1091 - Henesy does the intro, which is rare, and very well, too.

Julia assists the weak, staggering Maggie into the drawing room and onto the sofa. Can you hear me? Julia asks--let me help you, Maggie--don't be afraid, I'm going to help you. In...the...woods! moans Maggie. Don't try to talk, says Julia, her face filled with guilt, exhaustion and horror--I'll take you upstairs to your room.  To see you like this, says Julia, I should have known it would happen.  Hallie comes downstairs, heading for the drawing room. Don't come in, orders Julia, using her body to shield her from seeing Maggie. What's happened to Maggie? cries Hallie, launching immediately into shrill, hysterical mode. Go to your room, orders Julia. But something's happened to her! wails Hallie. She's just feeling a little weak, that is all, please go to your room, Hallie! says Julia again. You've got to tell me what happened! insists Hallie.  Go to your room, says Julia, more firmly this time. Stunned, Hallie stares at her. I'm sorry, says Julia, I can't help Maggie if I stand here answering your questions--please go. Why did this have to happen to her?--she didn't do anything wrong! says Hallie, and goes. Julia helps Maggie, who continues to mutter, "walking in the woods," up to her room, urging her not to talk--please.

Old House - Barnabas sits reading in the drawing room. When Julia joins him, he instantly notices something in her face--"What is, it, Julia?" he asks. You know very well what it is, she retorts, tight-lipped. What happened? he asks, --something to the children? Why did you do it? demands Julia, we've been trying so desperately to save Hallie and David from Gerard, and now to do this to Maggie! What are you saying? he demands. You can't get away with it, she says, you can't possibly. Get away with what? he asks, genuinely confused--tell me--what's happened to Maggie!  He grabs her by the shoulders. You know as well as I do, she accuses--you cannot possibly get away with your attack on her tonight. Barnabas' eyes widen with shock.

Julia, are you absolutely sure Maggie was attacked by a vampire? asks Barn. I saw the marks on the neck myself--marks only YOU could have made, she accuses.  I swear, I didn't do it, he says.She walks away from him--stop it! she orders--you attacked Maggie when she was walking through the woods--how can you deny it?  I can deny it, because I didn't do it, says Barnabas softly. What you have done is terrible enough, she says, hurt, but to lie to me, the one person you can trust... Julia, he says, the sun will be up soon, I must convince you--I tell you that I never lie to you. I want to believe that, she says, but it's so incredible. I know, he says--there must be someone else with the same curse as me--someone nearby. Who could it possibly be? she asks--in all these years, we would have heard! (Neither considers it might be Angelique, who was once a vampire before.) He thinks it over. Maggie was with Sebastian tonight, says Barn, HE hasn't been here long. I've seen Sebastian during the day, says Julia--I want so much to believe you, she says. The cock crows. I must go now, he says. Please believe me, he begs--stay with Maggie--there's no point in questioning her as long as she's under the influence of another--but she may let something slip to give us some clue. Barnabas...protests Julia. Go to Maggie, urges Barn, she needs you--I will see you tonight--and I will find out whoever has done this!  He heads down to the basement. Julia stares helplessly after him.

Collinwood - drawing room - David, says Hallie, Maggie couldn't speak, walk or anything--it was awful!  And Dr. Hoffman wouldn't tell you what happened to her? David asks. I heard her say this morning, to Mrs. Stoddard, that Maggie was attacked in the woods, by a wild animal, explains Hallie--but I wonder if she knows something about us, about the playroom and Daphne. Don't speak so loud, warns David. Maybe Gerard did this to her, to punish her, suggests Hallie--I wish we knew for certain. David considers. Why don't you go to Maggie and try to find out whatever you can, he advises--without giving too much away.  What are you going to do? she asks. I'll tell you later, he says. All right, she says, but you've got to promise you won't try to contact Gerard. Why would I do a thing like that? he asks. You mustn't contact him directly, she warns, promise me, we've got to stay far away from him. Are you going to see Maggie? he demands. Just promise me that, she persists. Either you go or I'll have to, he says, not answering her question--are you going? I'll go, she says, but gives him a sad look before she heads upstairs. He stands at the foot of the steps.  They look at each other for a long moment before she proceeds. David thinks to himself, I know it's dangerous, but if it will help Maggie, I've got to try to make contact with Gerard!  He goes upstairs, too, a lonely figure on the landing.

Maggie fangs marks don't look too good as she lies restlessly in her bed. Hallie, who has stopped by for a visit, says, Dr. Hoffman said I could only stay a few minutes, but I wanted to know how you were feeling. I'm going to be all right, Maggie assures her. Is there anything I can do? asks Hallie. You and David keep up your lessons, says Maggie. We will, says Hallie, I promise. You're a wonderful girl, did you know that? asks Maggie. Am I? asks Hallie. Of course you are, says Maggie. But sometimes I do things I shouldn't, says Hallie. I wouldn't like it if you were perfect, says Maggie. What if I did something wrong and someone was hurt by it? asks Hallie.This puzzles Maggie--you aren't making any sense, she says.  Aren't you sick because of something I did? asks Hallie.  It has nothing to do with you, insists Maggie. Are you sure? asks Hallie. I was attacked in the woods by something, says Maggie, I'll be all right--what happened to me has nothing whatsoever to do with anyone else, only me (she says this with vehemence). Julia comes in to shoo Hallie out--Maggie needs her rest.  All right, says Hallie--Maggie, try to get better real soon. I'm going to be all right, says Maggie in a faraway voice, staring at the ceiling--"Very soon."  Hallie, concerned, leaves, closing the door behind her. It's a good sign you feel you're going to make a quick recovery, says Julia. Belligerently, Maggie says, I'm not as sick as everyone seems to think. Still, you should rest, advises Julia, I'll sit and read for a while. There's no need for you to stay with me all the time, says Maggie testily. I have nothing else to do, says Julia. Really? asks Maggie, adding sarcastically, I thought you and Barnabas were so busy looking for clues to the coming catastrophe. I thought you thought our search more important than that, says Julia, stung. Things that seemed so important once don't seem as important now, says Maggie quietly. Surely you don't think the safety of the children is unimportant, says Julia. Of course not, says Maggie, I'm sorry, I didn't mean that--perhaps it's just my illness. I'm sure it is, says Julia.

Playroom - The carousel turns, spinning out its music. David looks at it intently--I know I shouldn't summon you, he says, but won't you appear to me?--I have a question to ask you. . .I've always done what you wanted me to, and probably always will, so won't you please appear to me? The carousel stops turning, as does the music. David feels a presence in the room. Gerard? he asks. Is that you?--Gerard?  He turns and sees the ghost of Carrie standing there, grinning at him.

Carrie, it's you! says David, speak to me, please, if you can! She just grins. I have a question for Gerard, but perhaps you know the answer, he says--Hallie and I were afraid Maggie learned what's happening to us, and that Gerard punished her--she was attacked in the woods--we wouldn't want anything to happen to Miss Evans--did Gerard do this to her?  All Carrie does is smile. You don't have to speak to me, he says desperately, just nod, yes or no--did Gerard do this to her? She shakes her head. Then Maggie doesn't know anything about what's happening to us? asks David.  Again, Carrie shakes her head. That's what I was hoping you'd say David says--then Dr. Hoffman must have been right--it must have been an animal!--I have another question--I know I shouldn't, but I have to--what's going to happen to us?--I mean Hallie and me--can't you tell us?--now that we know we can't do anything about it, won't you tell us, please?She nods, grinning. David, excited, wants to go find Hallie--wait here, Carrie--you will wait, won't you?  He leaves without getting a response. Carrie stands beside the carousel, which again begins to turn and play its tune.

8:15 - Drawing room - All the symptoms are there, explains Julia, seated beside Barnabas on the sofa--the disinterest in other things, weakness, hostility. Did you at any time imply to her that I might have done it? asks Barnabas. I almost did, says Julia, when it first happened, then I realized I couldn't say anything that would implicate you. Isn't it possible, asks Barn, that deep, deep down, you knew I didn't do it?  No, says Julia severely, I was certain that you HAD done it!--I'm sorry, but I don't want to lie. You still have doubts, don't you? he asks sadly. I don't know, she says. Take me to her, says Barnabas, you'll see by her actions that I didn't do it. If you insist, agrees Julia. In a way, I almost wish I had done it, says Barnabas as they stand--that shouldn't be too difficult to believe--if I had done it, at least we'd know what to do--as it is, she's in constant danger from an unknown source, a source we must find before any further harm is done. Julia looks at him, says nothing, and leads him upstairs to Maggie's room.

Maggie's room - Maggie, asks David, are you sure you don't know where Hallie was going?  I don't remember, mutters Maggie, half to herself. If you do speak to her, he says, tell her I have to see her, it's important. I will, says Maggie. Julia and Barnabas enter.  David, what are you doing here? asks Julia. I came to see if Maggie was all right, David says--have you seen Hallie? No, says Julia. If you do see her, tell her I have to see her, it's important, says David. Barnabas gazes at Maggie, his forehead furrowing. Maggie, how are you feeling? he asks. I'd be a whole lot better if people would leave me alone, she says coldly. Julia and Barnabas exchange looks. Is there anything I can do for you? he asks. Yes, she says--tell Julia to stop hovering around me, I'm really quite well. Julia knows what she's doing, he assures her. Does she? asks Maggie, I doubt that, in this particular case, I doubt that very much--she turns away from them.Julia calls Barnabas out of the room. It's better to leave her alone, says Julia in the hallway--she isn't responsible for any of the things she's saying now--I know now that you didn't have anything to do with it--she wouldn't be that cold to you if you were the one who attacked her.  So this is what it's like, he remarks--the agony I've inflicted on so many--do you see how hopeless she is, how lost to herself and others?--Julia... Don't, please, Julia begs him. A dog howls.  They listen with fear. He's out there, somewhere, says Barnabas. We've got to guard her, says Julia. Stay with her--don't leave her side, orders Barnabas, I'll search the grounds--if he comes in, you know what to do. I have a cross, says Julia. Listen to them, says Barnabas of the howling dogs, how I know that sound--the summons to Maggie is now a summons from someone else--I hearby swear, with all solemnity, on the graves of all my ancestors, that when I find who has done this to her, I will drive the stake myself!  He leaves, Julia watching with sympathy--and love. She returns to Maggie, who is trying to struggle out of bed despite Julia's protests--you're weak and must stay in bed. I'm not weak at all! Maggie insists, don't try to stop me--I'm not a child, I'm not sick, I can do whatever I wish--I have no obligations to you--I'm well, doctor, I won't leave your help any longer. Maggie puts on her robe and leaves the room. Julia comes out and realizes Maggie is being summoned--she'll go to him, whoever it is, if I follow, I'll know--yes, Maggie, lead me to who it is--lead me! And, cross in hand, Julia pursues the vampire.

NOTES: This was so much more interesting than the episodes that mainly feature the kids. I love this new addition to the show--a vampire who isn't Barnabas. Who is it? Why has Maggie become the victim?

It was very realistic when Julia told Barnabas that she DIDN'T know, deep down, that he hadn't done this. She was honest enough to admit she suspected him and only him, in love with him or not.

I wonder why Carrie appeared to David, so sweet, grinning and benevolent, instead of Gerard? I guess the latter wouldn't want to admit to NOT having done an evil deed, but he apparently had nothing to do with what happened to Maggie.

Now Julia, fearless vampire hunter, is on the prowl, cross in hand. Will she be able to save Maggie? Stay tuned!


1092 - Henesy does this intro, too, in a confidential voice.

Woods - Maggie, looking really ill now, extremely pale, walks through the woods in a storm, searching for her vampire lover. Julia steps on a branch, alerting Maggie to her presence;  Maggie stops, eyes widening. Maggie! calls Julia, but only the howling dogs respond.

Collinwood - Hallie sits on the top step, reading. David spots her--where have you been?--I've been looking all over for you. David, wait until you hear this, she says, it's Mrs. Stoddard's horoscope for today. Does it say something about us? he asks It could be us, Hallie says, and reads: "Loved ones will finally reach their home." It can't be us, says David, sitting beside her on the step. It was before, she reminds him, when it said loved ones will meet a stranger--we met Gerard. Yes, but we are home, he says. This isn't my home, she says. It is now, he says. I'm just a visitor, she says. No you're not, he insists, a visitor only stays a week. It says loved ones, so it can't be just you, he says, we'll find out--Carrie--she's going to tell us everything--I asked her if she'd tell us what was going to happen to us, and she nodded yes--that's why I was looking for you. Hallie suddenly looks perturbed. You do want to know, don't you? he asks. Maybe I don't, replies Hallie. Are you afraid? he asks, because if you are, I'll go myself--because I want to know. He walks away; she pursues him and asks, do you think Gerard will let Carrie tell us?  She promised she would, he says. If Gerard wants us to know, says Hallie, then he'll be mad at me if I don't go--she holds her wrist--and I don't want him to punish me again!  We've got to go, he says. I don't think we should, says Hallie, I don't want to find out what's going to happen--ever! And she goes downstairs.

Woods - Julia holds her coat closed against the chill, searching for Maggie. Barnabas, looking for the other vampire, runs into Julia. You frightened me so! she says. Why aren't you with Maggie? he asks. She was being summoned, says Julia. You let her go? asks Barn, horrified. I thought I could follow, she says. She might have been killed! exclaims Barnabas. She just disappeared, says Julia, we must find her. I must--you go back to the house, he orders. Two of us would be better, she says.  He's so insistent, however, that she agrees to return to the house.  I can protect myself, he reminds her--I'll find Maggie, now come, we must hurry, I'll take you back. No, protests Julia, reaching in her pocket, I have the cross!  No, says Barnabas, the person is vicious, I can protect myself--now come.

Sitting together on the steps, David suggests to Hallie, what's going to happen to us might not be so bad as we think. You don't believe that--I know, says Hallie--sometimes you're just as frightened as I am--and you are right now, aren't you?--admit it. The dogs howl outside. I am a little frightened, he says. Then let's not go! she cries. Carrie calls to David--where are you?--we're getting ready now--David...David.  We have to go, Hallie, he says They're about to go upstairs when Julia returns--where are you going? she asks--shouldn't you be asleep?  We couldn't sleep, she says. Why? she asks. Those howling dogs, says David. I hear them, too, says Julia--there's nothing we can do about it--go upstairs to bed. They go. Julia walks into the drawing room and looks out at the storm. Dogs howl.

Barnabas finds Maggie lying on the ground in the woods."Oh my God!" he cries, spotting the freshly-opened neck wounds.

Julia, growing more nervous, paces the drawing room. Barnabas enters, supporting Maggie--we must get her to her room, he says, she's very weak. It's my fault, laments Julia.

Playroom - David calls to Carrie--why won't you come to us?--we want to see you, we want to know what's going to happen--you told us you'd come. Gerard has stopped her, says Hallie. I don't believe that, says David. I hope he has! says Hallie--when I see Carrie, she looks so much like me, she scares me! Maybe she knows that, he suggests, maybe that's why she isn't coming. I'll go then, says Hallie, heading for the exit.  No, says David, she said she'd come and she will--we have to wait, that's all. The carousel begins to turn and play. Who's here? asks David--Carrie, is it you?--who's here--who??

After examining Maggie, Julia tells Barnabas, she's lost a great deal of blood and needs a transfusion. If we take her to the hospital, says Barnabas, there will be questions asked that we can't answer. I will go to town and get what I need, says Julia.  (the all night blood store?)  We've got to decide what we're going to tell the family, says Barnabas. We can't waste time, says Julia, her condition could be critical--I'll go and get everything right away. Left alone with Maggie, Barnabas gazes down sadly at her. She opens her eyes.  You'll be all right, he assures her--you can trust me, but must tell me exactly what's happened to you--I can help you only if you tell me.  She gazes up at him, perspiring. It will be our secret, he promises--we'll tell no one else, but I will stop it. She turns away from him. Don't, he pleads--look into my eyes. She does. Look deep into my eyes, he urges. No! she cries, turning away again.  Barnabas realizes he isn't the one with power over her, and hypnosis won't work.

The children stand in the playroom with the turning carousel. There's no one here, says Hallie. Someone started the carousel, points out David. Why won't they come to us? demands Hallie--what kind of game are they playing?--they don't intend to tell us anything, they just want us to come to this room! Why? asks David. I don't know, she wails, wringing her hands. Don't get all scared! says David. We see lights go on in Rose Cottage. "David, look!" says Hallie.

Hallie and David circle around the huge dollhouse. What makes the light, David? asks Hallie. I don't know, he says, and you know I don't--but this time I'm going to find out. Don't go near it, warns Hallie.  It can't hurt me, insists David. They look into the dollhouse.  There's no explanation for the light, says David--everything is as it should be--the dolls are in their seats. But what makes the light go on? persists Hallie. I don't know, he repeats. (This exchange is very annoying.) She'll tell is, though, says David, when she comes to explain.

Julia takes her patient's pulse.  She has set Maggie up with a transfusion. She lies in her bed, dozing, Barnabas and Julia at her side.  You must not leave the room until we find out who has caused this, insists Barn. I don't understand why you couldn't get Maggie to tell you, says Julia. It's a battle between me and whoever has control over her, he says. Julia leads Barnabas to the foot of the bed, reminding him, watch what you say--Maggie is asleep now, but she could awaken. How well you look after her, Julia, praises Barnabas.  Embarrassed, Julia says, "A habit, I suppose--all this could work against you--what will we tell the family, they're bound to see the bite marks."  (I thought Julia already told Liz it was an animal.) We'll have to tell them she was attacked by an animal in the woods.What if Elizabeth calls the police? asks Julia. Barnabas doesn't have an immediate answer for that one. She could, continues Julia, just to report it. There's nothing we can do to stop her from doing that, says Barn. The police will link this up to the other cases, says Julia. There have been none recently, says Barn, almost proudly. No, but they're still there, in their files, says Julia. Barnabas looks away, disturbed. I'm sorry, she says, I keep thinking about why this should happen now, that perhaps we mis-read some of Carolyn's things in 1995--isn't it possible it's linked up with that, with something that is to happen here? I don't see how, replies Barnabas. I can't believe it's just by chance, says Julia--"You have always had the ability to summon those that you control--isn't it possible there is some link between you and whoever is controlling her, some supernatural awareness?"  I don't think so, says Barn--there would only be a link if I caused that person to exist. If you concentrate, suggests Julia, do you think you might be able to summon the one who's controlling her to come here? Barnabas thinks about it a moment, then goes to the window. Let me try, he says. Julia takes his arm and apologizes--I can't let you do it, she says, because then that person will know about YOU--we can't take that chance. I'd be willing to sacrifice myself, says Barnabas. Julia takes his arm in both of hers--I won't let you, she insists--we must think of a better way. The dogs howl. Barnabas watches Maggie sleep, the life-giving blood flowing into her vein.

David and Hallie sit in the playroom, still waiting for Carrie.  The carousel turns, but no music comes out; the upper floor is still lit up. How long do we have to wait? complains David. Hallie feels a chill--someone is in the room, she says, I felt cold air pass by me. She hugs herself. If you can, follow it, advises David.  Hallie tries--I still feel it, she says--no.  She moves toward the dollhouse and looks inside. David, look! she says. Something new has been added, they note--on top of a miniature armoires is a miniature of the Java Queen, flag and all!

It can't be the same ship, protests David.  It is, says Hallie.  Mine is big, says David, that one is so little. (is he bragging?)  I bet, says Hallie, if you go to your room, you'll find yours is gone. How can that be? demands David, who would have brought it here, and why don't they appear to us? I don't know, she says. It doesn't make sense, says David--remember our dream.  In our dream, says Hallie, when we were in the doll's house, we were the same size as the dolls--the same thing has happened to the ship. Yes, but that was only a dream, says David. Let's take the dollhouse out of the room and destroy it, suggests Hallie. We can't, says David. We've got to, she insists--we'll bury it or take it apart. We can't, he says, we simply can't--remember when we took the dolls from here, and we burned them, we watched them burn, and when we came back, they were still there, right in the doll's house? Then there's nothing we can do--nothing, wails Hallie. Just wait, says David, that's all. Hallie sits in the rocker and David on the rocking horse. They sit silently, waiting to learn their fate.

Maggie continues to receive her blood transfusion. Barnabas watches over her, ruminating. Julia sits reading a book. Get some rest, Barnabas suggests.  I can't sleep, she says.  (change that hideous brown dress, Julia; it's going to walk away by itself!) You have to stay with her all day tomorrow, he reminds her. I'll be all right, she assures him. He looks out at the storm--to think, he says--somewhere in the village is another coffin in another secret room. Julia gets excited--listen, she says, and reads from the book, "On October 14th, 1839, the original Quentin wrote, “Tonight I do what I dread--I must go and see G at the cottage." G must mean Gerard, says Julia and the cottage must mean Rose Cottage--Gerard must have lived there. Yes, says Barn, and it also could be the cottage on the estate. If we only knew what Gerard's connection with the family was, says Julia--and he wasn't a servant, he wouldn't be living here--the original Quentin's diary doesn't mention him as a friend--I'll go to town tomorrow and check the real estate records again--I am sure, of all the clues, Rose Cottage seems to be the most important. I'm not sure it is, says Barnabas--the murder fascinates me--you'd think there would be some record of it in one of the diaries, but there hasn't been. If we learn about Rose Cottage, says Julia, we'll know about the murder, too, I don't know why I feel so strongly about it, but I do. The dogs howl. Barnabas checks on Maggie.

Playroom - The kids still sit in their respective places, not speaking. The carousel soundlessly turns. David suddenly climbs off the horse--we should get out of here, he says. But you were the one that wanted to stay, she reminds him. I've changed my mind and want to go, he says firmly, taking hold of her hand--"Please." All right, she agrees. Before they leave the room, however, Hallie notices the dolls are gone from their seats in the dollhouse. They were there, says David. We haven't left the room, says Hallie. Spirits keep coming in and out of here, taking things, says David--we can't even see them.  Why? Hallie. I don't know, he says, but I want to get out of here. They are about to leave the room when they hear Carrie's soft voice calling their names, telling them not to go--"We're ready now."  We don't want to see, says David. You must, says Carrie--look in the house--Rose Cottage--you asked what would happen to you--find out...find out--you must know--look through the window. David and Hallie fearfully return to the house and peer through the window.Inside they see themselves (actually, Tad and Carrie) sitting at the table. "See David? See, Hallie?--now you know what's to happen to you--now you know," says Carrie's voice.

NOTES: What is Carrie trying to convey to David and Hallie--that they are going to become Tad and Carrie? Take their places? In 1840? In 1970? It's rather confusing to me, but these scenes are growing so wearying, I think I'm having trouble paying attention. I guess I found this fascinating the first time around, but now, not so much. From my point of view, I don't feel any mystery was cleared up!

Nice how Barnabas is willing to sacrifice himself for Maggie, but Julia won't allow it. Her love glowed on her face when he complimented her on how well she was caring for Maggie. She still has trust issues with him, but then again, he IS the only vampire she knows right now, and it seems logical she would blame him before considering there is another vampire in their midst.

A bit of a discrepancy there--it was indicated that Liz was already told it was a wild animal that attacked Maggie, so why is Barnabas fretting about telling the family?--it's already been done.

I think those kids need to be packed off to boarding school; they have way too much time on their hands. Frankly, I think I'd rather they were having sex than doing what they are doing, it would be a hell of a lot more interesting. Perhaps, when I watched this the first time and was Hallie's age, I was more forgiving.

Carrie is very creepy, doing nothing but smiling. Ah, well, it's better than Hallie's shrill whine.

Who is victimizing Maggie? Will Barnabas and Julia find out? Anyone out there have any guesses?

Love, Robin

1087 -

How bizarre!-- SciFi repeated an episode

Robservations #1087

1088 - We see the carousel turning, superimposed over Gerard's nasty face.

Gerard is about to slip the rope around Quentin's neck when Julia comes down the hallway and hears Quentin's voice. She opens the door to find Quentin alone. What are you doing here? she asks.  I might ask you the very same question, he counters. She looks around--I thought something was wrong, she says, the way you behaved downstairs. Because I wouldn't have another brandy? he asks, that's not as wrong as it is unusual, eh, so you followed me here? I'm worried about you, she says--I'm worried about you here in this room. And you expect an explanation, of course, he says sarcastically, all right, let's see--the truth is rather boring, I should expect you to want another story, filled with intrigue and romance. Oh, Quentin, she protests. Despite your refusal, says Q, to accept my story about being so tired, I was going straight to my bedroom, and as I was, I happened to hear a noise while going past the door to this wing--I heard somebody walking, I thought it might be David, then I got in front of this door and thought I heard the noise again, so I came in here, but didn't see anyone--then I heard your voice--but there's nobody here, as you can see. Julia feels the chill--don't you feel the evil in this room? she asks--HIS evil?  His evil? repeats Quentin.  Whose room this is? she asks.  I don't have any idea, he says. Was it his? asks Julia.  Was he a servant? asks Quentin. How do you know it's a servant's room? Julia asks. Caught, Quentin says, my ancestors didn't live quite this simply, their rooms were a little more luxurious--I think we should go. No, they should wait here, she says, if you heard a noise...  Quentin angrily says, I'm not so sure I heard one now--you and Barnabas have made us all so jittery, everyone keeps hearing things, looking for a sign of a catastrophe that you keep saying is supposed to happen. Quentin, chastises Julia. Well I'm sorry, says Quentin, but you and Barnabas have created such a tension, when any of us respond to it, we immediately become suspect! That's not true, says Julia. Oh, come off it! he exclaims--one minute ago you were quite willing to accuse me of consorting with spirits. Julia apologizes--you're right, of course, but you doesn't know how insidious Gerard is. Gerard--that's just a name to me, says Quentin (the name of a ghost who was about to strangle you, Q!)  It will be much more, promises Julia. Is this Gerard in love with the other ghost, the one I'm supposed to be so enthralled with?  I don't think Gerard capable of love as we understand it, she replies. But, says Quentin, there WAS a connection between them, wasn't there--some link? Julia looks at him oddly--why? she asks. For the future, Julia, so I'll know, he says angrily.  They exit. We see the rope Gerard held lying on the floor.

Next day, drawing room - Julia, I'm getting like one of those silly women who read their horoscope every morning--I never thought it would happen to me, says Liz, but then, many things have happened that I never expected. She looks over Julia and reads--"an enemy becomes a friend."--I wondered about that, says Liz--I have enemies, I'm sure, but whether I'd want one of them as a friend is something else again. It might be important, says Julia. Or it could turn out to be like a loved one meeting a stranger, says Liz, dialing the phone--Sebastian Shaw--I'm puzzled by something in my chart--could you come clarify it for me this afternoon? He consults a blank appointment calendar--I'm afraid I'm all booked up today, he lies. Really, she says, annoyed--when you drew this up you said you'd be glad to discuss anything that puzzled me. He sighs--perhaps I can make some time this evening, he says--around 8?  If that's the earliest you can make it, it will have to do says Liz. After hanging up, Liz complains to Julia, I can't believe his waiting room is jammed with people until 8 tonight. Neither can I, says Julia--what do you suppose he does with his time?  (I thought he was so good at this--why no other clients?)

Gazing at the blank appointment book, Shaw tells himself, I don't want to go to that house--tonight or ever! Why do I have to see Collinwood again??

Quentin goes to Daphne's room--why did I come here again? he wonders--didn't last night teach me it isn't safe?--if Julia's followed me now, what will I say?--I don't care, I must see her. He enters the room and finds the rope lying on the floor. Was this here before?--why don't I remember?--Is Julia right, are Daphne and Gerard. . .Daphne, he calls, please, I must see you! Please, you don't have to explain anything, just let me see you. He won't let her come to me, he frets, sitting on the bed, we have so little time, they're going to find out, I know it! Daphne, can you hear me? he says--we have so little time left!  He drops the rope on the bed and exits the room.

7:45 - You have 15 minutes, Roxanne tells Shaw--it will take you that long to drive to Collinwood. Teasingly, he says, psychics don't drive, they transport themselves on magic carpets--don't you know that?  There are many things I don't know about you, she says. Of course, you want me to go, he says. You may not, she says, smiling. I MAY not, he says, I may obey my instincts, and stay here, with you, and not answer the phone.That would be very foolish, she says. Every single thing we've done here has been foolish! he says, furious. You thought it wise at the time, she says. I don't know why, he says, I've always told the truth, it's been a fetish with me. I know that, she says, almost mocking him. Why did I deliberately lie to her and spin out that fiction she calls a horoscope? he asks. You thought it best to tell her what she wanted to hear, she reminds him. You weren't with me yesterday, he says, that witch of a doctor throwing those clippings at me, accusing me of helping destroy them--and that boy, so frightened. Don't be so hard on yourself, darling, you can't stop what's going to happen! she reminds him. I can warn them, he says. They've already been warned by that Barnabas, she says. Mrs. Stoddard would listen to me, he says. That's what you wanted--isn't it? she asks pointedly. He looks away and says, ashamed, yes, that's what I wanted. We needn't give up your plan, she says, I'll go with you tonight. To watch me? he asks. Help you, if I can! she cries. He looks away, unsure. Won't it be better if I come? she asks. It's always easier when you're around, you know that, he says.

We see Liz reflected through Quentin's brandy glass. You seem depressed tonight, she observes. Without reason, he says. There's always a reason, she says. Oh, my, how analytical we have all become, he says mockingly, probing each other's moods--I think I'll probe the meaning of some book--in my room. He goes upstairs. Julia answers the door to Sebastian and Roxanne. Face to face with her, Julia says, "You must be Roxanne Drew--Barnabas told me how much you look like the Roxanne we knew--I'm Julia Hoffman."  Shaw introduces Roxanne to Liz  as "my assistant."  Hello, says Liz--did you have anything to do with my horoscope?  No, responds Roxanne. If you don't mind, Mr. Shaw, says Liz, I'd like to see you alone. Shaw gives Rox a look before Liz closes them in the drawing room. Would you like to go into the study and wait? Julia offers Roxanne. No, responds the redhead, he won't be long. It's incredible, remarks Julia. What, my resemblance to the Roxanne you knew? asks Rox. Julia nods. Mr. Collins, says Roxanne, such a charming man, I'm afraid he had me quite confused with that Roxanne. Yes agrees Julia heartily, understanding why.

Shaw looks over the horoscope papers--Mrs. Stoddard, he says, astrology and charting the stars can't be that accurate to provide you with specific names of your enemy. There must be some way of finding out--please help me if you can, says Liz. There may be a way, he says--I have been known to have a kind of second sight. I'd be very grateful, she says. He sits--don't interrupt me no matter what, he insists.

Roxanne eavesdrops at the double doors.  Do you think something went wrong? asks Julia. No, says Rox--of course not, he just gives too much of himself sometimes. She listens again.
Shaw concentrates. I see a room that isn't used, not a living human being has used this room in over a century. What does the room have to do with the enemy? asks Liz. Don't ask, cautious Shaw--there's pale green walls, a bed, a table, and a figurine on the table, a woman with a long   dress, bending over a child, yes, a teacher! The image fades. Don't go into that room, don't ever go into that room! shouts Shaw.  His head tips backward as if he's going into seizure. Why? demands Liz.  I can't tell you anymore, he says. You've told me nothing about the enemy, nothing, objects Liz. Shaw stands--the enemy may not be of the living, he says. Liz is stunned.

Drawing room - Liz tells Quentin and Julia, I couldn't get Shaw to tell me anymore, she says--he said he didn't know. Surely he must have explained, says Julia, why he said the enemy could be a ghost. He simply said that was all he knew, says Liz. Quentin that was the room we were in, says Julia.  Julia...warns Quentin. What were you doing there? asks Liz. He thought he heard something, says Julia, we should go there now--it's in the West Wing, near where Barnabas and I were found.  NO! says Quentin--for once, would the two of you be sensible!  We ARE being sensible, insists Liz. He told you you were not to enter that room, Quentin reminds her.  I've been in it and so have you, says Julia. Perhaps we were mistaken, says Q, perhaps we're bringing all of this down upon ourselves. All of what? asks Liz. Julia and Barnabas are so anxious to have this disaster happen, accuses Quentin. Quentin! cries Liz. That's not fair, adds Julia. I know it's not fair and I'm very sorry, says Q, but it is a possibility if we go somewhere we shouldn't be, it may cause something to happen. This is my house and I feel I can enter any room I want to, says Liz. We've all got to admit this is a very dangerous time for everyone at Collinwood, says Q--by bungling things, it could be much worse--Julia, you said yourself you believe Shaw to be a true psychic--then accept that, and don't make Elizabeth go somewhere he told her not to go--it doesn't make sense!  You're right, agrees Julia, but you and I could go.Use your head! commands Quentin, if there is a spirit in that room, it will not show itself as long as you and I are there. Liz says, "But if I am, you think it will."  Quentin stands before her--you've got to promise not to go into that room, insists Q. I don't like...begins Liz.  Of course you don't, says Julia, but you must believe in Sebastian Shaw, and you know it. I'm going to my room, says Liz, I find this all very upsetting. Julia, actually wagging a finger, says, "You will NOT go into that room." Liz gazes at her, astounded--Julia, you sound like me when I'm talking to David--I don't want anything more to happen in this house--she stalks out. Deal with Sebastian Shaw, since she can't, says Julia, you must find out everything he knows. She leaves the room. Quentin gazes coldly after her.

Liz, of course, goes to the forbidden room and is about to enter, but changes her mind, walks away, then goes back and enters. She sees the very figure Sebastian mentioned in his vision!

Lilacs? Liz asks herself, why do I smell lilacs? Oh, it's so cold! Behind her, Gerard observes, his perpetual snarl on his face.

Shaw's house - I shouldn't have told Liz about that room, Shaw tells Roxanne, I know that!--I'm finished with her, I'm never going back there again, and if she ever calls, I'm not available, do you understand?  She turns away.  What's wrong? he asks. You wanted it so much, says Rox, it seemed like the perfect answer--she could have endowed a foundation for you, you could have devoted your life to a serious study of the occult, instead of being some freak who can tell the future--oh, Collinwood seemed so perfect. He grabs her and turns her around to look at him. It isn't! he shouts urgently, there's a disaster that's going to happen there, and I knew it, I saw it in the stars, I could have told her. You saw the future for us, too, she says, please, don't make any decision tonight. All I can see is those people there--they don't know! he says desperately.

Liz stands in Daphne's room--is someone here? she asks--I know there is. Quentin enters.  Annoyed, he says, "I knew you'd come here."  You frightened me, she says. Collinses are a foolhardy breed, he comments, come, Elizabeth. There's a presence in this room, she says. Stop it! he says. There is, she insists, I smell lilacs, and then I felt a chill--there's someone watching us now. It's your imagination, he says firmly. No it isn't, she replies, equally firmly--Julia and Barnabas were right, something terrible is going to happen here. Then your horoscope...he begins. Is wrong, I know that now, says Liz, and I know what I must do--where is Julia? I left her in the drawing room, he says. Liz hurries out. Quentin, left alone, says, "I told you we had very little time."

Liz runs downstairs, through the foyer and into the drawing room. "Julia," she cries, "we must get the children out of this house tonight!"She flings open the doors and, standing there in the dark, is Gerard Stiles, looking straight at her.

NOTES: Liz has met Gerard, face to face, and it's down to the wire.  Will Collinwood be destroyed?  Have they played right into his waiting hands?

Quentin is pissing me off. I know he's obsessed with a ghost, but he's putting his entire family at risk here, and he knows it and can't seem to control himself. I thought he had become stronger than that, but I guess not.

Julia is treading on a lot of toes--David's, Liz' (love the way she shook her finger at her), Quentin's, Shaw's--she's become a one-woman annoyance squad in her quest for answers, trying only to save a family she loves as her own. I love her feistiness, but considering how important she considers Shaw, she keeps pissing him off, which is foolhardy.

Quentin knows there is a Gerard, but his only concern is that he is a rival for Daphne's affections. Wonder what he'd say if he knew how close to attack he'd come, and that Julia stopped it?

What is with Shaw and Roxanne? Now we know what his plans were--to soak Liz for a big endowment, perhaps use Collinwood somehow--but he's lost his heart, given that he knows the place is doomed to destruction, and now that he's met the inhabitants, he can't go through with his plan.  Just how much power does Rox have over him, we wonder?

Getting to the edge now. Liz has seen Gerard--can he make her forget she saw him? She's finally all set to ignore the horoscope and get the kids out, but that doesn't fit in with his plans at all--so what will happen now?

Love, Robin

1086 - As Tad and Carrie stand on a mysterious staircase, beseeching them, come into the room!, David asks Hallie, take my hand. No, she says, we mustn't go to them. They're calling us! objects David. And while the two of them argue what to do, Tad and Carrie disappear. They're gone, says David, where did they go?--and he tries to dart into the room. No, David, we mustn't, insists Hallie, pulling him out and dragging him from the room. Outside the room, David asks, were we going to follow? You started to, she says, and you wanted me to go, too. Yes, says David, upstairs, Carrie and Tad. He goes to the door again.  Don't, says Hallie. The staircase, says David, where did it come from? He opens the door, but all they see is a linen closet--the staircase is gone--where are Carrie and Tad?  What happened?

Quentin pours a drink in the drawing room. Liz enters--do you know where Julia and Barnabas are? she asks. The Old House, he says, pouring over some books and papers. I didn't want them to overhear me, she says--I didn't want to encourage them in their ridiculous prophecies.  What might encourage them? he asks, sipping his drink. Nothing very important, she says, but I must admit, I feel a sense of something in this house. Like what? asks Quentin, rather sharply. I can't explain it, she admits. But you do feel a presence or something? he asks. No, nothing like that, says Liz. Have you seen or heard anything? he asks anxiously. Please save the ghost stories for Julia and Barnabas, says Liz, annoyed. All I'm trying to do is find out exactly what you're talking about, says Quentin, less impatiently. I read something in my horoscope for today that made me uneasy, says Liz--it said that a loved one would meet a stranger. Oh, what kind of a stranger? asks Quentin. It didn't say, says Liz, sometimes it's all so ambiguous.Yes, like life itself, notes Quentin. A loved one could be anyone in the house, says Liz--a stranger--Quentin, you haven't seen any strangers on the grounds today, have you? Quentin guiltily considers her question--no, no one, he lies, and takes another swig of his drink. Notching how weirdly he's behaving, Liz asks, are you sure?  I haven't seen anyone today or tonight that I haven't seen before, he says--"I swear it!"  He drinks, knowing he lied by omission.

In David's room, the Java Queen on the desk, David tells Hallie, the important thing is, we didn't follow them. But we almost did, says Hallie shakily, and if we had...do you realize what would have happened?  Yes, says David, we'd have been lost from our own time forever, where no one could ever find us. Oh, David, what are we going to do? she asks, wringing her hands. Nothing, he replies--we can't do anything, I know that now. Yes we can, she says, we can run away. (Jack and Diane, watch out.) Yes, from Collinwood, Collinsport, says Hallie, far away where we can't find or follow us!  But they would, says David.  No they wouldn't, insists Hallie, not if we were far away from the playroom--and the stairway, from the rooms in this house--David, please, we've got to! Do you really think it would work? he asks. We've got to try, she says desperately, there's nothing else left!  Come on, he says, and be quiet. His door locks by itself. Somebody locked the door, he tells Hallie.  Both kids are terrified.

Hallie sits on his bed, crying. Don't cry, urges David, and tries the door again. It's still locked, we know it is, sobs Hallie. Maybe if I bang on it, somebody will hear is, suggests David. We can't, says Hallie. I'm not gong to stay in here, says David. But how are we going to explain it? demands Hallie, who are we going to say locked the door, the ghost of Miss Daphne, or Carrie, or Tad?--no, David, we can't!  I'm not going to stay locked up in here! he says. It won't be for long, she sobs--they'll come to us, tell us what to do--and we'll do it. You can wait for them, but I'm not, insists David. He walks determinedly to the window--I'm going to unlock the door. HOW? wails Hallie. I'll climb out the window to the next ledge and down the latticework, then I'll come around and unlock it, he says.  He clears the sill and the table in front of it. David, don't! begs Hallie.  I can't just stand around doing nothing, he insists. He opens the window and looks out, and we see a crooked image that reminds us of when Maggie considered jumping in PT. It's dangerous, warns Hallie--let me come with you! No, he says, you might fall. But I don't want to be alone in this room! she wails. Don'[t worry, I won't be long, he promises, and begins to climb out. Please don't go! she begs--please be careful, please! He sets off on his way, Hallie watching.  Alone in the room now, she smells the scent of lilacs. The camera pans away from her, making the room look huge, and Hallie small, as she speak to the air:  You're here, aren't you, Daphne? she asks, I can smell the lilacs--you're going to punish us, but we didn't run away--we couldn't--you can stop us from doing anything!--we can't do anything, we're lost--we're lost!  She sinks onto David's bed and cries. Liz overhears Hallie's sobbing and calls in, "Hallie, is that you?--are you in there"  Hallie tries to compose herself, responding, "Yes, Mrs. Stoddard."  Why are you crying? asks Liz--open the door. Hallie rises from the bed--I can't, she says--it's locked from the outside. Liz unlocks the door, joins Hallie and asks, who locked you in this room? Hallie turns away, scared.  Who locked that door? demands Liz. No one, blathers Hallie. That's ridiculous, says Liz, someone had to lock you in here, and I insist on knowing who it was--was it David?--answer me--was it David? Yes, Hallie admits, it was David.

5:50 - David sneaks quietly into the house, closing the door softly.  Quentin, drinking in the drawing room, seems pretty drunk by now. "A stranger!" he says, coughing on a sip, I wish you were a stranger, Daphne, I wish I'd never seen you--oh, but I know when the scent of lilacs comes, I shall be lost to you--perhaps I am the stranger--I wonder what Quentin would be doing now--would he be silent?--I wonder if I'm Quentin or a stranger. David, overhearing this off soliloquy, comes in and asks, who are you talking to? The dregs, David, he says, the dregs of this glass--that's where all the answers are (how many alcoholics believe that?)  What did you  mean by a stranger? asks David. Oh, says Quentin, well, I'm in immediate danger of becoming a stranger to my glass, but that can be easily remedied--he refills his glass again and drinks. Ah ha ha! he chuckles drunkenly, friends again, he says, tapping the glass and swilling more. Good night, says David.  Yes, says Quentin--good night to all of us. He calls to David as he's heading upstairs and asks, are you all right?  Yes I am, David assures him, and goes upstairs.  Quentin drinks.

Hallie, asks Liz, why did David do this cruel, stupid thing to you?  (he wanted to lock a love slave in his room, Liz). Can't you tell me exactly what happened? asks Liz. He just locked the door, that's all, says Hallie, desperately striving for lies. But you're trembling, says Liz, there must be more to it than that!  There isn't, says Hallie--there isn't, please, there isn't!  David enters the room.  Come in here, Liz orders--there's something very strange going on, and I want to know what it is. David and Hallie stare at each other, her lips trembling.

David, Liz asks, did you lock Hallie in this room? Yes, says David.  Why?--didn't you see you frightened her? demands Liz. I didn't mean to, says David. That's right, I was being silly, says Hallie. Please, says Liz, I don't want you to make apologizes for David--why did you do it? It was only a game, answers David. A game? asks Liz, I can't believe my ears--do you realize what a cruel and stupid thing you did?  Hallie is gazing at David, silently begging him to go along. Yes, Ma'am, says David. I can't imagine what kind of person would do such a thing, can you? asks Liz No, says David. Game or no game, says Liz, I'm shocked and disappointed--Hallie is our guest--and we're supposed to do everything we can to make her life pleasant and comfortable while she's here--now. David apologizes.  Apologize, orders Liz. (little dialogue slip-up). Please, begs Hallie, it was my fault as much as his--I was playing the game, too. I'm sorry, Hallie, says David, you don't know how sorry I truly am. I do, she assures him--I know you would never do anything to hurt me. The intensity of their statements to each other makes Liz look from one to the other for a few moments--well, off to bed, both of you, she says--and David, I don't want to find you outside this room again tonight--is that clear?  Yes, he says. Almost to herself, but aloud, Liz murmurs that probably safer, having him in here alone, away from strangers. Hallie gazes at her, puzzled. Liz bids them good night and leaves the room. Hallie says, "'Strangers'--what does she mean, do you think she knows?"  I don't know, says David--Quentin said something about strangers earlier.  We've got to be careful, says Hallie, they must not ever find out. I wish they would, says David. But they won't--ever--says Hallie, because we won't tell them! She starts to leave, but David stops her--look, on the mast, there's a flag, he says. Hallie looks--a pirate's flag, she notes. That wasn't there before, says David. I know it wasn't, says Hallie. Then who put it there? asks David. I don't know, she says, and don't want to know.  She leaves his room. David stares at the flag.

Quentin reads through his ancestor's diary at the drawing room desk. NO! he says firmly, putting it down. Liz enters--what's wrong? she asks. Nothing, he says, I'm just reading a diary I found for Julia. I'd like to see it, says Liz  It's just some ravings by a mad ancestor of ours, says Quentin, his name was Quentin Collins--of course, he chuckles, he happens to be a great grand uncle of mine. Now I am curious, says Liz. It's all rather ridiculous, honest, says Quentin.  I still want to see it, she says.  He reluctantly gives it to her. The entry, says Liz, is the same date as today, but it's 1840. Yes, says Quentin. Is this what you were reading? she asks. Yes, he answers testily. Perturbed by what she reads, she asks Quentin, what does it mean?  Exactly what it says, I suppose, responds Quentin. Liz reads, "Tomorrow, we bury Carrie and Todd (Tad)." Quentin, a smudge of dirt on his cheek, looks morose.

David lies asleep, the ship right next to his bed. Liz, in a pink robe, enters, noting to herself--he's asleep, safe, no strangers to trouble his day--the day is over and nothing happened--he's all right, and I thank God for it. She kisses him and leaves his room. (She adores this child so much, always has, even when he was very, very bad.) David dreams: His door opens and a man, dressed in 19th century clothing, stands in the doorway. David leaves his bed and goes to the man, walking slowly. He meets Gerard in the corridor outside his room; they communicate silently. Hallie joins them.  Gerard walks away. The children follow. The scene is shot Batman-style, weird angles that make the viewer feel disjointed. David and Hallie go downstairs, where Gerard waits in the foyer. They hear a horrific rattling noise--an approaching carriage?--and run upstairs and kneel on the landing, looking down. Liz, dressed in 19th century clothing, comes running in, calling to Quentin, begging, tell me where they are, take me to them! Quentin, also dressed in period clothing, comes out of the drawing room--you can't go in there, he says. I must see them! she says, be with them. They enter the drawing room.  We hear screams, then sobbing. Elizabeth, says Quentin, we did all we could. The kids stand and come downstairs. They hear Liz and Quentin exiting the drawing room and hastily hide in the kitchen area. Quentin comforts Liz, who is crying and holding a handkerchief. Some things in this world we can do nothing about, he says, and helps the crying woman upstairs.Hallie and David leave their hiding place and go into the drawing room, giving each other a frightened glance. They open the door and are shocked at what they see: Carrie and Tad, laid out on biers, dead.

David awakens, screaming, "No, no!"  He climbs out of bed and into the corridor, where he meets Hallie and learns they had the same dream of a horrible looking man leading them downstairs. Please, I know, she says. Who was he? demands David. Carrie points behind him--look!  It's Gerard himself, smiling.  He advances toward the children.Hallie screams and runs away, but David, seemingly locked into communion with the ghost, stands firm.

NOTES: We have contact! Gerard has appeared to kids, first in dreams, now for real. He already appears to be doing something to David's mind. This is the stranger Liz read about in her horoscope, and they met him after she had already checked him while he was asleep, having no idea that until midnight, it's still the same night, and David and Hallie have met a most dangerous stranger.

Quentin is feeling angry, guilty and impotent, so he's drinking a lot, which we all know never solves anything. One wishes he would get hold of himself; this isn't the Quentin we came to know and love in 1897. Do they have to dumb and water down a character when he becomes a good guy? Quentin used to have an edge, but he's lost it here, and he's no fun. I did like the scene where he made friends with the glass filled with booze, but it wasn't and isn't a good message to send to kids.

Tad and Carrie are dead. What does that mean to David and Hallie? We realize that Tad and Carrie were calling to the kids, urging them to hurry, because they knew they were going to die, and they wanted Hallie and David to save them somehow, probably by giving up their own lives to save those of their 1840 counterparts. Creepy, creepy stuff, for sure, but at least Hallie prevented David from going--which he really wanted to do.

I can't believe Liz actually accepted the lame "game" explanation for why David locked Hallie in his room. Given their ages and hormones, you'd think she'd figure it was for sexual purposes, but of course, we aren't supposed to think of David and Hallie as sexual beings even though they should have been, and it would have made more sense if there was a hint of that--more fun, too. Liz DID give them a funny look, so perhaps she wasn't as convinced as she said she was. Despite her misgivings, the kids met that bad old stranger and she was none the wiser.

What is the meaning of the pirate flag appearing on the Java Queen? Was Gerard a pirate? That would be interesting. One more bad portent for the children, who, despite all the worried adults around them, truly are alone in their plight.

That was one scary dream David had. Carrie and Tad died--how?--and Hallie and David could have disappeared, too, and still might, if Gerard has his say. More mysteries here, and we're heading for a denouement that will lead us to another flashback which I, personally, enjoyed for the most part.


1087 - Gerard pursues David into his room. Who are you? demands David.  He recognizes him as the same man in my dream--how could you be in my dream and here?  Gerard grimaces, then grins.Don't smile at me, begs David. Gerard comes toward him.  Stay away! cries David tells him to stay away...don't...DON'T! he screams.

Hearing David's screams, Julia runs to his room. Gerard, disappears. The carousel music starts to play; Julia hugs herself against the chill. He's been here, he's been in this room, she insists, I can feel that he's been here.Who? asks David. You tell me, she demands. No one's been in this room except for me, he says. Then why did you scream? she asks. I had a nightmare, he says, a terrible nightmare. Tell it to me, says Julia. It was about a war, he says. Don't lie to me, she commands. I'm not lying, he says--what right have you got to say I am? We always tell each other the truth, she reminds him. I am telling the truth, he says, I had a nightmare--he pours and drinks some water. Was there a man in your dream? she asks.  There were lots of men in my dream, he says. I mean a man with dark hair and cold, evil eyes, says Julia. What makes you think you can describe a man from MY dream? asks David, it's awfully weird of you. Tell me, she says gently. There was nobody like that! he says. Are you sure? she asks. There were soldiers, he says, lots of them, and tanks, and airplanes, and bombs--they were bombing Collinwood and I was in it--and that's the truth. Is it? she asks. Yes, he says. If you're keeping something from me....  He walks away. Don't turn your back to me, she says, it's very important that I know of anything unusual going on. What's so unusual about a dream, or a kid having one? he demands angrily--I can't do anything around here without one of you jumping on my back, asking me about -- "unusual' things!" --well the unusual things around here are YOU, and Barnabas, and Quentin! His voice rises with fury. Be calm, says Julia. YOU calm down, says David--pretty soon someone's going to come in here and say, “David, why aren't you asleep yet?' How can I go to sleep in a house like this, with all of you people crawling all over the hall? All right, she says, I'll let you go to sleep. Thank you, he says, somewhat curtly. I hope you don't have another nightmare, she says. So do I, he says defiantly. She leaves his room. The carousel music begins to play. I didn't tell her anything, nothing at all, he tells the air, because I know you wouldn't want me to--listen, if I promise never to tell, will you not make me have dreams like that--will you? (Sad, pathetic, a riveting performance from Henesy.)

Quentin is with Daphne in her wreck of a room. What's happening in this house? he asks--you can tell me if only you would--I've lived in this place for so many years--why have you waited so long to come to me? She answers by kissing him.  He holds her--when are you gong to tell me? he asks.  She doesn't respond. Gerard enters, finds them in each other's arms, and glares at Daphne over Quentin's shoulder. Quentin can't see the jealous, enraged spirit.
Gerard's glare forces Daphne to push Quentin away. What's wrong? he asks--why the sudden change?  She opens the door, dismissing him.  You always expect me to come when you want me, he says, then dismisses me as child--but I'm not letting it go any further--you're going to tell me all the whys or else I'll do what I should have done before all of this started. She turns away from him, miserable, covering her face with her hands. He places his hands on her shoulders to comfort her--I wonder why I'm always so willing to give you another chance? he muses--but I'll give you one more chance!  He leaves the room. She closes the door, where Gerard awaits her. He grabs her arm, forcing her to accept a feather pen from him. She glares right back at him.

Collinwood - Sebastian Shaw sits at the desk in the drawing room reading something in Liz' horoscope about David. Julia enters and greets him--are you reading your own work? she asks. Mrs. Stoddard was puzzled by a phrase of mine, he says. Yes, says Julia, 'A loved one will meet a stranger.'--have you figured out who the loved one is?  When I do figure it out, he says, I'll tell Mrs. Stoddard, not you. Embarrassed, Julia smiles--I seem to be intruding, she says, I understand the way you feel, but we are all very concerned. Julia, holding newspaper clippings and an envelope, explains, I've been reading up about you. A file on me! he says, gazing at what's in her hand. Yes, I have some friends in NY who are fascinated by the occult, she says--the McClellans, do you know them?--they sent me some articles--I'm very impressed--you've had a great deal of excellent publicity, and have made many predictions that have come true--you're quite in demand. You're surprised, he remarks. No, only that you're here in Collinsport and plan to stay, says Julia--why are you? Do you consider yourself a friend of mine, Dr. Hoffman? he asks. I barely know you, she says. Exactly, he points out, why should I tell you something even my closest friends don't know?--I chose to come to Collinsport, I chose to stay in Collinsport--do I need your permission for that, Doctor? Of course not, she says. Exactly, he says again, because I don't think I'd get it. You're wrong, you would, indeed, she assures him, if you would use your talent to help us. What makes you think I haven't? he asks. Because the other day you were playing the piano, she says, and you played a tune you said you made up, but you know there is only one place you could have learned that tune. Shaw nods his head, then looks down, grinning--I wasn't aware, he says, that there are only 12 basic tunes (and 12 basic faces, right?)--isn't it possible that I hit upon one that you'd heard? Speaking emphatically, Julia says, there are SPIRITS in this house, every time those spirits appear, that tune is heard--they're very vengeful spirits, and they want to destroy this place. How do you know that? he asks. I know...  .I know! she assures him passionately--he will start with the children--you can see the horror in that--why won't you help us, why are you willing to have them destroyed?  I'm destroying nothing! shouts Shaw. You are, says Julia--you aren't helping us by your silence and evasions--if you said one word to Mrs. Stoddard, she would take the children from this house! I have that responsibility? asks Shaw, me, a stranger?--something tells me that you're imagining all this, Doctor, and I've seen women like you before--hysterical women who imagine ghosts all over the place when there are none--you'll excuse me if I don't help you, Dr. Hoffman.  He races from her presence. David, on the stairs, stops him from exiting the house. You did my Aunt Elizabeth's horoscope, right? asks David--I'd like to talk to you about something, please. Shaw looks guilty.

Up in his room, David questions Shaw about the stranger a loved one was supposed to meet per Liz' horoscope. Is that what you wanted to ask me, you're sure? asks Shaw. Yes, says David, they're all very worried about me. Are YOU, David? asks Shaw. I don't understand adults, says David, I think they really believe in horoscopes. And you? asks Shaw. I don't know, says David.  I think you do, says Shaw, even more than the adults--tell me one thing, David--did you meet a stranger? No, answers David, just you, and that was today, not yesterday--"Nothing terrible is going to happen to me, is it?"Why? asks Shaw. Everything is going to happen the way you told Aunt Liz, says David--you meant all that, didn't you?  Shaw, looking guilty, says, I meant it. He leaves David's room without another word. David looks uncertain.

Evening - Gerard gazes malevolently through drawing room window at Quentin, who sits reading a note that says, "I will tell you all tonight--midnight--my room, Daphne."  Julia enters and feels a chill, but Gerard is gone. Do you feel the chill, Quentin? she asks.  He offers her a brandy, which he has located right on the table next to him. I came here to find Liz' horoscope, says Julia, she said I might study it--I'm afraid I made rather a fool of myself with Sebastian Shaw--I don't understand him at all. Quentin hands Julia her brandy; she thanks him. Is it necessary that any of us understand Mr. Shaw? asks Quentin. It may be, says Julia--I keep looking for some help.  Julia, says Q, enlisting soldiers before war has been declared has never been a popular thing to do. She smiles--how alone Barnabas and I would feel without you, she says. I really haven't been very much help, says Quentin. No, but we can count on you, at least, says Julia, and that means a lot. Quentin, guilt on his face, walks to the sideboard and says, Barnabas should know I'm really not that dependable, in fact, it's not one of my famous traits. No one is fooled by your own version of yourself, laughs Julia, sipping her drink, complaining, I still feel cold--have you seen David this evening? No, why? asks Quentin. It's just so quiet here, says Julia, it's almost eerie--I think I'll go check on him. She leaves the room. Quentin gazes at his glass and says, twice, "Midnight."  He checks the clock--9 PM.

Julia, in David's room, examines the pirate's flag on the ship. David enters--what are you doing here? he angrily demands. She points out the flag--it was never there before, she says. I don't think that's your business, he snaps. I was just curious, she says. You have no right to be here! he insists. David! she says. I have a right to some privacy, don't I? he asks--do I have to put signs up? There's no reason to be this angry, she says. You can just get out of here, he says, and you don't have to come back until you're invited--and I can guarantee you won't be, because I'm tired of all your questions and snooping--tired!  I'm sorry, says Julia, and leaves his room. David gazes at the pirate flag on his ship.

Gerard lifts a heavy piece of rope and winds it around his hands.  Daphne sits by. He pulls it tight, looking at her with satisfaction.

10:30 - Julia sits in the drawing room, reading a book. David comes downstairs and enters--are you still looking for Rose Cottage? He asks.  Yes, she responds. Julia, says David, (he usually calls her Dr. Hoffman), I shouldn't have talked to you the way I did before--I'm sorry. It's all right, she assures him, I understand, it was wrong of me to come to your room when you weren't in there. You aren't mad, he says--I'm glad, because I don't like when people are mad at me--what if something happens? Like what? she asks. Like what if something happened and I never got a chance to make up? he asks. Julia rises from the sofa and puts her hands on his shoulders--you'll have lots of chances and lots of fights and I will have, too, I hope, she says. That's all I wanted to say, he says, good night. She offers to go with him--I left Liz' horoscope in your room. He offers to go get it--maybe you'll find out where Rose Cottage is tonight. That can wait until tomorrow, she says, putting her hand on his shoulder. It can? he asks. Yes--why can't it? she asks. I don't really know why I said that, says David, I really don't. Julia follows David upstairs.

In Daphne's room, she shakes her head at Gerard, who cruelly grabs her throat and touches her face, then kisses her. (Don't they have an odd relationship?)

Quentin is drinking again. Five more minutes and I'll know, he realizes, looking at the clock. Julia comes in to show him something fascinating from Liz' horoscope tomorrow--it says an enemy will become a friend. Good, we can always use new friends, says Quentin. It doesn't make any sense, insists Julia, Liz has no enemies. I'll think about it on my way to bed, says Q.  Julia stops him--I'll have a brandy with you, she offers. Another would keep me awake, says Q. Stay, she urges, Barnabas will be back in a few minutes and will want to see you.  Then you and Barnabas can figure out the mysteries of Collinwood yourself, he says testily. I don't understand you, she says, you're our leading nice person, and here you are. . . I've changed, Julia, he says curtly, haven't you noticed?--good night. He hurries away, leaving Julia gazing after him, puzzled. It's exactly midnight.

Quentin goes to Daphne's room, closing the door behind him. Daphne, are you here? he calls--please let me see you, I want to know so much! Daphne, I have got to know. From the window, Gerard appears, the rope gripped in his ghostly hands, about to slip it around Quentin's throat!

NOTES: Gerard wants to kill Quentin, probably out of jealousy, and Daphne wants to stop it, but Gerard must be the stronger of the ghosts. Will she save him or will Gerard throttle him?  Or will his portrait make it all moot?

David had every right to be angry at Julia's intrusion in his room, but she has his best interests at heart, and it was nice that they made it up. She's become like a second mother to him, Liz being the first. He is a big boy now, and he is chafing at all the adults interfering in his life--but he and Hallie need it desperately. His make-up scene with Julia was sweet.

Nice scenes between Quentin and Julia, too, but I WISH he could tell her what's really going on!

Quentin's in big trouble now. Will his portrait show those rope burns on his neck?

Henesy's acting is top-notch here. You feel his desperation, his sensation that he's losing control of everything.

Love, Robin

1082 - The red-haired woman grins at Barnabas--I'm sorry, she says--do we know each other? She puts down the grocery bag.  They stare at each other. Who are you? she asks--we haven't met and yet you know my name--how? He introduces himself and explains, I knew someone exactly like you in another time--her name was Roxanne Drew. But that's my last name, she says excitedly, where did you say you knew this girl?  Very near here, he explains, but in another time. She grins--another time, she says--you mean many years ago--I've been here just a few weeks--Sebastian and I work together--but I can't tell you how this fascinates me--did this Roxanne have a family near here? No, she lived alone, he says. And she's gone now? Roxanne asks. Barnabas says, very sadly, yes, gone. How incredible, smiles Roxanne, Sebastian has told me about astral twins--people who are born in different parts of the country, usually at the exact same moment--their horoscopes are the same, very often they have similar names, and their lives parallel each other to every detail!--I never thought I had an astral twin. Barnabas sits down--doesn't it frighten you? he asks.  No, why should it? she asks, I want to meet your Roxanne. That will not be possible, he says. You say that with such finality, she notes. Perhaps you'll make up for the fact that she's not here, he says, gazing at her eagerly. She stares back, uncomfortable under his scrutiny.  She rises and turns away, asking, are you waiting to see Sebastian?  I've seen him, says Barn, he is meditating. Yes, it is time for that, she says. Am I keeping you from him? asks Barnabas. No, she says. Then you don't mind if I stay a while? he asks. She shakes her head. If you work together, perhaps you can help me, suggests Barnabas--I came here to ask him to complete my cousin Carolyn's horoscope, but for some reason, he refused to do it--I was thinking perhaps you might help change his mind. I wouldn't do it, says Roxanne, Sebastian does what he wants to do. And you admire that? asks Barnabas. Yes, very much, she says. Since you work together, says Barn, perhaps you could finish it yourself. We do work together, says Roxanne, and I couldn't possibly do something that he's refused to finish. Miss Drew--Roxanne--says Barnabas, getting close to her, can we discuss this further?  No, she says. But I do want to see you again, he says, I'm fascinated by the idea of astral twins--we have much to discuss-- can I see you again? Of course, she says. If you're free later this evening, we might have a late dinner, he suggests. Mr. Collins. . .she says, unsure. Please, he begs. All right, she agrees. I'll pick you up at 10, he says. No, I'll meet you there, she suggests. He kisses her hand and says, "Till 10." He gives her one last, lingering glance, and leaves.

Collinwood - Hallie comes downstairs. She finds Julia in the drawing room, going over tax records, and assures her, I'm feeling better today--you like "funny things."  They're all records of real estate paid in this county in 1840, explains Julia. How did you get interested in that? asks Hallie. I'm trying to find out about Rose Cottage, says Julia. Oh, yes, says Hallie, you asked me if I'd ever heard of it, didn't you? You hadn't, says Julia. Why is it so important to find it? asks Hallie, if no one knows where it is, or even what it is. I have a theory it was once an estate around here, says Julia, abandoned here, because it doesn't exist. Who cares? asks Hallie. Barnabas and I, answers Julia sharply. Why? asks Hallie. Why are you asking so many questions? wonders Julia--we don't like mysteries, that's all, and I've always been fascinated by history--when I came here, I was writing a book, the history of the Collins family, and Rose Cottage is obviously part of that history--I'd like to know what part it was. Is that the only reason? asks Hallie. What other reason could there be? asks Julia, really suspicious now. I don't know, says Hallie.  Julia returns to working. Hallie spots Daphne near the fireplace. The governess beckons Hallie to follow her. Hallie wishes Julia good luck, then runs from the room. Julia looks perturbed.

In his room, David picks up the Java Queen. Hallie comes in.  I think it's the model of a real ship, says David. You know that! she says, astonished. I do not, he says. You've seen it in the harbor, she reminds him (now apparently in Carrie mode). Hallie, I have not seen it, he says.  You're calling me that name again, she accuses, why do you do that, Tad?  It's happened to you again,  hasn't it? he asks--you're Carrie now.  I'm always Carrie, silly, she says, and bursts into laughter--do you know what she's doing downstairs? Who, what are you talking about? asks  David. Hallie/Carrie says, she's trying to find Rose Cottage!  She laughs some more. David's forehead creases; he doesn't like this at all!

She'll never find it, laughs Carrie. Why won't she? asks David. You know, she says. I've forgotten, he says, you tell me. You've forgotten? she asks, angry now. Yes, what does Rose Cottage mean to us? he asks. Sometimes I just don't understand you, Tad! she rails. Are you going to tell me or not? he asks. I'll not play such silly games, she insists, tossing her head--I won't play your game, either...Hallie, he says. Don't call me that! she insists. You're not Carrie, he says. Why do you say that? she demands. Because you're Hallie! he says, taking her by the shoulders and shaking her, "You're Hallie!" This successfully shakes her out of it.  David, she asks, why are you shaking me?  You don't know? he asks--you don't remember--of course, I didn't remember either when it happened to me--oh, Hallie, you've been near the playroom again!  No, she says, I haven't--I was in the drawing room with Dr. Hoffman, and then I saw Daphne, and then I went into the hall. And then? asks David. I don't know, she says--what are we going to do? We'll just have to do what Daphne tells us, says David, then maybe she'll let us be ourselves all the time. Hallie shakes her head--I'm afraid she'll do something else to me, or to you. We'll just have to do what she says, says David. I'm afraid if we don't do it, then we'll be Carrie and Tad all the time, frets Hallie.

Julia (who looks fetching in a dark blue outfit with a light blue scarf and pretty pin), picks up the ringing telephone. The woman at the other end asks, is this Collinwood?  Yes, replies Julia.  Is  Barnabas there? the woman inquires. He isn't in at the moment, says Julia, but I'm expecting him soon--who is this, please? "This is Roxanne Drew," says the woman at the other end of the phone, smiling.  Julia is stupefied.

This is Julia Hoffman, says Julia. You must have confused me with the other Roxanne, the redhead says, Mr. Collins mentioned her to me. Oh, did he? asks Julia. Could I leave a message? Roxanne asks--I won't be able to have supper with him tonight--I am sorry. Julia promises to tell him. Please do, says Roxanne, I hate the thought of him waiting there for me.I understand, says Julia. Thank you very much, says Roxanne.  They say goodbye. Julia, clearly shaken, hangs up and says, "Roxanne!" The front door opens.  A jaunty Barnabas enters--have you had any luck with the records? He asks.  No, she says, not yet--I have one more book to go through, but had to stop to take a phone call. The most incredible thing has happened, he says, "Roxanne..." I know, says Julia, I know you found her--she telephoned, she can't have supper with you tonight. Why not, asks the disappointed Barnabas--what did she say? She didn't give any reason, says Julia, and I didn't ask for one. There's a connection between her and Sebastian Shaw, says Barnabas, angry--he found out I wanted to see her and stopped her. You're presuming too much, says Julia. You haven't met her, says Barnabas, she's exactly the same! I assume she is, says Julia coolly, but she isn't the same person. From the few (one) times I've been with her, I know that's Roxanne! insists Barnabas. Tiredly, Julia says, I wonder why I always have to be the one to talk sense, to repeat what you have said to me--Barnabas, do you remember me in parallel time?  Of course, says Barnabas. I am not the same person as that Julia Hoffman, she reminds him. That has nothing to do with it! insists Barnabas. It does, says Julia, you do not know this Roxanne. I haven't been wrong very often when it comes to judgment of people, he says.  (oh, wow, should we make a list, with Angelique at the top of it?)  I agree, says Julia. (God knows why).  I KNOW this is Roxanne, says Barn, I know it!Julia looks at him, and sighs, "All right, Barnabas, we'll just have to wait and find out."  And they stare at each other.

David, in his room, tells Hallie, I bets if we went to the records hall, we'd find out there really was a ship called the Java Queen--who owned her and everything--you said you saw her in the harbor... Do you smell the lilacs? asks Halli--she's coming! Don't be afraid, says David, you can't be afraid, we have to find out everything we can from her. I see her, says Hallie, and indeed, Daphne is standing there. We were just discussing the Java Queen, says David--there's so much you could tell us about it, if you would. Daphne grins. About the ship and Rose Cottage, adds David. Daphne, we're trying to find out about Rose Cottage, says Hallie. We'd like to find out, too, says David, will we ever know about Rose Cottage?Daphne smiles and nods.

Will you show us Rose Cottage now? asks David.  Daphne shakes her head. When? demands David. She goes to his dresser and takes out some clothing, puts it on the bed, draws back the covers neatly. Hallie whispers to David, she's taking care of us as she did Tad and Carrie--it's as if we were going to become them. Don't be afraid, says David, taking her shoulders. Daphne  disappears. She's gone! says David--when will we ever find out about Rose Cottage--when?

Roxanne answers Barnabas' knock. You didn't get my message, she says.  I did, but decided to come anyway, he says--may I come in? She looks behind her, and Barnabas sarcastically adds, "Or will Mr. Shaw mind?"  Come in, she says. I was hoping to get you to change your mind about dinner, he says. I'm sorry, she says, I won't be able to--I'd forgotten something I'd planned to do. Will you be free tomorrow night? asks Barnabas. No, says Roxanne, I'm busy tomorrow night. The next? he asks desperately--when will you be free?  She doesn't respond. I see, he says, realizing she's blowing him off. No, you don't see, says Roxanne, it's just that I don't go out that much--I'm really not free to. Oh? asks Barnabas. She holds out her hand, bids him good night, tells him, "I'm sorry."  Are you? he asks, taking her hand and kissing it.  (she really does look regretful.) We shall see each other again, he promises, I assure you of that. He leaves.

We see a small ship in a bottle on David's windowsill. He's in bed, restlessly asleep, dreaming, swiveling his head back and forth on the pillow. You'd better come on, warns Hallie, we'll be late, and I promised we would be on time--it's very important. Where are we? asks David.  Rose Cottage--we've been asked to a party! she says.  Rose Cottage!--I thought we'd never see it! he says excitedly. I knew we would, she tells him. What kind of party is it? asks David. A birthday party, she says. I didn't bring a present, he says--whose party is it? She enters a room where two life-size dolls sit in chairs, one with dark hair, the other blond. Oh, look, they're waiting for us! exults Hallie--what a lovely cake! Who are they? asks David. Look and see, Hallie says. He checks a place card, which has Hallie's name; she shows him the other, which has his name. But he's not me, says David. Don't ruin the party, says Hallie, we'll sit in these chairs. But that says Carrie, David says, showing her the place card. That's for me, says Hallie. And that says Tad, points out David. For you, obviously, says Hallie. Let's get out of here, says David. We can't, insists Hallie, it's Gerard's party. Gerard? asks David, who's he? Just sit down and you'll see, Hallie assures him. David sits down and looks at the dolls. What appears to be a giant-sized Daphne looks in at them through a window, laughing cruelly, a terrifying laugh. Hallie and David look at each other as her laughter fills the room.
David awakens, climbs out of bed and meets Hallie at the playroom door. It turns out they both had the same dream about Rose Cottage, about a birthday party with place cards, and Daphne's face at the window. How could we have the same dream? asks Hallie fearfully.  I don't know, he says--why are we here now?--we have to go in there. I know, she says, her voice shaking. David opens the door; they enter. Sitting on a table is a doll house, and inside are two small figures seated at a table, a birthday cake between them, tiny place cards on a tiny table. "David, we were in that doll's house!" cries Hallie.  David, breathing hard, realizes she's right.

NOTES: Barnabas strikes out with Roxanne, but why? Does Sebastian have some hold over her, or is there some other reason? I know, and it's a shocker. You sense Barn won't give up. Will he try to bite her and make her his, if there's no other way? Once again, Julia's crushed, knowing that while they might be partners in finding out what is going to happen to the family, he still wants to date Roxanne. How cruel is fate that she took that phone call?

The kids are getting in deeper and deeper. I know Kate Jackson wasn't allowed dialogue, but that did sound like her laughter--was it? In any case, it was a creepy dream, and I don't blame the kids for being scared.

I swear, if I were Julia, I'd pick up and go, let Barnabas unravel this mystery on his own. How amazing is it that so much has already happened and the detectives have no clue as to what's going on? I don't know where Barnabas gets the idea he's such a great judge of people, or why Julia agreed with him on that score. He is not, and so many things have gone over his head as a result. Look at 1795, for instance--he misjudged both Nathan Forbes and Angelique!

Now that we know what Rose Cottage is, just a doll's house, how does this affect the story--or does it?


1083 - The children walk toward an elaborate Colonial doll house. The chandelier is swinging in the room above the heads of the two tiny dolls. What does it all mean? Hallie asks David. I don't know, he says--this wasn't here before, how did it get here? The same way the model ship got from your room to the drawing room, says Hallie, scared. We don't even know how that happened, says David. I wish I could understand how we could have the same exact dream, she says. I don't know, he says, it's pretty scary, isn't it? Do you know what this house is? she asks. The place Dr. Hoffman and Barnabas are asking about, answers David. Rose Cottage, says Hallie. It doesn't look like a cottage, says David, it looks more like a mansion. I'm so scared, she cries--what will we do? I don't know (he says a third time)--what's frightening me is the feeling I have--the same one I had in the dream--remember when we walked toward the table with those dolls, I felt like I belonged there? I felt the same way, admits Hallie. Now I have the feeling that whatever is happening to us, he says, we will never understand, and even if we want to tell someone, or are able to...I have the feeling it's too late, anyway, says Hallie, a sick look on her face (brrr).

Stokes sits in the drawing room at Collinwood, reading a book. Hallie, heading into the drawing room, calls to David and instead finds her uncle, who warmly greets his her.  I'm here to see Julia, he says--come in--I want to talk to you for a moment (the birds and the bees talk, Uncle E, might already be too late!) Hallie's smile falters--what do you want to speak to me about? About your stay here at Collinwood, amongst other things, says Eliot. I don't understand, she says. Has something made you unhappy here? he asks. No, why should anything make me unhappy? she asks. I have no idea, he says. Why did you ask? Hallie wonders.  I was concerned about you when you came to visit me the other day--you didn't seem yourself, says Stokes. In what way? she asks. You seemed dispirited, more reticent than usual, he says. Funny, I didn't feel different, she says, running over to play with some flowers in a vase on the piano--I wonder what made you feel that way? Stokes goes over to her--You know I'm very fond of you, right? Of course, she says. And you know you can trust me? he asks. Yes, she says. And if you had a scare, you'd tell me about it, wouldn't you? he continues.  What do you mean, a scare? she asks. I mean, says Stokes, if anything were to frighten you. Nothing has happened, she says hastily, and nothing is going to! I didn't mean to upset you, Hallie, says Stokes soothingly. I don't understand why the adults in this house are acting so weird, says Hallie--you're afraid something is going to happen, but we don't know what the something is--it all started when Julia and Barnabas came back--I think they're trying to frighten us! Hallie, protests her uncle, that isn't true.I tell you nothing is going to happen! she cries, Mrs. Stoddard said so--she knows everything is going to be all right from the horoscope Sebastian gave her. Yes, says Stokes thoughtfully--Sebastian--you run along now, Hallie, and try to find David. She goes, gladly, I'm sure. Stokes decides to pay a call on Mr. Sebastian Shaw.

David and Hallie enter the drawing room, where he chastises her for getting so upset with your uncle--all that did was make him more suspicious. I'm sorry, says Hallie, closing the doors, I couldn't help it. What did he ask you? David inquires. Nothing, just if anything has happened and stuff like that, replies Hallie. Does he know anything or not? asks David. I couldn't tell, she says. We don't know anything, either, laments David--maybe we should have a look at Aunt Liz' horoscope. What for? asks Hallie. I don't know, he says, maybe it will tell us what's going to happen next. He takes out the folder and sits down at the desk with it. I don't know anything about horoscopes, says Hallie. I don't, either, he admits, but I'll try. He glances through the papers. Hallie wonders--if the adults haven't seen anything they've seen, why do they think something's going to happen--if they have nothing to go on? Do they just feel something? asks David.  I don't know, she says, but I do feel something is going to happen, and it will be terrible.

Sebastian Shaw sits at a table, lights off, meditating. Stokes rings his doorbell. Shaw seems to know Stokes (I gather they had an appointment) and invites him in. Shaw introduces himself and shakes Stokes' hand. I am honored, says Eliot. On the contrary, I am honored, says Shaw, I took the trouble to do some research on you, and I find your background very impressive, and your interest in the occult most fascinating. You are also interested in the occult? asks Stokes with a  smile. Yes, very definitely, says Shaw, but let's discuss that at another time. They sit down. Stokes apparently told Shaw he wanted to discuss Elizabeth's horoscope. I understand you prepared Elizabeth's Stoddard's horoscope in great detail for the rest of the year 1970, says Stokes. Yes, agrees Shaw. And according to your observations, you saw nothing that would indicate a disaster of any kind at Collinwood in that time? queries Eliot.  As far as Mrs. Stoddard was concerned, no, replies Shaw. You are aware, says Stokes, that there are those who disagree with you?  I'm aware that Mrs. Stoddard harbored certain fears when she first came to see us, says Shaw--about the two children at Collinwood, I believe. That's correct, says Stokes, but you managed to convince her those fears were groundless--Mr. Shaw, are you absolutely certain that your projections are correct? Shaw looks uncomfortable.  He stands and walks away, remarking, no one can be absolutely certain of anything--I think I made the best interpretations of the signs I could--but you must remember, Mrs. Stoddard isn't under any obligation to live her life according to my projections--she may live any way she wants. How much did you charge her for her horoscope? asks Stokes. No charge, says Shaw. Are you independently wealthy? asks Stokes. My clients are told to give me whatever they feel my services are worth, explains Shaw. And what did Mrs. Stoddard feel your services are worth? asks Stokes (I love his nosiness). I suggest you ask HER that, Professor, advises Shaw. Stokes rises from the sofa with one more question--when and how did you acquire this ability of your? Shaw smiles--I like a man who is direct--but why don't we just skip my background for the moment and get right to the point--the fact is, you think I'm a charlatan, don't you? To be quite frank, I don't know, says Stokes, but I am concerned about your influence on Mrs. Stoddard. Let me put your mind at rest, says Shaw--I'm quite honest, quite legit--as a matter of fact, I'm something more than just an astrologer. What do you mean by that? asks Stokes.I'm a clairvoyant, says Shaw, I have the ability to see into the future.

Stokes, sweating heavily, tells Shaw, clairvoyance is a rare talent. I beg to disagree, says Shaw, we're all capable of it--it's just a rarely-developed talent. You've ventured into my province now, says Stokes, but I'm sure you're far too intelligent not to be able to back it up--I'd like to see a demonstration of your "gift." Nothing would give me greater pleasure than converting a skeptic, says Shaw, tell me, Professor--tell me, who, exactly, are the two children at Collinwood?  The boy is David Collins, says Stokes, the girl, Hallie, is my niece. Are you prepared to believe I have never laid eyes on either one of them before in my life? asks Shaw. That statement is too easy for me to verify, agrees Stokes, so I'll take your word for it. Very well, says Shaw, and closes his eyes. I see a room, he says, at Collinwood, it's not clear, it's a drawing room--it's sometime in the future--when, I can't be sure--I see the two children, and they are... Stokes demands, "What is it--has something happened to the children?" Oh, no, says Shaw, although he looked terrified for a moment there--the two children have just been to a party and appear to be asleep--I can see the girl, her hair is long and fair, she's wearing a golden crown of curls on her head, wearing a bright pink party dress with long puffed sleeves and wide collar and wide buttons down the front--just for good measure, smiles Shaw triumphantly, both her ears are pierced, and she is wearing gold posts in each of them. Impressive, says Stokes, most impressive. But not convincing? says Shaw. I'd prefer to reserve judgment for the time being, if you don't mind, says Stokes, but it's been most interesting to meet you, Mrs. Shaw. One question, asks Shaw--is Mrs. Stoddard aware of your coming here tonight? Stokes says no, she was not. Just as I thought, grins Shaw--good night, Professor. Stokes leaves. (Oh, those tight leather pants show all now!) Shaw sits down at the table and takes a deep breath. Roxanne enters the room and slams the door; she's furious with him. You have such a good mind, Sebastian, she says, it's a shame you don't always use it well. I take it you were listening, as usual, he says.I heard every word, she says, I think you revealed too much of yourself. I beg to disagree, I think you are wrong, he says. "Professor, nothing gives me greater pleasure than to convert a skeptic," she says, repeating his earlier words mockingly--it wasn't necessary to go that far--your psychic powers are too valuable to us--it's dangerous to reveal them to someone like him!  I didn't see the harm, says Shaw, but Stokes just looks after Mrs. Stoddard's interests, and with you and I around, I do think her interests need looking after, don't they. (A confession--of what?) She begins to sexily massage his shoulders with one hand--Mrs. Stoddard is one of the richest women you've ever had for a client, says Roxanne--she's willing to pay very well for your services. He grabs her hand and throws it off him, hissing, I don't want to discuss it! Very well, she says, we won't discuss it--but we also won't do anything to lose Mrs. Stoddard as a client, will we, Sebastian. He rises from his chair, not responding. By the way--what did you see in your vision--was it really the children? she asks. Yes, he replies, it was the children, but they weren't asleep--they were dead. And Shaw, to his credit, looks genuinely upset about it.

The camera closes in on the little dolls in the Rose Cottage doll house. David opens the playroom door; he and Hallie enter. I don't think we should have come in here again, she says. If something terrible is going to happen, says David, I feel we have to do something to prevent it. But what? she asks. I don't know, he says. He sits on the rocking horse.  She takes the rocker.  Do you remember those two dolls from the dream? He asks. Yes, she says. The names in front of them were ours, says David, I think that means they were supposed to represent us. Hallie doesn't get it. David closes his eyes--I think someone is using the dolls to put a spell on us, he says--I don't know who, but I bet if we destroy the dolls, the spell will be lifted. Do you really think it will? asks Hallie. I can't think of anything else to do, he says--and we must do something. They go to the doll house. David reaches in and removes the two dolls from their chairs.  They leave the playroom.

Sebastian Shaw, agitated, sits on his sofa. He grabs onto his candelabra and makes a decision.  As he's about to leave, Roxanne is there, blocking his exit, when he pulls open the double doors.  Going somewhere? she asks. He turns back into the room--just out for a walk, he says. You're not accustomed to taking walks at night, she reminds him, smiling--I'll tell you where you're going--your conscience has been troubling you all day about those children at Collinwood, and you decided to do something about it. Something should be done! shouts Shaw--someone should be told!  "Like Mrs. Stoddard?" she suggests.  Yes, he insists. Oh, you'd better think this out carefully, warns Roxanne, Mrs. Stoddard is very important to us. These children are in great danger! he reminds her. Sometime in the future, she says, maybe months from now!  Or maybe tomorrow, he says. You know that's not likely, she says nastily, there would have been some sign by now--there's no reason to go hurrying off into something (she caresses his shoulder)--certainly no reason to jeopardize our position with Mrs. Stoddard. She has her arms curled possessively around his head as if for a kiss, and adds, "You do agree with me, don't you, Sebastian?"  He doesn't answer, but does look very confused.

David and Hallie have taken the dolls to the drawing room, where they toss them into the fire. Do you think we've done the right thing? she asks.  Gleefully, he says, "They're burning!" I know, she says. We have done the right thing, he says, I can feel it. Me, too, I feel free! agrees a relieved, smiling Hallie. Now we have to go upstairs, to the West Wing, says David, because if we have done the right thing, the spirits no longer control us--and the playroom shouldn't be there! Hallie isn't thrilled to go to the playroom again, but she does, anticipating their freedom. We again see the dolls burning in the fireplace.

Hallie and David go to the playroom. Outside the door, he begs, "Please be the closet--please!" He opens the door. It's still the playroom. I don't understand it! says David. He points to the doll house. David, the dolls, they're back! cries Hallie.

NOTES: I love Roxanne this way, seductive, bitchy, conniving, and her outfits are pretty cool, too. Seems like she and Shaw must at least be having sex--but are they having anything else? Shaw is apparently lying to Liz with money in mind--or Roxanne is forcing him to? It's a weird relationship here. How weird? Just wait and see!

The kids tried something in burning the dolls, but it didn't work, and what does that mean now? Their doll figures have reappeared in Rose Cottage. That can't be good. Will they be punished for insubordination?

Fun scene between Stokes and Shaw, one a learned professor of the occult the other claiming certain gifts. They had a nice little conversation, but I sure did wish Shaw had told Stokes what he really saw in his vision. Shaw is right to feel conscience-stricken.

Love, Robin

1078 - Quentin enters David's room--did my camera do its job? he asks. Yes, says David,  exiting the darkroom holding a photo--thanks for loaning it to me. He shows Quentin the photo of him and Maggie.  Great clarity and good composition, praises Quentin. Do you get the feeling there's a face there, watching us? asks David.  Quentin chuckles--it does look like a face, he says, but I think it's just the sun reflecting on the leaves, sort of like an optical illusion. He hands the photo back to David, who examines it again and agrees--it does look like the sun on the leaves.

Barnabas and Julia enter Collinwood. The carousel music starts to play.  Barnabas, Gerard is here, she says, I can feel his presence.Barnabas gazes at her, concerned.

Julia looks around.  Do you actually feel his presence? queries Barn. Yes, says Julia, holding her jacket closed, I remember the first sensation I had of him in the future--terrible evil filled the house--and I have that feeling now, although not as strongly--but he's here!  Wait for me in the drawing room, orders Barn--I'm going up to Liz--everyone must leave this house at once!  You know she will never agree to that, objects Julia--she thinks nothing will happen, and will claim it's an illusion or trick of time--and she won't want to alarm the children. If I can only convince her Gerard is here, says Barn. What proof do we have? asks Julia, only my sense of his presence.  The children are in danger, says Barn, everyone is, there must be something we can do. There is, says Julia, if he's here, we should begin to see the effects, and they will be what we'll use to convince Elizabeth. Wait for the effects? demands Barnabas--wait for the ceiling beams to fall in?  Hallie is visiting her uncle, says Julia--you should see David and Quentin, find out if they've seen anything.  Will you be all right? he asks. Yes, says Julia, he hasn't taken complete control of the house yet--I wonder how long it will be?

Quentin examines the room where he saw Daphne, going through closets and books. He opens the desk and takes out a daguerreotype of Gerard Stiles--a profile silhouette here in Daphne's room, muses Q--what did he mean to her?--what did they mean to each other? He continues looking through the desk, in which he finds Daphne's diary. David comes in--"Then it's you!" he says. What are you doing here? Quentin asks sharply, and what do you mean by, "It's you." I was outside and saw a light up here, says David, I just wanted to find out who it was. You saw a light, says Quentin, and that's what you're doing here? Don't you believe me? asks David, hurt. Yes, I'm sorry, of course I do, answers Quentin. Then you won't mind my asking what you're doing here, says David--nobody comes up to the West Wing anymore.  I'm just helping Dr. Hoffman clear up the family history, says Quentin--going through the closed rooms to see if I can dig up any fresh information. And have you found any? demands David seriously. Quentin chuckles--none at all, he says--it's a pretty dull job. I wonder whose room this was? asks David. I doubt we'll ever know that, says Q--let's leave before anyone else sees the lights up here and there's a whole family reunion. As they're about to leave, David again says, I can't help wondering whose room this was. They go. The camera pans across the room to a smiling Daphne.

Barnabas knocks on David's door, and when he doesn't answer, enters.  Startled to find the ship on David's desk, he picks it up to examine it. I've seen this before, he realizes, not here, but the playroom, in the future--was it there? There's no playroom now--where could it have come from? David joins him.  Where did you get this boat? asks Barnabas.David looks nervous, unsure of how to reply.

Barnabas repeats his question. I found it in the attic, says David--is anything wrong with my having it? Of course not, says Barn, but I've never seen it before. I only found it yesterday, says David, isn't it neat?  Barnabas agrees--it's in very good condition for something that's been stored away in the attic. It was all wrapped up in paper, says David. Barnabas returns the ship to the desk--congratulations on your splendid acquisition. Thanks, says David.  On the desk, Barnabas notices the photos David took.  Quentin loaned me his camera, says David--it's much better than any of mine.  I'll have to look at them sometime, says Barnabas, and I'm sorry your summer has proven so dull--it has been dull, hasn't it? Not so bad since Hallie's come, says David. Otherwise, says Barn, it's been like all the other summers? I guess so, replies David. Let me know if there's any excitement, says Barn. I will, promises David, but he looks downright terrified after Barnabas leaves his room. He goes into the darkroom and gets to work.

Drawing room - Quentin looks through Daphne's diary and reads, "Today I am going to kill him--his death is the only answer." Kill him? he wonders. Daphne, kill someone? Julia enters, a book in her hands.  It must be interesting reading, comments Quentin. I didn't see you, she says.  Quentin humorously remarks, whatever you found must be fascinating. It is fascinating, agrees Julia, but I haven't found out anything yet. About Tad and Carrie? he asks. Or Daphne Harridge and Gerard Stiles, she adds. Looking a bit guilty, he asks, what were you able to learn about Daphne?  Only that she was a governess here, says Julia, in 1840, and she died in 1841. That's all? asks Quentin anxiously. So far, says Julia, unfortunately, yes--why do you ask? No reason, he says, if I'm going to be under her control, I want to find out everything I can about her. I wish you wouldn't make jokes about this, chastises Julia, you and everyone else. Barnabas enters.  Did you see David? asks Julia--what did he say?--has he noticed anything unusual? If he has, he certainly didn't tell me about it, says Barn, yet I can't avoid having the feeling something has happened, and he's telling a good deal less than the truth. I wish we could tell him what's at stake, says Julia.  No, says Barnabas, we can't. I think our real hope, if you can call it that, is that something will happen, that will be proof that we're telling the truth--oh Quentin, she almost begs, are you sure you haven't noticed anything? Barnabas gazes at his cousin sharply--Quentin, would you conceal anything from us?  Of course I wouldn't, Quentin assures them with a smile.  Julia and Barnabas, however, don't appear to believe him.

Barnabas and Julia implore Quentin, tell us if you're hiding anything.  This is important for all of us, adds Julia. I know, says Quentin.  Tell us anything you've heard or seen, says Barnabas.Quentin goes to the window, from the other side, Daphne gazes in at him. What is it? Julia asks. Quentin, irritated, says nothing at all. Please! begs Barnabas--you were going to tell us something. No, says Quentin, I was just thinking, trying to figure out if I'd forgotten to say anything, but I haven't, I've very sorry--he hurries out of the room. Do you think he's telling the truth? asks Barn.  Yes, she says, I don't think he'd do anything to hurt the children. I suppose you're right, says Barn. Julia gets that look on her face as the music begins to play.  Do you still feel his presence? asks Barn. Yes, not as strongly as before, but he is in this house, says Julia. If we can only find out why he's here and what he wants! frets Barnabas--perhaps we could contact somebody through a seance that could tell us. Not a seance, cries Julia, no!  What else  can we do? he asks.  Not a seance, she says, we don't know what we might bring into this house--we can't do it, it's too dangerous!

Quentin stops David in the hallway outside his room--I think I should warn you, says Q, I just came from the West Wing and stumbled over some loose boards--I think for your own good, you shouldn't go there, even if you do see lights. I'm always very careful, says David.  The West Wing is very dark and cluttered, says Q--for your own good, stay out of there, is that clear? Yes, says David, probably feeling a mite threatened by his tall cousin. David enters his own room and finds an old-fashioned outfit, presumably Tad's, on his bed.

David examines the outfit and drops it back on the bed, then picks it up again. He puts it into his dresser drawer, the second, just as Hallie did the orange dress, goes into his darkroom/closet and takes an 8 X 10 photo, which he has enlarged--and reveals Gerard Stiles standing menacingly behind Quentin and Maggie. Daphne appears. Did you bring me the clothes? he asks--I have to know--why was I so scared when I saw them, and why were they so cold when I touched them? She gazes at him stoically. Can't you tell me? he asks. She doesn't respond. David brings over the photo and shows her the man in the leaves--I thought I saw someone watching us, and I was right--do you know who he is?She grins at him. You do know, says David--what does he want, who is he? David hears Barnabas and Julia approaching, Julia saying, he's probably asleep by now, Barnabas insisting, it wouldn't hurt to look in on him. Daphne disappears.  David leaps into bed, photo and all, and feigns sleep. He's asleep, Julia notes. How peaceful he looks, remarks Barnabas. We should leave before we wake him, she suggests. As soon as he's assured they're gone, David gets out of bed and gazes at the photo again.

Quentin enters the West Wing room where he found Daphne's diary. He calls to her, begging, appear to me--I was just about to tell Barnabas and Julia all about you, but I didn't, because I saw you standing there! Why did I do that? Daphne, he cries desperately, appear to me, I beg you. She does.  Please, answer my questions--why did I do that?--Why wasn't I able to tell them? There's something much more important that I have to know--the terrible things Julia and Barnabas have predicted--are they going to happen--will David die, and I go mad, and Carolyn, too? His face is within kissing distance now, but she doesn't reply. Please, God, you've got to answer those, he begs. She turns away and beckons him to follow. She leaves the room, Quentin behind her.

David looks at the enlarged photo showing Gerard's hideous visage hiding in the bushes behind the smiling Maggie and Quentin.

Quentin, seemingly in a trance, walks downstairs. We hear the carousel music playing. The front doors open by themselves in a gust of wind.  Quentin leaves. The doors close after him.

Woods - We see Daphne's tombstone next to Thomas Jennings'. Quentin stands before Daphne's headstone--I knew this was where I was to come, he says--but why--Daphne, where are you? She appears and steps toward him, gazing at him eagerly. I don't know why you've brought me here, says Quentin, but I do know you are very beautiful, and I want to hold you as close as I can. He takes her into his arms. She raises a knife above his back, about to plunge it in.

NOTES: We now have a ghost who appears to love Quentin, yet apparently intends him murderous harm. Who did she intend to kill, according to her diary entry? Quentin? Gerard? More mysteries.

You have to feel sorry for Barnabas and Julia, who are spinning their wheels with David and Quentin, both of whom feel compelled to keep their secrets--that they've been seeing a pretty dark-haired ghost and that David has found a cruel face in one of his photos. If the family   doesn't tell Barnabas the truth, the catastrophe can never be averted.  I still find it hard to believe that Liz is being so stubborn because of Shaw's horoscope.  What if her cousin is right and Shaw wrong?  What happened to blood being thicker than water?

Julia still feels Gerard's presence, but it isn't helping her or Barnabas come any closer to the truth. It's as if David, Hallie, Quentin, Barnabas and Julia all hold various pieces of the puzzle, and might come up with a complete picture if they would pool what they know--but Daphne seems to want Quentin's love--and his death--and David has his own reasons for keeping silent. They SHOULD tell him what they learned in 1995, but who knows if it would even make a difference, if Gerard and Daphne are working their ghostly wiles on them?

Will Daphne knife Quentin in the back? Does she want to, or is this the evil Gerard's plan? Does this mean yet another ugly knife mark in the portrait?  Stay tuned, folks!


1079 - In Daphne's embrace, unaware that a knife is suspended inches from his back, Quentin gazes lovingly at her--I know almost nothing about you, he murmurs, yet feels I've known you all my life--if you can tell me why your spirit cannot rest and be at peace, perhaps there's something I can do for you. Hearing this, she drops the knife on the ground and walks away from him. Please, try and tell me, begs Quentin--I'd do anything for you, anything to put you at peace--I don't understand why, it's just that you mean that much to me. She has disappeared.  He stands amongst the gravestones, begging her to come back--I want to help you? Kneeling, he finds the knife and stares at it, confused.

David knocks at Hallie's door (he's learning)! He finds her wearing the orange dress again.  Close the door before someone sees us! she hisses.You mean before they see you, he corrects. She whirls around--do you like me in it? she asks. What I like you in or not has nothing to do with it, he says--I thought you were going to put it in the attic. Why does my wearing it upset you? she asks.  He denies being upset, but can't say anymore. She angrily asks, has something happened that you haven't told me--something hasn't, has it? Yes, says David--I found clothes from the same period on my bed. Put them on! she orders happily. I don't want to, he says. Please, she begs, I want you to--and SHE wants you to. I can't explain it, he says, but I don't think we should have anything to do with those clothes. You don't want to make me happy! Hallie pouts, adding, you don't want to make HER happy--she flounces out, David following, calling her name.

Quentin returns to Collinwood. Julia enters from the drawing room--I've been looking for you, she says--you said you were working in your study. I just went out for some fresh air, he says, what do you want? Tell me about the picnic you, Maggie, Carolyn and David went on, she asks--the day of the picnic was the second clue in Carolyn's note, she reminds him. Yes, I'd completely forgotten about that, says Q, distracted. Did anything unusual happen? she asks. No, says Quentin, we had a very pleasant afternoon. I don't understand it, says Julia--so far, two of the clues have taken place. And nothing has happened, says Quentin, an edge in his voice. Nothing we can know of, amends Julia. She hears the carousel music and says, I still feel Gerard's presence in this house--not as strong as it was, but he's here. Do you feel anything else? asks Q--anything (like a female spirit)? Nothing, says Julia, except the fear that, as each clue happens, even if it doesn't have an incident, we are coming closer to catastrophe. If there ARE spirits in this house, says Q, we not only owe it to them but ourselves to put them at rest once and for all--by exorcising them from this house. When we were in the future, says Julia, Professor Stokes said he performed an exorcism and nearly lost his life! He may have been inadequate, says Quentin, or tried after it was too late, but so far, we've had no signs of a coming disaster, so our plan may very well work--and we must do it tonight! Julia shakes her head in disagreement.

Hallie waits in the playroom. David enters--I figured this is where you'd be, he says--you shouldn't have come here. Hallie, her voice pitched higher, says, I had to--I'm going to be punished. For what? asks David, you haven't done anything wrong. Yes I have, she says fearfully, I went to his ship today. Whose ship? asks David. Gerard's, she says. Who's that? asks David. I saw him in one of the cabins with Daphne, says Hallie, saw him take her in his arms and kiss her--I didn't mean to see them, I was just walking by--they're both very angry with me. Nothing you're saying is making any sense, says David, putting his hands on her shoulders--Hallie, what's happened to you? You called me that name again! she says shrilly, why do you do that? It is your name! he insists. No it isn't! she cries. Then what is? he asks. You know perfectly well what it is, she says, this is no time to play games!  I'm not playing games, says David, I just want to get us out of here. The playroom door opens by itself; Daphne joins them. David tells Hallie, we must get out of here. I didn't mean to see the both of you! wails Hallie to Daphne--he said I was spying, but I wasn't--I just wanted to explore the ship, I didn't know anyone was aboard, that's the truth! Daphne gazes at her gravely. Hallie says, "You don't believe me, do you--all right, then punish me!" Daphne approaches Hallie in what appears to be a threatening manner.  Leave her alone! orders David.  Daphne glares at Hallie, who is scared. They lock eyes; Daphne offers her hand. You do believe me! says Hallie joyously, taking the ghost's hand--thank you, Daphne!"  Daphne gestures to David.  She wants you to take her other hand, instructs Hallie. David stands there, unsure and frightened.

Julia paces the foyer. Quentin brings out a forked branch (like a divining rod) from the kitchen area. Don't you think we should tell Barnabas? she asks. No, says Quentin, we don't need him--I know what to do--the ceremony itself is quite simple--the reaction to it may be something else indeed--if the ceremony is a success, there may be a severe disturbance in this house after it's over. He takes the branch, turns off the foyer lights and goes outside the front doors. Julia follows him. Whoever you are, and for whatever reason you've come here, the time has come! calls Quentin to the skies.

Quentin holds up his stick, and, his face framed between the branches, says, "I abjure thee, contemptuous and evil spirit, by the judge of the quick and the dead, by the maker, and the maker of all things, by him who hath power to put thee into hell, depart in haste from the confines of this house.!"

David, why are you frightened? asks Hallie--"She just wants you to take her hand." David surveys Daphne's outstretched hand and says, I don't want to hold her hand, I just want to go downstairs.Don't you want to know about Gerard? queries Hallie, and all about his ship? Yes, I would like to know, says David. Then just join hands with her, says Hallie, and you'll know everything. David steps forward.

"Thou restless and unquiet shades," intones Quentin,  "creatures of that nethermost pit where the fire is not quenched--return to thy winding sheets and set the living free, in the name of the Lord!"

David still fears taking Daphne's hand, but when he finally reaches for it, and is about to touch her, Daphne seems to have a problem, coming close to fainting. What's wrong, what's happening? cries Hallie--David, you should have taken her hand--now we're going to be punished. Daphne is gone, says David. Hallie looks around--no, she says, there's someone else here. Nobody else here, counters David. There's someone else here who's angry with us, says Hallie, who's going to punish us! There's nobody here, says David, climbing on a toy box, we're the only two people here, we're the only ones around. There's a clunking sound as a chair falls over. Hallie screams and faints.

"Alien spirits," continues Quentin "defilers of innocence, persecutors of virtue, in the name of the Lord, cast thyselves back into the outer darkness from whenst ye came!" Abruptly, he stops.  Julia asks why. I don't know, he says, continuing--"Cast thyselves back into the darkness from which ye came," he says, but with far less conviction--and looks terrified.  He hands Julia the stick--wait here,he orders, and enters Collinwood. Daphne looks at him from the landing, her face sad. Quentin stares back at her.

Playroom - David kneels beside Hallie, calling to her--can you hear me? She awakens, asking what happened, complaining, my arm hurts. You must have bumped it when you fell down, he suggests, and helps her up.  What am I doing in the dress? asks Hallie. I don't know, he replies--there are a few things we must find out, like where this room came from, and who Daphne and Gerard are. How will they do that? she asks.  I don't know, he says, but I do know I have to take you down and let Dr. look at your arm. What are we going to tell her about how it happened? asks Hallie, nearly hysterical. Don't worry, says David, I'll think of something on the way down. They leave the playroom.

Julia enters the foyer--Quentin, what's wrong? she asks. Nothing, he says, sounding far away, there's nothing I can do now--I thought there would be a reaction to the ceremony, but I never thought there'd be this kind of disturbance--Julia, if there are spirits at large in this house, then I think they don't mean anyone any harm. What do you think that means? she asks. Just what I said, he tells her, I don't think any spirits in this house mean anyone any harm. When you stopped out there, she asks, did you stop for any reason?  Why do you ask that? he says. I thought you might have felt something I didn't, she explains. No, says Quentin forcefully, nothing. David and Hallie come down.  Hallie hurt her arm running and falling, reports David. (She's back in her own clothes now; wonder if David helped her change.) I think I she twisted it, says Hallie. Julia examines it. Hallie asks, is it broken?  I don't know yet, replies Julia--David, take Hallie to the drawing room--I'll be along in a moment. The kids leave. Julia says to Quentin, "You said that you felt the spirits didn't mean any harm--you were wrong, and your proof is right in there." (She points to the drawing room.) You don't know what you're talking about, says Quentin.  Those spirits must have been aware when you did the exorcism, she says-- they committed a minor accident. You're letting your imagination run away with you, insists Quentin--whatever happened was a pure coincidence--nothing happened! I don't know that I have any proof at all, says Julia, but I have a strong conviction that you are wrong and I am right.

The kids return to the playroom, Hallie's arm in a sling. How's the arm? asks David. It hurts, she says--David, you promised to tell me why we had to come here again!  Remember when I told you there were some things we had to find out?--there's a way we can--we're going to hold a seance, just the two of us, here in this room. He begins clearing off toys from a table. Hallie objects--I don't know anything about seances. You don't have to, he assures her, I know all about seances--I've seen the grownups do it a lot of times (!!!!!)  I'm scared, she says.  There's nothing to worry about as long as you do exactly as I tell you to, he says. Why can't we do it somewhere else? she asks. Everything started to happen once we first came to this room, David reminds her, so this is the logical place to hold it. He drags over some chairs, lights a red candle in the middle of the table and turns off the electric lights--sit down, he says. She does, reluctantly. Put your hands on the table, he says, let them touch mine--the most important thing is, don't break contact--do you understand? She nods. David looks upward and says, "We seek the spirits that know about this room, the spirits who will tell us what we must know--there are questions that have to be answered--why are you so disturbed?--what do you want from us?--can't you please give us a sign?" They hear wind, and the sci fi noise, terrifying Hallie.  "Let us live! Let us live!" cries a voice that sounds much like David's, over and over. "LET US LIVE!" Both kids look horrified.

NOTES: Let WHO live? Gerard? Daphne? It's apparent that Daphne already has a strong hold over Quentin, because he was going on and on about how the spirits in the house don't mean harm. Gerard looks like a sweetheart, doesn't he? NOT!

Daphne was going to kill Quentin, but his desire to help her rest in peace made her decide not to. What does it all mean? He had hoped his little ceremony would bring peace to Daphne, but it seemed to affect Hallie and bring her back to her own body. Hallie claims she caught Daphne and Gerard kissing onboard the ship--is theirs a forbidden love affair? Or is it love at all?

Whole lotta weird stuff going on!

Love, Robin

1074 - As if in a dream, Hallie walks toward David. Even her hair is done in period style, complex ringlets galore. She wanders past David, up onto the gazebo. Who are you? he asks. The wind blows strongly, messing their hair. Hallie? asks David. She suddenly seems to come withdraw from her trance and asks, David, what am I doing in this dress?-and doing here? He stares at her--you wrote me a note to meet you here, he explains-and hands it to her to examine. I didn't write it, she says. What kind of game is this? he asks.I didn't write it, repeats Hallie. I know your handwriting, he says. It's different, she says. It is sort of different, he agrees, looking at the note again, a little old-fashioned looking. She turns to him and asks, tears in her voice, who wrote it? You didn't, he says-then how did you know to come? I don't know, she says, I don't. I was going to bed when I saw this dress-it's the dress from your dream, isn't it? Yes, he nods, where did you get it? It was lying on my bed, she says. No, says David, after I described it to you, you must have gone and got it someplace. No, she says, it was lying on my bed before you ever had that dream. Hallie! he objects in disbelief. It's true! she says. How can I have a dream about a dress I've never seen, he asks, a dress that's real? She shakes her head--I don't know. It's crazy, he says. Everything is, she responds-my coming here-David, I didn't know where I was going when I left the house, but when I came to the gazebo, I knew-this is where I was meant to come-I wasn't even surprised to see you-oh, David! Somebody else wanted you here, guesses David. WHO? she asks. I don't know, he replies, but I'm going to stick around and find out. She sits beside him on the bench and says, I don't think we should ever find out. We have to, he insists. No, she says-remember this afternoon when we were here, and I felt someone watching us?-someone was-I don't know who, but it wasn't anyone real. It's a mystery, says David, and I like mysteries. But we're part of it, she reminds him, don't you see, we're part of the mystery. She stands-do you smell lilacs? She asks. Lilacs bloom in the spring, everybody knows that, he says. Don't you smell them? she demands. Yes, he says, I do! About to take flight, she implores him, don't stay here. I'm going to find out who wrote this note, he says. Don't! she begs, and runs off. David, clearly nervous, stands in the gazebo, looking around, asking, "Are you here? Are you?" (Does this clothing thing remind anyone of the games Amy and David used to play with Quentin and Beth?)

Carolyn, looking over the newspaper, reads her horoscope to her mother, who is knitting: "Forebodings of disaster: beware of sudden meetings and unexpected shocks-conserve your energies for a more fruitful day"-I think I'll stay in bed, decides Carolyn, putting the newspaper on the table. Do you believe in those things? asks Liz. Carolyn laughs-ask me tomorrow night, she chuckles. I mean it, says Liz. I don't really much believe in anything, says Carolyn-a horoscope seems about as good as anything else. Hallie sneaks into the house and runs upstairs. That's a very cynical attitude, remarks Liz-you've gotten very cynical. Carolyn, annoyed, says, you sound as if you think there's some pill I can take for it. Liz apologizes--I know how distressed you've been since Jeb died. I don't want to discuss Jeb, says Carolyn. I think perhaps we should, says Liz-then you might not brood so much. No, says Carolyn, I'd just remember him more-I find myself waiting for him to walk through that door-and I'm the one person talking doesn't really help. She kisses her mother good night. Liz picks up the newspaper and reads the horoscopes.

Why? a spooked Hallie asks herself in her bedroom mirror. Carolyn enters. "Hallie!" she cries, shocked to see the girl in the old-fashioned dress.

Where did you get the dress? asks Carolyn. I found it, the girl lies, in a trunk upstairs. And you got up in the middle of the night to put it on? asks Carolyn. Yes, says Hallie, her voice shaky, I don't know why I did it. Of course you do, smiles Carolyn. Yes, you're right, says Hallie, I was lying in bed, really not sleeping, and started thinking about the dress, and I bet myself it would fit me, and it does, just as if it were made for me. Hearing Hallie's voice suddenly forced, too happy, Carolyn asks, is everything all right? I have trouble sleeping sometimes, the girl admits. So did I, says Carolyn. I really have to stop thinking about the accident, says Hallie. Yes, agrees Carolyn, you must remember your mother and father when they were alive, when you were happy together-I know, I've lost someone I loved very much, too. Carolyn, begins Hallie, about, perhaps, to confess, then says, I think I'll be able to sleep now. If I can help you with anything, let me know, incites Carolyn. She kisses Hallie's forehead and leave the room. Why didn't I tell her? frets Hallie aloud-why?

David sits on the bench at the gazebo. What's the point of staying here? he wonders-nobody's going to come. He rises, then decides to wait just a little longer. He walks to the other side of the gazebo and gazes out into the darkness.

Hallie dreams: Her bedroom door opens by itself. She sits up in bed and walks toward it. David, wearing 18th century clothing, enters. What are you doing in those clothes? she asks. He doesn't answer. What's wrong? she asks-why don't you answer me, David? A woman enters the room, the dark-haired ghost we know as Daphne. Who is she? asks Hallie-David, who is she? Daphne beckons to Hallie to join them. Hallie refuses--stay away from me, I don't know you, stay away! Hallie screams as the woman approaches her.
David is about to leave the gazebo when he again smells lilacs. The ghost of Daphne appears to him. Who are you? he asks. She disappears immediately. He goes to stand on the spot where she stood.

David enters Hallie's bedroom and sits on her bed--I saw the woman wearing a long, long dress, he says-I think she's the one who wrote the note. Does she have dark hair? asks Hallie. Yes, why? asks David. I just wondered, says Hallie hesitantly. There's got to be a reason, he insists, what is it? There is no reason, says Hallie-what does she want from us, who is she? I don't know, he says, she didn't speak, but when I walked to her, she disappeared-she was a ghost, Hallie--the funny thing was, I wasn't scared, I was calm. She nods. Why aren't you surprised? he asks, I thought you'd be surprised-why aren't you? Liz enters-David, why are you up at this hour? she demands, and still dressed-what is he doing here? (heh heh heh, Liz, if this were any other soap...) I'm planning something, he says. (Check his pockets for condoms, Aunt Liz!) What? she asks. What Hallie and I are going to do tomorrow, he says. What is it? she asks. He leaves in a huff-I'm old enough to have a secret or two, he complains. David! chastises Liz-Hallie, I'm sorry David disturbed you. It's all right, says Hallie. No it isn't and you mustn't let him, says Liz, kissing Hallie good night. Hallie looks unhappy.

Morning - Liz and Carolyn are having their morning beverage in the drawing room.- Carolyn describes to her mother, I found Hallie wearing a very old-fashioned looking dress, one she found in the attic. It does seem an odd time to dress up, remarks Liz. Exactly, agrees Carolyn--Mother, Barnabas said that whatever happened here had something to do with David and Hallie. I don't think getting into an old-fashioned dress can cause what Barnabas is talking about, says Liz. (Let's not forget Quentin and Amy and David's little dress-up sessions, folks.) There's a knock at the door. Are you expecting someone? asks Carolyn. No, answers Liz. Carolyn volunteers to get it. Liz picks up and opens the astrology book Sebastian Shaw gave her. Carolyn opens the door and is stunned. No! she cries, staring at Shaw, who is the image of her dead husband."Jeb," murders Carolyn, "it can't be Jeb." You're quite right, says Shaw, I'm not Jeb. Liz joins her daughter at the door and introduces Carolyn to Sebastian Shaw. I'm sorry, moans Carolyn, and runs from the room. Liz calls after her. "Mother, leave me alone!" wails Carolyn. You shouldn't have come here, Liz tells the perplexed Shaw. I certainly didn't expect this kind of effect. You resemble my daughter's late husband, explains Liz. Oh, says Shaw, I am sorry. You had no way of knowing-it's not your fault, says Liz--come in. He opens a large purse hanging on his shoulder and takes out her horoscope-figured from this day until December 31, 1970. She asks him into the drawing room and closes the doors. It's a day by day analysis of what the stars and planets have in store for you, says Shaw. She looks fearfully at the folder he holds--tell me what it says, she asks. No, he says, if I did that, I'd be here all day long. Does it say whether I'll live through a disaster? she asks anxiously-will David, my nephew, be all right?-is there any sign we're going to lave Collinwood? No, he says, after a deliberate pause. Thank God, sighs Liz, taking the folder from him. It was an interesting sign to draw up, he says, your sign is Pisces, which is very fortunate-Neptune in Pisces, the ruling planet of Pisces, and there was one very curious thing-you seem to have a propensity for the occult-although under adverse circumstances, Neptune may interfere with your psychic powers.I have no psychic powers, says Liz. Oh yes we do, says Shaw, we all do, intuition borders on the psychic, and during this period you might find Neptune interfering with your intuitive gifts-it's just a word of warning, that's all. I see, says Liz. Read it, come and call me, he says, I'll be happy to discuss it with you. Fix a price, she asks, sitting at her desk. Please don't make a shopkeeper out of me, he insists. You're a very strange young man, she says, taking out her checkbook. I also have my values, he protests-and yes, one more thing about the horoscope-I'm not infallible, and you might find out one day your experiences are quite different from what the horoscope is telling you-come to me, I'll catch whatever mistake I made, and adjust the rest of horoscope. She writes out a check and asks, "You'd be willing to do that?" He leans over her and says, you might have come to me as a whim, but charting the future isn't a whim with me. She hands him the check. He looks at it, folds it over and says, I'm sure I can be of future service to you (and her checkbook, I bet). He bids her goodbye, gives her an enigmatic smile, and departs.

David and Hallie sit on the bed in her room, going over some letters David found in a trunk in the attic. One, he points out, has the same handwriting that was on last night's note. The writing that looks like mine, she says. This one is dated 1840, says David, holding up one of the letters. Hallie wonders--how could someone back then write like I do now? He hands her another letter. "The handwriting looks like yours!" she says. Yeah, but it's got a lot of strange curlicues on it, scoffs David. Hallie reads, "Where Abner Collins frowns, warning all not to enter, I will meet you tonight." Who is Abner Collins? she asks. Some dead relative, replies David. (LOL) "Come to the playroom if you value your life," reads Hallie. There is no playroom, says David. Is there a picture of Abner Collins? she asks. Yes, in one of the back halls, says David-let's go find it! Why? she asks. Maybe there's a room I don't know about! he says excitedly. No, says Hallie. You want to know about the playroom, and about that lady from last night, he reminds her. They head off together.

They find Abner's portrait, located next to a door. David puts his hand on the doorknob, flippantly promising--to show you what hasn't been seen... Don't joke, David, she says, dead serious...what hasn't been seen by the human eye in over a hundred and thirty years, he continues, and opens the door. A closet, she says, disappointed. It isn't big enough to be a playroom, opines David-unless they had small children-he grins at her. The carousel music begins to play. David puts his ear to the wall--it sounds like it's coming from behind it, he says. Hallie, frightened, says, I don't like it, let's get out of here. She runs out; he follows. They can still hear the music, and both smell lilacs, too. Daphne's ghost appears, beckoning them. Hallie, terrified, runs off. Wait! calls David, and follows. Daphne's ghost disappears, as does the linen closet, and in its place is the now-familiar playroom, the carousel turning and playing the same tune

NOTES: Does Daphne mean ill or good for Hallie and David? It's hard to tell right now, she just beckons to them to come to her. Since Kate Jackson couldn't say any lines because she was still attending acting school, her character had to be silent. She doesn't seem malevolent, does she?

So we have handwriting on old letters that, save for fancy curlicues, looks just like Hallie and David's. What's the meaning of that? Are they to be possessed by ghosts? This would be the umpteenth time for poor David.

I love the new David. He's always been ballsy, but now he's talking back to the adults in his life who have always tried to push him around. He can have all the secrets he wants, and heck, if he wants to sit on Hallie's bed and talk ghosts, dresses and letters, that's his business! I love the way he teases Hallie. They don't seem like teens of any era, but DS, to me, was a parallel universe, and I never expected anyone to be like they were in mine. Nothing was required to make sense, be contiguous or jive with earlier history.

The playroom is there, all right, like a ghost in and of itself. Creepy, isn't it?

Poor Carolyn. Of all the 12 faces in the world, a guy has to show up on her doorstep who looks exactly like Jeb. She can't get a break, can she?

Liz is so uncertain about her future, she's consulted with what appears to be a shady guy in Sebastian Shaw. Is he on the level? Does he really have talent for this, or is he just after Liz' checks while making it appear he isn't interested in money at all? Notice how he covered his butt by saying his predictions might not come to pass, and he'll just have to come "adjust" them accordingly. Doesn't Liz smell anything odd here? The odor of Jason McGuire, perhaps? Or is she just too wrapped up in her fears?

Lots of mysteries, interesting ones, and if Hallie and David should be making out rather than chasing ghosts, who am I to judge? : )


1075 - Hallie and David run into his room. You saw her, too--admit it, demands Hallie. If only it wasn't so dark, says David. She's the same woman I saw in my dream, the same woman from the gazebo, says Hallie, I'm sure of it. So what if she was? asks David. She's a ghost, doesn't that scare you? asks Hallie. A little, says David. You're as frightened as I am, she accuses, don't pretend you're not. Stop talking for a minute, orders David, I'm trying to think something out. Let's figure out who she is and what she's doing here, says  Hallie. We know she has something to do with the playroom, music and scent of lilacs, calculates David. That doesn't tell us who she is, says Hallie, what she's doing here. There may be a way to find out, says David--we have to find out where the music is coming from, where the playroom is--we need a lot more clues. He goes to his desk, removes the letters they found, and glances through them. He hands a bunch of crumpled up letters to Hallie--do you want to find this out or not? he asks. Cringing, she reluctantly takes and begins to read them.

Julia and Barnabas are going through massive tomes down in the drawing room. After all our research, complains Barn, the only things wey've been able to find out are Tad and Carrie's dates of birth and death. This can mean a great deal says Julia--Carrie and Tad died at about the same age that David and Hallie are now. We've got to find much, much more, insists Barnabas. So far, we haven't come up with much, agrees Julia. At least the fact that they both died at the same time warranted some explanation, he says. Try to remember that the Collins family history isn't famous for accuracy, says Julia--I mean, what happened to you was important, and you were deliberately omitted. The fact that so little was written about them, says Barnabas, would indicate that something unusual happened to them. Possible, says Julia. Quentin comes in and says, "Still pouring over the family history, eh?" Yes, and no success, says Julia. I don't know whether admire your tenacity or be exasperated by your stubbornness, he remarks. Julia massages her neck--at the moment, she says, I'll settle for sympathy for my stiff neck. Seriously, says Q, I wish there was something I could do. At least you're not accusing us of outright madness, says Barnabas. Quentin opens the window and gazes out--I'm not sure that's necessarily virtuous of me, says Quentin. What are you looking at? asks Julia. The moon, says Quentin. The moon? asks a shocked Barnabas, exchanging looks with Julia (they're side by side on the sofa now; Barn was in a separate chair earlier in the scene). It's full tonight, says Quentin. Julia rises and goes over to him. Barnabas rises and stands back. Julia looks at the full moon, too, then at Quentin, and asks, are you all right, or in any danger? No, the portrait is secure, he assures her, no, I was just thinking about Chris--I hated to see him, Sabrina and Amy go away like they did--I can't help thinking about what may be happening to them--especially on a night like this. Poor man, says Julia, shaking her head--that poor woman. I forget how fortunate I really am, says Quentin, these small pleasures like tonight--I can enjoy the eclipse tonight with the same joy and wonderment I did when I was a kid--there's a total eclipse of the moon tonight. Barnabas and Julia sit back on the sofa again. Quentin jovially asks, can I persuade you two to drop what you're doing and come watch the eclipse in the tower room this evening? We'd better continue working; says Barn, we may come up with something. I'll let you know when the eclipse has its big moment, says Quentin, at least perhaps you can take time out then. Perhaps, responds Julia, distracted. There's something a little mysterious and frightening about the moon going totally dark when the earth's shadow crosses s over it, says Quentin. This observation makes Barnabas look up from his book. I suppose so, says Julia. Quentin leaves. Barnabas rises and asks, Julia, did you hear what Quentin just said? Something about the eclipse affecting him, says Julia. Tonight the moon goes dark, says Barnabas, as the earth goes between it and the sun--do you remember the first clue that Carolyn wrote, that tells us when the disaster will take place--the night of the sun and the moon--that night, Julia, is tonight! Julia's eyes widen.

Julia rises from the sofa--what are we going to do? she asks. If we at least knew what was going to happen, we could try to prevent it, he laments. But we don't, she reminds him,  concerned. The first thing we must do is ensure Hallie and David are all right, says Barn. Don't you think we should tell them, just in case they see anything unusual? Elizabeth wouldn't allow that, he says. It's for their own good, she points out. What are we going to tell them? asks Barnabas--that they're going to die and come back as some mysterious ghosts to haunt Collinwood?--we can't do that. Can I hint to them they that might look for something? asks Julia. Of course, says Barnabas, by all means. Julia looks out the window--it's beginning, she says--the shadow already touching the moon. Barnabas looks up to see the beginning of the eclipse. Julia leaves the room.

David and Hallie are studying the letters. Here's one you wrote, he says. David, I did not write these letters and neither did you, she counters. You know what I mean, he says, some of them look like you wrote them, some look like I wrote them--this one just happens to look like you wrote it: "When you hear the carousel play, please come into the room"--but where is the room?--the portrait of Abner Collins didn't find it for us. Tomorrow, reads Hallie, the sun will shine on Rose Cottage. Rose Cottage, repeats David, it's not on the grounds--keep looking for the ones that talk about the playroom. Here's another about Rose Cottage, says Hallie. Just the playroom, reiterates David, I don't care about the cottage. Hallie ignores him--listen, she says: Tonight I will tell you who is going to live in Rose Cottage. Just the ones that tell about the playroom, says David. Here's one that looks like I wrote it, says David: Don't ride on the carousel too long, it can be dangerous--what does that mean. Hallie asks, are you sure we're playing a game? Of course, says David. But if it is a game, then who's playing it with us? asks Hallie. SHE is, of course, says David. Hallie looks scared.

All right, so she is playing it, says Hallie,  but we don't know why.  For the fun of it, says David. I'm not so sure, says Hallie. What do you have against doing something different for a change? asks David--just keep reading the letters. There's a knock at the door. They hastily shuffle all the letters back into the desk. Julia asks to come in. By the time she enters, the kids are reading textbooks. She smiles at them--Hallie, she says, I was looking for you but couldn't find you. Maggie gave us an extra lesson because we've been so lazy all summer, she explains. Is there anything you want? David asks Julia.Do you want to go sailing tomorrow? asks Julia (horseback riding, sailing, they have the life, huh?) I'll talk to Maggie. She won't let us, says Hallie, she told us today, no more time away from lessons unless there's a lot of improvement. Julia, puzzled, says, I'm very sorry about that--is everything all right? Sure, says David, thumbing through the textbook. Have you noticed anything unusual going on around the house? asks Julia. I haven't, says David, have you, Hallie? No, she says--did you have anything particular in mind, Dr. Hoffman? No, I suppose I was just reacting to the eclipse, says Julia. Eclipse?  asks Hallie. Didn't Maggie tell you about it? asks Julia--there's an eclipse of the moon tonight. We forgot, says David, thanks for reminding us. Do you want to come watch it with me and Quentin? No thanks, says David, it is rather boring watching a shadow cross the moon--and it takes so long--I'd better stick to my studying. Why don't I come here later when the moon is fully gone and let you know? says Julia. That will be after midnight and we're supposed to be asleep, says Hallie. But this is something special, smiles Julia. I really think we'd better study, says Hallie. Thanks anyway, says David All right then, she says, giving them one final glance before leaving the room. David locks the door. (If I heard that door locking and I were Julia, I'd have come back knocking. Leaving those two hormone-changed teens alone in a locked bedroom together? Noooooo!)

Drawing room - Quentin repeats, "The night of the sun and the moon." That's all Carolyn wrote, explains Barnabas--I'm sure she meant tonight. What do you think we ought to do? asks Quentin. Julia has gone upstairs to see if the children are all right, says Barn, but I feel they should be gotten out of Collinwood immediately, for their safety. Impossible, says Quentin, pouring himself a drink--I may believe that, bit Elizabeth never will. She must be made to understand, insists Barnabas. Quentin downs a healthy swig. Are we to stand around waiting for the second clue to take place? asks Barn. What would that be? asks Q. Again, it's cryptic, says Barnabas, says an unfinished horoscope. Barnabas, says Quentin, are you sure of that? Yes, says Barnabas, positive. Do you know why Liz won't send the children away? queries Quentin.  Because she doesn't want to frighten them, guesses Barn. . More than that, says Quentin, she is convinced that for the remainder of the year, nothing will go wrong here at Collinwood. That's a rather dangerous assumption, opines Barnabas. She's convinced of that because she just had an astrologer draw up her horoscope! reveals Quentin. Barnabas regards his cousin with alarm.

That's the next clue, says Barn--the unfinished horoscope. I saw the finished chart in Liz' room, says Q. No disaster was mentioned? asks Barnabas. Completely the opposite, says Quentin, it states that Collinwood is to come under a siege of unrelieved tranquility. It must be unfinished, says Barnabas--where is Elizabeth? She went to Portland for a day or two, answers Quentin. I wish she were here, frets Barnabas, I want to tell her there's danger for the entire house.She would probably disregard the horoscope as having anything to do with the sun and the moon, predicts Quentin, and she'd also say it's not unfinished, it's absolutely complete.   Then something must happen to Hallie, David or somebody else before she'll even listen, says Barn. Julia joins them. Did you see the children? asks Quentin. I did, she says, but I'm not sure they're all right; it's just an instinct, but I felt they were hiding something from me, but I don't know what--their whole manner was too casual. But it isn't unusual for kids their age to keep secrets to themselves, says Quentin. I have a respect for their privacy, agrees Barnabas, but this is no time for them to keep secrets. The only thing they can do tonight is watch over them, says Julia. I'll go look in on them, volunteers Quentin, I don't share your fears, but don't think we should take a chance, either. He leaves the room. Julia looks out the window at the moon--it's half dark, she notes--I wonder when the next clue will be. Barnabas solemnly says, I'm afraid it won't be very long from now.

David's room - Quentin opens the door and gazes down at the sleeping David. He draws another cover over him, turns and leaves, closing the door behind him. David, fully dressed, not asleep, gets out of bed and exits his room. He meets a fully-dressed Hallie in the hallway, who says, Quentin checked on me, too, a few minutes ago. They walk off together.

Drawing room - Quentin does have a point,  Barnabas, says Julia--Elizabeth's horoscope IS finished. It's funny, notes Barn, that someone in this house was in touch with an astrologer.  Quentin joins them--the kids are sound asleep, he says. Is it possible we've been wrong? suggests Julia, perhaps this isn't the night of the sun and the moon, but something else. I wish it were, says Barnabas, but in any case, we must keep close watch tonight--whatever is going to happen might not happen to the children, it could happen to anyone. I wish this eclipse were over, frets Julia. Quentin checks out the window--it's almost covering it now, he announces--the eclipse should be complete in a few minutes. The kids arrive at the playroom door--this has got to be the place, says David--we shouldn't have run away before--read me the note again. It's so dark I can hardly see it, says Hallie--look, David, there's no light coming through the window. It's the eclipse! says David.

Barnabas, Julia and Quentin gazes out the window--the moon is completely covered.
Hallie and David hear the music. What does the note say? asks Davids. She reads, "When the music ends, the play begins." I wish it would make more sense, he says. I'm getting frightened again, says Hallie--I can't help it. I think the music is coming from behind this door, says David, his hands on the door. The music stops. Hallie wonders why. When the music ends, repeats David, the play begins--something else  has got to happen--what? I don't think anything is going to happen, says Hallie--I want to go back and return tomorrow and look--I'm gong! She walks away. Wait, urges David. The playroom door abruptly opens, but it's not a closet anymore--it's the playroom, and the carousel is turning, churning out the music.

NOTES: The ghostly playroom has appeared to the children now, and we can assume the "play" is going to begin. The odd thing is, we sense that Shaw's horoscope for Liz is not only unfinished, but bogus, because he isn't so much interested in telling her the future, but in draining her bank account. So Liz' horoscope isn't what it seems at all.

Julia has to know that something is really weird with the kids if they prefer to study rather than go sailboating with her. They aren't behaving like normal kids at all, not even for Collinwood!

We learn, through one sentence of dialogue, that Chris, Sabrina and Amy have left Collinsport. Considering they were part of a major storyline, this seems wrong. Of course, it is right for Quentin to see a full moon and wonder what's going on with his blood relative. It just seemed such a shuffle-off for such important characters.

Given how frightened Julia and Barnabas are for the kids' safety, I think I'd just kidnap them, if necessary. Julia seems to be doubting what they learned in 1995 now, just because Quentin says Liz' horoscope is finished. Nothing is what it seems, and they have to keep that in mind at all times.

I liked the scene where the adults are gazing out at the total eclipse of the moon while the kids, who have completely fooled them, are dressed, in the hallway, and discovering the ghostly playroom. Quentin, Julia and Barnabas are truly clueless here, concerned though they may be.

It's sweet how much Quentin loves the kids. The way he stared down at David before adding another cover was lovely. He never got the chance to be a father to either of his own kids, so one senses he's adopted David, Amy and Hallie as his own surrogate children.

Love, Robin

1070 - Barnabas gasps for breath, asking the sheriff, "How? How?" The sheriff lifts up his gun-- that doesn't matter, he says. JULIA! screams Barnabas, finding the gun right in his face. As the sheriff is about to pull the trigger, the young ghost we know to be Carrie appears to the sheriff --"It's YOU!" he gasps. She stares at him; he drops both gun and the cross to the floor. You're the one they saw! accuses the sheriff. She approaches him. Say away from me, stay away-don't come any closer! shouts the sheriff.He's got bigger problems that a girl's ghost, however; Barnabas, grinning, has his arm locked around the sheriff's throat and is tightening his grip. Carrie is gone.

Old House drawing room - Gerard "speaks" to Julia through their bond. I've betrayed him! cries Julia, a handkerchief in her hand.-"have I done enough for you? Have I done enough now?" She sobs, sitting down in one of the chairs. Gerard appears to revel in her grief. Why do you keep watching me? she asks Gerard-go away!--you're determined that I be here to hear the shots-the silver bullets. Gerard grins. Julia cries. They hear a gunshot. Seconds later, Barnabas appears before Julia in the drawing room. How long have you been here? he demands. She gazes behind her, but Gerard is gone. She attempts to walk past him, but he takes her arm--the sheriff is dead, he informs her-I killed him-he knew about me-if it weren't for Carrie, I'd be dead myself now--we must move quickly, insists Barn, find out what we can and go back to our own time-the police will be here, they know about me-I saw the silver bullets-I inspected his gun-I don't know who told him... Don't you? asks Julia, forcing the words between her lips as though they taste evil.Barnabas' forehead creases-"You betrayed me," he realizes, incredulous. He comes toward her, stunned.

"You told the sheriff," accuses Barnabas, holding tightly to her arm. She struggles to escape, then nods--I will again, she whispers-will betray you over and over... She bursts into tears. "You're not safe with me," she sobs, wiping her nose with the handkerchief. Why? asks Barn. She moves away from him and pleads, "Don't tell me anything and don't ask me to go with you anywhere--go, Barnabas, just go!" Who has done this to you? he demands. Don't try to find out anything about me, or whatever has happened here-go to Angelique's room, lock the door, hope you can get back before... Before what, Julia? he asks. They will be back, she says, you're right, if you escapes them, when dawn comes... "You will come to my coffin-to kill me," he says, saying aloud the unspeakable. She regards him with mute, miserable eyes-"oh, Julia, who have saved me so often-what has he done to you?" No one's done anything to me, she insists. Julia, says Barnabas quietly, you have been with him. (In the biblical sense?) She shakes her head-no, she says. He has done this to you, says Barnabas. No, she insists, still shaking her head. He has made you do this, accuses Barnabas. Don't talk about him, she begs. Julia, why not--are you so terrified of him? he asks. I told you to go while you can! insists Julia. And leave you to him? says Barnabas. Leave me, yes, it's the only chance you have, she wails. But why is he so terrifying that you can't mention his name? demands Barnabas-say it, Julia! No, she cries. SAY IT! he orders. NO! she repeats, shaking her head, throwing her hands out. "Then it will be my will against his," says Barnabas. Let me go, says Julia, near tears-he's watching us, I know it, somewhere outside this house, he's watching, he knows what's happening here-"Barnabas, go, go!" Look at me, Julia, commands Barnabas. She refuses, turning away. Look at me, he repeats-you can hear me, you will do as I say-"Now, look at me!" Her head swivels around with reluctance; they lock eyes. "You can escape," she says. "Not without you," he responds tenderly. "You can't take me with you," she says, shaking he head. He moves in close, almost within kissing distance, and adds, "Never without you." You won't be able to take me, she warns. I will, he insists -you must believe me, I will. I can't, she says. Once we are back in our own time, he can't get to you, he reminds her-"You must depend upon me, not him!" She tips her head back and sobs. He says it again--"You must depend upon me!" Julia falls into his embrace, crying, "How could I ever...?" You must never blame yourself, he says, holding her close, rubbing her back with his hand. Oh, but I do, I do, she says, clinging to him, crying-"How can you forgive me?" "You have forgiven me so often, for so many things," he reminds her. Barnabas, I'm afraid, she says, you don't know him. He still has power over you, doesn't he? asks Barnabas. I know he's only waiting, says Julia. And you will go to him again, says Barnabas, a statement, not a question. I don't know, admits Julia tearfully. "I will not leave you alone for one moment this night before dawn, vows Barnabas, because before dawn, we must get back to where we came from." Julia looks at him with hope. Use every ounce of willpower you have, he urges-"You must!" She nods-I will try, she promises. Come now, he says, we must go to a telephone and call Stokes. I think I should stay here in case the police come, she says--I can tell them you're at Collinwood, they won't go there. I tell you, says Barnabas, almost in her face, I will not leave you-is he calling you again? Yes, perhaps, she says, putting her hand on his chest. Come, we must go to Stokes, find him and get the answers to the things we need before we go back. I want us to go to Angelique's room now, insists Julia. Come, he says, not until we know more. He leads her away, his hand on her back. You're right, says Julia, if we can find out how to stop all this from ever starting, it will be worth it, whatever we have to go through. Outside the Old House, Julia wipes her nose with her handkerchief and looks at Barnabas, who supports her as they walks away. Gerard watches them and smiles.

7:25 - Old House - "You killed the sheriff?" Stokes asks Barnabas. (but I did not shoot the deputy, sorry couldn't resist.) Barnabas admits it. Everyone's going mad, says Stokes, it's the effect of this place-I'm not surprised at your terrible story, horrified, yes, but not surprised. He turns to Julia and says you don't understand the enormity of our problems-I do-I saw Gerard once myself, other people claim to have seen other spirits, but I have not-I don't envy you tonight, caught between Gerard and the police-(to Barnabas) do you realize that I will be implicated in all this if the police come here? We wouldn't have insisted on you coming here unless we needed you desperately, says Barn. I told you that before, says Stokes, I cannot help you, that hasn't changed. IT MUST! shouts Barnabas. I'm too old a man for this, too old and too frightened, says Stokes-there, I've said it, if you have any way to get back to your own time, in the name of heaven, use it. No, says Barnabas, not before we get the clues that we need from what Carolyn told us. She's dead, there's no way to find out, says Stokes. But there is, says Barnabas, a seance-yes, Eliot, we will have another seance-tonight.

I'll have no part in any seance, insists Stokes. You must, says Julia. You know Gerard, Julia, says Stokes-do you think he'll let you learn to destroy him?-don't be naive, Julia. Her forehead wrinkles--I believe we must try, she says. Perhaps he cannot prevent Carolyn's ghost from coming back here, says Stokes, but we're only human-he can keep us from understanding what she says. Arrange the table, Julia, says Barnabas. Stokes, irritated, asks, "Haven't you listened to a word I've said?" There's nothing you've said that I didn't already know, replies Barnabas. A foolhardy man, pronounces Stokes, walking away. Yes, agrees Barnabas, do you remember how you were 25 years ago? Of course I remember, says Stokes, that's when I made my worst mistakes. Barnabas, smiling a bit, says, you're too old to make another. Too wise, corrects Stokes. So, we may not be able to go back to Collinwood as we remember it, but we will be able to stop what's happened now, says Barnabas. If you can get back, says Stokes. If we do, promises Barnabas, David will not die, Carolyn and Quentin will not be as they are, and everyone else will be able to live out their lives-- doesn't that mean something? We're ready, Julia announces. Well, Eliot? says Barnabas. Stokes, covering his face with his withered hand, finally raises his head and nods--"Let us begin." Thank you, says Barnabas. They sit at the table, where Julia lights the single candle in the center. Are our hands touching? asks Barn. He and Eliot have their hands in proper placement, but Julia doesn't. Perhaps I shouldn't take part, she suggests. Julia, says Barnabas, a hint of warning in his tone--you must. I feels...begins Julia. Is Gerard watching you? asks Barnabas. I feel so strange, says Julia. Concentrate, begs Barnabas, you must concentrate on what you're doing-if Carolyn speaks to us, she will speak through you (why, are spirits gender -sensitive)? Julia nods and adds her hands to the mens' on the table. Don't break the circle, warns Barnabas-remember it. He gazes at the other two, then speaks: "Spirits of the dead, hear us, heed our pleas-for we need guidance to save those who are still alive-spirit of the dead, there is one among you, a friend, release her to us-let her speak with us-Carolyn, Carolyn, I beseech you to come to us-do you hear us? If you do, give us a sign!" Eliot and Julia listen closely. "Carolyn, you must come to us," continues Barnabas, everything will be changed it you do-Carolyn, hear us, we beseech you!"Julia's head drops back. She begins to moan. I hear you, she says in a higher-pitched voice. Are you Carolyn? asks Barnabas. She moans again, and says, "Oh, Barnabas, Barnabas, yes, I am Carolyn. She's smiling, and Barnabas smiles back, grateful this worked.

Carolyn, explain the six clues, pleads Barnabas, we must know what they mean-can you hear us? Julia almost sings, "The picnic. . .the night of the sun and the moon...the murder...the unfinished horoscope, the night I sang my song...Rose Cottage." What is Rose Cottage? Asks Barnabas-tell us! Wind blows out the candle, leaving them in darkness. Julia, afraid, is once again herself. Do not break the circle! says Barnabas, do not move your hands! He's coming, he'll kill you! wails Julia. I can feel his presence, says Stokes, rising from the chair, walking away. Julia's bows her head toward the table and begins to cry. Barnabas goes to her, his hands on her shoulders. Stokes sees Gerard gazing at him through the window. The ghost raises his hand toward Stokes and touches the window.Stokes hobbles to a chair and sits down, not looking well at all. He was at the window, I saw him! says Barnabas...Eliot! He runs to the elderly man, who has collapsed in the chair. Barnabas takes his pulse-"He is dead," he announces. Julia begins to scream and runs from the room. The front door is open. Barnabas stands and looks around for her, screaming her name.

Playroom - Gerard holds a knife. Julia enters. He offers the knife to her, handle first. Must I? she asks twice. He just gazes intently into her eyes. Yes, she says, I always knew I would have to. She smiles. He smiles back. She takes the knife, raising it high, and says, ecstatically, "I'll be with you as you want me to be." She's about to plunge the blade into her chest when Barnabas appears in the doorway. "Julia, put it down!" he orders. Julia looks at Gerard, then at Barnabas. "Put down that knife!" Barnabas commands, eyes flashing. Julia gazes back and forth between the two, her ghostly master and the man she loves, and drops the knife. "You will not have her, Gerard," says Barnabas--"Julia, you are coming with me, and there's nothing you can do to stop us!" Gerard steps forward and touches his fingertips to Julia's forehead. She falls to the floor, wailing, "NO!" Barnabas cries out her name, kneeling beside her. "She's dying," he moans. Gerard smiles, big. You caused this, accuses Barnabas--she's dying! Gerard nods proudly, then leaves, closing the playroom door behind him. Barnabas helps Julia to her feet--I'll take you to Angelique's room, he vows-quickly. Outside the room, Gerard locks the door and smiles, pleased. Barnabas leads Julia to an armoire so she can prop herself up. He tries the door handle and finds it locked. Spotting Carrie's ghost, he pleads, "You helped me once, help us now!" The young girl turns and walks into the wall, disappearing from sight. Barnabas and Julia see a door appearing exactly where she exited.Barnabas slowly opens it, looking behind him at Julia. It's a stairway, leading up, he says--we can escape, we can! He slips his arm around her and leads her to the staircase. They go up, Julia with difficulty. He grips her tightly-it's just a little longer, he assures her. In pain, she nearly collapses, but he grabs her before she falls. They spot another door. Barnabas says, with happy relief, "JULIA!" He helps her through the door--you'll sit in this chair and will be all right, he says--relax, sit down, you'll be all right. A young blond girl who looks exactly like Carrie but dressed in modern clothing, appears before them. "Who are you?" she asks accusingly. "What is wrong-who are you?"

NOTES: Who is the blond girl, and why can she speak now? Wasn't she just a ghost? Where did that mysteriously -appearing staircase take Barnabas and Julia, and what WAS that staircase, anyway? Are they back in 1970RT or somewhere else?

Those who believe Julia and Barnabas belong together often cite the events in this episode as a turning point in their relationship. Julia has betrayed Barnabas, nearly getting him destroyed by the sheriff, yet when she urges him to return to 1970 without her, he replies, "Never without you," and indeed, when the battle is joined for Julia's soul in the playroom, Barnabas beats Gerard, and gets the last word. Of course, we don't know for sure where Barn and Jul have ended up here, or if they are where they want to be, but they have escaped Gerard, in any case, thanks to Carrie's intervention. In any case, these scenes between them are wonderful to watch, and whether or not you think romantic love is exhibited here, it certainly shows that Barnabas cares very much for Julia. When Julia was caught between the two, about to commit suicide, it was Barnabas she ultimately listened to, and that was very satisfying for the viewer.

Very exciting episode, filled with so many happenings. I wonder what Barnabas told Stokes happened between him and the sheriff. Stokes doesn't know Barnabas is a vampire, not for sure, anyway, and I always wondered what story he made up to tell him.

RIP, Professor Stokes, like Carolyn, the sheriff and Mrs. Johnson, you fell under Barnabas' unlucky streak, dying because he insisted on a seance and Gerard decided he had had enough of your interference. I guess it's not a coincidence that all of those with whom Barnabas and Julia came in contact in 1995 are dead, except the clerk from Collinsport. Barnabas always leaves death in his wake, doesn't he, wherever he goes? I guess Angelique's curse just never lets up.

The seance that ultimately resulted in poor Eliot's death didn't glean any new information for Barnabas and Julia, it was just a rehash of Carolyn's note. Such a waste for so little value.

A wonderful final episode in 1995. I enjoyed it to the hilt!


1071 - The young girl with long blond hair (the spitting image of Carrie from 1995) looks askance at Barnabas and Julia. The latter rises from the chair. Barnabas tells the blond, I don't know how you helped us, but I want to thank you. Helped you? demands the girl, thoroughly confused.Don't be afraid of us, says Barn. Who are you-what are you doing here? the girl asks. Her dress isn't the same, Julia points out to Barnabas. That's right, he agrees--she can't be the same girl we saw in the playroom. The blond petulantly says, I'm going to tell Mrs. Stoddard. Wait, says Barnabas, taking her hand, you mustn't be afraid of us, please believe me. WHO ARE YOU? she asks again, shrilly. Finally, Barnabas introduces himself and Julia. I've heard them talk about you, she says. Did you say that Mrs. Stoddard was here? asks Barnabas. Yes, of course, responds the girl. Is it possible, Barn asks Julia, that we traveled through time while we were on those stairs? I don't know, says Julia--she asks the girl standing in front of them, "What year is this?" Don't you know? she asks, scared that they should ask such a question. Julia agrees--it may seem very strange to you, but we have just had a very frightening experience-even if we explained it, you couldn't understand. It's 1970, replies the blond, mystified. Barnabas! says Julia exultantly, we're back-I don't know how it happened, but here we are! I don't understand, either, says Barn, but at least we can try to prevent what's going to happen. The blond, flummoxed, looks from one to the other--I don't understand anything you're saying! she complains. Who are you? asks Julia--how long have you been staying at Collinwood? My name is Hallie Stokes, she reveals-I'm Professor Stokes' niece-my parents were killed in an accident and he brought me here-Mrs. Stoddard invited me to stay. (I remember wondering the first time I saw this ep if she and Amy were fighting over David.) Take us to her or Roger Collins, says Barnabas, we have a great deal to tell them. Roger Collins is in Europe, says Hallie, Mrs. Stoddard is downstairs. Barnabas slides an arm around Julia and they follow Hallie out.

Liz sits in the drawing room, reading a book. Quentin runs in and closes the door behind him. I've been to the East Wing, he tells Liz--this time I saw something happen-the room changed while I was standing in the doorway-there had obviously been a fire; there was smoke in the room and there was a young girl wandering around the room calling Barnabas. Did you know who she was? asks Liz. No, I'd never seen her before, he says-there was no sign of Julia or Barnabas--I tried to communicate with the girl, but couldn't. Do you think it possible that Julia and Barnabas were trapped in the fire? asks Liz. That's the only conclusion I can come to, says Quentin, and if it's true, Elizabeth, then we shall never see them again. At that moment, the double doors fly open and Barnabas, Julia at his side, proudly proclaims, "Elizabeth, Quentin-we've returned!" Liz gazes at the smiling pair as if they're ghosts, exchanging a look with Quentin, who is obviously delighted to be wrong.

Julia sits by he fire; Quentin and Liz are seated together on the sofa as Barnabas paces the room and explains, we found out too late that Stokes had set fire to the house-when we tried to get out, we found the corridor in flames, and then the room changed. We were afraid you were both lost in the fire, says Quentin. Julia stands-Quentin, she asks, how did you know about the fire? Quentin saw the room change, says Liz, he said it was filled with smoke. When did you see it? asks Barnabas. Right after you and Julia got here, says Quentin. That isn't possible, insists Barn-the fire occurred over a week ago. Barnabas, says Quentin, are you telling us that the room changed over a week ago, with you and Julia in it?Yes, says Barnabas. Then where have you been? queries Quentin. That's the incredible part of our story, he says-we found ourselves transported to the future-to the year 1995. 1995? repeats Liz in disbelief. Barnabas! says Quentin, skeptical, too. (but how?-he's been a werewolf!) It's true, says Julia, we were there, and the two of you must listen to what happened to us. Unless something is done very soon, warns Barnabas, there will be a catastrophe right here at Collinwood. What are you talking about? asks Liz. After we left the West Wing room, says Barn, we came down to the foyer and found the house in ruins-the beams had collapsed, the floors were covered with leaves, no power at all-the house was in a complete shambles. Julia adds, we couldn't imagine what had happened, the entire place was deserted--we went to the cemetery and saw Mrs. Johnson, who was putting flowers on David's grave. This horrifies Liz. Yes, says Barnabas, according to the tombstone, David had died in 1970. You must have imagined it! insists a stricken Liz. You must listen, says Barn, as don't have much time to prevent what's going to happen. Time for what? asks Quentin. The disaster is due to happen very shortly, says Barnabas. Exactly what do you think is going to happen? asks Quentin. I wish I knew, says Barn-Julia and I found everyone completely changed in the future, everyone either unable or unwilling to tell what caused the catastrophe. Who else did you see there? asks Q. Carolyn, Stokes-and you, Quentin, says Barnabas-everyone else had disappeared mysteriously. And I wasn't able to tell you what happened? asks Quentin. No, says Julia, we discovered that you had been in a mental institution-you didn't know anything, neither did Stokes-the only person we felt knew anything was Carolyn. And she refused to tell you? asks Liz. Carolyn, says Julia, was in a very strange state, mentally--she had somehow managed to block out the memory of what happened. And toward the end, says Barnabas, she began to remember. Towards the end-what do you mean? asks Liz. She died of fright right here in this room, says Barnabas solemnly. It sounds so terrifying, exclaims Liz, I can't believe it really happened! Barnabas, says Q, when you and Julia made the transition from PT to this time, isn't it possible you experienced some kind of hallucination? We both couldn't have imagined it, says Barnabas-and we have those few clues. Just before she died, says Julia, Carolyn managed to scribble a note-she said that there were six events that led to the catastrophe--in one of them she mentioned a place called Rose Cottage-have you ever heard of such a place around here? Liz thinks-I've never heard of it, she says, and don't believe there is such a place, at least near Collinwood. Do you know the date when the fire occurred? asks Q. I do, says Julia--I remember seeing the calendar in Inspector Hamilton's office-it was August 3rd. That's what I thought, says Quentin-today happens to be August 3rd. It can't be! protests Julia. But it is, says Quentin. Barnabas' forehead creases with astonishment. You think a week has passed, says Q, but actually not even one night has passed. I don't understand it, says Barnabas, but whatever the explanation is, I still believe the experience we had was real-and we had all better do something about it before it's too late.

Outside the drawing room, Hallie eavesdrops, breathing heavily with alarm. (sounds like David's taught her well-already!)

Collinwood drawing room - Barnabas and Julia pour over heavy tomes. Julia brings in two more large books, drops them on the desk, and asks, have you found anything? No mention of any names we heard, says Barn. Elizabeth found these two volumes covering the first half of the 19th century, says Julia. How is she? Barnabas asks. Still upset, answers Julia--she's afraid. Barnabas takes one of the books and asks, do you think it was wise for us to have told Liz and Quentin about future? (They're in the same clothes; shouldn't they have showered and changed?) They're going to be a part of it, Julia reminds him; we had to tell them, no matter how disturbing it was for them. Maybe Quentin was right, says Barnabas, maybe we did imagine it. We couldn't have, says Julia. The playroom theme begins to play. A faraway, romantic expression steals into her eyes. It was too real, she adds-even now, I can almost still feel that presence of evil, I can still see Gerard's face, vividly, in my mind-we were there, Barnabas, somewhere back in time, those spirits existed as living human beings. I found one of the names, says Barn excitedly-Daphne Harridge-governess to the Collins in 1840-that's all there is, but at least it's a beginning. He rises from the chair-I'm going to the cemetery-when we saw Daphne's spirit, she looked as she did when she died-quite young-I want to find out just how young. I want to come with you, says Julia, and follows him out.

We see Quentin's gramophone reflected in a mirror. He's sitting in a lounging robe, staring into space, when Hallie knocks at his door. He lets her in--it's past your bedtime, he reminds her. She's wearing a lime green night dress. Do you have trouble? He asks. Yes, she says, but I don't know what it is. He grins (oh, boy, does he look cute), and says, you have to do better than that. You know those strange feelings I get sometimes? she says-those two people who came back to Collinwood today... Barnabas and Julia, prompts Quentin. Yes, she says, do you think...what I mean is-are they good people? You've seen them, says Quentin, what do you think? I don't know, Hallie says, when I first met them in the West Wing, I was frightened by them. Hallie, says Q, you met them in the West Wing-are you sure? Yes, why? she asks--I guess the reason I was frightened was because of the way they looked at me and talked to me. What do you mean? he asks. They said things that made me think they had seen me someplace before, she says, and I know I've never seen them before-but then when I brought them downstairs, I had the awful feeling that something terrible was going to happen-soon! Quentin drops gentle hands on Hallie's shoulders--Barnabas and Julia are very fine people, he assures her-and you don't have to be afraid of them or anything else-now you should believe that-just what were you doing in the West Wing? I don't really know, she admits--I was sitting in my room and suddenly had the feeling I had to go to the West Wing-and had no idea why. This admission bothers Quentin.

Julia and Barnabas locate Daphne Harridge's tombstone. She was born 1818 and died 1841, it says. There's a dove flying away underneath her name. She was 23 years old, notes Barnabas. She didn't die a natural death, says Julia, because her spirit is not at rest. If we could find out how and why she died, says Barnabas, at least we'd be making some progress. We've already learned more than I'd hoped to, she says-look who's buried here. Gerard Stiles, says the tombstone next to Daphne's, 1811-1841-IN DARKNESS HE DID LIVE AND DIE.

Quentin paces his room (the same one he had in 1897). Barnabas, who has finally changed clothes, knocks--Mrs. Johnson said you wanted to see me, says Barn. When you were telling us the story downstairs, says Q, you left out one very important detail. There was so much to tell, explains Barn, I left several things out, one about you-when we finally found you, you hadn't aged at all, you looked exactly as you do now, obviously, your portrait hadn't changed. Ruefully, Quentin says, I don't know if that's something to look forward to or not-anyway, when you told us the story, I was convinced you'd imagined your experience in the future-now I don't know. What was the detail I left out? asks Barn. When you returned from PT or the future, says Quentin, you should have come back through the East Wing-now Hallie just told me she discovered you in the West Wing. That's right, says Barn. Do you have any notion how you got there? demands Quentin. None whatever, says Barnabas. Quentin asks, have you said very much to the girl? No, says Barn, Julia and I felt she wouldn't understand. Good, says Quentin, because I don't want Hallie to know anything you told Liz and me; she's a very sensitive child, she frightens quite easily. I understand her parents died quite recently, says Barnabas. Yes, says Quentin, about six month ago; she was living with relatives and Stokes brought her here-we've become quite fond of her. You have my word, promises Barnabas, that I won't say anything to her. Now, about your return, says Quentin, you don't have any idea whatsoever how you got where you were? All I can tell you, says Barnabas, is that we were in the children's playroom off the West Wing corridor. Wait a minute, interrupts Quentin, there's no playroom there, and never has been. That's the way I felt, too, says Barnabas, but that's the room that led us to the West Wing corridor-Julia and I were in it, we didn't know how we were going to get out, and then Hallie appeared. Hallie? asks Quentin. Actually, says Barn, it was the ghost of Hallie-you see, in the disaster that is coming, Hallie is supposed to have died, too. Go on, encourages Quentin. The spirit guided us to a door that hadn't been open (existed) a moment before, explains Barn-we went through it and found a strange staircase, then another door that led to the corridor, and Hallie appeared again, only this time, she was alive-that's when we knew we had gotten back! As fantastic as it all seems, says Q, I'd be willing to believe it, but a playroom just doesn't exist. I will prove to you that it does, says Barnabas, now come with me. They leave Quentin's room.

Collinwood drawing room - Julia asks Hallie, have you ever heard of a place called Rose Cottage? No, says Hallie nervously, I haven't-I'd better go, it's time for me to go to bed.All right, Hallie, agrees Julia sounding rather clinical, "Good night." Hallie leaves. (Julia doesn't seem her warm self at all here; you'd expect her to be kind and gentle with Hallie.)

Barnabas shows Quentin the door from which he and Julia emerged-it leads to the playroom, says Barn. I'm afraid you're in for a dismal disappointment, says Quentin, and pulls open the door. Barnabas enters and finds only a linen closet. I don't understand! he says, I swear, this was the door! I don't understand either, says Quentin, but there is no playroom, and it's not conceivable that there ever could have been a playroom here, because on the other side of the wall is the outside! They stare at each other, Barnabas nonplused. Are you satisfied? Asks Quentin. Barnabas, without another word, leaves the hallway.We, however get a view on the other side of the door, where the playroom has, like Brigadoon, suddenly appeared. A carousel turns, playing the familiar music we have come to associate with Gerard.

NOTES: An entire room that appears and disappears? That's cool! And scary. It's good to be back home, but I can see where Hallie's shrill voice can get on one's nerves. No explanation yet as to what happened to Amy. Perhaps David and Hallie buried her in the backyard.

So, Barnabas and Julia have found Gerard and Daphne's graves, and both died young. What is their connection? Why are they buried side by side?

Hallie must be psychic, I guess, a bad trait to have at Collinwood.

Barnabas and Julia reappeared in a different wing than the one they were expected to return from, hmmm? Why? What's with the mysterious staircase, and how did it move them from 1995 to exactly where they were supposed to be? Is it a staircase through time, perhaps?

Further mysteries-the missing week. Quentin just saw the fire occur in PT, but Barnabas and Julia left there and spent at least a week or more elsewhere. Why the discrepancy?

More mysteries to add to the large crop Julia and Barnabas brought back with them from 1995. Will this ever come together and makes sense? This is DARK SHADOWS, so who knows? But trust me, it's going to be a fun ride.

Love, Robin

1066 -
David and Barnabas stare at each other. Barnabas asks the boy, don't you recognize us?--it's Barnabas and Dr. Hoffman--speak to us! he implores.  He won't speak, says Julia. Suddenly, David turns away and fades into the wall. The ghost of David Collins, says Julia. Barnabas, amazed, steps forward. Yes, why has it come back to Collinwood now? wonders Barnabas. Perhaps he's been here ever since the catastrophe, suggests Julia. If only we'd been able to communicate with him, laments Barnabas. Did you see the expression on his face when he looked at us? asks Julia. Yes, says Barnabas, it was absolutely no recognition--I'm convinced this room holds the key to what we're looking for--I know this room didn't exist in 1970, and yet this room had something to do with what happened then.  Even though it didn't exist? asks Julia. Strange as it sounds, yes, replies Barn, yes. How can we find out what happened, we've been trying to from the beginning? she queries. I think Quentin knows more than he's telling us, says Barn, I'm so anxious to know why he reacted to the ghost when he saw it like he did. Yes, says Julia, why did Quentin run off like that?--and more important, where did he run to? They agree they had better find him--he's in no condition to be running around by himself. They exit the playroom.

Quentin, clomping downstairs, tries to leave through the front doors, but finds them locked. A fierce wind blows through the house. Quentin, gazing around fearfully, goes to the windows in the drawing room and looks out. A light fixture falls only feet from him. No, leave me alone! he cries--no, leave me alone, I didn't want to come back here, they forced me to come back in the house--listen to me--can't you hear?--if you let me go, I promise I'll never come back here again! He huddles pitifully between two fallen beams, staring skyward. The sounds of sci fi music fill the room, hurting Quentin's ears. He covers them, then runs into the drawing room, demanding, "Will you stop torturing me?" The kitchen door sways in the wind. He tries again to exit the house, banging on the door, but fails. The sounds stop, leaving an eerie silence. Quentin walks back into the center of the foyer, gazing upward, then looks to the landing, where we see the silent man standing, staring back at him. Quentin clings to the clock. The man comes downstairs. Stay away from me! pleads Quentin, God, please stay away from me, please!  He stumbles backward into the living room and falls to the floor. He curls into a fetal position, moaning, crying. We see what appears to be The Man enter the drawing room; he stands beside him, touching his shoulder. Quentin screams. The camera draws back and we see it isn't the man with the cruel face, but Barnabas who has touched him. Quentin, covered in debris from the floor, rises to his feet and clings to the crossed beams. What's wrong? Barnabas asks.  There's no way out, babbles Quentin--he has us trapped in here. Who has? asks Julia. Tell us who you're talking about, says Barnabas. He's going to kill us! blares Quentin, hugging the beam--and there's nothing we can do to stop it--he's out there on the landing, I saw him. We just came across the landing and down the stairs, says Barn, and saw nothing. HE IS OUT THERE ON THE LANDING, I'M TELLING YOU, I SAW HIM! says Quentin. I'm going to prove to you there's no one there, insists Barnabas and walks out of the room.  Where are you going? asks Quentin, following him. To the landing, says Barnabas. No, says Quentin, he'll kill you!  Barnabas goes anyway. He looks upstairs, then walks up, as Julia and Quentin watch. Barnabas stands on the landing--Quentin, he says, no one is here, you have nothing to be afraid of. Oh, yes I do! Quentin insists--I'm telling you, we've all got something to be afraid of, he has us trapped in this house--he begins to laugh wildly--and the door's locked and there's no way out!  Barnabas comes back downstairs and tries the front door. It opens easily. Quentin tries to bolt outside--we've got to get out of here!  You should return to the Old House with us, says Barnabas--Julia will give you a sedative. No, argues Quentin, as Julia seems to be experiencing a chill--I don't want anything from either one of you, you should of never come back here--never!  He runs off. Julia calls to Barnabas--I have the same feeling as I had the other night, she says--the presence of evil. He offers to take her back to the Old House. Someone is watching us, she says, clutching her jacket collar more tightly to her throat. Barnabas looks around--no one is here, he says.  No one we can see, she says--but the feeling is overwhelming. Come along, he says, escorting her out and closing the door. From the landing, the evil man watches them go.

As they are leaving Collinwood, Barnabas and Julia spot what appears to be David and a blond girl in a pink dress standing in the gazebo.

They haven't seen us, says Barnabas. Let's make sure they don't, advises Julia; they hide in the bushes. The music begins to play again. Where's it coming from? asks Julia. I don't know, says Barnabas. David holds out his arm to the young blonde girl, leading her off the terrace to the grass. They bow to each other; he takes her hand. They begin to dance, in a very old-fashioned manner. They didn't dance that way in 1970, says Julia.  Barnabas agrees. It's a minuet, realizes Julia, why are they doing that? They watch the children bow to each other again. Let's approach them, suggests Barnabas. No, says Julia, if we do that, they'll just go away--we should watch, wait and see if we can learn something. David and the young girl finish their dance.  She kisses him on the cheek. He takes her hand and they walk off together.They're leaving, says Barnabas. There's no way we can stop them, says Julia. David, wait, speak to us! calls Barnabas--that girl...who is she? David and the young woman walk toward the trees, fade, and disappear. I believe she's important to all this, says Barn--isn't it curious that David should be with someone we never saw at Collinwood?  Maybe she came after we left, suggests Julia. How much time has actually passed since we left? asks Barn. I don't know, answers Julia--Quentin might know who she is.  No doubt about that, says Barnabas, the question is, can we get him to admit it and tell us about her? We can try, encourages Julia, her hand on his arm--and off they go.

Old House - Quentin, still covered in house debris, looks up and asks no one, "Why won't you appear to me? Is it because of all the tragedy and death? Nothing can change all that--whatever's done cannot be undone."  Barnabas and Julia enter the house, overhear Quentin talking to himself, and quietly listen. "Just like," continues Quentin, "nothing can be done about the burden of guilty that I've felt for all these years--the memory of you is all I have left--oh, please, Daphne, please let me see you again."Barnabas and Julia stare at him, perplexed.

Barnabas approaches Quentin, who asks how long have you been standing there?  We just came in a moment ago, says Barnabas, but we couldn't help overhearing--Quentin, who is Daphne? I'll tell you nothing, says Quentin. Is she the girl we saw talking with David a short time ago? Barnabas asks. David? repeats Quentin--David Collins?--David Collins is dead!  We know that, says Barnabas, we all saw his ghost earlier in the playroom--you ran when you saw it. Quentin, voice trembling, asks Barnabas, why are you trying to confuse me?  Julia steps forward---you must know who you saw, she says. I did not see David in the playroom--it was Tad that I saw! cries Quentin. Barnabas, she says, that was one of the two names on that birthday card. Barnabas goes to Quentin--the child we saw was David, he says, there's no doubt about that--why do you think this person is named Tad? I am not going to answer anymore of your questions! says Quentin defiantly. Quentin, who was Tad?--tell us, demands Barnabas. Quentin grabs Barnabas by his lapels and shouts, "Now you get out of my way before..."  Before what, Quentin? asks Barnabas quietly. Quentin stares at him.  Barnabas adds, "I suggest you try to get a hold of yourself." Quentin slowly releases Barnabas' collar and turns away. Go upstairs and get some rest, urges Julia. There can be no rest now, scoffs Quentin, and goes upstairs, his gait one of defeat and exhaustion. Barnabas, it's almost dawn, Julia reminds him.  And another night's gone by, laments Barnabas, and each new clue that we find leads to so many more questions--three meaningless names. They're meaningless now, says Julia, but in time, they don't have to be--we'll learn who they are. Yes, in time, agrees Barnabas.  He walks to the cellar and closes the door behind him. Julia is thinking hard.

Quentin comes back downstairs. He sees Julia napping in the chair and observes her. She awakens--you frightened me, she says. Why should I frighten you? he asks. I didn't expect to see you standing there when I got up, she says. You shouldn't be afraid of me, he says softly, I never mean to hurt people--intentionally. Are you feeling better today? She asks. I was upstairs in the attic room and found the door locked, he says--who locked it? Barnabas, says Julia. Why? he asks. To protect your painting, says Julia. Where is Barnabas now? asks Quentin. It's still daylight, she reminds him--you know he can't come out until dark. I don't know what you're talking about, he says--anyway, it's going to be dark soon. Julia licks her lips, not expecting this.  Tell Barnabas I want to see him, says Quentin, and exits the room. Through the window, Julia sees the blonde girl who danced with David at the gazebo, beckoning her to come out. Julia leaves the house and follows the young girl, who leads her to Collinwood and opens the double doors. Julia follows her inside, spots the young girl on the landing, and follows her upstairs.  With that same weird, slanty camerawork, the blond arrives at the playroom and enters, closing the door behind her. Julia comes in right after she does, looking around the room for the girl, but can't find her. The door closes, locking Julia in. She tries the knob.Suddenly, the man with the cruel sneer appears across the room from her.

NOTES: This was a very short episode; usually I have nearly three pages from each episode. Ah, I see from the credits that the new blond character who did the minuet with David is named Carrie, played by Kathy Cody. However, it appears that the character wasn't David, but Tad?  How are Tad and David related? Another mystery in the pot.

David Selby is excellent in this portion of the series. Insane, childlike, sometimes seemingly normal, he imbues Quentin with pathos, empathy and sometimes makes us furious with him. What could have happened to make him this way, and who the hell is Daphne? Last time we saw him, he was under a spell put in play by Angelique to love Maggie (which might explain the picnic photo of the two of them looking so chummy).

Now Julia finds herself face to face with Gerard, the mysterious ghost who somehow had a hand in destroying Collinwood--or so it would appear.  What are his plans for her? Surely they can be nothing but evil, given the vibes he gives off now. And why did Carrie so willingly lure Julia to Collinwood to face Gerard?

Many questions, more every day, but where are the answers? How is it that Quentin seems to have forgotten that his cousin is a vampire? It's one fact that most folks would find hard to forget. Who--and why--was David doing such an old-fashioned dance with that girl--or was it David doing the dance at all?

It's getting very good indeed.


1067 - "A ghost whose mere presence corrupts the surrounding air," is how Thayer David describes the spirit Julia finds when she goes into the playroom and finds herself trapped with the snarly-lipped ghost himself. Nervously, she turns and sees him eying her from the opposite side of the room.

Fearfully, Julia asks, "What do you want? Please don't look at me like that, I can't bear it! Stay away from me...don't come any closer!"  He ignores what she asks, moving relentlessly nearer, and she repeats, stop looking at me that way, please stop! He simply glares at her, not saying a word, and locks his eyes with Julia's.

Barnabas rises from his coffin down in the Old House basement. He closes the lid and goes upstairs. We see the head of a walking stick, which is held in the hand of Eliot Stokes, who waits in the dark.  Barnabas comes out, calling to Julia, and is surprised to find this bulky person who isn't Julia sitting in his chair.  What are you doing, Eliot, sitting there in the dark?  It was still dusk when I came in; says Eliot, I must have dropped off in the chair while I waited for you. Barnabas asks for Julia.  She isn't here, reports Stokes--I'm surprised you didn't hear me when I called you--where were you, in the basement? Yes, says Barn, at the far end of the house--there was a flaw in the foundations back in 1970, and I was checking for further deterioration. Barnabas tells the lie smoothly as he lights the candles. And was there? asks Stokes. Considerable, says Barnabas.  I'm not surprised, says Stokes--everything here has deteriorated. Why did you want to see me? Barnabas asks.  I tried to revive Carolyn's memory about the night of the disaster, says Stokes, with as little success as you and Julia had. I have other things to ask you about, says Barn--there are apparently two other ghosts beside the evil spirit you mentioned--do sit down. Stokes sits.

Julia, dazed, walks downstairs at Collinwood. She wanders into the foyer and gazes up at the landing, where the ghost stares malevolently back at her. As if in a dream, she leaves the house.

Why, wonders Barnabas, am I getting the impression that you aren't being completely honest with me?  I am being honest, says Eliot--as I told you, I was in Europe when the disaster occurred, and know none of the details. Did anyone reported to you that two children were on the estate? Asks Barnabas. Eliot is puzzled--children? Yes, David Collins and a young girl, says Barnabas. You saw David? asks Stokes. His ghost, says Barnabas, and the ghost of a young girl--what do you know about them? Nothing, says Stokes. Do the names Tad and Carrie mean anything to you? questions Barnabas. Stokes thinks it over and says no, nothing.  Barnabas explains about the birthday poem he and Julia found in a playroom at Collinwood, written by Carrie for Tad. Eliot rises from his chair and says, there have never been any children with those names at Collinwood. I'm aware of that, says Barn, but the birthday poem must have had some meaning. I haven't the slightest idea what it is, says Stokes. Quentin insisted that David was Tad, explains Barnabas, and he also mentioned the name of a woman--Daphne. You talked to Quentin? asks Stokes. He's answered from the steps, by Quentin himself--"Yes, he talked to Quentin and now Quentin's going to talk to Professor Stokes."  His face is furious as he advances on Stokes, who asks, what are you doing here?  I was drawn here by an insatiable desire to put my hands around your neck, says Q and...  He begins strangling Stokes.  Barnabas moves behind Quentin and pulls him away. I told you I'd kill you and I meant it! yells Quentin. Barnabas, holding him at bay, demands, why, Quentin?  "Because he failed!" says Quentin--"He failed--look around, you can see for yourself!"  Eliot, what does Quentin mean? asks Barn.Scared, Eliot says Quentin will kill me--he's mad. Yes, agrees Quentin, mad, but why, Stokes--why--because of you and your phony exorcism--you said you'd rid Collinwood of the ghost in this house--and what happened?--you simply raised his wrath--if you had not angered him, none of this would have happened! Barnabas listens intently. Stokes walks gingerly around Quentin, begging Barnabas, keep Quentin at away from me--"He'll kill me!"  Eliot hurriedly exits through the front door as Quentin shouts to Barnabas, let me get Stokes, I want to put my hands around his neck!  Barnabas grips his arms, keeping him from going after Stokes, and says, "You're going to stay here with me." He pushes Quentin into a chair. He deserves to die, insists Quentin--you see what he's done. Perhaps, says Barnabas, he was only trying to do what he could! Julia enters, takes in the scene--I saw Stokes rushing through the woods--what happened? she asks.  He's in the woods? asks Quentin, rising from the chair--good, I'll find him. Once again, Barnabas grabs his arm, holding him back--Julia, give him another sedative, says Barn. Quentin insists--the only sedative I need is to get my hands around Stokes' neck--I'll be calm for the rest of my life. What's going on, Quentin? she asks.  Quentin believes Stokes' attempted exorcism caused this disaster, explains Barn--by bringing the wrath of the spirit down on everyone at Collinwood. He failed, accuses Quentin as Barnabas pushes him back in the chair, he failed. Of course he failed, agrees Julia, sounding far away--everyone will. She heads upstairs, looking really spooky, not saying another word.

Old House - Barnabas paces the drawing room. He looks upstairs as Julia comes down--how's Quentin? he asks. He's calmer, she says, I'm hoping he'll sleep. I can't forget what Quentin said about Stokes' attempt at exorcism, says Barn--Julia, I'm convinced more than ever that the evil  spirit holds the key to everything that's happened here. He can't be reached, says Julia. What if I don't want to reach him--what if I just want to get rid of him? suggests Barnabas. How? she asks. Another exorcism, says Barnabas. You can't, she objects. I can try, he says, or get someone who knows how. She shakes her head. No, it's too dangerous, she says, believe me, I know what I'm talking about--when he wants to do something, nothing will stop him. His forehead creased with puzzlement, he asks, how do you know that?  Because of the way he made me feel when I saw him first, she says, I tried to explain that to you. But if he were gone, perhaps Carolyn and Quentin would recover, suggests Barnabas. That's what Stokes thought, but it didn't work, says Julia. I can't give up, he insists.  Barnabas, she says, looking deeply into his eyes, but she walks away and says, I have something important to tell you. Outside the window the ghost stands, looking in at her.  Spotting him, she hastily says, it happened at dusk tonight--I was sitting in this room. And what? prompts Barnabas. Nothing, says Julia, it wasn't important, I felt a presence here, probably my imagination, I shouldn't have mentioned it. That's all? asks Barnabas.  Yes, she answers. The ghost is gone when Barnabas stands close to Julia and warns, you must be careful--very careful--especially when I'm not with you during the day. I will be, don't worry, she assures him.  Which reminds me, says Barnabas, at sundown, where were you?--where did you go?  For a walk, she says, I felt the presence here and just wanted to get out for a while. She sits in one of the chairs. You didn't go to Collinwood, did you? he asks. Do you think I'd be that foolish? she asks. No, of course not, he says, smiling. They hear something upstairs. Probably Quentin, she says, why don't you go upstairs and see what you can do to help him?  I'll do what I can, says Barnabas, hurrying upstairs. After making sure he's gone, she goes to the desk, takes paper and pen, and writes something down. She glances upstairs and very quietly leaves the house.

Barnabas and Quentin come downstairs.  Come in and sit with me, invites Barnabas. Quentin is rubbing his temples as though in pain. I promise to say nothing to upset you, says Barn. Quentin complains, I feel like my head is going to explode into a thousand different pieces. Maybe Julia should give you more of a sedative, suggests Barnabas--where is Julia? He finds her note, which only says she's gone out. Maybe if I just sit down and don't move, don't blink--even my teeth hurt, says Quentin, still rubbing his temples. Barnabas wonders aloud, where could Julia have gone?

Collinwood - playroom - Julia enters and looks around. Someone's here--is it you? she asks--who is it? A woman dressed in red comes out and faces Julia. Who are you? Julia asks.  From behind Julia, the sneering ghost enters. The music begins to play. Julia tells the male ghost, someone else is here, I saw her. The female ghost disappears.  Someone was here, says Julia--I heard a sound, like the rustling of a woman's dress, and the scent of lilac--who is it?--tell me who it is. He sneers at her. Tell me why you sent for me, persists Julia--I know, you're afraid that I'll tell Barnabas that I've seen you, that we've met--I won't, I swear I won't--please don't look at me like that--I'll never tell!  He continues to stare at her.

Stokes gazes nervously upstairs, asking Barnabas, are you sure Quentin won't come down again?  Quite sure, he's sleeping, Barnabas assures him. He's dangerous, says Stokes, you should know that by now. I do, says Barnabas. He shouldn't be here, says Stokes, you ought to send him back to the institution. What if I told you I know of a way to cure him completely? asks Barnabas. I should be very skeptical, if you'll forgive me, replies Stokes. What's doing this to him? asks Barnabas. The devastation of Collinwood, says Stokes, and what happened to the people who lived there. That and the presence of the evil spirit? asks Barnabas. What are you suggesting? ask Stokes.  Isn't it obvious? counters Barnabas. Not another exorcism, says the Professor. What else? asks Barn. (There is an abrupt cut to the next scene here, and one senses something was taken out.)

Back in the playroom, Julia asks Mr. Nasty-Face, why do you keep looking at me?--what do you want of me?  He seems to tell her telepathically."Yes, I understand what you want...yes...yes..." she says, her face sad.

Standing inside at the Old House door, Stokes tells Barnabas, I wish I could persuade you to profit by my terrifying experience--please, don't do this. Of course I will speak to Julia before I do anything, Barnabas assures him. Stokes nods--as much as I'm against it, he says, let me know if I can be of any help if you do decide to proceed. Of course, promises Barnabas, and lets Stokes out. He goes back and re-reads Julia's note, perplexed.

Stokes walks through the woods and runs into Julia. The male ghost is with her, but disappears into the shadows before Stokes can see him. Are you all right, Julia? asks Eliot.  I am, she says she is, you just startled me, that's all. Who was with you? he asks, I was sure I saw someone walking behind you. Must be the leaves and the shadows, says Julia with a tiny smile. Curious, says Stokes, I could have sworn... I'm afraid Collinwood works on all our imaginations, she says. He gives her an odd look and agrees--come, he says, I'll walk you back to the Old House. You don't have to, she says, I'm almost there, and walks away. There WAS someone with her, Stokes tells himself, I'm certain there was!  He turns and hurries off. The ghost comes out of hiding, watching where Julia's gone.

Old House - I'm sorry, Barnabas, for just running out that way, says Julia, but I needed some air--how's Quentin?  Still sleeping, says Barnabas. I'd better check, says Julia, heading upstairs. Quentin is suffering so much, as is Carolyn, says Barn--"You will help me, won't you?" (Does he already sense something different about her?)She tilts her head, smiles--of course, she says, I'll do what I can. "I've not always been kind to my cousins," says Barnabas, "there are times when I was even cruel--to see what's happened at Collinwood, and what the Collins family has been brought to, at some moments it seems almost more than I can bear." You care about them very much, don't you? asks Julia. Yes, says Barnabas, they are people I love, people who have struggled and suffered--forgive me. He looks down as if ashamed. Julia comes back downstairs, stands beside him and says, we should try to get back to our own time--all we can do here is watch them suffer, and even worse things could happen. Leave here, doing nothing, knowing nothing? asks Barnabas. If we stay, she says, we don't know what could happen. Is anything the matter? Barnabas asks--did something happen to you out there just now?  No, she says, what makes you ask?  It just isn't like you to speak like this, he points out. Yes, I'm sorry I mentioned it, she says, of course we'll stay, and what will happen will happen. She goes upstairs, but first gives him a smile. Barnabas, smelling lilac, asks, who's here?--I sense your presence--appear to me.  A woman materializes before him. Who are you? he asks--please, I beg you, speak to me! Thunder rolls; wind fills the room, blowing out the candles. She begins to fade.Don't go! pleads Barnabas, come back, to me--come back!  She is gone. Barnabas picks up a piece of paper on which he finds written three woods: "She will die!"

NOTES: Wow! It looks like this creepy ghost has put Julia under his power, and you somehow sense whatever his plans, they bode evil for both Barnabas and Julia. The ghostly woman appeared to warn Barnabas that "she" will die. It could mean Carolyn, one supposes, but most likely Julia, now that Gerard has his claws into her. This is exciting!

Barnabas' idea to do another seance is a bad one. What makes him think he'll succeed where Stokes failed? Why bother when everything is already so messed up? He should go back to 1970 and prevent this from happening at that end, not this one. Stokes is such a good man, wanting to stay and help even though Quentin apparently blames him for the tragedy that befell Collinwood.

Sad speech by Barnabas, admitting he's done terrible things to his cousins (including biting Carolyn's throat and running down Quentin), but he does love them now, and wants to prevent this tragedy from happening. Julia tried to get him to go back, to escape the ghost's ugly influence, one senses, but as usual, Barnabas talked her out of what would be the best course of action. Of course, he doesn't know what happened to Julia, but was astute enough to notice SOMETHING did. He's less clueless than usual here, but his choices are dangerous.

The scenes between Julia and Gerard are creepy. "Stop looking at me like that!" she repeatedly pleads, but one senses his eyes are the windows to one very evil mind. It makes one tremble to think of what he has in mind for our hard-working supernatural hunters.

Love, Robin