692 - (Don Briscoe) - The light of a new day has never been more welcome to those who live at Collinwood. For they have just been subjected to a night of terror. They know now this great old house is haunted by the spirit of an evil man. They will soon learn that this spirit will never rest until everyone who bears the name of Collins has been driven from the house.
Liz explains to Julia exactly what transpired the previous night--the children, the music, and how it got louder and louder. It was as if the kids had taken leave of their senses, says Liz--there's no question Maggie is right--there's a ghost in the house who has taken possession of the children, and he's using the kids to terrify the others in the household--where is Stokes?--he said he'd be here at 10!
Julia explains to Liz that she believes Maggie is only half right--the kids are possessed, yes, but by two ghosts. Liz looks even less happy to hear this. Upstairs on the landing, the door opens by itself, as though someone is eavesdropping¢â‚¬¦
Two ghosts? asks Liz. Julia describes the strange woman she and Barnabas saw in the house one night--we followed her to Chris' cottage--when we got inside, she vanished--Chris saw her the following night. Liz asks why Julia never told her of this before. Julia humorously asks, would have believed me if I'd said you had a woman ghost in your house? Liz sighs and admits, before last night, perhaps not, but I believe you now. Stokes arrives. Liz almost runs to let him in. Stokes apologizes for being late--a long, tedious faculty meeting. He greets Julia and enters the drawing room. Yes, I feel a definite change, he says--the atmosphere in the room has changed. Liz says it's normal now, but Stokes says not. He asks what happened last night, with all the details, no matter how unimportant they might seem.
Chris sits in the cottage, playing with a cigarette lighter. Agitated, he paces his living room. The phone rings. He walks away from it, circling the room, letting it ring. It bugs him, but he doesn't answer it, deliberately allowing it to ring and ring. Finally, he picks it up. It's Ned, who complains he's been calling him all morning-where have you been? Working the grounds, says Chris. I thought you weren't yet working on the estate, says Ned. Well, I am, replies Chris. When can you see Sabrina? asks Ned. Chris waffles. You'd better visit her soon, threatens Ned, because both of us are getting impatient.
He implies a threat to Chris, then hangs up on him. Chris hangs up, too, then reaches into a drawer, takes out a photo and sets it in front of him.
Stokes asks Julia and Liz if Maggie and Mrs. Johnson are both convinced the kids are aware of these apparitions. Liz says all of us are convinced, although the kids have admitted nothing--they keep saying the adults are imagining things. Stokes explains it's not the kids' stubbornness they need to contend with; the disturbances are not imaginary. He senses a supernatural presence in the house, which he sensed at the first seance--it was stronger at the second, and now it's like the music they heard last night--one cannot pinpoint the source of it because it is everywhere.
Liz asks what can be done. Stokes isn't sure, but the overall behavior of the kids is the most disturbing aspect--it exhibits all the signs of true possession. He agrees with Maggie--each child has been possessed by a spirit, probably someone who lived in the house in the past. Stokes asks if the kids sometimes revert to their normal behavior. Yes, says Liz, but they can't get anything out of them then, either. Stokes says this indicates the possession is not yet complete. Could that really happen? asks Liz. Eventually, yes, says Stokes--complete loss of identity and free will. Liz rises--I want to get the kids out of the house right away! Stokes says this will only solve part of the problem--removing the kids won't remove the spirits, nor their machinations. Liz is afraid to leave them here. Stokes says the amount of danger depends on how imminent the danger is. Liz feels it's very imminent. Stokes, however, says the spirits have motivations--they want something and are using the children to get it--naturally, it's to their advantage to possess them only when it suits their needs--it may be to our advantage to keep the children here, because at the moment they represent the only exiting link between the two worlds. Liz doesn't want the children used. I want to speak to the kids, Maggie and Mrs. Johnson, says Stokes--I prefer to question them separately, in their rooms. Liz gives him permission. Stokes heads upstairs. Liz returns to Julia and asks for reassurance that Stokes is a cautious man--he won't put the children in further jeopardy, will he? Julia reassures her on this score; if Stokes felt they were in serious danger, he'd suggest moving them from the house.
Chris calls asking for Julia or Barnabas. Liz puts Julia on the phone. He begs her to come to the cottage right away. She asks him to wait. He thinks it's an emergency, and although nothing has happened yet, there might be someone who knows about him. Julia promises to get there as soon as she can. We see a photo of a pretty young dark haired girl on the desk next to Chris.
Julia examines the photo of Chris' former fiancee, commenting, "She was a very pretty girl." You don't need to use the past tense, says Chris; the girl is very much alive.This surprises Julia. Chris explains he thinks Ned might have wanted her to THINK Sabrina dead--I don't know why, or what Ned wants with me--Ned visited and told me she's alive, in town!--I got panicky when I heard about it, because I'm afraid she knows about me--the last time I saw Sabrina, she witnessed my transformation. Julia urges him to be rational, but he remembers quite vividly what happened. She reminds him he blacks out when the transformation happens, so he can't be sure of what happened after he changed. Sabrina was in the room, how did she get out alive? Demands Chris--if she wasn't killed, she knows about me and can identify me! Not necessarily, says Julia, because if she only had to ID you, Ned's behavior makes no sense--after Ned found you, why didn't he have the police arrest you and Sabrina tell them everything? Chris admits he doesn't know, and neither does Julia, who asks if Ned revealed why they're here. No, I got no straight answers from Ned, says Chris--he just said she was in town and wants to see me. Julia asks why he didn't bring Sabrina to see Chris, another excellent question. Chris didn't ask. You have to go talk to him to learn the answers, insists Julia. Chris doesn't feel he can face her again. For your peace of mind, says Julia firmly, you must find out why they are here!
Collinwood - Liz enters the drawing room and begins to open the mail. Behind her the secret panel opens. A disembodied hand picks up a letter opener and is about to drive it into Liz' back. Stokes suddenly cries, "Watch out, Mrs. Stoddard!", causing the floating hand to drop the letter opener and disappear. Stokes picks up the letter opener and tells her she was very nearly killed. He asks about the open panel. It goes to the west wing, she says, and hasn't been used in years. Stokes closes it and says--I think the children have been using it recently--I spoke to the kids and Mrs. Johnson and Maggie, and I feel we have a lot more to worry about than the children. (Would have liked to see those discussions.) I am now convinced that every life in the house is in danger, says Stokes somberly.
Julia advises Chris to call Ned Stuart--tell him you'll see him. Chris is afraid of what he'll find out. What will you be if you don't go? Asks Julia sensibly. She picks up the receiver and hands it to him. He looks at it grimly, then finally takes it and dials¢â‚¬¦We again see the picture of his once-pretty former fiancee.
Ned orders Chris, get here as quickly as you can--we're both looking forward to seeing you. "Sabrina," says Ned, "that was him--he's on his way here to see you now." We don't, however, see who he's talking to.
Stokes returns from his investigation behind the secret panel and tells Liz all he found was a convenient shortcut to the west wing. Liz asks what makes him think the kids are using the panel. Stokes explains that Maggie told him of a time when the kids came into this room and disappeared--the window was locked, so. . . I want to perform an exorcism of the house, he says--sit down so I can explain what that entails.
Ned paces his hotel room until Chris arrives, Julia in tow. I was expecting you to come alone, says Ned--why did you bring a doctor? Julia says she's along as a friend. Nastily, Ned asks, Chris, what's wrong with you?--you know this is no social reunion! I didn't know what it was until now, says Chris, you never told me anything; is there a reason I can't see Sabrina with a friend around? Ned looks troubled, furtive. I guess not, he says, smiling, and leaves to get his sister. Chris tells Julia he isn't sure he can go through with this, but she says it's too late to back out now. Ned opens the door and brings in something that both shocks and sickens Julia and Chris. Sabrina is in a wheelchair, her hair completely white, her face expressionless. "My God, Sabrina, what happened?" asks Chris.
Julia sympathetically touches Chris' shoulder and says,"She can't answer you, she's in a state of shock." "That's right!" sneers Ned--"She can't hear or speak--she's been this way nearly two years." Ned has no idea what caused this--I found her like this, one morning after she'd returned from Chris' place--she was there putting up decorations for YOUR party--you were supposed to be out of town, but I don't think you were--I think you were there and know what happened to my sister! I would never have done anything to hurt her, says Chris, and you know it. Someone was there, insists Ned, I returned the next day with the police--the room was a shambles, a complete wreck, as if there had been a violent struggle--a radiator had been torn off the wall. . .Sabrina was not physically hurt, and every doctor who examined her couldn't find anything physically wrong with her--but all agreed if she could see Chris again--yes, she can see and hear, everything, and if you are the one who was in that room, it's just possible seeing you might snap her out of it. Julia points out that the fact Ned found evidence of a struggle in Chris' room. . ." Ned rudely interrupts her, warning--you had better not be playing the role of his lawyer, either! Ned kneels beside his sister. He's here now, and you can see him--try, begs Ned, to remember. Chris' face twists with fear and self-loathing. Julia is upset, too. Sabrina examines Chris' face, lifts her hand, as if to point. Ned is thrilled that she moved her hand, and asks, "What is it?" She raises her arm to Chris, rises to her feet, and falls to the floor in a heap.
NOTES: That gray, icky "do" does nothing for Sabrina, she needs something much more kicky and "now"! It appears that witnessing Chris turning into the werewolf sent Sabrina into this awful state. We can't blame Ned for being bitter, determined to learn what happened, but as played by Davis he's just annoying, and I can't muster sympathy for him. Sabrina in the photo looks nothing like Sabrina now. Chris really did a number on her--but notice, he did NOT kill her, so perhaps even in his werewolf state he realized he wasn't supposed to harm her.
I love Stokes in this episode, he's so learned and cool. Wish I had some neat profs like him in college!
693 - (Nancy Barrett) - Dusk casts its own shadows over the Collins estate. Soon another night will come to the great house, bringing with it the hope that the terrors from the past may finally be put to rest. One man has a plan, but only time will tell whether it succeeds or fails.
Julia and Chris enter Collinwood. He's nervous, gulping. She invites him in for a drink. He's brooding about Sabrina. Julia assures him she's physically all right, but all he can think about is her sitting there, staring at him. She can't speak, and therefore can't identify you, Julia reminds him, but that isn't what he's thinking about--he wishes she WOULD tell--she was young, beautiful and alive, and now she's a vegetable--and I'm responsible, he insists. Julia tries to absolve him blame, but Chris isn't buying. Barnabas and I are trying to help you, she reminds him--perhaps then, you can help Sabrina. There isn't a chance in a million to help me, not from you or anyone else, cries Chris, rushing past Julia and out the door. Stokes comes in from the drawing room, asking why Chris is leaving in such a rush. Julia greets him. Stokes says, I was in the study. All Julia says is that Chris is having problems. Which tells me precisely nothing, says Stokes--which is what you intended, I'm sure--
I'm glad you're here--I need your help with an exorcism. Julia stares at him, forehead furrowed.
Exorcise the ghosts? asks Julia. Stokes asks her into the drawing room--yes, Liz knows what I'm planning to do--I don't know what else to do. Julia, who has no more scientific idea to submit, promises to help in whatever way she can. He asks her and one other person to remain in the drawing room while he. . . At this point, Stokes puts a silencing finger to his lips and continues to speak while walking towards the secret panel. He mentions leaving the house and beginning the incantation outside. Stokes opens the panel--David is there, claiming to be playing hide and seek with Amy. Stokes invites him in--I was expecting you. Stokes tells Julia he had noticed a lot of activity with the secret panel--so I sprinkled sugar between the foot of the stairway and the panel, and I heard the crunch of one footstep and caught David--I want to speak to the child--there's been a change in him. David tries to escape this inquisition--I have to tell Amy where I am. Stokes stops him by telling him Amy's been with Maggie for the past hour, so I knew you weren't playing hide and seek--I know about everything that's happened to you. David steadfastly denies that he could. Sit down, insists Stokes. He sits beside David and kindly says, "Look at me--do you know what possession is?" Stokes shows him a pencil, saying he can do anything he likes with it because he owns it--if it stopped doing what I wanted it to do, I could discard it and find a new one, or become angry and snap it in two so I couldn't use it again--that wouldn't matter, because a pencil isn't a human being. . .on the other hand, says Stokes kindly, placing the two halves of the broken pencil in David's hand, if people allow themselves to become possessed, they become just as helpless as that pencil--do you understand? David holds the pencil and says he does, his face working.
That's the cause of your fear, says Stokes, the fear you can't express to anyone--you don't need to fear me, I can help you, if you cooperate. David isn't sure--sometimes I. . . Julia listens intently as Stokes encourages him to go on. David does not. Stokes gets up and walks around--I feel HIM here in this room, now!--I don't know his name, but you do, and you know he's here now. David denies knowing what he's talking about. Stokes says he's in the room now, listening to you. Upset, David walks away, insisting no one is here. You have the will to resist him, insists Stokes, he can't possibly hurt you. "LEAVE ME ALONE!" cries David. Stokes, voice rising, demands to know, David, are you speaking to me or to HIM? He isn't here! screams David, but won't tell him WHO isn't there. Stokes points: "He's standing right over there at the window!" "NO, NO!" yells David. David turns, saying, "NO, I didn't mean. . ." He stops, realizing he's been tricked, and bursts into tears. Stokes grasps his shoulder and explains, I had to find a way to come to terms with you--there's still time for you--now he only possesses you when it suits his needs, but someday, he'll want to take permanent possession, rendering David Collins out of existence. David, a tear running down his cheek, gazes at Stokes mutely, begging for help.
Carolyn sits beside the fountains on the terrace, deep in thought. Chris looks through the gate at her, watching her, then joins her. She eagerly grabs his hand, but realizes something is wrong. I spent the day at the cottage, thinking, he says, and I've decided I must leave Collinsport. Carolyn stares at him, astounded. I'm all packed, just came to say goodbye, he adds--I'm sorry it didn't work out--meaning us.
I don't know what you mean, she says, or if we ever had a relationship--I do know how I feel about you since you came back, and you still aren't telling me anything tangible--can't you explain, for once? I can't, he replies, I don't know where to start. This stuns her, but she covers and says if he goes through life without ever committing himself, he can never lose. I have to go--and you're part of the reason, says Chris. Don't tell me you're leaving because you love me, she says. I do love you, says Chris. (That was quick.) I love you, too, says Carolyn bitterly--that takes care of that--we both said it, the story is over, the book can be closed. Forgive me, says Chris. I have to forgive you, she says, I do love you, and if you ever stop running long enough, it will finally dawn on you. With dignity, Carolyn walks away from him after a soft, "Good night." Chris stands for a second, then goes after her. Julia has overheard that he's leaving and wants to know what he can accomplish by doing that. He doesn't know--I'm not going to hang around and hurt anyone. You've already hurt Carolyn, points out Julia. Give her a few weeks, says Chris (callous!), she'll get over it. It won't help, says Julia--wherever you go, there will always be another Sabrina or Carolyn--stay and let us help him, she begs. "Barnabas--and you?" he asks--don't push me, he warns, I've made up my mind. All right, she says, then stay for Amy's sake--Barnabas and I believe there is a connection between you and the supernatural events that have been affecting the children--Stokes believes there are two spirits, and the kids are possessed by them--the danger may be over after tonight, we hope. Chris protests--no one ever told me the kids were in any danger! Julia explains that there's evidence the spirits know something about Chris' curse, and if they can learn what that is, perhaps they can end it! Chris thinks it over and agrees to stick around.
In the drawing room, Stokes asks the heartbroken Carolyn to get David and bring him to the drawing room. She rushes off, near tears. The practical Stokes tells Julia that Carolyn has problems, too--but this exorcism must get done--you and Carolyn are to watch David very closely while I am outside--he must not leave the drawing room, and detained by force, if necessary--I hope David will provide a clue as to when the exorcism is over and if we have succeeded or failed--if the spirit leaves David, there will be a marked change in his behavior--it could manifest itself in any number of ways--if there's no change, they we have failed. Carolyn brings David, protesting, into the drawing room. Quentin's music begins to play, and they all recognize it. That's our cue to begin, says Stokes. David wants to know--why must I be down here? Stokes assures him it won't hurt a bit. Thunder rolls, the windows blow open, the lights go out. Everyone looks around, nervous. It's definitely time, says Stokes--Julia, tell Carolyn everything. Stokes leaves. Julia has Carolyn and David sit on the sofa. The latter wants to know where Stokes went--what's going on? Be patient, urges Julia--you'll know soon enough. The music plays. Lightning flashes over David's face.
Stokes stands on the terrace, holding a two-pronged branch and speaks to the spirits. Whoever you are--the time has come! He holds the branch upright. He calls to the contemptuous spirits and orders them to depart in haste the confines of this house.
David, hearing Stokes call to the "unquiet shades," begins to grow restless. I must get out of here! he cries, and attempts to leave. Carolyn and Julia each grab one of his arms and pull him back. "Stokes is crazy, he'll kill us!" David wails as the two women hold him, thrashing, against the sofa. "This is HIS house, not yours!" yells David--"You can't chase him away--you'll be sorry!" Carolyn asks what's the matter with him. Julia explains--Stokes warned me he'd react this way--we can't let him get up again. David grits his teeth. Carolyn fervently wishes it were over.
Stokes calls the ghosts "defilers of innocence" and orders them back into the darkness from whence they came.
David passes out. Julia thinks he's gone into a trance. Carolyn is worried there's something seriously wrong with David and wants to get him out of here. Things are about to get nasty when suddenly, the music stops, the lights go on, and there is silence. Julia is relieved.
Outside, Stokes looks around.
David awakens and asks what's going on. Julia asks how he feels. Fine, he says, although he doesn't recall being brought downstairs. Stokes joins them. I think you succeeded, says Julia, David seems fine. If I succeeded, he says, David no longer has anything to fear--I will stay the night, just to make sure--and he retires to his room. Julia tells David, you are to stay downstairs--your Aunt Elizabeth is joining us, so we'll wait for her.
Midnight - Stokes sits in his assigned room, which looks a lot like Maggie's, and pops a cigarette into his mouth. Standing next to the bureau, he sees Quentin in the mirror, staring at him. Stokes turns away for a moment, then looks back; Quentin's image is still there, laughing uproariously. Stokes hears a crackling sound and turns--the curtains are on fire! Stokes tries to leave the room, but can't budge the door open. He stares at the rapidly spreading fire, trapped.
NOTES: Another amazing performance by Henesy. God, the kid was good. Did you see the weird light in his eye when they were talking about the success of the exorcism, like Quentin was peeking out from David's eyes, mocking them? Excellent!
What will happen now? Will Quentin burn the good professor to death? Obviously, the exorcism did NOT work, and we wonder if there is any way to defeat Quentin.
Sad about Carolyn and Chris, although they sure did fall in love fast. We can understand his desire to flee his past and possibly future mistakes, but Julia is right--there will always be a woman to fall in love with and he will just keep running. She just might be able to find a cure for him, and if not, at least he has someone who knows his secret, still likes him, and wants to protect and help him. Poor Carolyn has never been especially lucky in love, has she?
Love, Robin
