958 - Julia exits the tower room and sees a black ghost wearing a wide-brimmed hat. She calls out to the specter, asking in a terrified voice, " Who are you?"
It fades and disappears. She steps forward to stand where the ghost stood.
Julia sits on the drawing room sofa having coffee with Quentin, explaining, Willie and Maggie didn't see the presence that let them out of the tower, I saw a caped figure, but it was impossible to see who it was. There's another force in the house fighting the same force we are, he observes. And I'm grateful for it, says Julia, as, I'm sure, Willie and Maggie are. Liz enters--what are you two conspiring about? she asks. Quentin rises. We were wondering when Maggie would be back, says Julia. I'm surprised Maggie didn't say something to you, says Liz, considering you always seem to know what's going on. I have to rely on you for this one, says Julia. Maggie left a note saying she'd be back as soon as she settled a family situation, says Liz. Quentin shoots Liz a dark look. The women agree they hope it will be soon. It would be difficult to imagine life without Maggie at Collinwood, says Liz (yes, considering she was an accessory to Maggie's near-murder). Liz exits the drawing room. I don't get it, says Quentin--yesterday she tried to kill Maggie, today she lies and smiles graciously, and wishes Maggie were back. This is a house of lies, says Julia, the only way to bring these people back to the truth is to smile and lie just as they do. Quentin agrees, grinning--I've had a few years' practice in the art of deception, so I should be pretty good. (He looks so handsome here!) More coffee? Julia offers. This is the perfect time for two friends to have a cup of coffee together, agrees Quentin. Julia takes the pot and is walking toward the kitchen when she runs into Roger--Mrs. Johnson just told me that Maggie left for a while, he says. Liz told me she had a family problem, says Julia. She's not the only one, says Roger wryly. He picks up the paper, turns, and notices Quentin. His face turns pale--"You've come back!" he cries. (I guess this is the first time he's seeing him.) Quentin holds up his hand--no, I'm not who or what you think I am--I'm alive, not a ghost. What do you know about the ghost? asks Roger. Hastily, Quentin says, only that I look very much like him, unfortunately, but no unexpectedly--"I'm Quentin Collins."--his descendant. So, says Roger, offering his hand, at last I meet the cousin who appeared so mysteriously. If I hadn't had amnesia when I first came to town, there would be nothing mysterious, I assure you, says Quentin. No, it can't be explained that simply, insists Roger--he was quite an unusual fellow, Quentin Collins--cruel, terrifying-- perhaps even murderous when he couldn't get his own way, and yet I'm fascinated by that man, and would like to know more about him--and I think you can tell me. In the foyer, Amy stands, listening to their conversation. It seems the original Quentin Collins disappeared when he was very young, says Q, in fact, he only lived with his great-grandmother for a very short time. Go on, encourages Roger. Nothing more to tell, says Q--the only thing he left behind was his name. He left something else, counters Roger--a remarkable resemblance. So I've been told, says Q--so many times that I'm beginning to feel guilty about the way he behaved--to your young son and the little girl. When Julia returns with the coffee, Amy is no where in sight. You must not feel that way, of course, says Roger--Julia, Quentin and I have been talking--it seems he doesn't know very much about the original Quentin, we must correct that. Perhaps Quentin isn't interested in the past, suggests Julia--some people like looking forward to the future. Certainly, says Roger, I want to know where Quentin fitted into the family tree, and which branch... Oh, I really don't think you'd be interested in that, insists Quentin. Oh, we can stand a little shock or two every now and then, says Roger cheerily. Abruptly, Quentin's theme fills the room; Quentin's face changes. What's the matter? asks Roger. Nothing, says Q. Something is, insists Roger--you look frightened. That's absurd, says Julia--what could be frightening Mr. Collins?--there's no reason. Julia, stop acting as if nothing is happening when I can see that it has! orders Roger--I don't understand what or why, but something has frightened this man--as if the music had startled you. Quentin agrees, I was, rather, but I simply got caught up in this conversation to the point that I forgot we aren't alone in this house--I'm all right now, fine. Amy enters and says, in a wise-assed tone, "Look what I found--do you like it, Mr. Collins?" She smirks. Quentin is quite uncomfortable.
Quentin's forehead furrows. What's going on here? demands Roger. The music plays on, unnerving all but Amy. What are you up to? Roger asks Amy. Nothing, she replies--I was just playing a record in the study--it's so "old-timey", isn't it? I don't think we need to hear that record, frowns Roger. Quentin exchanges glances with Julia. Amy fake-innocently says, all the people who first listened to it are dead now, aren't they?--and gives Quentin a significant look. (Ouch!) I know we don't need that kind of talk, either, says Roger. I like it, says Amy, even if it IS scary--do you like it, Mr. Collins?--I asked you before, but you didn't answer. Q grins--yes, Amy, he says, I like it very much. I'll play it again, offers Amy. Don't, Roger orders. I'm sorry, she says, I didn't mean to bother anyone, but with Maggie gone, I had no lessons--I was just looking for something to do. I'll find something, says Roger, this house is full of good books, and we're going to find one of them. (good man, Rog, push reading!) Quentin closes the double doors after Roger and Amy leave, then turns to Julia and says, Amy knows who I am. Impossible, says Julia. Then why did she set the trap for me? asks Q. It wasn't a trap, just a coincidence, says Julia--if she felt you were the same man, she never would have come into the room like that! She would never have before, says Q, but she's a very different girl now--yesterday, they made her capable of destroying Maggie, today it's me. You must realize that it's not possible for anyone to discover your true identity, says Julia. Are you sure? he asks. They can wonder, but can't prove anything, Julia assures him. Let's hope you're right, he says.
David's room - Quentin turned pale when the music was playing, Amy boasts to David--pale as a ghost--he is the same one, but I'm not afraid of him anymore, because Jeb is going to take care of him. David looks at her--maybe he will, maybe he won't, opines David--Jeb's got something else on his mind besides Quentin--something's after him, and he's frightened. Amy finds this hard to believe--frightened of what? I don't know, he says, but I must find out so I can protect him. How can you protect him? asks Amy. I'm checking the book to see what's scaring him, says David--then we can sit down together and figure out how to fight it. Bring me the book, Amy, he says (still in the wheelchair)--from the fourth shelf behind that picture. Amy retrieves it and gives it to David. The book has had all the answers before, he says, I hope it has this one.
Liz, on the phone with Jeb, says, it would be so much easier if "he" were one now, since he will be one eventually--no, he isn't suspicious, but he is my brother and David's father, and it's hard to close doors on him--he's so devoted to Collinwood, he'd be proud to know you feel that way. Roger enters. Liz says a quick goodbye and hangs up. Who was that? Roger asks. Jeb Hawkes, she says. Why were you discussing me? he asks. We were discussing the carriage house, says Liz--he finds it charming, and I thought I'd tell you about it. I don't think it's charming that he's staying there, says Roger, and can't understand why he is. There's nowhere else for him to go, says Liz. They still rent rooms in Collinsport, says Roger. Why, when we have so much space? protests Liz. That doesn't mean we have to take in every stranger, sniffs Roger. (I love this guy.) He's not a stranger, says Liz--he and Carolyn are very fond of each other. Fond enough so he moves in bag and baggage, complains Roger. I have a feeling that he and Carolyn...begins Liz. Roger cuts her off--I feel that my niece deserves something better than an itinerant nobody who can snap a shutter once in a while, he says. That's another thing, says Liz enthusiastically--he's teaching the children how to take pictures! "I can teach my own son how to take pictures, if you please," says Roger. Really, says Liz irritably, just because I asked a young man to stay at the carriage house... She starts to leave in a huff. Don't go, urges Roger, not until we discuss our other guest--why is Megan Todd here? With Philip in jail, says Liz, she's so alone, unhappy and ashamed of what he did. Which includes the murder of your husband! says Roger. I know it looks strange to the world, begins Liz. Never mind the world, says Roger, it looks very strange to me--and I want to know why--I think these people should be sent away, they have some sort of danger about them, they're going to ruin this house. You're being melodramatic, accuses Liz. "Like Paul was when he first came back here," says Roger. He was so terribly disturbed, poor Paul, says Liz. But he was murdered! blares Roger, and they wouldn't even let his body rest peacefully in its grave, who took it, and why, and what more do they want from us? There is no THEY, Roger, insists Liz. Why is Paul's body missing? cries Roger. Don't you think I haven't thought about that? she asks--it's a terrible thing, I hate to even think about it. You're going to think about that and other things, says Roger, because I am, too
--you're different, as is David, and even little Amy has changed. You're imagining things, she says. I am not! says Roger--there are things going on around this house that I don't like--and I'm going to find out what it is, I promise you that. He leaves.
David's room - He's checked the book but has been unable to come up with anything so far. Thunder roars. David finds just what they've been looking for--and it can't frighten Jeb if we get rid of it--and we can--it says that if the spirit of a dead enemy should manifest itself from beyond the grave, there is a way to dispel its presence. The lights go out, frightening Amy. Just the storm, says David--bring a candle over--hurry. No sooner does he light the candle than a wind blows it out. It wasn't the wind, says David, there's a presence from beyond the grave in the room with us--I can feel the chill. Yes, she agrees, terrified. Don't be frightened, he says, you've got to fight it. How? she asks. By reading the book, he says--give me the flashlight in the top drawer. He turns it on and continues to read. The book is suddenly yanked from the table by an unseen presence and falls to the floor. It doesn't want me to read the book, says David. Amy, clutching herself, refuses to get the book when David tells her to get it for him. For Jeb's sake, get it! he commands, but the book has burst into flames. Amy and David watch, horrified as fire hungrily devours the Leviathan book.
Thunder fills the room, panicking the two children. Let's get out of here before it comes after us! cries Amy, gripping one of his wheelchair handles. It's not coming back, David assures--it's gone. How do you know? she asks. Can't you feel it? he asks, the chill is gone. The lights come back on. It came to do what it had to do and now has moved on, adds David. Amy kneels on the floor before the wreckage of the book--what will we do now? she wails. I don't know, says David.
Old House - Quentin is gazing at Barnabas' portrait. He answers the door. It's Roger, who asks for Barnabas. He's not here, says Quentin, I was looking for him, too--would you care to join me? No, thank you, says Roger, I think I'll keep walking. I walk when I'm troubled by something, says Q. Is it as bad as that? asks Roger--does it show that much? Yes, says Quentin, it does. I think I will stay, if you don't mind, says Roger--I want to talk to Barnabas about a problem I have, but it might do better to talk to you--you're a member of the family and a stranger at the same time--you should have a clear perspective of Collinwood, seeing it for the first time (ha!) I don't know, continues Roger--perhaps I'm wrong after all--everything seems strange to me--events, people, my own sister seems a stranger, my own son lies (nothing new) and disobeys me, everything is small, yet it all adds up to some enormous horror I can't understand
--but I must understand it, I must. Quentin offers Roger a seat and says, I'll take a big chance and tell you an incredible story, and if you believe it, I'll be taking a chance, too. What do you mean? asks Roger. "Because what I'm going to tell you," says Quentin, "could cost you your life." Roger looks at him, eager to listen.
Collinwood foyer - David, I can't reach Jeb, frets Liz--where could he be? I don't know, he says, but we've got to--he's got to know about the book! I'd go over and leave a note, says Liz, but the storm seems to be getting worse. Go anyway, says David, it's important! She leaves.
"To think that my son is involved in something so horrible," says Roger, his face sickened by what Quentin has told him. "Well, at least I know what I must do--take him away as quickly as possible." They'll kill you before they let you take him, warns Quentin. I'll have to take that chance, insists Roger. Will you take the chance on them killing David, too? asks Q, because they will, you know. And if he stays here, what will happen to him? asks Roger, I can't even think about it. We're trying to fight it, says Quentin--Barnabas, Julia and myself--we could use your help. "If you lose your fight," realizes Roger, "I lose my son--horribly." What are you going to do? asks Q. I don't know, answers Roger.
David, back in his room, writes in pencil in a black and white notebook. The storm rages. I wish Aunt Elizabeth would hurry and bring Jeb back here--I wish the storm would stop, I don't like it (isn't he used to the perpetual storms by now?). The lights go out. It wasn't the storm that knocked them out before, he says--that chill is back, and HE'S come back, whoever he is, he's come back. WHO ARE YOU? cries David, I've got to know! The door blows open. We see a booted, caped figure hanging out there, swinging back and forth. WHO ARE YOU? WHAT DO YOU WANT? cries David, terrified. He watches the hanging figure as it swings back and forth...
NOTES: I admit, that figure hanging outside David's bedroom is pretty spooky, but when you learn who it is, you're going to sigh and say how ridiculous it is--and how unhappy you are to hear about the sad resolution of another pair of DS characters.
Louis Edmonds turned in a sterling performance today. His scenes with Joan Bennett, in which he's alternately pissed off and worried about the her and the rest of the family, were breathtaking to watch. His bluster always has masked a deep sense of family love, and it shows again when Quentin tells him about the Leviathans. You know that, while Roger told Q he didn't know what he is going to do, he will decide to fight this ugly force that is threatening his family, especially David.
Joan Bennett plays evil sooooo well. You just wanted to smack Amy for her little trick with Quentin's music--but that's the mark of a good actress, when they make you want to rise up and do physical damage to her character because she's that convincing.
959 - David, in his room, muses, I can't shake the feeling that something is terribly wrong, and wishes the storm would stop. The lights blink out--but it wasn't the storm before, he realizes, and not now--the chill is back--HE's come back! We hear the creaky swinging of the rope, see the booted, hanging figure. David gazes at it, terrified, and wipes his face with his hands in disbelief.
David yells for help from his wheelchair--"There's someone hanging in the hall!" He wheels forward, closing his door, but can still hear the sound of the rope outside. Bruno enters. David, what's wrong? he asks. "Didn't you see him?" asks David, who quickly describes the man hanging in the hall. Bruno rushes out. The lights come back on and reveal that the hanging figure has disappeared. Bruno reports this to David. It was there just a second ago, says David--whenever the lightning flashed, I saw a man's figure, hanging there--I didn't imagine it! I believe you, Bruno assures him, but I hope everything will be OK now--Jeb sent me. Why didn't he come to see me himself? asks David. He had someone very important to see after your aunt told him about the book burning, says Bruno, sitting on David's bed, so he sent me to talk to and protect you--Jeb is very concerned about you. The incident that happened last night--tell me about it, says Bruno. I was sitting, reading the book, says David, when the room got a strange chill and the lights went out, as if there was someone in here with me--the book flew right out of my hands, then caught fire--I can't understand it, and neither could Aunt Liz--we were both pretty scared. We will figure this out, vows Bruno--someone from beyond the grave is trying to contact you--first job is to find out who and why. Why is it so obvious that it's someone who's dead? asks David. Because, says Bruno, only the spirits of those we have killed would dare to harm us this way.
Sabrina and Carolyn are hanging out together in the Collinwood drawing room. Smiling mysteriously, Carolyn reminds Sabrina--it's almost time--are you going to get ready? I'm ready now, says Sabrina, just not sure I'm willing anymore. We already made the appointment, says Carolyn, for 6:30. What good would it do to change my appearance? asks Sabrina--it won't change anything else between me and Chris. You've come a long way in a short time, says Carolyn, when I first met you, you were barely able to speak. Being able to speak hasn't helped very much, laments Sabrina. I think it has helped, says Carolyn--and I also feel that it will help for Chris to see you looking as you did when you two were engaged. It might have the opposite effect, warns Sabrina--it might drive him crazy to see me as I was then. Bruno comes downstairs, listening to the ladies' conversation. There's something very unpredictable about Chris, says Sabrina, something I don't understand. I know his moods very well, says Carolyn. They're more than just moods, insists Sabrina. Bruno creeps closer, eavesdropping intently. He's very disturbed about something, says Sabrina, but I don't know what it is. Bruno enters the room, interrupting. Carolyn greets him--Bruno, have you met Sabrina? Already had the pleasure, says Bruno--how are you? Fine, she says, then turns rudely away from him. I was upstairs with David, showing him some photos Jeb had taken, explains Bruno--then David began telling me family stories, the house--I was wondering, is there a family history I could look at? Carolyn goes to get the one in the study. Left alone with him (and he's wearing a mud-colored suit today, not the godforsaken fur), Sabrina shoots Bruno a look, then goes to the window. He joins her--I didn't know you knew any of the Collinses, he remarks. Not very long, says Sabrina--Carolyn's been very helpful to me. I'm glad we have this chance to be alone, says Bruno--when I saw you here, I couldn't help wondering if you knew there would be a full moon tomorrow night? She turns away. I see you know, says Bruno. No, denies Sabrina, I hadn't even thought about it. Don't you think you should? he asks. I'll make it a point to stay indoors, she says caustically. Very wise, says Bruno, if you should have another unfortunate experience like the last one, I might not be here to rescue you, and I don't want anything to happen to you. Thank you, she says, but doesn't sound as if she means it at all. Carolyn breezes past her, bringing the Collins book to Bruno--it covers our history back to the 17th century, she says. It was a great pleasure seeing you again, says Bruno, and leaves. How much do you know about that man? asks Sabrina. Very little, says Carolyn, except that he's a friend of Jeb's. He makes me feel uncomfortable, says Sabrina
--he strikes me as the kind of person who can't be trusted. I felt the same way the first time I met him, says Carolyn, but now consider him to be completely harmless--we'd better go, or we'll be late. The ladies leave.
Up in David's room, Bruno reads the Collins history book--I've reached the part about Joshua Collins and family, late 18th century, he says--how accurate is this book? It's the official Collins family history, explains David. But not necessarily the truthful one, guesses Bruno, and if any of the family was connected with the Leviathans, it might not be mentioned in this book. Why do you think it's one of my ancestors? queries David--it could be anyone at all, who stayed in the house or worked here in the past. Then it wouldn't be mentioned in this book, says Bruno, slamming it shut--it's time I got back to Jeb--I'll stop downstairs and tell your aunt to watch over you. I'll be all right, David assures him. They wish each other good night, but as Bruno is leaving, the lights go out. Bruno is choking, grabbing at his neck, gasping, something has me by the throat. Wildly, he tries to free the constriction with both hands, struggling against the unseen figure choking him.
David watches in horror as Bruno dances around his room, knocking things down, trying to get rid of the long noose choking him (where did the rope come from?) He nearly takes one of the walls with him, knocks over the desk chair, falls to the floor. BRUNO! calls David over and over. The lights come back on. Bruno is able to loosen the rope throttling his airway.
He holds up the filthy hemp rope. David states--that it's a noose. And covered with mildew, adds Bruno, like it's been sitting in someone's basement for years. How did it get here, around your neck? wonders David. Someone or something put it there, says Bruno--I felt hands on my throat--whoever it was was trying to kill me--I'll be fine, I've had scares before tonight--and you should be OK now. I don't think anyone should stay in my room tonight, opines David. Bruno agrees--I'll arrange for someone to move you.
8:50 - Carolyn enters Collinwood, urging Sabrina, "Come in--don't be nervous, come in! Sabrina, sporting a chic, short hairdo, freshly covered with Miss Clairol's finest chestnut brown coloring, shyly enters the foyer behind her. Chris will be here in another 10 minutes, says Carolyn, so you should go into the drawing room. I don't think Chris will recognize me, says Sabrina. Bruno, coming downstairs, says I almost didn't--you look very beautiful. Sabrina thanks him. Come up and see David, Bruno asks Carolyn--he said he was afraid of something. She agrees go up and see her cousin--Sabrina, I'll just be a few minutes. Bruno, glancing at Sabrina over his shoulder, follows Carolyn upstairs. Sabrina checks herself out in the mirror and stands there, a picture of half-smiling hope.
I have a bad feeling and don't want to sleep here tonight, Carolyn, says David--I'm afraid. I wish you could define this feeling, she says. You wouldn't believe me, he insists. Try, she says. I feel like someone has been in the room, he says, an unseen presence--maybe I'm wrong, but what's the harm in letting me sleep somewhere else?--at least I'll feel more comfortable. Carolyn agrees--I suppose it can't do any harm. She obligingly wheels him to another room.
Someone knocks at the front door and Sabrina, realizing she's the only one available to answer, opens it. Chris stares at her. She walks away. Sabrina, he says. Is that all you're going to say? She asks. "You're very beautiful," he adds (wise man!) Then you approve the change? she asks. Very much, he says. I was afraid you might not want to remember me, she says, the way I once was. I'll never forget it, he says, seeing you this way, it's almost like no time has passed since we first met and nothing tragic had ever happened to us. He stares at her lovingly, but runs into the drawing room--I almost lost my head! he says, angry with himself--time HAS passed, and tragedy has been our specialty. Don't talk that way, not tonight, she begs. It's something we had best not lose sight of, he says. I haven't, she assures him, and never will, but we aren't going to discuss it tonight, because I want this to be very special.
She touches his face, pleading with him, let it be that--for me. They kiss, long and passionately, twined together. Bruno watches them...
Bruno disappears into the kitchen area. Chris and Sabrina finally break their smooch. I want to go to the cottage so we can talk alone, she says--I can call Carolyn from the cottage--please, Chris, it's very important! He smiles and agrees; they leave together. Bruno exits the kitchen and looks at the closed door. Carolyn comes downstairs and assures Bruno that David's fine--I don't think anything was wrong--my cousin is one of the world's best attention-getters--what happened to Sabrina? She left with a young man, says Bruno, seemed very anxious to be alone. Carolyn grins--did you meet Chris Jennings? No, says Bruno, they were going out as I was coming downstairs, and I don't think they saw me. Then the change in her didn't upset him, says Carolyn--I'm so glad for that. Why should it upset him? asks Bruno. I don't know, says Carolyn, but Sabrina seemed to think it would. She offers him a brandy. He accepts. Are they in love? asks Bruno. Pouring the drink, Carolyn explains, they were engaged a few years ago, something went wrong, no one knows what. They must know, says Bruno. They don't talk about it, says Carolyn, handing him the drink, but they started seeing each other again recently, and... You seem to badly want this thing between the couple to work out, notes Bruno. Yes, she agrees, and I know Sabrina wants it to, but Chris is a strange young man--every once in a while, he gets very moody and disappears for a few days--I guesses he goes off by himself. I'm surprised I haven't seen him before in town, says Bruno. He lives in a cottage on the estate, says Carolyn, between here and the Old House. I hope they stay as happy as they seem right now, says Bruno--thank you for the drink and the family history book, but I must leave right now.
Chris and Sabrina are making out in the cottage. We must stop, he insists we're just repeating the past. Yes, I knows, she says, caressing him. We can't let that happen, he says. We can and they should, she says, putting her head on his shoulder, we shouldn't let anything interfere with our happiness--last time we were just a few days away from being man and wife, and quite accidentally, I saw you go through the transformation. And almost got yourself killed, he reminds her. Oh, this time we shouldn't let anything get in the way, she says. Do you think we should still get married? asks Chris, amazed. We still love each other, she reminds him. It's insane, he protests, you would spend your life in constant danger. Not constant, she assures him, I understand everything now, and know we can find a way to live together--and the way to protect me when the time comes. I don't want to think or talk about it, says Chris. Sabrina says, "You don't love me." It's not a question of love, he says. Oh, Chris, she says, I know we can find a way to help you--there must be a cure. Cure first, us after, responds Chris--I'll take you to the car. We won't give up, she swears, and they hug. Bruno skulks around outside the cottage, watching as the couple leaves, Chris' arm around Sabrina. Bruno enters the cottage, flashlight in hand, and searches the dark room, which is occasionally illuminated by flashes of lightning. He finds a length of chain in a dresser drawer, handcuffs (kinky!), and a gun. He checks the chambers for bullets. Chris returns to the cottage, turns on lights, takes off his coat and sits in a chair, looking unhappy. He spots the chain, handcuffs and flashlight on the dresser, then hears a voice behind him ordering him, "Stand still." Bruno, holding the gun to Chris' back, says, "Turn around, slowly, be very careful, this is loaded and I know how to use it." (I see a figure walking around outside the window.) Chris turns, slowly, and asks, who are you? I came to meet you, Mr. Jennings, says Bruno. How do you know my name? asks Chris. I know a great deal about you, and surmise a lot more, says Bruno
--you and I are going to spend a good deal of time together, Mr. Jennings, we're going to watch the full moon rise. Bruno laughs cruelly.
NOTES: Chris is in a real pickle here, since Bruno has apparently figured out the handcuffs and chain are used for something other than sex games. I remember feeling very concerned for Chris in this episode, and sad for him, too, that even though Sabrina is more than willing to marry him, he pushes her away. They do kiss as if they mean it, long ones that appear to have some tongue action, or implied, if nothing else. I give their kissing a big nine our of 10.
It's so sweet the way Carolyn arranges for Sabrina to get her hair done, even if the finished product does look like a wig. Her makeup did make her look much more attractive, but there's something about her mouth that has always bugged me--and what happened to dear brother Ned, anyway? Did she kill him and bury him on the Collins estate? Where the heck did she find any room?
Bruno is an SOB, and I wished him lots of ill after what he did in this episode--and trust me, it gets worse!
Who is the mysterious ghost hanging, literally, around Collinwood?
Love, Robin
