1002 - Drats, Sabrina is in this episode! Blah!
Yaeger's eyes dart back and forth in their sockets as he wonders what to do
--Quentin pounds on the other side of the door, asking if anything is wrong, and he's scared. Trask, the drawing room keys! demands Quentin, but the butler doesn't respond, so Quentin races to get them himself. Yaeger considers leaving via the window, but tells himself it must appear that I left under ordinary circumstances--but how, I don't dare go through the foyer. He quickly scribbles a note to Quentin--pardon my leaving without first explaining--then realizes--I'm writing in the hand I decided to use for Yaeger. He starts over, swiftly writing, then caps the pen and leaves the note on the desk. He unlocks and opens the doors and is about to leave through the window, but spots and retrieves Cyrus' missing glasses. Quentin returns to find the doors unlocked--Cyrus? he calls. He finds the note on the desk--Cyrus remembered an urgent appointment--I'll explain it when I see you. Amy returns home--Will brought me home but didn't want to come in, she says--is he angry with me?--what did I do wrong that no one wants to be with me? (That is sad!) What are you talking about? asks Quentin. Will and Carolyn don't want me here anymore, she says, and neither do you. He kneels and assures her, that isn't true--I'm happy you're here, I was going to send for you this morning--Daniel is coming home--his Uncle Roger should be here with him any minute, so you should take your things upstairs and come down and wait for them. All right, she says. She spies the crumbled note Yaeger had started to write and gives it to Quentin. He thanks her and is about to discard it after hastily reading it, but then compares it to Cyrus' note, noting the handwriting is different, but similar--huh?
Yaeger returns to the lab via the basement door and locks it. He turns on the light, takes down the painting from the wall, and opens the safe. He takes out the antidote (gad, his hands are hairy) and decides no, why should I drink this, or be frightened--he triumphantly looks at his reflection in the tray and reminds himself, "I am John Yaeger!" He chuckles. I'm not Cyrus Longworth, the coward--he would take the quickest way out, but not Yaeger, who loves life, craves adventure, and isn't afraid. He returns the antidote to the safe and replaces the painting. What if I did change without the potion? He muses--I might as well take advantage of it, enjoy it--I'm John Yaeger now, and I'm not afraid of anything. He takes his cane and flicks out the deadly blade, grinning.
Daniel accuses Amy of trying to make him feel sorry he went away, given all that has gone on. I really did see Dameon Edwards here in the corridor outside Alexis' room, she insists--he really did have me follow him down to the basement. Daniel, his arms crossed over his chest, is skeptical--and then he disappeared--through a wall? questions Daniel. That's right! insists Amy--I'll take you there if you want me to. Quentin joins them--Amy, forget all about Mr. Edwards, he urges. But Daniel doesn't believe it happened, complains Amy--you tell him! Dameon didn't disappear into a wall, says Quentin. "I saw him!", she insists indignantly. We both went down into the cellar, Quentin reminds her, where it was very dark, and didn't see anything--you could have imagined almost anything. But I didn't! she wails. Amy, he says warningly. She agrees to shut up. Quentin leaves. Daniel taunts her--you imagined it, isn't that right? I wish Maggie was here, says Amy angrily--she'd believe me. She stalks off. I'll believe you, says Daniel, torturing her--just tell me again.
The one thing Cyrus and I share, besides a common memory, of course, says Yaeger, taking down the painting covering the safe, is taste. We know the best when we see it. I'm sure Cyrus won't mind if I borrow this, he says, tucking the painting under his arm, to furnish my rooms--it will set the tone. He's dressed in a suit of large blue and white checks, quite arresting, a blue shirt and nice tie--a little loud, but more Yaeger's taste than Cyrus'. Yaeger hears Sabrina calling to Cyrus and silently slips out the back way, the cane tucked under his arm. Sabrina comes downstairs, looking for Cyrus, but no one is down there.
Yaeger enters his rented room, which looks exactly like Quentin's in 1897. He places the painting above the mantle. Buffie knocks--Mrs. Duval said you were here. How kind of you to confirm her words with your soft and lovely eyes, he says. Thank you, she says, and hesitantly enters the room. It's going to look very nice in here, she says. Magnificent, he corrects her. I'm sure, she agrees. She admires the pretty picture. It's exquisite, he says--are you pleased to see me? I sort of did wonder where you'd gotten off to and all, she admits. As much as I 'd like to satisfy your curiosity, he says, there are a few explanations I'd like--a few simple answers to a few simple questions. He closes the door. (The manner in which he does this gives me a chill.) Do you mind? he asks. No, she says nervously, of course not. I don't frighten you, do I? he asks. No, she replies. Good, says Yaeger, I don't think you've done anything to be afraid of, have you, Miss Harringron? She turns away, not responding. He asks again--have you done anything to be afraid of? She turns back, her eyes guileless.
Back at the lab, Quentin, on the phone, tells Sabrina, let Cyrus know I called. She looks up and notices the missing painting. Quentin hears her hesitation--you sounded as if something was wrong, he says. No, says Sabrina, nothing--and hangs up. She looks at the empty wall, puzzled.
We see the missing painting perched on the mantle. Yaeger asks Buffie, did you go to Dr. Longworth? Only to...she begins. "Only to find out if my checks were valid," he finishes. That's right, she says. Which sort of indicates to me that you neither believe nor trust me, he says, walking around her in a circle. His voice has taken on an angry tone--am I correct? he asks. I believed you, Buffie assures him, I just wanted to thank Cyrus. Why are you thanking him when I was the one who gave you the check, no matter whose signature was on it? he asks. It's all so confusing, says Buffie. It's clear to me, says Yaeger--I can understand how you can not trust me after such a short acquaintance, but it grieves me that you don't like me. But I do like you, she says, haven't I proved that? Possibly, he says, except I thought you liked a quiet man. Quiet? she asks. Yes, unless you're being misquoted, he says. (Uh oh!) I don't understand, says Buffie. Did you or did you not say to Cyrus Longworth that you liked a quiet man--were those your words or weren't they? he demands--well?--why don't you answer me? He told you? she asks. A quiet man, he says, very well, I won't make a sound--not a sound--no one will hear anything--not a single, solitary sound. He gently touches her face. She looks up at him longingly. Yaeger viciously smacks her across the face. She cries out, falling to the floor. Yaeger looks nothing less than murderous--and like he's only getting started.
When we next see Buffie, she has been severely beaten, her clothing torn, hair a mess, bruises on her face. Yaeger watches her, satisfied. His jacket is off, his tie askew; he's buttoning his cuffs (which has led some to speculate that he might have raped Buffie, as well). "You didn't have to do that," she moans. I had to do it, he says, to prove that I could be a quiet man. He caresses her shoulder, bringing her pain, and asks, was that satisfactory? "Let me go back to my room," she begs. If you wish, says Yaeger, but before you go, just to prove that I meant no malice in our little lesson, I want you to accept this (the painting he took from Cyrus). Don't you like it? he asks--I thought you liked pretty things. Do you really want me to have it? she asks. Yes, he says, because deep down we share a unique appreciation for beautiful things. Thank you, she says, accepting the painting. To further illustrate my point, says Yaeger, I want to take you out this evening. She looks startled. Take me out? she asks. To a late night supper, he says, to a place we'll both appreciate, with music, and excellent food, good wine. A tear runs down her cheek as she eagerly asks, "You'd take me to a place like that?" Yes, he says, do you accept my offer? I don't know, I guess so, she says. Yaeger starts to laugh, hysterically, then asks, cruelly, do you really think I'd take you out, looking like this--with bruises all over your arms and cuts all over your face? Repelled, she reminds him, you're the one who asked me! Miss Harrington, he says, you really ought to take better care of yourself--as much as I'd like to spend the late hours with your company, well, maybe sometime when you pay more attention to the way you look
--good night, Miss Harrington. Holding her hurt shoulder, she mutters, "You just said all that..." I said good NIGHT! he barks, opening the door for her. Painting in hand, she walks slowly out, limping. He closes the door and laughs, delighted with himself.
Drawing room - Amy tells Quentin, who is gazing at a discarded page from Will's new book, I took these pages from the floor near Mr. Loomis' desk so I could draw pictures on the back, but just now found out he was writing about a room in the east wing, here at Collinwood, but I can't figure out which room--it might be Alexis', but he wrote about it being empty--is it Alexis'? I don't know, says Quentin. Is it Alexis'? prattles Amy--is this part of the book he's writing about Barnabas Collins, the new book, I mean? Whatever it is, he says, kneeling and holding her hands, it's just a story--why don't you run upstairs and play with Daniel? I wonder if it could be Alexis' room, she asks aloud, leaving the drawing room--how could I find out? Quentin gazes at the piece of paper Amy gave him and says, don't go bothering Alexis. He reads the paper again.
Yaeger returns to the lab and is about to open the antidote when he hears someone coming downstairs--Sabrina. Who are you and what are you doing here? she asks--who let you in? He smiles broadly at her--hasn't Cyrus told you of his good friend, John Yaeger? He asks. Yaeger --I might have known, says Sabrina distastefully. I'm happy my fame precedes me, he says. How did you get in here? she demands. With a key the good doctor gave me, he explains--you don't think me a thief or burglar, do you?--I'm merely a friend--Sabrina. Miss Stuart, she corrects him insistently. Oh, ho, he says, coming towards her, are you always this cold and aloof, Miss Stuart?--I sense an emotional release that's trying to get out of you--am I correct?
You'd better go, she says icily, Dr. Longworth will not be back anymore tonight. I was told to wait, says Yaeger, and wait I will, especially now that we can have this time to get better acquainted. If you don't leave here...she warns. Cyrus will be disappointed if I'm not here, says Yaeger, because he told me to wait. Then excuse me, she says coldly, and starts to ascend the stairs. Don't go, he says, I'd like to discuss that emotional release I meant. She gives him a disgusted look and goes upstairs. Yaeger laughs, proud of himself. He opens the safe and takes out the antidote, opens it, and drinks.
Quentin goes to Angelique's room and hears what he thinks is Daniel's voice saying, "Maybe if we stand here, something will happen." He throws open the double doors, about to chastise the children for going into Alexis' room, and finds the room dark. Inside, David and Amy of 1970 RT are talking--I heard Dr. Hoffman tell my father that Barnabas got caught here, says David. I don't want to get caught here, says Amy. Quentin asks Daniel, what are you talking about? The kids can't hear him, and so ignore him. I don't want to get caught here, repeats Amny--I'm leaving. Wait a minute, urges David--maybe something, anything will happen. I don't want anything to happen, she insists, I don't even want to be here--I'm supposed to be in bed! AMY! calls Quentin--can't you hear me?
Of course I can hear you, answers Amy, standing with Daniel at her side, behind him. "What is it?" she asks. "Amy, Daniel," says Quentin, confused, caught between two sets of children in two different timelines. We heard you calling us, says Daniel--is something wrong? Quentin is utterly flummoxed.
NOTES: Yaeger beats up poor Buffie, then torments her by asking her to go out with him, then says she can't go out, looking like that (which he caused)! Can anyone say low self-esteem, boys and girls? I knew you could! Buffie has it in spades--why would she even want to go to dinner with a man who just beat her, and possibly raped her, as some believe? I'd call the police and press charges, but Buffie was pathetic, WANTING to go out with that slime!
Quentin has seen parallel time. What will he think? Having seen two sets of children in different clothing, one room dark, the other bright, will he realize what he's witnessed? And another mystery--what's this new book that Will Loomis is writing, and why? He already did the life and death of Barnabas Collins, what else is there? (The undeath, but he has no way of knowing that.) Mysteries mount!
Yaeger enjoyed taunting Sabrina, too, but doesn't dare lay a finger on her. She sure put him in his place, but he didn't seem to mind--and I guess Cyrus figures that Sabrina, who is so like him, must have an alternate, slutty, bad Sabrina trying to fight her way out of the good Sabrina's staid, prissy body. (Gad, perhaps she'd be more interesting!)
Yaeger is a very disturbing character, well-played by Chris Pennock.
1003 - What's wrong? Daniel asks Quentin. Amy notices something weird is going on, too. Quentin assures both it's nothing at all--what are you doing here? Daniel wanted to see Alexis, explains Amy. Where did you come from, Daniel? Quentin asks. My room, replies the boy. Quentin gazes at the now-closed West Wing doors, muttering, almost to himself, it must be my imagination--I want you to go play. I want to see Alexis, says Daniel. She's resting, explains Quentin--Amy, when you were at the Loomis house, did Will ever talk about Barnabas Collins? Daniel repeats the name--who is that? he asks. Someone who lived a very long time ago, answers Quentin. Will never spoke of Barnabas, says Amy--just wrote those pages I showed you. Why? asks Daniel--there must be some reason. No reason, lies Quentin and sends the kids on their way. Why was the room different? he wonders, how could it be? The kids were in that room, yet walking down the hall. He opens the doors. Angelique is there; he's stunned that the room has been restored. What is it? she asks--nothing's changed... What do you mean? he demands. You look as if I've completely rearranged the furniture, she says. He describes what happened before--I saw Daniel and Amy, wearing clothes I'd never seen before, discussing Barnabas
--then I heard them again, but this time saw them in the hall--and I wasn't hallucinating! My dear Quentin, she says, I was here all the time, you must admit the strain you've been under. I don't like to admit I'm the kind of man who strain could affect, says Quentin--at least not that much--so many strange things have been happening around here. Yes, I know, she says meaningfully. I thought once Angelique was in her final resting place, all this would stop, he says. Arms crossed over her chest, Angelique says, you can't blame your hallucinations on Angelique. She looks at the portrait. No, but at least we're rid of the ghost of Dameon Edwards, says Quentin. She looks at him blankly, repeating the name. Yes, you sound as if you've forgotten, he says. Of course I haven't, she says. Perhaps Bruno was right, says Quentin, perhaps Angelique's spirit made Dameon appear. It's very fashionable these days to blame "my sister" for everything, she says--everyone seems to ignore the fact that she was murdered! Alexis! objects Quentin. Have you done anything to find her murderer, Quentin? asks Angelique imperiously, warming her hands by the fire. I don't believe Angelique was murdered, says Quentin. Oh, then you're a fool, cries Angelique--you can believe that rooms can change, but ignore a simple fact. It wasn't a fact, insists Quentin, a very disturbed woman said it at a seance. Well I believe her, and so should you, she retorts--and if for some reason you don't want the truth discovered... She holds herself, murmuring, it's chilly in here. It's not, says Quentin. Leave me alone, she says. Are you sure you're all right? he asks. Yes, I'm just cold, that's all! she says angrily. All right, he says, I'm going downstairs--you should come down and join me in a brandy. All right, she agrees. And Alexis, he adds, if Angelique were murdered, I'd be as anxious as you are to find the murderer. He leaves. She covers herself with a shawl, wondering, shivering, why am I so cold?
Old House (attic?) - Amy, playing with a baby carriage, tells Daniel, while I was staying with Cousin Carolyn, I used to play here all the time--don't you like it? No, says Daniel petulantly, going through trunks is for girls. You can find all sorts of things, honest, says Amy--letters, dolls, all very old--this house was built long before Collinwood, you know. Do you ever play in the basement? asks Daniel. No, she replies, it was always locked. It never used to be, says Daniel. Only Cousin Will has the key, explains Amy--I heard Carolyn asking him for it, but he wouldn't give it to her. I think Will is crazy, says Daniel--there's a secret passage into the basement--you can get into it from the beach--pretty neat place to play--I went there yesterday but it was all blocked up--why don't we go there now?--maybe we can both work it... Not at night! she insists. You're such a scaredy cat, he taunts, and is about to stomp out when Amy reveals, there's a sword over there, a real one, I saw it the last time I was playing here--it's behind all the pictures. He comes back, now interested, and asks if it's a fencing foil or a saber. I don't know, she says, I only saw the handle, and besides, I don't like swords. While going through the paintings, Daniel hears a distinct heartbeat, a sound Amy doesn't hear. You're trying to scare me, she accuses. I think it's coming from this picture, he says--and shows her the portrait of Barnabas Collins. You're making it all up, complains Amy. I'm not, insists Daniel--come here and listen, don't be afraid, just listen! She comes closer. Daniel reads that the portrait is that of Barnabas Collins. He's the one your father was asking about, says Amy--who suddenly emits a piercing scream and faints. Amy! cries Daniel. "Amy!"
Daniel kneels to examine Amy, calling her name over and over. She comes to. What happened? he asks. Chains, trapped, chains, trapped, she mutters. A man Daniel addresses as Fred comes in, demanding, what are you doing up here? Something's happened to Amy, says Daniel. You aren't supposed to be down (?) here, says Fred. He kneels beside Amy, who is still murmuring, "Trapped, chains." What did you do to her? he asks Daniel. (what an assumption)! Nothing, says Daniel, she just looked at this picture and fainted. Fred lifts Amy in his arms--we must get her to Collinwood, he says.
9:30 - Collinwood drawing room - Daniel, asks Quentin, were you trying to frighten Amy again? I wasn't, I swear, insists Daniel. Didn't the doctor say anything? Daniel asks Fred. She (?) didn't say anything except trapped and chained, says Fred--she just kept moaning and saying those two words over and over. Thank you for bringing her here, says Quentin. With the Loomises out, I just didn't know what to do, admits Fred. You were quite right, says Quentin, thank you. I'd better get going, says Fred--Mrs. Loomis told me to get the attic all cleaned up tonight. He bids them good night and leaves. Daniel wonders why Amy fainted. I don't know, says Quentin. They both agree that while there must be some reason, neither knows know what it is.
Out in the foyer, Angelique runs into Fred. You haven't been down to the Old House lately, he says--I miss seeing you there. She's hugging herself in the shawl, obviously freezing. Oh? She asks, gazing at him, then suddenly grins. Fred, she murmurs, moving closer to him, shivering. What's wrong? he asks. I don't know, she says, I just feel so cold... I know what to do about that, he says flirtatiously, putting his arms around her, holding her close. She leans against him. Do you feel any better? he asks. Yes, I do, she says. "I've been wanting to hold you like this ever since I saw you," he says, adding, "Listen, you come with me, huh? Better, you meet me later, I've got some things I've gotta finish." "Look at me," she commands in a sultry tone, "I feel so warm in your arms. . .kiss me." They are about to go for it when Quentin exits the drawing room. They leap apart. Quentin asks, "Are you still here, Fred?" (Isn't that obvious?) Just leaving, the handyman says, which he does. Quentin looks at Angelique.
Hannah kisses one of her Tarot cards with glee, laughing. (must be good news.) She hears a knock at her door and goes to answer it--it's Angelique. What an honor, says Hannah sarcastically, I didn't think you remembered where I lived. Oh, yes, Aunt Hannah, I remember very well, Angelique assures her. Your sister liked to come here, says Hannah, she could do things here she couldn't do at the big house--but you didn't come here because you want something. Is that why you think I'm here? asks Angelique. Yes, says Hannah, annoyed. Well, you're so right, says Angelique, of course--"Read my fortune." Hannah is shocked at this request, and comments, all of a sudden, you sound just like HER. Angelique looks at her, smiling slightly. When you came back, I didn't even want to see you at first, says Hannah, I didn't want to start missing her again, not that I ever stopped--so, you want your fortune told. Very much, says Angelique. I thought you didn't believe in all these things, says Hannah. Perhaps I'm changing, suggests Angelique, smiling. I only tell what I see in the cards, says Hannah--that isn't always good. I want very much to know what you see, says Angelique. She sits at the table as Hannah arranges the cards. Hannah puts out the Tower of Destruction, and the moon inverted. What does that combination mean? she asks her aunt, who is now standing, gazing down at the cards, horrified. Finish it, demands Angelique. Hannah refuses--go, just go, now! she cries. You told me that you would tell me, Angelique reminds her. Hannah sits down again, unhappy. You have no future, says Hannah. Will you read my palm? asks Angelique, grinning. I don't want to see it there, says Hannah. Read my palm, read it, prods Angelique, holding out her hand. Then will you go? asks Hannah. Yes, the blonde promises--"If you still want me to." Hannah takes one look at her niece's palm and pronounces, "You're not Alexis
--you're Angelique!" The latter grins triumphantly.
Terrified, Hannah rises and stares at her niece. You knew I would come back--don't you even want to know how I did it? asks Angelique, still holding out her hand. No, I don't want to know, cries Hannah. Come on, chides Angelique, it was you who first introduced me to the occult!--and I was an apt student, hm? I don't have the power, gasps Hannah, nor do I know anyone who has the power... "to come back?" finishes Angelique.--we were such good friends once, we must be again--I want to ask you some things--first, where is Julia Hoffman?--I've been afraid to ask in the house, that I'd give myself away. I heard that Quentin decided it was time she had a vacation, explains Hannah. I must get her back ASAP, says Angelique--and another thing, most important--why is the ghost of Dameon Edwards here? He cannot rest, says Hannah, or so I've heard--he's threatened the children, Quentin, Bruno... Trask? asks Angelique. You know--you know why, accuses Hannah. Angelique begins to shiver--I'm cold, she says--you must help me. Please don't ask me, begs Hannah. Yes, insists Angelique, you must, or else you will feel the same cold I feel, the same cold one feels in the tomb--you don't want that, do you? Why did you come back? asks an obviously sickened Hannah. Why not? asks Angelique--you should know, because of LOVE!--and she laughs--"Because I could not bear not to have Quentin's love!--I had to have it--his love--the one man who could always make me want more and more of his love!" "You're going to kill him!" realizes Hannah. No, says Angelique, Quentin will want to die. Never, says Hannah. You wait and see, predicts Angelique--Quentin will want to die when he has found out that I have discovered who murdered me. Murder? asks Hannah. Didn't you know? asks Angelique--in the darkness, a hand, here, pressed along a sharp pin--I felt a sudden pain, then...cold, I'm beginning to feel the cold again! Tell me about the murder! commands Hannah. I must leave now, says Angelique, I can feel the cold drawing me back--back into the tomb!-I haven't much time left--unless--I want you to go to the Loomis house--there's a man who works there--bring him to me. ANGELIQUE! objects Hannah. I must feel warmth or I will die again, says Angelique--and then, I will haunt you for the rest of your life! Hannah, torn, turns away. I swear it, promises Angelique. Hannah rushes from her cottage to do Angelique's bidding.
Collinwood, Amy lies on the sofa, covered in a blanket. She tells Quentin, I feel better. Can you talk about what happened? he asks. I don't know what did, she says. For me to understand what happened, you must tell me what you thought you saw when you looked at the painting, says Quentin. I saw his eyes, she says, he needs help--I don't know how I know, I just do. Barnabas Collins died over 200 years ago, he says. I know! says Amy. Quentin is more puzzled than ever.
Hannah returns with Fred (a.k.a. bullseye) and sternly says, I'll be upstairs if you want me, Alexis. I was coming back to Collin(g)wood, he reminds her. This is better here, she says. He notes, you're cold, and embraces her, kidding her forehead. I feel so much warmer in your arms--look at me, she demands, staring into his eyes. You're so beautiful, he croons, ever since I first saw you... "You've known you would hold me like this," she finishes. I sure hoped so, he says, but is suddenly distracted and looks away from her. No, don't turn your face away, look at me, she orders. What's wrong with me? he wonders, I feel so cold! She draws him back into her embrace, insisting, look at me. He does. This is the way it will be now, she says--you will feel cold, but you must not struggle to look away--you can't now, Fred, you can't. "Kiss me! Kiss me!" She draws his lips to hers, deepening the kiss. He holds her closely, feeling his own life slipping away. His eyes fly open wide; he tries to pull away, but she holds him, draining his life. When she finally lets him go, he falls to the floor, dead. Hannah! calls Angelique--I'm all right now. Hannah examines poor Fred--how cold she is, he mutters.
Yes, says Angelique, and I am warm again! She touches her cheek. He's dead, says Hannah--it's as if he's been dead for hours! "That's the way it must be now," says Angelique, not at all sorry about it, "this is the way I will live now--and when Quentin comes to join me, he will live this way, too--for eternity!"
NOTES: Poor Wilfred (a.k.a. Fred) Block (his name in the credits). Like the guys in the red uniforms on STAR TREK, you could smell death emanating from him--he was going to be a one-shot bullseye, like Donna, Carolyn's friend, one of Chris Jenning's first werewolf victims. He seemed like a nice enough guy, but Angelique, newly graduated from the tomb, sucked the life right out of him, like a sexual predator--like a vampire! If this were an R or X rated program, she'd have done it far more graphically--and with much more than a kiss. Poor fellow was expecting sex and got death; Woody Allen would approve. This is her plan for Quentin, not to be one of her victims, but to turn him into what she now is, whatever supernatural creature that may be. Angelique has been brought to life, seemingly to Hannah's disgust (and she must be talented if she was able to realize which niece's palm she was reading). Will Hannah keep her secret out of fear?
Barnabas is trying to encourage the children to free him, or so it seems. Daniel heard the heartbeat and Amy fainted just from looking into the eyes in the portrait. Will he succeed in freeing himself this way?
Quentin is trying to find out what's going on with Will Loomis, Barnabas and now the kids. Does this mean Dameon is gone for good, and the next mystery steps up to the plate?
Love, Robin
