1072 - Collinwood - Barnabas comes downstairs, pondering, how is it possible to be so wrong?-I know the playroom existed, now it doesn't-I know the catastrophe is inevitable and yet there isn't a sign to indicate how or when it will happen-if I could only contact the spirit of Daphne Harridge I... He stops, hearing sobbing coming from behind the closed drawing room doors.
Barnabas opens the doors and finds Carolyn standing before the fireplace, crying. Through tears, she says, Mother told me you were back, and it's good to see you again (not a very enthusiastic greeting). He goes over to her-why are you crying? he asks. Wiping her eyes with a tissue, she says, it's nothing you can do anything about. (I guess he forgot she's a still-recent widow.) Please tell me, he says gently. I still have trouble sleeping, explains Carolyn--I lie awake, thinking about Jeb-I can still see his face so clearly-Barnabas, she says, I don't know that I'm ever going to get over his death. You must, says Barnabas, you must. (A little more sympathy is called for here, Barn!) I thought about you often while you were away in that other time, she says--I was told that everyone there had a counterpart in that time. True, says Barn. I wanted so to be with you, she says, because I could have met Jeb there. Barnabas looks away. "You did meet him in that time, didn't you?" she asks. I met someone very much like him, says Barn, his name wasn't Jeb, but Cyrus Longworth. What kind of man was he? asks Carolyn.
At heart, says Barn, he was a very good, well-meaning man. I guess it does no good to think about it, says Carolyn. Barnabas agrees. He stares at her. Why are you looking at me that way? she asks. Have you heard of Rose Cottage? He asks. No, she says. Have you ever heard of the phrase, "The night of the sun and the moon?" he asks, his anxiety showing. Why are you asking me all these questions? she asks. He apologizes-I was just trying to find an answer to something, he says-have you ever heard of any of this? The night of the sun and the moon? she repeats--it sounds like part of a riddle. As a matter of fact, that's exactly what it is, agrees Barnabas.
David, in PJ's and a robe, is sitting at his desk, looking through a magazine, when Hallie knocks on his door. What are you doing up? he asks--it's a little late for us to be visiting. I've got to talk to you, she says. I'm in for it if Maggie catches you here, says David. Don't worry, says Hallie, she won't, and it won't take long-David, something terrible is going to happen in this house-I don't know what it's going to be, but I heard them talking about it-they were all in the drawing room, Barnabas was saying the strangest things. Yeah and you were eavesdropping, accuses David. You needn't sound so self-righteous, says Hallie, you're not above eavesdropping now and then (I was going to say the very same thing, LOL.) OK, OK, admits David, what else did they say? I couldn't hear everything, she says, but every once in a while, Barnabas spoke of a disaster that was going to happen-what do you think he was talking about? You were the one listening, David reminds her, didn't you hear? I told you, I couldn't hear everything! she replies, annoyed, but I will tell you one thing-your Aunt Elizabeth was pretty upset by it all. You scare too easily, says David (who seems to have aged about 5 years since we last saw him). I didn't say I was scared, protests Hallie. You are, though, says David, arms crossed over his chest--I can tell. No I'm not, says Hallie, clearly lying, but I have had the most peculiar feeling ever since I heard them talking about it-I can't help feeling that someone is watching us. From the doorway, Barnabas says, "Hallie, tell me who it is-who do you think is watching you?" Hallie, frightened, gazes at David, whose face remains neutral.
Barnabas asks Hallie again-who do toy think is watching you? I don't know, she replies. Have you seen anyone? asks Barnabas. No, it's just a strange feeling I have, she says You're not afraid of me, are you? asks Barnabas. No, says Hallie, you just seem different to me-I don't know how. Your uncle and I are very close friends, says Barn, and I am as interested in your welfare as Eliot is. Thank you-may I go now? asks Hallie. Of course, says Barnabas. She hurries off. You shouldn't pay too much attention to her, advises David, she still isn't used to the house-she thinks she hears and sees things-but you know it's just the wind or a shutter or something like that. I understand, says Barnabas-David, you're looking well, and have grown a bit (a bit? much more)! I think I have, says David, looking down, it's nice to have you back at Collinwood, Cousin Barnabas. Thank you, says Barn--I should be getting downstairs-I'm expecting Stokes. They bid each other good night, but Barnabas asks him the same question he's been asking everyone else-do you know of a place called Rose Cottage? No-is it supposed to be around here? asks David. I wish I knew, says Barnabas, and leaves. David, perplexed, closes his door.
Almost 3 (AM?--can't be in the afternoon, with Barnabas running around) - Carolyn and Hallie are in the drawing room when Stokes arrives. Carolyn answers his knock. They greet each other warmly. Barnabas is expecting me, says Stokes. I know, he told me, says Carolyn. Hallie runs into her uncle's embrace-I'm so glad to see you! I'd have thought you'd be in bed by now, says Stokes. That's just where she's going, Carolyn assures him. But I want to talk to my uncle, protests Hallie. Barnabas calls to Eliot from the stairs. Stokes assures Hallie, we'll talk tomorrow-go along with Carolyn. The ladies go upstairs. Eliot shakes Barnabas' hand and says, I was very much afraid we were never going to see you again. "Here I am," says Barn-"it's good to see you again." You must have an extraordinary tale to tell, guesses Stokes, and I'm most anxious to hear it. You once wondered about your counterpart in parallel time, says Barnabas, and what sort of man he would be and what sort of choices he would make. You found out, says Stokes. Yes, says Barnabas, and it nearly cost me my life. Good Lord! exclaims Eliot. You are fortunate that you made the right choices in this period, says Barnabas--let me take you into the drawing room and I'll start from the beginning. They enter. Barnabas closes the doors behind them.
Carolyn brings Hallie into David's room to say good night. Hallie asks Carolyn, why are you so anxious to send us to bed?--Maggie usually... (Damn, it's very late, Hallie!) Carolyn, irritated, says, "I'm not Maggie" What's eating you? asks David. (Odd slang for DS.) Nothing, says Carolyn, I'm just--Carolyn stops, hearing the spooky sci fi sound, and the wind--we aren't the only ones in this room-there's someone else here, watching us-I can feel it. Hallie runs to David--"I was right!" she cries-"Carolyn can feel it, too!" David, angry, orders them, just cut it out! Hallie runs to Carolyn's arms, proclaiming herself scared. You mustn't be, says Carolyn, putting her arms around Hallie,
I'll protect you both-I won't let them harm you. The camera pans backward, showing the frightened females and deliberately stoic David.
Carolyn and Hallie cling to each other, listening to the weird noises and wind. Get hold of yourself, Carolyn! David orders his cousin-you can see there's no one watching us! Yes there is, insists Hallie, I can feel them too! Look how upset you've gotten Hallie, says David, wrapping his hand around his cousin's arm-you both imagined it! The sounds stop. Carolyn releases Hallie and apologizes-David is right, there's no one else here. But you did feel something before, didn't you? asks Hallie. Puzzled, Carolyn says, I don't know if I did or not-and looks around uncertainly.
Drawing room - Eliot calls Barnabas' story the most astonishing I've ever heard. And every word of it is true, Barnabas assures him. I have no difficulty in believing it, says Stokes, but comprehending it-that's something else again-a trip to the future-fantastic! There's no adequate way of describing how this house looked in that time, says Barn. Pouring himself a drink, Eliot asks about, the ghosts you said you saw-did you recognize them? The man and the woman, no, says Barn, but I did recognize David of course-but there was something very curious about him-Julia and I were with Quentin when we saw the ghost of David; when we questioned Quentin about it, he swore it wasn't David he saw at all, but someone named Tad. More and more mystifying, says Eliot, and more and more frustrating-we have absolutely no idea of the cause or time of this impending disaster. But we do have the few clues I told you about, says Barn. Yes, but even you don't understand them, says Stokes. There's no question that the David and Hallie we saw in 1995 were dead, says Barnabas, the victims of some disaster that took place sometime in 1970. Then it could be days, weeks or even months, speculates Stokes, we have no way of knowing. We'll just have to wait for some sort of sign, says Barnabas, but in the meantime, I suggest you cancel your trip to Europe. This astonishes Stokes. Yes, in that time, says Barnabas, you said you were in Europe at the time the disaster happened here. I have no intention of going to Europe now! says Stokes, or in the immediate future. Barnabas, nonplussed, says, "I don't understand."
Neither does Stokes, who says, we must exercise extreme vigilance, because I am convinced that this disaster, when it comes, must inevitably strike suddenly, and without warning.
Helping him on with his coat, Barnabas tells Stokes, I've gotten the expression from talking to Hallie that your niece is rather high-strung. You must remember that she's recently lived through a tragedy, says Eliot--she hasn't yet completely recovered. That's understandable, says Barnabas, but I was concerned only because people who are very sensitive are usually very receptive to supernatural phenomenon. Perhaps I should take the child away from Collinwood, suggests Eliot. No, I wouldn't do that, says Barn, at least not yet-Elizabeth has been disturbed by everything that's happened here, and might regard it as a sign of alarm if you took Hallie away now. (Yes, but it might save her life.) That's true, agrees Eliot. We must keep in very close touch, urges Barnabas. I intend to do that, Stokes assures him-good night, Barnabas, he says solemnly, and leaves. Barnabas closes the door behind him. Carolyn comes downstairs and tells Barnabas the children are in bed-but if they don't sleep well, it will be my fault-I don't know what came over me-I was with them both, and the strangest feeling came over me suddenly, that we were being watched-I'm afraid I got a little hysterical and may have frightened Hallie. Describe the feeling, Carolyn, Barnabas asks. It's the feeling you have when someone is behind you, she says, but staring directly at you. You didn't see anyone? asks Barnabas. No, says Carolyn, maybe it was all just my imagination. Yes, but you've been very upset lately, he points out. Yes, says Carolyn, but I haven't been having premonitions-the most thing is, I began to feel quite strange after I talked with you earlier this evening-when you were asking me all those questions-I had the feeling then that you were deeply troubled by something, and I suppose that disturbed me. I'm sorry if I gave you that impression, he says-why don't you go up and get some rest?-you look as if you could use it. Yes, smiles Carolyn-I'll look in on the children again. They say good night and she heads upstairs.
David, asleep in his bed, dreams, his head twisting back and forth on the pillow. He spots the toy carousel turning, playing its tune-on the table in Collinwood's foyer. He comes downstairs (nice brown leather jacket, or is it vinyl). He examines the music box. A feminine hand touches his and he looks up to see Hallie dressed in an 19th century gown. What are you doing here and why are you dressed that way? he asks. She smiles shyly, mincing, but doesn't respond. Why don't you say something? he demands-aren't you going to answer me? She continues to smile, then begins to dance-alone, twirling around, moving into the drawing room. We see the carrousel superimposed on the scene now. Stop clowning around, orders David. He goes into the drawing room, asking, Hallie, where are you?, but she's disappeared. He calls her name and returns to the foyer, but the carousel is gone.
David awakens, sits up in bed and looks around, confused.
Carolyn finds Hallie in the hallway-you're supposed to be asleep, she reminds her. I was, honest, says Hallie, but I woke up and went to get a glass of water, that was all. (She really does sound like Marcia Brady.) All right, chuckles Carolyn, you go right in and get to bed. Hallie agrees, and enters her bedroom. She closes her door and sees spread over her bed the same dress David saw her wearing in his dream. She picks it up and stares at it, surprised.
NOTES: Our David has grown up considerably since the last time we saw him, hasn't he? His voice is changed completely, yet they still seem to be determined to keep him a little kid. Hallie is a far more mature young woman than Amy, and one wonders what the dynamics will be. They seem like brother and sister, but as you will see, there will be some interesting teen scenes between them in the near future.
So, the carousel has already appeared in the present time. David has dreamed about Hallie (or is it Carrie?) and has no idea what it means.
Carolyn, called Stoddard-Hawkes in the credits, still mourns Jeb. She seems to be growing psychic, perhaps a hand me down from Pansy Faye or someone else we will soon meet. Hallie, newly orphaned, is equally sensitive to psychic phenomena, but David, who used to be the one who was always possessed or aware of such things, either has lost his touch with puberty or is pretending to have done so. He seemed genuinely annoyed with the girls and their vapors over the unseen presence-yet he's the one who had the dream.
So, events have already begin to occur at Collinwood, almost as if Barnabas and Julia brought all this back with them from the future. Will Maggie catch David and Hallie together having a seance, or something more normal for teens of their age? Will Carolyn's new psychic sense help Barnabas and Julia unravel this mystery? Will Stoke remove Hallie from the house, which I sure would have done, pronto, since Barnabas told him he saw Hallie dead in 1995?
1073 -
Hallie picks up the orange dress we saw Carrie wearing in 1995. What's this doing here? she wonders--who's been here and left this dress-why? It's mine, she thinks-no, what a silly thing to think-why did I think that?--it's old-fashioned-who brought it here? Feeling a chill, she tries to warm herself with her hands, complaining, "It's so cold." When Maggie knocks at her door, Hallie stares down at the dress on her bed, unsure of what to do with it.
Maggie enters Hallie's room--what's wrong? she asks. Hallie quickly throws her bedcovers over the dress, hiding it. Nothing, says Hallie, I was just going to bed. I heard you talking to someone, says Maggie, saying it was cold. I think I'm starting to talk to myself, says Hallie with a grin. (Maggie wears a nice blue dress, and Carolyn was prettily attired yesterday in a different, form-fitting blue dress.) It IS cold in here, and so warm in the rest of the house, remarks Maggie. Hallie gulps. Why don't you get into bed and pull the covers up? suggests Maggie, reaching to draw down the covers. Wait! Says Hallie, stopping her, I have to brush my hair. She picks up a brush from her dresser and begins doing so. Do you mind staying here? asks Maggie. Seeing the look on Hallie's face, she apologizes and says, no one likes to be asked personal questions. I LIKED it here, says Hallie. Liked? repeats Maggie. Did I say that? asks Hallie-I mean it's a great house, there's so many places to be alone, you know; at Uncle Eliot's, there wasn't-of course, at home. . .before. You mean before the accident? says Maggie. It wasn't as big as this, muses Hallie, her face going soft at the memory, but there was one place I used to go-I pretend the silliest things-like I was older, and looking for an apartment, and couldn't afford very much, and could get the attic real cheap, and would just stand there, imagining how I was going to fix it up-crazy things like that. She puts down the brush. Not so crazy, says Maggie gently. Now someone else is living in that house, says Hallie sadly, might even be making something out of the attic. She looks at the lump of dress under her covers. It's different here, adds Hallie, I don't have to imagine things-hey, it's late. Yes, it is, agrees Maggie--good night. She holds Hallie by the shoulders--it's very nice having you here, she says-we all think so. She heads for the door, but Hallie stops her and thanks her. After Maggie goes, Hallie takes out the dress and wonders--why didn't I tell her about it?-she could have told me who put it here. She takes the dress, resolving to tell Maggie-she can take it, I don't want it. Before she opens the door, however, she instead hugs the dress against her body and drops it into her dresser drawer.
Drawing room - Of course it's upsetting, Liz tells Maggie--it's not like Barnabas to be so concerned unless he really believes. . . That he was in 1995 and saw this house in ruins? finishes Maggie. Liz turns away, distraught--it's so inconceivable to me, despite all of Stokes' theories-time has simply been the time of day I'm living, and now to find out there are different times-that a past and future do exist somewhere... We have to accept that now, don't we? asks Maggie. What catastrophe could happen this year? wonders Liz--what could drive us from this house? But you do believe Barnabas-that something is going to happen? asks Maggie.
Do I sound as if I do? asks Liz. Yes, says Maggie, nodding. It's just that everything has been going so well, says Liz--Roger said that before leaving for Europe-of course, we'd been terribly concerned about Julia and Barnabas. Does Barnabas look well? queries Maggie somewhat evasively. You haven't seen him? asks Liz. No, admits Maggie, gazing down. Don't let it hurt you, advises Liz. It's just that he's so upset by what he saw, says Maggie. (and he found a new chickie in PT, Mags) I will see him tomorrow, I'm sure, adds Maggie. The clock strikes. I'd better get to bed if I'm going to take David and Hallie horseback riding tomorrow (nice to live on a wealthy estate)-do you want me to lock up? No, says Liz, I'll do it later-I won't be able to sleep tonight. I wish I could help you, says Maggie, I know you're upset. There's no telling what's going to happen, says Liz. No, not even the computers can figure that out yet, says Maggie. (can they now?) All these centuries, says Liz, all that men have accomplished-and yet we know nothing about what's going to happen tomorrow-unless. . .unless we believe. Believe what? asks Maggie. Nothing, my dear, nothing, says Liz-good night. Maggie leaves. Liz opens her purse on the desk, takes out a business card, goes to the phone and dials. (What time must it be now?) The phone is answered by a Mr. Shaw (any relation to Timothy?) I'm sorry for calling so late, says Liz. It's no problem, he assures her. Do you have some free time tomorrow? she asks. Tomorrow may be difficult, he says. It's most important, she says. I can clear time at 3, he says. Thank you, she says. I'll see you then, he replies. She hangs up.
Also hanging up is a man who looks exactly like Jeb Hawkes, dressed in a wild black and white shirt and brown leather vest. "She's coming, he says exultantly-the great lady herself is finally coming." His eyes gleam predatorily; he grins.
Morning - In her room, Hallie examines the orange dress she found the night before. Her door opens and David comes in. She hastily pushes the dress back into her dresser, exclaiming, "You should knock!" Who knocks? he asks. (Ain't it the truth at Collinwood!) Everyone with manners! she says haughtily. Come on, I've been trying to see you all day, he complains-I couldn't talk to you when Maggie was here-I had a dream last night. Big deal, she says. About you, he adds. Lots of boys dream about me, brags Hallie (this gal thinks highly of herself, doesn't she?). "Yeah," says David, "but they don't try and go back to sleep afterwards-I know." (??!??!??) Oh, David, she chastises. You were wearing this funny dress, says David, like you were in a painting-it wasn't from 1970, but real old-fashioned. What was it like? she asks. Long, he says. What color? she asks. Orange, says David, with puffy sleeves, and you wore pantaloons with it. This unnerves Hallie, who accuses, you're trying to play a joke on me-you put it there! What are you talking about? he asks. You're trying to play a trick on me, she says. I just came here to tell you about my dream. Honest? she asks. Honest, he assures her-anyway, what was I supposed to put where? (Don't go there, David.) It's nothing, says Hallie, forget it. Why were you acting so strange? he asks. Strange-your choice of words. . .begins Hallie. My choice of words has nothing to do with it, insists David, I come in here and try and tell you about my dream and you get all funny. Oh, David, says Hallie, you'll never understand women. (Not if Collins history is correct.) You can be sure of that, says David, who heads for the door and leaves. Hallie is afraid.
Sebastian Shaw's place - looks very 60's, black leather sofa, pillows. Shaw himself comes out to answer the door, dressed in a psychedelic tunic, brown leather pants (!) and necklace depicting the sun and the moon. He deliberately lets Liz ring the bell a few extra times, then invites her in and closes the door. She stares at him. Is anything wrong? he asks. When I met you, says Liz, I thought you looked remarkably like someone I knew, thinking about it, I thought I was wrong, but you do. I read somewhere, says Shaw, that there are only 12 different types of faces in the world, yet we're constantly amazed at people who look alike-would you like some tea?--an unusual Indian blend. She refuses. Sit down, he says. She does--where is your crystal ball? She asks, I expected to see one. Insulted, he says, I don't think I can help you if you're going to think of me like some gypsy fortuneteller. She apologizes. If you ever do get to know me, he says, you'll realize that my greatest fear is losing my gifts, and I'm sure I would if I ever took advantage of anyone who came to me for help, as you have, Mrs. Stoddard-why are you so afraid of what is going to happen to you, Mrs. Stoddard? Happen when? she asks. This year, he responds. She stares at him.
What's going to happen this year? she asks. Tell me why you're so afraid, he says again. No, you tell me, says Liz. I'm not a psychic, says Shaw. You seem to be, she says. I sensed a fear, he says, you see, animals can sense when another is afraid-why not human beings?
You said THIS year, says Liz, you must know something. I'm an astrologer, he says, I know many things. He gazes at burning red candles in an elaborate candelabra. There may be a difference between being psychic and being an astrologer, says Liz, but I don't know... You don't understand, says Shaw--astrology began when man wondered how the planets and stars affected his everyday existence. I find it very hard to believe, says Liz. Shaw stares up to the heavens. You were born in March, weren't you? he asks (Not according to the bible we once saw, she was born in January, I think.) How did you know that? asks Liz. The sign of Pisces, says Shaw-two fish swimming in opposite directions-you have a duality about being here-that's all I based my comment on-you see, if you know the stars, you know the person. You make it sound so simple, says Liz. It's very simple, he chuckles. I see I was wrong about you, she says. He puts his hands together as if in prayer and asks, would you like me to draw up your horoscope? Yes, she says, yes, I must know what the rest of the year brings. I can do several things, he says--draw up a general one, which will give you an idea that will be disadvantageous to you, or a more complete, day by day chart. Yes, I'd like that, says Liz. It will be an honor to do one for you, says Shaw. An honor? she asks. Yes, you're very troubled, he says, and if the stars can help you in any way, I will feel a sense of personal gratification, and that is all-now, I must find out the exact time of your birth. I haven't the faintest idea, says Liz. The entire chart is based on the position of the planets, says Shaw, pointing skyward-isn't there any way you can find out? I don't know, says Liz-actually, there is-Carolyn found some letters just last week, one from my mother to my father-he was in New York when I was born-I believe she did mention the time. Call me this evening, says Shaw, smiling, and tell me. Is that all you want to know? asks Liz. Just the exact time of your birth-simple as that, says Shaw. How much do you charge for this? she asks. Whatever you'd like to give, he replies. No, please, says Liz, I'd rather you set the figure. It's against my principals, he says. I see, says Liz. He gives her a book, THE HISTORY OF ASTROLOGY-if you read this, he says, you'll believe in your chart. She thanks him. He leads her to the door. She asks, will the chart let me know about the people around me?-I'm very concerned about the children at Collinwood. The chart will tell you all about you and anything that concerns you will be in it, he assures her. She thanks him and leaves. Shaw closes the door after her. His face set and hard, he leans on a table with an image I can't quite make out (the sun)?
Hallie and David sit on the gazebo, doing homework. Tell me about your dream again, she asks. You didn't want to hear about it the first time I tried to tell you about it, he reminds her. What did I do when I was wearing the dress? she asks. It was only a dream, he says. She leaps from the stone bench, about to rail at him, but suddenly feels something, and begins looking around nervously. David, she whines. Will you stop bugging me? he demands. There's someone watching us, she says. You're crazy, he says. There is, she insists-don't you feel it? She runs her hands over her cold arms. David gazes around, too, looking for...what?
Hallie, what's wrong with you? asks David-there's no one here! There is! she cries, there is!-I'm going to my room-"And don't you tell anyone, David! Don't you tell!" Tell what? he asks as she dashes off without responding.
Maggie and Liz have tea in the drawing room. After I left you last night, says Maggie, I couldn't sleep-I couldn't imagine what possible catastrophe could happen. Barnabas couldn't find out exactly what happened, says Liz-let's not start thinking about it again. Maggie apologizes--it just seemed to center around David, she says, and I kept getting more and more worried. David, listening to their conversation from the doorway, pops in and says, "What seems to be centering on David?" Nothing at all, says his aunt. Then what were you talking about? he demands-"I think it's high time you stopped treating me like I was four and a half years old." (Bravo, David!) We were discussing a theory you couldn't possibly understand, says Liz, because I certainly can't. Something's happening around here, I can tell you that, says David. Maggie rises and asks, has anything been happening with you? You want me to answer your questions, he complains, but you don't tell me anything-well, I'm not going to. (Our David is not a little boy anymore!) David Collins, says his aunt, standing, if you have anything you should tell us, do! Something is happening around here, says David, I'll find out sooner or later, I guess. He leaves the room. The two women gaze after him.
Outside his room, David finds a note on the floor-"Sneak out-meet me in the gazebo at midnight--please," it says. He ponders it.
Midnight - The grandfather clock chimes, as are the church bells as David arrives at the gazebo, calling to Hallie. He wonders if she's playing some kind of joke on him-where are you, don't hide. He steps down and hears rustling in the bushes.
Hallie appears, decked out in the orange dress. Hallie? asks David, then adds--"You're not Hallie, you're the girl that was in my dream!" They stand there, staring at each other.
NOTES: Sexual teen tension on DARK SHADOWS? What's going on between Hallie and David? they seem to have the same antagonistic relationship as David did with Amy, but they're much older now, and that remark about the dream and going back to sleep...well, it made me sit up in astonishment even in 1970!
Seems like Liz might have gotten into the hands of a con man/astrologer, but whether he's legit or not, we will have to see. His insistence that she pay whatever she wants is an interesting ploy, and one wonders how much he will ask, and what his plans are to dupe her.
Now Hallie has dressed as Carrie. Why? Here I hoped she wanted a tryst with David, and it's a ghost thing. David seems older, huskier, and ready for love, but something tells me his hopes and dreams might be dashed, poor guy. I loved the way he stood up for himself with his aunt and Maggie. He's willing to wait and see what's going on, because experience has taught him that the truth always comes out at Collinwood, if you're patient enough!
Loved Sebastian Shaw's outfit, with that tie-dyed look. This is one of the few times the show seems really dated to me.
I felt sorry for Hallie when she was telling Maggie her sad story of wanting an apartment of her own. Now she's at Collinwood, a scary prospect for anyone. What has happened to her now?
Love, Robin
