cottage. Julia's face is a study in fascination at this news. I slept through all the excitement, says Chris, and wish someone told me, I might have been able to help. "But." says Julia, then shrugs and says nothing. She tells Chris to go up and see Carolyn, she's awake. Barnabas goes into the drawing room and Julia, looking confused, follows him. "He's lying," she tells him--Chris is lying!--he didn't have a peaceful night's sleep, I doubt he had any sleep at all. Barnabas asks for more info. She tells him, I went to the cottage close to dawn because I was worried about Chris--he was gone, and the place was a shambles--why would he lie? she wonders. Barnabas doesn't know.

At the cottage, Amy takes her brother's blood-stained shirt and tosses it into the fire the built. It begins to burn. "I've done it, Beth, just the way you told me to do it," she announces to the air. "Are you watching me?" Chris comes in and finds his sister seemingly in a trance. He asks what's wrong.Nothing is wrong now, I have to go--"She's calling me," says Amy--"Can't you hear it?" No, says Chris. "I can," she responds eerily, and races from the cottage. He sees something burning in the fireplace and grabs the poker to check out what it is. "My shirt!" he says, totally flummoxed.

NOTES: Beth told Amy to burn her brother's shirt--why was she so concerned? Are she and Quentin on opposite sides of this family feud? Apparently Beth doesn't want Chris connected with Carolyn's attack, and told Amy to burn it. Why?

Julia knows Chris was lying about his good night's sleep, but have she and Barnabas connected any of this to the supernatural? Barnabas, once a supernatural creature himself, might well have sensed another such creature in their midst. And since the wolf who walks like a man didn't succumb to that bullet wound, it must take a different kind of bullet to do away with him--or at least that's what legends say. Get thee to a silversmith and have some bullets forged!

Poor Amy is a really messed up little kid. You feel so sorry for her plight, her loneliness, her desire for a stable family.

Love, Robin

668 - (Nancy Barrett) - Night at Collinwood, a night that appears to be quiet and serene. But unknown to the residents of the great house, there is terror in this night, for the spirits of those long dead still exists within its walls. And they have made contact with the living. Two innocent children have been possessed, and as a result, they will be compelled to destroy. Unwittingly, they will put every member of the Collins family in great danger.

David's room - Amy looks happy at the idea of playing the game with Carolyn, but she wonders why her? Because it's what Quentin wants, says David--Carolyn knows too much--she isn't sure, but she thinks we go into the West Wing, wouldn't let us play together today--Carolyn's just causing too much trouble. Amy protests that she likes Carolyn and doesn't want to play the game with her, but David says they have to--it's what Quentin wants. Always? asks Amy. Yes, says David. Amy isn't sure. There's a knock at the door. Amy scurries behind the door while David hops into bed. Maggie asks where Amy is; she heard them talking. She isn't here, insists David. Maggie accuses him of lying. She turns and asks Amy where she is. Amy exits her hiding place. I came to see David, she admits. You aren't supposed to be here, says Maggie. I know, says Amy. Maggie asks David why he lied. David confesses he got scared and feared being punished. Maggie says he should be punished for lying, and she should tell Carolyn. Amy begs her--don't get David into trouble because of me--I came to his room on my own. David says he wanted her to come--I've been so lonesome. (awwww!) Amy plops herself down on his bed, confessing, I've been lonesome, too. We did disobey Carolyn, so we should be punished, opines David. Amy doesn't want him to be, and she's going to tell. . .David says not to, and Maggie asks what. Amy is ashamed to tell. Don't if you don't want to, advises David. I don't want to get you in trouble, says Amy, and is fessing up. Maggie asks what it's all about. Amy tells her she had a terrible dream--she dreamed David was dead! Maggie is shocked. You shouldn't have told her, chides David. That's why I came to David's room, because of the dream, says Amy--I had to see for myself he was OK. David assures her she doesn't have to be afraid. Maggie comforts Amy--it was just a nightmare. Amy says she's had the same dream, lots of times, about people she likes. So many people have died--her parents, and Tom, and sometimes she gets scared to like people because she fears they'll leave her, die. David and Maggie both assure the little girl they won't leave her. Amy says she's ashamed of herself for getting scared, only babies do that. Maggie hugs her and says even grownups get scared. Amy earnestly looks up at Maggie, who is holding her in her arms. It's awful to lose someone you love, says Amy. I know that, says Maggie (only too well)! Amy asks Maggie not to tell Carolyn about what David did, it isn't fair. David says it isn't fair for Amy to be punished, either. Someone knocks at the door. The kids beg Maggie to keep silent. Amy again hides behind the door and Maggie tells Mrs. Johnson, who heard voices, that Amy isn't here. Mrs. Johnson says that's lucky, since Carolyn gave strict orders the kids weren't to play together today. I realize that, says Maggie. She claims not to know where Amy is--but I'll find her. Mrs. Johnson goes away. Amy and David are pleased Maggie kept silent. I didn't want you to be punished, she says. Both promise to be good from now on. Maggie orders David to go to sleep (didn't she notice he was in his clothes?) and promises to come back to escort Amy to her room. They both agree they like Maggie, and Amy asks if they're going to play the game with her. No, David assures her. Amy is glad--I don't want anything bad to happen to Maggie. David orders her to get into the clothes when she returns to her room--they're playing the game tonight. "Tonight?" asks Amy, puzzled, and David says yes.

Carolyn and Chris return from a date and hang out on the terrace. She thanks him for dinner and offers to let him live in the cottage on the estate that belonged to the caretaker. Chris says that's a kind offer.You shouldn't be paying for a room at the Collinsport Inn, insists Carolyn--plus I'd feel better if you lived on the property, closer to Amy. He asks how far the cottage is from the main house. Quite a distance, and isolated, she replies. I like my privacy, he says. She assures him he'll have plenty of that. He grins boyishly and accepts. He looks at her as if he wants to kiss her, remarking on how late it's getting. She looks disappointed that he didn't kiss her, and asks if something is wrong--the way you look at me--may I be honest?--as if you want to kiss me. He looks uncertain, and explains that he's concerned he's beginning to like her too much, and he isn't the kind of guy she should get involved with. For one thing, says Chris, you're a Stoddard, I'm a Jennings (and there will be future irony here). Carolyn says it makes no difference to me. He turns away and says he should go back to town. She asks him to look at her, please. He doesn't, so she walks around and faces him. He kisses her, a long one, and we see the Cupid in the fountain, which fades into David, who might have been spying from his room on the smooching pair.

Amy, in the 19th century dress, comes to David's room. David's wearing old clothing, too. Amy's tired, and doesn't want to play dress up tonight--must they? Yes, says David. She asks what Quentin wants them to do. You'll see, he says. Quentin's music begins to play, but only David can hear it. He lights both of their candles and tells her to come with him--they're going to the West Wing, the deserted servant's quarters. Quentin will instruct them when they get there, and they must go through the West Wing so they aren't seen.

Carolyn and Chris enter Collinwood, where she thanks him for a lovely evening. He says he'll move into the cottage tomorrow. They're both smiling. Amy and David sneak in through the secret panel into the drawing room. Carolyn tells Chris Amy will be very pleased. I'm pleased, too, says Chris. David blows out his candle, then goes to blow out Amy's, but hers is already out. They smile adorably at each other. They overhear Carolyn telling Chris she wonders if David is a good influence on Amy--she caught him being very cruel to her and punished him for it--they were fighting--David was ordering her around. Chris doesn't think it's anything more than kid stuff. Carolyn says David is changing, not the way he used to be. Chris says change sounds natural, just growing up. Maybe, says Carolyn. He's all set to go, but she invites him into the drawing room for a drink. He protests he should go. She clasps his hand and they kiss a couple of more times. He leaves. Carolyn heads upstairs, her step happy.

David re-lights his and Amy's candles. They go to the servants' quarters. Amy wonders why Quentin wants them to come there. The music plays, and this time, both kids hear it. Amy knows where they are, in "my" room (and she is Beth, and he is Quentin) she says. "Quentin, you shouldn't have come here," she says softly. "I'm afraid of them--I'm afraid of both of them." He tells her not to be afraid--they can't do anything to us. Amy says, "But he hates you so, and so does she." "No more than I hate her," says David.She suggests he doesn't believe in her powers, in her curse--but you should. David says he'll find a way of stopping "her." Unbeknownst to the two children, Mrs. Johnson is in the hallway, overhearing them. "You can't stop her," says Amy--"I don't know if anyone can." Mrs. Johnson presses her ear to the door. "Don't worry," says David. "I'm tired of their interference. I'm going to put it to an end." Mrs. Johnson opens the door, beholds the two children, and gasps.

She asks what they're doing down here. Just playing, replies David. He sits and bounces on the bed. Amy asks Mrs. J not to tell, but she reminds them Carolyn gave strict orders about they're not playing together today--besides, they're supposed to be in bed. It's not that late, protests David. She asks about the strange clothes they're wearing. They claim to have found them in a trunk in the attic---they belonged to some ancestors, they think, and dress-up is part of their game. Mrs., Johnson is puzzled about their claim of playing dress-up.She asks about what they were talking about, and David says they were acting as other people, as if in a play. Mrs. Johnson says their games are odd, and Amy asks if she didn't play dress-up as a little girl (yes, she dressed as a maid). Sometimes, says Mrs. J. It's fun, state the kids. You're supposed to be in bed, warns Mrs. Johnson, and I am going to tell Carolyn you didn't obey her. They start to argue with her, but she insists they return to bed. Mrs. Johnson gives one last baleful look behind her.

Maggie, tired, comes downstairs. Mrs. Johnson tells her about hearing the kids, and that sneaky David likes to prowl around the house in the middle of the night. Maggie seems to be hiding a laugh as she asks if Mrs. J sent them to bed. I did, says the housekeeper, but Lord only knows if they'll stay there. I'll see to it they do, says Maggie. There's something peculiar about those children, says Mrs. Johnson--when I found them, they were wearing strange clothing from another century, saying weird things. This surprises Maggie, who asks where they got the clothes. They found them, and were playing dress-up says Mrs. Johnson. Maggie finds nothing wrong there, she used to play dress-up, too. Mrs. Johnson says somehow, the kids have changed, especially David, who's become sly--they scare me--there's something almost sinister about David.Maggie feels it's the housekeeper's imagination; David and Amy are two of the dearest children she's ever met. Mrs. Johnson disagrees with this; there's something about them, and I'm afraid of them.

Amy tells David she feels funny, not the same as she did downstairs--I don't feel like Beth, nor do I want to be. He pursues her. "You're BETH!" he insists. Not really, she says, I'm Amy. He grabs her and orders her not to talk like that, not while they're playing the game. She tells him not to get mad, and he reminds her of the rules of the game--when they're wearing the clothes, they're Beth and Quentin. Amy says she understands. David locks his door and says they must be more careful and not get caught again. What will happen now? she asks. David tells her something will happen to Mrs. Johnson. What? she asks. You'll see, says David, grinning wickedly, giving credence to Mrs. Johnson's fears.

NOTES: Ooooh, these kids are excellent actors, aren't they? Good stuff. Mrs. Johnson frequently ends up in the thick of things, and is nearly always right about what's really going on. Maggie is clueless now, but she will quickly find out what's what. I always thought Chris and Carolyn could have a nice romance, but there are impediments, big ones. Wolf or Leviathan? You make the call! LOL! Amy's little speech about fearing she'll lose people she cares about was touching, even if it was supposed to be made up for Maggie's benefit to throw her off the scent of their evil deeds. That is one lonely little girl, and for good reason, and if she fears losing people she loves, there's good reason for it. Interesting how the children manipulated Maggie into not telling Carolyn they didn't follow orders. They've made their governess a co-conspirator, and she doesn't even know it!


669 - (Clarice Blackburn) - A late afternoon sun shines over the Collins estate and an aura of peace and quiet prevails within the great house. But the unseen terror of another night is not far off. Two children, possessed by evil spirits, wait for an opportunity to play a frightening and possibly deadly game. That opportunity will come sooner than they think.

David and Amy play the card game War on the living room floor with huge cards. Mrs. Johnson comes home with two bags of groceries. Maggie greets her. Mrs. Johnson complains about the man who invented supermarkets. Maggie tells her Carolyn went into town and wants her to prepare Matthew Morgan's cottage for Chris, who's moving in tomorrow afternoon. This shocks Mrs. J, who looks more than annoyed at having to clean something else. David drops an ace on Amy's queen and says this is their chance to play the game with Mrs. Johnson.

Maggie asks Mrs. J if anything's wrong. The housekeeper wants to know why Chris wants to move into the cottage; if he had any sense, he'd stay where he is--the Inn is friendly, the cottage should have been burned down, asserts Mrs. J--nothing good ever happened there when Morgan was alive, and nothing good happened there after he died. Maggie says it looks charming from the outside, but Mrs. J thinks the place is cursed. Maggie doubts Carolyn thinks so. Mrs. J wonders why Carolyn asks HER to fix it up, knowing how she hates it.This puts a guilt trip on Maggie, who apologizes--she's just the messenger. Mrs. J realizes it. She'll go find Harry and get started with it. They carry the grocery bags into the kitchen.

Amy asks David if there's really a curse on Matthew Morgan's cottage. No, says David, but Mrs. J thinks so, which will make it easier to play the game with her. Morgan was their old caretaker, explains David--it's time to tell Quentin we can play the game. Maggie told us to stay here, protests Amy. I'll figure out a way, he assures her. Maggie takes some books and David returns to playing war. She's impressed with how quiet it kept the kids. David asks Maggie if Mrs. J will be all right--we overheard you conversation. She is nervous, admits Maggie. David comments that Mrs. Johnson has been sort of jumpy lately--I don't know what it is, but she's bothered by the smallest things--and never used to see things that aren't there. Maggie laughs and asks him to explain. David tells her when she found them playing dress-up, she acted as if there was someone else in the room. Amy said of course there wasn't--poor Mrs. Johnson. David suggests she's been working too hard and asks to go outside. No, it's too late, says Maggie, soon to be dark. David's tired of War, as is Amy. He asks Maggie to play hide and go seek with them, just for a little while--we know some neat hiding places. They proclaim Maggie "it"--they're going to hide. David instructs her to count to 10, very slowly, then come to find them. Maggie begins to count. Amy and David disappear through the secret panel in the living room. Maggie, looking for them, opens the double doors, but they aren't there. She hears Mrs. Johnson exit the kitchen and Harry (a new actor) is with her. Maggie's disappointed it isn't the children. Mrs. J says she and Harry are going to the cottage. Maggie looks around the drawing room, grimacing.

Amy and David are outside, waiting on the only path to the Morgan cottage. They have to come this way, says David. They hear someone coming and duck behind a rock. Harry and Mrs. J pass by. Harry finds the door locked; his mother produces the key--if I had my way, it would stay locked, she bitches. Harry says she's really uptight about this place--an expression she sourly questions him about. She turns on an overhead lamp. Harry observes that there must be an inch of dust. He complains it will take them half the night to get it ready. He places a bag of rags on a table and they get down to work.

Maggie calls to the children. It's after 7 PM, and, seeming annoyed, she gives up on finding them--your hiding place WAS wonderful, but I give up, she says--you won the game. The children don't respond.

Mrs. Johnson dusts. Harry suggests they work on the place tomorrow. Chris is moving into the cottage in the morning, she says shrilly. He complains he can't see anything--the lamp has such a small-watt bulb. She sends him to Collinwood to get more bulbs--hurry, don't linger, she warns. Harry leaves.

David and Amy stop at the front door of the cottage and make a sound reaching for the key in the lock. They duck down outside the door when Mrs. Johnson looks up. David turns the key, locking her in from the outside. Amy asks what they're to do next. It's up to Quentin now, says David.

Mrs. J is dusting the overhead lamp when the bulb goes out. She's annoyed. She finds herself locked in and calls Harry a ninny for doing it. She takes a candle from a cabinet and lights it.She holds it up against the darkness and finds herself face to face with Quentin's ghost! "Oh my God!" she cries, rushing to the door to try to get out. Quentin's ghost, however, has vanished.

Maggie calls to the children--no response. She's pissed--"Come out right now!" she demands angrily. Harry returns and she asks him if he's seen the kids. No, he says. She explains that she was playing hide and seek with them. He suggests she's a little old for that kind of thing, but she continues as if he hasn't spoken--they went off to hide and I can't find them. He assures her they'll show up, but she says they haven't answered for 20 minutes--I want you to help me find them. Harry objects--I have to bring lightbulbs back to mom. She says the lightbulbs can wait--finding the kids is more important. She sends him upstairs to look for them, hoping they had enough sense not to go outside. She steps outside the front door and calls to the kids. Amy's voice asks her if she's given up yet. David calls out, "We're by the tree." She heads toward their voices. David is glad she's coming out. Amy asks him how they'll get Maggie to the cottage. Quentin will take care of that, he assures her. Maggie will be mad at us, frets Amy. Maggie, shivering, joins the kids, telling them they have explaining to do--you weren't supposed to leave the house! We didn't, David says. You did, she counters, and I warned you not to. David reminds her she said THAT before promising to play hide and go seek with them. Maggie is furious at this illogical logic.

Mrs. Johnson wonders what's taking Harry so long. She picks up the dropped candle and lights it again. Quentin, his face cruel, takes the candle into his hand. Mrs. Johnson leaps to her feet. Who are you? she demands, screaming with fear--what are you doing here? He doesn't answer her. She just stares at him, a rictus of terror on her face.

Back in the woods, David tells Maggie he didn't know it would upset her if they played outside. Amy sounds sincere when she apologizes. We're going back to the house, says Maggie sternly--and going over the rules while we have dinner! They hear a scream issuing from Morgan's cottage! Amy says it sounds like Mrs. Johnson's in trouble, and all three of them dash there.

Quentin advances on Mrs. Johnson, who, terrified, screams, "Stay away from me!" She backs away, hitting the door, then turns around and begins banging on it, yowls of fear pouring from her lips as she sobs. Maggie, kids in tow, comes to the door with the kids and unlocks the door.Hysterical Mrs. Johnson tells Maggie about, "That man over there!" They look, but there's no one there. Amy and David don't see anyone, but Mrs. Johnson cries that she saw his evil face, he was coming toward her! Maggie repeats--no one is there. Mrs. J says he must have run out when he heard them--do you think I'm making it up? Maggie, probably remembering what the kids told her earlier, says of course not, but not as if she believes her. Mrs. Johnson is prepared to describe the clothing the man was wearing. Amy and David assure her she's all right now and they won't let him, whoever he is, hurt her. Mrs. Johnson accuses them of thinking she's imagining this man, but David denies that, as does Amy. Mrs. Johnson asserts that he WAS there--I wasn't imagining it. They all leave the cottage.

Harry comes downstairs and announces to the absent Maggie the kids aren't on the second floor. He's annoyed--now she's gone! Maggie and Mrs. Johnson come in with Amy and David, Mrs. J  still gasping and frightened. Harry asks what's wrong. His mother orders him not to speak to her--I told you not to linger, and if it were left up to you, I'd be dead by now! She sits down under Barnabas' portrait, the others clustered around her. Harry asks what happened. She just had a bad scare, says Maggie. Mrs. J tells her son to make himself useful--I need water. He leaves to get some. Maggie sends the kids into the kitchen with Harry. The children assure Mrs. J she's safe at Collinwood. Left alone with Maggie, the housekeeper insists the children have something to do with this. Maggie is shocked. I'm not crazy, says Mrs. Johnson--something terrifying is going on with the kids. Maggie is angry, but Mrs. J says the man in the cottage was dressed funny, old-fashioned, like Amy and David were when she caught them playing dress-up.This does register with Maggie.

Back at the cottage, Quentin steps outside, surveying the world with a mean, angry vengeful expression on his cruel face.

NOTES: Despite all their neat little games, like pretending they didn't hear Maggie or messing with the timing of what she told them, the kids will grow careless, and will undoubtedly raise the suspicion of more than just Carolyn and Mrs. Johnson. Maggie will grow nearly as clueless as Vicki as time goes on, but she started out sharp, and lost her edge once Vicki left. Someone had to take over the job of helpless, feckless ingenue, why not her? Even if it meant totally changing her feisty personality!

So the kids locked Sarah Johnson in the cottage and allowed Quentin to scare her, first laying the groundwork for the housekeeper seeming "off" in Maggie'e eyes. Will Maggie believe Mrs. J, or think her a whack job, like the kids already seem to?

What did you think about the new Harry? Were you "wild' about him?

And what does Quentin's cruel face do for you?

Love, Robin

664 - (Thayer David) - Night at Collinwood, but this is not Collinwood as it exists in the present. It is the Collinwood of 1796. For Barnabas Collins has been drawn back into the past. Forces beyond the grave have brought him here to save the life of Victoria Winters. Today he will succeed or fail. In returning to the past, he has had to pay a penalty. He has become what he was, and as a consequence, he must endure wave upon wave of terror--terror that will seemingly never end.

Barnabas, bearing a candelabra, screams for Ben, who comes racing downstairs. Barnabas, his face sick, tells him that the girl I attacked on the docks is in the study. Ben thinks he took her there, but Barnabas tells him no, he FOUND her there! Ben wonders how she got in, he didn't see anyone come enter--this has got to end, says Ben, no matter what happens to him. Ben asks if she's all right, and gulps. No, says Barnabas, she's dead! Ben is horrified. Barnabas asks him to help him dispose of the body. However, it turns out the figure sitting in the chair in the study isn't Crystal, but Angelique, looking very much alive, beautiful and grinning wickedly! (A GREAT moment!)

Ben and Barnabas stare at the witch, who greets them both cordially. "We all meet again," she says. Ben says he knew she'd come back someday. Angelique asks Ben to leave her alone with Barnabas, who asks Ben to leave them. She stares at Barnabas, who realizes she was "Crystal." "To allow you to view one of your victims," she says gaily. Why? he asks.To show you I still have ALL of my powers, something I wanted you to know. How did you return to this time? asks Barn. Ang explains--I must remain in this century now, as punishment for my past mistakes--mistakes I will never make again. He frowns at her, then asks how she found out about him--about his return to this century. Never mind, I found out, and I know WHY you returned, she says--to save your precious Vicki from hanging. Barnabas assumes she's there to stop him. No, she says, I'm here to help you. He doesn't believe her. I have the power to save Vicki, she says. Barnabas wonders why, given that Angelique hates Vicki. She admits--I do hate her, but I will do it if you will make a bargain with me--I must remain in this time forever, and I want you to stay with me--and never make any attempt to return to the future. Why do you want me to stay? He asks. So we can be together, she says. "After all that's happened, you still want me?" he asks. Replies Ang, "I'm your wife. Husbands and wives should be together." She lifts her ring finger to show she is still wearing the ring he placed there on their wedding day. He darts forward and venomously informs her--I can't even pretend to love you. She retorts that she isn't asking him to pretend anything, she only asks him to stay here with her. If I stay, I would remain as I am, he reminds her. Yes, says Ang, it would be quite a sacrifice--are you willing to make it for your precious Miss Winters? Can I trust you? Barnabas demands. Can you save Vicki alone? she counters. No, he admits. Then you have no choice, she says, you must trust me. Perhaps, he says. She softly asks, will you stay with me--forever? He repeats "Forever." (reminds me of their encounter when she was the vampire and he human, the dialogue was eerily similar). She says she knows what it is, but she is compelled to force him to play it to the hilt, and demands he say it. "YES!" he cries. You've made a wise decision, she praises, one you should have made many years ago, when we first met. What is your plan is to save Vicki? he asks. Simple, she assures him.

Peter Bradford and Vicki are together in her cell. She asks the time. He sits beside her, caressing her hair, and tells her to stop thinking of the time. It's nearly midnight, she says--they'll soon be coming for me. It's not going to happen, he insists. She closes her eyes and tells him it will--and we can't stop it. She sobs. He holds and kisses her.

Barnabas slips on his cloak. Ben comes out and asks if "she" is gone. Yes, says Barnabas, I have many things to attend to and little time. Ben overheard what Angelique said, and feels Barnabas is a fool to trust her. Barnabas agrees he might be. She doesn't want to help Miss Winters, says Ben--she never did anything good, never anything but evil. Barnabas is well aware of that. Why did you agree to the bargain then? Asks Ben. What else could I do? asks Barnabas--I can't save Vicki myself, and if there's once chance I can believe Angelique, I must accept her offer. Ben thinks he's taking a mighty big risk, but Barnabas is willing to do this to save Vicki.

Vicki remarks on the irony--I can't expect you to understand because I don't myself, but somehow, I managed to return to the same time in history as before, and am reliving it again, and it's going to happen and we can't stop it.Peter tries to calm her, holding her shoulders, telling her Barnabas found a way to free him and will find a way to free her. Vicki doesn't believe it, but Peter encourages her to do so. I've tried to, she says. He hugs her, and she clings to him.

Peter and Vicki sit on the bed in her cell, where she tells him that, before, when it happened, she managed to escape. "What?" asks Peter. That was because there was someone to take my place, says Vicki, now there's no one. Peter says he doesn't understand, and she tells him not to listen to her, gazing at him with love. Peter tells her not to say anything else, just to let him hold her. They hear someone coming. He assures her he loves her and kisses her deeply. Barnabas enters the cell. Listen, he tells them--I can save your life--follow my instructions: "Go to the gallows," orders Barnabas, shocking Vicki-- you'll be safe if you do everything I tell you to do. Peter looks unhappy. Vicki agrees. First, Barnabas tells her, refuse the hangman's mask--second, you must not panic, be afraid or ask questions, because something unexpected might happen--IF you do as I tell you, no harm will come to you--trust me. I do, Vicki assures him. They arrive to take her for the hanging; she clings to Peter. Remember what I told you, says Barnabas. She stands. Barnabas is forced to watch as Vicki and Peter embrace and kiss. I love you, says Peter. The jailer separates them and orders her to come with him. Peter and Vicki look longingly at each other as she is taken away. I love you and will find you, no matter what happens, Peter assures her. They kiss again (a good kiss), and he says one more, "I love you." Barnabas pulls Peter off Vicki--there's nothing YOU can do, only I can help her, says Barn. Peter turns on Barnabas, saying he had Forbes' confession before, but he doesn't have it now, and Vicki is on her way to the gallows!I meant everything I said, Barnabas assures him. Peter demands to know how he will save her. Barnabas reluctantly reveals that Angelique will save Vicki. Peter is stunned. Angelique will be there when Vicki goes to the gallows, reveals Barnabas--as soon Vicki goes, Angelique will put her under a spell before the noose is placed around her neck--Vicki will fall to the ground and appear to be dead--they will take her back to Collinwood, where Angelique will release her from the spell. Peter insists it's insanity, but Barnabas says it's their only chance to save her. Peter shouts that Angelique is the witch who's been persecuting Vicki all along; why would she want to save her now? Barnabas says she agreed to it--and asks Peter to refrain from further. They hear the drumbeats coming from the gallows area and head outside. The gallows has been tested with a heavy canvas bag. Vicki is led outside, and we see her face in the oval of the hanging noose. Frightened, she gazes at Peter and Barnabas, who are standing nearby, then at the noose. Peter asks where Angelique Is. Barnabas, equally nervous, says she promised to be here. Where is she? demands Peter. Vicki walks up the steps and turns. Barnabas desperately calls to Angelique, looking around for her in panic. I'm not going to allow this to happen! says Peter. Vicki is offered a face mask and refuses it. The hangman helps her up on the platform and places the noose around her neck. Barnabas continues frantically calling to Angelique. The signal is given. Peter darts forward to stop the proceedings, telling Vicki he loves her and will find her. Barnabas calls to Angelique, loudly, screaming for his witch-wife. The ladder upon which Vicki is standing is pushed away, and her legs dangle as she hangs.

The rope is slipped from around Vicki's throat. She looks peaceful--and dead. She is declared such by the hangman, who says, "May God have mercy on her soul." Peter miserable, kneels and takes the lifeless body in his arms. He holds her, insisting, "You aren't going to take her away from me, I'm keeping her!" They tell him he can claim the body and dispose of it as he wishes. Peter kisses Vicki's forehead. Barnabas, standing behind him, mutters, "Vicki. . .dead." You failed me, accuses Peter, and I trusted you. Barnabas says he's willing to accept the responsibility. Peter laments not taking matters into his own hands. Barnabas says it's too late to think about what might have been. Peter agrees, still holding Vicki in his arms. We'll take her back to Collinwood, says Barnabas. Peter insists, I'm staying with her, hugging her.

At Collinwood, Ben says he was afraid this would happen--Barnabas never should have trusted the witch!--she planned it this way, it had to happen. Ben is very sad. Vicki is laid out in the study, a candelabra in the room. Peter, Ben and Barnabas stand by, sorrowful. Peter kisses her lips and runs out. Barnabas and Ben stare at her. I did everything I could to save her, sighs Barnabas, and I failed. He bows his head. Angelique is coming here tomorrow, Barnabas tells Ben, at sunset, expecting me to go away with her. Ben asks what he plans to do. I'll tell you later, replies Barnabas--we should go find Bradford, see what's happened to him. They leave Vicki alone.

Angelique appears from the shadows. She steps out and gazes down at her rival. "Victoria Winters, you are in my power now," she says, "and I will never release you from my spell, for if you should live, Barnabas would love you--and he will never have the woman he loves."He eyes are wide with determination and jealousy.

NOTES: Excellent show. It's nice to see our favorite witch hasn't lost her desire to chase her poor vampire husband through time and space. The most interesting is yet to come, my friends. Wait until next week. And for those of you who felt Barnabas was really selfish for proposing to Vicki, you will see just how unselfish he can really be when the circumstances call for it. And isn't this Vicki lovely? She reminds me so much more of Miss Moltke.

Sooo, Vicki is in the witch's power now? Does that mean she's dead or alive? Is she playing another game with Barnabas? Doesn't she want him to stay with her in the 18th century? Surely she can keep her jealousy under control--ah, but this is Angelique we're talking about, and if she does have a middle name, I bet it's Jealous!


665 - (Thayer David) - Dusk at Collinwood, and Barnabas Collins soon will rise.  But he will find himself in the Collinwood of 1796, for he has been drawn backward into time to save Victoria Winters from hanging.  He has seemingly failed in that task, for at midnight on the previous night, she was hanged and pronounced dead.  Everyone at Collinwood is mourning her death, all but one--the witch who caused that death and who even now controls her from beyond the grave.

Vicki lies, seemingly dead, in the drawing room at Collinwood. Angelique comes out from the shadows of the room and says, grinning evilly, "Soon, they will come for you, bury you, never knowing the real truth. They will place you in your casket and bury you in the earth. Then, and only then, will I release you from my spell. You will awaken and find yourself in your tomb, a tomb from which you can never escape. You will scream, and cry out for help, but no one will hear you. Then gradually, you will die again, and this death will be the most terrifying death of all. But what death could be more fitting for the woman Barnabas loves?" (That is so bitchy, Angelique, and do you really think Barnabas will want to stay with you after such a betrayal?)

Barnabas rises from his coffin in the secret room. Ben is waiting for him. Barnabas asks if he's ready. Ben, smiling, assures him, I am.

Peter stands vigil at Vicki's side. Millicent and Natalie join him. The latter suggests he rest or have something to eat, at least. Peter wants neither. Millicent says he must leave Vicki sometime, after she's buried. Stop it, cries Peter--she won't be buried because I'm not letting anyone take her away--I can't! Angelique, standing in the foyer, overhears this. Natalie wishes there was something she could say or do, but Peter says Vicki's dead and I must accept it--there's nothing else anyone can do. Angelique troops upstairs.

Barnabas is smiling as he wanders the tower room. Angelique joins him. I can't believe you showed up, given that you betrayed me, he says--you let Vicki go to the gallows and hang. She did have to undergo the hanging, yes, agrees Ang.How can you claim not to have betrayed me? he demands. Because, says Angelique, when Vicki was hanged she was under my spell. Barnabas accuses her of lying. No, she says, Vicki only seems to be dead--when I release her from my spell, she'll live again. And when will that be? demands Barn. When we leave this place together, she responds. Barnabas asks if she really thinks he'd go away with her, that he'd trust her? She gracefully moves toward him and says if he refuses to trust her, Vicki will die, horribly. No, says Barnabas, grinning grimly, "It is you who will face destruction!" He pulls open the door. Ben, holding aloft a blazing torch, comes bolting toward her. Barnabas cries, "It is you who will face destruction, by fire, the death you deserve!" Ben sets the hem of her dress on fire. Angelique begins to scream. "BURN, BURN, BURN!" screams Ben. Angelique struggles against the flames as they consume her, her screams echoing until she disappears altogether.

Peter hears Angelique's screams from the drawing room. Vicki awakens and touches him. He grabs her into his arms. "You're alive!" he cries, hugging her closely, basking in pleasure of knowing she is alive. Ben and Barnabas happily survey their handiwork. "She's gone!" proclaims Barnabas joyously. Forever, agrees Ben. We were finally able to get rid of her, exults Barnabas--Ben, scatter her ashes to the winds so all traces are gone. Ben assures him nothing would give him more pleasure. As they exit the tower room, Natalie spots them, although they do not see her. "Barnabas!" she gasps. "But he's dead!" She enters the tower room and sees the coffin. She walks around it, looking over the room, then opens it and looks inside.

Peter tells Vicki he saw her hanged, which puzzles her. I remember standing on the gallows, she says--next thing I knew, I was here with you--how is it possible? Peter needs no explanation, he says, just the fact that you're here is good enough for me. He pulls her close for a big kiss. Barnabas comes in. "Vicki!" he cries. He stares at her, shocked.  Peter is smiling.

Millicent comes to Natalie in the tower room and asks what she's doing here. I heard screaming, says Natalie. Millicent did, too, and found it most curious. "Barnabas," says Natalie, and, seemingly in a trance, tells Millicent she saw him--he's alive. Millicent knows, she saw him, too, but no one would believe her. No one pays much attention to what I say, whines Millicent. "I saw him die," protests Natalie. Millicent suggests perhaps he didn't really die. I saw him die, repeats Natalie--and what is this coffin doing here? Millicent bitches that's another thing--people constantly ask her things she can't answer. Natalie says she didn't really see Barnabas, perhaps she only imagined it. No, she saw him, says Millicent, and so did Nathan, who said the most outrageous things, she begins to wonder if Nathan is mentally well. Millicent tells Natalie Forbes wanted her to destroy Barnabas--by driving a stake through his heart. Stake? asks Natalie, taken aback. Millicent wonders how Nathan could expect HER to do such a thing. I'm beginning to understand it all, says Natalie, and gasps.

Barnabas rejoices in the miracle of Vicki's resurrection, which he can't explain. Apparently, Angelique did put a spell on Vicki, and when the witch was engulfed in flames, the spell was broken. "If you hadn't destroyed. . ." Vicki begins to say. Barnabas tells her not to even think about it. Peter comes in, putting on his jacket--we can leave now, he says, everything is packed. Barnabas advises them to go as quickly as possible and go as far away as they can. Peter grabs Vicki's hand and says they're going out West--no one knows us out there, and we can get married. "I'll never see either of you again," says Barnabas sadly. "Be happy, both of you." Peter thanks Barnabas for all he's done. Vicki being alive is enough for me, says Barn--just go. Grinning, Peter shakes Barnabas' hand. Vicki asks to be alone with Barnabas for a few moments. Peter agrees. Barnabas tells her not to linger, so they'll be safe. I wanted to say goodbye to you, she says, softly "No matter what happens, no matter where we go, I'll always feel close to you.No matter where we are, I'll always feel that you're somewhere nearby." "Goodbye, Vicki," he says. "Goodbye, Barnabas," she replies, and gently kisses his cheek. (boy, that's all he gets after what he did?) He looks after her, bereft, selfless, sad. She's gone, lost to him forever.

Natalie tells Millicent it doesn't seem possible, and yet it must be. Millicent is confused. Natalie tells her of legends about dead men who walk in the night and exist on the blood of the living--vampires! Millicent gasps and clutches her handkerchief. She asks Natalie if she knows what she's saying. I should have guessed, says Natalie--my poor Josette, just before she died how pale she was. Millicent doesn't understand. Barnabas was trying to make Josette what he is, explains Natalie--one of the living dead, which is why she leaped from Widows' Hill.Millicent still can't connect, so Natalie spells it out, "Barnabas Collins destroyed Josette--I will avenge her death.  As God is my witness, I will destroy Barnabas Collins!"

Down in the foyer, Ben questions Barnabas about his reference to returning--where is he returning from? Barnabas asks him not to ask questions, he's accomplished what he set out to accomplish, and now he must go back (to the future--did Zemeckis get his idea from DS?) He told Julia to meet him at the appointed place in 48 hours. . .now Ben is puzzled. At 8 o'clock, he must be there in the cemetery where he found him. Ben thinks Barnabas is behaving oddly because of all that's happened. Barnabas rushes to get his coat, it's very close to 8 PM. Ben tells him there's no point in him going out there. I'm not going to argue with you, says Barn. Ben insists on going with him. On the landing, Millicent and Natalie watch the two men depart. Natalie grabs her coat and orders Millicent to follow Barnabas--don't let him out of your sight! Millicent doesn't like this adventure, but Natalie is forceful and demands she come along.

Barnabas leads Ben to the place where he arranged to meet Julia. Ben knows no one named Julia, but Barnabas tells him, just do as I say, and accept what happens, even if you don't understand. Ben promises to do whatever Barnabas wants him to. Barnabas steps forward and calls to Julia, "Hear me. Hear my voice echoing through the centuries. Hear me and draw me to you, draw me forward in time. Julia, let me return to you, let me return to you. Julia, hear my voice, hear me! I am here, Julia, waiting. Concentrate! Draw me to you! Draw me to you!"

Natalie and Millicent hover in the bushes, listening. Barnabas tells Ben he doesn't understand what's happening, this should work. Ben suggests they go home now. Barnabas refuses--it must work, it has to--perhaps the rest of the past must continue as it did, suggests Barn--perhaps Julia is to find him as Willie found him. Ben is confused by yet another new name. Barnabas orders him to come along with him. Ben follows, lantern held high. They go to the secret room. Barnabas tells Ben he'll stay here when the sun rises. Ben is confused, but Barn asks him to just do as he asks--leave and return tomorrow morning and put chains around the coffin. Ben protests.Tell Joshua what happened, asks Barnabas. Ben wishes he could understand. Barn says this is the most merciful way for me to be destroyed--and I must be destroyed. Leave now, he tells Ben, and come back with the chains and tightly chain the coffin--make sure no one ever disturbs my final rest--Goodbye, Ben, you've been a good friend--You'll never see me again. Ben leaves, giving Barnabas one last perturbed glance before doing so. Natalie is gazing through the gate at what Ben is doing.

Dawn - Natalie, accompanied by Nathan, enters the mausoleum. They carry a stake and mallet. He asks her if she's sure she knows what she's doing; she assures him she does. I had you released from prison to help me, says Natalie, but you can always go back there. He doesn't want that. Then do what must be done, she insists. (But how can he, being Barnabas' victim?) Natalie opens the secret door and goes in. Nathan follows her. You were telling the truth, he observes. Of course, I wouldn't lie, she says--open the coffin. He looks unsure. You're supposed to be brave, she points out--open it. He does. Barnabas lies inside, hands crossed over his chest. "You see?" says Natalie--he can't harm you now. "No," agrees Nathan. "Destroy him," hisses Natalie in his ear. Nathan draws back the arm holding the mallet and plunges it down toward the stake pressed against Barnabas' heart.

NOTES: Well, this sure didn't happen originally! Is Nathan going to destroy Barnabas, with Natalie's help? And given that Millicent, too, was Barn's victim, how is it she isn't protecting him? I'm pleased Vicki was sent off with the fella she loves (although why she loves him, I can't imagine), but all this digression from vampire lore as it's been presented on DS just doesn't make sense. Technically, Nathan and Millicent should both be wanting to kill Natalie! This is just hard to take.

A sad farewell between Vicki and Barnabas, and this time, she did kiss him. You have to hope she'll be happy, since she never did learn her origins. I remember hoping for her eternal happiness in the 18th century, but we later learn disturbing news about Vicki that infuriates long-time viewers. I know some people wished Barnabas and Vicki had had some physical contact when he proposed to her and she refused. Well, here you got your tender goodbye. Granted, Barn deserved more after all he did, and the danger he's in now, but at least he got a little thank you peck on the cheek.

Love, Robin

660 - (Thayer David) - The great estate of Collinwood on a sunny afternoon, an afternoon in which even grief is momentarily forgotten--forgotten because of a seemingly innocent photograph posed by two adults for the children. But when the film is developed, the picture showed not the people, but something one man knows happened over 200 years ago.

A Thayer David intro, always a pleasure. Barnabas, showing the photo to Julia, insists that the photo displays Vicki on the gallows, hung as a witch--I recognize the clothes. Julia tries to divert him, but he says he's lived so long, surely for some purpose--to save Vicki! Julia tells him not to get upset, but he wants to know what else he can do--is there a rational explanation? Julia doesn't have one. Barnabas explains that he and Carolyn posed outside the front door for David--and this is the resulting photo. If Vicki wanted to contact you, says Julia, wouldn't there be an easier way--to speak to us, appear to you? Barnabas paces, pondering that she went to be with Peter, but to have to relive those dreadful days in the cell, on trial as a witch. . .when it happened the first time, I couldn't save her, but now I will. Julia asks how, but he insists I must try, go back there, relive the days when I first lived, when Collinwood was new. "You can't!" bleats Julia, but he says he will find the secret to time, banish all those years, be by Vicki's side--tonight!Julia tries to reason with him--you can't will yourself back in the past, this time is all that exists for us. (not quite!) Barnabas reminds her that part of his life is being repeated right now, this minute, this house stands in another century as well as this one--my father walks into this room, calling to his servant, Ben, I can almost see them, hear them. . .  Julia appeals to him, but he goes on. . .  "over and over again, they play out their lives."--only I escaped, and I can thank Angelique for that. When I am back there, I'll know what happens in the next second, minute, hour. Julia asks what good it would do--you can't change history! Why not? he asks. Julia reminds him Peter Bradford was hanged in 1796, his grave is there in the old graveyard! Barnabas insists he can get back there before they are hanged, knowing what he does. Julia calls this idea insane, but Barnabas tells her no one else has ever tried it. No one ever had the opportunity, she points out. Exactly, he says, I have! Even if you get there, says Julia, what assurance is there that you know what's going to happen--perhaps everything will have to be lived out the way it was. No, says Barnabas firmly. You can't be sure, she says, then realizes she's talking about traveling back 200 years as easily as traveling to Europe--it's all a dream, she says. Barnabas refuses to let it be. David comes in to retrieve his photo. Barnabas doesn't want to give it to him. David says he thinks the figure in the background is Vicki, but Amy wonders how that can be--she's gone?-- where did she really go? Amy asks Barnabas. Away, says Barnabas, on a long, long trip. He tells David he'll return the photo tomorrow--and we aren't going to Boston. The kids pretend to be disappointed, saying they're all packed, as is Maggie, but Barnabas says he will send them to Boston in the spring--I promise. David complains they want to go now, but Barn says we can't always do what we want when we want. Grownups always say stuff like that, gripes David. It only seems that way, says Barnabas. Amy suggests they go outside and play, which Julia proclaims a marvelous idea. She puts an arm around both kids and promises they'll do something special later. OK, says David sadly, but I'm not going to forget. She smiles fondly after them.

Julia begs Barnabas not to go back to the past, but his mind is made up, and he shakes his head even as she begs him. She goes upstairs. The kids, alone outside, are thrilled they aren't going--the adults never even guessed! They want to go tell Quentin, but Amy is sure he knows--he said he would never let them be taken away. Quentin is always right, and now they can play the game whenever they want, and no one can stop them. David is still wondering about the picture, which Quentin did not get involved in, they agree--why was Vicki in it? They don't know, but it's scary. Amy wants to ask Quentin. Quentin doesn't know about it, insists David. Amy says not to be sad, she likes mysteries, even scary ones. So does David, he admits, but Quentin caused so many things to happen just to stop Barnabas--why didn't he cause this one, too?

We see Barnabas' portrait in the foyer, and he's looking at it with a resigned expression. Julia comes down to report she thinks Maggie is relieved the trip is off. Barnabas makes it clear he's leaving, realizing she isn't sympathetic to all of this, he says would be better for her to stay out of it--I'm going to ask Stokes to help me back to the past as he did Peter Bradford. Julia wants to go along; if he disappears, someone must know about it. He agrees to this practical suggestion and tells her to hurry. Vicki has so little time, he frets; if I'm right, she might hang tonight.

David and Amy walk through the graveyard. He says he likes it here. One stone has a date of 1701 on it. You like history, Amy says, but I don't. She asks him if he watches funerals here, but he says they don't bury people here. They find a grave from the war of 1812. Amy points out to David what appears to be a fresh grave. It couldn't be, says David. Amy accuses him of telling her stories about the cemetery not being used anymore. They find Peter Bradford's tombstone. The name is familiar to David--I heard Vicki say it once, only I don't remember who he was--but whose fresh grave could this be?The kids ponder who could be buried there, because the person would have to get family permission. Amy suggest they ask the caretaker. David thinks the old guy wouldn't know anything, but they go off to find him anyway.

Stokes looks over the note and the photo. He finds it disturbing, remarking that ghosts are usually not so precise. Barnabas tells him Vicki is not a ghost, she left their century alive--help me get back to the past tonight, begs Barnabas. Stokes asks if he thinks him some sort of travel agent for time (LOL!--a great line). Barnabas requests the herb he gave Jeff, but Stokes insists that method only liberated Peter Bradford's spirit. Barn says it did more. Stokes says he has thought a great deal about that amazing evening, and he believes there is a Jeff Clark roaming the earth right now--his body was possessed by Bradford's spirit, and when that spirit returned to its own time, the borrowed body was returned to where it belonged--I know it's complex, says Stokes, but sure it's true. Barnabas begs for the herb, implying Stokes has no interest in saving Vicki. Stokes assures him he was very fond of her, but feels she left this world of her own free will. Barnabas calls her a romantic, believing everything would change, but she didn't plan on being trapped in her own history--he knows her well enough to know that. Please, he begs, give me the herb. Stokes says it wouldn't affect him; he's taken it himself, and unless Barnabas himself is from another century, it produces only a mild depression. (OH OH, will Barn ¢â‚¬Ëœfess up?) Barnabas turns away and asks, "Suppose I am from another century?" Julia suddenly has a violent bout of coughing, and rises from where she's sitting. If you are, says Stokes, it's one of the best kept secrets in Collinsport, isn't it?" Barnabas stares steadily at him.

The kids can't find the caretaker, which disappoints Amy--we can't even find the men who dug the grave, or shovels. David says it doesn't mean anything. Suddenly, they notice that the open grave has now been filled in.

Stokes tells Barnabas there's nothing he can do, much as he hates to admit inadequacy--Peter was summoned back to his own time; he heard those he knew calling to him. Peter then beckoned to Vicki to come back, says Julia. Exactly, says Stokes--who in the past wants you back there? Stokes asks Barnabas--who else besides Vicki, who can't appeal to you personally? Peter Bradford, suggests Barn. He wouldn't want you there, says Julia. If he was convinced I was coming back to help her. . .points out Barnabas.He would think you were going there to bring her back here, says Julia. That's an unnecessary remark, says Barnabas. Julia urges him to be honest, utterly, about this mad dream. We won't bore Stokes with what is a private affair, says Barn--I'm sorry you couldn't help me, but I won't be discouraged from what I must do. Barnabas walks toward the door, Julia looking longingly after him. They leave.

Amy points out the new grave is right beside Peter Bradford's tombstone, and maybe Quentin did it. It's like one of his games, she says, but David says Quentin isn't strong enough to leave his room--he'd have asked for their help. Amy wants to pretend they imagined it all, but David says they can't--he wants to go find Barnabas. The children leave.

Julia and Barnabas return to Collinwood. She tells him she's sorry--I shouldn't have said what I did about your motives. He confesses he should thank her--if I'm to get Peter to come to me, I must convince him I'm as concerned about his happiness as I am Vicki's. Relentlessly, Julia asks, "Are you?" The kids rush in before he can answer, and they tell him about the mysterious grave at Eagle Hill, next to Peter Bradford's.Barnabas reacts strongly. He has the kids sit down and questions them about this grave, which was mysteriously filled in the second time they saw it. Amy asks what he's going to do. Barnabas tells them to go get dinner. They want desperately to go to the graveyard with Barnabas, but Julia, behaving very motherly, tells the kids, "You heard what Barnabas said." She puts her arms around each of them again. David asks Barnabas to wait for them--they want to see what's happening now! Julia says nothing is happening and shoos them to the kitchen. Julia asks if he believes them. Barn suggests perhaps the kids have a second sight. Julia, finding his reaction hopeless, says, "Oh, Barnabas!" Barn points out that if Vicki were to be hung tonight, her grave would be dug this day. It happened 200 years ago, says Julia, then apologizes for saying it again--I think the kids as having overactive imaginations. He heads out for the cemetery, asking if she's coming with him. Of course, she says. He warns her she may be coming back to Collinwood alone. They leave.

The kids sneak from the kitchen, annoyed that Barnabas left. Amy asks what Barn meant by his coming back alone. David explains that Barnabas knows a lot of things he doesn't tell anybody. We'll just have to watch him, he says, sounding much like Quentin.

In the fog, carrying flashlights, Julia and Barnabas find the spot. Julia says there's no sign of freshly dug earth, but Barnabas insists he believes the children; it was a sign he must get back to Vicki. He kneels and, gazing at Peter Bradford's headstone, appeals to him: Come back for me, so I can save you both. Julia rises and asks Barnabas what good this does--you should do nothing--it's up to them to come for you. She wants to go back to the house. Barnabas figures she's right, and they start to go, but he decides to try once more time. She discourages it, but he returns to the graves, where a new headstone has been erected that says VICTORIA WINTERS, HANGED AS A WITCH IN 1796. Barnabas looks horrified.

NOTES: Thus will begin the story of Vicki's final days on DS. We will see a new actress portraying Vicki, see a familiar face and return for a brief stint to another time.

I wonder how much Quentin knows about Barnabas? David sounded so knowledgeable about him, so perhaps the ghost was possessing him, giving him that knowledge. Or does David have deep-seated memories of what Barnabas was?

We go back and forth with Julia and Barnabas--she wants him to forget this madness, he refuses. He wants to save Peter and especially Vicki. Of course, she fears losing him, but she knows how stubborn he can be, and should realize he must be allowed to do as he wishes--especially now that he's seen poor Vicki's grave and knows she's already perished.


661 - (Grayson Hall) - On this night, an incident from the long-dead past has intruded upon the present. Barnabas Collins has learned of a hanging that occurred in the year 1796.

Barnabas kneels besides Vicki's grave and tells Julia he must go back in time to help her. Julia kneels with him and says it's isn't necessary--Vicki went to the past once before and when she was about to be hanged, she was somehow returned to the present.Only because there was someone in the present to take her place, says Barnabas--and the tombstone is proof--this time Vicki went to the gallows and died--I must go back a few hours before that and save her. What would you do? she asks. I'd change the events that took place the day she was hanged, he replies. Julia asks what DID happen that night. It was a most tragic night, says Barnabas, beginning with my mother discovering my coffin--the shock of seeing what I was drove her to take poison.

We return to 1796, as Barnabas relates to Julia the events of that night. A doctor was summoned; he and Ben Stokes waited in the drawing room to hear the verdict. She can't die, insists Barnabas. Ben says she might not, since no one knows how much poison she took. If only she hadn't found me, laments Barnabas. It was Forbes, spits out Ben--he was the one who told her you were in the tower. Yes, agrees Barnabas, and he will pay for it. Ben hopes so--he's brought nothing but grief to this family. Barnabas sadly says he begged his mother not to love him; he tried to tell her anyone who loves him will die, part of Angelique's curse, but she wouldn't listen. Ben says it isn't that easy--you can't just tell someone to stop loving. Why isn't the doctor coming? Frets Barnabas--why is he taking so long? Joshua comes in and tells them there's no need for a doctor--"Your mother is dead." Barnabas' face crumples in grief.

Barnabas continues telling Julia that for his father, the agony of that terrible night had only begun--he still had to face the task of disposing of me. Joshua insists the curse must be ended. Barnabas tells him it cannot be ended, but Joshua says it will, and he will do it--I can't allow more people to die--I must destroy you. Joshua can't bring himself to driving a stake through his son's heart, although Barnabas says it's the only way. No, says Joshua, silver bullets fired directly into your heart will destroy you--I learned this in Boston from an ancient volume of witchcraft--destruction will be instantaneous. His voice ragged with unshed tears, Joshua says, "I must destroy you! If you have any human feeling left, you will not try to stop me." I sent Riggs to town with a silver candelabra to have six bullets made--I will fire those bullets into your heart. Barnabas asks of Forbes' whereabouts--he must die! Joshua begs him not to do this. Barnabas doesn't understand why he wants to allow the blackguard to live--if not for him, Naomi would still be alive!--you should hate him as much as I do. Joshua protests it isn't Forbes that concerns him, but Barnabas--my son has caused enough destruction and must not cause more. Barnabas promises this will be his one last act of destruction--and one that will give me enormous pleasure. Joshua begs him not to do it, but Barnabas says he can't stop him, no one can.

I went out to look for Forbes, says Barnabas, and found him at the Eagle Pub--drinking his last drink.

Barnabas calls to Forbes, who turns around, amazed.  Barnabas notes he looks surprised to see him. Nathan admits he is. Because you thought I'd gone to England, prompts Barnabas. Yes, agrees Forbes. No, says Barnabas, you told my mother I was alive, hidden in the tower--my mother found me there. I wasn't certain, says Forbes, I only suspected. Do you know what happened to her? demands Barnabas harshly--she's dead!--she committed suicide because of what you told her! I never wanted her to die, blathers Forbes, I never wanted harm to come to her. And what about Daniel? asks Barnabas. I didn't want harm to come to him, says Nathan, I lost my temper and scared the boy, that's all. Barnabas continues relentlessly, asking about Millicent. Forbes assures him he loves her very much, and they're married. Barnabas calls him a lying hypocrite who will stop at nothing to get what he wants. Nathan nervously licks his lips. "MY MOTHER'S DEAD BECAUSE OF YOU!" cries Barnabas, smashing a glass on the table with his cane. You don't know what you're saying, says Nathan. They stare at each other. Nathan pulls out his pistol and announces, "I've captured the Collinsport Strangler!" Barnabas laughs, "Is THAT what you think?" Yes, says Nathan, and I'm taking you to the constable--I'm not bluffing, I'll shoot! "Go ahead," urges Barnabas, advancing on him, taunting him, "Shoot! SHOOT!" Nathan fires. Barnabas grabs his midsection. "I cannot die, because I am already dead!" shouts Barnabas.Forbes' eyes widen. "Do I frighten you, Forbes? I do not plan to kill you, at least not here and now. Later, Forbes, after you've had time to think about it. Nine o'clock--when the clock strikes nine, you will die." Nathan gazes fearfully around, but Barnabas has dematerialized.

In desperation, Forbes went to Collinwood, Barnabas tells Julia--Ben and Joshua were in the drawing room--Forbes had no idea what was happening to him, because he didn't yet know what I was.

Eyes bulging, Forbes tells Joshua that he fired a shot directly into Barnabas' chest, but he simply disappeared!  Forbes asks what Barnabas is. Joshua replies, "He is a vampire." Nathan's eyes bulge even further as Joshua explains Barnabas was placed under a curse that destroyed the family and will, in due course, destroy Barnabas himself. Nathan can't believe it. Joshua says it is true. Barnabas threatened to kill me, says a terrified Nathan, a statement which brings a broad grin to Ben's face. I'm surprised he didn't, says Joshua, considering he blames you for his mother's death--as do I. Nathan says Barnabas promised him death at 9. I tried to stop my son, says Joshua, but it did no good--it's impossible, I'm almost sorry for you, but there's nothing I can do. To Forbes' consternation, Joshua starts to leave, telling Nathan, I won't provide protection for you--and besides, I don't want to witness what's going to happen to you. Joshua, grim-faced, leaves. Nathan appeals to Ben, who admits he has known about Barnabas a long time. And you let him go on killing people? demands an incredulous Nathan. Ben explains, I tried to stop him once, he even begged me to do it, to destroy him in one of the few ways he can be--but I ain't going to tell you. If you just stand by and let Barnabas kill me, warns Nathan, frantic, my blood is going to be on your hands--do you want that? The way to destroy him, says Ben, grinning, is to drive a wooden stake through his heart. Ben laughs as he relates the rest--in the morning, he rests in his coffin, so you must go and do it then--however, you won't live that long--tomorrow morning, chortles Ben, you'll be dead! Nathan starts to race from the house. You can't escape him! says Ben. Nathan hears a wolf howling, sees lightning. Ben tells him the howling dogs mean he's nearby. Nathan closes the doors and comes back inside. It's four minutes to nine. Nathan bursts in on Joshua in the study. Joshua reiterates: There's nothing I can do. Nathan begs him to be with him at 9, but Joshua says it won't make a difference--and I don't want to witness it. Nathan spots the crossbow and arrows hanging on the wall. He tells Joshua it was unfair of him to ask him to stay. Joshua finds this change of heart puzzling, but Nathan says if he must die--I don't want to die a coward's death--it's nearly nine--you should leave. I wish I could do something for you, says Joshua--in spite of everything--and he leaves.

Seeing one chance to save his wretched neck, Forbes clutched at it, explains Barnabas. Nathan takes down the crossbow and an arrow, racing against time to prepare the weapon. I returned to the house, says Barn, never suspecting I'd be the one to die.

Barnabas enters Collinwood. He heads immediately to the study, where Nathan has the weapon prepared, an arrow in place. He leans against the closed door, steps back, and fires the arrow into the door, a practice shot that looks just about heart-high.

We see Barnabas' booted feet heading toward the study. The clock strikes nine--Barnabas is punctual.

Nathan waited, cautioning himself to be steady and aim very carefully. Thunder crashes.

Barnabas continues to walk toward the study. He opens the door, sees Nathan and cries out, "No!". Forbes fires  the crossbow into Barnabas, then, through a series of mismatched cuts, he pulls it from his chest, glares at Nathan and tells him, "You didn't hit my heart!" Forbes tries throwing a chair at Barnabas, but it's no use--the vampire throttles the SOB as he so well deserves.

Barnabas explains that with Forbes dead--my father and I made plans for my final destruction.

It's dawn. Father and son face each other awkwardly. Barnabas asks for two things--free Ben, he deserves it--he's been loyal to me since all this started--and, help save Miss Winters. I've already tried and failed, says Joshua. Barnabas begs him to send a note to the governor--use your prestige--you might get a stay of execution and a new trial. Joshua promises to fulfill his requests. I was never known to show much affection, says Joshua sadly. Barnabas asks him not to show it now--after today, forget I am your son, forget I ever existed. Joshua bows his head and with a catch in his throat, says, "I cannot do that." You must, insists Barnabas--"Goodbye, Father." "Goodbye," says Joshua.Father and son exchange one long look of hopeless love before Barnabas leaves. We see Joshua sitting in a chair, agonizing over all this.

Barnabas tells Julia he can only surmise what happened after that--Joshua couldn't bear to fire the bullets into my heart, and most likely instructed Ben to place the chains around his coffin.

We see Ben doing just that, sealing the last chain. "Goodbye, Mr. Barnabas," says Ben, leaving the secret room and closing the door.

And there I stayed, in that mausoleum prison, for almost 200 years, until Willie broke in and released me, finishes Barnabas. "I see," says Julia, although God knows what complex emotions she really feels here.

So now Julia knows what happened, but she doesn't know how he can save Vicki. Barnabas was obsessed with killing Forbes that night, but, "I should have let him live and forced him to recant his testimony against Vicki--that's what I'm going to do this time." How? asks Julia, how will you get there? Vicki was led back to the past by Peter's spirit, says Barnabas, I will go the same way, for just one night--I will control time. Julia feels he's wrong surmising that. I will know what will happen before it happens, says Barnabas--and therefore change it. Julia points out that any number of things can change what happened, and they all represent grave danger for him--what if Forbes fires the arrow and strikes you in the heart?--you'll be dead and Forbes will have changed the course of history. It will never happen, insists Barnabas. You can't be sure, counters Julia--if you change one thing in the past, you can start a whole chain reaction that could lead to your own destruction. I know that, says Barn. Remember what you were then, she reminds him, when you come back--if you come back, will you be human or vampire?Barnabas doesn't know, nor does he know how he'll return to the present--I'm willing to take the risks, he says--return to this spot in 48 hours. He refuses to let Julia stop him, or talk him out of it--I can't let Vicki die. Barnabas summons Peter Bradford's spirit--help me as you helped Vicki to transcend time's barrier--I must rectify a great wrong from the past--open the way for me, I implore you! says Barnabas, and suddenly, it appears that Julia has disappeared! We hear howling dogs, and Barnabas stands, fangs bared, dressed in his old 18th century outfit! He has returned to the past!

NOTES: Excellent episode, even if it was mainly flashbacks from a wonderful time in DS, one of my personal favorites. Wasn't it hard to see Barnabas say goodbye to his grief-stricken father again? To watch him destroy Nathan one more time? Get ready for some changes to 1796, my friends, as Barnabas goes back in time to save the woman he loves--despite the protests and excellent arguments against doing so from the woman who loves him!

Love, Robin

656 - (KLS) - Morning at Collinwood--but there's no joy in this morning, for the mistress of the great house died on the previous night. There's considerable mystery surrounding her death, mystery that can only increase before an ultimate resolution. And at this moment, two innocent children are about to be drawn tighter into a web of terror neither can understand.

Barnabas walks downstairs Collinwood's staircase, looking sad (and spiffy) in a three-piece gray suit. Amy and David go to Quentin's room, but David doesn't want to see Quentin--he doesn't want to see anyone. Amy wishes he'd stop crying--your Aunt Elizabeth isn't dead. She IS, insists David. Everyone thinks so, but she isn't, not really--Amy is sure. David thinks she's making it up and doesn't believe her, but Amy assures him Quentin will tell him so--they just have to wait. David doesn't want to. He doesn't want to play there. Amy calls to Quentin, asking him to give them some sign that everything will be all right. The music begins to play on the gramophone, and they hear Quentin's laughter surrounding them.

Amy asks David if he feels better; he does. She knew it. I was stupid to cry, says David, only babies cry. He's glad they came up, but they have to do as Quentin asked. They wonder about this latest order, but decide they aren't supposed to ask questions.

Barnabas glances over some paperwork. Mrs. Johnson comes in and he asks how Carolyn is. Much calmer, says Mrs. J, Dr. Hoffman gave her a sedative. David was still crying, last time she saw him. Barnabas commiserates. Mrs. J. wonders if Maggie should have left the children alone, but Barnabas said she had to go pick up the rest of her things.Couldn't it have waited? wonders Mrs. Johnson--should children be left alone at a time like this? David wanted to be left alone, explains Barnabas. Mrs. J says, harshly, that Miss Winters would have known what to do! Barnabas chastises her--that isn't being fair to Maggie! She apologizes--her nerves are on edge. He comforts her and says he's sorry--we haven't been able to reach Roger in London yet. It will be a terrible shock to him, says Mrs. J. She wonders if burial arrangements have been made--Barnabas hasn't phoned about them, which puzzles her--shouldn't you take care of that? He explains that Mrs. Stoddard isn't going to have an ordinary burial. She didn't want one--her will stares that in case of death, she will be buried in a special casket in her own mausoleum. He brandishes the paper as he says this. There will be no services. Mrs. J finds it odd, but Barnabas says they will carry out her wishes--no one outside the family is to know about this.  Mrs. J says she wonders why she wanted it. Barnabas tells her they shouldn't be asking any questions, and Mrs. Johnson says she won't. She goes to answer a knock at the door while Barnabas looks rather perturbed. The man at the door asks for "Mr. Jonathan." (a Fridian slip, perhaps?) Mrs. Johnson tells him yes. He wants to see Mr. Collins, and thinks he is expected. David and Amy watch from the landing, then troop downstairs to watch and listen.

Mrs. Johnson brings Mr. Jarrett in to see Barnabas. They shake hands. I was shocked to learn of Liz' death, Mr. Jarrett says, as will the rest of the town when the news gets out--I'm the man from the funeral home, he explains, to Barnabas' astonishment. Barnabas didn't call him, but someone did. Is it a practical joke? inquires Mr. Jarrett--isn't Mrs. Stoddard dead? Yes, confirms Barnabas, but I didn't make the call and can't imagine who else did. Odd, says Mr. Jarrett, my wife got a message for me to come here, someone who sounded like a man. Barnabas tells him they made other arrangements for the burial, and this is a mistake on someone's part. Barnabas sends Mr. Jarrett on his way. Mrs. Johnson says no one but you would have made the phone call, and if you didn't, who did--and why? Barnabas doesn't know.

Amy and David are back in Quentin's room, and Amy is begging Quentin not to be angry at them; they did what he told them to do.  David made the phone call and the man came, but Cousin Barnabas sent him away. We tried, says Amy plaintively. The chandelier begins to sway, and David holds onto a frightened Amy. They stare at each other.

Barnabas goes into the drawing room and tells Mrs. Johnson no one knows about that phone call. David and Amy come in. David assures Barnabas he's all right--they want to go outside. Barnabas gives his permission, and asks David if he made a phone call to town about Aunt Elizabeth. David gets all sobby and says he doesn't want to think or talk about Aunt Liz. Amy asks him not to cry, and he says he isn't going to. Barnabas sends the kids out to play. Mrs. Johnson sympathizes about David, and Barnabas regrets asking him about the phone call, sorry he even mentioned Elizabeth's name. Face sad, he looks at the paperwork again.

In the woods, a smiling Amy and David congratulate each other on how good they're getting at fooling everyone. But we must do as Quentin told us, says David, and be careful and not make any mistakes.Amy grins and says, "They'll never find out the truth."

4:45 PM - Maggie stands in the foyer. Barnabas comes from the servants' quarters and tells Maggie that Mrs. Johnson is going to tell the children he's taking them away for a while (boy, he couldn't do any of this neat traveling stuff if he were still a vampire, could he)? Maggie asks if he's going to tell them about boarding school, and Barnabas says it will depend on how they feel about leaving Collinwood. Maggie asks if he'll need her in Boston, and he says he needs someone to look after them until he places them in schools. Maggie assures him she'll be glad to take care of them as long as he wants her to--it's good for me, too, she adds, taking my mind off lots of things I want to forget.

Mrs. Johnson brings the kids in from outside and Barnabas leads them into the drawing room. Mrs. Johnson tells Maggie her room is almost ready, and they go upstairs to finish cleaning it out.

Barnabas has the kids sit on the sofa, then asks them if they'd like to visit Boston. Amy says she's never been there, but David has, lots of times, and likes it there, there's lots to do. Barnabas asks them if they'd mind leaving Collinwood for a while. David answers no, and Amy seems willing to go along with whatever David wants to do--I like taking trips, she says. Barnabas tells them they'll be leaving in a few days, and bringing Maggie along. Amy and David are both thrilled. Then Barnabas drops the bomb--perhaps, if they like Boston, they might consider going to school there.This plan meets with less enthusiasm, although they fake their reception of it. I'll start making plans, says Barnabas--I'll speak to Maggie--stay in the house tonight and don't go out again.

Left alone, Amy reminds David that they CAN'T leave, Quentin told them they never could. I know that, he says. Amy asks what they are to do. David takes her hand and leads her through the secret panel--we're going to see Quentin.

Mrs. Johnson shows Maggie Vicki's favorite dress--a pretty green (sleeveless, naturally), and smiles ruefully--she looked so pretty in it. Maggie remembers, too. They are placing Vicki's clothing in a box. Barnabas comes in and tells Maggie he spoke to the children and they're delighted about leaving. I'll be ready to leave in a few days, says Maggie. Mrs. Johnson innocently asks Barnabas what to do with Vicki's things, and he reacts as if stung: "Get rid of them! Destroy them!" That would be a shame, protests Mrs. Johnson, suggesting they give them away. Do whatever, says the heartbroken man, but get rid of them. Then Mrs. Johnson really sears his heart by giving him back the music box that he'd given Vicki. Upset, her orders her to take it away--get rid of that and everything. "Just as you say," says Mrs. J. Maggie opens the music box, listens to a few bars, then closes it. She and Mrs. Johnson exchange sympathetic glances, and they pack the music box in the box with Vicki's clothing. Mrs. J takes it away. Maggie goes over to Barnabas, who is staring out the window, and tells him she's sorry--about everything.He tells her to take care of the children. She leaves. Barnabas looks in the empty closet, then touches the bed. He looks in the vanity mirror and tells himself, fiercely. "Vicki, I've got to forget you! I've got to!" (aw, poor guy--she could have had you, but chose Jeff--ick!)

The kids go to Quentin's room and appeal to him for help--they're going to send us away!--we don't know what to do!--tell us!--you told us we couldn't leave--appear to us and help us! Both kids call and call, looking around as if lost.

Maggie walks downstairs into the drawing room, calling to David and Amy. She looks annoyed. Mrs. Johnson comes out and tells her she stored Vicki's things in the basement--she couldn't bear to just throw them away, and hates to think about Vicki being lost to them forever. Maggie feels the same. Mrs. Johnson pronounces this house is cursed, along with everyone under its roof--I'm glad the children are leaving. Maggie asks if she's seen them; she can't find them--Barnabas told them not to go outside--I'm worried about them, it's getting late. They hear someone playing London Bridge on the piano, and walk into the drawing room to see Amy playing and David standing by. Maggie wonders how they got in there--I just looked--you couldn't have gotten in without me seeing you. We were in here all the time, says David, playing hide and go seek--we found good hiding places, but can't tell you, Maggie, because it spoils the game.  She asks if they're telling her the truth. David assures her they wouldn't lie to her. Besides, how could they be in there now if they weren't there before? Maggie doesn't know. Sweetly Amy asks if it's time for them to go to their rooms. Past time, says Maggie, and both children go docilely upstairs, arms wrapped around each other, smiling widely.

Maggie goes into her room and starts to unpack--but when she opens the closet, all of Vicki's hideous dresses are back in there! She calls to Mrs. Johnson, who comes in immediately. She denies bringing Vicki's things back up here, but points them out to Mrs. Johnson, hanging in the closer. "It can't be!" Mrs. J insists. Maggie asks who could have brought them back to the room, but Mrs. Johnson assures her no human hand has touched those clothes since she took them away. "It's a sign!" says Mrs. Johnson. Barnabas joins them, and they tell him what has happened. "It's a sign from Vicki!" cries Mrs. Johnson. "She's coming back! Vicki's coming back!" Maggie and Barnabas exchange looks of pure shock.

NOTES: The "Mr. Jonathan" blooper always makes me smile. You can easily see how it happened. Do you think Quentin is responsible for Vicki's clothing reappearing? I won't tell you, but it will be a surprise. Poor Barnabas and Julia are so beleaguered in these episodes, and not together, where they can give comfort to each other. Julia's got Chris' problems, Liz', and Amy's. Barnabas must worry about Maggie, the kids, Liz, and everything else in the households. Love those scenes between Barn and Mrs. Johnson. They are a hoot! Amy and David are so wicked together. Why would Quentin want to send an undertaker to Collinwood? I never did get that, unless it was just to be a nuisance.


657 - (Don Briscoe) - Evening at Collinwood--as darkened shadows enshroud the great house, mysteries begin to unfold, mysteries that grow with the encroaching darkness. For two innocent children have been possessed by the spirit of a man long dead. But perhaps there are other forces in this house, forces calling from beyond time, beyond space, trying to make contact with the land of the living.

Briscoe does a nice intro. His voice is deep and arresting.

Amy and David exchange whispers in the drawing room. It's 7:15.

Mrs. Johnson really gets into it, insisting it's a sign Vicki is coming back--or wants to. Barnabas and Maggie proclaim it nonsense.They discuss the fact that Mrs. J took the clothing out. Perhaps a joke, suggests Barnabas, but Mrs. J disagrees. She spots the music box on the desk and demands that Barnabas explain it. Mrs. J is sure "Vicki needs us and is calling to us from wherever she is." She's gone! says Barnabas angrily. Mrs. J suddenly smells the scent of lilac, Vicki's perfume, and believes Vicki is very close. Barnabas, dealing with his heartbreak, begs her, "Please!" Maggie tells her they should all act rationally. Barnabas sends her down to fix dinner for the kids, and tells her to leave the stuff where it is for the time being. Mrs. Johnson says, "I'm really frightened." Maggie asks Barnabas if it's really possible, what Mrs. J is suggesting. "NO!" he bursts out, (a former vampire says a ghost can't return?) and she apologizes for upsetting him. I can't bring myself to believe Vicki's coming back or wants to, he says--she's gone and won't return!--we must face that fact. The kids come in and announce to Maggie they've started packing for Boston. Barnabas tells them that's OK. Amy asks what clothes she should bring, but says she pretty much knows. She and David put their clothing on the bed, and asked Maggie to come check their choices. Amy says she's excited, and as Maggie escorts the two of them out of the room, Barnabas' face contorts with misery. He paces about the room, then picks up the music box and plays it, torturing himself further.

Maggie, David and Amy go into the latter's room, but the clothes she laid out are gone from the bed. I saw her put out the clothes, says David, and they pretend-behave puzzled. Amy opens her closet--her clothes are back in there! None of them knows anything, but David calls to Barnabas. Maggie tries to stop him, knowing how upset Barnabas is. Barn comes in, probably already hating "domestic tranquility," and David tells him what happened to Amy's clothes. Amy innocently asks who would put them back. Barnabas says he doesn't know. David again vouches for Amy having done so. Maggie suggests someone came and put them back, but Amy said no one would have had time. Amy suggests someone doesn't want them to go away. Barnabas thinks this over, then tells the kids to go pack. We're still going away? asks Amy, pleased when he says they are. I really want to go! She says. Barnabas tells Maggie to help the kids pack. Amy and David exchange looks of disappointment, then big smiles.

8:15 PM - We hear a knock at the door. Mrs. Johnson goes to answer it. It's Chris, who's come to see Amy--has anyone else been to see her, he asks, specifically Cousin Joe? I haven't been able to find him for several days. Mrs. J says Joe came the other day, and she saw him but didn't speak to him. Perhaps Barnabas. . .Chris, perturbed, wants to find out more.

While Maggie packs, Amy and David keep going on and on about the clothes being returned to her closet while she packs. It's sort of spooky, says David. Maggie asks them to discuss something else. David tells her she seems nervous, and Amy says she hopes Maggie feels all right--it would be TERRIBLE if anything happened if she got sick and couldn't go--it wouldn't be nearly as fun. Maggie assures them she's fine, then asks which dress Amy would like to take. The red one, says the little girl. David asks why Vicki left--no one explained it. She went away with her husband, says Maggie--far away where her husband lives. Vicki never said goodbye, says David, which seemed funny. Maggie said Vicki left suddenly, and she doesn't know if he'll ever see her again. Perhaps Vicki will write you, David, suggests Amy. David wonders why she hasn't written already--why not?Maggie requests that he stop asking questions she can't answer. Maggie pleads a headache. Amy says it's their fault for asking so many questions. They apologize. Maggie praises them for being very well behaved. Amy suggests Maggie lie down, but Maggie assures her she's all right. The kids exchange more secretive smiles.

Chris paces the foyer. Barnabas shakes his hand and invites him into the drawing room. Chris looks nervous. Barnabas tells him he wants to take the kids to Boston, perhaps put them in school--get them out of Collinwood-- is that OK? Chris is distracted, then answers, sure, if Amy wants to go. She does, Barn assures him. I'm looking for Joe, says Chris. Joe didn't speak of leaving town, explains Barn, but prepare yourself for a shock--Joe isn't himself, he's mentally disturbed--he tried to take Amy forcibly from the house, saying strange things like he was trying to protect Amy. Chris wants to know from what, exactly, but Barnabas doesn't recall--Joe didn't make much sense.Barnabas observes Chris doesn't seem surprised, but Chris says he's seen it coming for some time now--Joe has been weird for months. Joe has been perfectly rational with me, until the other night, says Barnabas (Angelique notwithstanding, we assume). Joe has been going off the deep end with me, says Chris but it couldn't be prevented. Barnabas is gazing sharply at him.

After Maggie finishes packing Amy's suitcase, she goes downstairs to check on their dinner. Amy tells David it didn't work, but David insists "They're getting scared." The resolve to scare them more, since they're still being taken to Boston. Although they aren't sure how, they'll ask Quentin. Amy fears Quentin won't know, but David assures her, in a weird voice, "We'll never leave this house."

Chris kneels to assure Amy he'll visit her in Boston, as much as he can, and write to her, too. He kisses her cheek and says goodbye. He thanks Barnabas, then leaves. Amy tells Barnabas she didn't mind saying goodbye to Chris, because she's so excited to be going to Boston. Barnabas tells her he's glad.

Mrs. Johnson dusts Amy's room. David enters and tells her he puts his clothes out on his bed and they were returned to his closet, too. She asks if the kids are playing pranks, and he assures her no, why would we? (oh, brother!) I don't know, she says. Perhaps someone is playing tricks on us, suggests David. Perhaps, says Mrs. J, but doesn't know who. A ghost, suggests David--does it scare you? Of course not, she lies, obviously terrified. I was afraid, says David, but she assures him they'll be going to Boston soon. He asks her what's been going on, and she tells him to run and find Amy--run along. I have to pack, objects David. Mrs. J says she'll tend to that. David grins at the havoc he has wreaked.

Maggie sits on her bed, thumbing through a book. The music box opens by itself and begins to play. Maggie picks it up and finds a note tucked inside: "I am alone, help me, help me!" it says. Maggie runs out, leaving the music box playing.

Down in the drawing room, Barnabas promises the children he'll take them to the Boston Zoo, if they're both good. They promise. Amy has never been to a zoo before. Maggie comes in and tells Barnabas she wants to speak to him. She sends the kids upstairs. David asks if something's the matter, but she brushes him off. The kids overhear her telling Barnabas what happened. He reads the note and tells her he didn't want to believe it before, but Vicki must really be trying to contact them. What will they do? We can't leave the house, insists Barn--Vicki needs my help, and I must stay and help her.

The kids return to Amy's room, where David tells her he knew they'd never leave the house. You were right, Amy says--but David, there's one thing I don't understand--Maggie said the music box opened by itself--Quentin can't do that. David agrees. Then who did, asks Amy? And David replies, "I don't know!"NOTES: Creepy goings-on, with the Terror Tots manipulating everything Quentin's way. It's weird to see Barnabas, Mr. Domesticity, turned into the master of the house, father figure, employer of Maggie and Mrs. Johnson, etc., while still dealing with his deep heartbreak over losing Vicki. Who did open the music box, if not Quentin? And why can't he open music boxes, if he wants? Does this mean Vicki is trying to give them a message, and Quentin has nothing to do with this?

What if Barnabas were still a vampire? He's living at Collinwood now, apparently, sleeping in a bed. That wouldn't be easy if he were still a night time bloodsucker!

Love, Robin

651 - (Grayson Hall) - A strange and terrifying night at Collinwood, a night in which the past has reached into the present and taken the life of a young woman. It took only a matter of seconds for Victoria Winters to disappear forever, but it will take a very long time for those who witnessed this supernatural occurrence to comprehend or accept the fact that Victoria Winters no longer exists.

8:10 PM - Collinwood - Stunned, Barnabas and Liz, together in the drawing room, go over what just happened to Vicki. They wonder how it's possible--one moment she was there, the next moment, gone. They'll never understand it, they agree. It's like death, mutters Liz--we don't understand that because we can't, we can only wait for it, knowing it will reach out for us when it's ready. (oh, no!, not this again) Barnabas, perturbed, reminds her they have both had a great shock. Vicki didn't die, muses Liz, she simply vanished into another time--that's where she'll die, where she's supposed to die. Barnabas wants to bring Liz upstairs and find Julia, get his cousin some rest. My time is near, too, and I'm going to die, says Liz. Barnabas slips an arm around her and guides her out of the room, his face creased with concern (nice of you to leave him with all these problems, Roger!)

Chris stares from his awful hotel room at the moon. He gazes at his reflection in the mirror, feeling for excess facial hair. He paces, nervous. He checks his watch. He picks up the phone and calls the operator to get him 7758. The phone rings at Collinwood. Barnabas answers. Chris asks to speak to Julia. Barnabas says Julia can't come to the phone. I must speak to Julia, insists Chris. There's been an emergency with Liz, explains Barnabas. My emergency is more important, says Chris. I'll have Julia call you as soon as she can, promises Barnabas. Chris slams the phone down in frustration and looks anxiously out the window again. He falls into a chair, feeling the first stabs of pain, and we hear a wolf howling.

Julia tells Barnabas that Liz is in bad shape--this is one shock she may not recover from--she had a serious relapse because of Vicki's leaving, and Liz associates it with a slow kind of death, the kind she thinks is coming for her. It's all in her mind, surely, protests Barnabas. It's a very real threat to Liz, Julia assures him--I've given her a sedative, and perhaps in the morning, her outlook will be better. Barnabas fears Liz will be worse. Julia says she has no answers, but Liz does have an alarming preoccupation with death, rooted deeply in her mind--I don't know where or how it began. With Cassandra, says Barnabas--considering she and Liz hated each other on first sight--it must be a spell Cassandra cast. That doesn't matter now, says Julia, Cassandra is gone. Barnabas supposes she's right. Julia got the story about Vicki from Liz. Barnabas can't bear to contemplate life without Vicki. Julia touches him arm, telling him she's sorry. Barnabas wonders why Jeff had to come and take her away-- why?--WHY? It was Vicki's choice to make, says Julia. Barnabas doesn't want to hear that. Julia tells him she's spoken with Vicki since Jeff's disappearance, and the young woman was willing to sacrifice her life to be with him. This enrages Barnabas. Julia says he must accept this for his own peace of mind. Barnabas spits out that he'll accept she's gone and he'll never see Vicki again--but I blame Jeff for interfering in the first place! I can't force you to see what you should see, sighs Julia. Barnabas wants to speak to Elizabeth, and he wants Julia there. He turns and tells her Chris called, saying it was urgent, but Julia knows what it's about and says she can call him later.

Poor Chris goes to the non-ringing telephone, bangs his hand on the dresser, puts on his coat and leaves the room.

Joe and Amy return from somewhere. She's staring at the moon--sometimes it scares me, I don't know why, says Amy. Joe assures her it can't hurt her and hustles her inside. She's wearing a pretty green velvet dress and light green blouse, and looks adorable. Amy thanks Joe for the movie, wishing Chris could have come along. He's been busy since coming back to Collinsport, says Amy, but she's sure they'll see lots more of him when he settles down and finds the right job. (She's so hopeful and innocent, it's sad.) Joe agrees. He asks her about the star she saw on his face--did she really see it? Yes, she says. This disturbs him--he doesn't understand how or why she was able to see it. Neither do I, she says--I've never seen it on anyone else's face--I'm sorry I upset you.It's OK, he assures her--do you see the star on my face now? No, she says, yesterday was the only time. Perhaps you imagined it, says Joe--go up to bed. She asks him to have Chris call her; he promises her will. Amy goes upstairs and greets Liz, who walks past her without answering. She asks Liz if she's feeling all right; still no response. Amy sees Liz leaving the house and asks where she's going. The little girl gazes after her, then up at the moon, fearful.

Chris is in the woods, also staring up at the moon, and looking none too happy, either.

Barnabas comes downstairs and finds Amy standing outside the house. He tells her to come into the drawing room, he wants to speak to her. (She's wearing bright green shoes, too.) Amy joins Barnabas. He tells her something has happened here tonight. She asks if it's something to do with Mrs. Stoddard. It affects all of them, especially Liz, answers Barn. I knew it, says Amy--Liz had such a strange look in her eyes when she walked past her in the hallway a few minutes ago. Barnabas asks if Liz left the house. Amy says yes--and Liz wouldn't say anything to her. Barnabas, preoccupied, tries to get Amy to go upstairs, but she shrilly protests she wants to help Mrs. Stoddard. No, says Barnabas, you can't help, just go upstairs. Amy refuses, she wants to wait until Liz comes back (very argumentative with an elder, isn't she?) She begs Barnabas to allow it. Barnabas tells her to wait in the drawing room on the sofa, then runs upstairs. Amy leaves the drawing room, takes her coat (another shade of green) and leaves the house. We hear the ocean, see the moon.

Barnabas and Julia race downstairs, the latter wondering how the sedative she gave Liz allowed her to get out of bed before morning. Barnabas, worried about Liz, goes out to look for her; he sends Julia to be with Amy. Julia rushes out to tell him Amy is gone. Barnabas realizes he now has two to look for. Cape on, cane in hand, he races out. Julia closes the door behind him, saying Amy has only been gone a moment. Julia figures she can return Chris' phone call now, but the man himself is banging frantically at the front door. Where have you been? he demands--I needed those pills before dark! She wonders why he's so upset, and doesn't understand why he needs the pills now. He apologizes; he was very anxious about getting the pills and is overwrought from lack of sleep. Julia asks if he REALLY wants the pills for insomnia.Yes, and I need to get back to town before dark, he says--please, give me the pills. She hands him a vial and tells him to follow the directions. He tells her he appreciates her trouble. I hope they help you, she says--if they don't, you can have a check-up at Collinsport Hospital. Yeah, yeah, he says, and he hurriedly leaves.

Liz stands before the mausoleum. The tomb is ready--and *I* am ready, she thinks to herself--there is no reason to wait any longer. She walks toward the mausoleum. Amy stops her, asking what she's doing here all alone. Liz turns to face her, speechless, in the foggy cemetery. Amy wants an answer. Liz tells her you shouldn't have come here. I saw you weren't feeling well, she explains, I wanted to help. No one can help, says Liz--you're very young, you must think about living, not death. Liz turns to enter the tomb. Amy asks if dead people are in there. Yes, says Liz. Did you come out to visit them? asks Amy. No, says Liz, because I'm going to become one of them very soon. "No!" protests Amy. "You're not going to die!"There's nothing you can do, says Liz--it won't be an ordinary death, that's what's so frightening--everyone will think me dead, only I will know I'm not, but helpless to tell anyone--I'll be buried alive. (what a terrible thing to tell a little child!) Over Amy's protests, Liz goes into the tomb. Liz falls to the ground. Amy kneels beside her. Barnabas comes running over. "I think she's dead!" cries Amy. Barnabas falls to his knees to look Liz over. No, says Barnabas, but we must get her back to Collinwood, quickly. The two of them start helping Liz home.

Chris locks himself in his room and pours some water to take the pills. He swallows some, then sits down on his bed. Joe knocks at his door. Chris is not happy--I can't talk right now, he says, but Joe insists. I was about to go to sleep, objects Chris. Joe insists on speaking to him immediately. Chris gives him a few minutes, explaining, I haven't been able to sleep nights. Perhaps it's your conscience, suggests Joe angrily--you were supposed to be with Amy, but let her down--I'm tired of giving her the old excuse that something came up, tired of seeing the look on her face. Chris knows--I'm sorry, he says. Joe points out that he keeps disappointing Amy, making her feel rejected--sorry isn't enough anymore--Amy isn't a Collins, shouts Joe, and knows it--she needs and loves her brother, and doesn't understand why you don't love her! I DO love my sister, insists Chris. Joe orders him to show it. Chris begs Joe to leave, for his own good, and opens the door. Joe takes it as a threat, and warns him cousin that he had better do something about Amy, and soon--or you'll answer to me! Chris gives his word and again orders him out. Joe agrees to go, saying, sarcastically, "I don't want you to lose any sleep tonight." Chris feels the pains of transformation coming over him immediately after he closes the door on Joe. He lies down on his bed, eyes fluttering, moaning in agony. His hand has already turned furry. He groans, pulling at the crocheted afghan on the bed.

NOTES: Oh, Joe, you are playing with fire! I'm sure if Julia knew how badly Chris really needed that sedative, she'd have called him back sooner. I did NOT miss the "Liz fears dying" storyline, and am sorry it's back again.

You have to admire Joe's resolve on Amy's behalf, he really is right, but he has no idea why Chris doesn't want to see his sister, and he can't very well tell Joe about his monthly problem. Sad all around.


652/3 - (KLS) - A dark and sinister night at Collinwood. A sudden, strange disappearance of a young woman has led to a chain reaction of terrifying events. Found unconscious near the old family mausoleum, the mistress of Collinwood has again become the victim of an evil spell which she thought she had overcome, a spell which could end her life at any moment.

Barnabas, Amy and Liz return to Collinwood. Liz is conscious, but her mood hasn't changed, and she fears being buried alive. Barnabas takes her up to her room. Amy goes outside and stares at the moon. Meanwhile, Chris sleeps restlessly in his werewolf form.

Liz's fear of premature burial persists as she talks to Barnabas. He tells her it's in her mind, which only supports her argument that there's something wrong with her. Suddenly her thoughts turn to David and Amy.She insists that they'll need a governess to replace Vicki immediately, in fact, tonight. She suggests that Maggie would be a good choice. (a waitress as a teacher? Only on the Collinwood universe!) Barnabas agrees to call her.

Downstairs, Amy is crying as she stares at the full moon. Barnabas is angry with her for leaving the house against his orders, but he becomes concerned when he notices that she's been crying.She tearfully tells him that she's afraid of the moon, but doesn't know why.

At the Collinsport Inn, the curse of the werewolf iapparently stronger than Dr. Hoffman's sleeping pills; Chris the wolf man exits his room.

Joe visits Maggie at the cottage to tell her he's leaving town. They agree that they still are, and will always be friends. (sniff!  too sad!) The telephone rings. Barnabas begins to explain to Maggie about Vicki...

At Collinwood, Maggie and Joe hear the whole story of Vicki, Jeff and/or Peter, and Liz's concerns. Barnabas takes Maggie upstairs to talk to Liz; Joe stays downstairs and talks to Amy. He tells her he's talked to Chris, who promised to spend more time with her. Her smile turns to a look of shock when she sees the red pentagram again appear on Joe's face. Suddenly fearing for Joe's safety, and begs him not to leave Collinwood this night.

Meanwhile, Maggie agrees to be the children's new governess, starting immediately.Liz tells Barnabas that she feels better now that she knows that's been taken care of, but she still looks terribly worried as she finally lies down to try to sleep.

Joe offers to go to Maggie's house to pick up the things she'll need for the night, before she officially moves into Collinwood tomorrow. Amy again pleads with Joe not to leave, fearing that something will happen to him. Being a typical, disbelieving adult, he leaves anyway. Amy tells Maggie that she will not go to bed until Joe returns safely.

The werewolf lurks outside the Evans cottage. When Joe enters the house, the werewolf, apparently unaware that the door is never locked in the first place, enters with a shower of glass through the window,and attacks his latest victim.

NOTES: ill Joe be killed by his own cousin, who turns into an animal he can't control when the moon is full? Funny, when Chris was in werewolf form and spotted Amy, he ran away. You would think his cousin would be equally protected.

What a pathetic little girl Amy is. No parents, one brother dead, the other a supernatural creature--she might not be a Collins, but she sure fits in, doesn't she?

Again, perhaps Maggie went to college and was working at the restaurant only because she couldn't get a teaching job in Collinsport. Otherwise, her being offered the job as governess seems strange.

Love, Robin

647 - (Cavada Humphrey) - Night over the great house of Collinwood, night filled with unexplained events, for unbeknownst to the elders, two children have discovered ghosts in the distant Collins past, ghost who still insist on having their revenge against the family. They are using the children, possessing them to accomplish their ends. And so, a son commits the unpardonable crime, and tries to kill his own father.

David watches Liz rush downstairs, Amy on her heels. She is horrified at the sight of her unconscious brother sprawled at the bottom. The wire that tripped Roger has been removed, and she runs to her brother's side. As she checks his pulse, Amy and David look suitably concerned--and innocent.

Liz calls Roger's name. Amy asks if he's all right. Get Julia! orders Liz. Liz wipes the blood from Roger's mouth. Amy says, "You didn't answer me--is he going to be all right?" Roger moans, coming around. Amy runs upstairs. Liz helps him sit up. He assures her he's OK--nothing is broken, he says, standing, wobbling, although his head is discolored. Roger tells her someone tried to kill him--not a burglar, but someone in the house.There was a wire on the steps, and he fell on it when he came down. Impossible, says Liz. I felt it against my ankle, Roger insists. Liz tells him she didn't see any wire! He goes upstairs himself to check for the wire, Liz protesting that he shouldn't move until Julia checks him. He shows her where the wire was, but it's gone now. When Roger nearly passes out, Liz says she'll help him to his room. He asks where the wire went. Liz says no one could have done it--it doesn't make sense! David, hidden from view, twists the wire in his hands. Amy comes down from the landing to report that she woke Julia, who's getting dressed. She asks what's wrong, and David just looks sad and solemn.

Liz leads Roger to his room; but all he can speak of is that wire. She helps him sit up in bed. This happened at a bad time, he laments--I have business in London the day after tomorrow. That can be changed, says Liz. Roger says, I can't leave with things like this happening--what if it had happened to Carolyn or Liz? He asks for the cure-all, a brandy--what happened to me would upset anybody--I didn't imagine that wire! Liz goes to the table near the bed to get the brandy, and finds a Tarot card on it.She shows it to Roger--why is it there? It wasn't there earlier, says Roger--something is happening in our house (and this is different from what day)? She gazes at the card. Roger sees no connection between the two, but Liz isn't so sure. You can tell fortunes with the Tarot, and each card means something, I read that, says Liz. Roger accuses her of imagining things, but Liz says ever since the seance--someone was speaking through Carolyn, trying to warn them. That I would trip on a wire? asks Roger skeptically--Iwish you'd told me; I wouldn't have gone downstairs. (love this droll man1) David comes in; Amy woke him, he says. She shouldn't have, says Roger. Liz leaves to check on Julia. David asks to stay with Roger for a little while, expressing concern about his father's fall. Roger assures him he's all right--just bruised a bit, that's all. David asks if there's anything he can get him--was a burglar in the house, as Amy said? Amy's imagination, says Roger, and he stands up to prove to David he's perfectly fine. He limps to the brandy, cradling his back, which David notices. Roger asks why the concern--I'll be all right in the morning. David hugs his father, saying how glad he is. (false, false, false? Or does David really feel bad?!)

Liz gazes at the Tarot card (Tower of Destruction, by the way), then puts it down on the table, looks up Stokes' phone number, and dials him. It's 1:30 AM, but Stokes is awake, reading. Liz apologizes for the insane hour, but he says he was reading something about the Collinses from the local library. She asks him to stop by tomorrow, it's urgent--she needs his help. He promises not to fail her.

Morning at Collinwood - Amy is in a sweet little dress, and pretty white stockings. David comes in from outside and Amy asks where he's been--I've been waiting for you. He doesn't answer at first, then sullenly says, "Just outside." He doesn't seem interested in what she wanted, but notes she's been up there again. Amy tells him HE wants them both up in the West Wing--he wants them to play the game again. David turns on her and says, "It's no game, Amy." What they did with the wire--they didn't have to do it. Oh yes we did! says Amy. David says he's never going to that room again. Amy says Quentin won't like it, but David says he doesn't care. He'll DO something warns Amy. David asks, "WHAT? What can he do?"

David answers Stokes' knock. The professor wants to know why they aren't outside playing, but supposes it's hopelessly old-fashioned. David says he'll get Aunt Liz. Amy asks, "Then will you go with me, David? Just one last time?" David says we'll see. Stokes eyes them sharply. Liz comes downstairs and tells David to take Amy for a walk. Amy begs him to do that, she wants to go somewhere outside. Liz and Stokes go into the drawing room and close the doors. He says he fears the seance didn't put an end to what's happening at Collinwood, and she says she has a terrible feeling that's only the beginning, but of what, she doesn't know. Stokes asks if she had another sign, and she shows him the Tarot card. He gazes at it with his monocle.

David has his jacket on, and Amy says she didn't mean it about going out. David says he knows that. She says he's afraid to see Quentin, who calls David "Jamison." "My grandfather," says David. Amy says Quentin thinks he looks exactly like Jamison--he told me to call you Jamison, too--you can ask him why, if we go upstairs, she wheedles.

Stokes balks at telling Liz about the Tarot card, but admits he does know--it's a warning left by a spirit. Liz can't accept that. Emotionally, you already have, he says, or you wouldn't have sent for me--the card is called the Tower of Destruction.She demands to know all now, and he says the card warns of the coming of great unhappiness to a house. She knows he's holding back, and frets, what are they going to do?--I've known something is wrong since the seance but can't fight it because I don't know what it is--if only someone knew!

David and Amy return to the storage room. Amy encourages him to "tell him," and David calls to Quentin and tells him he won't do as he asks anymore, not if it's like the last time--it's not fair to have him do things like that--do you understand? he asks. The music begins to play. Amy says Quentin heard him, and perhaps that's his answer. David listens to the music flowing from the gramophone, and the cradle they brought up there begins to rock. Amy calls him Jamison, and observes that he DOES want to play the game. Of course I do, agrees David.

Stokes tells Liz not to worry, he's coming back with someone who will explain everything that's been happening in the house. Liz, forehead crinkled unhappily, looks at the card.

A dark-haired, exotic woman stands in Collinwood's foyer and tells Liz not to tell her anything about the house, not the history nor personal experiences. She doesn't want to know what to expect. This is Madame Findlay, a medium, and she only has her own sensitivities. Amy watches from the stairs and hears Mrs. Findlay state that there was recently an accident in that room--and that Amy knows about it. Amy admits she found Mr. Collins, and Madame F. tells her not to tell her anymore. She sashays around the foyer, feeling, listening, then goes into the drawing room. This is the room where the seance was held, she says--there have been spirits in this room--they aren't here now, but have left their mark. She holds out her hands. Shadows are still in the air, she declares, and rocks back and forth on a chair, going into a trance. David joins Amy in the foyer and they sneak to listen. Madame F suddenly screams. Stokes tells Liz she's trying to reach her control, her guide to the other world. Madame F calls out, "Are you there? Can you tell me the secrets of this house? Are you there? That's not you." Someone else is answering her, says Stokes. Findlay continues, "Who are you? I cannot hear you plainly. Are you in this room? If you are in this room, speak to me more clearly. You are not in this room, but you are in this house, yes!"David and Amy exchange scared glances upon hearing this. "I must come to you. I must find you!" Liz calls to Madame F, who begins to toss her head from side to side, declaring, "A battleground--this house is a battleground! Yes, I see that. . .whom are you fighting? Lead me to the room, lead me!" Madame F rises from her chair, but whoever she was speaking to has disappeared. "You must show me!" Stokes asks her if she's all right, and Liz notes she isn't coming out of it. Stokes pats Madame F's hand and says, "The fight goes on between them." She doesn't know who is fighting, but will when she goes into that room. Stokes asks Liz if the woman can search the house. Of course, says Liz. Stokes takes his leave, and Madame F. tells Liz there is much happening in this house (Well, duh.)--much that Liz doesn't know--a war is being waged and they must find the one who started it.

David and Amy run to the West Wing to warn Quentin about a lady looking for him--she'll find him!--tell us what to do! Amy and David look around for Quentin, but they don't see him. What is he up to now?

NOTES: Lots of people find Madame Findlay cool, but I'm not one of them, at least not from my adult viewpoint. Too showy, I guess, but she has her interesting moment.

Doesn't Quentin have a mighty sweet smile for a nasty ghost?

David felt real remorse in having a hand in his father's accident, which could have resulted in death had it happened differently. He told Quentin that he wouldn't be party to any similar incidents. Will Quentin accept that? Whatever his mad-on for the Collinses, it seems he tried to murder Roger through the children. Why won't he just do his own dirty work--or does he enjoy the control over this child who resembles Jamison, Liz and Roger's father?


648 - (Cavada Humphrey) - A new day at Collinwood, a day with more questions than answers. For the night has been filled with mysterious happenings--a sudden fall down the great stairs, an ancient Tarot card found mysteriously, a card prophesying doom, which so frightens one woman that she brings in a medium to discover the spirits who are haunting the house. But two children, possessed, not knowing what they do, may bring new tragedy to one who could save them.

The kids beseech Quentin to tell them what to do about Madame Findley, and Amy tells David they have to wait until he speaks to them.

David looks nervously around, wondering if Quentin will mind if Madame F. finds him. Oh, he'll mind, says Amy, since HE didn't send for her himself. David wonders why they aren't getting a response, and finally decides they should just go. As they're about to leave, the music begins to play.

Liz looks at the Tarot card again. Madame F comes downstairs and tells her she felt astral disturbances upstairs, but more strongly downstairs. Two forces seem to be battling one another. Madame F notes. Liz doesn't really believe in the occult, unless driven to it as she has been (how could she possibly deny it?) Madame F. walks into the drawing room. Strange, she keeps returning to this room--there are vibrations she feels no where else in other rooms. She asks if there's someone connected with Liz' family or the house's history whose first name begins with M. Liz doesn't think so. Madame F. feels the letter M strongly here. She asks to be left alone here; the person who spoke to her earlier seems to be scared of others. Suddenly, the medium says, "There is a curse on this house." Liz is shocked. Madame F is positive of her assessment.Liz closes the doors, leaving Madame F. alone. The latter wanders around the room, listening, holding out her arms like antennae. She calls to "M" for help. Come to me, she calls. "I will aid you in your fight against the spirit you oppose, but you must tell me where to look! Keep trying to reach me, I am waiting for you!" Suddenly, she throws up her arms. "YOU ARE HERE!" she exults. She bids the spirit to speak to her, she has many questions to ask. Are the spirits causing the disturbance confined to the house? She hears a knock, once for yes, then another when asked if they are confined to a single room--yes, but not in a part of the house where the family lives. She asks to be led there, but there is no response. Suddenly there is a knocking at the door, and Madame F calls to M, who has apparently fled.

Liz answers the front door. It's Joe Haskell, looking nice, feeling better--normal, he says. He wants to see Amy. Liz says she'll go find her and sends Joe to wait in the study. Madame F stops Liz as she's heading upstairs, asking if there are parts of the house closed off. Yes, replies Liz, the east and west wings. Madame F wants to check them out, so Liz leads her upstairs. Madame F wants to investigate the East wing first, following her intuitions. (We have OTHER problems with that wing.)

David helps Amy out of the secret room and asks if she knows what to do. I think so, she says. You'd better be sure, says David--your part is too important. Amy knows--I'll do it just as he told me, she says. David gives her a very adult look.

Joe drinks a cup of something. Amy is there, physically, but she is looking intently from the drawing room into the foyer. Joe comments that she doesn't seem very glad to see him. She assures him that isn't so. He asks why she keeps looking out the door. I'm waiting for somebody, she says, but Joe tells her Chris isn't coming. Amy asks Joe if he saw a tall lady who walks around looking in the air all the time. Amused, Joe asks, "What?" Amy says her name is Madame something, but Joe doesn't know her. Amy wonders if she left yet. She sits down beside Joe, who asks if she likes staying here. Oh, yes, she says enthusiastically. Joe doesn't want her to stay here if she doesn't want to. Amy says she'd rather live with Chris, but he doesn't have a place for her--I don't want him to go away again. She asks Joe if he will, and he says he hopes not, too. Madame F enters and Amy introduces her to Joe. The medium says left a card here. . .she takes the Tarot card and says she will use it for bait--like in fishing. Amy asks her to show her how and Joe tells her to behave herself. Amy sees a star on Joe's forehead, and Madame F turns and sees it, too.She is horrified. It fades away. Joe looks in a mirror and sees nothing. He asks Amy to go find Mrs. Stoddard; he wants to see Mr. Collins. Joe tells Madame F that Amy has quite an imagination. She informs him SHE, too, saw the star--it's a sign of the pentagram, she says--don't ignore it. Joe has no idea what a pentagram is. She explains that it's an ancient symbol of either a good or bad omen, depending on the star's position. Joe observes his must have been bad, and Madame F, perturbed, warns him to just be careful--watch out for an animal that walks as a man. Joe says he's lucky--there aren't many of those around here. Liz comes in and tells Joe Roger would be delighted to see him. Madame F asks if Amy can show her to the West Wing, but Liz says Amy isn't that familiar with the house (HA!) As Liz leads Joe out of the room, they discussing Roger's accident. (What happened to the fact that Joe tried to kill Barnabas? Has all been forgiven?)

Madame F and Amy exchange looks. Amy leaves the room and David beckons to her. Amy tells him Madame F wants to go to the West Wing, and Mrs. Stoddard is going to take her. David orders her to go in now, and not to worry--she has plenty of time. Amy reaches out to open the double doors, goes in, and tells the medium she wants to talk to her. The feeling is mutual, says Madame F--tell me all about the star you saw on your cousin's face. Why? asks Amy--he couldn't see it. That's interesting, says the medium. I don't usually see stars on peoples' faces, Amy says, giggling. Madame F asks about her time in this room--has she noticed anything strange? No, says Amy, I haven't felt that there was another person here. This surprises Madame F. Amy says she asks funny questions, and wonders why--is it because she's a medium? Madame F asks the little girl what a medium does. They look for ghosts, answers Amy, who admits to believing in ghosts, at least when with a grownup--they just laugh at ghosts. Madame F says she believes in ghosts, and has even seen them. And you? asks Madame F. Amy changes the subject, saying she thought she heard something.Madame F notes the avoidance of the question. Amy says she saw a man dressed as a ghost on Halloween--he was funny. Madame F senses Amy is dodging her question, and asks her to please help her--why doesn't she try? She asks again--have you seen a ghost? David suddenly bursts out from the secret panel, surprising Mrs. F. She asks where the panel leads and David denies knowing. Upstairs, he finally confesses, to the West Wing. Really, she says, and both kids tell her there's nothing up there at all. Ah, but Mrs. Stoddard told me Amy didn't know where the West Wing is, says Mrs. F. Both kids beg her not to tell on them. Mrs. F is taken aback by their attitude, and despite David's warning, starts to go up to the West Wing. "Yes," she says, as in Eureka. She accuses Amy of having a secret, and David demands to know what kind of secret. I am going to find out, says Madame Findlay determinedly. Both kids try to talk her out of it, begging her to come back. (It's obvious they WANT the medium to go exactly where she's going.) They hear a noise (Liz is coming) and immediately drop to the floor and begin playing jacks. Amy accuses David of cheating; David insists he's just a better player. Liz orders them to play without fighting. She asks about Madame Findley, who is walking up a flight of stairs in a very dark place. The kids tell Liz Madame Findley left, but they don't know how long ago--she didn't say anything to them. Liz finds this odd; she was going to take her to the West Wing. She goes to check the study. The kids smile at each other."Go on, Amy," says David, "play the game." She gives him a very adult smile in return.

Madame Findley, very excited, has entered the storage room in the West Wing. She spots the opening in the panel the kids made and crawls inside. Something pushes her. "You're here, aren't you?" she demands--"I can tell your presence!" The door bangs closed behind her, locking her in. David and Amy enter the other room and hear her say, "You won't frighten me, I want to help you!" David covers the open panel with a trunk and the kids gaze at it. Have they trapped Mrs. Findley in the room with the malevolent Quentin?

NOTES: What awaits Mrs. F. in that room? She's thrilled with this situation, apparently not realizing she's been lured into a trap by the children that might get her killed. Here's a woman who loves her work, but seems careless, too. Will she pay for it?

We have the mysterious "M", who apparently is ineffectual against Quentin's cruel, vengeance-seeking spirit--or will "M" save Madame F. before Quentin can do his dirty work?

Aren't Nickerson and Henesy just wonderful? They really do play Terror Tots so well!

Love, Robin