1107 - Gerard's ghost appears to Shaw, who is poised to shoot Roxanne. Who are you? demands Sebastian--what are you doing here?--how did you get into this room? Gerard moves menacingly toward Sebastian, who points the gun at him and fires. Two bullets don't stop Gerard, who continues to advance on Shaw.
Barnabas enters the secret room and finds Shaw shaking, stunned. He's gone! says Shaw. Who are you talking about? demands Barnabas. I shot him, but he kept on walking toward me, says an amazed Sebastian--then he just disappeared. Gerard! guesses Barnabas. I wanted it over, ended, says Shaw, but he wouldn't let me kill her. (Overacting big time here!) How did you know she was here? asks Barnabas. I saw Willie in the crypt, reveals Shaw.
Tell me exactly what you know about her, commands Barnabas. There's only one thing you need to know, says Shaw--he whips off the scarf around his throat to reveal that he is Roxanne's victim. You are in her power, says Barnabas. Not anymore, says Shaw, not since Maggie--I hate her--I'm going to destroy her! He turns back to the coffin to do that very thing. Barnabas struggles with and stops him, taking the gun away from him. She'll kill Maggie! cries Shaw. I won't let that happen, Barnabas assures him. Why did you bring her here, why? asks Shaw. That's no concern of yours, says Barnabas, you must know that you cannot try to destroy her--do you understand that?--I will take care of Maggie, she will be safe, but you MUST forget Roxanne--say to me you will do as I tell you! I will, agrees Shaw quietly. Barnabas closes the coffin--did Roxanne ever mention Gerard Stiles? Barnabas asks. Yes, she did, says Shaw, but I don't remember, I don't know...
Josette's room, Old House - Roxanne Drew? repeats Daphne when Barnabas mentions the name--yes, there was a girl in Collinsport by that name then--she lived near here, with her father--she was very pretty, I never knew her well, but something happened to her, though--I never knew what--there was some sort of a mystery about it--people talked about how different she became after she... The carousel music begins to fill the room. Daphne wanders away, listening. Go on! says Barnabas. He's here! says Daphne. Gerard? asks Barn. Don't ask me anymore! says Daphne, closing her eyes, don't! Barnabas stares at her, feeling her terror.
Drawing room, Old House - Daphne, you're going to leave Collinwood tonight, says Barnabas. No, insists Daphne. Stop arguing with Barnabas, orders Quentin--what do you think, I'm going to stand here and wait until Gerard comes to kill you? She looks at him lovingly. Come on, says Quentin, we'll go upstairs and pack your clothes. NO! screams Daphne, I cannot go while the children are lost! There's nothing you can do for the children, says Barnabas. They will come to me, says Daphne. It's been decided, insists Quentin, sliding an arm around Daphne, hustling her upstairs. When we find the children, says Barn, we'll send them to you right away--I'll stay down here until you finish packing.
Up in Josette's room, packing the same blue suitcase all the gals on this show seem to share, Daphne tells Quentin, I don't feel I should go. Listen to me, he says, hands on her shoulders--do you think he can stop me from taking you now?--come on, I want to see a smile on that face. He cups her chin in his hands, winning him a weak smile. That's better, he says, you certainly don't look like a girl who's about to go into a whole new world--you are, you know, we both are--pack that suitcase--we deserve a toast. He pours what appears to be brandy, not champagne, into two brandy glasses--"To our life," he toasts. She raises her glass to his and toasts back; they drink. She suddenly drops the glass and faints. Quentin grabs his chest, in pain. He looks up and sees Gerard grinning down at him. What are you doing to us? demands Quentin. Gerard doesn't smile, he merely looks pleased with his evil handiwork.
6:20 - Barnabas and Julia go to Josette's room, wondering why it's taking Daphne so long. They finds Daphne on the floor, unconscious, but still alive. Where's Quentin? asks Barnabas--Julia, stay here with Daphne, I must get Quentin. Julia begins to examine Daphne.
Collinwood - Carolyn, dressed in widows' black, comes downstairs. Have you seen Quentin? asks Barnabas. Carolyn shakes her head. Why, asks Barn, are you dressed in black? How else should I be dressed? she asks--there will be a funeral tonight. Barnabas stares at her, unnerved.
Whose funeral? demands Barnabas--Quentin's?--you mean, Quentin, don't you?--answer me! I did not mention Quentin, she replies, you did. Help me, begs Barnabas, you are possessed--I know you somehow have second sight--you CAN help me! She smiles--do you really believe I can? she asks. Irritated, he asks, is Quentin alive? Do you really believe I can see? she asks--so few people believe I really can see what is happening elsewhere. Where is he now? asks Barnabas. I see a forest, she says--he is dying, but he does not know it. We must stop what's happening! says Barnabas--where is he?
Carolyn, eyes wide, says, no one can help him now--Quentin does not want to live anymore. (what about the portrait???)
Woods - "Gerard, Why did I ever think YOU were my enemy?" asks Quentin. Gerard smiles.
You're wrong, Carolyn, says Barnabas--there is nothing that would make Quentin want to die--not even Gerard would do that. Carolyn comes out of her trance. Do you remember what you were telling me? he asks. She nods. You saw exactly where Quentin is, says Barnabas. Carolyn shakes her head. I don't believe that! shouts Barnabas. I do you a favor, then you turn on me, accuses Carolyn, and angrily walks away. Everyone's lives are at stake, says Barn, even your own sanity--what happened to you in the future is the result of what's happening here--we must stop it! I cannot stop anything, objects Carolyn--whatever gave you the impression that I could? I will find Quentin, vows Barnabas, and leaves the house. Carolyn smiles and shakes her head.
Daphne lies in bed in Josette's room. Julia sits, watching her. Quentin! calls Daphne. Where is he? asks Julia--what happened here tonight?--what did Gerard do, where did he take Quentin? Miserable, Daphne turns her head away, beginning to cry--Quentin isn't in this time now, she says--he lives in Gerard's!
Quentin and Gerard walk to the cemetery. Quentin gazes at a blank tombstone--Gerard, why is it unmarked? he asks--I know...no, no, why can't I remember?
Gerard smiles. Quentin looks at a stone that says Silas Larch--I know him, says Quentin, he was a ship's chandler before he went bad--before he met you. Quentin stands and looks at the next stone--Miles Pardoe--yes, I used to see you and him drinking at the Eagle---the date on it is 1840. Quentin shakes his head. 1840?--I don't understand what's happening to me, why do I know these things? Gerard touches his shoulder. Quentin stands, looks at him and says, "When I look at you, it all doesn't seem so strange." Gerard grins. But this grave, why does it puzzle me so? asks Quentin. Gerard hands him a shovel. Quentin, excitedly beginning to dig, says, yes, yes, I know, I must know.
Quentin digs a deep hole and finds a coffin inside. That coffin, he says, yes, that's Quentin Collins' coffin, it is mine, I know that. Gerard smiles.
Josette's room - Barnabas pulls Julia aside--did Daphne tell you anything that might help us? Julia shakes her head. Carolyn knocks at the door--I must see Daphne, she insists--alone. She's carrying a large blue box. What do you want from her? asks Barnabas. Daphne, tell them I must see you alone, says Carolyn. Daphne, a tear running down her face, murmurs, "Please" to Barnabas and Julia. Very well, says Barn. He and Julia leave the room, closing the door. You shouldn't have, says Julia. We may find out what we need to know, he says. The door is locked behind them. Daphne opens the box and finds her 1840 dress. Gerard sent this? she asks--but must I put it on now? Carolyn looks at her solemnly. Oh, not yet, please not yet, begs Daphne--will the children die, too? Carolyn doesn't respond. I won't put it on! cries Daphne, about to exit the room via the room's second door, gown in hand, I won't! Barnabas knocks at the other door--open it, Carolyn! he commands She obeys. What did you tell her? Barnabas asks--tell me! Julia hurries after Daphne. Why--what can you do? Carolyn asks, grinning--you and Julia--I pity you, you think you can change everything!--you can't--Gerard will wave his green flag. Barnabas looks up. No one can stop that, insists Carolyn, and leaves the room. What did she bring you? Barnabas asks. Daphne doesn't answer. Gerard is doing this to you, we know that, says Julia. You must fight him! asserts Barnabas--now tell us what Carolyn brought you! Daphne stands mute.
Quentin takes the coffin from the ground. He's about to open it, but stops, insisting, I don't want to look, because then I'll remember--I'll remember--the coffin, it's empty because Quentin Collins was supposed to be buried there in 1840, but he wasn't, and you know, I keep forgetting why--it is mine, isn't it, yes? Gerard nods. It's time now, isn't it? asks the perspiring Quentin.
He knows now! cries Daphne. Who knows? asks Julia--tell me! Daphne shakes her head--he knows and there's nothing I can do, she laments--nothing! Julia runs to the other door--Barnabas! she calls.
Gerard, will Daphne be there with us? asks Quentin--because if she's not, I won't go--I'm telling you, I won't do it! Gerard locks eyes with him. You are dead, says Quentin quietly, whatever made me think that I could run away from you? Carolyn is suddenly there. Leticia, says Quentin. I remember the night, she says, when we danced and sang together--do you? He looks perplexed. We were so happy for that one moment, she says. Oh, yes, he says, smiling, I remember. She kisses his cheek and walks away. Goodbye, he says--I remember you and Flora, Gabriel, even Samantha--I remember. Gerard points to the coffin. Quentin climbs into the hole.
Back in Josette's room, Daphne sobs, oh, it hurts, why does it have to happen--why can't he breathe as I breathe now--just as before?--just as before!
Gerard tamps down the dirt on the grave, smiling with delight. Inside the coffin, buried alive, Quentin gasps for breath, pushing against the closed coffin lid.
NOTES: Can Quentin truly suffocate? Won't the portrait prevent him from dying? Just an observation--I always thought Quentin's life couldn't really be in danger, unless Gerard has the power to overcome the effects of the painting. Even the first time around, I wasn't all that worried for Quentin's safety, because I was sure he couldn't die
Were you shocked to learn Shaw was Roxanne's victim? And that he was going to destroy her? I thought, in vampire canon, the victim cannot kill the vampire, so this confuses me, but whatever.
So much overacting here, it was an annoying episode to watch. Chris Pennock was so over the top, he fell to the other side!
Is this Quentin the original, only, Quentin, or was there actually another branch of the family and the 1840 Quentin is ANOTHER Quentin? I am soooo confused!
I think we are only a few eps away from another trip back in time, when things will get more interesting again--and make more sense.
1108 - Old House - KLS' intro tells us that, (apparently off camera), the children returned to Collinwood. Julia sits in the drawing room reading Quentin's diary, trying to figure something out. Barnabas comes downstairs. Did you learn anything from the children? she asks. Nothing whatsoever, he replies--if they do have any information, they are concealing it well. It's amazing they returned of their own free will, says Julia. They had no choice, points out Barnabas, they were in the woods for almost two days, they were exhausted and hungry--what about Daphne and Carolyn? I gave Daphne a sedative, says Julia, and Carolyn was gone when I got downstairs. We must learn what's happened to Quentin, says Barn--and I feel we must find out before this night is over--or it will be too late.
Carolyn might have helped us locate Quentin, says Barnabas, sitting in his chair, and now she's gone. She did tell you there was going to be a funeral tonight, says Julia--she must have meant Quentin's--she said he had lost the will to live--Barnabas, I found something in the original Quentin's diary, it worries me. She shows him. Why should this worry you? asks Barn, it's nothing but blank pages. Look what precedes the blank pages, says Julia, it's on this very day in 1840. You think the original Quentin Collins died on this date? asks Barnabas. Yes, says Julia, I do. That wouldn't have any meaning for OUR Quentin, says Barnabas. Maybe it wouldn't says Julia, but I have a terrible feeling that it might--there's one person that might be able to find out for us.
Sebastian Shaw sits beside Maggie, who is moaning, crying out "Where, just tell me where?--tell me where!" She sits up with a scream. Sebastian helps her to lie back down. I stopped in to see how you were, he says--you had a bad dream. Yes, but I've had it before, she says. The same dream? asks Shaw. Yes, always the same dream, says Maggie. Tell me about it, he says. Change. . .an object, says Maggie. Can you see what kind of object it is? he asks. No, I've never been able to make it out, she says, but I hear a woman's voice calling me, calling my name--telling me to come free her! Do you see this woman in the dream? asks Shaw. No, says Maggie, I only hear her voice--I know she's held captive somewhere, I feel so sorry for her, I want desperately to help her. It's just a dream, Shaw assures her--you can't take it so seriously. It's not a dream, says Maggie, moving restlessly, I know it has some meaning for me. Angry, frustrated, Shaw insists, it has no meaning for you. Why are you so upset? she asks. He apologizes--I'm so concerned about your health, he says--you've got to get out of Collinwood, ASAP--it isn't safe for you here. I can't leave Collinwood, I have my job here, she says. You can't even do your job, he says--you've just got to get out of here. No, says Maggie, I can't leave, the children need me--for some strange reason, I need them--Sebastian, so tired. . .sleep. All right, he says, we'll talk about this some other time. He sits beside the sleeping woman and gazes at her lovingly.
Julia and Barnabas return to Collinwood. Barnabas starts to dial the phone--let's hope Shaw is home, he says. Barnabas finds a paper under a box once used to house Petofi's hand and takes it--"Quentin Collins, he reads, born 1808 died 1840--may he rest in peace." He shows the note to Julia--"The death notice of Quentin Collins!" he says. Julia looks at it, concerned.
Look at how old the death notice is, says Julia--must have been the same one sent to friends in 1840. Gerard has put this here, says Barnabas, slipping the card into his jacket pocket. The carousel music begins to play. I feel Gerard' presence in the house, announces Julia--he's somewhere near. Shaw comes downstairs--I'm glad you're both here, he says--I want to discuss Maggie with you. We were just going to call you, says Julia. What about Maggie? asks Barnabas. I want her out of Collinwood immediately, says Shaw. Why, what's happened? asks Barnabas. Nothing, says Shaw, but something will if we don't get her out of here! What do you mean? Julia asks. Roxanne will get out of her coffin, says Shaw, I know that. But she hasn't gotten out, says Barnabas. I just came from Maggie's room, says Shaw--she just told me about a recurring dream she had, in which she goes to the Old House, to that secret room and lets Roxanne out of the coffin--of course she doesn't know what the dream means. I was afraid something like this might happen, says Barn. What do you mean? asks Shaw--how can you suspect? Never mind, says Barnabas, realizing revealed too much information--the point is, you're quite right, Sebastian, even if Roxanne is chained in the coffin, Maggie is still in danger. Then, says Shaw, you agree she should be taken out of Collinwood immediately? Yes I do, says Barn, but before we take her away, there's one more thing we'd like to ask of you. Maggie is the most important thing! insists Shaw. I know that, says Barnabas, and we will see Maggie is safe tonight (he accidentally calls him Quentin, then Sebastian), and tomorrow, during the day, we will take her someplace far from this house--but there is something important we need you to do for us--it concerns the life of Quentin Collins. What's happened to Quentin? asks Shaw. We don't know, says Julia, it's possible he may be dead. How? asks Shaw. That's what we want you to help us with, says Barnabas--we want you to use your powers to find out what's happened to him--we'd very much appreciate it. If I do, says Shaw, would you agree to get Maggie away from here? The moment we know where Quentin is, Julia assures him, Maggie will leave Collinwood.
Shaw stands in front of a lighted lamp in the drawing room, concentrating. Do you see anything? asks Barnabas. Shaw sees a high window, somewhere in Collinwood, and a green flag--someone in the house is waving it at the window, but I can't see who...I see a cemetery, headstones, pulsing, the earth moving around the graves--there's a terrible rumbling sound, I don't know what this is, I've never seen it... Whatever you see, asks Barn, does it have anything to do with Quentin? No, says Shaw, there's been no sign of Quentin.
Shaw gasps. What is it, what do you see? asks Julia. Collinwood is in flames, says Shaw, and a man is coming down the stairs, but there's no way for him to get out--wait, there's a path through the flames, he's leaving the house. The vision changes--I see a chained coffin in the Old House, behind the secret panel. Maggie enters, and she's banging the chains from the coffin, taking off the chains. She opens the coffin! Shaw cries out incoherently, then, hand to forehead, totters away. He sits on the piano bench--it's like I told you, he says--she's going to set Roxanne free. I don't understand your vision at all, says Julia--the flag at the window, the disturbance at the cemetery--what does it all mean? It means, says Shaw, the beginning of the destruction of Collinwood! When is this going to happen? demands Barnabas. Tonight, says Shaw, it's going to happen tonight.
Julia, we must find a way to stop Gerard, says Barnabas. How?--there's still so much we don't know, says Julia. We do know the destruction will be preceded by a murder, says Barn, so our first task is to see to it that Daphne's kept alive. What about Maggie? demands Shaw--Barnabas, you promised! Maggie will leave Collinwood, says Barn, but we must take her to Windcliff--Julia, you explain it to him, I'll go up and get Maggie. Barn heads upstairs. What does Barnabas have in mind? asks Shaw. I will explain everything, promises Julia, but first I must make a phone call. She heads to the phone and dials.
Barnabas awakens Maggie. I didn't think you'd be back tonight, she says. Listen to me, he says gently--try and understand what you must do. What? she asks. You're not well yet, explains Barnabas, and Julia thinks your only chance is to be taken away to Windcliff for some treatment. I don't want to go away, protests Maggie, I told Sebastian that. I wish there was time to explain and convince you why this must happen, but there isn't--you must simply go whether you like it or not--"Trust me, Maggie." He helps her out of bed.
Windcliff Sanitarium? asks Sebastian--isn't that just a polite word for insane asylum?--you know as well as I do that Maggie's problem is physical, not mental. It's both, says Julia, and YOU know that as well as I do (Yes, they were both vampire victims)--now Maggie is going to Windcliff, where she will have proper treatment and protection--as soon as she's well enough, you can go and take her away from there--but now you must take her to Windcliff! Barnabas helps Maggie, who is wearing a scarf tied under her chin, downstairs--she's ready, says Barnabas. Good, says Julia, everything's been arranged--Mr. Shaw, go get the car. I can't go yet, protests Maggie--I must see Carolyn first. Barnabas carries a black box. I promised Carolyn I would give this to the children, says Maggie weakly--now I won't be able to. Julia takes the box--I'll see to it that the children get it, she assures her. You won't forget? asks Maggie. No, I promise, says Julia--go on out with Sebastian. Barnabas turns to Maggie. "You'll be yourself again soon, very soon," he says gently. Come on, says Shaw, and leads her from Collinwood--perhaps for the very last time.
Julia places the black box on the piano, then turns back, gazes at it and quickly opens it. What are you doing? asks Barnabas. I've seen this box before, says Julia--Carolyn brought it to Daphne and Daphne cried--I've got to find out why. Julia opens the box. Inside are Tad and Carrie's 19th century clothing--don't you recognize these? asks Julia--it's the clothing the children were wearing in 1995. Yes, says Barnabas, and unless we find a way to prevent it, they are destined to die in these clothes tonight! Julia is terrified.
Everything is happening so quickly, laments Julia, holding Carrie's dress. She puts down the dress, touches her hand to her forehead and adds, with alarm, there are so many things we have to do before this night is over! We'll start with the children, he says, we must see they are kept safe until this night is over--they cannot get into those clothes. How can we stop Gerard from doing what he will? questions Julia. We will burn those clothes here, now! insists Barnabas. But when they turn back, the box and clothes have disappeared.
Maggie sits beside Shaw in his two-seater car, heading for Windcliff. You've got to turn around, insists Maggie. It's too late, now, says Shaw--we're going to be at Windcliff soon. No, she protests, I've got to go back to Collinwood--you must take me. You must realize, he says, that what we're doing is going to be for the best for you.
No, Collinwood is where I belong, she says. We've been driving for an hour and a half now, he says, you haven't said a word and you want to turn back now--why? (How far is Windcliff from Collinwood, it seems to range from a couple of miles to a couple of hundred!) I just realized that if we keep going like this, I'll never see Collinwood again, she says--or any of the people I love. That's not true, says Sebastian, I promise you that I'm going to stay with you as long as you're going to be at Windcliff, and when you get out, I promise I'll take you right back to Collinwood. He slips an arm around her, pulling her close. (They fell in love fast, didn't they?) She leans against him gratefully.
Old House - Julia and Barnabas come downstairs. The children seem safe enough in this house, he says--asleep. Thank God Gerard hasn't gotten to them yet, remarks Julia, but the clothes, we've got to find them. You're exhausted, he says, his hand on her arm, stay in the drawing room, I'll attempt to find the clothes here someplace. Julia sits down in the chair and leans her head to one side. She hears the sound of a heartbeat--where is it coming from? she wonders-- what's causing it? She sits up and listens, then rises from the chair--the secret room, realizes Julia--Roxanne trying to summon one of her victims. No, she says, opening the door, it couldn't have come from here--the sound would have gotten louder when I opened the panel--what can it be? She closes the bookcase. Barnabas comes down--he's heard the heartbeat, too! He runs to the secret panel. No, says Julia, I thought that, too, but the heartbeat isn't coming from there. Where's it coming from? asks Barn. Julia and Barnabas listen, gazing around. Upstairs, says Julia; she and Barnabas go up. They enter a cobweb-filled room. Barnabas yanks the cover from Quentin's painting. Then he's still alive! says Julia. Yes, agrees Barnabas, but if this portrait is his only way of communicating with us, he's either been taken prisoner somewhere and is close to death--or Gerard has buried him alive!
We get another view of Quentin's disgusting visage in the painting.
NOTES: I ask again, can Quentin die as long as that painting still exists? Or would he just lie in the coffin in which he's buried, suffocating forever? I think I'd rather die!
Farewell, Maggie Evans and Kathryn Leigh Scott. This was her final appearance on DARK SHADOWS as she headed off to Paris, France to be with her long-time boyfriend, Ben Martin. She was supposed to portray another character in the upcoming 1840 storyline, and I bet she'd have done a fine job--although whether it would have been as good as Virginia Vestoff is another matter. She started out as a wise-cracking, funny, tough waitress in 1966, and took over Alexandra Moltke's ingenue role when she left in 1968. How Maggie qualified to teach the kids at Collinwood is anybody's guess, but someone in fan fiction suggested she got a teaching degree and took a job at the Collinsport Inn only because there were no teaching jobs available in Collinsport, where she wanted to stay to take care of Sam. They had some great scenes together as father and daughter. It's prophetic that her character says she feels she won't ever see those she loves again. KLS said she hoped DS would always be there for her to return to, but in the end, it wasn't; it exited the air only a few months after she left the show. She really did grow as an actress on DS, and appears at all fests and other appearances today, selling books about DARK SHADOWS and other TV shows with grace and loveliness. Like many of the other DS actresses, she looks gorgeous today.
Barnabas and Julia have a tough row to hoe here, saving Quentin and the kids. I think it odd that they brought back the kids from their wandering the woods without showing it to us. I mean, how many repetitive scenes did we have with those children, and now, they come back, and we don't witness the reunion? Kind of odd, isn't it?
Will Quentin be saved? Will Barnabas and Julia find the children's clothing and save them and Collinwood? What kind of car was Shaw driving? Stay tuned for all the answers!
Love, Robin
