1068 - Nancy Barrett's intro - An evil spirit presides, unchallenged, over the great estate, and gained command over the mind and actions of Julia herself, but other ghosts walk the night, and they, too, are not without powers of their own.
Barnabas holds the note left by the spirit-Julia, come downstairs, quickly! He calls. He shows her the note. Where did you find it? she asks. A woman in 19th century clothes appeared to me, he says-she left it. What does it mean? wonders Julia. I don't know, says Barnabas, possibly Carolyn. Of course, who else could it be? says Julia, probably knowing full well it could refer to her. Both spirits were dressed in 19th century clothes, says Barnabas-but the children were dressed in clothes of 1970-what does that mean? I don't know, she replies. She was here! calls Quentin from the stairway-has she gone?-where did she go, I've got to find her. I thought you were resting, says Julia. How did you know she was here? asks Barnabas-did you see her? Quentin looks around eagerly, then grins. Lilac, can't you smell them? he asks. Yes, the scent of lilac, agrees Julia. Whenever she was near, says Quentin, giggling a little, the air was such fragrance. Who? asks Barnabas. Oh, Daphne, says Quentin, as though that explains everything. Who is Daphne? asks Barnabas impatiently. Quentin tilts his head to one side and says, "Yes, who's Daphne?" You mean you don't know? asks Julia. I saw her a few times, says Quentin, so cold, but so beautiful-such sorrow in her eyes-maybe Carolyn knows, he says, getting right in Barnabas' face, sounding like a little boy, huh?--I'd give anything to see her again-will she come back? I don't know, says Barnabas, clearly nonplussed by this. Please let me see her again! begs Quentin-Daphne! --Daphne, why are you so cruel, Daphne? By now, he's talking to the air. Julia goes over and touches his arm-you've got to rest, she urges. Oh, no, I've got to find her, protests Quentin, putting his hand over Julia's. She's gone! says Julia. Gone, yes, they're all gone, says Quentin loonily, they're all gone, she must not come back, here, never, they're all gone... Julia leads the babbling man upstairs.
Gerard opens the front door of Collinwood. The childlike music is playing. He gestures to Daphne, who is waiting outside, to come in. She does.
The bust that nearly brained Julia lies smashed on the floor; the camera pans to it. As they enter Collinwood, Julia tells Barnabas, I read the Collins family history for the 19th century, over and over, and never found a mention of anyone named Daphne. There may not have been mention of a name, says Barn, but perhaps some indication, some clue-at any rate, it's worth a try. Go ahead, says Julia, I'll wait out here. Let me know if you see anything, says Barn, and heads into the drawing room. Julia looks up to the landing, where Gerard smiles crookedly at her in approval. Barnabas lights a candelabra in the drawing room and looks around. On the floor are two books. He picks one up, from which a string clearly protrudes. It says "THE COLLINS FAMILY HISTORY, Volume I. He opens it. Wind and thunder begin to fill the room; a window blows back and forth. The book is pulled from his hands. He looks around in horror as the room goes crazy, the door now blowing back and forth to add to the din. From the foyer, Julia frantically calls to Barnabas. "I saw him!" cries Julia--"I heard the thunder and the wind and I saw him!--the boy, David, or whoever, up there in the shadows,." Barnabas goes up to the landing--there's nothing here but darkness, he reports. Julia grins, proud of herself for fooling him. What did he look like? asks Barnabas. The same way he looked before, says Julia. Come into the drawing room with me, says Barn, I don't want to leave you out here alone. Did you find anything? she asks. He describes finding the family album you were reading-then the disturbance started. They hear a clunk as they're heading into the drawing room. Someone's in there, says Julia. We must get that book, insists Barnabas, I'm convinced more than ever how important it is. He goes in to get it, relighting the candles, telling her how the book flew out of his hands and off across the room-I don't know where it is. It must be here someplace, says Julia. I can't see it now, says Barnabas. Julia secretly smiles in satisfaction and relief. Could someone have taken it? asks Julia. I don't know, says Barn, but I've got to find it. He searches the wreckage. Julia continues her Mona Lisa smile, out of his sight. Barnabas again smells lilacs-Daphne, are you here in this room? he asks-appear to us if you can, he implores twice. She's gone, says Julia. Barnabas finds the book lying on the floor (odd, the first one he was reading said Volume One, the "One" crudely crossed out with black magic marker; this one says "Two", which is also crossed out-continuity, where art thou?) I think Daphne left us the book, he says. I don't see how, says Julia. Barnabas opens it and finds pages torn out. Oh, no, it doesn't matter whether she did or not, he says, disgusted, it's no use to us now. I wonder, says Julia, who and how... The first part of the 19th century has been torn out, says Barnabas. No one could have done it, insists Julia. Barnabas takes it from her hands--she did it because she didn't want us to know what was there, he says. Are you sure it wasn't torn out before? she asks. Positive, says Barn, it was all here a moment ago--now it's ruined. And there was nothing we could do to stop it, says Julia. Nothing at all, agrees Barnabas, disappointed.
What a pity, says Julia, grinning insincerely, out of his view, what a terrible pity.
As they exit the drawing room, Julia suggests, it's time we gave up. No, says Barnabas, it isn't-I want you to go back to the Old House-I want to see Carolyn alone. That will be more frustrating than ever, says Julia. I know, says Barnabas, already leaving, but I have to speak to her. Left alone in the foyer, Julia looks around, hears the playroom music and sees Gerard smiling at her from the landing as if to say, "You did good, Julia." He adds a sneer for good measure.
Carolyn is going through her picture album again, telling herself, I've got to remember them-I don't want to lose them again...that's my mother on my 16th birthday and she gave me a party...and that's...Uncle Roger, oh yes, and that's Quentin?--I think that's Quentin-yes, she giggles, it's Quentin, my cousin...and who is it, I've got to remember--I've seen that face before...who is it? "Carolyn," says Barnabas gently, "it's you." How did you get in here? she demands angrily. I knew you wouldn't have answered the door if I'd knocked , he says. Why don't you leave me alone? she rails, scuttling away from him. He puts his hands on her upper arms and says, "Because you're my cousin, because you're a Collins, and I need your help!" I can't do anything for you, she says, shaking her head-"I can't do anything for anyone." Who is Daphne? he asks. Terrified at first, she smiles and says, I don't know. I saw her ghost, says Barn, and the ghost of David and a young girl-and the ghost of the evil man-you must tell me who they are. "I told you before, I don't know what you're talking about!" cries Carolyn--"How many times do I have to say it?" Barnabas picks up the album and asks, who is this in this picture? I don't remember, says Carolyn sadly. Quietly, he says, "It was taken a little less than 25 years ago-it's a girl, a young woman, a woman with courage and spirit, who cared more for her family than anyone-now do you remember?" No, she says. "Carolyn, I tell you that it's YOU-it's you," he says. "Me?" she asks, almost hopefully. Yes, he says, now, do you remember who this is? My mother, she responds. And this boy? he prompts. David, she replies happily, proudly. And this man? he asks her. Quentin, she says. All of them-you remember them, praises Barnabas. She nods. And I want you to help them, he says. I can't help them, she says, growing upset again--I tried before and I couldn't help them! Carolyn, says Barnabas--Quentin's at the Old House, he told me about a woman named Daphne and says you might know who she is. She takes back the album--perhaps if I see her picture, I'll remember, she says. Her picture isn't there, says Barnabas. She looks at her mother's photo-wasn't she beautiful, and this is... Barnabas takes back the album and cuts her short--I need your help, he repeats. She shows him his own portrait and says, "This is my cousin Barnabas-he was never cruel to me-he never did anything to hurt me-(hysterically) where is he now?--why isn't he here to help me??" I am Barnabas, he says, I am here, and I do want to help you. She giggles, looking truly mad, and says, oh, no, he's gone. She takes back the album-they've all gone, my mother, and Uncle Roger, and David, gone-all gone-and who did you say this girl is, I can't remember.
"You, Carolyn," he says gently, with the utmost patience and kindness. She gazes at him, puzzled. He kisses her forehead and leaves her giggling, touching the spot where he kissed her. "Me," she says, as he closes the door, "he said I had great spirit and courage, and I cared more for my family than anything in the world-and he said it was me-yes, I remember," she says excitedly, grinning, "it's me-it's me!" (Wonderful, pitiful scene, beautifully acted by both Frid and Barrett.)
You should have known she wouldn't have told you the truth, smiles Julia triumphantly at the Old House a short time later-she wouldn't tell you anything. Would you say that again? requests Barnabas, clearly unsure he heard right. All I said, repeats Julia, is that you should have known she wouldn't tell us anything. He looks at her sharply--I didn't imagine it, he says-"You sounded almost pleased." Julia turns away from him--that's ridiculous, she insists. I know, he agrees, but still, I heard it. She flounders-what you heard was a natural exasperation, she says-I think it's really almost funny we keep going to her and not getting anything-that's all you heard. Perhaps, says Barnabas, unconvinced. She goes over to face him-we're very tired, she reminds him, I could say anything, you could hear anything. Maybe, he says, in any case, we both are tired-where's the note? What note? she asks. Daphne's note, he says. Why do you want it? she asks. I might give it to Stokes, he says, in case we want to do another exorcism, now where is it? Don't you have it? she asks. I gave it to you, he says. I don't know where it is, but I'll keep looking for it, if you want me to, she says. Yes-PLEASE, he says, clearly not comprehending her attitude.
Someone holds the note with the message on it-Daphne. She stands with Gerard in the ruins of Collinwood.
He holds out his hand for the note, which she gives to him-and which he tears up with That Sneer on his face.
Carolyn enters the Old House, calling Barnabas. Smiling, she asks, are you here? Barnabas went to visit Professor Stokes, says Quentin.
She gazes at him, then says, "Is it...Quentin?" Yes, he responds (and he looks so adorable!). You don't remember me, she chuckles. "Carolyn," he says. Quentin, you're home! she bubbles. They hug ecstatically. He holds her face in his hands-- what have they done to you? he asks--what's happened to you, they've changed you? No, she assures him, nothing, I'm the same, really, that's what I've come to tell Barnabas-that I haven't changed. No, he says, walking away from her, disturbed, something's terrible's happened, something terrible has happened to us, no, Carolyn, what is it?--why can't I remember--oh, Carolyn, will you help me?--you love me, I know you love me, you loved all of us-please help me. Sssssshhhh! she warns him, putting her hands on his arms, everything is going to be all right, I'm going to help, I really am. Help? asks Quentin. She sits down to write a note--you must take this to Barnabas, she says-will you do that for me? For you? he asks, then grins-for Carolyn. Tell him I will be waiting, she says. Waiting? he asks. She hands him the note--we're going to be all right, she says-all our sorrows will disappear and we'll be happy again-all of us! She hugs his arm, giggling. He begins to laugh, too, holding the note. That was Carolyn, he says, tilting his head to one side-that was Carolyn. He sits down, still gazing at the envelope, laughing. Like a naughty boy, he takes it out and reads: "I will wait for you at Collinwood-come there and I will tell you all that I remember." Tell all that she remembers? says Quentin aloud--oh, no, no one must... He is about to throw it into the fire when Barnabas enters, demanding, "What is that?" Nothing, says Quentin, just a note, it doesn't say anything. The note from Daphne? asks Barnabas. No, it's from Carolyn, says Quentin. May I see it? asks Barn. Quentin holds it crumbled in his hand, trying to hide it, but Barnabas takes it from him anyway, removing it from his hand. Quentin is ashamed of himself. Barnabas reads it and shouts, "You were going to destroy this?-Why?" Quentin pathetically says, "No one must know--no one." Julia enters--I looked everywhere for the note from Daphne, she says, but it's no where to be found. Barnabas holds out Carolyn's note--this note will be far more valuable, he says-I'll tell you on the way to Collinwood. Julia gives Quentin a last glance before they go. He sits down in the chair and tries to fold his very long legs up around him, begging, "Don't tell anyone-please don't tell anyone! Please, please don't tell anyone, please!" The camera pans back as he pleads, making him appear to be a child.
As Barnabas and Julia enter Collinwood, she reminds him, only terrible things have happened every time we've come there. We've been trying to get Carolyn to talk, he reminds her--now that she's willing, you're against it. I'm not against it, she says, I just think it's a trap-Barnabas, please, please forgive me, but I'm too frightened to go in there now. Wait here, he says gently. Barnabas finds Carolyn sitting at the desk in the drawing room, writing another note. He says, "Carolyn, I can't tell you how much this means to me-I know how difficult this must have been for you. . ." He sees how still she is and touches her shoulder. "Carolyn?" he says. She topples from the chair and falls to the floor, dead. CAROLYN! screams Barnabas.
NOTES: What an amazing episode. We didn't see many like this, but it's one of the best. The pathos of the scene between Quentin and Carolyn, the sweet sadness of the scene between Barnabas and Carolyn as he kept having to remind her she was looking at her own visage in the picture, her final decision to tell him what she knew--and now, her death. The body count rises everywhere Barnabas goes, even in this brief stint to the future.
1069 -
Collinwood's drawing room - Barnabas kneels over Carolyn's dead body. Julia! He cries. But Julia is staring up at Gerard on the landing. He shakes his head at her, warning her not to respond. Barnabas comes out to the foyer. Carolyn's dead! he says. Dead? repeats Julia vacantly. What are you staring at? he demands. Nothing, she says, turning away from the landing. Come examine the body, he says. Carolyn, dead? asks Julia, sounding far away. Her eyes, such fear in them, says Barn. What could she have seen? asks Julia. That man, the man we saw! says Barnabas. Julia enters the drawing room with him, asking, where is she? By the desk, says Barnabas. When the get there, the body is gone. She was here, she was sitting at that table, with a pen in her hand! he says shrilly, pounding to the desk. Where is the body? she asks. Finding the note Carolyn was writing, he picks it up-Julia, he says, Carolyn remembered-she was trying to write down what she was going to tell us, afraid she might forget-"The night of the sun and the moon," reads Barnabas. That doesn't make any sense, says Julia. "The night Rose Cottage was destroyed," continues Barnabas.
There's no house here by that name, says Julia--Carolyn was mad, Barnabas! " The unfinished horoscope, the night I sang my song," continues Barnabas, "the picnic, the murder-all of these are clues." Julia, annoyed, says the other note Carolyn sent to you was coherent, but (and she waves her hand dismissively over the note), obviously... Whatever you say, insists Barnabas, these are very significant things that she wanted to tell us, and we must find the body--go to the nearest telephone and call the sheriff, orders Barnabas. The sheriff? asks Julia, what will I say to him, Barnabas, you know as well as I do that we're not supposed to be in this house? In her note, says Barn, she told us to come here. The sheriff will think I'm mad, Barnabas, objects Julia, we shouldn't be here! I know she's somewhere in the house here, says Barnabas, carrying the one-candle-lit candelabra, I know it! I don't think we should involve the sheriff in this, opines Julia-he'll ask too many questions. Barnabas looks at her--what's wrong with you? he asks. Nothing, she says. Something is, he insists, setting the candelabra down on the foyer table, you've disagreed with everything I say, whatever suggestion I make, you don't want to do it! I'm just putting myself in the sheriff's place, she says--getting a seemingly mad telephone call from someplace. "Julia!" chastises Barnabas, "Carolyn is dead-now I want you to go find a telephone." Julia gazes at Gerard on the landing, who is nodding. The music is playing. All right, I will, agrees Julia-what will you do? I'm going to start looking for her, he says. Where-alone? asks Julia. Yes, says Barnabas. Gerard grins on the landing. Be careful, says Julia, looking toward Gerard. Barnabas follows her gaze, but she grabs his arm, puts her hand on his chest and steers him away, preventing him from spotting the ghost. She turns to leave. From the landing, Gerard watches, his malevolence palpable.
Barnabas walks from the kitchen area holding the candelabra, wondering to himself, why would he take Carolyn's body-for what reason?--as some sort of hideous joke?--where has be put it? (He hangs his head sadly)--poor, dear, Carolyn, if only I can get back to my time, I might be able to save you from this death-the secret panel in the living room-I should have tried it first. He goes into the drawing room and opens the panel. Barnabas takes the candelabra is about to enter the panel when he spies Gerard standing there. "WHAT HAVE YOU DONE TO CAROLYN? demands Barnabas--"Let me have her body-let me bury her at least as she should be-well, take me to her-is there no trace of decency in you?-if there is, you will take me to her!" Julia returns and calls Barnabas, momentarily distracting him; when he looks again, Gerard is gone. "Come back, take me to her!" cries Barnabas--I saw him, Julia-I've never seen such an evil face. Where is he? Julia asks. He was here, says Barn, he intends to keep her body. Why would he do that? asks Julia. I don't know, answers Barn. If he was here and is as evil as you say, why didn't he try to harm you? asks Julia. Because he can't and he knows it, says Barnabas triumphantly-where is the sheriff? He'll be here soon, says Julia. I've looked everywhere downstairs, says Barn, now I'm going to look upstairs. Julia nods. Bring the sheriff up with you-unless you'd prefer not to be left alone, says Barnabas. No, I'm not afraid, says Julia. What is wrong? demands Barnabas. She shrugs-do you think I'm not fazed by all this? she asks-I remember Carolyn when I saw her last, in our own time-if we ever get back to their own time, how will I deal with what I know now? We can stop all this from happening if we go back! says Barnabas-now you're sure you want to be left down here alone? The sheriff will be here any minute, says Julia. Barnabas gives her one final look and leaves. Julia checks to make sure he's gone and whispers, "Gerard! Gerard, did you have to kill her? Did you? Gerard! Gerard!" There is no response.
Barnabas goes to the playroom (cool stained glass window in the hall up there). He only carries one candle now. The playroom door is locked. Julia returns with the sheriff. The door has been locked from the inside, reveals Barnabas-sheriff, I want to force the door. The sheriff, however, has some questions. Not now! insists Barn. Look here, says the sheriff, if you two were in the foyer, no one could get a body out of the drawing room, it's not possible. No one knows what's possible or impossible in this house, points out Barnabas--sheriff, you try it-there must be some reason why this is locked-it was open earlier. The door opens immediately for the sheriff, who turns to Barnabas and asks, just how much of this is your own imagination? Barnabas looks at Julia and goes into the room first. The sheriff and Julia follow. Carolyn is laid out, flowers on her chest, in the playroom!
Who put those flowers there? cries Barnabas-what a grotesque sense of humor! She was a lovely woman, says the sheriff-I remember her when she was young-I never thought she'd end up like this. You knew her before she changed, says Barnabas, what caused that change? I don't know what happened here, answers the sheriff, I told you that. Whatever happened n 1970, says Barnabas, is still happening here, whatever caused them all to run away caused her death, I'm sure of it-can you help us, sheriff? I'd be willing to if I could, replies the lawman. Have you ever heard of a Gerard? asks Barnabas. Julia closes her eyes for a moment. The sheriff repeats the name. Think back-did she ever mention Gerard to you? asks Barnabas. No, says the sheriff. I saw him in this house, tonight, a spirit, explains Barnabas, a spirit capable of materializing and dematerializing-he could be in this room right now, listening to us. The sheriff looks around, mystified. Barnabas goes to the window-Gerard, you will not go unpunished, he vows-you will not! There must be more logical explanation than assuming a spirit killed Carolyn, insists the sheriff-we're going to find out how she died-then maybe I'll have some questions to ask you two! I know how she died, says Barnabas--she was frightened to death. I'll run my own investigation, Mr. Collins, insists the sheriff. Whatever you intend to do, says Barnabas, I'm having this house exorcised tomorrow. Julia looks horrified-Barnabas, she whimpers. I'm going to get Eliot Stokes, says Barn-he'll tell me the best person to conduct this exorcism-do you object? As long as my men can come here tonight and do their work, says the sheriff, take pictures-no-if I can get them to come into this house-it won't be any easier for them than it was for me. He heads out to go to a phone (no modern telecommunication conveniences), but before he leaves, he warns Barnabas and Julia, no one is to touch that body-"You two coming?" Let's go to Stokes', Julia, suggests Barnabas. I want to stay here, says Julia. You're crazy, lady, declares the sheriff. I am going to stay here, says Julia--I knew Carolyn when I was young-the least I can do is sit with her body until your men come back. Julia! exclaims Barnabas. You won't be able to change my mind, she assures him determinedly. You shouldn't, advises the sheriff, I'm concerned for your safety. I will be safe as long as I am with her, says Julia. We won't be long, says the sheriff. Barnabas gives Julia one last glance, then, without another word, leaves, too. Julia goes over to where Carolyn lies and gazes down at her. Gerard appears in the corner; he and Julia look at each other. She goes to him--leave this house, she begs-there will be an exorcism, I know it! He conveys something to her through their bond, staring into her eyes. All right, she says, all right, what must I do? He grins with pleasure.
Old House - To his immense sorrow, Quentin learns from the sheriff that Carolyn died of heart failure, that's the autopsy report, "and that's it, as far as I'm concerned," adds the sheriff. No, says Quentin, clenching his fists, NO!--he killed her! Mr. Collins? asks the sheriff. He did, says Quentin--Barnabas Collins made him do it! What are you talking about? asks the sheriff. Yes he did, says Quentin, Barnabas made Carolyn go to that room-he wasn't satisfied-he had to try and find out for himself. Find out what? demands the sheriff. Quentin shies away from him, making strange, helpless noises. This whole thing is very hard, says the sheriff-coming here, finding you like this. No! moans Quentin, he'll kill me-he'll kill me, too! Who will? asks the sheriff-a certain Gerard? Don't you mention that name, insists Quentin, don't you ever mention that name-I don't know any Gerard! Calm down and answer some other questions then, says the sheriff-why didn't this Mr. Barnabas Collins tell you that Carolyn died?--or Miss Julia Hoffman? Oh? asks Quentin in a childish voice, I wonder where they are?--I'll kill him-he made her go to that room, to that house! I'm asking YOU where they are, says the sheriff. I don't remember, says Quentin, rubbing his hair distractedly, I don't remember anything-I know-the woods-that's where they found me-in the woods! He sounds like an eager little boy. Mr. Collins, says the sheriff. "Where's Elizabeth?" asks Quentin, beginning to search the room, calling her name. He heads for the stairs and says, I saw him there, at Collinwood, I saw him. He grins. Who did you see-Gerard? queries the sheriff. Quentin sinks down on the stairs, looking at the sheriff from between two railings, his blue eyes huge and scared. No, he moans, you see he made me go there, they did, they made me go there just as they made Carolyn go there-and I saw him
-I wonder what I was doing in the woods...why I was in the woods?--why couldn't I stop it...why couldn't I stop it? The sheriff goes over to him, touches his shoulder--"Mr. Collins!" he says. Quentin jumps up-I've got to find Carolyn, he says, and begins calling HER name over and over. Julia enters. Quentin points to her, cringes, and says, "You were with him there, weren't you, you were with him there...no, no, no, don't you come near me, don't you come near me." Julia holds up a staying hand-sheriff, I'm a doctor, she says-would you hold Quentin, please? No, pleads Quentin, no, you keep her away from me, don't you let her touch me! I must give him a sedative, explains Julia--he's been ill. The sheriff moves toward Quentin, who immediately begins to fight being restrained, crying out "No!" The sheriff struggles to hold him, gasping to Julia, he isn't going to let me!, but he's finally able to get a firm hold of Quentin's arms. Listen to me, Quentin, says Julia-you know this is for the best-for the best-sit down. Quentin does, holding onto the arms of the chair. Julia raises his shirt sleeve. It really doesn't matter at all, says Quentin, because he always wins-he always wins-I wanna go back there, he tells Julia-will you take me back there? Julia holds up the filled hypo and asks, "Back where?" Just away from here, says Quentin plaintively, I just wanna go far away from here... That might be a very good idea, agrees Julia, injecting Quentin. He winces with pain. Quentin has been in a sanitarium for some time, sheriff, says Julia. Stormcrest? He asks. Yes, says Julia. Will you take me back there? asks Quentin. Sure, Mr. Collins, says the sheriff. Quentin stands--I'll go get my things, he says-Carolyn knew she should never go back to that house, I knew that-no one should ever go back to that house. Quentin goes upstairs. He believes this Gerard exists? asks the sheriff. Julia doesn't respond. I'm a sheriff, not a witch-hunter, the lawman says, I don't know what to do. Why didn't you tell him about Miss Carolyn? asks the sheriff. I didn't come back to the house last night, says Julia, I went to Carolyn's house at the beach-morbid of me?-perhaps. Why didn't Mr. Barnabas tell him then, huh? inquires the sheriff. I haven't seen him to ask, replies Julia. Where is Barnabas Collins now? asks the sheriff. She doesn't answer. You could help me if you wanted to, he points out. Could I? asks Julia. She sees Gerard through the window, looking at her. She grins. All right, sheriff, she says, after you take Quentin, come back here, come back just before dusk and I will help you. (Brrrrrrr, the calculating expression on her face is terrible!)
Old House basement - Barnabas awakens from his vampire slumber to be faced by the sheriff holding a cross.
He cries out and turns his head away. "I know all about you, Barnabas Collins!" shouts the sheriff, holding the horrified Barnabas at bay.
NOTES: My God, Julia, under Gerard's control, has betrayed Barnabas! Is this an incredible turn of events or what? And Barnabas was finally paying attention, realizing how distracted Julia was, how oddly she was behaving. When she's suddenly not afraid to be left alone, he asks her what is wrong; he knows there has been a big change in her. How will he react, knowing his own sidekick did this-and willingly, in Gerard's ghostly thrall?
Carolyn is dead-RIP. Now only Stokes and Quentin remain of the original family members-Mrs. Johnson and Carolyn are both dead. Carolyn wrote a lengthy note to tell them what transpired before the tragedy. Remember the events that preceded Quentin's death in 1897 (one was finding a bullet outside Collinwood)? The DS writers love doing this, so we can follow along with the clues and hope whatever horror is going to happen can be averted before all of them are fulfilled. This is a lengthy list, isn't it?
A wondrous performance by Selby here, he appears to have really regressed now that Carolyn has died, and the decision to send him back to the sanitarium is a wise one. Julia's determination to sedate him was creepy, and I remember thinking, the first time, if she was injecting him with something that would kill him, and silence him forever. How ironic that he knew she was in cohoots with Gerard, and said so, but who believes a crazy man, telling the truth or not?
I'm a sheriff, not a witch-hunter, insisted the sheriff, but let's face it, in Collinsport, you have to be prepared to do double-duty and be both! This line reminded me of McCoy always telling Spock and Kirk in STAR TREK that he was a doctor, not a ______. One must be DIVERSIFIED to be a lawman in this town!
I wonder why Gerard did that to Carolyn? Out of a weird sense of respect? To rub Barnabas' nose in it? He sure seems to have no redeeming qualities, does he?
In this excellent episode, so many things happened; it was fantastic! I'm sure it originally happened on a Friday, and if not, it should have. In any event, it kept me wondering and worrying about my favorite vampire until the next episode. I bet it will you first-timers, too.
Love, Robin
