1121 - Samantha is quite stunned to see her not-quite-dead hubby walk through the door.  It turns out Tad is all right, too, but hearing this unexpected news sends Samantha running upstairs, ordering Gerard to "Tell him!"  Tell me yourself, Quentin calls after the fleeing woman.  Listen, tries Gerard.  Oh, so that's how you look forward to my homecoming! shouts Quentin after his retreating wife.  She thought you were dead, explains Gerard, so did we all--when the boat docked here, I came here as soon as I could.  My friend, says Quentin.  I thought you and Tad had been lost in that storm, says Gerard, I didn't want to send a stranger here, I was afraid, so I thought I should come myself.  Put out by the implications, Quentin says, "And so she has been very happy."  No, she grieved, insists Gerard.  You call that grief? asks Quentin sarcastically--I understand your coming to help, and I appreciate it very much.  How did you escape the sea? asks Gerard.  I'll tell you--later, promises Quentin, and starts to go upstairs.Wait, says Gerard, there's something else you don't know.  Out with it, man, says Quentin.  It's hard to explain, says Gerard.  Come on, speak up, urges Quentin.  Samantha and I were married this afternoon, reveals Gerard.  Quentin is silent, and Gerard repeats the news, asking if he didn't hear what he said.  Quentin bursts into wild laughter, then runs upstairs, Gerard calling after him in disbelief.  "It has become a comedy!" roars a chuckling Quentin on the landing--"I thought when the storm came, it would all end up into a great tragedy, but no, fooled again--congratulations!"  And he goes through the door to the upstairs bedrooms, laughing.

Samantha meets Quentin in the hallway and asks where Tad is, accusing him of lying to her--something's happened!  He's in Boston, he assures her.  What's he doing there? demands Samantha, her voice rising with hysteria, why didn't you bring him with you--something's happened.  Quentin orders her to listen to him, and says Tad just has a fever which he got in Brazil, and it just keeps recurring, but he's all right.  You left him in a hospital--why did you leave him in a hospital? rails Sam.  I didn't leave him in a hospital, and he's not alone, says Quentin, he's with Luke Simms, a man who saved our lives practically everyday--believe me, honest, he's all right.  She goes into her bedroom and he follows her in.  You must hate me, she says.  He denies it.  Don't pretend, she says.  I never pretend, he says--all you did was think I was dead--and I very nearly was.  I can't believe it, why didn't you write? She asks.  I did, from Brazil, Chili--if the letters didn't get here, you can blame the towns I was passing through, he says.  There must have been some way to let us know, she says.  Not the way I was traveling, he says, no money, no friends--all I could do was try to get through everyday, get enough food for Tad and myself, that's all--there was this one night--I concentrated very hard and tried to reach you--I thought I did--I thought I could make you understand my thoughts.  You always fall back on the occult, says Samantha.  I thought I had reached you, he insists, that you knew--I wanted to believe that so very much--oh, what are we doing, standing here talking like this?  What else can we do now? she asks.  There's so much you've got to tell me, says Quentin.  So very much, she agrees.  Are you ready to talk about us? he asks.  Are you? she counters.  He looks guilty, then asks, "How's Father?"  She asks him what she's going to do--tell her!  You tell me, he says, because you're the one who's going to have to make the decision.  She looks at him, uncertain.

I have to decide? she asks.  You married Gerard, points out Quentin, you must have a feeling for him.  But that doesn't mean I don't have a feeling for you, she says.  I know that, he says softly.  MY decision...she says.  He reminds her she's made a lot of decisions in their marriage.  So have you, she says accusingly--to stay in that room in the basement with all those experiments.  While you coddled our son! Accuses Quentin.  Coddled him?--if I'd coddled him, says Sam, he wouldn't have gone with you!  That time I won! He says.  And look at the result, just LOOK at it! she points out.  Their voices are rising, growing angrier.  Oh, I'm sorry, says Samantha, turning away.  Quentin asks her to believe him, he wants what is best for her, but he certainly can't make the decision for her--consider their marriage--obviously, she has some bitterness.  So do you, she says.  Your decision depends on whether you feel like starting over with me or starting with him, says Quentin--he's a good man, he's been a very good friend.  Let him speak for himself, says Samantha, the way I want you to do.  Quentin looks at her and says, my dear, just what do you want me to say.  Tell me that you love me, she says.  You are the mother of my son, he says (nice way to sidestep, Quentin), I chose you--I love you (but he doesn't sound sincere).  Of course, she says--love for you is something I do not understand.  Love is a word that is very much misused, says Quentin.  Not in this house, she says bitterly.  Quentin says he doesn't understand her--he's giving her the chance to make her own decision about her own destiny--that should prove to you that I do have some feeling for you--you always want brute force, and when you get it, you're always unhappy.  Don't explain me to myself! she cries.  Someone needs to, says Quentin.  Samantha begins taking clothing out of her top dresser drawer.  So you're leaving? He asks.  I'm going to Boston to be with Tad, she says.  Postponing the decision, he says.  I can think of no one but Tad, she says.  If you are going to leave, says Quentin, I think it's safer for you to start in the morning.  No, she says, tonight, I must go tonight.  All right, he says, I'll get you a carriage, and go see Father.  You can't, insists Sam, he's not well, worse than he was--they had to keep him up in the tower room--he seems all right, then suddenly goes mad--his heart is worse, he's only recently gotten used to the fact that you're dead--if he sees you now.  Quentin says that Ben Stokes will help him with him, and starts to leave, but Samantha calls his name sharply, stopping him, telling him so much has happened that he doesn't know--Ben Stokes killed himself.  Quentin is stunned.

Trask Chapel - Mournful music plays as Barnabas sadly stands waiting.  Trask comes out and asks him if he may be of service.  Barnabas says he came to view the body of Ben Stokes.  There is no viewing of the bodies after dusk, says Trask--it is a rule (thus, no vampires welcome).  Barnabas says one that must be broken--it must be, he has no other time to come.  Trask asks him to please lower his voice, they are conducting a special service for another dear departed this evening--the services for Ben Stokes will be at four o'clock tomorrow.  Barnabas tells him he will be out of town--he must see him now.  Are you a relative? asks Trask.  Barnabas explains who he is, which startles Trask, who says he's waited a long time to meet him--"My name is Trask, is that familiar to you?"  Barnabas' face takes on a look of irony and he asks if it should be.  Your father, Barnabas Collins, knew my late father, the Reverend Trask, says Lamar--in 1796--my father was an emissary of the Almighty, sent to strike the cloven hoof from this poor, wretched village.  Was he successful? asks Barnabas--I don't think my father ever thought of Collinsport as being particularly sinful.  (A flagrant lie, Barnabas!)   Indeed, sir, he did not, says Trask, I'm afraid, sir, your father was blind to the devil's work (doubtful)--the Reverend Trask was a martyr to his cause--he disappeared and only the Almighty knows where his bones rest--but someday, I shall find out.  Be that as it may, says Barn, I want to see Ben Stokes--you must know he was a faithful friend to my father--now, take me to him at once.  I will show you more courtesy, says Trask, than your father ever showed mine, sir (sounds like fightin' words to me).  He opens some door and shows Barnabas into the room where Ben's flower-covered coffin rests.  "Dear friend, says Barnabas, I can't believe you would have killed yourself."  There is no doubt of that, says Trask.  Isn't there? asks Barnabas.  In all my days of preparing souls to meet their maker, I have never seen anything like it, says Trask--it was as if he tried to cut off his own head!--the devil spoke to him in a loud voice.  He wouldn't have listened, says Barnabas proudly (I loved that; especially since Ben faced down the devil in the form of Angelique more than once, and Barnabas himself, after he became a vampire).  You seem to know him so well, says Trask, for one who has been in the village a short time.  My father often spoke of him, says Barn.  Evidently, says Trask, but you may cease your doubts about his death--I was brought to the body the night it lay in the woods--the knife was still in his hand.  Who discovered the body? asks Barn.  A certain Gerard Stiles, says Trask--why of course, you must know him.  Yes, indeed I do, says Barnabas.  A most earnest and heroic young man, pronounces Trask, although I must admit to a certain disappointment in him.  Oh, why? asks Barnabas.  I am not given to gossip, says Trask.I'm sure of that, says Barnabas, but please give me your opinion of why you'd say that.  Trask points out that it's not for him to judge a fellow mortal--he leaves that to a higher authority (he gestures to heaven).  And Quite rightly, say Barnabas.  The Almighty works in mysterious ways, intones Trask, perhaps this is one of them--although it does seem a bit callous for him to discover this body and marry in the same afternoon.

Drawing room, Collinwood - Gerard assures Samantha she is quite right to go to Boston to be with her son.  Am I? she asks, oh Gerard, I want someone to tell me what to do.  She pulls her hand out of from his.  No, he says, let me touch you.  Please, she says.  I have the right, he says, holding her shoulders--the right?--that's not what I wanted to say, he adds.  He moves away from her and says he will have their marriage annulled--why can't I even say that with conviction?--because you don't want to hear how I feel?  I know how I want you to feel, she says.  Trapped, in a cage, unable to move! He says viciously--this afternoon, this evening, for the first time in my life, I felt my love and yours--what happened to those psychic--why didn't I have a premonition that through that door, the one thing that would ruin my life and everything I wanted would come?--finished!  She looks out the window, crying.  He goes to her and begs her not to cry--he can't bear it when she cries.  Gerard, she says, someone's watching us!  Who is it? he asks, looking out into the darkness.

Gerard closes the window and asks if she's sure she saw someone.  She thought so.  A man or a woman? He asks, but she isn't sure--she puts her hands on his shoulders, then drops them, insisting she must pack.  Yes, he agrees, following her through the foyer, and you must let me see you before you leave.  I can think of no one but Tad, she says, hurrying upstairs.  Gerard chews the inside of his cheek.  Barnabas enters and Gerard asks if he saw anyone on his way over here--Samantha thought she saw someone through the window, that's all.  Barnabas congratulates him, but Gerard says congratulations are a bit premature, and he doesn't wish to discuss it any further. Of course, says Barnabas, and joins Gerard in the drawing room, explaining that he just came from viewing Ben's body.  Most regrettable business, remarks Gerard.  Did you know him well? asks Barnabas.  We lived in the same house for several months, says Gerard.  Did you have much actual contact with him? asks Barn.  No more, no less than anyone else--why all these questions?  You discovered the body, says Barnabas. By chance, says Gerard.  How long do you think the body had been dead? asks Barnabas.  Gerard doesn't know, he isn't the county coroner--why is Barnabas asking all these questions?  I don't believe Ben Stokes committed suicide, says Barnabas.  Are you accusing me, then? asks Gerard, be careful, because I'm not in the mood.  If you have any reason to believe that Ben Stokes would have killed himself, I wish you'd let me know, that's all I meant.  Is it? asks Gerard--your concern over a gentleman you just met is a bit excessive, isn't it?  He was a wise old man, says Barnabas, I respected his wisdom.  I find your relationship rather strange, says Gerard, it's almost as though you've known each other for years.  You know that wasn't possible, says Barnabas, a chuckle in his voice--my father knew him well, I wish I'd seen more of him.  Yes, agrees Gerard, I do, too, that way you would have known he gave in quite a bit to depression because of his health and his age--if you'll excuse me.  Gerard starts to leave just as Quentin enters the room.  "Quentin!" whispers Barnabas, shocked.  I recognize you because you so resemble your father's portrait, says Quentin, but how do you know me--I don't remember our having met before.  I saw a drawing of you upstairs, says Barnabas, covering, one done by Ben Stokes' granddaughter--it bears a remarkable resemblance to you.  Oh, yes, smiles Quentin.  I'm so astonished to see you, says Barnabas--I thought...  You thought I was dead, finishes Quentin--I'm going to have to put a notice in the village newspaper announcing my miraculous arrival.  I'm sure you two have much to talk about, says Barnabas.  Quentin says certainly you'll stay, cousin--if I may call you cousin?--after all, we could certainly use an impartial third party here tonight.  Quentin, says Gerard warningly.  Quentin turns to Gerard and says this is his house and they will do what he thinks best--he pours a drink--after all, we do have a rather scandalous and idiotic situation here, wouldn't you agree, Cousin Barnabas?  An unfortunate one, says Barnabas carefully.  Quentin says he and Gerard have been through a lot together.  Gerard tells Quentin he's leaving this house.  Not before the good woman has a chance to make up her mind about what she's going to do with her own life, says Quentin.  Do you mean that? asks Gerard.  I shall make no demands on her, vows Quentin.  And I shan't, either, says Gerard--I will leave tomorrow morning and go to the Inn, or perhaps to Rose Cottage--Flora Collins often invited me there, and whatever decision Samantha makes, I will stay with it.  Quentin smiles with satisfaction and says that they have handled this situation like gentlemen.  Barnabas listens to this exchange carefully.  Oh, says Gerard, you are the most important friend I have--you must believe that--it is with the greatest difficulty that I must say this one thing--whatever the decision Samantha makes, I have lost a friend--and he leaves the house.  Quentin sips his drink.  Don't trust him too much, warns Barnabas.  You make quick character readings, Cousin, says Quentin.  Barnabas says he speaks frankly because I think the situation demands it.  I've known the man longer than you have, points out Quentin, after all, I have sailed around the world with him.  Samantha, ready for traveling in her cloak and hood, comes in.  You're ready, I see, says Quentin, I'll see you to the carriage.  Barnabas tells her he hopes she finds her son better.  She thanks him and says goodbye.  Quentin, holding her bag, asks her if she wishes to say goodbye to Gerard.  No, she says, I don't have time.  She leaves, Quentin behind her.  Gerard comes out of the kitchen area into the foyer with Barnabas and asks him if he has psychic gifts.  No, says Barnabas why would you ask that?  Gerard points out that he seems rather comfortable here, and knows so much.  My family has made me that way, says Barn.  I see, says Gerard--tell me, I didn't know Ben Stokes' granddaughter was an artist--does she have a great deal of talent?  For a child, yes, says Barnabas.  Tapping his lower lip, Gerard says maybe he ought to have her draw something for him.  Quentin returns to say Samantha has gone.  Gerard expresses his hope that she have a pleasant trip--and he bids them good night and heads upstairs.  Certainly you're going to stay here, with us, Quentin tells Barnabas (move the casket right in!)  No, my sister is, says Barnabas, but I'm quite comfortable at the Inn for the moment.  Samantha told me Father gave you the use of the Old House, says Quentin, I certainly don't envy your repairing it.  I'll certainly enjoy doing it, Barnabas assures him.  I'll see you in the morning, says Quentin.  Barnabas tells him he won't be here in the morning; he's out of town, I regret I'll be unable to attend Ben Stokes' funeral.  They wish each other good night.  Barnabas takes his cape and leaves the house.  Outside, he spots a woman with long hair and asks who it is.She hurries away.  He realizes who it is, and says her name--"Daphne!"

NOTES:  Long episode, folks!  Daphne has made an appearance, but I knew she was in the ep because she did the intro.  Otherwise, she was silent here.  What is she doing here?

This was the most "soap operaish" storyline I remember in DS--a triangle without an (as yet) supernatural character.  Who will Samantha choose to stay with?  Who would you stay with?  She and Quentin don't seem to have a very happy marriage, with lots of baggage on both sides.  And there's even more, as you will soon see

Gerard and Quentin are handling the parceling off of Samantha like gentlemen.  I found it pretty funny.

Trask and Barnabas, together again!  Lamar is determined to find out who did away with Daddy, but he doesn't know the man who walled up his father was standing right there.  Poignant that Barnabas wanted to pay his last respects to Ben, sad that Trask has this "rule."  Anti-vampire!  It was fun to listen to the real son of the man who was walled up talking to the first and only Barnabas Collins.  It was a fun scene.


1122 - Barnabas catches up to and grabs hold of Daphne, who orders him to let go of her.  What are you doing here? he demands.  I've done nothing wrong, she insists.  You're meeting someone, he accuses.  No, she says, my carriage has broken down on the road as I was leaving Collinsport--the driver went for help and was gone so long I thought I might find someone here who could fix it.  Why didn't you go to the house and ask for help? inquires Barnabas.Why are you asking me all these questions? she asks.  Because I believe you're waiting for Gerard Stiles, he says.  Who? she asks.  You heard the name, says Barn.  Yes, she agrees, but I've never heard it before.  Her response leave Barnabas perplexed.

Laughing, Desmond and Quentin exit the drawing room, Desmond telling his cousin how good it is to have him back.  It's good to be back, says Quentin.  I only hope whatever decision Samantha makes, says Desmond, it's the one you want.  I want Samantha, says Quentin--it's as simple as that (coulda fooled me). Desmond asks him to come to Rose Cottage tomorrow, he brought something back from the Far East that will fascinate him.  What? asks Quentin eagerly.  You come to Rose Cottage and see for yourself, says Desmond.  Quentin agrees, and they bid each other good night at the door.  When Desmond is gone, Quentin's smile fades, and he looks unhappy.

Woods - Daphne asks Barnabas what makes him think she was waiting for this Gerard Stiles--he doesn't know her, does he?--have we met before?  Of course not, says Barnabas.  How do you know about me, why are you so suspicious? she asks him.  I know nothing about you, he says, but you must admit, your story is rather odd--you might have sent your coachman to the house.  Daphne spiritedly says she doesn't know who HE is or whether he belongs here, either.  I can assure you I do, he says--I'm Barnabas Collins--you haven't told me your name.  There's no need for me to, she says.  I would hate to have to force you, he says.  (A touch of vampire persuasion, perhaps?)  Why would you do that, Barnabas? calls Desmond, joining them.  My carriage has broken down by the main gate, says Daphne hurriedly.  Desmond, chuckling, says they'll have to fix it for her--I mean, it wouldn't be gallant not to.  He's already interested.  The coachman's probably back by now, says Daphne.  She mustn't walk through the woods alone, must she? Desmond asks Barnabas.  Daphne assures him she'll be all right.  No, there have been many attacks in the woods lately, says Desmond, there's a vicious animal at large--isn't that so, cousin?  Yes, apparently there is, agrees Barnabas.  Desmond volunteers to take her to her carriage, but she says not to bother.  It's no bother, he assures her, I need the air to relax--you see, he says to Barnabas, I found Cousin Quentin's predicament quite unsettling.  But we should be grateful he's still alive, says Barn, as Daphne listens intently.  Desmond says he's grateful indeed, Quentin is his closest friend--shall we go? he asks Daphne.  Yes, I'd be delighted to have your company, she says.  Desmond Collins, at your service, he says, and bids Barnabas good night, leading Daphne off.  She tells him she doesn't know what's wrong with the carriage.

Julia exits the drawing room, looks around to see if anyone is around, and leaves the double doors ajar while she speaks to Barnabas.  So Daphne is here, she says, why didn't she know Gerard's name?--why would she be staring at the house--if her carriage had broken down...she would have come here, finishes Barnabas--exactly--no, she was here for some other purpose, the curious thing is, she said she was leaving Collinsport tonight.  Julia says that in the present, they thought Daphne and Quentin were in love--it's such a jigsaw puzzle.  And Daphne is the last missing piece, says Barnabas, and now the drama will begin to unfold--we must change it, Julia, you and I--or else Collinwood in 1970 will be destroyed.

At a tavern, over tea, Desmond is telling Daphne it makes  no difference that her carriage started working.  I thought the driver stopped because he said he had to work on it, she says, I must have misunderstood him.  I'm glad you did, says Desmond, I wish you'd let me persuade you not to leave Collinsport.  She says he might regret it if she stays.  Never, he says.  You sound positive, she says.  I am, he assures her, I have a good feeling about you.  Looking uncomfortable, she stands and says she really must go.  You haven't finished your tea, he reminds her, you promised to have a cup of tea with me--what are you afraid of, we Collinses have a very respectable reputation.  She smiles and says, "Do you?--tell me about the Collinses, please."  Anyone in particular? he asks--I could ramble on about my mother, the world's worst and fastest novelist, or I could tell you what little I know of Cousin Barnabas, who you so curiously met--or I could speak of Gabriel.  Quentin, she says, tells me about Quentin Collins.  (Hmmm!)

So, Desmond relates to Daphne, here you have what should be a happy ending--only Quentin Collins has come back to more trouble--and that's the saga of Quentin, so far--have I bored you?  No, she says.  You seem so withdrawn, he remarks.  It's hard to imagine what it's like to be someone else, she says.  I wouldn't want you to be anybody else, he says--you aren't planning to, are you?  What do you mean? she says.  Just that I like you the way you are, he says, gazing at her raptly.  Thank you, she says, then asks if Quentin and his wife were happy.  I never heard either of them complain, chuckles Desmond.  Didn't you? she asks.What is this? he says--you're a very serious girl.  It's just that I'm tired all of a sudden, that's all, she says.  Desmond says he isn't going to let her start--look, you said yourself the only reason you're leaving town is because there is nothing here for you--now you've met me--things will change, you'll see.  I really must go, she says, rising.  You can't leave tonight, he says, I'll take you to the Inn--you should at least get a good night's sleep.  She agrees to go to the Inn.  He asks her not to leave until he sees her tomorrow.  She says if she stays, she has a lot to do.  I'll help you, he says.  No, she says, what I have to do, I must do alone.  Desmond drops money on the table and follows her out.

Collinwood - Gabriel wheels himself into the drawing room where Julia greets him, offering him some coffee.  He comments that she's an early riser, and that he takes his coffee black.  He calls her Miss Collins, at first, then asks if she's Dr. Collins.  Miss, she says, will be fine--would you like a muffin?  He accepts, and she brings the coffee and muffin to him.  How did you become a doctor? he asks.  Oh, I was very interested in it, she says, I spent years studying with a physician privately.  How unusual, he comments, do you have a license to practice?  Not here, no, she says, sitting down on the sofa.  I thought someday you might have a look at my legs, he says--not that anything can be done, of course.  You were in an accident? asks Julia.  Gabriel sips his coffee.  Yes, as a child, he says, taking a bite of muffin, my brother, Quentin...  He suddenly drops both muffin and plate to the floor, staring in stunned disbelief, his mouth hanging open.  It's Quentin, grinning, who assures his brother he's not a ghost and picks up the plate and muffin.  I should have pinned a notice to the door, says Quentin, saying missing brother is back alive and relatively well--and you must be Julia Collins--I met your brother Barnabas.  Yes, she says, I heard you'd been rescued, isn't it wonderful.  You may be one of the few people who thinks so, says Quentin.  Gabriel, still stunned, asks why no one told him.  You were asleep when I came, says Quentin.  You could have wakened me, insists Gabriel.  Quentin says he had a lot of things on his mind.  He pours coffee for himself.  Indeed you did, says Gabriel--how did you get home, out of that storm?  You can read it in my memoirs, quips Quentin, edited, of course, by my dear Cousin Flora--please, Gabriel, let me finish my coffee without going on about anything like that--and so, how is our Cousin Julia enjoying Collinwood?  Gabriel asks how he can act as if this is just a normal autumn morning in Collinwood?  Because I simply prefer that it is, says Quentin.  And will Mrs. Gerard Stiles walk through that door soon? demands Gabriel.  There is no Mrs. Gerard Stiles, says Quentin, there's only my wife, Samantha, and she is in Boston--Tad is ill there, not serious--my my, I think there's going to be a storm tonight--he opens the window.  The weather seems to follow our moods, says Gabriel.  If you'll excuse me, says Julia, I'm sure you have a great deal to say to each other.  She leaves the drawing room.  Gabriel faces Quentin and asks if he found out what Samantha is REALLY like.  I found out she's a woman who cannot bear loneliness, says Quentin, sipping his coffee.  Did you know, asks Gabriel, squeezing his ball, that while you were gone, she tried to throw me out of the house I was born in?Did she? asks Quentin, laughing ironically, if she did, I'm sure you gave her a good reason--I've always stood up for you--I don't know why, perhaps it's because I feel some responsibility for the way you are--yes, I know, you're just about to say that I should, aren't you?--but you know, you've become so bitter, even I find it hard to find affection for you--and, coffee cup in hand, he leaves the room.  Gabriel gazes after him with hatred.

Rose Cottage - Desmond abruptly pushes open the curtains covering the head-in-a-glass-case as if trying to catch it with its eyes open.  He stares at it, circling the case.  Quentin knocks at the door--he's come for his present.  Desmond looks as if he's in a trance.  Flora, calls Quentin, I thought you said Desmond was here?  Desmond stares at the head, breathing unevenly, spellbound.

Desmond closes the curtains and opens the doors.  There you are, says Quentin, sorry to disturb you, but you did ask me over to come get my present--and believe me, I'm in dire need of a marvelous present.  Desmond's expression makes Quentin ask him what's wrong.  Nothing, says Desmond, you surprised me, that's all.  Why, you knew I was coming, says Quentin.  Yes, yes I did, says Desmond, as if in a fog.  Quentin asks him if he's going to start acting strange, too, is he?--I'm beginning to think it wouldn't have been a bad idea if I'd been lost at sea.  Don't you ever think that, says Desmond.  Quentin says he thinks it time he got back some of his old interests--time I start finding some of the lost world we can't understand or even see--what did you bring me?--something that has a lot of distractions in it for me, I hope.  Something like that, agrees, Desmond.  Well what, man, tell me! says Quentin.  Books, says Desmond, rare books on the occult, I have them right here.  He hands Quentin two books, one he says is a treatise on white witches, and a study of the Druids use of the supernatural.  Quentin thanks him and sits down to look at once of the books.  Desmond wanders over to peek through the curtains at the head, saying he never believed any of that, although he knows Quentin always has, and Mother does now--but it always seemed to me silly.  What made you change your mind? asks Quentin.  Desmond doesn't reply at first, and Quentin calls his name again and asks if something is wrong.  Desmond says yes, he just realized, he's got to get to the village--he'll drive him to Collinwood.  Quentin says no, he hasn't finished yet, he'd like to look at the book.  No, I don't have time, and neither do you, says Desmond--remember, Ben's funeral is this afternoon.  Oh yes, Ben, says Quentin, I'd forgotten all about him--I wonder whatever made him even try to cut his own head off.  Let's not even think about it, says Desmond--come on, my carriage is outside.  Quentin and Desmond leave.  The camera pans to the curtains, behind which the head, eyes closed, waits.

Desmond returns to Rose Cottage and furtively looks in on the head.  Barnabas greets him from the room's darkness.  Desmond asks him how long he's been here.  Just a few minutes, says Barn--why?  You just surprised me, that's all, says Desmond--we missed you at Ben's funeral.  I'm sorry, says Barnabas, but I had some urgent business to attend to, but I've come here about something very important to me--I want you to tell me everything you know and found out about that girl last night.  And may I ask why you're so interested in her? demands Desmond, annoyed.She reminds me of someone I met once, says Barnabas--where is she staying?  I wish I knew, says Desmond, I left her at the Inn, this afternoon she was gone, left no forwarding address.  Barnabas says then she must have left Collinsport.  Desmond doesn't know, but something curious--her carriage wasn't broken at all last night--where did she go to?  Barnabas asks what her name is.  Daphne Harridge, says Desmond--I really want to see her again.  Yes, so do I, says Barnabas.

Daphne stands at the front door of Collinwood, hand on the knob.

Inside, the drawing room's double doors are ajar.  Inside, Barnabas asks Julia if she checked both boarding houses in town.  Yes, says Julia, there's no one who matches the description, and neither of the houses had any new rooms today.  Daphne quietly enters Collinwood as Barnabas is telling Julia she must have left town.  Daphne drops a note on the foyer table.  The only thing we know, says Julia, is that she will be back.  Yes, but when? asks Barnabas--how long can we keep up this charade, pretending to be people we're not?  He closes the door and says he thinks he'll go to Quentin, tell him everything.  Absolutely not, insists Julia.  But he's the only person, says Barnabas that would understand.  No, she says, we don't know him well enough and we've got to decide what we'll do.

Quentin comes downstairs and finds the note on the foyer table.  He opens it and reads it, then pushes open the drawing room doors and demands of Barnabas and Julia, "Who left this note for me--who?"

At Rose Cottage, a window blows in the wind from the storm.  Desmond, looking ragged, closes it.  He goes over to look at the head, staring down at it.  Can the legends me true? he wonders, smiling, and walks away.  The head's eyes are open, staring at Desmond, who now has his back to it.  When he turns to look again, the eyes are closed.  Desmond sits down on a love seat and opens the book Ben gave him, but seems too tired to read it.  He sinks back and falls into a nightmare-plagued asleep, in which the head speaks to him--"Help me!  You will help me!"

NOTES:  That head has begun to take over Desmond.  He didn't give it to Quentin as planned, and that dream--creepy stuff.  It looks totally evil, and I have no doubt it has evil intent toward Desmond and perhaps others.

Daphne has arrived, but she's a mystery woman who doesn't even know Gerard or Quentin.  She lied about her carriage--why?  Desmond already seems to like her, yet she was in love with Quentin.  What's the real story?  What's in that note she left, and why is Quentin so upset about it?

We see that Quentin and Gabriel have a Cain/Abel relationship.  Quentin had something to do with Gabriel's paralysis, although we didn't find out the specifics today.  We will eventually.  In any case, Quentin is fed up with Gabriel's bitterness, and now Gabriel, who is as far from receiving the family money as he ever was, despises his brother.

Julia and Barnabas are playing detective again, not getting very far.  Will they be able to head off the inevitable.  I don't think confiding in Quentin is such a bad idea.  If there was more communication back in 1970, this wouldn't have happened the way it did.

Daphne must have overheard Barnabas asking Julia how long they can keep on with their charade of pretending to be people they aren't.  She could easily use this against them in the future.

Love, Robin

1117 - Barnabas returns to consciousness and opens his eyes.  Julia grabs a cobweb-covered cross from a nearby table and holds it out as he rises to his feet.  Stay away from me! she demands.  With a moan, he turns away--put it away! he commands.  You know I can't do that, she says.  Julia, he says, you don't understand, let me look at you--I'm not the same--you saw what happened to me!  You tried to kill me, Julia reminds him.  Yes, and I would have, he says, if the I-Ching hadn't finally succeeded (talk about the nick of time!)--don't you understand, I was finally able to WILL myself back to you; I am here to help you, believe me--Eliot helped me with the I-Ching--Carolyn is half mad--Quentin has been confined to Windcliff, would Barnabas of 1840 know all this?  Finally convinced, Julia puts down the cross, calls his name and goes into his arms to embrace him.  Thank heavens I got here in time, says Barn--when I saw your grave in 1970, I knew I had to find a way.  My grave? she asks.  Yes, he says, Eliot and I found out that you died on this very day in 1840--I shudder when I think I might have killed you just now.  He spots Roxanne lying in bed and murmurs her name--what I think I must have done to you, he laments--it's frightening--Julia, how serious is her condition?  She is going to live, says Julia, but now she represents a danger to us--we must find a way to have her be herself again!

Collinwood - Flora, in super ditzy mode, asks Samantha, how could Roxanne have disappeared after you found her?  She couldn't have left the gazebo by herself, says Sam, wringing her hands--she didn't have the strength to do it--oh, Flora, what can he out there?--four other attacks in the village were identical to Roxanne's.  I know--it isn't safe for any of us to go out at night, blathers Flora (love her little girl voice).  Why can't we hear from the searchers? asks Sam.  They are doing the best they can, Flora assures her--why don't you come with me and let me make you some tea?--it will help settle your nerves.  Sam agrees--I'm not accomplishing anything by standing here getting upset.  Good girl, coos Flora.  They leave the drawing room.

Woods - A black-cloaked figure carrying what looks like a covered birdcage enters Collinwood and closes the door.

Julia examines Roxanne, warming her cold hands between her own.  Barnabas is changing into a 19th century outfit (and looking mighty good!)   A worried Julia says, time is running out--I sent Ben to get some alcohol, but he hasn't come back--I'm going to see if I can find some myself.  Julia leaves.  Barnabas paces the room, buttoning buttons.  Roxanne opens her eyes--Barnabas! she calls--you've come back to me!   No, he says, something has happened, Roxanne--something is different.  No, she says, it's the same!--please, come to me, Barnabas--come to me!  She raises a supplicating hand.  He looks both miserable and guilty.

Barnabas, shaking his head, tells Roxanne, "No."  Tell me what's wrong, she begs--you said we would be together.  I know, he says--when the time comes, I'll try to make you understand.  Julia returns--Roxanne, lie down and try to rest, she orders.  I'll never understand, never! wails Roxanne, beginning to cry.  Barnabas, says Julia, I think the only thing we can do is try hypnosis--perhaps we can erase her memory.  Will it work? he asks.  You know about hypnosis, she says--there's no way of telling if it will work--it depends on the subject--now leave me alone with her.  What about the family?--I've got to meet them, he says.  Yes, she agrees, I told them you were my brother, that you would come from England--they think we are the son and daughter of the Barnabas Collins who went to England in 1797 (does that mean Angelique was their mother?  Who else?)--go there, she orders, I will hypnotize her, then bring her there, and say I found her wandering in the woods.  All right, he agrees, I'll go--good luck, Julia.  He leaves.  She takes a prism from one of the candle holders on the mantle and stares at it.

Collinwood -The house is so cold, notes Flora--the doors are open.  She closes them.  A man hiding behind one of the doors comes out at her; she screams.  It's her son, Desmond, who greets her with a kiss on the cheek.  What a way to surprise me, she chastises, you scared me half to death!  Laughing, Desmond says, I have another surprise for you.  Wait, she objects, you haven't even given me a chance to look at you.  He stands back.  Traveling is so good for you, she praises--you look so well--it's wonderful to have you back, my darling.  She hugs him.  It's good to be back, says Desmond, and to see you again.  They go into the drawing room, where the covered surprise sits on a table.  I have so much to tell you, she says.  It can wait until after I show you what I brought back, he says--you've never seen anything like this in your life before--are you ready?  He lifts the cover off a display case containing the severed head of an ugly man that some will say resembles Phil Collins.Flora gasps in dismay--take that horrible thing out of here! she cries.  It's completely harmless, he assures her, proudly holding up the box containing the grisly artifact.  I'll never believe that, says Flora--there's something EVIL about it, I can FEEL it, vibrating things--please, cover it up, I can't bear to look at it.  All right, he says, you won't have to see it again because I'm giving it to Quentin.  Flora looked stunned.  When I first found it, says Desmond, I knew how much he loved old relics--I said to myself, this is for Quentin--he was always fascinated by the occult--Mother, you don't have to be scared anymore, it's all covered up.  Quentin is dead, she says.  Desmond's face drops in shock.

Collinwood - Barnabas hesitates before knocking on the door.  Is he thinking how many times he's done this before, and wondering--will it work again?

Oh, Mother, says a despondent Desmond, I can't believe it--Quentin dead--and he was so alive--and poor little Tad.  It's dreadful, agrees Flora, and now all this horrible business with Roxanne.  Desmond! cries Samantha, holding out her arms--it's so good to see you--when did you get in?  Just a while ago, he says, hugging her, taking her hands--I never dreamed I'd be coming back to such tragedy.  Hearing a knock at the door, Flora excitedly says, Samantha, it could be news about Roxanne.  Sam runs to the door and eagerly opens it.  How do you do, says Barnabas, introducing himself--I just arrived from England--I understand my sister is here--she's expecting me.  He looks hopeful.

Barnabas enters the house.  How do you do? Samantha asks Cousin Barnabas--we've been expecting you--I'm Samantha Collins.  My pleasure to meet you, he says--is my sister here?  No, she hasn't arrived yet, says Sam--come into the drawing room.  He follows her.  She introduces him to Flora and Desmond.  Flora bubbles, I think I'd have known you even without an introduction--you bear such a strong resemblance to that portrait of your father hanging in Ben's room--he was such a striking man!  Thank you, says Barnabas--I'm sorry, I feel I came at an inopportune moment.  Samantha apologizes--we're all terribly upset tonight--my sister, Roxanne, has been attacked by a wild animal in the woods. How awful, says Barn--I'm sorry to hear that.  Thunder rolls.

Julia waves the prism in front of Roxanne and asks, what's the last thing you remember?  Eyes focused on the prism, Roxanne says, I remember leaving Collinwood to go home.  What happened then? asks Julia.  I got home and was waiting for someone, says Rox.  What were you waiting for? asks Julia.  It was...it was...says Roxanne.  An open window bangs; the candles blow out.  You must tell me! says Julia, suddenly aware something strange is going on.  She closes the banging window, then goes to re-light the candles.  Hearing something outside the room, she goes to look around, feeling a chill.  Is anyone down there? she calls over the stair railing.  She returns to the lightning filled room and closes the door.  Roxanne is gone!  Julia looks around.

I can't understand why we haven't heard anything, frets Samantha.  That might be a good sign, says Flora--it could mean there's some hope--you're so tired, Samantha--let me take you upstairs.  No, says Samantha, I intend to stay here until I hear something.  The front door opens and closes.  Cousin Barnabas, your sister is here! calls Sam.  Barnabas rises from the sofa and follows Samantha to the door.  Your brother has arrived, Sam tells Julia.  Barnabas and Julia hug.  We didn't know what happened to you, says Sam.  Dear Julia! says Barnabas, his hands on her waist.  It's so good to see you--did you have a good trip? asks Julia.  Fine, says Barnabas, a very smooth crossing--you're shivering, he notes--Mrs. Collins, do you have any brandy? Roxanne got out of the house, Julia whispers to him--I'll tell you how later.  What about the hypnosis? he asks.  I don't know, says Julia, I wasn't able to finish it--I don't know if it worked or not--we had better go in.  Barnabas and Julia, arm in arm, join Desmond, Flora and Samantha, who hands Julia a brandy. (unusual to see this many people in one scene).  Julia, where have you been? asks Flora.  Sipping her drink, Julia explains, I was at the Old house--Ben took me there earlier today.  Turning to Samantha, she adds, Gerard came there and told me about Roxanne--I'm so sorry to hear it--you still haven't heard anything?  No, not yet, says Sam, taking the glass from Julia.  Flora introduces Julia to Desmond.  The front door opens--Roxanne!  Everyone rushes to the foyer.  Samantha notices how cold she is, Desmond remarks on how pale.  Thank God she's alive! exclaims Samantha.  We should get her upstairs, says Julia, I'll examine her.  You? asks Desmond.  Yes, I'm a doctor, Julia says.  (Dr. Collins, Medicine Woman.)  When they are helping Roxanne upstairs, she nearly faints.  She looks around at everyone; her gaze homes in on Barnabas."You--I know you!" she says accusingly.  (Uh oh, did the hypnosis work?)

Roxanne, says Desmond, can you tell me what you mean?  "I know--know I was waiting for HIM!" says Roxanne.  Barnabas stands there, a deer-caught-in-headlights expression on his face.  Who were you waiting for, darling, who? asks Sam.  Roxanne gives Barnabas a longing look, then faints.  Samantha, Flora and Julia help her upstairs, leaving Desmond and Barnabas alone.  Determinedly, Desmond follows Barnabas into the drawing room--her reaction to you was puzzling, wasn't it?It was, Barnabas agrees.  Is this your first trip to this country? asks Desmond.  Yes, it is, says Barnabas.  It does seem strange she singled you out, says Desmond suspiciously--she must have had some reason.  Does Roxanne come to Collinwood often? Queries Barnabas.  Quite a bit, says Desmond.  There's a well-known portrait of my father somewhere, says Barn--perhaps she associated me with my father.  It does seem an odd association under the circumstances, says Desmond, but perhaps you're right.  Desmond leaves to check on Roxanne.

8:30 - Julia crosses the landing and comes downstairs.  She joins Barnabas--I gave Roxanne a sedative, she says.  But the hypnosis--did it work or didn't it? demands Barnabas.  I don't know yet, says Julia--and we won't until she's fully conscious--I advise you to leave the house, just to be safe--I'll tell them you went into town to get your luggage.  I think you're right, says Barnabas--if her memory hasn't been erased, I don't want to be here.  She looks at him sympathetically.  Samantha runs downstairs--Julia! she calls frantically, hurrying downstairs-- where is Barnabas?--Roxanne is awake and talking, and she told me something that terrified me.  Barnabas overhears and is very upset.  What did she tell you? asks Julia.  After she left Collinwood last night, says Samantha, and went home, she was expecting to meet someone.  Who? asks Julia.  I don't know, answers Sam--but after that, she can't remember anything that happened to her at all!  Barnabas breathes a sigh of relief--Julia saved his ass once again!

Rose Cottage drawing room - Why did we never know we had relatives in England? Desmond asks his mother.  I don't know, says Flora--I'm tired.  Think about it, says Desmond--two strange people show up claiming to be members of the family--two people who make quite an odd pair.  Odd--what are you talking about? asks Flora--now I want you to forget these silly superstitions--travel is supposed to broaden the mind, not narrow it--and Barnabas is a very charming man! Putting his hands on her shoulders, Desmond says, very well, no lectures, please.  He kisses her cheek.  That's more like my darling, she coos.  She gazes with disgust at the covered box and asks, why did you bring this horrible thing to Rose Cottage?  Stop carrying on, says Desmond--there is nothing frightening about that head.  I'll never believe that, she insists--I have instincts, and they tell me this hideous thing is disgusting, vile and evil.  I can't understand your carrying on, says Desmond, I want you to look at it and see that it is absolutely a carved head of some kind!  He takes off the cover.  Flora turns away with a sound of disgust--"I don't want to be in the same room with it!" she says-- "Get it out of here--get it out of this house!"  She runs off.  Come back here! orders Desmond.We view the head--its eyes are now open, staring wickedly at us.

NOTES:  We once had the hand, now we have the head--no erotic jokes necessary, LOL!  Some people did have a great time with this when we saw it in previous airings, but I do remember how nervous I was when I saw that head open its eyes for the first time.  If it is carved, someone added human eyes to it!  Brrrr.

Barnabas is off the hook again for the misdeeds of his former self, but we've seen Julia's hypnosis waver before--will it all come back to her one day, after seeing something that triggers a memory?

Lucky for Julia--very lucky--that Barnabas took possession of his body when he did, or she would have had what she's always longed for--becoming the victim of his vampire lust.  One senses, however, that after he fed off her, he'd have broken her neck, then finished off Roxanne, turning her into his vampire bride.  Sometimes, albeit rarely, fate is actually kind to DS characters!

What happened in Josette's room?  Something enticed Julia out of the room so Roxanne could escape, but who or what was it?  What supernatural force would intervene in this manner, and why?

Once again, Barnabas leaps into the family as a cousin from England.  To his credit, he seemed very nervous about it.  One of these days, it might not work!

We have some very interesting situations here.  Love Desmond.  Karlen never misses a beat with any of his characters.  He's delightful.  As for Flora, her voice reminds me of Glinda, the good witch in WIZARD OF OZ.  I can only take so much of that at a time!


1118 - After Flora runs away from the grisly artifact Desmond brought home, he covers it, unaware that its eyes opened.  Ben enters--what did you do to your mother? he asks.  I played a little joke, Ben, says Desmond.  What kind of joke? asks Ben--I just brought her a note from Mr. Barnabas, and she wasn't fit to be spoken to.  I promise to go see her in a few minutes, says Desmond.  A man oughtn't to go round scaring his mother like that, chastises Ben.  Desmond smiles--I didn't expect to scare her, he says--all I did was show her this--he uncovers the head.  The eyes are now closed.

Where did you get that thing? asks Ben--and whatever possessed you to bring it here?  I intended to bring it to Quentin, says Desmond--what is the matter of you, Ben, it's just a reproduction of a head?  No, says Ben, his voice shaking, it's more--something about it that brings back bad memories.  You could never have seen this thing before, says Desmond, I just brought it from the Far East!  You ought to send it back there, right now, get rid of it, before it gets rid of us, advises Ben--we've had enough tragedy in this house--we don't need anymore.  He leaves.  Well, I'd better cover you up, my friend, says Desmond, doing so--you seem to have a terrible effect on everyone but me.

Collinwood drawing room - Barnabas closes the double doors--Ben, he says, Julia told me everything about Quentin and Tad, but she had to go upstairs to look after Roxanne--now Ben,  there are some questions I want to ask you.  I don't know what's happened to you, says a puzzled Ben--you've changed since that night at the mausoleum--it's like you was a different person.  I'll explain all when I have more time, promises Barnabas--tell me everything you know about Gerard Stiles.  Not much to tell, says Ben--he puts on the charm a lot, but that don't fool me none, I wouldn't trust him from here to there.  But what is he doing here? asks Barn--what do you think he's up to?  No good, you can be sure of that, says Ben--I don't know what he wants, but he ain't made a move for it yet, as far as I know.  I suppose I'll be meeting him, sooner or later, says Barn, but there's one other thing I want to know about--first of all, I have to meet Daniel Collins as soon as possible.  Mr. Daniel is the one person in this house who might recognize you as the original Barnabas Collins, warns Ben.  I'm aware of that, says Barn, that's why I must risk seeing him now--ill as he is, I must have Daniel Collins on my side.

Daniel sits at a desk in his tower prison, writing a note.  Ben enters and greets him.  I'm glad you're here, says Daniel, I need your help--I'm writing a note to that wasteful son of mines.  You mean Mr. Gabriel? asks Ben.  No, Quentin! says Daniel querulously--you've heard what he's done, haven't you?--appropriated funds from the family business.  Look at me, Mr. Daniel, bids Ben--you can't write no note to Mr. Quentin--he's dead.  Astounded, Daniel looks at him, then says, Quentin, dead?  I told you, don't you remember? asks Ben--Mr. Quentin was lost at sea?  Daniel repeats, "Lost at sea?--he always loved the sea, Ben--well, then, we must make the proper funeral arrangements."  I came up to tell you there's someone waiting downstairs who is real anxious to see you, says Ben--a relative.  Rubbish, says Daniel, I'll have none of that--I know my relatives too well--they all come with outstretched palms.  This one ain't like that, says Ben--this one is Barnabas Collins.  Daniel repeats the name--yes, you're right, he says--he is different--where is he?--I must see him.  He looks determined.

Barnabas is sitting by the fire when Desmond enters the drawing room and greets him as "Cousin Barnabas"--is Samantha still upstairs with Roxanne?  I believe she is, says Barnabas, rising.  Has Roxanne's condition improved? asks Desmond.  Yes, says Barn, she's regained consciousness--my sister is up there with her now.  I see, says Desmond--has she been able to tell anyone who attacked her in the woods?  No, says Barnabas, as a matter of fact, she hasn't been able to remember anything about the attack at all.  What a shame, says Desmond, eyeing Barnabas suspiciously--actually I don't believe it was a wild animal who attacked her.  Why do you say that? asks Barnabas, turning away.  The wound on her neck could not have been caused by any animal known to this area, insists Desmond.  Well, says Barnabas, if it wasn't an animal what do you suppose it was?  I don't know, says Desmond--it's a complete mystery to me--for some reason, I never knew we had relatives in England--what part are you from?  London, says Barnabas, facing him now.  What part of London? inquires Desmond.  Cadogan Square, replies Barnabas, back to that old chestnut.  What a shame, says Desmond--I was there, that I didn't look you up.  That is a shame, agrees Barnabas.  Ben comes downstairs and into the drawing room, arm in arm with Daniel.  You must be Daniel Collins, says Barnabas, smiling.  Amazing! says Daniel--(Ben looks nervous--absolutely amazing--I've been waiting so long for you to come back--you look exactly as you did when I was just a boy.  Barnabas looks worried, Desmond fascinated.  Is the cat about to be released from the bag?

Ben glances sideways at Daniel, who says, "Barnabas!  It's amazing!"   I'm afraid you're mistaken, Cousin Daniel, says Barnabas quickly.  Mistaken? demands Daniel.  This seems to be your night for being confused with your father, remarks Desmond.  Barnabas looks at him but says nothing.  Desmond, what are you doing here? asks Daniel.  I just came by, says Des, to inquire about Roxanne's condition.  He leaves the room.  Roxanne? asks Daniel--Ben, what the devil is Desmond talking about?  Don't get yourself all upset, soothes Ben, I'll explain it to you later.  Well, well, Barnabas, says Daniel, you had us quite worried for a while, running off to England like that and then we never heard from you!  You've got it wrong, says Barnabas, you confused me with my father--it was my father who went to England in 1797.  Puzzled, Daniel repeats the date, and says, "Your father."  It's 1840 now, Ben reminds the old man.  You're so like your father, says Daniel, understanding and patient--he never lived here, you know, he lived at the Old House--I lived there, too, but only briefly, before Collinwood was built.  I'm very fond of the Old House, says Barnabas, even though I've never been there--but my father has told me many things about it and all the pleasant memories he has of life there.  Yes, says Daniel, those were peaceful, happy days--up until the end, but then we don't think about that--Ben, I want you to take Mr. Barnabas to the Old House tomorrow--then if you like it, you can stay in it as long as you like!  He chuckles over his own generosity.  Thank you for your generosity, says Barn.  Ben smiles.  Gerard Stiles enters the house and walks into the drawing room.  Who is this young man, Ben, what's he want? asks Daniel.  Permit me to introduce myself--Gerard Stiles, Esquire--you, I take it, are Daniel Collins?  I am, sir, replies Daniel.  Ben, aren't you going to introduce me to this other gentleman? asks Gerard.  Barnabas stares at him intently.  Ben introduces the two men.  A pleasure, sir, says Gerard.  How do you do? asks Barnabas.  What is your business in this house? asks Daniel.  Gerard lives here, says Ben--he's the young man who brought us the news about Quentin's death.  Oh, says Daniel, you were with Quentin on the night he died?  We were the best of friends, sir, says Gerard--I was first mate aboard the China Sea.  I want to hear how it happened, Mr. Stiles, says Daniel, if you will be good enough to tell me.  Now, Mr. Daniel, cautions Ben.  I want to hear how my son died, Ben! shouts Daniel--please go on, Mr. Stiles.  There's little to tell, says Gerard--we had just maneuvered the vessel through the Straits of Magellan when one of the storms peculiar to the area struck us very hard--Quentin was at the bow, from where I was standing, I could see him--he was in grave danger--the water was coming over the decks; I shouted at him to get below, but he paid no attention to me--was going towards him, forever being knocked down by the waves and strong winds, when finally I was nearly 20 feet from him when I saw Tad, his son, who had somehow gotten to him and was forcing him to get below--but just then one of the biggest waves I'd ever seen struck--I thought the bow would go under--when I picked myself up, they were both gone.  Daniel, stunned, says, "You mean, Tad is dead, too?"  I was going to tell you, says Ben, placing a comforting hand on his shoulder, we was waiting for you to get over the news of Mr. Quentin.  I tried everything I could, sir, Gerard assures him, I brought a lifeboat down immediately--I hate myself for failing.  You risked your life, sir, says Daniel, I'm grateful to you for it.  He would have done the same for me, sir, says Gerard.  Barnabas watches and listens carefully.  Daniel puts his hand to his forehead, complaining, I'm suddenly very tired--where are my pills, Ben?  In your room, says the latter.  I want to hear more about poor Roxanne, murmurs Daniel.  Ben leads him away--I'll take you upstairs, sir.  Barnabas volunteers to come with them, giving Gerard a quick look before leaving.  Gerard, smiling, pours himself a drink and shakes his head as he quaffs it.

Barnabas and Ben lead Daniel into the tower room.  Thank you, Mr. Barnabas--I can take care of him by myself now, he says.  I'll be downstairs, says Barn, and leaves.  Ben, asks Daniel, why are we the way we are?  I don't know what you're talking about, says Ben.  Daniel lies in bed, where Ben covers him with the infamous afghan.  We're a family born to tragedy, says Daniel--we seem somehow to invite it and then thrive on it--what's wrong with us?  Try and get some sleep, urges Ben.  Daniel, looking sad, says, it's so strange seeing Barnabas, then hearing about the attack on poor Roxanne--made me think back to the winter of 1797--all the terrifying things that happened--the strange, vicious attacks in the village, the rumors about Angelique, the suicide of Barnabas Collins' mother--what happened, Ben, what caused it all?  I don't know, says Ben.  What frightens me, says Daniel, is the terrible feeling that it's going to happen to us again--some incredible horror that none of us knows anything about yet.  Do you remember, asks Ben, some time ago, the newspapers told about a series of murders down Bedford way--it was a petrified head mixed up in it somewhere.The Bedford Atrocity! says Daniel.  How much do you remember about it? asks Ben.  I remember several murders, says Daniel--there was a legend about that strange, disembodied head--yes, I read it about it months later in that book Millicent showed me--yes of course, you must ask Millicent what she did with that book.  Ben leans down--Miss Millicent is dead, he reminds him.  Oh, says Daniel, remembering now, that's right, she's. . .the book must still be there--she always kept everything in that attic storeroom--poor little dear, she never had a happy day in her life---but the book, that's there.  He drifts off to sleep.

We see lots of cobwebs.  Ben, in the attic, has located the book Daniel spoke of.  Relics of the Anti-Saints, says Ben aloud, slapping the book closed--I've got to see Mr. Desmond, get him to destroy that awful thing--before it destroys us!

Collinwood - Barnabas crosses the landing and heads downstairs.  He joins Gerard in the drawing room--I'm glad you're still here, Mr. Stiles, since we didn't get to talk much earlier.  Gerard rises from the sofa--how's "old Daniel"?  Resting, says Barnabas--how long have you been at Collinwood, Mr. Stiles?  Ever since I brought the news of Quentin's death, several months ago, says Gerard--I suppose I was invited here out of gratitude.  I'm most intrigued by your story of the tragedy at sea, says Barn--could you tell me more?  Why not? asks Gerard, what would you like to know?  Did Quentin actually die at sea? asks Barnabas.  Startled, Gerard says, of course he did, there's no question about that.Did you see the body? asks Barnabas.  No, says Gerard, you know very well it was hard to retrieve it.  So, probes Barn, there's no final proof that Quentin Collins is actually dead?  You heard what I told the old man--he couldn't possible have survived, says Gerard--now tell me, why all these questions?  Merely curious, says Barnabas.  Are you trying to tell me you don't believe my story? asks Gerard.  I'm not trying to tell you anything, says Barnabas.  Because my story is true, says Gerard coldly, and once more, I don't owe anymore explanations to anyone.  A chuckle in his voice, Barnabas says, "I didn't say you did."  Good night, Mr. Collins, says Gerard, and leaves the room.  Barnabas thinks it all over.  Gerard heads upstairs as Ben is coming down.  Ben, where are you going? asks Barnabas.  There's something I have to do, says Ben, right now.  What? Barnabas asks.  The less said about it, the better, says Ben--I'll be back as soon as I do what I have to do.  He leaves.

Ben, lantern in one hand, book in the other, enters Rose Cottage, calling to Desmond--where the devil is everybody?  A storm rages.  He spots the head and removes the cover.  Evil, pronounces Ben, Desmond has got to destroy it for all our sakes.  Ben sits down and begins to write a letter (left-handed) to Desmond.  He folds it up and leaves it on the table, then rises from the chair in horror, dropping the book, staring at the head--the eyes are open, staring malevolently at him!Ben steps forward, lantern in hand, and says, "I know about you, all about you--I'm going to tell everyone, so you'll be destroyed--you won't stop me!"  Ben leaves the room, the head still uncovered, eyes open, staring.

Ben walks through the lightning-filled woods and suddenly stops.  We see the head, eyes open, juxtaposed over a screaming Ben--"You!  Don't come near me!" he cries, holding the lantern high.  "No!  No! Noooo!"

NOTES:  This evil head must have supernatural powers, and it appears that it has silenced Ben, perhaps permanently.  It's a shame Barnabas wasn't alerted to his old friend's plans, and at least joined him in thwarting this evil.

Sounds like Gerard's story about the deaths of Quentin and Tad is made-up, if very well detailed.  I felt sorry for Daniel learning of his grandson's death in this manner.  Louis Edmonds is doing another excellent job with this character.  Considering how much Daniel resembles his father, how did Barnabas feel facing him--aside from the fear that he would spill his secret.  Daniel's mind isn't too well-hinged, so anything he might say would be construed as the ravings of a madman.  Barnabas lucked out once again.

Barnabas and Gerard are already suspicious of each other, but that's nothing compared with the suspicion Desmond has for Barnabas.  He questioned him like a police detective.  Fortunately, Barnabas maintained his cool.  Desmond should spend less time being suspicious of Barnabas and more getting into a staring contest with that very creepy head he brought back.

Daniel's ruminations about 1797 and fear of what has been happening to the Collins family over the years, are so sad.  One has to wonder what "peaceful" days he was referring to.  Perhaps his life with Joshua, after Nathan's death, was peaceful, but I doubt it.  He remembers Angelique, and attacks in the village.  Although we know the year is wrong (it was 1796, actually), the memories are correct.  I enjoy touchstones like this.  He murdered his own wife, apparently, and he's pretty much insane now, with bouts of sanity creeping in--but his memory is completely there.  He's a sorry character, and very well performed by Edmonds.

Love, Robin

1113 - I am waiting, warns Gerard.  What right have you to question me? demands Julia.  Would you prefer Gabriel do it? he asks--he was the one who found the earring and is as interested in it as I am--Daniel Collins says there was a woman in the room the night the earring was found--was it you?  I arrived this evening, says Julia haughtily, and you know that--I'm not accustomed to strangers doubting my word.  When Gabriel showed me this, says Gerard, holding up the earring, I had a feeling that it belonged to a woman who did not dress as a woman ought to.  Julia gazes at him, asking, drolly, "You're a psychic, too?"  Not professionally, he says.  Whatever your interests, she says, I can answer the questions about the earring very easily.  He looks at her, waiting.  It was on the bureau when I went into the room, she says.  No one has been in that room in all the time I've been here, he says, and that's been several months.  I meant to call it to Mrs. Collins' attention, grins Julia, but you can do that now--there's no way of telling how long it's been there, is there?  No, there isn't, he admits, beaten.  Well, I'm afraid you'll have to solve the little mystery yourself, she teases.  We will solve it--and soon, he promises.  Ben joins them.  I've been hoping to see you, says Julia, I want to hear more stories about Father when he was young--my brother and I used to listen to how Collinwood was then.  If you'll excuse me, says Gerard.  You would be fascinated with the family stories, says Julia.  I'm afraid I'm only interested in the living, says Gerard, and heads upstairs.

Drawing room - Ben, says Julia, Gerard suspects something--I lost an earring and Gabriel found it.  We've got enough troubles without him, says Ben--I've looked everywhere for Mr. Barnabas, but can't find his coffin.  We've got to find it before it's too late, says Julia.  There were attacks in the village last night, says Ben, they got everybody all riled up--Mr. Pettibone asked me this morning if I remember other people being attacked in the same way--he figured they happened around 1797 (hmmm)--he was right, I never thought I'd see it happen again, after Mr. Barnabas' father and I chained him in his coffin.  I wish we could talk to Barnabas, says Julia.  There's one place he'd be sure to go, says Ben.  We'll go there, too, she says.  Not you, just me, he says, it's our only chance--I think he'll listen to me...there.

Old House - Josette's room, where the furniture has been covered.  We hear Josette's music box theme playing.  Barnabas enters the room and gazes up at her portrait--how I've longed to see your face again, he says--I will never forget, but now I'm free again, I must begin a new life--forgive me--I had to say goodbye.  He lifts the portrait off the mantle and puts it, face down, against the fireplace.  He turns, startled to find Ben there.  
Barnabas and Ben stare at each other.  You know me well, says Barnabas.  Well enough to know you'd come here, says Ben.  For the last time, says Barnabas.  What does that mean? asks Ben.  Josette can never be mine, says Barn, I will make an existence without her.  You hated your life before! Ben reminds him.  I will no longer condemn myself to that coffin, insists Barnabas.  You've got to, says Ben.  You've served me well, says Barnabas gently, but you cannot understand the eternal darkness of that tomb--I will not involve you this time as I did before--I will take whatever chances I must--alone.  You must not, says Ben, you must talk to that Julia, she's from the future, from 1970.  What an incredible story, says Barnabas, I do not have your naivete.  She can help you, says Ben.  No one can help me, says Barnabas.  You'll be caught, warns Ben, I feel it.  How, Ben? asks Barnabas--since I still exist in the year 1970?  She explained it to me, says Ben--you were released from your coffin in 1967, she changed the course of history when she let you escape last night--you're not safe.  The word safe has no meaning for me, says Barnabas softly, and leaves the room.  (This scene was really special.  The relationship between these two is one of long-standing respect and yes, love.  Ben knows Barnabas is a killer, yet still fears for his safety.  Barnabas couldn't care less.  How will this affect the 1970 Barnabas and his attempts to get to the past)?

Gerard accepts a note delivered from Flora at Rose Cottage.  He holds it up to his head Kreskin-style--Leticia, should I tell you what is in it? he asks--"Please, Gerard, come and see me as soon as you can."  Bursting into laughter, Leticia, who speaks with a Cockney accent (much like Pansy Faye), says, you are psychic.  He opens the note--I've learned to recognize that peculiar look she gets in her eye whenever she wants to see me, he says.  Leticia takes the note and sighs.  A real heart-breaker, as I should know, she says tellingly.  I would never break your heart, he promises.  Maybe that's what I'm afraid of, she says seriously, then giggles again--you've paid very little attention to me since I came here.  I've made a brand-new life for you, he reminds her--new luxury, no more cheap music halls, or bums asking you to read their minds, no more singing and dancing in those putrid...  She interrupts--sometimes I miss it, she confesses--you just gave me to that Flora like I was a present of some kind--I've got to talk to her all the time!--about my life--she writes it all down!  You're going to be very famous, says Gerard, you're going to be in a book.She smiles, pleased--no, luv, she says, you know there are some thing about my life a lady shouldn't even talk about (she begins to caress his face in a most familiar way) much less read.  He pushes her hands away--there is money here, he says sternly, money just waiting, and we aren't leaving here until we get it.  Let's just make sure we leave here together, please, luv, she whispers.  Julia enters, apologizing for interrupting them.  No need to apologize, he says, and introduces Julia to Leticia.  Do you want a ride back to Rose Cottage? asks Gerard.  I promised to start Samantha's horoscope, says Leticia.  Do you do horoscopes? asks Julia.  As a favor, says Leticia.  Miss Faye is a professional psychic, says Gerard--unlike myself, she can read the future--excuse me.  Leticia is dressed in fancy pink with a maroon boa draped over her arms.  Tell Flora I won't be late! Leticia calls after the departing Gerard.  He leaves.  Do you live at Collinwood? asks Julia.  No, brags Leticia, with Mrs. Flora Collins at Rose Cottage--the novelist.  Julia smiles--can you really see the future? she asks.  Yes, says Leticia, some people don't believe I can, but they find out it's true.  That's fascinating, remarks Julia--just standing here, you can tell what will happen in this room one day?  Perhaps, says Leticia. Could you tell something about, say, 1970? asks Julia.  Leticia laughs--I can't see that far ahead, she says--I can see tomorrow or the next day--anyway, even if I could see 1970, I wouldn't live long enough to see if I was right or not!  Julia laughs along with her.  How did you ever pick that date? asks Leticia.  I had a dream about this room in that time, says Julia (that sounds SO fabricated!)--could you possibly try and see if my dream is right?  I'm not promising anything, says Leticia, who places her hands, palms out, to her forehead, concentrating.  I see...I see...you smell the smoke?--smoke, and dust.  She stops.  Whew! she says, sorry, luv, that's all I see.Is Collinwood destroyed? Julia wonders to herself in despair--why hasn't Barnabas joined me?--if I could only see the future--if I only knew what Barnabas was doing now!

Old House, 1970 - Barnabas sits before the fire, staring despondently into the flames.  Eliot Stokes joins him--Barnabas, are you feeling any better?  No, he replies, his hands crawling over each other before he clasps them in an almost-prayerful attitude.  I'm sorry, says Stokes, I had hoped you'd be able to attend the funeral this afternoon.  I couldn't even do that, says Barn.  (How sad--he had to invent illness because a vampire can't go to a daytime funeral.)  I knew I shouldn't have gone to Europe, says Stokes, but I thought I had time to bring back the one man who could exorcise Gerard--I thought I had time--it's all I could hear this afternoon as I listened to the minister reading the psalms over those caskets--Elizabeth, David, Daphne, Carrie--all gone.  Barnabas laces his fingers together--I'll never forget that night, he says, those creatures Gerard summoned from the grave stopped me from following Julia--I'm going to find her, he vows--that night in the hall, she opened the door and the same stairs that brought us back from 1995 were there--someone wanted her to find them, to help her--I've got to find out where Julia went, and somehow, I've got to get there!

If those stairs brought you from 1995, says Stokes, that must be where Julia is now.  No, says Barnabas, I believe the only place those stairs went was back to the past, where all this began--the family journals say that the original Quentin Collins built some sort of strange staircase in 1840, a staircase that led to another time.  I assume you intend to use the I-Ching to get there, says Stokes.  I have no other choice, says Barnabas--even if I don't meet Julia, I have to go back in time and change history so this terrible night will not have happened.  The I-Ching can be very dangerous, warns Stokes.  You can't talk me out of it, insists Barn.  Carolyn joins them--I love visiting Cousin Barnabas, she says, like one in a dream, but I can't understand why you insisted just because Mother is away--"I think it was a very good idea for her to take David and Hallie on a trip" she blathers--they've had no vacation at all this year.Stokes purses his lips, downcast.  I'll go spend the weekend at the beach house, says Carolyn--could I, Cousin? she happily asks Barnabas.  We'll decide that later, he replies.  We always used to go there this time of year, says Carolyn girlishly--I loved it in the fall--the leaves are red, dying. . .she closes her eyes, then, her mood changing from light to dark, says, something happened at Collinwood--what?--who are those men?--who set fire to it?  She abruptly giggles, switching gears--how silly I am, it was only a nightmare, I don't remember what it was about now--I should go upstairs and pack a bag so I'll be ready to go to the shore in the morning--it will be so lovely to be by the sea, and alone.  She leaves.  You must get her to a psychiatrist at once, says Stokes, she should be at Windcliff.  I keep hoping the effects of what had happened would wear off, sighs Barnabas.  That's not true, says Stokes, you told me yourself she was...she will be just the same in 1995.  She would harm no one, says Barn.  You might be right about Carolyn, says Stokes, but I don't think you should overlook the other problem--where is he?  Upstairs, says Barnabas.

Quentin, in Josette's room, looks moonily up at a noose hanging from the ceiling.
Quentin takes a chair and places it under the hanging rope.  He begins to stand on it, intent on suicide.  Carolyn enters the room, screams NO! and physically drags him off the chair.  You can't stop me! cries Quentin, struggling with her.  Barnabas! Carolyn screams.  I've got to see Daphne, be with her! cries Quentin.  Carolyn screams for help.  Barnabas and Stokes rush in.  Barnabas pulls Carolyn away from Quentin, who turns and immediately begins to throttle Stokes.  Barnabas yanks him away from Eliot.  Quentin's yelling, accusing Eliot, you went to England when you knew this would happen, and didn't care!  No, says Barnabas, holding Quentin firmly, that's not true--Hallie was his niece!  Carolyn notes the tense Barnabas uses and asks "Was?--why did you say was?"  Barnabas sends the confused girl to her room, promising to explain later.  Quentin, childlike now, says, Barnabas, you won't stop me from seeing Daphne, I've got to see her--she's with Gerard now, you don't understand, I've lost her forever--I saw her die--oh, she died in my arms--and I saw the children, they were dead, too--I could have saved them!  No one could save them, says Barnabas gently--come along.  No, says Quentin, pulling away from him, you want me to go back to Collinwood to watch it all over again, and I'm not gonna do it.  No, says Barnabas, there's only one place where we want you to go where you'll be much happier.  I'll never be happy until I see her again, insists Quentin, sounding lost--never.  Eliot, we'll take Quentin to Windcliff at once, says Barnabas.  The camera pans to the hanging noose, and beside it, Josette's portrait.

1970 - Old House drawing room - Barnabas picks up the I-Ching wands. He'll be better off at Windcliff, Stokes says, trying to comfort Barnabas.  The expression on his face when we said goodbye. . .laments Barnabas--I felt like I'd betrayed him.  You kept him alive, Stokes reminds him.  But for what? asks Barnabas--in 1995 he will be as lost as he is now, after all those years of confinement--Eliot, I've asked you for many things, but I have one more favor--will you take care of Carolyn?  Yes, promises Eliot, of course.  Perhaps you could find a doctor for her--I trust you, Eliot.  (That was very nice to hear, and very sincerely spoken.)  I didn't think of one thing, says Eliot--if the I-Ching works, your body will remain after your spirit has left--someone must stay here.  Willie Loomis, says Barnabas--he knows his instructions.  Of course, says Stokes, I'll tell Carolyn we're driving to the beach house.  Barnabas clutches the wands in his hands and watches Stokes leave.  He enters the secret room and speaks to Roxanne in her coffin--you will be safe here, he assures her--I'm going away--Sebastian is gone--I'm going to try to get back to your time and change your fate--I wish I could look at you, he says, but when I come back, perhaps I can.  He leaves the room, closing the shelf behind him.

Carolyn's genuinely pleased to be going, says Stokes--she was upset about Quentin, she wanted to get away from here.  Thank you, says Barnabas.  I wish there were some other way, says Stokes.  Barnabas picks up the wands--there is not, he says.  Throw the wands, says Stokes.  Barnabas does.  I pray this will work, says Stokes--you have no assurance you will arrive in the right time.  Barnabas sits before the wands.  The 59th hexagram, says Stokes, hexagram of change.  I am ready, Professor, says Barnabas.  You must visualize a door with the hexagram painted on it, says Stokes--concentrate until the door begins to open.  It's opening, says Barnabas, seeing it in his mind.  Now, pass through the door--rise and go through that door! instructs Stokes.  Barnabas sees a tombstone reading, JULIA HOFFMAN COLLINS, DIED OCTOBER 6, 1840.  No! cries Barnabas, it can't be!

NOTES:  The I-Ching again.  Will Barnabas return to his own body in 1840 or will there be two Barnabii running around that time?  And as for Julia, will she die as the tombstone revealed to Barnabas, or will he be able to save her life?  Will Gerard do something to her, since he already mistrusts and dislikes her?

Great scenes between Stokes and Barnabas, rife with trust, understanding of a long-term friendship and shared loss.  I honestly think Barnabas could have explained to Stokes the real reason he couldn't attend the funerals, and Stokes would have understood and accepted.

Carolyn and Quentin both already seem as they were when we saw them in 1995, mad, grief-stricken, in serious denial.  Quentin was all set to commit suicide to be with Daphne, and the vision of him holding her while she died, the children already dead, was very sad indeed.  Carolyn has lost her cousin, his friend, Hallie, and her mother, and has convinced herself they all went to Europe.  This is really sad.  Where is Roger, we have to wonder?  Why isn't Barnabas or Stokes or someone appraising him of this horrifying turn of events?

So now, Barnabas rides in on his white horse, about to undertake the I-Ching again, put his own life in danger to save Julia and his family.

Meanwhile, Julia has already incurred Gerard's wrath and put herself on opposite sides from him.  He doesn't believe her about the earring, but has no choice but to accept her explanation.  She was all set to claim it, too, but caught herself--Gerard is very sharp, however, and you know he didn't believe her.

I'm sure all the Juliaphiles were upset with Barnabas' coffin-side speech to Roxanne, but remember, if he does prevent her from becoming a vampire, she surely won't exist in 1970, will she, leaving Julia clear and singular claim to Barnabas?


1114 - Barnabas breathes heavily--Stokes, he gasps, I must get through, but I can't move!  Realizing Barnabas is in distress, Stokes calls to him and grabs his shoulders.   Barnabas' body rock violently as he comes out of it--you shouldn't have stopped me, he says.  I he feared something terrible would happen to you, says Stokes--did you see anything beyond the door?  Yes, says Barnabas, I saw an inscription on a tombstone--Julia Hoffman Collins.  Could you read the date? asks Stokes.  Yes, says Barnabas, October 6th, three days from now--I don't know about the Collins, but I've got to get there by October 6th!  He rises from the chair, rapping his hand on the table for emphasis.  Is it possible what you saw was an hallucination? asks Stokes.  I can't believe it was! says Barnabas.  There's one way to find out, says Stokes.  He and Barnabas go to the graveyard, where Barnabas shows Stokes the family plot from the 19th century.  Minerva's stone is next to Julia's.  The men stand in front of Julia's tombstone.  You weren't imagining the 1840--why Julia Hoffman Collins? asks Stokes  I guess she was trying to give the impression she was a member of the family so she could be more quickly accepted, suggests Barnabas.Makes sense, agrees Stokes, but even if you succeed in getting there, how can you be sure you'll get there before the day she dies?  I don't know, admits Barnabas, I don't know anything, but I do know I must find a way, and within these next three days.  The camera pans on Julia's headstone.  We hear her voice calling, "Barnabas, I need you desperately!"

1840 - Julia examines a profile of Barnabas, asking aloud, will I ever see him again?--will I?  Do you always speak to inanimate objects? inquires a pretty, vibrant redhead--Roxanne Drew!

Julia stares at the other woman, who introduces herself as Roxanne Drew, Samantha's sister.  I already know about you, says Roxanne--Samantha told me all about you--are you enjoying your stay at Collinwood? I haven't quite gotten used to it yet, admits Julia.  I can quite understand that, says Roxanne, looking around, this house does have a tendency to overwhelm one, doesn't it?  It's quite large, agrees Julia.  A man who looks like a Trask has entered the drawing room and is standing near the door, watching Roxanne with unconcealed lust.  The house is large, agrees Roxanne, and for the most part, quite useless.  She sees Julia gazing at the man standing there--this is Lamar Trask, Roxanne says, an old friend of the family--he and my father are very close--Lamar has his business in Collinsport--can you guess what business he's in?  (It's already obvious Roxanne does not like this man much at all, considering how mischievously she's acting, as if she's mocking him.)  I'm sure Miss Collins isn't interested, says Trask.  I just wanted to see if she could guess, says Rox defensively.  I'm afraid I'm not very good at guessing, says Julia.  Lamar is a very successful undertaker, says Roxanne--or do you prefer mortician, Lamar?  Feeling he's being made sport of, Trask testily replies, it really doesn't matter.  Anyway, that's why he never smiles, says Roxanne--but I've never known an undertaker who did--she seems to be laughing at him--despite of how richly rewarding it is, death is a solemn business, adds Roxanne, still seeming to stifle a laugh.  Julia watches them.  Is something is the matter? asks Roxanne, you looked at me in a very strange way--have I made you uncomfortable?  No, Julia assures her, of course not.  Is my sister at home? asks Roxanne.  No, but she should be back soon, says Julia.  Then we won't mind waiting, says Trask--but shall we wait on the terrace--we do have something to discuss, remember.  She makes a face at him and asks, "How could I forget?"  They leave Julia alone.  How different she is from the Roxanne I met in 1970, muses Julia, and how terrible to know that one day, perhaps soon, she will be cursed as Barnabas was.  She sits by the fire, staring at Barnabas' daguerreotype, thinking--if I only knew when it would happen, and who would cause it, maybe I could tell her--but there's no way of knowing, no way at all!

On the terrace, by the fountain, Lamar complains, Roxanne, you don't think too highly of my profession, do you?  Did I offend you? she asks, I'm so sorry--(sarcastically) just that the thought of making one's living from the death doesn't fascinate me.  Death is a fact of life, my dear, he says, and it must be dealt with tastefully, and with reverence--the Trask Chapel is an institution in Collinsport.  Would you mind if we don't discuss the Trask Chapel this evening? she requests.  But it is my livelihood, he reminds her, and it must not be treated frivolously--but, he smiles, we are not here to discuss my profession--the fact is, there is very little time left before your father returns--I think I'm entitled to an answer from you.  You mean you think you're entitled to the answer you and father have already decided upon, she says bitchily--well, you're not, Lamar, my answer is still no--you're not the man for me!  Insulted, he asks, might I assume there is someone else?  You may assume NOTHING! she says--but someday, I will meet a man--a stranger, his goodness and gentleness will overwhelm me--and I'll be amazed by an air of mystery that surrounds him--and he will be courtly and charming--and he will love me as I want to be loved--I've always dreamed of such a man, and I know that we're destined to meet.  At the gate, Barnabas watches and listens as Roxanne goes on about her perfect man. He smiles.  (Honey, I'm home!)

Lamar, asks Roxanne sarcastically, are you being quiet because the man I described "couldn't possibly be you?"  What you've just spouted is a lot of romantic gibberish, says Trask, if I may say so.  You may say whatever you feel, she says--I felt it was a painless way of saying goodbye!  Barnabas smiles and walks away.  Julia comes out onto the terrace--Roxanne, she reports, your sister has returned and is waiting for you in the master bedroom.  Lamar starts to take her arm, intending to escort her, but Roxanne pulls away, gives him a dirty look and says, it's all right--I know my way.  She heads back into the house.  A glass of wine? offers Julia.  I don't partake of alcoholic beverages, says Trask stuffily--drink is the curse of mankind.  Oh, I see, says Julia--by the way, I was wondering, did you have a relative who lived in Collinsport at the turn of the century?--a Reverend Trask, I believe?  The good Reverend Trask was my father, says Trask proudly, why, what do you know of him?  Nothing, really, says Julia--my own father spoke of him occasionally.  And who was your father? he asks.  Barnabas Collins, she says.  The one who went to England in 1797? he asks.  Yes, she says, you seem very familiar with the Collins family history.  I have made it my business to be, he says--you see, my father disappeared the same year yours went to England--to this day, no one knows what happened to him.  How extraordinary, comments Julia, wasn't he involved in a trial of some sort?  Yes, a case of witchcraft, says Trask--thanks to the Reverend Trask, the witch was eventually convicted and hanged--I have vowed that someday I will solve the mystery surrounding his disappearance!  Do you have any theories? queries Julia.  I have always been convinced he was the victim of foul play, says Trask--he was last seen entering the gates of Collinwood.  Surely, says Julia, that couldn't possible...  My father was revered by most of those at Collinwood, rants Trask, but there were a few he considered his enemies--creatures of sin, he called them.  Did he name them at all? asks Julia.  No, says Trask, causing Julia's mouth to twitch in a satisfied smile, but he made it clear they were under the influence of the evil spirits at large in the house--someday, I will discover what happened to him, and who was responsible--and if that person is still alive...Julia looks away from the raw hatred on his face.

9 PM - Roxanne heads downstairs at Collinwood, holding her dress off the floor.  She enters the drawing room--Lamar, she says, I'm ready to be taken home.  I trust Samantha has given you sufficient moral support to see you through this crisis?  I have no idea what you're saying, she says.  Don't be ridiculous, he says, you know you came to see Samantha to take your side, tell your father I'm not the right man for you!  You're being absurd, scoffs Roxanne--"Please take me home!"  He whirls her around to face him--not until this matter is settled! he insists.  It has been settled! she says firmly.  You're making a very grave mistake, he says--your father and I have entered into an agreement--I suggest you come to your senses and COMPLY with that agreement.  At the window, Barnabas watches the entire scene, fascinated by this feisty lady.

I knew from the moment I met you that I would never marry you, says Roxanne--I resent the way you and my father have plotted this little marriage scheme, and I resent being treated like a parcel of real estate!--leave me alone, go back to Collinsport and bury someone, you seem to enjoy that so much!  (Nice burn, Rox!)  Good night, he says, stalking out.  Good BYE, Lamar, she retorts.  Julia enters, apologizing, saying I had no idea that you and Lamar were engaged in a private discussion.  What a polite word for it, says Rox, it doesn't matter, I'm happy to be rid of him.  Are you rid of him? asks Julia.  Oh, yes, says Roxanne, smiling, he'll go back to his funeral parlor and brood for a while; father will be furious, curse my ingratitude, and then he'll find another ideal husband, and the cycle will begin all over again--but I'll be ready for it--I always am--good night, Miss Collins.  She leaves.  Julia sighs over this 19th century soap opera and heads upstairs.

Terrace - The fountain has been stilled now as Roxanne steps down.  She hears rustling branches--is someone there? she calls--who is it?--who's there?  Barnabas comes out of the bushes.  What are you doing here? she asks.  There's no reason for you to be afraid, he says.  Scared, she orders, kindly answer my question--who are you?  Barnabas Collins, he says, I've just recently arrived from England.  If you're really a Collins, she says, what are you doing lurking around here on the terrace?  I was just about to go inside, he says, please don't tell them you saw me--I don't want to spoil my surprise with the family.  I see, says Roxanne--they don't know of your arrival.  No, he says, may I ask who you are?  Roxanne Drew, she says.  He repeats her first name--it's beautiful, he praises.  Are you planning on staying at Collinwood? she asks.  I hope to be, he says, gazing into her eyes, but my plans aren't finalized yet.  They make serious eye contact--I trust you're no longer afraid, he says.  No, I'm not, she agrees, moving in close--if my father knew that I stopped to talk to a perfect stranger, he'd have apoplexy.  Barnabas smiles--I hope you won't consider me a stranger for much longer, he says.  They smile at each other.  You're the most amazing man, she says--I really should be on my way.  Miss Drew, may I see you again? he asks.  You're very direct, aren't you? she asks.  You may not understand this, he says, but when I first saw you, I had the feeling that somehow we were always destined to be together, to meet.You're a most unusual man, Mr. Collins, she says.  Barnabas, he corrects--may I call on you at home?  My father is out of town on business for a few days, she says--we have a guest in the house, but he retires very early--I'd be pleased if you'd call on me anytime you wish.  Getting near kissing distance, he assures her, I will.  He kisses her hand and says, "Till we meet again."  Good night--Barnabas--she says, and drifts off.  He looks after her, already in love.  His forehead creases when he realizes, I can put her life in danger--don't see her again, he orders himself--"I must stay away from her!"

Roxanne enters her bedroom and closes the door, then leans back against it, musing, I was so sure he'd visit me tonight--why didn't he?--why?--is he really the one I always imagined I'd meet--or is he just a stranger?  She turns on a lamp--he said he'd be staying at Collinwood--I'll see him again, then. She removes her cloak, unaware that Barnabas is standing behind her, waiting.  She notices him.  What are you doing in my room? she asks.  Don't be frightened, or make a sound, he cautions.  You have no right to be here, she says, you must leave.  He steps toward her, staring into her eyes intently.  Her anger dissipates.  I should have resisted coming to you like this, he says in a hypnotic voice, but it was impossible--I kept seeing your face before me, hearing the sound of your voice--I am the stranger you spoke of--and I will love you as no one else ever has--I cannot help myself.  He bends down and sinks his loving fangs deeply into her tender throat.

NOTES:  Now we already know how Roxanne became a vampire, and it appears here that none other than Barnabas was her sire!  They do make a romantic pair, I have to admit.  She is so feisty, and I loved the way she put down Lamar and his undertaking business.  This gal has spunk!  What an appropriate business for a Trask!--still pious, not drinking, putting down those who do.  He really is a creep, and Roxanne's put-downs were delightful to hear.

Barnabas didn't waste any time finding himself another lady, did he?  You could tell he liked Roxanne from the first second he saw her, and the feeling was mutual.  Notice that though he commanded himself not to see her, he couldn't resist, as the Barnabas of 1970 would have.

Enjoyed Julia's conversation with Trask, too.  She knows what happened to his ancestor, and she was having fun baiting him.  It must relieve her tension a bit, and she sure needs it.

What will become of Roxanne now?  She thinks she's found the man of her dreams, but she has no idea Barnabas was eavesdropping on her conversation with Trask.  This Barnabas has nothing but compulsion and no control, as he does in 1970.  Too bad Julia didn't know that the Barnabas/Roxanne drama was already taking place under her very nose--but isn't that always the way on DS?

Love, Robin

1109 - Buried alive? cries Julia--what are we going to do?  Tad and Carrie burst in.  It's all happening the way it did before, says Tad.  That means we're lost! wails Carrie.  First Gerard killed Quentin, says Tad, and soon after that, Carrie and I died.  Gerard has forced history to repeat itself! realizes Barnabas--children, if you know where Quentin was originally buried alive, you must tell me--do you know if Quentin was buried in 1840 and where?  If Quentin dies, says Tad, we'll die, too, this is our only chance.  Then we might as well tell them, says Carrie.  He was buried in an unmarked grave, reveals Tad, near the part of the cemetery that was fenced off.

Beyond a fence, we see Quentin's unmarked grave.  Inside, gasping for breath, he pushes against the coffin lid.

Daphne, dressed in her 19th century dress, comes to his grave, kneels and leaves a bouquet of flowers.  She hears Barnabas' saying--the fenced off area is over in that direction.  We must look for the freshly-covered grave, says Julia--that will be it.  Daphne goes away before Julia and Barnabas reach Quentin's grave.  Julia picks up and sniffs the flowers.  It's freshly covered, notes Barnabas--Quentin is buried here, he has to be!  From the bushes, Daphne watches.

Quentin struggles for air as Barnabas digs, telling Julia, I just hope we're in time.

Tad, rubbing himself as if cold, says, Carrie, they shouldn't have left us there alone.  We aren't alone, says Carrie--Willie's downstairs.  A lot of good he'll do, remarks Tad, when Gerard finds out we told them where Quentin's grave is.  Gerard appears at that very moment, glaring.  Carrie presses herself against Tad--Gerard, she says fearfully, what are you going to do to us?  He smiles and beckons to them.  They follow.

Barnabas has exposed the coffin; he and Julia force it open.Quentin gasps for breath.

Tower - Daphne waits.  Gerard enters with the children, who run to her--why are you dressed that way? they ask.  She walks away, unable to answer.  Gerard stares into her eyes, goes to a closet, pulls out the box containing the clothing, and hands it to Daphne.  Put on the clothing, children, instructs Daphne.  Why? they ask.  Don't do it, Gerard, pleads Daphne--you took their lives once before--take me instead.  He merely stares at her, silently telling her how he wants it to be.  Resigned, she says, children, put on the clothing.  Gerard leaves.

Cemetery - It's as if I became the 1840 Quentin, Q tells Barnabas and Julia--I have the memory of Gerard waving the green flag in a Collinwood window, and the destruction which followed--how are the children?  When told at the Old House, Quentin informs them, they are no longer there.  They all leave.

Playroom corridor - Julia reaches for the knob, but Quentin stops her--if you open it, he explains, you will find only a linen closet.  He opens the door instead, revealing the playroom, to Julia and Barnabas' astonishment.  The room is empty.  They decide to search for the kids elsewhere.  They leave, unaware that Gerard has been watching their every move.

Tower room - The children are now dressed in the 19th century garments.Quentin, Barnabas and Julia enter.  Daphne rushes into Quentin's arms.  Trust me, Barnabas, says Quentin--take Daphne and Julia away--I must be alone with the children.  Reluctantly, Julia and Barnabas exit.  Gerard! calls Quentin--I'm going to force you out.  He takes the children to the window and begins an incantation: "We seek the guidance of a star--a very special star--a star out in the cold of time and space, far out beyond us.  A star that is responsible for the guidance not of two, but of four children--for David Collins and Hallie Stokes, who are the astral twins of Tad and Carrie, who stand before me now.  Only by the light of a star will their possession end, and only by the star will they come to themselves.  Restore them now!  Bring back the rightful bodies to David Collins and Hallie Stokes!"  The children feel the spell working and decide it's better this way.  Gerard appears.  You've lost, says Quentin, your plan is over.  Gerard grabs him by the throat and tosses him to the ground.  He pulls a green flag out of a cupboard and angrily waves it three times in the window.

Cemetery - The earth breaks open over the graves of Gerard's pirate crew, and slowly six men stand up and begin walking.  (Brrrrr, scared me then, scares me now!)

Tower Room - Julia and Barnabas enter and find Quentin alive.  I failed, he says sorrowfully--the children are gone.  Daphne got away from us, they inform him.  It's beginning, says Quentin--our last chance is to find the three of them.  They leave the tower on a desperate errand.

Playroom - Daphne enters, grateful to find Tad and Carrie there.  Gerard appears.Leave us alone! begs Daphne--but he continues his menacing advance on them.

Foyer - The zombie crewmen enter Collinwood and silently begin tearing the house apart.

Playroom Corridor - Daphne! calls Quentin.  He enters the playroom to find the children dead.  Daphne moans.  He draws her in his arms.  What about the children? she asks weakly.  They--as well as David and Hallie--are dead, he says sadly.I wanted it to be the way it was when we first met, she murmurs--do you remember?  Quentin, miserable, assures her, I do.  She dies in his arms.

Foyer - A beam caves in with a crash as the zombies continue destroying the house.  Julia and Barnabas come out onto the landing and witness what's happening.  The zombies spot them and chase them up the stairs.  Barnabas and Julia race into the interior of the house.

Barnabas and Jul quickly enter the West Wing, locking the door behind them.  The zombies begin to mindlessly hammer at the door.  Quentin, in shock, exits the playroom--Daphne and the children are dead, he says.  Now unhinged, he walks away from them, repeating himself.  Wait! calls Barnabas.  Julia opens the playroom door just as the zombies succeed in breaking down the West Wing door.  Instead of the playroom, the staircase has appeared.  Barnabas, imprisoned in the grip of the zombies, tries to fight his way free.  Julia, go up the staircase! He cries--I'll follow you!She agrees and heads for the stairway.  Barnabas breaks free, only to discover that the stairway--and Julia--have disappeared.  The zombies swarm over him again.

Stairway - Julia emerges into an oddly-different corridor.  Hearing footsteps, she ducks into a doorway.  The footsteps belong to a very alive Carrie Stokes.  I'm in the 19th century! realizes Julia.

NOTES:  I remember this episode very vividly, especially those creepy zombies.  The big bald one was especially grotesque, as I recall, but rather amusing, too.  The way they mindlessly went around tearing Collinwood apart looked both scary and fun.

See what happened?  Despite knowing this would all come to pass--the deaths of the children and the destruction of Collinwood, Barnabas and Julia were unable to prevent it.  Between the kids and Quentin keeping their secrets, Gerard hypnotizing Carolyn, Liz and Mrs. Johnson, Barnabas and Julia were thwarted in every effort to stop what they KNEW was going to happen from happening!  True, there was some shabby detective work, unfortunate breakdowns in communication and general screwing up by all concerned.

I prefer Quentin when he loves a lot of ladies instead of just one.  While I felt badly for him losing Daphne, one senses this is, for her at least, just a replay of what must have happened in 1840, and she didn't really love this Quentin, except as a replica of a man she didn't get in her lifetime.        

Now we head into 1840, to meet a new, fascinating cast of characters and see if our heroes can stop Gerard from his dastardly deeds.


1110 - Julia goes up the staircase through time, not knowing, says the intro, where it will end.  She opens the playroom door and closes it behind her, looking around.  She hears someone coming and hides.  She peers out through the door and realizes it's Carrie, who is alive, but the clothes she's wearing, she could only have worn them in 1840--yes, that's it, that's why the corridor looks so difference--I'm in the 19th century!

Someone in a wheelchair, lap covered in an afghan, wheels down the hall.  He looks just like Sebastian Shaw with a mustache. You still up? he nastily asks Carrie.  Just going in to see Grandfather, she answers defensively.  You're just a guest in this house, Miss Stokes, says the man, as is your grandfather--you don't give orders to a Collins!  He's sleeping, she protests.  He will wake, the man insists--go to your room.  Please, Gabriel, begs Carrie. You've been petted and spoiled ever since Tad left this house, he says.  Not by you, she says.  No, not by me, he says, glaring at her, other people see your prettiness, I only see your impudence.  Open the door for me. . .Carrie.  No! she says.  Open the door! he orders.  Frightened, she does.  Be a good little girl and push me in, he says.  She complies, her face angry.  Left alone in the corridor, she looks upset.  A woman comes to her, asking what's the matter.  Oh, Mrs. Collins! says Carrie.  I heard Gabriel's voice, the red-headed woman says, I shouldn't even have asked, of course--it's Quentin's fault he's the way he is, now we have to pay for it.  She touches Carrie's cheek comfortingly.  Could I go in and talk to him? asks Carrie--I know my grandfather's had a terrible day.  Let Gabriel try, Mrs. Collins says viciously.  Let him try what? asks Carrie.  There's no need to concern yourself with that, says the redhead--I know why he went into your grandfather's room, and that's important--do you know what I'm going to do tonight, Carrie?--I need someone to do it with me--it won't matter if you're up late, you can sleep tomorrow.  I'll do whatever you want, says Carrie.  Come with me to the playroom, says Mrs. Collins.  You're going to the playroom? asks Carrie.  Yes, at last, says the redhead.  The door is open, observes Carrie, perhaps it was a servant.  Mrs. Collins is about to open the door, but suddenly can't.  Mrs. Collins! sympathizes Carrie.  I loved Tad so much, says the older woman, you know that, don't you?  Carrie nods.  Mrs. Collins opens the door; they enter.  Shall I light a light? asks Carrie.  Yes, says Mrs. Collins.  Carrie turns on a lamp.  I stayed in my room all evening, says Mrs. Collins, eyes closed, knowing I had to do this for my own sake--now I'm afraid to look. . .it can't be, it's just a room, she says.  Julia, hiding, eavesdrops.  A room filled, says Mrs. Collins, about to cry, with toys that will never be used again--oh, why did I let Quentin take Tad on that boat?Why didn't I just say to him that he'll die if he goes there because...because I knew that, I knew that--somewhere inside me, but I didn't say anything--here I am--Quentin's dead, Tad is dead, here I am, in a room filled with toys.  Carrie hugs her.  Julia shakes her head, baffled.

Gabriel squeezes a ball.  He wheels himself over to old Stokes, turns on the lamp beside his bed, and sits watching him. Ben, calls Gabriel, Ben!  The ancient man awakens--is your father any worse? He asks. No, says Gabriel, he's been quite peaceful tonight, at least until now.  What did you wake me up for? demands Ben.  Gabriel grins--you've done a lot of favors for us Collins, except for me, but now it's my turn--at last.  What do you want me to do for you? asks Ben.  I want you to tell father, says Gabriel, leaning forward in his wheelchair, that Quentin is dead!

I ain't going to tell Daniel Collins his son is dead, insists Ben--"Not for the likes of you!"  But you'd tell him I'd died, wouldn't you? asks Gabriel bitterly--"quite willingly--now get on your robe, Ben!"  The old man gets out of bed--he ain't fit to hear such news, says Ben, putting on his robe.  He hasn't been for two months now, says Gabriel. Especially after today, says Ben.  Another bad day like this, remarks Gabriel, and he won't be alive.  It would be better so, opines Ben.  Oh yes, says Gabriel, for dear Mrs. Quentin Collins, yes, for Samantha Drew Collins, yes!--all the Collins money going to her!  Instead of you! shoots back Ben.  It wasn't my fault that I couldn't do as Father wished, says Gabriel--I could have, you know, if it hadn't been for...  He squeezes the ball viciously--the accident, he finishes--Father shouldn't have favored Quentin so much, no, I could have...I couldn't earn my own way.  Many a man worse off then you have, points out Ben.  You're lucky I can't stand up, snarls Gabriel, or else I'd strangle you for saying that!--I can, you know, he says, squeezing the ball, I'm strong enough--you're going to go into that room and tell Father, and he will make out a new will, and I will get everything--and you will be witness.  Go yourself, says Ben, be your own witness, or take that wife of yours.  No, Ben, you're the only one he understands, insists Gabriel, you talk sense.  It don' make sense to me, says Ben, I can't talk it.  He turns on another light.  That granddaughter of yours seems to be very happy here, Ben, says Gabriel calculatingly.Aye, agrees Ben.  What will happen to her when you die? asks Gabriel.  She'll have my money, says Ben--the money I earned with my own hands--she can stay here, Mr. Quentin, Mr. Daniel, they promised!  You forget, Ben, says Gabriel, my father won't be around much longer, and Quentin won't be around at all--ever!--so that leaves me!  This upsets Ben.  I think it would be a good idea if you talked to my father, Ben, because it would make it much easier for Carrie, very much easier.  He grins at Ben cruelly, and watches in satisfaction as Ben leaves the room

Samantha plays with the wheels on a toy wagon--I gave this to Tad on his 6th birthday, she muses.  Carries sits and listens, Julia hides in a corner.  You've had enough for one night, says Carrie, touching Samantha's hand, removing the wagon out of the older woman's grasp.  Enough of nothing, says Samantha.  You should wait, suggests Carrie.  For what? asks Samantha.  Grandfather Ben says things look better in the morning, says Carrie, than they do at night.  I suppose I should listen to Ben Stokes, says Samantha, he's always right.  Julia reacts to the name.  Samantha rises from the rocking chair clutches a stuffed animal, pressing it to her lips--will I be able to come back tomorrow? she asks sadly--I know I won't and you know it, too, don't you, Carrie?  She puts down the toy--it can wait, she says--everything can wait.  One thing can't, says Carrie--could you go to my grandfather's room and talk to Mr. Collins, if he's till there?  Yes, says Samantha, putting her hands on the girl's shoulders, I'll try.  They leave the room.  Julia exits her hiding place and waits a few moments, thinking to herself, Ben Stokes is alive, living in this house--he did everything for Barnabas, knew everything about him--surely he will help me--I must get to him!  Barnabas! she cries, where are you?  Why haven't you followed me--why?

Ben has Barnabas' portrait hanging on the mantle in his room.  Samantha enters.  Gabriel bids her a sarcastic welcome.  So, she says, you got Ben to do what you wanted.  I merely sent him on an errand, says Gabriel.  And I know where, says Samantha angrily.  I wouldn't interrupt him if I were you--might be dangerous for you, threatens Gabriel--of course you know Father as well as I do.  Ben has had an exhausting night, says Samantha, I care more about him than I do myself.Anyone in this house might believe that--but I don't, says Gabriel, because you've never been concerned about anyone but yourself--not even Quentin. Incensed, she leaves the room.  GET OUT! shouts Gabriel three times, "Before I kill you!"  He squeezes his ball viciously.

Julia, looking around carefully, exits the playroom.  She tiptoes across the hall to Ben's room and enters.  Spotting Barnabas' portrait on the wall, she raises her hand to her face.  Hearing Ben and Samantha coming, she hides.  Once inside, Ben tells Samantha, there's only one thing I've done more difficult than telling Daniel his favorite son was lost at sea (he gazes up at Barn's portrait, and we know what that was).  Is the will going to be changed? asks Sam.  No, he says.  Well, she says, satisfied--you've had a hard night--I'll see to it you're not disturbed.  She leaves, closing the door behind her.  Ben sits in a chair with a groan.  Julia appears--listen to me before you do anything, please, she begs.  He stares at her in amazement, frightened. I'm a friend of Barnabas', she says.  He's dead, says Stokes.  Yes, but he lives, you know that, says Julia.  He's in his coffin, says Stokes--you're some creature like him.  No, she says, I've come from a different time--I just left Barnabas a few hours ago--we live in a different time, in 1970.  He stares up at her--you're mad, he declares.  Listen to me, she pleads, you must.

Drawing room - Gabriel plays chess with himself and sips a drink.  Samantha joins him and triumphantly announces, "You failed!"  He looks at her.  Ben told Daniel, she says--the will isn't going to be changed--I knew you would want to know.  She leaves the room.  He shoves all the chess pieces to the floor in fury.

Ben is astonished to learn Barnabas is out of the coffin in Julia's time--not caught? he asks.  I know how incredible that sounds, she says.  I don't understand anything you're saying, he says, rising from the chair--I think you're some kind of a witch.  If I were, wouldn't I use the knowledge I have of Barnabas Collins?--wouldn't I go to someone who could help me for the knowledge?  I'm just a poor, ignorant old man, says Ben, all I know is Barnabas Collins is chained in his coffin right now, and yet you talk about his following you here.  Someone knocks at the door.  Don't give me away, Ben, begs Julia, if not for my sake, for Barnabas Collins'.  She hides again.  Ben answers the door.  It's Carrie, in her nightgown--who were you talking to? she asks--tell me, please.  Ben thinks; Julia frets.

I was talking to myself, lies Ben--it's an old man's privilege, isn't it?  No you weren't, she says, you were talking to Gabriel Collins, you were saying all the things to him that you couldn't say.  I was, he admits--you're right, as usual.  He kisses her forehead--good night.  She leaves.  Julia joins him again.  I don't know why I'm doing this, he says, I was always doing things for Barnabas without knowing why.  She thanks him.  I'll get you some clothes tomorrow, he promises, I'll hide you in the playroom because no one goes there no more.  (Someone just did!)  Where's Daphne? asks Julia.  I've never heard the name, says Ben.The children's governess, says Julia.  You must mean Hortense, says Ben.  Tell me, is Gerard Stiles here? she asks.  Sure is, says Ben, he brought us the news about Master Tad and Mr. Quentin.  There are so many questions I have to ask you, she says, so many things I want...  Not now, he cautions--follow me, quietly.

Gabriel sits writing something at the desk, on yellow paper, which I doubt was in use then.  I must see you tonight, he reads to himself--vital--no matter what time you come back from Rose Cottage, come to my room.  He seals it with wax and addresses it to Gerard.

Ben quietly leads Julia into the playroom--be quiet, he warns--we don't want to get you caught.  Julia is about to thank him.  Don't, he says--just stay in this room until tomorrow--no matter what happens.

Samantha runs downstairs, breathless.  Gabriel, I just went to the tower, she says.  To thank Father? he asks sarcastically.  I didn't have a chance to, she says--Gabriel, he's broken out--he's gone!  Terrified, Gabriel drops a book he was holding on the floor.  I see you're afraid of him, says Samantha--all right, I'll find him myself!  She flounces out.  No! he cries, wheeling himself out of the drawing room.  Samantha heaves a sigh of relief.  Don't wake the servants! calls Gabriel, I'll get Ben Stokes!  We see someone walking down the hallway, but at the sound of Gabriel's voice, the figure moves away quickly.  Julia, nodding off in the rocker in the playroom, is awakened when she hears Gabriel screaming, "Hurry!"  She rises from the chair and puts her ear to the door.  BEN! screams Gabriel.  Julia leaves the room, looking around.  A pair of hands encircles her throat.

NOTES:  Who are the new players in 1840?  Gabriel, an embittered cripple who is also obviously angry and jealous over Quentin, a brother whom their father apparently favors.  Samantha is Quentin's wife, mother of Tad, and at this point of the story, both her husband and son are presumed drowned, or at least, missing.  Samantha goes into the playroom to reminisce about Tad, and is apparently sad over his death.  She doesn't seem nearly as concerned about her husband, however.  She and Gabriel apparently despise each other, and she is pleased Daniel, who has "escaped" and must be assumed insane, didn't change his will upon learning of Quentin's presumed death.  One gathers she is next in line to inherit, and she certainly doesn't want Gabriel mucking that up.  The way Gabriel squeezes that ball, one senses tremendous violence in him, as well as a fury that cannot be quenched.  We've met Carrie, sweet, gentle.  She and her grandfather, Ben (who, according to all we learned before, should be dead now), are beholden to the family in some way--although Ben sure doesn't think so.  He has his own money, and we sense he's more concerned about what will happen to Carrie when he dies.  He does Gabriel's bidding, because the latter threatens his granddaughter's living arrangements, but we can see Gabriel has little place in the pecking order, which pisses him off.  Samantha is obviously fond of Carrie and wouldn't allow her to go anywhere.  We already know how close Tad and Carrie have been.  There is some connection, perhaps unsavory, between Gerard and Gabriel--why are they meeting?

Luckily for Julia, Ben believed her story.  I guess having seen a man turned into a vampire, Ben has seen just about everything, and what Julia told him really wasn't shocking at all.  Fascinating that he has Barnabas' portrait above his fireplace, isn't it?  Julia knows Gerard is already on the scene, but not Daphne, at least not to Ben's knowledge. (Great makeup job on Ben--he does look very old.)

This is a breath of fresh air, even if there are discrepancies abounding.  Samantha, Ben and Gabriel are very interesting characters, and this plot is going to thicken up very quickly.  Enjoy!

Love, Robin

1105 - Barnabas and Julia look out Maggie's window.  Maggie! calls Barnabas, frantically searching the grounds below.  Do you see her? asks Julia. No, he says--I was hoping she'd hear my voice if she was still on the grounds--how's Mrs. Johnson?  She was hit on the back of the head (who did that, Gerard?), says Julia, she may have a concussion.  Take care of her, orders Barnabas, I'll find Maggie.  Julia agrees--Mrs. Johnson shouldn't be moved, anyway.  Barnabas closes the window--how did Maggie get out? he wonders--the window was locked inside!  Then he remembers the secret panel.  Where does it lead to? asks Julia.  To a door at the far end of the house, says Barn, then it leads to a tunnel that goes to the beach.  He exits this way, on Maggie's trail.  Julia goes to attend to Mrs. Johnson, whom we do not see.

Collinwood - Julia comes downstairs, still in her coat.  She hears the carousel music playing, and Carolyn in the drawing room, talking to someone.  Julia joins her.  I was about to come looking for you, says Carolyn.  Who were you talking to? asks Julia.  No one, says Carolyn.  I heard you, insists Julia--Gerard was here, wasn't he?  I have no idea what you're talking about--but I would like to ask you a question, says Carolyn--just why didn't you inform the family that the children are missing?  Julia, guilty, says, I meant to, but I thought I should tell the police first.  That was not your decision to make, snaps Carolyn.  Julia, caught, says, wait a minute--how did YOU know the children were missing?  It's Carolyn's turn to hesitate, look furtive--it's no concern of yours, she says.  Gerard has been here, accuses Julia.  You're not making any sense at all, says Carolyn.  Something terrible is about to happen, says Julia, you know about it--what has Gerard told you about it?  Carolyn again denies knowing this "Gerard."  I've seen him--he is responsible for the way you're behaving, says Julia.  I refuse to listen to you anymore! says Carolyn--but I suggest you take me to the children, immediately.  I have no idea where they are, protests Julia.  Yes you do, says Carolyn, and you'll tell me, too, because if you don't, I won't help you and Barnabas find Maggie.
Do you know where Maggie is? asks Julia anxiously.  You won't tell me what I want to know, says Carolyn archly, nibbling a large sugar cookie. Did you see her leave the house? asks Julia.  I had a vision of her, says Carolyn.  Where was she? asks Julia.  I don't understand all this concern about Maggie, complains Carolyn.  Her life is in danger, says Julia impatiently.  Carolyn bites into the cookie.  I don't really believe you have second sight you're talking about, says Julia, baiting her--if you did, you wouldn't have to ask me where the children are, you'd already know.  Carolyn looks at her--I tried to have a vision of the children, but failed, she says--I don't understand why.  You didn't see Maggie, either, did you? asks Julia cunningly.  Yes I did! shouts Carolyn.  Where was she? asks Julia.  I can't tell you that, says Carolyn.  You've got to, insists Julia.  I want to help you, but I can't, says Carolyn, face screwed up with disappointment--I can't! screams Carolyn, already on the verge of madness.  She and her cookie dash away from Julia, who leaves the room in frustration.

Old House - WILLIE! Barnabas yells upstairs.  Loomis races wildly downstairs.  Is everything all right here? asks Barn. Yes, Willie assures him, Daphne is up in her room.  Lock her door and come with me, says Barnabas.  You're going to leave her alone? asks Willie.  I have no choice, says Barnabas--Maggie has disappeared and we've got to find her.  Maggie? screeches Willie--what's happened to her?  She was lured away from her room, says Barnabas, by the vampire.  Willie: I thought somebody was supposed to be watching her...  Barnabas slams his hand on the newel post--don't look for explanations now, he orders--go out and search the woods, but first go to Collinwood and see Julia--find out if she learned anything from Mrs. Johnson.  Mrs. Johnson? blathers Willie--what...  There's no time to discuss it now, just do as I tell you! commands Barnabas imperiously. Willie runs upstairs to lock Daphne in.

Carolyn is dancing in the drawing room with her cookie, singing, "I wanna dance with you, wanna dance my cares away, I'll be so close to you, in your arms I'll always stay."  She giggles.  Willie comes in--Carolyn?  You gave me a start, she says, still laughing.  What you laughing about? he asks--ain't you heard what happened?  I just can't help being amused, says Carolyn.  What about? he asks.  Julia and Barnabas, she says--they're the ones that are so concerned about Maggie Evans, and yet I know more than they do--don't you find that amusing?  He gazes at her, nonplused--what is it you know? he asks softly.  Wouldn't you like to know? she teases.  He grabs her arm--you can bet I would, he says--if you know where Maggie is, you'd better tell me!  You have no right to order me around! cries Carolyn.  Do you or don't you? shouts Willie.  I do! she retorts, right in his face, but why should I help you or anyone else find Maggie Evans--after all, she never did belong in this house.  ()  Neither did Barnabas, for that matter, adds Carolyn, I never did understand that.  I don't know why I'm standin' here listenin' to ya, says Willie, you don't know what you're sayin'--you're crazy.  You don't have the sense to know the truth when you hear it! screams Carolyn--"Do you know what you are, Willie Loomis?--you're stupid, stupid, stupid, stupid--and I can prove it!--I can prove you're not smart enough to find Maggie Evans!--can you hear me?"  Insulted, glaring at her, he challenges--go on, prove it.  If you really want to find Maggie Evans, says Carolyn, I'll play a little game with you.  AINT NO TIME FOR GAMES! blares Willie, right in her face again.  You won't even listen to what I have to say, she says, picking at the cookie.  Go on, say it, say it! he yells.  Do you like riddles? she asks.  What are you talking about? he asks.I'm going to give you a riddle, she says, and if you're smart enough to figure it out, you'll find Maggie Evans--if you're not, you won't--what could be simpler than that?  Nothing, he says, come on, give it to me.  Give me a minute, I have to think, she says, then recites, "Where the north woods path is narrow, you'll be at sixes and sevens, but look for the H and follow the arrow, that points to Maggie Evans."  Giggling, she asks, do you think you can figure that out?  I don't even know where to begin, he says desperately.  In the North Woods, stupid! she screams in his face.  Can't you make it a little clearer? he asks, helpless.  Then it wouldn't be a riddle, she reminds him--anyway, we're doing this to find out how smart--or stupid--you are--remember?  Willie makes a dismissive gesture at her, then grabs a paper and pencil to write down the riddle, scrabbling in his pockets while Carolyn laughs at him.

Willie searches the woods, flashlight and paper in hand.  He shines the light on the paper, saying to himself, "Where the North Woods path is narrow."  OK, so the path is narrow, what do I do now?  It would be at sixes and sevens?  How am I supposed to figure this out? he says aloud, I don't even know what it means!  I must be stupid even to have listened to her, he frets, I know she ain't got all her marbles.  What's the matter with me?--Maggie isn't anywhere near here, I'm just wasting time.  Hearing the dogs howling, he says to himself, the path goes off to the right--I might as well see where it leads to.  He finds himself in the Eagle Hill cemetery--she could be here--maybe Carolyn ain't so crazy after all.  He shines the light on the paper--look for the H and follow the arrow--what H?  What arrow?  This is a big cemetery, I don't know where the stinkin' lousy arrow is!  He runs his hands through his hair, becoming a total wreck.  What's the use? he wonders--I ain't gonna figure it out--Carolyn didn't mean for me to, she was just teasing me.  He sits down on a grave--I'm sorry, Maggie, I don't know, I did what I could, I don't know anymore, I can't do it--I'm sorry, Maggie (so pathetic--and so sweet!)  He stands up.  He's been sitting on Jeremy Harrow's grave.  Willie returns there after thinking a while.  He notices the H in Harrow and that "arrow" is part of it.  Follow the arrow which points to Maggie Evans! he reads, and continues on, flashlight in hand, hope in his heart.  He opens the same tomb the kids found the other night and discovers the coffin from which the vampire had emerged.  He opens it--it's night, and therefore empty.  So this is where he stays during the day, muses Willie.  He closes the coffin and hears moaning.He finds Maggie on the floor behind the coffin, her neck dripping blood.

Julia sets up yet another transfusion for Maggie.  Barnabas is at her side, looking morose.  She was left there on the floor to die, he says, and that's what would have happened if Willie hadn't been there.  She's still very weak, says Julia, and will need more than one transfusion.  Willie, staring at Maggie, says, Barnabas, we've got to pull her through this night.  We shall, promises Barn, by tomorrow, she'll be all right--you don't know how much I'd like to have been in that crypt to drive a stake into his heart myself.  That's impossible, says Julia (since you and that vampire keep the same hours).  Yes, agrees Barnabas--one of you will have to do it.  There must be someone guarding the crypt during the day, says Julia.  Then both of you go, says Barnabas.  Maggie moans in her sleep.If only Mrs. Johnson could have seen who attacked her, laments Barn.  We'll know who it is soon enough, says Julia.  Dogs howl.  Maggie moans.  Barnabas opens the window and gazes out.

Julia looks down at Maggie, who is muttering to herself--keep sleeping, urges Julia--it will be dawn soon, and all over--you'll be yourself again.  Maggie's head moves restlessly on the pillow.

Barnabas stands in the Old House drawing room.  Willie shows him a stake and hammer--we're ready, says Willie.  It's almost dawn, reports Julia.  I know, says Barnabas--you know what you have to do?  Yes I do, she assures him.  My only regret, he says, is that I can't be there to do it myself.  Come, Willie, says Julia, we'd better get started.  They leave.  Barnabas watches them go, then retires to his own coffin for the day, looking pensive and regretful.  We get a shot of his cane hanging on the coat rack.

Willie and Julia go to the mausoleum.  It looks deserted, he says.  I'm sure someone is guarding the coffin, says Julia.  They move toward the tomb, Julia looking behind them, Willie holding a bag with the necessary tools.  No one is here guarding the coffin, says Willie, I don't understand it--and I don't like it.  It must be done, insists Julia.  Yeah, for Maggie's sake, says Willie.  For everyone's sake, she amends.  I keep thinking, he says--if this were Barnabas' coffin and we were two other people...  We are NOT, Willie, she says--don't think about that.  Nervous, frightened, he bites the back of his hand.  Get the hammer and stake, she says.  He takes them out of the bag and stands beside Julia--who do you think is in there? he asks--well, if we've gotta do it, might as well get it over with!   She opens the coffin, looks down, and gasps in disbelief, shaking her head.  "Oh no, no!" she cries.

NOTES:  What a great episode!  Who's in the coffin?  We'll find out soon enough.  Loved Willie's introspection and fear for Barnabas--this could be him, if they were two other people.  This is the kind of scene I lived for on DS, and they came few and far between at this point in the series.  There was so much good in this ep, with Karlen and Barrett stand-outs for their performances.

Barnabas blathered on about taking care of destroying the vampire, but he had to know that was just desire talking--he must keep the same hours as the vampire, so he can't very well dispense with it.  His frustration is evident.

I LOVED the scene between Carolyn and Willie--she eating the cookie, calling him stupid over and over.  Their dialogue overlapped a few times, making it impossible for me to discern what was being said, so some of the crackling, marvelous dialogue isn't in my summary, but I watched this raptly, with vast enjoyment.  I'm so glad Willie proved Carolyn wrong.  This is SO much better than any of the stuff with the kids!

Carolyn says that neither Maggie or Barnabas belong there.  I wonder what that came from?  Is that how Gerard feels?  Carolyn?  Leticia?

I also loved Willie's monologue in the woods as he tried to figure out Carolyn's riddle, and was so glad when he did.  I adore Karlen, who is one of DS' finest actors.

A really terrific episode, but I want to get on to the next to see the revelation of Collinsport's newest vampire.


1106 -

Julia, who is it? asks Willie, peering over her shoulder.  We understand her gasp in the previous episode as we see none other than Roxanne Drew slumbering in the coffin.  That girl? asks Willie--the girl Barnabas...?  The girl Barnabas thinks he loves, says Julia--I should have known, I should have figured it out--the few times I've seen her have only been at night, and Elizabeth and I were wondering the other day what Sebastian Shaw did during the day--now we know.  Where is Shaw now? asks Willie--he's going to come here, Julia, I know it!  She looks down at Roxanne.  We've got to do it now, says Willie.  He places the stake on Roxanne's chest, holds the hammer poised over it, draws it back and is about to strike when Julia grabs his raised arm--no, she says, and takes the stake from him, too.  We've got to do what we came for! protests Willie.  No, not now, insists Julia.  Barnabas said whoever it was didn't matter, points out Willie.  He didn't know, he never suspected! says Julia, clutching stake and hammer.  (Don't vampires "smell" their own kind?)  But the Roxanne he loved was in another time, says Willie, she was no vampire, this one is--he doesn't even know who this one is!  He thinks he does, says Julia regretfully--Willie, we can't do it, not without his knowing.  Julia, let's make it easy for him, for once, says Willie, I mean we gotta do it for Maggie.  Please, begs Julia.  Maggie will die, Willie reminds her--you said so yourself.  I know, says Julia, I know!  If we have to wait until dusk for Barnabas, this Roxanne--he points to the vampire--she won't be here tonight, she'll be with Maggie--he won't blame us.  She's what he always wanted, says Julia sadly, someone with whom he could share eternity.  (Oh, the sorrow on her face is heartrending!)  This one ain't like him, says Willie, she's vicious, that's what he said, I heard him--Julia, I'll take the blame.  You didn't even want to come here, she says.  But I am here, he says, because Barnabas told me--Julia, you just walk out of here, I'll do it for Barnabas.  He holds out his hands for the tools.  She reluctantly starts to hand them over, then stops--I can't, she says--there has got to be another way--close the coffin--close it.  He does.  Now go and find Quentin, she says.  I don't understand you, says Willie--you know what must be done, that she must be destroyed--and we'll never get this chance again--I know it, and so do you.

Old House drawing room - Sebastian Shaw paces.  We see him peering through the bars of the cellar door.  Julia enters--what are you doing here? she demands.  Have I committed a crime? he asks.  How long have you been here? she queries.  Five or 10 minutes, he says--I came from Collinwood, I saw the door open and let myself in--if my manners are not...  He notices Julia staring down into the basement--is something wrong? he asks--is there some reason I shouldn't be here?  No, of course not, she says--tell me, what is it you want?  I feel like I'm on the witness stand, he complains.  She apologizes.  I'm sorry, too, he says, I thought we could talk honestly, Doctor.  About what? she asks.  And I thought you'd return the compliment, he says--the subject is Maggie Evans, Doctor.  Oh, Maggie is the subject, I see, she says, sitting in a chair.  You're treating her, he asks, sitting down, too--why keep her here at Collinwood?  Because I think she's too ill to be moved, says Julia.  Why have you kept her here so long? he asks.  Because I thought she'd recover from the attack, says Julia.  How can that be? he asks, now that there's been more than one attack, hasn't there?  We don't let her out of the house, says Julia--what do you know about what's happened to Maggie?  Not much, just what the family told me, he says, but I happened to see Maggie this morning, and I didn't realize how weak she was--now you can do more than what you've been doing, can't you?  If I thought I could, I would, she says severely.  I think she would be better off somewhere she could get more continuous care, he opines.  You're in love with her, aren't you? asks Julia, smiling slightly.  He turns away.  She stands and asks, "How is Roxanne Drew?"She's fine, he says.  Good, says Julia, I'm glad to hear that--if that's what you came here for, I've for work to do.  Could I have your permission to go up and sit with her tonight? asks Shaw.  That won't be possible, says Julia.  Why not? asks Shaw.  Because we've made other plans, says Julia.  Maggie has got to live! Shaw passionately insists.  We both agree about that, anyway, says Julia.  Shaw leaves.  Willie joins Julia--Quentin is out back with it, he says--should we bring it in now?  Julia nods--yes, now, she says.  Willie leaves the room.  Julia pulls open the secret bookcase.

Cemetery - Shaw enters the mausoleum.  Stunned, he sees Roxanne's coffin is gone.

Old House - secret room - Roxanne's coffin has been moved there.  Julia, says Willie, Quentin thought we did the right thing.  I don't know, says Julia--Sebastian is bound to discover the coffin is missing.  Yeah, but he won't come here, says Willie.  We've just got to get through until dusk, says Julia, then Barnabas can do whatever he wants--we've just got to keep her in the coffin.  We'll chain her, suggests Willie--I left the stake and hammer in the crypt--what if Sebastian finds it?  Go get it now, orders Julia.  Willie leaves.

Shaw finds the stake and hammer.  They were left here, he says to himself--whoever took the coffin didn't use them!--she's still alive--still alive!  He hears someone entering and hides against a pillar.  Willie enters, finds the case, pushes the tools back inside and leaves with it.  Shaw grins.

Dusk - Willie finishes putting chains around Roxanne's coffin--Julia, he asks, how are you going to tell Barnabas?--I can't tell him--even if I was going to end it, I still can't tell him--I've been through too much with him.  Julia, fingering the chains, replies, "As have I."  Yeah, says Willie, I guess we both understand how much things affect him--I don't know how many bad times he's had.  Please, Willie, begs Julia as they leave the secret room.  It's just that Barnabas, he goes through so much, says Willie, closing the bookcase.  Julia fiddles with her scarf as Willie continues--I just want you to tell him, I hope you understand that.  Barnabas exits the cellar--is it done? he asks.  Well, you see, Barnabas...begins Willie.  What happened? asks Barn--were you caught in the crypt?  No, says Julia hesitantly, looking at Willie.  We were all ready to do it, adds Willie, but...  Why didn't you? asks Barn.  We opened the coffin, says Julia.  Who was there? Barnabas asks.  Willie gulps.  Barnabas turns to Julia--who was it?  The coffin is here in the secret room, says Julia--you'll see for yourself.  You brought the coffin here? he asks, amazed.  We didn't know what else to do with it, admits Willie.  Who is it? asks Barn--that's what you're afraid to tell me, isn't it--why?  Julia and Willie hesitate.  Finally, she reveals--it's Roxanne.  He's astounded--no, he says.  It's the truth, Barnabas, says Willie.  No, it can't be, insists Barnabas, hurrying to the bookcase and pulling it open.  We've chained the coffin, says Julia.  "Unchain it!" commands Barnabas.  She's vicious, Barnabas! insists Willie.  UNCHAIN THE COFFIN! Barnabas shouts, and exits the secret room.  We hear the sounds of chains being taken off the coffin as Julia follows Barnabas out to the drawing room--were we wrong to do what we did, she asks, or would it have been better for you if we did as you asked us to?  Barnabas, tortured, has no reply.  Willie, removing the last of the chains, calls to Barnabas, who runs in.  Take it away!" he commands--"I must see her!"  Willie pulls off the last of the chains and tries to prevent Barnabas from opening the coffin.  Leave me alone, says Barnabas.  Willie and Julia exit the room.  Barnabas opens the coffin and looks down at the caped, hooded Roxanne.  He says her name tenderly.  She reaches up as if to embrace him, but her long, hideous fangs are bared.  "NO!" he screams as she draws him close for a vampire kiss.
Julia, holding up a gold cross, appears behind Barnabas as he struggles to free himself from Roxanne's deadly hug.  Stop! cries Julia.  Seeing the cross, Barnabas yells, "Julia!" and retreats behind the coffin.  Julia forces a yowling Roxanne back into her coffin, placing it on her breast.  Willie! calls Julia.  He comes in and hastily shuts the coffin, hanging his head over it as if he can't take another moment more of this.  Barnabas, overcome, leaves the secret room.  You see how vicious she is, points out Julia.  I cannot blame her, he says--what if I suddenly found my coffin opened in a strange place, at the mercy of somebody I barely knew?  (you did--and you did the same to Willie!)  That is the truth, says Julia pointedly, she is someone you barely know (good one, Jul)!  He gives her a look, then gazes at the stake and hammer lying on a nearby table.  What are you going to do? she asks.  I must talk to her, he insists.  That's impossible, says Julia, you just saw that!  We hear Willie replacing the chains around the coffin.  She's got to understand I want to help her, he says.  If you let her out of that coffin, says Julia, she will dematerialize and be in Maggie Evans' room before we can even leave the house.  What if she realizes we're the same? asks Barnabas. You're mad! accuses Julia.  No, says Barnabas.  To give away your secret to someone like that, says Julia--"I won't let you do it."  I might be able to control her, he says.  Or she might control you, Julia points out.  No! says Barn, walking toward the window.  You say no, Barnabas, says Julia, but how can we be sure?--we don't know anything about her!  She did save our lives in Rose Cottage, says Barnabas.  Are you serious about trusting your secret to her? demands Julia--a secret that has almost cost Willie and me our lives (said almost to herself)--Oh, Barnabas, you talk of helping her--if there was any way of helping, wouldn't you have helped yourself before this?  Perhaps she's different from me, he says, I must find out what made her this way--I can't help thinking how much she was like the Roxanne I loved in parallel time (comparing a hummingbird to a vulture there, aren't you, Barnabas)?   What changed her?--what curse? he asks.  We cannot undo what has happened, says Julia, it's dangerous to think that way.  She walks over and picks up the stake and hammer, holding them up--here is the solution, for you and for Maggie, says Julia.  Barnabas grabs the stake from her hand and tosses it into the fireplace.  No, never! he says--she must stay in that coffin.  Until Sebastian Shaw finds her--because he will, Barnabas, or someone else, we don't know who she has in her power--it's dangerous for you!  I have feelings I cannot ignore, Julia! he says.  Willie comes out and softly says, "Finished, Barnabas."  You and Julia will leave the house, instructs Barnabas, I must see her alone.  Willie and Julia exit.  Barnabas closes himself in the secret room with Roxanne.

Old House - We see leather pants entering the drawing room--Sebastian Shaw.

Inside the secret room, Barnabas gazes down at the chained coffin.  What am I to do? he agonizes.  For so long, I have wanted a bride, a bride to be like me, someone who would come to me from love--that moment your eyes met mine, your eyes were filled with hate--how many hours till dawn?--for this night, there's nothing to be done here, I must get out of this house, and think--I must find a way!  He exits the secret room, closing the shelf behind him, then, despondent, puts on his cape and leaves the house.  Shaw comes out of his hiding place and picks up the hammer, then opens the secret door.  He hammers away the chains on Roxanne's coffin, then opens the coffin and points a gun at her breast.We see the furious, hate-filled face of Sebastian Shaw, ready to destroy the vampire!

NOTES:  A real shocker, huh?  Did you figure out who the vampire was?  I sure didn't the first time, and this was a complete surprise to me!

Wow, what an episode, filled with so much emotion, history, incredible excitement!  Will Shaw kill Roxanne?  Isn't he under her power?  I would have imagined so, but perhaps she's got another hold over him and that's why he protects her--although he sure isn't protecting her now!  Maybe he IS under her power but his love for Maggie is overcoming Rox's vampire thrall.

In any case, Barnabas is in a huge dither about Rox, unable to decide what to do.  Apparently, neither had the vampire radar necessary to figure out that the other was one of the living dead.  You'd have thought they would have homed in on each other, but they didn't.  And once again, poor Julia makes the agonizing decision to let Roxanne live, knowing that Barnabas would have been very unhappy if they destroyed her without letting him know the identity of the vampire.  They left poor Julia open to more heartbreak as she realizes (and Barnabas later states) that he's always wanted to find someone to live with him through eternity as a vampire.  Julia, being the self-sacrificing woman who loves him--again!  You'd think she'd get tired of being so damned selfless!

Willie, too, was thinking of all Barnabas has been through, but Julia rightly pointed out that she and Willie have gone through much of his hell right along with him--don't they deserve some peace?  For all of her words, Julia doesn't practice what she preaches.  It was SO HARD for the two of them to tell Barnabas who the vampire was, and the acting was superb all around, too.

These are the only episodes that get me through the overabundance of David/Hallie/Tad/Carrie.  Thank God for these.  I loved DS no matter what, but I'm a more discerning adult now, and I imagine even then, the repetitive scenes with the children and Daphne and Quentin got on my nerves.  I loved DS to the end and always will, but it had its failings, and those annoying kids were too much!

Then again, I know there are those who will say, to hell with Barnabas, why is everyone always being so solicitous of his feelings, tiptoeing around him and trying to ease his pain?  Julia is right--Roxanne is, unlike Barnabas, a soulless vampire, and his hopes to turn her into a kinder, gentler vampire are undoubtedly doomed to failure.  He always has let his romantic heart rule his head, and it always gets him into trouble.  Somehow, I suspect this won't be any different.

Great stuff, at least IMHO.

Love, Robin

1101 - Gerard covers the windows of the dollhouse with little boards, then sets it on fire, trapping Daphne inside the real Rose Cottage.  She struggles to get out, but Gerard presses his finger over the little door in the doll house, effectively barring it, making her escape impossible.

Daphne yanks on the doorknob, staring in terror at the encroaching flames.

A crucifix hangs around Maggie's neck.  Very pale, she lies asleep in her room at Collinwood.  Carolyn, sitting with her, reads a book--she suddenly feels something terrible is happening in the house--someone is going to die--and I must not let that happen!  She flees the room, leaving Maggie alone.

Daphne continues to work, fruitlessly, at getting out of the burning room.  Gerard! she calls, please don't make me die!  Ignoring her pleas, he stands, watching the dollhouse burn.  I know you're doing this to punish me! cries Daphne--but please don't, please, for Carrie and Tad--I have to live!  Gerard continues to sneer, ignoring to her pleas.  Carolyn enters--Gerard, she asks soberly, what are you trying to do?

Daphne, realizing that death is imminent, presses her forehead to the door and begins to sob.  Suddenly, the flames disappear.  She backs away from the door, staring around the undamaged room.  Finding the door opens easily, she quickly leaves.
You were doing something to the doll's house, weren't you, Gerard? asks Carolyn--you were trying to destroy it--I won't let you do that--it isn't yours to do with as you wish, it belongs to Carrie!  Gerard glares at her.  I gave it to her for her birthday, and she's so devoted to it--I will not allow anything to happen to it, Carolyn (Leticia?) insists--why must you always be so cruel, Gerard--why have you no feelings for others?--poor Carrie never did anything to you, why would you want to hurt her--or was it someone else you were trying to hurt?  He looks away, almost guiltily.  It was, wasn't it? demands Carolyn.  She looks in the doll house--you've made a mess of this room, she says, knocked all the furniture over, the dolls...  She straightens it out--aren't you just a tiny bit ashamed? she asks.  He comes at her threateningly.  Stay where you are! she orders--I know all your tricks and they don't frighten me--I am going to leave now, but remember what I said--you are to do nothing to Carrie's doll house!  She leaves.  Gerard looks in at the righted room in the dollhouse, furious his revenge has been thwarted.

Collinwood drawing room - Barnabas stands at the open window, listening to the dogs howl.  Hearing Julia enter, he asks, how did everything go?  There were no problems at all, relates Julia-- the children were surprisingly cooperative--I briefed the staff on the children's case--how long have you been here?  A few minutes, he says--now that the children are safe, we'd better see to Maggie before her condition gets worse. Have you seen her tonight? asks Julia.  No, I waited for you, he says.  Together, they head upstairs, Julia removing her coat along the way.

Maggie awakens to the howling of the dogs and the squeaking sound of a bat.  She takes off the crucifix and rises from bed, looking anxiously at the bat hovering outside her window.

When Julia and Barnabas enter, they find Maggie moaning.  Julia struggles to force her back into bed while Barnabas checks the window, scaring away Maggie's attacker.  You're much too weak, Maggie, says Julia, struggling to get her back into bed.  I've got to go! cries Maggie.  Who do you want to see, where do you want to go? asks Barnabas.  Maggie can't answer any questions, says Julia--her condition is worse than last night.  That's impossible, says Barn, unless "he's" been back here in her room.  Perhaps he was, says Julia, there was nobody here when we came in--she should not have been left alone!  Maggie writhes on the bed.  Mrs. Johnson informed me that Carolyn was here with Maggie, says Barn.  Julia leaves to get the accouterments for another transfusion--watch Maggie! she orders Barn.  Hearing the dogs howling, Barnabas gazes out the window.

Drawing room - Julia stuffs a bottle of blood into her doctor's bag.  Spotting Carolyn hurrying downstairs, she asks, why did you leave Maggie alone?  There was something urgent I had to do upstairs, says Carolyn.  Nothing is more urgent than keeping Maggie out of danger, Julia reminds her.  The danger isn't as great as you think it is, says Carolyn--Maggie is going to be all right, I feel certain of that, I must be going now, please excuse me.  You're not leaving the house?--it's dangerous outside, warns Julia, as the dogs howl again.  Why? asks Carolyn.  You could be attacked like Maggie was, Julia points out.  Oh, no, nothing like that is going to happen to me, Carolyn says.  The possibility does exist, says Julia, exasperated--can't you do whatever you have to do tomorrow?  I can't! insists Carolyn, it's most urgent.  What is it? asks Julia. Nothing I can talk about, says Carolyn--there's something I must do at Rose Cottage.

Carolyn heads for the door.  When I asked you about Rose Cottage before, you claimed not to know where it was, says Julia.Carolyn, perplexed, says, that's odd, why would I say a thing like that?  Perhaps you can tell me about it now, suggests Julia.  What do you want to know about it? asks Carolyn.  Whatever you want to tell me, says Julia--where is Rose Cottage, who lives there?  You know that as well as I do, says Carolyn irritated.  No I don't, says Julia.  You know perfectly well no one has lived there since she died, says Carolyn.  Since who died? demands Julia.  Why are you asking me all these questions? asks Carolyn--what do you want from me?  Important information, responds Julia.  Why? asks Carolyn, why are you suddenly so curious about Rose Cottage.  I'm not really, says Julia, if you don't want to discuss it, we can just drop the subject.  Yes, says Carolyn, I think it might be best left alone.  She starts to go.  Will you be passing the front gate on the way out? asks Julia.  Of course I will, says Carolyn.  Would you mind mailing a letter I've written to Windcliff? asks Julia--it's about the children.  The children? repeats Carolyn softly.  Yes, I would mail it myself, but I have to attend to Maggie, says Julia.  Carolyn reluctantly agrees.  Thank you, says Julia--I'll go up and get the letter--I won't be a minute.  She leaves.  Carolyn nervously stands, waiting.

Look at me Maggie, says Barnabas--do you recognize me?  Yes, she says.  Tell me who you were trying to see when Julia and I am in the room, he asks gently.  She looks away, moaning.  Please, he begs.  She shakes her head no.  Julia comes in--Barnabas, I have to talk to you, she says quietly--she leads him away from Maggie--Carolyn is downstairs and on her way to Rose Cottage, but I couldn't learn anything else except that she's on her way there now--I asked her to wait.  Julia hastily scribbles something on a piece of paper.  Rose Cottage really does exist, says Barn.  Yes, says Julia, and we must find out where it is--I asked her to wait and mail a letter for me--I said it was very important--I want you to take this letter down to her--she licks the envelope, closes and stamps it--and follow her, instructs Julia--I'll stay here with Maggie.  Julia picks up the bottle of blood and hangs it on the stand beside Maggie's bed.

Carolyn impatiently waits outside the front door.  Barnabas comes down and hands her the letter.  Is Maggie feeling any better? she asks.  I'm afraid not, he says.  I'm sorry, she says, and heads away.  Barnabas waits a few moments, then closes the front doors of Collinwood and follows her.

Hearing the dogs, Maggie insists, Julia, you can't keep me here, I don't want to stay!  Julia struggles to make her lie quietly--it's for your own good, she assures her, if you'd only realize it.  Julia sticks her with the needle, sending the life-giving blood flowing into her body.

Rose Cottage - Carolyn lights a candle.  Daphne, she calls--where are you?--can you hear me?--please answer me, you know I'm your friend--I only want to help you.  The door opens; Barnabas walks in.  He murmurs Carolyn's name, then, "So this is Rose Cottage."  You followed me here! accuses Carolyn.  Who is your friend? he asks--who were you talking to when I came in?  That's no concern of yours, she says evasively.   You must tell us everything you know about this place, says Barn--who lived here and who you are trying to find.  Why are you and Julia so interested in this place? she asks angrily.  We told you before, he says, one of the events that's to happen before the disaster at Collinwood is the destruction of Rose Cottage.  She repeats the name of the house and giggles--that's a strange name for a place like this.  I know now why it was so difficult to find, says Barn--how did it get such a name?  Carolyn smiles--oh, it happened a very long time ago, when Carrie was very small.  Carrie lived here? he asks.  Are you going to be quiet and let me tell you? asks Carolyn.  I'm sorry, go on, he says.  Carrie always dreamed of having a doll's house which she would call Rose Cottage, says Carolyn, so for her birthday, I asked Quentin to build her one--Quentin was so good with his hands, you know, and so terribly inventive, he actually built a replica of this house and they gave it to Carrie for her birthday--I told her she'd have to find another name for it, but she said no, it would always be Rose Cottage to her--so she kept calling it that, and before long, people called the mansion itself Rose Cottage.  When was all this? asks Barnabas.  I'm not going to answer anymore of your questions, she says--you were very rude to follow me here--very rude indeed!  She leaves the room.  Barnabas thinks to himself--we finally know where and what Rose Cottage is--now we will be able to find out more--much more!  He blows out the candle and leaves the room, too.

Julia takes Maggie's pulse.  Barnabas enters--I've seen Rose Cottage, he announces--it's the old MacGruder house.  Why is it called Rose Cottage? she asks.  That's what it was called in the past, says Barn--I couldn't learn much else from Carolyn--I tried to find out more, but she wouldn't tell me--how bad is Maggie?  Reluctantly, Julia says, she's so weak that if she's attacked one more time, it will be the end.  The dogs howl.  Barnabas looks outside--he's out there, he mutters, somewhere, waiting for another chance to get at Maggie. . .I'm doing no good here, I'm going outside again to find who is doing this--and destroy him--I'm the only one who can!  He leaves.  Maggie lies sleeping, the cross back around her throat.

Julia sits at the desk in Maggie's room, reading a book.  She glances at her sleeping patient.  Suddenly, a figure appears in the room, someone in a black cloak and hat.  Julia suddenly feels very tired and wonders why--I was wide awake just a moment ago.  She rubs her chin and stares at the book, totally unaware of the intruder in the room.I mustn't go to sleep, I've got to stay awake! she urgently warns herself, but she soon nods out in the uncomfortable chair.  Maggie awakens, takes off the cross, and wanders eagerly toward the creature awaiting her.

NOTES:  Brrr, that was creepy!  Who is the vampire?  Will he get Maggie, or will Julia awaken and stop him?  Will Maggie succumb and die?

So the kids are safely at Windcliff.  Will that foil Gerard's plans?  Interesting that Carolyn was able to stop him, but you sense it was more Leticia, who is periodically possessing Carolyn.  She has a hold over Gerard, enough so that she was able to stop him from burning Daphne to death.  This is one mean dude--but this little gal was able to convince him to do the right thing!

I always thought one vampire couldn't slay another, but Barnabas is going out to destroy one of his own kind because he cares for Maggie. Doesn't that have to be done during the day?  How is he going to accomplish that, given that he has the same bedtime as the other vampire?


1102 - As Julia slumbers, Maggie walks eagerly to her vampire lover--and perhaps to her doom.  Quentin enters--Maggie! he cries, sending the vampire fleeing.Maggie cries out in protest, flailing at Quentin--you caused it! she accuses.  Stop it, he orders.  She faints in his arms.  It's all right, he croons, Barnabas told me you wouldn't be able to help yourself, I know that--You've got to let us help you!  He lifts her in his arms and carries her back to bed.  Come back to me, moans Maggie, come back.  Quentin shakes Julia awake--Maggie, he asks, what that creature do to Julia?  Nothing, says Maggie.  Julia comes to--Quentin, she murmurs.  The vampire was in this room, he says.  Julia instantly rises from the chair and goes to Maggie.  I got here in time, Quentin assures her.  You saw who it was? asks Julia.  No, all I saw was a form, a hat, cape, and then it was gone, he says.  I fell asleep, says Julia.  You were doing more than just sleeping, he tells her.  I don't understand what happened, says Julia, I suddenly felt so sleepy, I couldn't keep my eyes open--I hadn't been sleepy before.  A vampire has a great many powers, says Q.  Yes, agrees Julia, a great many (who knows better)?  We can't afford to leave Maggie here with anyone, he says.  Maggie sits up, begging, let me go!  No, says Julia, you can't go.  I've got to go, they're calling me, she insists.  Quentin, give me my medical bag, request Julia.  He brings it right over.  Maggie, I'm giving you a sedative, she says, it will make you feel much better.  Let me go, begs Maggie again--no, she protests as Julia injects her.  Rest, says Julia, it will be easier if you rest--Quentin, if you hadn't come in...  The dogs howl.  I had to see you, says Quentin, you got a call from Windcliff.  Something's happened to the children! says Julia.  It was your head nurse, he says, she wants you to call her ASAP.  Julia races out of the room, leaving Quentin with Maggie.  He covers her up--oh, this house, he says to himself--can one more thing happen in it?--why can't we ever find out what causes these things?--Maggie, the children--I'm partially to blame for the children, and I know it--I haven't told anyone the truth--I've held Daphne in my arms--I wonder where she is--where has she gone?  (Think Hellmouth, Quentin.)

Foyer - Julia gets off the phone and reports to Barnabas, Hallie and David were fine for a while, then about an hour ago, the nurse found David lying on top of the bed, with an incredibly high fever, and the same thing has happened to Hallie.  Gerard! guesses Barnabas, he's going to make them suffer!  There's seemingly no medical reason, says Julia, that's true--we blame Gerard, but none of us have seen him.  You've felt his presence in the house here, says Barnabas.  Do you think he's followed them to Windcliff? asks Julia.  Obviously, says Barnabas, he's not going to let us win, Julia, he's even going to kill the children if he has to--I'm going to Windcliff with you.  No, insists Julia, you've got to stay here and take care of Maggie--if that vampire could cause me to go to sleep, you are the only one who can keep Maggie safe--I'll let you know as soon as I have something concrete to tell you.  He stands at the foot of the stairs and asks, if it isn't a medical problem, what can you really do?  With any luck at all, says Julia, I can stop the fever from getting any higher (your nurses could do that).

Maggie, asks Quentin, who's doing this to you?--I don't know what right I have to ask you to help yourself--I'm not very good at helping myself.  Barnabas enters--Quentin, Julia told me everything.  Uncomfortable, Quentin says, you certainly have every right to reproach me.  No I haven't, says Barnabas.  Yes, says Quentin, rising from the bed, I saw the vampire in this room--I could have at least tried to find out who it was.  You couldn't, Barnabas assures him--I want you to go downstairs--Julia is on her way to Windcliff, she'll let us know if there's anymore news--stay by the phone, I'll stay up here.  You must be exhausted, insists Quentin.  We all are, says Barn.  Yes, but you've been searching all night, says Quentin.  Yes, and I made a rather interesting discovery, says Barn--Rose Cottage.  You've been there? asks Q evasively.  Barnabas' forehead creases--that's rather an odd reaction, he remarks--you sound as if you knew where it was.  How could I? asks Q innocently.Exactly, says Barnabas, but you go downstairs--it's the old MacGruder place--Carrie called it Rose Cottage for one reason or another--I followed Carolyn there.  Did you see anyone or anything there? asks Quentin.  No, says Barn--should I have?  No, says Quentin, I think I'll go downstairs and wait for Julia to call--did she say when she was going to call?  Not for half an hour or so, says Barn, why, Quentin?--is there something else you want to do?  Of course not, says Q, and leaves the room.  The dogs howl.  Barnabas goes to the window and listens, then gazes at Maggie, who looks dreadful.  Oh, Maggie, says Barnabas to himself, how often I used to think of you--how I wanted to make you mine--and now I know how much suffering I caused you.

Quentin goes downstairs, thinking of Rose Cottage--of course, Daphne is there!  He leaves the room--and his post.

Quentin enters the cobweb-filled room in Rose Cottage--Daphne! he calls.  He lights a candle--I know you're here--don't hide from me--I'm not going to leave this house until you come to me!  She enters the room and flings off his hand.  Why did you disappear? he asks--and why did you come here?  There's nothing for me at Collinwood, she says.  I let you go to the children, he reminds her--what happened there?--what were you trying to make them do?--Willie told me about the pentagram and candles--what were you getting them to do?--does it have anything to do with why they are now sick?  Daphne whirls around upon hearing this, staring at him.  They are sick, you know, he tells her, She shakes her head in disbelief.  You promised me you wouldn't hurt them, she says.  I didn't! she cries.  Then who did? he asks.  Don't ask me that, she says, turning from him again.  He faces her and demands the name--say the name!   Go back to Collinwood, she says--you'll only make things worse.  How? he asks--by being with you, by asking questions?  Please, she begs.  No, he says--I will not leave until you tell me what is going on--why you've come here, what are you going to do?  She looks sad.  I'm very foolish, he says--also vain--I thought the reason you came here was for me--I see that isn't true, isn't it?  If they are sick, she says, you must leave, let me think.  Think about what--about whom? he asks--say the name.  Gerard, she says.  Do you love him? he asks--is that what all this is about?--I don't believe it--not when I see the love in your eyes for me.  You see no love, she insists.  Why are you denying it? he asks.  I can't explain anything, I told you that, she says.  Why?--are you so terrified of Gerard? he asks.  Every moment you stay here, the worse it is for the children, she says--believe me, go!  All right, he says, if I believe you, if I leave, eventually, will I find out what's going on around here?  She nods--if you leave me now, I must think and decide what I am to do.  He takes her hands--I promise to help you fight Gerard, he says.  Don't say that, she says, pulling her hands away, don't say that here!  Why, is he here? asks Quentin--do you feel his presence in this room?  Just go before you make things worse, she pleads.  He backs away and leaves without another word.  Daphne calls to Gerard--I sent him away, she says, I'm trying to do what you want me to do--please don't punish the children for what I've done!  Oh, Gerard, don't kill them--I'll do anything if you'll just let them live!

Tad lies in bed--I must not sleep, he mutters.  Why? asks Julia, what will happen to you if you sleep?  He smiles--go away, he says, you aren't my doctor, Dr. Whittaker is my doctor, he and Gabriel ride just to see me from the village on their horses.  Who is Gabriel? asks Julia.  You don't know, he says.  There are so many things I don't know, says Julia desperately, so many things you could tell me if you only would.  Go away, he begs.  I'll check on Carrie and see how she is, says Julia--you stay here, I'll be back.  She leaves the room.  Tad reaches over to the night table and takes a piece of chalk.  I must--we must bring Gerard tonight, he says, kneeling down to draw yet another pentagram.

Quentin sits drinking in Collinwood's drawing room, staring at the fire.  Daphne joins him--are you alone? she asks.  He hustles her into the drawing room and closes the doors.  Help me, she begs.  I think I should be much wiser than that, he says, helping you doesn't seem to help anyone else anymore.  You're the only one who can, she says--the children will die unless you do.  Can you stop it? he asks--how?--by changing them back to David and Hallie?  You know I can't do that, she says.  What CAN you do? he asks.  I can't tell you, she says.  And you really expect me to help you? he asks with a bark of laughter.  He drinks.  You must take me to Windcliff, she says, I must be alone with them for just a little while.  Impossible, he says, it is a hospital, there are doctors and nurses there, Dr. Julia Hoffman is there, you'll be discovered.  We must take that chance, insists Daphne.  No, he says--Julia Hoffman will see you and know who you are.  No!-- how? she asks.  She saw you as a ghost, he says, she'll never let you go, my dear, you are the proof--the enemy.She stares at him--you would be, too, she says, because Julia would know you helped me.  I'm not thinking about myself, he says, if you are discovered, if they learn you're alive, I'll never be able to help you again.  Quentin, we must hurry, she urges.  No! he says.  All right, then, I'll go by myself--I'm going to save those children's lives, with or without you, she says.

Tad finishes drawing the pentagram on the floor.  I must get candles now, he tells himself.  He opens the door.  Julia comes in--what are you doing up? she asks--get back into bed.  (She calls him David.)  She spots the pentagram drawn on the floor--what are you trying to do? she asks--"what?--what?--tell me!"  Julia shakes Tad, demanding answers--there was a pentagram on the floor in his bedroom, with candles, Willie told me--why, why--tell me?  Tad faints in her arms; she eases him back into bed and takes his pulse.  Quentin enters--what happened? he asks.  He collapsed, explains Julia, he drew that--she points to the floor.  A pentagram, says Quentin.  Why are you here?--did something happen at Collinwood? she asks.  No, I was just very worried, he says, so I came here.  Stay with Tad, orders Julia, I'll go and check Hallie/ Carrie--usually when something happens to one, it happens to the other.  Julia leaves, but not before asking Quentin, find out what's happening.  Quentin! calls Tad weakly.  you'll be all right, soon, Q assures him--and ushers Daphne into the room.  She rushes to Tad and kisses his cheek.  I knew you'd come, he says--you'll make me better.  Yes, she says--Quentin leave us.  No, he says.  But you must, she insists.  Julia will be back soon, he says.  Just give us time, she says.  Time for what? he demands--to practice black magic with the pentagrams?  If he and Carrie live, what difference does it make what we do? she asks.  I might have a lot of trouble keeping Julia out of here, warns Q.  But you'll do it--you must, says Daphne.  He looks briefly at Tad and leaves the room.  Tad, asks Daphne, do you feel well enough to help me?  Are we going to perform the ceremony tonight? he asks.  Yes, she says, helping him up, we must hurry.  How can we do it without Carrie? asks Tad.  It won't be as easy, Daphne admits, but we have to try.  She takes out a fat red candle, hands it to him, lights it, then another.  Quentin sits outside the door.  Julia comes by.  How's Carrie? he asks.  She kept trying to leave her room, says Julia, but the nurse stopped her--she kept saying she had to go see Tad.  Was there a pentagram in her room? asks Quentin, standing by the door, preventing Julia from entering.  No, says Julia, but when I told her about it, she wasn't surprised, she thought it funny.  Take me to see her, suggests Quentin.  I don't think that's a good idea, says Julia.  I've never questioned Carrie and really thinks I should, says Quentin.  Not tonight, says Julia.  You and Barnabas, in 1995, found David's grave, says Quentin, desperate--David died in 1970--I think we must find some supernatural means of curing this.  He notices Julia listening at the door--what are you doing? he asks.  Nothing, she says, I just thought I heard something.  That's ridiculous, David's sound  asleep, says Quentin--I think we'd better go back to your office and phone Stokes--he may know of some way of battling this supernatural thing.  I want to check on David first, says Julia.  Quentin bars her entrance--there's no need, he insists.  I'm the doctor, she says.  He stops her.  What's wrong with you? she asks--I'm going into that room!  He physically stops her this time--let him alone! he orders.
A weak Tad kneels in the center of the pentagram, Daphne beside him.  "Let the earth turn in eternal space," intones Daphne, "until the candle is touched by the light of the star."  She turns to see Julia standing in the doorway.  "Daphne!" cries Julia.

NOTES: Now a living Daphne has been caught by Julia performing a rite to bring Gerard back to life.  Apparently, that's his price for letting the children live.  How will Julia handle this?  Will Gerard appear and make her one of his, which shouldn't be difficult, considering that she already came under his power in 1995?

What will become of Maggie now, left alone to fend for herself?  Quentin doesn't seem able to think about more than one crisis at a time, and it might mean doom for poor Maggie at the hands of the vampire.

It appears that Daphne now knows that Gerard is totally evil and she has decided to give in to him to save the children's lives.  Quentin, hating himself, gave in to everything she asked, even though he knew it would be risky.  He isn't happy that she appears to love Gerard, but one wonders who she really loves, and suspects it's the children and not either Quentin or Gerard.

It's best that Barnabas watch Maggie, and perfect, too, since she's most vulnerable during the night hours when he's available to help.  Doesn't he get hungry?  Where's he getting his blood supply?

How will all this end?  Will Gerard claim the children?  Bring Daphne back to the dead?  Come back to the land of the living himself to wreak even more havoc on Collinwood?

Love, Robin

1097 -
Tad looks around and proclaims, "We're alive!" Yes, says an elated Carrie--Daphne kept her promise, I can't believe it's true!  But it is, says Tad. Where are Daphne and Gerard? asks Carrie.  I don't know, says Tad.  You don't suppose they've gone, do you? asks Carrie, standing, looking around nervously. You do become alarmed so easily, complains Tad. He takes her hands and assures her, Daphne hasn't left us--don't you remember?--she promised she never would. Where is she? asks Carrie--she's our governess, isn't she? You must be more careful than that, warns Tad--she WAS our governess, that was a long, long time ago, in a different life. Yes, you're right, says Carrie, I'm sorry, I mustn't forget that. There are so many things they must get used to, he points out, like these clothes. I'll never get accustomed to these, says Carrie (pointing to her short red dress). And the way we talk, adds Tad, we must change that--and our names--you must always answer to Hallie, and I to David. It's going to be hard, Tad, she says. *David*! he reminds her. She giggles.  Why are you laughing? he asks. The thought of calling you David all the time--it doesn't fit you, she says--you shall always be Tad to me. And you Carrie to me, he says--nevertheless, we must always call each other David and Hallie, do you understand? She nods. It's almost like a secret game, he says. We only play it when we're in front of others, she says, when we're alone, can't we act as we really are? Perhaps, he says, but even that can be   dangerous, because if we're overheard--one little mistake like that, and the game would be over--remember that. I'll remember it, she promises.  He takes her hands--are you ready to begin? he asks. I'm ready, she says. We're together again, he says exultantly. They hug. Oh, Tad, it's so good to be alive! she cries, her voice even higher-pitched than Hallie's. Hand in hand, they leave the room.

We see pink roses on the desk in Collinwood's drawing room. I've searched all all over Collinwood for the children, Julia, says Barnabas  Did you  search all the buildings? She asks.  Up and down, from top to bottom, he says--how could they vanish so completely?  We've been assuming they were taken somewhere on the grounds, says Julia--perhaps we were wrong. Are you thinking they're somewhere off the grounds? he asks (isn't that implied)? Why not? asks Julia. It doesn't make sense, says Barn--when they were alive, Daphne and Gerard were a part of Collinwood, so their spirits would necessarily be confined to Collinwood. Or someplace close by, says Julia--remember, we don't know what Gerard's function was in the Collinwood of 1840. Do you have a place in mind where they might have been taken? He asks. Yes, Rose Cottage, replies Julia. Rose Cottage doesn't really exist, says Barn, or if it does, nobody knows where it is. I'm convinced is DOES exist, says Julia, and I was thinking about it earlier this evening--it occurred to me it might be a place known by a different name--we're dealing with spirits that go back 130 years--it's possible that somewhere nearby there's a house nearby that doesn't have a name, but was known in 1840 as Rose Cottage. The camera again pans to the pink roses.

Quentin enters Rose Cottage--David, Hallie, if you two can hear me, please answer, he says, holding out a flashlight, searching. He enters the cobwebbed room where Tad and Carrie took over David and Hallie's bodies and lights a candle. The whole house is deserted, he says, I must have been wrong. He pulls the drawing out of his pocket and places it on the table, pondering why Daphne gave it to him--it must have some connection with what's happening, but what is it? He blows out the candle and leaves the room, closing the door behind him.

Barnabas paces the drawing room while Julia sits on the sofa, thumbing through a book. Julia bites a fingernail and finds something, but not about Rose Cottage. Perhaps you're putting too much importance on it, suggests Barnabas. Julia disagrees--don't you remember, the clue--the night Rose Cottage was destroyed--that's got to be a major event, doesn't it seem so? He admits it does. Carolyn enters--I feel so quite well, she says, but you both look terribly distressed--whatever is the matter?  Hasn't anyone told you? asks Barnabas--the children are missing. Oh, that, she says calmly, with a little grin, yes, I know. Barn and Jul are confused by her reaction. Aren't you the least bit concerned about it? he asks. Sniffing the roses, Carolyn says no. Why not? asks Julia. Do you know something about David and Hallie that toy aren't telling us? asks Barnabas.  Perhaps, she says, burying her nose in the flowers. You must tell us, says Barn--do you know where they are? They're. . .gone, says Carolyn--David and Hallie are gone. Who told you that? asks Barn. We believe they're in some terrible danger, says Julia. The children in danger?--no, that's not true, says Carolyn--the children are alive and well. If you know that much, then you must know where they are, says Barn. No, that's all I can tell you, says Carolyn casually, they're alive and well--now you must excuse me, I'm really very tired. She slips one of the roses from the vase and leaves the room. Julia, do you think Carolyn knows what she's talking about? asks Barn. I have no idea, says Julia. She goes to the desk, opens the drawer and takes out a folder. There's been nothing but bad news all night, she says--I thought if we looked at Liz' horoscope--perhaps there's something better. Whatever that tells us won't help us find the children, says Barnabas. Julia looks at a page--how curious, she says--the forecast for this date--it says the night will end in peace!  I don't see how there can be anything resembling peace with the children missing and Carolyn behaving so peculiarly, opines Barn.  Could it possibly mean that somehow, David and Hallie will come back to the house tonight? asks Julia. I doubt it very much, replies Barnabas--Julia, do you suppose it's possible the children have found the playroom?  Unlikely, says Julia, what makes you think of that? The fact that they disappeared so completely, says Barnabas, I concentrated my search outside the house, but suppose they disappeared inside? Where? asks Julia--we couldn't find the playroom in the West Wing. In 1999, he reminds her, we found the ghosts of David and Hallie there. (he meant 1995, but whether the names were another mistake, I'm not sure). WE can't rule out any possibility, says Julia.  Precisely, agrees Barn--I'm going up to the West Wing to see whether I'm right or wrong. He goes upstairs.  Julia hears the front door open and goes out to meet Quentin. Any luck? she asks hopefully. No, he says, I thought I knew where they might be, but they weren't there--what's wrong? You tell me, she says. I don't know what you're talking about, he says. You lied to me earlier, accuses Julia--Hallie did not escape from you, you let her escape--she holds up a blue handkerchief--I found this on the floor, it belongs to Daphne, she was there in the room when Hallie ran out, and you saw her, didn't you, Quentin!?  He looks away from her guiltily.

Quentin gazes at the handkerchief -I've never seen it before, he says.  But you recognize the scent of lilac, don't you? she asks. Yes, he says. Daphne was in the room and you saw her, didn't you? asks Julia.  I didn't, insists Q. I don't understand why you won't admit it, says Julia--I can't believe you're willing to let the children come to any harm. Of course I don't want them to come to any harm! he says. Then admit what really happened, says Julia--you were watching Hallie and then Daphne appeared, you were distracted and Hallie got away--is that true?  Julia! says Quentin, angry now--are you accusing me of deliberately endangering David and Hallie? I'm asking a question and only want an answer, she says, furious. No, I did not see her, he says, his back to Julia, and she was not here. She helplessly shakes her head.

Playroom corridor. Barnabas enters the linen closet and wonders--how is it possible for a playroom to be here in 1995 and not now?--I don't understand. He leaves the closet and closes the door. Carolyn comes by, humming. What are you doing here? he asks. I just came to get something from my room--just down the hall, she says. He looks at her, perplexed--but your room isn't here in the West Wing, he says, it's downstairs in the house proper. Don't be absurd, she says, you know perfectly well I've always lived in the West Wing--I do think it's the most enchanting part of the house. Carolyn! says Barnabas. She touches her hand to her chin--why do you keep calling me that?  Because it's your name, he says. You know very well my name is Leticia, she says--I live in that room just down the hall. Leticia? he repeats, then decides to play along. Well, Leticia, he says, perhaps you can tell me where the children are, can you do that? What an odd question, she says, her hands wandering to his chest--do you realize how late it is?--where else would the children be but in bed? She giggles--you're a strange one! she says-- before  walking away. Barnabas, astonished, stares after her.

Quentin sits on the sofa in the drawing room, drinking from a brandy snifter, wondering, why can't I understand my own behavior?--what stopped me from telling Julia the truth? Maybe Julia was right from the beginning, and Daphne has some hold over me that I'm not aware of. He stands--Daphne! he calls--wherever you are, don't let any harm comes to those children--or I'll never forgive myself. He pours another drink.

Barnabas goes to David's room and, astonished, finds the child asleep in his own bed.

Quentin stands at the window, gazing out. Julia enters and reports--the children are back in the house--Barnabas found David asleep in his bed--Barnabas called me, and I went to Hallie's room and found her asleep, too. Neither of them understand. Did you wake them? asks Quentin. I woke Hallie and brought her into David's room, says Julia--Barnabas is there with them now. What's happening to them? asks Quentin--I wonder where they went when they left the house? Barnabas is talking to them now, says Julia. Quentin starts to head upstairs, too.  No, insists Julia--Barnabas doesn't want either of us to go up--he thinks the children will get too upset if too many of us are up there, questioning them.

Barnabas questions the robe-clad children, who are holding hands. You say you were both upset when Julia wanted you to go to Professor Stokes', is that correct? he asks. Yes, says Tad, that's correct. Running away was rather a drastic way of reacting to that, comments Barn. Yes, I suppose it was, says Tad, glancing at Carrie, but when we realized how foolish we were, that's what made us decide to come back--isn't that right? Yes, agrees Carrie, too cheerfully--when we realized how worried everyone would be, we felt very bad about it. Barnabas grimaces--did you really did leave the house of your own volition? He asks--there was no one else involved?  Who could there be? asks Tad. Gerard and Daphne! answers Barnabas. Tad, perplexed, repeats the names--I don't believe I've ever heard those names before--do you think we have, Hallie? She shakes her head--no, we haven't, she concurs. Well, says Barn, there are two spirits of people who lived long ago at Collinwood, and I feel that there's been more than one person here who's felt their presence. Oh, they must be the ones that Dr. Hoffman mentioned once, says Carrie, but we don't know anything about them. Hm, says Barn, I see. We felt very bad about what happened, says Carrie, and we're terribly sorry that everyone was worried.  Yes, says Tad, we figured everything would work out for the best. What do you mean by that? asks Barnabas. We were very frightened, says Tad, everyone had been telling us things to make us worry--about spirits in the house and dreadful things that were going to happen in the house--and Hallie and I never thought anything wrong in the house. And with everyone talking like that, says Carrie, we began to wonder, and I guess we got frightened. Tad smiles--I'm sure you came see we're all right--no harm came to us--and I feel if everybody would stop worrying, everything will be as it was. Carolyn enters--I thought I heard voices, she says--I was right, didn't I tell you the children were well? Yes, you did, says Barnabas--I'm glad to see you both back again--I wish I could share your feelings that everything will be better, but I'm afraid I can't--I'm going to go to Dr. Hoffman because I still feel it wise for both of you to leave Collinwood--at least for the present.He leaves the room.  Seconds later, he overhears Carolyn/Leticia saying, "Good night, Tad, good night, Carrie."  Both children wish her good night, calling her Leticia. Barnabas, stunned, turns back and re-enters the bedroom. "You are possessed!" he cries-"You're both possessed!"

NOTES: CAUGHT! And pretty darn quickly, too, given how cluelessly things have been happening around here. Tad and Carrie weren't very smart in maintaining their disguises, not even for a short time. Now that Barnabas realizes that David and Hallie have been taken over by Tad and Carrie, what will he do? Will Stokes be called upon to perform the exorcism we heard about in 1995? I heard differences in the kids' speaking voices/ inflections, and suspected Barnabas was already suspicious. I doubt Tad and Carrie could have brought their deception off for long, anyway--there they were, holding hands in front of one of the adults, oblivious to the fact that David and Hallie wouldn't do that.

Carolyn is a hoot as Letitia, but then again, that character is a hoot, anyway, as you will see.  And Barnabas was wrong--there are THREE possessed people--Carolyn is another!

Quentin's still feeling guilty, but not enough to overcome whatever hold Daphne has over him to start talking. Daphne has him so lovestruck, I guess, he can't do the right thing.  Hard to believe the devil-may-care, womanizing Quentin fell into this trap isn't it?


1098 - Cousin Barnabas, says Tad, I don't understand what you're talking about! Carrie nervously agrees. A moment ago, you both answered to the name Tad and Carrie, Barn reminds them--and you called Carolyn Leticia! We were just playing a game, says Tad.  Again, Carrie agrees. We're David and Hallie, says David, who else could we be?--we don't look any different, do we? If it's a game, suppose I play, too, says Barnabas--tell me the name of your mother, and the date you were born. 1956, says David. And who was your governess before Maggie? interrogates Barnabas. Tad walks away, thinking. Tell me her name, demands Barnabas. What about you, young lady, Barnabas grills Carrie--when did you come to Collinwood, and under what circumstances?  Carrie blathers that there was an accident. That's right, says Barn, involving your mother and father--what were their names? Stop it! cries Carrie, walking away. Why should I stop? demands Barnabas, pursuing her, I'm asking perfectly normal questions, you should be able to answer without hesitation--but you don't. Carolyn gazes at Tad. The reason is simple, asserts Barnabas--David and Hallie did not leave here of their own volition--they were lured here by the spirit of Gerard. You have no right to talk to us like this! blares Tad. Until I get the answer I want, says Barn, I will make the judgment there. Oh, Daphne, please help us! wails Hallie. Stop it! orders Tad, but it's too late. Why is this possession taking place? asks Barnabas--what do Gerard and Daphne want from this house?  They can't tell you that, says Carolyn wisely--even they don't know yet. What do you mean by that? asks Barnabas--what do you know of this possession? Julia enters the room. Possession? asks Julia. The children cannot tell you what you want to know, simpers Carolyn, that's all I can tell you. Julia gazes at her.  I must go to my room now, says Carolyn, and walks off.The possession's taken place, Barnabas? asks Julia. I'm afraid it has, says Barnabas.  And there's nothing you can do to stop it, says Tad, standing and taking some of Carrie's hair with him. Tad, no! says Carrie. Carrie and I are here to stay, insists Tad--and nothing you can do will change that. That remains to be seen, promises Barnabas, in the meantime, I suggest you both stay here in this house. I have no intention of leaving, says Tad steadily, sitting very closely beside Carrie--and you know I mean more than just the house. Barnabas and Julia leave the room. Out in the hall, Julia says, if the possession is complete, it seems to me Gerard has already won. No he hasn't, says Barnabas, this possession is only part of a larger plan, and we've got to find out what that plan is!  How? asks Julia. I suggest we go to Stokes and tell him what's happened, says Barn, and pray everything will be all right--because if it isn't, David and Hallie are as good as dead. Behind the door of David's room, Tad and Carrie eavesdrop on Barnabas' words.

Tad, says Carrie, I never dreamed they'd find out so soon--what's going to happen now? It's going to be all right, he assures her, they can't do anything to us. Oh Tad! cries Carrie, we're strangers in our own house--at Collinwood--I can't believe it--we're living amongst strangers!--is this what we wanted? Try to remember, he says--we aren't here because of what we want. But why are we here--I can't seem to remember, says Carrie. We don't know yet, says Tad.  When will we know? she asks. He thinks it over. Soon, he says, and wanders to the door--I want to go to the playroom--I feel the answer is there. Wait, says Carrie, I'll come with you. No, he says, I have to go alone. I wish Daphne was here to help us, says Carrie--I wouldn't feel so alone if she was. I'm sure she'll come, says Tad--stay and wait for me--and don't be afraid. Where are David and Hallie? she asks--are they dead?  He shakes his head--I don't know, he says, I don't think so. Where ARE they? she asks. They aren't anywhere, he replies--as long as we're here, David and Hallie don' exist. I suppose it sounds strange, she says, but I do hope nothing bad has happened to them--I like them, both of them. I know, he says, I like them, too. He leaves the room. Carrie closes the door.

Quentin drinks in his room. Carolyn knocks--may I come in? she asks. It's very late, he says-- what do you want?  I came here to tell you something, she says, but don't remember what it was. Has Barnabas been able to find out where the children went when they left the house? asks Q. They told him they ran away because they didn't want to go to Stokes' house, she says.  Are they all right? he asks. Of course they're all right, she says, what would have happened to them? (Did Leticia stop possessing her?) I have no idea, he says, and takes a drink. Are you all right? she asks. Never better, he says, stirring his booze in his glass.  You're acting very strangely, she says. No, I'm very fine, he says, and I think you should go get some rest. Rest, she says, sleep, that's what we all need--if we just knew where to find it--our minds are so troubled, but we don't quite know why--and you, Quentin, I look at you and I see in your eyes such terrible pain, as if you bear some strange burden--some sort of guilt, isn't it, some terrible guilt. You don't know what you're talking about, he says. What have you done? she asks--what put this terrible burden upon you?  NOTHING! shouts Quentin, I haven't done a thing--do you hear me?--not a thing!

Drawing room, Collinwood - What troubles me, Julia, says Barn, is that Gerard has been able to succeed so easily--we've seen four of the six clues become reality, and have still been unable to alter the course of events. There are two more to go, says Julia--the murder and destruction of Rose Cottage. And there's every chance they will come and go and we'll still be as helpless as ever, says Barnabas--the children have been possessed, meaning Gerard has a stronger control of Collinwood than ever--the worst of it is still ahead of us--what is this hold he has and why can't we break it?  Someone in this house is helping him, says Julia. What do you mean? he asks. It's easy enough for one of the spirits to take control of the children, she says, but to be allowed to do so so easily and successfully, they have to have the help of an adult. You have anyone in mind? asks Barnabas. Yes, Quentin, she says--do you remember that frightening hold Daphne had over him in the future?  Are you saying Daphne already has control over him and we don't know it? asks Barnabas. I'm convinced of it, says Julia.  She holds out the blue handkerchief--it has her scent of lilac, says Julia--I found it here in this room--I left Quentin watching Hallie while I went up to pack a few things for her--when I came down, Hallie was gone--Quentin was here and the handkerchief on the floor--Daphne had been here, I'm convinced of it--and that's how Hallie disappeared. Barnabas mulls this over--I don't believe it, he says--Quentin!  Yes, says Julia, fingering the handkerchief--Quentin is the reason we've failed at every step.

Tad returns to David's room--Carrie? he calls. I'm here, she says.  Why don't you turn on the light? he asks. I thought if it was dark, maybe Daphne would appear to me, she says forlornly. Maybe she'll be here soon, he says--I found out what we're to do--you go to Daphne's room--he turns on a light (how did he know how?) and get something that belonged to her--I have this of Gerard's--he picks up the Java Queen in his hands. What will we do with them? asks Carrie.  One of them, he says, will appear to us tonight. Gerard? she asks.  There's no way of telling, says Tad. Gerard frightens me, she says, I can't help it. One of them will appear to us, but not as a spirit, he says--we wanted to know what's going to happen--well, I'll tell you--we're going to bring both of them alive--Daphne and Gerard. She stares at him, mouth open.

Quentin's room - We're desperate, Julia tells a sodden Quentin, who has nearly buried his head in his booze glass--we feel we can destroy Gerard's grip on this house but you have to get rid of Daphne's spirit.  I don't know anything about Daphne! says Quentin. Do you realize how much more danger you're creating by now admitting this? asks Barnabas.  You both keep talking about danger! shouts Quentin, but I have yet to see any evidence of it! But the lives of two children are in your hands! insists Barnabas. Quentin rises from his chair, furious--stop it, he orders--all right, so the children ran from the house, but they're back now, and safe, and they are going to remain safe, that much I'm certain of! How can you be certain? demands Barnabas--because Daphne told you this? Barnabas, says Q through gritted teeth, I have never seen Daphne. If Daphne told you this, she was lying Quentin! says Barnabas. I don't have the slightest idea what you mean, says Quentin. I mean that the children have been possessed, Barnabas informs him.  I don't believe that, insists Quentin. They have been possessed by the spirits of two children who lived in the house in 1840, continues Barn--they are no longer the David and Hallie you knew--and pretended to love. (Low blow, Barnabas!) How dare you tell me whom I love or don't love! rants Quentin. What other conclusion can I come to? demands Barnabas--if you're going to be so stubbornly blind to what is happening--would you like to see them, talk to them--witness what Daphne and Gerard have done to them? She told me no harm would come to them, she gave me her... says Quentin. (Breakthrough!)  Julia touches Barnabas' arms.  "...her word, Quentin?" finishes Barnabas. Oh my God, moans Quentin, what have I done? He sits, running his hand through his hair--yes, I did see her, he admits, and I want her to be with me now--and the thought now that I'm going to lose her--well, it's almost something I can't take.Julia leans across the table--we have all had this experience, she reminds him, being under the force of something stronger than we are, and it has made us do things we would never do under normal circumstances, but you have got to struggle to be free!  For the children, Quentin, says Barn, for David and Hallie. Quentin thinks this over--yes, he says, David and Hallie--Julia, do you still have that handkerchief you found?  She hands it to him. He unfolds it--leave me alone, he asks--I give you my word--I'll do everything i can to see to it that she never comes back here again. Julia and Barnabas exit his room. He gazes at the lacy blue handkerchief.

David's bedroom - Tad and Carrie have drawn a pentagram on the floor and placed lighted red candles at the tip of each star. Do you still have the shawl you took from Daphne's room? he asks. (Why isn't anyone watching these kids, they were ordered to stay in the room and haven't for a single second!) Yes, she says, it's here. She goes to get it.  Place it at one of the points, he says. He arranges the Java Queen at another point, then draws Carrie into the center of the pentagram with him. She tells "David" (even they are getting confused) I'm so frightened--what if Gerard comes back? Be quiet--and concentrate, he orders, and says: "Feel the earth turning to eternal space,"--let it turn itself toward the stars that guide the destinies of us all--let the light from the star that guides the destiny of Daphne Harridge touch the flame that we have lighted in her name--let the light from the star that guides the destiny of Gerard Stiles touch the flame that we have lighted in his name--let the earth turn in eternal space until we are touched by the light of their stars. The children cling to each other, waiting.

Quentin takes Daphne's handkerchief in his hand and looks up--as a sign that I will destroy the bond between us that binds us together, he says, I will destroy this that once belonged to you--and no longer will there be the scent of lilac in this house--and no longer will I be able to look upon your face--oh, Daphne! He holds the handkerchief over a blue candle, but a wind blows it out, preventing him from setting it aflame. He goes to get more matches, but when he returns to re-light the candle, the handkerchief is gone.

David's room - Tad says, "The light of the star must touch the light of the candle--light touch flame, light touch flame so that they may breathe again.They hear the "sci fi" sound and we see what appears to be a lump of aluminum foil coming toward us, gleaming in the light. "They have met," says Tad. Will they come back now? asks Carrie. We'll see very soon, he says, and they leave the room. The candles glow brightly.

Quentin re-lights the candle on the table. I did what I could, he tells himself, I tried to send her away--I'll still try--there must be something else I can do. He looks up. She must leave this house!

Hand in hand, Tad and Carrie walk downstairs. What if it's Gerard? She asks. Don't worry, he says, he won't be angry this night. Maybe not in the beginning, she says--let it be Daphne, please!  It's not up to us, says Tad. Who is it up to? she asks. I don't know, says Tad. If Daphne was here, rhapsodizes Carrie, we'd be so much more happy--this house is so different. It's the same house we knew, he insists. NO, it's so strange, so ugly, she says--do you remember how it was--with the candles and sounds of the spinet? Shh, he says. Do you hear someone? She asks. He nods. I don't--are you sure? she asks. He looks around--don't be afraid, he urges. I am frightened--if it's Gerard...she says.  They hear a knock at the door. Both stare at it. Tad walks slowly over to answer. Who will be there?

NOTES: Who will be at the door, Daphne or Gerard? Both?  Or someone else entirely?

As Quentin tried to banish Daphne, the children tried to resurrect both Gerard and Daphne. Perhaps they canceled each other out and it will be Gerard who is brought back to life--a very terrifying thought. At least Barnabas and Julia learned early on that the kids were possessed, but what are they going to do to force those hungry young spirits from leaving the bodies of David and Hallie? Will they be able to succeed, with only two clues left to go?

One senses that Quentin's heart really isn't in vanquishing Daphne, even for the children's sake (and Barnabas really got to him, saying he only pretended to love the kids)--the beautiful brunette ghost with the 60's flip really has hold of his short hairs.

Carolyn's possession seemed to come and go, didn't it? She seemed to be Leticia when she was with the kids, and when with Quentin for a while, but then she appeared to lose that possession. Weird.

Loved the way Barnabas grilled the kids using simple questions. Tad and Carrie didn't have a chance!  He was like a hound dog police detective.

Love, Robin

1093 - David, come away from the dollhouse, urges Hallie, don't look again.  It doesn't matter if we look or not, he says. How did we get in there, sitting at that table? She asks. I don't know, he says. What does it all mean? asks Hallie.  It's what's going to happen to us, he replies  We're going to be trapped in there? she asks. Forever, he says solemnly. What are we going to do? she cries, sitting back in the rocker. We can't do anything, says David. We must! she wails.  We've tried to tell, to burn the dolls, to run away--they just won't let us, says David. Hallie bursts into tears.  David kneels beside her--don't cry, he begs. (This is very sweet.) We've got to try and tell someone, she insists. We can't, says David. Barnabas and Dr. Hoffman are still reading those books, she reminds him--perhaps they'll find out something without us telling them anything. David doesn't answer. You don't want them to! she accuses. Yes I do, he says. You don't act as if you do, she says.  Maybe because I know it's something we can't change, he says. Don't say that, she pleads. The music begins pouring from the turning carousel. David goes over to it--listen, he says. It won't make me feel any better, she says petulantly. Yes it will, says David, I'm not afraid anymore, honest. He smiles. Maybe it won't be so bad at Rose Cottage, he says--you know, we might even like it there.

Carolyn enters to the playroom hallway looking for David and Hallie.  She hears the music issuing from behind the door. She opens it, but finds herself in the linen closet, the music still playing behind the back wall. She exits and goes to the door across the hall.

Listen to the music, Hallie, says David, maybe you won't feel so bad if you do--the music makes you understand. About Rose Cottage? asks Hallie. We won't be alone there, I know that now, says David. Who will be with us there--Gerard? asks Hallie bitterly--or Daphne, or Tad and Carrie? Others, too, promises David. What do you mean? she asks. Just come and listen, says David. NO! says Hallie, turning her back. "You'd better come and listen," advises David--they want you to listen--come and do it, Hallie. Convinced, she joins him, staring at the carousel.

Carolyn exits the room across the hall, wondering where the music is coming from. David tries to leave the playroom quietly enough so his cousin won't hear him, but she turns and catches him. David! she cries--I've been looking for you--what are you doing up here? I was looking for Hallie, he says. And why would Hallie be here? she asks, folding her arms over her chest. I don't know, says David--she likes to explore the house sometimes. She's probably the one who's playing the music, says Carolyn, let's find her. Music? asks David innocently. You must hear it, says Carolyn. I think it's a radio, he says, coming from the other wing--somebody just has a window open--anyway, why would Hallie come here to play music? I don't know, says Carolyn, but we're going to find out--Hallie!  I don't think she came here this time, says David--I've looked everywhere. You aren't supposed to be in this wing and you know it, Carolyn reminds him. Yes, I know it, he agrees. She hustles him away from the playroom door. Inside, Hallie is smiling, nodding, saying yes, yes, I know--I know, hypnotized by the music--and by what else?

Drawing room - Where can Hallie can be? Carolyn asks her cousin. She'll turn up someplace, he assures her. With Maggie sick, the two of you really should be more considerate and not go wandering around without telling me, she chastises. We will be, promises David--is Maggie feeling better? I'm going to look in on her, says Carolyn--and don't go disappearing again, she warns, it's nearly your bedtime. David nods. Hallie comes in.  Where have you been? Carolyn asks.  In the kitchen, says Hallie, I was hungry. I looked there, says Carolyn. I was in the pantry, I heard someone come in, says Hallie. You and David get ready for bed, orders Carolyn--I'll come in and say goodnight. She leaves. You were right about the music, David, she says--I feel different. I knew you would, he says. And I know what we must do tomorrow, she says. What? he asks. Something very important, very special, she says. Tell me, he urges. Tomorrow--you will know soon enough, she promises.

The next day, Hallie's room - You'll have to do it because my wrist still hurts, Hallie tells David.   (don't ask me what my dirty mind churned up at that line). Do I have to? asks David. Gerard wants it done, she says--do what I told you to do and I'll be back in a little while--lock the door so no one can catch you--"I'll be back."  David sits at a table,  In front of him, on the table, are scraps of material. He's wearing a pink shirt and black vest with a matching belt. He takes a scissors and folds some material around a clothespin, then wraps a rubber band around the top, making a little head. Hallie knocks; he lets her in. She's brought some green material. Did anyone see you? he asks.  Of course not, she says, pushing away the scraps on the table. She lays out the green square of material--David, you'll have to cut this after I draw the outline.  Why? he asks--tell me why? Cut along the lines after I'm finished, she says, it has to be done, David. She draws an oblong shape. David begins to cut it out.

Maggie's room - Are you sure you want the drapes drawn? Carolyn asks Maggie. Yes, answers the latter weakly. The sun is so warm today, says Carolyn.  The light, complains Maggie, it's so bright, it hurts my eyes--making my head ache. Carolyn draws the drapes and turns on a light. Are you feeling worse? asks Carolyn--should I get Julia?  No, says Maggie. Did they call the police? asks Carolyn. I don't know, answers Maggie. They certainly should have, says Carolyn--remember about a year ago, there were attacks like this?--how odd it is. Maggie, very pale (and a vampire victim for the second time in her life), looks away.

Drawing room - David hands Hallie a marker--is this what you need? he asks. Yes, she says. Why? he asks. It draws on cloth, says Hallie. Why do we have to make this doll? he asks. David! she warns sharply, closing the doors. No one will hear us, he says--tell me--you understand every single thing we're doing, and I'm not going to do another thing until you tell me. The doll is going to be someone, explains Hallie--someone who's going to live with us in Rose Cottage. Who? he demands. There's a knock at the door. Answer it! she orders--go on!  He goes to the door, looking back once at Hallie. He opens the doors. It's Sebastian Shaw--is Maggie here? he asks. She's here, but sick, says David. What's wrong? asks Shaw. I don't know, says David--no one tells us anything. I'll go upstairs and see, volunteers Hallie--perhaps Maggie will see you. She goes upstairs. I also came to see you, David, says Shaw--I have something to tell you--I don't know if you'll understand, but I can't do your horoscope right now. All right, says David. Shaw, perplexed, reminds him how anxious you were for me to do this yesterday. That was yesterday, says David. I thought you wanted to know about the future, says Shaw. No, it's not important, says David mildly--I'll go see if Carolyn is coming soon. He starts to leave. David! calls Shaw. David turns and says, there's no point in knowing the future--it's just going to happen anyway--and he heads to the kitchen.

Carolyn comes downstairs.  How is Maggie? asks Shaw.  I'm not sure it would be a good idea for Maggie to see you, she says--she really isn't herself. What's wrong? asks Shaw. She was bitten, says Carolyn. By what? he asks. By an animal in the woods, says Carolyn.I think you'd better tell me more about this, he says, I really don't understand. Carolyn invites him into the drawing room.

Hallie and David return to her room. What took you so long? she asks. I had to come up the back stairs, he says. You have to draw a face on this, she says, returning to the table. Whose face do I have to draw? he asks. I don't know, she says, I honestly don't. When will we know who's going to be with us at Rose Cottage? he asks. Soon, she replies, very soon. He begins to draw the face.

Drawing room - Carolyn explains to Shaw--Dr. Hoffman doesn't know what kind of animal it might have been. Neither do I, says Shaw, but looks like he knows more. Was she bitten anywhere else besides the neck? he asks. No, says Carolyn--I don't understand why she isn't better--she's been given blood transfusions. What else does Dr. Hoffman say? he asks. That if Maggie remains calm and stays in bed, she'll be all right, but it seem to be affecting--I won't say her mind, but her spirit, certainly, she seems so depressed, says Carolyn. Yes, says Shaw, miles away. That doesn't surprise you? asks Carolyn. He looks at her--it's just the shock, I suppose, he says--did that girl tell Maggie I was here, that I came to see her? Carolyn nods. But Maggie doesn't want to see me, he guesses. Carolyn, embarrassed, says, "She really isn't very well." Don't make up excuses, says Shaw. All right, I won't, replies Carolyn--no, she didn't. Tell Maggie to get well soon, for me, he says, and I'll come and call on her later. Phone first, Carolyn advises. In other words, you don't think she'll see me then, either, he says. I don't know, she says. Tell Maggie I don't give up that easily, says Shaw--not on anything. Carolyn nods and smiles.

David has completed the doll, which now has long blonde hair. It even looks like her a little, praises Hallie. Like her? asks David--I thought you didn't know who it was! Hallie looks guilty, and says like...like...Tell me who it is, he demands. Like Letitia, she says.  Who is that? he asks.  I don't know, she admits, but we will know, soon--we must go to the playroom now.

Playroom - Hallie, how do you know so much? asks David. I just do, that's all, she says--put it in the house, she orders--do you want to live in Rose Cottage all by yourself?He puts the blonde doll into the dollhouse.

Dogs howl. In Maggie's room, Carolyn sits on her friend's bed--Shaw was so disappointed he couldn't see you, explains the blonde--are you sure you don't want to see him? Maggie, pale and distracted by the howling, doesn't respond. You haven't heard a word I've said, says Carolyn.  Maggie tries to get up.  Carolyn, trying to keep her in bed, says, "You can't, Julia said not to." No, Carolyn, says Maggie, I have to get up. She rises and puts on a robe. I'll straighten your bed for you; offers Carolyn, you'll be much more comfortable. What time is it? asks Maggie.  Five past seven, answers Carolyn. I've got to leave, Maggie insists. You mustn't, says Carolyn, pushing Maggie's hair off her forehead--let me finish your bed, you'll be much more comfortable. The dogs howl outside. Maggie listens intently.

We hear the music, see the light on in Rose Cottage, and the turning carousel. The rest of the room appears dark.

Maggie's room - Carolyn hums the carousel song. What's that lovely tune? asks Maggie. Carolyn continues straightening Maggie's bed.

Hallie's room - Maybe we shouldn't have done it, Hallie, says--anybody who goes in that room is going to know Gerard. Do you want to live there alone? she asks. You'll be there, he points out.  But you were the one who said this morning that we wouldn't be alone there--you were happy! she reminds him. Looking pained, he says, I don't know--I like all these people in the house. David, we did the right thing! she assures him.

Maggie opens her window and looks out, listens to the howling dogs.  You shouldn't even be up, protests Carolyn. I don't feel like it, says Maggie, i see no reason why you should stay here--what was that tune you were humming? I think I remember it, says Carolyn, and hums it again, accompanied by the music box music in the background.
We see the spinning carousel and the lighted doll house, where three now reside. Carolyn enters the playroom. This room, she says to herself--I can't be here--why am I here? Her forehead furrows. How could this be--there IS no room--this doesn't exist--it doesn't! She goes over to the carousel and listens to the music. Who wants me? she asks, looking around--who called me here?

NOTES: Who, indeed? Do they plan to put the entire Collins family and other inhabitants in the dollhouse? Is that Gerard and Daphne's plan? When Julia and Barnabas came to 1995, was the entire family relegated to dolls, living in Rose Cottage? What a concept!

Anyone get the idea that Sebastian Shaw knew more about what happened to Maggie than Carolyn did? I think Carolyn is over his resemblance to Jeb now, although when he said he didn't give up easily, it reminded her of Jeb.

The kids aren't very good at arts and crafts, but that was surely Carolyn. Now she knows of the playroom. Who will be next to join the Rose Cottage club?

Why aren't Barnabas and Julia watching over Maggie? It's night time now, why are they not protecting her?


1094 - The intro tells us the doll is named Letitia, who must be connected somehow to Carolyn. Gerard, silently snarling, appears behind Carolyn.  her eyes widen as she feels his evil presence.

Carolyn turns, spots Gerard, and covers her mouth, muting a scream. Who are you? she asks.   He comes after her, and she finds herself trapped in the playroom. He puts a hand on her shoulder. She turns to look at him; they lock eyes. He touches her hair, caressing it, and smiles. Like her mother, Carolyn begins to succumb; she smiles back. I know you, she says, I don't know how, or where. This playroom! she exults, and Rose Cottage! She reaches in and takes the blonde doll into her hand. She grins.Leticia! she says, I'm Leticia, oh, Gerard, how could I have forgotten? He looks stoic.

Collinwood - Julia comes downstairs, asking Liz, have you seen Carolyn?  Not for hours, says Liz, who is reading a book. I left her sitting with Maggie, says Julia, but she's gone. Did Maggie say where she went? asks Liz. She didn't know, answers Julia. She probably thought of something she had to do, suggests Liz. But I told her how important it was, says Julia, not to leave Maggie alone. Why is it so important? asks Liz. Hesitantly, Julia says, I'm just worried she might have a relapse, but she left Mrs. Johnson sitting with her. Why hasn't Maggie gotten better? asks Liz--and why can't she be left alone at night?--I don't understand. She just gets very restless, explains Julia. Perhaps because she's well enough to be up, suggests Liz. Julia offers Liz more coffee; she refuses. She pours a cup for herself. It's very difficult to understand, says Julia--Maggie is recovering, but still suffering from shock. I wonder what kind of animal it could have been? asks Liz. None of us has any idea, says Julia--what are you reading?  A fascinating new book on astrology, replies Liz--a whole new world has opened up to me--I know you don't believe in my horoscope, but I find it a great comfort that the future isn't as obscure to me as I once thought it was. Obviously astrology is reassuring for so many people who believe in it, says Julia. I find it easier to believe my horoscope than yours and Barnabas' predictions, says Liz. We were here in 1995, Julia reminds her--this house was in ruins. I'm sorry, says Liz, but I tend to think it was a dream--no ghosts appeared. None we know of, says Julia. You're not being sensible, says Liz, if anyone had seen anything in the least out of the ordinary, we would have heard of it. Perhaps, says Julia. I know that dreams can seem very real, says Liz, but there comes a point when one must admit... The point has not been reached yet, says Julia, there are still three clues--the destruction of Rose Cottage...  Whatever Rose Cottage is, interrupts Liz, you haven't been able to find that out yet. The murder, Julia reminds her. Please, Julia, objects Liz, I don't even like to hear that word. Neither do I, says Julia, but a murder will take place!  You say Carolyn will sing a song, says Liz--that's the last clue, isn't it?--I look forward to that clue, but none of the others, because Carolyn has no song--in fact, Carolyn cannot sing--take a mother's word for it.

We see the twirling carousel moving in the dark. Carolyn laughs, asking Gerard how he remembers him, and all the lovely times we had back then, in those days--before Carolyn Stoddard was even born?--You've given me the sight, haven't you, so that I can see a path I never knew yet feel I was a part of, just as Leticia was? Gerard nods. Carolyn smiles--I'm so grateful to you, she says, so grateful--but remember how Leticia used to thank you?--to please you? She gazes up at him, smiling saucily--"I will, too, Gerard--I promise--I promise--and soon."  She giggles and scampers off. Gerard watches her go, very pleased.

Julia sits at the drawing room desk, Liz in a chair. No matter how much you pooh-pooh it, says Julia, I'm not going to give up trying to find out everything I can about these clues. And you think those old diaries will tell you? asks Liz. Possibly, says Julia, Quentin's diary under her hands. Whose is that? asks Liz.  The original Quentin's, says Julia, and opens the diary to an entry written on exactly this same day in 1839. What terrible event happened? asks Liz, coming over to stand beside her. Nothing, seemingly, says Julia--he had a vision of the future. Did he find us in it? asks Liz. Nothing as dramatic as all that, says Julia.  And tomorrow? asks Liz. Quentin got books delivered from his booksellers in Boston, says Julia, a collection on witchcraft that he ordered from England, and in the evening, there was a concert here in this very room. Carolyn enters.  Where have you been? asks Liz--I thought you were staying with Maggie. Carolyn opens a drawer--I have to get a kind of present, she says. For whom? asks Liz.  Carolyn darts around, opening and closing cabinets. For everyone, responds the blond. Are you feeling all right? asks Liz. Of course, Mother, says Carolyn--excuses me. Liz follows--I should talk to my daughter, she says. Julia reads in Quentin's journal, "After a most pleasant concert, we settled down to an evening of champagne and whist."

Carolyn opens a trunk in a very filthy part of the attic. She finds a gown that enthralls her, black with a feather purple collar. I remember, she says happily. She tries on a bonnet with long ribbons and looks at herself in a cracked, dusty mirror. She ties the ribbon under her chin, and admires her reflection. Liz enters. Carolyn! she says, surprised.  You're supposed to say how pretty I look, says Carolyn. Why are you here in this room? demands Liz.Why are you here, Mother? retorts Carolyn. I followed you, says Liz, you behaved so strangely. Carolyn pushes the bonnet off her head and rummages through the trunk again.  What are you looking for? asks Liz. Everyone in this house is always looking for something, Carolyn replies belligerently--Julia and Barnabas prowl in and out of rooms, you don't follow them around--find books and diaries, why can't I be allowed to help? Leave it to them, insists Liz, now take off that silly bonnet. No, refuses Carolyn--you're talking to me as if I were David or Hallie--I'm not, Mother, and I have not finished here. I'm certainly not going to leave you alone here, asserts Liz. Oh, but you are, Mother, says Carolyn. What is wrong? demands Liz. Mother, please! says Carolyn, still looking through the trunk, nothing, I've just become interested in the past, that's all. Why? asks Liz.  I can't concentrate if I'm asked all these questions, complains Carolyn--now, I'm doing nothing wrong, am I? No, says Liz. Then let me do it, Mother, please, says Carolyn. Will you come down soon? asks Liz. Soon, promises Carolyn--YES!  Very well, we'll talk later, agrees Liz, and leaves. Carolyn finds a booklet in the trunk and is please--"Of course," she says, "here it is--Gerard's surprise."

Shaw stops by to see Maggie; Julia answers the door--I'm sorry, she says, but she hasn't been seeing anyone today. She's not worse, is she? he asks. No, she just had a restless night, says Julia.  Is she going to be all right? asks Shaw. If she continues as she is now, yes, says Julia. Go up and ask Maggie if she'll see me, please, asks Shaw.  Julia, smiling, agrees--wait in the drawing room, she says. He finds Liz' horoscope on the table in there and opens it. Carolyn enters. Mr. Shaw, she says, then bursts into tears, covering her face with her hands. Shaw looks at her, shocked.

Carolyn apologizes for her odd reaction. I'm sorry, too, he says, i thought you'd gotten over that feeling about my looking like your dead husband.  It's not that, she says, then has another, similar reaction. I'd like an explanation, he says--if it's something I did, I can avoid doing it again. It's nothing you've done, she says--just seeing you, I just felt so sad, but not because of Jeb, but because...because of...you're so very unhappy. I never thought of myself like that, he says. Because you're terribly dependent on someone, and you don't want to be, says Carolyn, speaking like a seer or psychic. That's ridiculous, he says--I'm dependent on no one. You are, I can see it, says Carolyn. You couldn't see it when you first met me, could you? he asks. No, she admits, not then. I haven't changed, he says. I have, she says, indeed, yes, I can see into people now, honestly, past the surface--deep, deep, I can see their sorrows and their hurts. Julia enters.  Carolyn continues--I suppose you might call it a sort of second sight. Is that true, Carolyn? asks Julia. Carolyn whirls around to look at her. Julia apologizes to Carolyn, then turns to Sebastian--Mr. Shaw, Maggie is asleep. I don't believe you, he says.  Why would I lie? asks Julia.  Carolyn is about to leave the room, but Julia asks her to stay--Mr. Shaw, Mrs. Stoddard would like to see you in the upstairs sitting room, and directs him where. He goes. I'm fascinated, Carolyn, says Julia--all these years we've known each other and I've never known about your second sight. Perhaps I didn't know I had it, suggests Carolyn. You were serious, weren't you? asks Julia. Furious, Carolyn says, you shouldn't have been listening!  I couldn't help hearing, protests Julia--when did you realize you had this gift? What business is that of yours? demands Carolyn. Anything strange that happens in this house is my business, insists Julia. You've made it so, accuses Carolyn. your mother and i thought you behaved very peculiarly last night, reports Julia. you have no right to judge me, says Carolyn. If something has happened to you, says Julia, that you haven't told us...  Screams Carolyn, "I don't know what you're talking about!"  You do, says Julia, why do you pretend you don't?--last night you said you wanted to help us! I can't help you, says Carolyn, near tears, and runs from the room, Julia calling her name.

On the landing, Liz tells Shaw, I'm just as concerned about Maggie as you are--even more so, I think--but she's getting the best of care. I'm sure she is, says Shaw, but could you please just ask her if she could see me for just a moment?  I'm sure she will when she feels better, Liz assures him, and starts going downstairs, Shaw behind her. When Maggie is better, says Liz, I want you to do her horoscope--I've become quite a believer. I'm glad to hear that, says Shaw. I can't believe I ever discounted astrology, says Liz, oh there's a fascinating book you must read, it's in the study, I'll go get it for you. Carolyn exits the kitchen, listening, and joins Shaw. "Why don't you tell her the horoscope is false?" she asks--"Why don't you admit that it's all a lie?" His eyes nearly bulge out of their sockets.

You see, says Carolyn, I do have second sight, Mr. Shaw--or else I wouldn't have known that. You don't know anything, he says hastily--you're totally wrong about that horoscope. No, she says, I can't see why you did it, even looking at you, but you deliberately wrote predictions that are false. Will you go tell her that? he asks. I won't, she assures him, it means too much to her, I just wish I knew why. Mrs. Hawkes, says Shaw, nearly shouting, I'm very serious about my work! You don't need to tell me that, she says. I believe every word I wrote in that horoscope, every word! He cries. She grins, then laughs--you sound so convincing when you say that, she notes, if I didn't know better. YOU KNOW NOTHING! he shouts. Severely, she says, "You know that's not true."  Liz comes out and hands him the book. Shaw bids them good night and quickly exits the house. Good afternoon, Mr. Shaw, says Carolyn significantly.  He gives her a long look before closing the door behind him. What were you and Mr. Shaw talking about? asks Liz.  Nothing at all, says Carolyn. That's not true, says Liz--I want to talk to you. Not now, says Carolyn, it's going to be dark. What does that have to do with it? asks Liz. I have to light the candles, says Carolyn--for my surprise. What are you talking about? asks Liz. I'm very nervous about it, says Carolyn, but I'm trying to be calm--you may call everyone in. Why should I do that? asks Liz. Carolyn begins to re-arrange the chairs in the room.  What are you doing? asks Liz--why are you behaving this way?  I want everyone to be comfortable, answers Carolyn. All right, you may call them in, says Carolyn. Frantic, Liz calls for Julia. Carolyn stands before the fireplace--I'm not going to be as good as I should be, she says, I haven't practiced for so long, I think everyone will understand. She starts to light the candles.  Carolyn, go to your room, insists Liz. Now? asks Carolyn, lighting the candle, not now, not until after my surprise--you aren't going to ruin this for me, Mother. Carolyn! says Liz, upset. The candles are lit. Is no one else coming? asks Carolyn, running to look into the foyer--where are the others? Gerard stands there, staring at her. She turns back and takes her place in front of the fireplace. I can start now, says Carolyn. Start WHAT? asks Liz. My concert--please sit down, says Carolyn. Liz sits on the sofa. Smoothing back her hair, Carolyn says, "For my first number, I should like to sing my very favorite song." Liz, horrified, says, No, Carolyn, no!  Please be quiet! orders Carolyn, or else you'll ruin the concert for everyone!  She clears her throat and sings, "I wanna dance with you, want to dance my cares away--I'll be so close to you, in your arms I'll always stay!"Julia comes out to the landing, hears what's going on. "The clue!" she realizes, and hurries downstairs. CAROLYN, STOP! cries Julia, racing into the drawing room. Carolyn is still singing away, ignoring Julia, who again shouts for her to stop.

NOTES: Another clue, and so soon! Does Carolyn have to finish her song in order for the rest to happen? Julia is doing her best to stop her, but it doesn't look good. Now Liz is supposedly under Gerard's influence, too, so why did SHE try to stop Carolyn from singing--or does he only work on one person at a time and can't maintain control over both Liz and Carolyn together?  Liz seemed much more herself in this ep.

For a man who wants to stay away from Collinwood, Shaw is making an awful lot of appearances there. We know it's because of Maggie, but to be accused by Carolyn, who suddenly has the gift of second sight, of lying must have really stunned him. Will he forgo his relationship with Maggie now? What of Carolyn's insistence that he's terribly dependent on someone? Who could that be? Interesting that she was able to see into his lies now, but won't squeal on him. Doesn't she now know that everything Barnabas and Julia told them is true? Or is she so besotted by Gerard (and what kind of relationship did Leticia have with him, anyway?) that she isn't thinking quite straight?

Liz had some fun baiting Julia about the clues, but is that because of Gerard's influence or simply because she has forgotten that she had realized the truth about Gerard and he made her forget? Or was she just playing head games with Julia?

Why does Gerard make everyone put on ancient clothes?  Is he trying to force everyone into a new persona?

Will yet another clue slip by before the coming catastrophe, or will Julia be able to prevent Carolyn from finishing the song she started--and will it even make a difference if she does?

Love, Robin