NBC DARK SHADOWS SEASON 4

by David Short

This is a continuation of the NBC Dark Shadows, starring Ben Cross as Barnabas Collins. It picks up exactly where season one left off, and continues through Season 4, episode 9. More of this story may be published at a later date, so check back here from time to time to see if I've added anything recently.

NBC DARK SHADOWS SEASON #4 by David Short

This story is presented in the form of episode summaries for a fictitious Dark Shadows concordance. The premise of this story is, "What would have happened if the NBC Dark Shadows had not been cancelled after the first season but had instead continued into future seasons?" First, overall summaries are provided for seasons two and three. Individual episode summaries begin with season four.

When Victoria Winters returned from the past, she immediately fell into a deep sleep that was punctuated by dreams and nightmares. Julia cleared everyone out of the room on the pretense that she needed to give Vicki a thorough examination. Julia then hypnotized Vicki and made her forget the hold that Barnabas had had on her and the fact that he is a vampire. * Vicki later woke with a clean bill of health, but with no memory of having come back from the past and then falling asleep. She still remembered her experiences in 1790, but nothing related to Barnabas' vampirism. Barnabas told Julia that he still intended to romance Vicki. Towards that end, Barnabas then had Julia hypnotize Carolyn as well, to make her forget Barnabas' hold on her too, so as to eliminate her jealousy of Barnabas' relationship with Vicki. Barnabas declined Julia's offer to continue the experiment. "There is a fine line between salvation and destruction, doctor," he told her. However, he later changed his mind, and allowed Julia to give him low levels of the serum which would allow him to survive daylight, without risking the higher dosages which could lead to a permanent cure, or risk another setback of premature aging.

In the cliffhanger to episode one, Roger brings home his new fiancee, Cassandra. (Roger says that he has a lawyer working on finalizing his divorce from his first wife Laura.) They met at a business conference and have fallen in love. Everyone is surprised by these turn of events, especially Maggie after Roger tells her that in light of his new found feelings for Cassandra, he must break off his affair with her. Barnabas confronts Cassandra and accuses her of being Angelique. She denies it, but we later realize she is lying when we hear her talking to herself. She swears to get revenge on Barnabas and sets the dream curse into motion. It begins with Maggie Evans. The dream curse is intended to end in Barnabas' destruction. In the cliffhanger to episode two, things take another strange twist. Laura Collins returns to Collinwood, having just been released from Windcliff Sanitarium where she spent many years. Laura has returned to gain custody of her son David. Roger promises Laura a fair and equitable divorce settlement and invites her to live in the cottage on the grounds, but he insists that David must remain at Collinwood. David is delighted to see his mother again. The ghost of Sarah Collins appears to David and warns him not to trust Laura. Furious that Sarah would imply that his mother plans to harm him, David yells at Sarah to go away and never come back. Sarah vanishes. Laura is a phoenix. She can bewitch people and cast certain types of spells.

Cassandra and Laura seem to sense that there is more than meets the eye with each other and they grow suspicious of one another. They soon discover each other's powers. Laura wants to bewitch Roger into giving her full custody of David, but Cassandra realizes that if that were to happen, it might inadvertently break the hold that she herself has over Roger. Therefore it doesn't take long for Cassandra and Laura to realize that they are enemies. Cassandra casts a spell which protects Roger from any of Laura's enchantments. At first Barnabas contemplates aligning himself with Laura against Cassandra, but then decides that he cannot fully trust her. He is afraid of her discovering his secret. Cassandra discovers that Julia is attempting to cure Barnabas, so she destroys all of Julia's notes and equipment. The dream curse passes unchecked from one person to the next. First from Maggie Evans to Sam Evans, then to Mrs. Johnson, David, Willie, Carolyn, Elizabeth, Julia, and then to Vicki. Vicki is supposed to have the dream and tell it to Barnabas, and then he will have the dream and it will destroy him. But then suddenly at this late stage of the game, Cassandra forces herself to admit that she still loves him. So to prove her love for him, Cassandra removes her curse from Barnabas, which immediately causes him to become human again. Furthermore, Vicki has not yet had the dream. "The dream curse cannot be stopped, but its course can be altered," Cassandra tells Barnabas. She then casts a spell which causes Laura to appear as Vicki's beckoner in the dream. Laura Collins in now the intended final victim of the dream curse. Vicki has the dream and tells it to Laura. Laura forces herself to stay awake for 48 hours because Roger and David are off on a camping trip. When they return, Laura drugs David and takes him unconscious to the cottage and sets it on fire. Finally Laura falls asleep, and while the cottage is burning, Laura is having the dream. Cassandra is Laura's beckoner. Meanwhile the real Cassandra is able to pass the still sleeping David into Vicki's arms. But as Vicki is able to flee with David to safety, much to Cassandra's profound shock, Laura wakes up and begins to fight with her. A Harry Potter-esque duel of spells ensues. Cassandra manages to escape from the cottage while Laura dies in the fire.

But before she can celebrate her victory, as she stands watching the last of the burning cottage deteriorate, Cassandra suddenly finds herself standing next to the warlock Nicholas Blair (who is perfectly portrayed by Alan Rickman, years before he is to play the part of Professor Snape in the Harry Potter movies). Nicholas tells Cassandra that he has been dispatched by Satan to punish her for breaking her promise to destroy Barnabas Collins. Nicholas punishes Cassandra by turning her into a vampire. When she rises, she is no longer the brunette Cassandra but is instead the blonde Angelique. Furthermore, Nicholas orders Angelique to make Barnabas her first victim. Nicholas can certainly appreciate the irony. Angelique will now learn what it is like to suffer from Barnabas' curse, and Barnabas will now be able to empathize with his victims.

Now Dr. Eric Lang is introduced. It is his dream to bring to life a man put together from dead body parts. Also introduced is Chris Haskell, the older brother of Joe Haskell. Chris has come to Collinsport to search for his missing brother Joe. We the audience know that Julia (who was being possessed by Angelique at the time) killed Joe in season one when Joe discovered Barnabas' coffin. Chris gets himself hired by Dr. Lang. Chris is impressed by Dr. Lang's knowledge of anatomy, electricity, and chemistry, and he confesses to Dr. Lang that he is a werewolf. Chris begs Dr. Lang to cure him. Lang in turn tells Chris about his experiment. Lang tells Chris that he wants to use him as the life force to bring his creation, which he has named "Adam" after the first biblical man, to life. Lang explains his theory to Chris. Chris' life force will bring Adam to life, and in so doing will drain the supernatural forces which cause Chris' lycanthropy into himself. From that point on the two of them will be forever linked. If Chris dies, Adam will die too. But if Adam dies, Chris will survive but will once again become a werewolf.

Barnabas begs Vicki to hide him from Angelique. He confesses to her his history of being born in the 18th century and of becoming a vampire. When Vicki is told this, she suddenly remembers how Barnabas took her blood during season one and the fact that she told Peter Bradford about Barnabas' vampirism from her jail cell in 1790.* Vicki now becomes a full ally of Barnabas, Julia, and Willie, and after Julia and Willie discover Angelique's coffin during the day and Julia drives a stake through Angelique's heart, Vicki is recruited by them to help them fight Nicholas Blair.

Nicholas has learned of Dr. Lang's plan and volunteers to help fund the experiment. The experiment is conducted and Adam comes to life, childlike and innocent. Unfortunately Adam then accidentally kills Dr. Lang and destroys most of the lab in a rage after Lang gives Adam an injection which causes him pain. During the experiment Chris fell unconscious on his cot and is ignored by Adam. Nicholas hides Adam in his home and educates him. Lang's prediction about the link between Chris and Adam is proven to be true when Chris does not undergo the transformation during the next full moon.

Nicholas is not satisfied with the creation of Adam. He envisions a whole new race of beings created who will be loyal to Satan. Nicholas orders Adam to kidnap Vicki, and in doing so uses her as leverage to order Julia to help him repair Lang's lab and conduct the experiment again after she reads Lang's journals about the experiment. Since Julia cannot create a body, Nicholas uses an intact dead woman, and he summons the spirit of Danielle Roget to be the life force. Barnabas tells Chris about Nicholas being a warlock. Chris in turn tells Barnabas about his lycanthropy, and Barnabas promises to help him should his curse ever return. Chris discovers where Adam is hiding Vicki, and he helps Barnabas to free her. This happens only minutes before Julia begins the second experiment which results in Danielle dying and Eve coming to life, not childlike but completely rational and intelligent. Eve has vague memories of her life as Danielle Roget. Nicholas tells her to forget them.

Eve is told that Adam is to be her mate, but she is disgusted by Adam's scars. Eve seduces Chris and they have sex. Adam discovers them and he kills Eve in a jealous rage. Adam almost kills Chris too, but Chris explains the link between himself and Adam. Adam believes him and lets Chris go. Adam's rage was fueled by the fact that earlier he had overheard Nicholas telling Eve that a new mate for her could be created, but that that will be harder for them now that Vicki has escaped. Adam realizes that he can no longer trust Nicholas. When Nicholas discovers that Adam has killed Eve, Nicholas kills Adam. It is therefore only fitting when the werewolf kills Nicholas. END OF SEASON TWO.

(*- see note at end of episode eight)

As season three begins, Barnabas has Chris spend the nights of the full moon inside the secret room of the Collins family mausoleum. Barnabas explains to Chris that the room was created during the Revolutionary War to hide guns and ammunition. The room is empty because Barnabas moved his coffin to the basement of The Old House during season one. Soon Chris is stunned to learn of the tragic death of his parents in an automobile accident. He is forced to bring his twelve year old sister Amy to Collinsport, and Elizabeth graciously allows Amy to live at Collinwood. Now David has a classmate in his home schooling classes with Vicki. It is while exploring the disused west wing of Collinwood that David and Amy discover a disconnected antique telephone. On it they speak to the ghosts of Quentin Collins and Beth Chavez. The ghosts lead the children to discover Quentin's sealed off room. Gradually Quentin and Beth's possession of the children grows stronger, and eventually Quentin drives the entire family out of the house, forcing them to move into The Old House with Barnabas. Quentin's theme eerily plays throughout the entire empty house. Quentin kills a psychic medium hired by Roger to exorcize Collinwood. It is while searching Collinwood for David (who has been summoned by Quentin) that Barnabas finds a set of I Ching wands and its guide book in Quentin's room. He takes them back to The Old House and studies the guide book. In an attempt to contact Quentin on the ethereal plane, Barnabas decides to enter the I Ching trance in the basement of The Old House while Julia and Willie observe him. Barnabas casts the wands onto a table. They are arranged into the 49th hexagram, the Hexagram of Change. Barnabas enters the I Ching trance at 8:00 p.m. on Sunday, June 15, 1992.

Instead of contacting Quentin's spirit, Barnabas discovers himself trapped in the chained coffin in the secret room of the Collins family mausoleum. Yet somehow he is able to plant a vision of hidden jewels inside the chained coffin into the mind of the gypsy Sandor Rakosi, who is living in The Old House with his wife Magda at the behest of the elderly Edith Collins, the family matriarch. Sandor opens the secret room and the chained coffin. Out pops Barnabas wearing the same 18th century clothing he was wearing in season one, episode #1. Barnabas bites Sandor, thus enslaving him. Sandor reveals to Barnabas that it is the evening of June 15, 1897. He tells Barnabas about the members of the Collins family who are living at Collinwood: besides Edith, there are Edith's adult grandchildren Judith, Edward, Quentin, and Carl, and Edward's children Jamison and Nora. Also living there are the maid Beth Chavez, the governess Rachel Drummond, and the groundskeeper Dirk Wilkins. Sandor also mentions that just this afternoon Quentin returned to Collinwood from a four month trip to England, France, Italy, and Egypt.

The NBC Dark Shadows' 1897 flashback resembles a streamlined version of its ABC Dark Shadows counterpart. Angelique is never introduced, nor is Quentin murdered and then resurrected. But besides that, the plot is pretty familiar. Barnabas introduces himself at Collinwood as the last surviving member of the English branch of the Collins family. When Quentin observes that he found no indication of any Collinses living in England during his recent visit there, Barnabas replies that he has for most of his adult life valued his privacy and has lived alone. "Then why are you here now?" asks Quentin. "A man can change, can't he, Mr. Collins?" replies Barnabas. Barnabas receives permission from Judith to move into The Old House and redecorate it. "You'll have to put up with those gypsies, I'm afraid," says Judith, explaining that her grandmother has a weakness for fortune telling. Barnabas explains that he intends to hire Sandor and Magda as his servants.

Edith dies of a heart attack when she meets Barnabas. She realizes that he is the family secret that has been passed down from one generation to the next. Edward's wife Laura Collins soon returns from abroad. Because Barnabas has traveled back in time, Laura has never met Barnabas before and she does not recognize him. Quentin admits to Barnabas that he had been having an affair with Laura, but swears that he recently saw her die in a fire in Alexandria, Egypt. Together they do some research and discover that there has also been a Laura Stockbridge Collins in Collinsport towards the end of the 17th and 18th centuries as well. Laura bewitches Dirk into becoming her servant. Eventually after a few weeks, while her children Jamison and Nora are visiting her in the cottage on the grounds where she lives, Laura drugs the children and sets the cottage on fire. Barnabas is first on the scene, and he is able to enter the cottage by transforming himself into a bat and flying into an open second story window. He is able to get the children to safety and Laura dies in the fire. Edward announces that he will immediately arrange for a new cottage to be built in its place.

Judith and Beth have been hiding Quentin's wife Jenny in the Tower Room. Jenny is insane. Jenny's one year old twins, Jacob and Lenore, live with Mrs. Filmore in Collinsport. Jenny escapes from the Tower Room and she tries to kill Quentin with a knife. He disarms her and then he strangles her to death in a fit of rage. Magda reveals that Jenny was her half-sister. When Magda and Sandor discover a button clenched in dead Jenny's hand that matches one missing from Quentin's suit, they realize that Quentin killed Jenny, and Magda curses Quentin as a werewolf.

Dirk Wilkins, insane with grief from Laura's death, tells Nora that there is a vampire at Collinwood. Laura had discovered Barnabas' secret and tried to stake him in the cellar of The Old House but was prevented from doing so by Magda. After that, Barnabas moved his coffin back to the secret room in the mausoleum. Barnabas had secured Magda's loyalty by threatening Sandor's life, but also by bribing her with a few trinkets from the Collins family jewels. Laura had told Dirk about Barnabas' vampirism before she died. Quentin overhears Nora telling Edward that Dirk told her that there is a vampire at Collinwood, and Quentin realizes that the vampire must be Barnabas. He tells Barnabas that he will help protect him if Barnabas will help him try to find a cure for his lycanthropy. Thus a new alliance is forged between the two men.

Barnabas orders Magda to lift Quentin's curse. She tries and fails. Magda says she will try to enlist the help of the traveling Rakosi tribe. Magda is gone for a month, and when she returns she brings with her a powerful relic, the Hand Of Count Petofi. Magda says she has borrowed the hand, but later she will admit that she stole it.

Meanwhile, while Magda is gone, Barnabas tries to throw Edward off the scent in his search for the vampire by turning Dirk into a vampire. But turnabout is fair play. Dirk discovers the hiding place of Barnabas' coffin and leaves Edward cryptic clues as to the location of the secret room of the mausoleum. Edward deciphers the clues but finds Barnabas' coffin at night- the coffin is empty. Quentin is with him, and to keep Edward from suspecting that there are really two vampires at Collinwood, suggests to him that Dirk is insane and wanted to challenge him to find his coffin. Edward admits that this is plausible. Eventually Barnabas finds Dirk's hidden coffin. Barnabas tells Quentin to tell Edward that he (Quentin) saw where Dirk was coming from at dusk. In fact it is now shortly after dusk, one hour before the moon will rise. Quentin tells Edward the location of Dirk's hidden coffin. Edward plans to drive a stake through Dirk's heart at dawn. He tells Quentin that he wants him to be there with him. Quentin promises Edward that he will, but it turns out it's a promise that he is unable to keep. Edward winds up staking Dirk by himself.

But later that day at dusk, Barnabas is horrified to discover that Dirk has had the last laugh. Dirk had bitten Judith and ordered her to murder the Collins' governess Rachel Drummond, whom Barnabas had been courting. Barnabas is devastated at Rachel's death. To help Judith recover from the ordeal, she is sent to Windcliff Sanitarium, which is run by the Reverend Gregory Trask.

The day before Dirk died, before the moon rises, Barnabas tried to use the hand on Quentin. (Magda had only just returned that afternoon.) The hand only serves to disfigure Quentin's face. Barnabas reluctantly tells Quentin what the hand has done to him minutes before the transformation begins. Quentin runs out of The Old House at the first sign of the pain and completes the transformation in the woods. Because the werewolf has killed other people prior to this, the police have set up bear traps in the woods. During the night the werewolf is caught in one. At dawn the police witness the transformation from beast to man, but they do not recognize him because of Quentin's disfigured face, and Quentin refuses to speak so that they will not recognize his voice. The police take Quentin to jail, but later that evening shortly after dusk (but before the moon has risen) Barnabas helps Quentin to escape from jail. When Magda tells Barnabas that Edward staked Dirk that morning, Barnabas moves his coffin from the secret room in the mausoleum back to the cellar of The Old House and has Quentin spend the night of the full moon in the secret room where the werewolf cannot escape.

Fortunately for Quentin, his face returns to normal the next morning. Soon a mysterious stranger comes to Collinsport. He is Aristede, who is portrayed by veteran character actor Steve Buchemi. Aristede works for Count Petofi, who is soon introduced as well. Petofi is masterfully portrayed by John Rhys-Davies. Petofi and Aristede are responding to rumors that the hand has been stolen from the Rakosi tribe, but they do not know who is responsible. They suspect that it may be Magda, but they aren't sure. To gain entry to Collinwood, Petofi impersonates Victor Fenn-Gibbon, an English aristocrat and friend of Edward's. Edward has only corresponded with Victor and does not know what he looks like. Petofi is dying. He uses the last of his strength to possess Jamison. It is while searching The Old House that Jamison/Petofi and Aristede discover "The Collins Family History," copyright 1974. Earlier Barnabas had instructed Magda to retrieve the book from the wreckage of the old Collinsport courthouse, which burned to the ground in 1868. They therefore realize that Barnabas comes from the future. They also force Magda to admit that she did indeed steal the hand from the Rakosi tribe, but she also reveals to them that the hand has recently been stolen from her by Evan Handley, the Collins family's lawyer and himself a practitioner of The Dark Arts. Aristede murders Evan and takes the hand. He then takes it to Petofi's body, where it reattaches itself to Petofi's severed wrist. Petofi wakes up and Jamison is released from his possession.

Once Petofi has the hand, he returns to The Old House to question Magda. Petofi places his magical hand around her throat as he questions her. It acts like truth serum on her. Petofi asks Magda how Barnabas managed to travel through time. She truthfully replies that she does not know. "How is it that this Barnabas Collins looks exactly like his ancestor? Is he perhaps the same man who lived in the 18th century?" asks Petofi. "He is," replies Magda. "How is that possible?" asks Petofi. "He's a vampire," replies Magda. "Aha! And those dullards at Collinwood never suspected him!" rants Petofi. He releases her. "Count Petofi, I presume," says Barnabas at the edge between the drawing room and the foyer. Petofi whirls around at the sound of his voice and begins to approach Barnabas with his magic hand outstretched towards him. Barnabas transforms himself into a bat, flies across the room, and transforms himself back into a man. "I'm afraid you'll have to do better than that," says Barnabas. "I overheard your conversation with Magda. If you expose me to the Collins family or to the police, I'll tell King Johnny Romano that you've recovered the hand. Stalemate, I believe." "Only for the moment, Mr. Collins. Only for the moment," says Petofi as he storms from the house.

Barnabas moves his coffin to a cave below Widow's Hill. Later, without telling anyone, Barnabas attempts to return to his own time in the cellar of The Old House. "Let the rest of history sort itself out. I for one have had enough," says Barnabas as he throws the I Ching wands onto a table. He arranges them into the 49th hexagram and seats himself at the table. He enters the I Ching trance and he visualizes a door with the hexagram on it. Barnabas' astral body rises from the table and he passes through the door. But a minute later, Count Petofi, who had been snooping around the house, comes downstairs to the cellar and knocks the I Ching wands off the table. As a result, in 1992 (at 8:50 p.m.) Julia and Willie witness Barnabas' body disappear into thin air. In 1897, Barnabas regains consciousness with Count Petofi's magic hand wrapped around his throat. "What sort of hocus pocus is this? Tell me!" rants Petofi. "I won't! I won't!" shouts Barnabas. "You have an amazing amount of willpower to be able to resist my hand. Very well. I shall deal with you another way," says Petofi, who then takes his hand off of Barnabas' throat and instead touches him on the cheek. Barnabas loses consciousness.

When he awakens, Barnabas finds himself trapped in a cell in another part of the cellar of The Old House. There is a high window in the cell. Petofi is sitting in a chair on the other side of the bars. "I have placed my mark on you, Barnabas Collins. You will not be able to perform your little trick of transmogrification. It is now shortly after midnight. In less than seven hours the sun will rise. Unless you tell me how you traveled through time before then, I shall let the sun destroy you," says Petofi. "Magda?" asks Barnabas. "I have rendered her unconscious. I have no need to kill her at the present time," says Petofi. The Count pulls from out of an inside jacket pocket the six I Ching wands and its guide book. "This is the I Ching. Is this how you managed to travel through time?" asks Petofi. "Yes, but I don't suppose you bothered to notice which hexagram it was before you scattered the wands to the floor, did you?" says Barnabas. "No, I didn't," admits Petofi. "Then I won't tell you. And I warn you, Count Petofi, that if you attempt to enter the I Ching trance using the wrong hexagram, the consequences could be disastrous," says Barnabas. "You're stalling for time, Barnabas, but no one is going to come and rescue you. No one else knows that you are here," says Petofi. Barnabas says nothing. "Very well. We shall wait. Sooner or later you will tell me. You have no choice," says Petofi.

In 1992, Julia informs Willie of her intention to enter the I Ching trance to try to find Barnabas. Willie tries to talk her out of it, but her mind is made up. Julia enters the I Ching trance at 9:00 p.m. on Sunday, June 15, 1992. She awakens at 3:00 a.m. on the same night that Barnabas is trapped in the cell. She awakens to find herself sitting at the same table where she entered the I Ching trance, but the wands are missing and Willie is gone. "Willie?" Julia calls out tentatively. There is no answer. She hears voices coming from another part of the basement and she gets up and goes to investigate. She peeks around a corner to see a man who she has never seen before repeat his threat that unless Barnabas reveals to him which hexagram he used to travel through time, he will let the dawn destroy him. "How do you know that I won't lie to you and tell you the wrong hexagram?" asks Barnabas. "Very simple, Mr. Collins. When you tell me which hexagram you used, I shall leave The Old House to go summon Aristede. We shall return here and Aristede will witness me entering the I Ching trance. If my body vanishes, then he will release you. But if I die or seem to suffer from any other ill effects, then he will let the dawn destroy you. So I advise you not to wait until the last minute. You must allow enough time for me to leave and return with Aristede. I am a man of my word, Barnabas. Cooperate with me and you shall come to no harm," says Petofi. Still Barnabas says nothing. Julia creeps upstairs and finds a newspaper with the date of September 15, 1897 in the drawing room. She goes to Collinwood and gets the attention of Quentin (who has stayed up late and is nursing a drink) by throwing pebbles against the windows of the drawing room. Julia has assumed that Barnabas has introduced himself to the family of this time. She introduces herself to Quentin as Julia Hoffman, a friend of Barnabas'. Quentin tells her that Barnabas is a friend of his too. He comments on Julia's unusual style of clothes. She ignores the remark and tells him that "some maniac" has Barnabas trapped in the cellar of The Old House. Quentin asks her to describe him. "A fat man with a deep baritone voice," says Julia. "Count Petofi," says Quentin. Barnabas had previously told Quentin that Petofi had recovered the hand. He opens a drawer of a desk and removes a pistol. After checking to make sure that it is loaded, Quentin and Julia leave to go to The Old House.

Once they get there, Quentin tells Julia to hide on the second floor in Josette's room. "It's probably best if we keep your existence secret from Petofi for as long as possible," he tells her. After Julia goes upstairs, Quentin goes downstairs and forces an astonished Petofi at gun point to release Barnabas. "How the blazes did you know that he was here? Was it the gypsy woman? She should remain unconscious for hours. No, I can see it on your face that it wasn't her. Not going to tell me, are you? Well then answer me this, Quentin Collins. Why is Barnabas Collins so important to you, and what would your family say if they knew that you are protecting a vampire?" says Petofi. "I don't owe you any explanations," says Quentin with Barnabas standing by his side. "Maybe not at the present time, but some day you may find yourself in my debt, and I have always collected my debts," says Petofi. He leaves. When Petofi is gone, Barnabas says to Quentin, "How DID you know I was here?" "Come on, I'll show you," says Quentin, and he leads Barnabas upstairs.

"Julia!" Barnabas gushes when he sees her. They embrace. In front of Quentin, Barnabas tells Julia that Quentin knows that he is a vampire, and that Quentin is a werewolf. Quentin cringes at the revelation, but Barnabas says to him, "Don't worry, Quentin. I trust Julia implicitly." He goes on to explain that Julia is a doctor who has attempted to cure him in the past, with moderate success. Quentin gets excited at the thought that perhaps she can help him too. "We shall see," says Julia cautiously. Quentin goes back to Collinwood to get some sleep. When he is gone, Barnabas tells Julia that Quentin does not know that he comes from the future, but instead thinks that he is a descendant of the original Barnabas who became a vampire at some point in his adult life. Julia tells him how she witnessed his body disappear. Barnabas explains how Petofi interrupted the I Ching trance and trapped him in the cell. Julia says that she has a theory which she wants to test. She has Barnabas accompany her to Eagle Hill Cemetery. They go into the secret room of the Collins family mausoleum and there they discover a chained coffin. The broken chains that had been on the floor since Sandor released him are gone. Barnabas touches the coffin and has a vision of himself in the coffin. They leave the room and then further discover that his coffin from the cave below Widow's Hill is now missing. Barnabas is not surprised. It is the one that he moved from place to place and is now back in the secret room. Julia explains her theory. When one travels through time using the I Ching, only their astral body (or soul) makes the journey, leaving their physical body behind. When Barnabas entered the I Ching trance earlier this evening, his astral body momentarily reconnected with his physical body in 1992. But when Count Petofi interrupted his trance, his physical body from 1992 was pulled back to 1897, and his proper 1897 body was returned to the chained coffin in the secret room. "The I Ching is trying to restore history," says Julia. She further comments that she does not believe that he will be able to use the I Ching to return to 1992, since he no longer has a physical body there. As for herself, it's impossible to predict whether she has hours, days, weeks, months, or years left in the past, but she promises to help him as long as she is there. Barnabas observes that he will have to find another coffin before dawn. The last thing they do before dawn is to return to The Old House. They find Magda and are able to revive her. Barnabas introduces Julia to Magda and tells her to find some suitable clothes for her, as she will be staying at The Old House as his guest for some time. He explains that she is a doctor and will be attempting to cure him. Julia gives Magda a list of the supplies that she will need, and Barnabas gives Magda some of Naomi Collins' jewels to sell to pay for the items. (Since both Julia and Magda are portrayed by Barbara Steele, it's interesting to note the use of split screen technology and body doubles that are used when they are both on camera at the same time.)

Quentin gets depressed when Julia tells him that his cells yield no clues to her under a microscope. She has no idea how to cure lycanthropy. Quentin gets drunk in his room in the midafternoon and falls asleep. He awakens at moonrise with the pain of the transformation. The werewolf kills Carl's girlfriend Pansy Faye. Carl discovers that Quentin is the werewolf and threatens to expose him to the police. But before Quentin can murder Carl, Petofi touches Carl on the cheek, thus causing him to forget the identity of the werewolf. "I guess that's what you mean about being in your debt," says Quentin. "My dear boy, that's just the tip of the iceberg," says Petofi.

Judith returns to Collinwood and introduces Reverend Gregory Trask as her fiance. Julia resumes the experiment with Barnabas. For a while he is once again able to survive daylight, but Julia cautions him that he will need injections every day and it will be weeks before they can risk giving him higher dosages which might lead to a permanent cure. Petofi summons to Collinsport the renowned artist Charles Delaware Tate. Tate paints Quentin's portrait. When the moon rises, the face of the portrait changes to that of a wolf, but Quentin himself does not undergo the transformation. Julia's astral body returns to 1992. Barnabas reverts to vampirism because she had not yet completed the cure. Julia attempts to reenter the I Ching trance in 1992 but discovers that the door in the vision is shut to her. Therefore she has Willie enter the trance (at 10:00 p.m. on Sunday, June 15, 1992), and Willie is sent back to 1897. Barnabas has Willie pose as a sailor, and Willie gets Aristede drunk in The Blue Whale. Aristede reveals to Willie that Count Petofi is planning on switching minds and bodies with Quentin. By the time Willie is able to warn Barnabas, it is too late. The mind/body switch has already taken place. (There is no mention in the plot of Petofi planning on going to the future in Quentin's body. He simply wants to escape the gypsies by living in the body of a younger immortal man.)

When Petofi (as Quentin) discovers that because of Aristede's incompetence, Barnabas knows about the mind/body switch, Petofi (as Quentin) kills Aristede. At first the power of the hand is with Petofi in Quentin's body, but after 24 hours it reverts to Quentin in Petofi's body. Barnabas prevents King Johnny Romano from killing Quentin in Petofi's body. Later, Petofi (as Quentin) kills King Johnny. Barnabas makes the mistake of telling Beth about the mind/body switch. She threatens Petofi (as Quentin) to expose him, and he tries to kill her. She is able to flee from him, and he chases her through the woods. While Petofi (as Quentin) is chasing Beth, Quentin (as Petofi) goes into a trance and successfully switches minds and bodies back with Petofi. Petofi (as Quentin) falls to the ground. When he gets up, he is himself again. Quentin hears Beth scream. He walks ahead and discovers Beth is nearing the cliff at Widow's Hill. He tries to explain to her that he is in his rightful body again, but she thinks it is a trick, and she keeps backing away, until she falls from the cliff and dies. Quentin is heartbroken.

Petofi (now in his rightful body again) tells Tate to steal Quentin's portrait, and together he and Tate leave Collinsport in the middle of the night. Barnabas tells Willie that he will not attempt to return to the present until he and Quentin are able to catch Petofi. "I cannot let that madman run free. Also, I want to help Quentin to recover his portrait. He's protected me in the past, so I feel a debt of gratitude," says Barnabas. Willie's astral body returns to 1992. END OF SEASON THREE.

Now, for the first time, the plot of the show will radically diverge from that of the ABC Dark Shadows. Barnabas and Quentin will travel to the city of New Orleans, where they know that Charles Tate lives. There Quentin will meet Tate's creation, Amanda Harris.

NBC DARK SHADOWS SEASON 4- Episode One

Aired September 12, 1993

(by Stephanie Richards, a fictitious actress who portrays Amanda Harris): "The date is December 14, 1897. It has been two weeks since Count Petofi and Charles Delaware Tate left Collinsport. Barnabas and Quentin have pursued them to the city of New Orleans, where they know that the artist lives. Barnabas and Quentin have checked into a four star hotel under assumed names. They have been spying on Charles Tate, in the hope that he will lead them to the Count. So far, however, they haven't had any success, and the lack of progress is becoming a source of frustration to Quentin."

INTERIOR LIVING ROOM OF HOTEL SUITE, evening: Barnabas is reading H. G. Wells' "The War Of The Worlds" when Quentin enters the suite, slams the door, and throws his coat onto a nearby sofa. "No luck, I gather?" says Barnabas. "The man does his shopping and goes to parties, but I haven't seen him with the Count, nor has the Count gone to visit him in his studio apartment. I've also spoken to everyone who Tate's been seen with in public, and none of them have seen the Count either. I don't think we're going to find Count Petofi this way," says Quentin. "You mustn't give up so easily, Quentin. When we left Collinsport I told you the truth about the fact that I come from the future. Events were not originally supposed to happen this way. I ordered Magda to cure you. She stole the hand from the Rakosi tribe. Reports of the hand's disappearance prompted Count Petofi and Aristede to come to Collinsport, and soon thereafter Petofi recovered the hand. So naturally I feel responsible for what has happened. I also want to help you recover your portrait. You protected me on more than one occasion, so I feel a debt of gratitude. We cannot let Count Petofi get away. Right now Charles Delaware Tate is the only link we have to Petofi, so we must continue to watch him and hope that eventually the Count turns up," says Barnabas. Quentin reluctantly admits that Barnabas is right.

"Barnabas, a thought has occurred to me. As you say, you have told me your history of becoming a vampire in 1790 and how Willie Loomis released you from the chained coffin in 1991. My ghost haunts Collinwood in the future, prompting you to enter the I Ching trance. Sandor Rakosi released you from the chained coffin, and you involved yourself in the affairs at Collinwood. When you attempted to return to your own time, Count Petofi scattered the I Ching wands to the floor, thus interrupting the trance. Your friend Julia Hoffman uses the I Ching to come to 1897, and she warns me in time to allow me to force Petofi at gun point to release you from the cell in the basement of The Old House before he can allow the dawn to destroy you. Later Julia tells you how she witnessed your body disappear is 1992. On a hunch, the two of you investigate the secret room of the Collins family mausoleum and discover there a chained coffin. You then have a vision which reveals to you another Barnabas Collins in the coffin. Julia believes that it is your body from 1897 in the coffin, and that you now occupy your body from 1992. My question is this. If that is true, and Cassandra lifted her curse from you in 1992, why are you still a vampire in this time?" says Quentin. Barnabas says that this has never occurred to him before. His only explanation is that there must still be a link between his time and this one, and that link is the I Ching. It is causing him to remain a vampire in this time because he was meant to be a vampire in this time. Presumably he will become human again if and when he can get back to his own time. Quentin also expresses frustration by revealing that earlier this afternoon he managed to break into Tate's studio when the artist was out and found no trace of his portrait. "Perhaps I should just put a knife to Tate's throat and demand that he give me back my portrait," says Quentin. "That would be useless. He'd simply tell you that he gave it to Petofi and that he doesn't know what he did with it, and you'd have no way of knowing whether or not he's lying. Killing Tate would do neither of us any good. Patience, Quentin. One day I shall have Count Petofi in my grasp, and then I shall use my own unique methods of persuasion on him," says Barnabas.

CHARLES TATE'S STUDIO APARTMENT, the next morning: Tate is sitting at an easel in his apartment. He is working on a portrait of a woman. She is about twenty-five years old, with brown eyes and long brown hair. She is wearing a brown dress with a pearl necklace and green emerald earrings. The portrait is about 90% complete. He is working on details of the woman's dress. There comes a knock at the door. Tate calls out to the knocker to enter. The door opens and into the apartment steps a middle aged woman. It is Tate's housekeeper. "Ah, good morning, Mrs. Harper," says Tate. "Top of the morning to you, Mr. Tate," says Mrs. Harper with an Irish brogue. She begins to dust around the room until she eventually works her way around to Tate's work station. Looking at the portrait, the frumpy housekeeper says, "Oh, she's lovely, Mr. Tate. Who is she?" "No one. No one at all. She's the woman of my dreams. I've been sketching this face for years, and I've finally decided to turn her into a portrait. As you can see I'm almost finished," says Tate. "And how much will you be asking for this one, if you don't mind my asking," asks Mrs. Harper. "Oh no. I'm keeping her all to myself," says Tate. Mrs. Harper nods and resumes her duties. Later, Mrs. Harper is gone as Tate puts the finishing touches on the portrait. He stands up and admires his work. The smile on his face indicates that he is quite pleased with it.

NEW ORLEANS STREET, daytime: The camera pans through an open second floor window onto the street below. A few seconds later, the woman from Tate's portrait materializes out of thin air! She appears to be dazed and confused as she begins to wander down the street. Tate's creation passes several residences and then enters the first establishment she encounters. The sign over the door reads "Harris' breads, pastries, and cakes." A bell over the door rings when she enters and a middle aged woman wearing an apron behind the counter asks if she can be of any service. Tate's creation admires the food behind the glass for a few moments before she says, "Who am I?" The woman behind the counter is so surprised by the question that she does not say anything. Tate's creation tells the woman that she doesn't know who she is, where she is, what the date is, or how she got here. Plus, she shows the older woman that she is carrying a purse, but it doesn't contain anything. No money and no identification. "Oh my dearie! Have you hit your head? Have you been in an accident? Have you been robbed?" asks the shopkeeper. "I don't know. I can't remember anything before I came into this shop," says Tate's creation. "My name is Brenda Harris. I run this shop with my husband. You're in the city of New Orleans, and today is December 15th," says Mrs. Harris. She is surprised when the young woman asks her to provide the year. "Do you know anyone in the city? Anyone you can stay with?" asks Mrs. Harris. Tate's creation shakes her head. "Don't worry, dearie. You can stay here with us until we figure out what to do with you. We'll introduce you to people as Amanda Harris, after my favorite niece. You remind me of her," says Mrs. Harris. Amanda thanks her for her kindness. Mrs. Harris tells Amanda that she'll close the shop for half an hour to prepare a room for her. She also suggests that Amanda can help out by working in the shop with them. "My husband and I aren't rich. We'll provide for you as best we can. If you need money, I can take you to a pawn shop where you can get a pretty penny for the pearl necklace and emerald earrings that you're wearing," says Mrs. Harris. She locks the front door, changes the sign from "open" to "closed," and escorts Amanda into the back rooms of the shop.

NEW ORLEANS DOCKS, night: Barnabas discovers a young woman with dark hair and brown eyes walking alone on the docks. He seduces her and bites her. Afterwards he asks her her name. "Suzie Kurtz," she replies. Barnabas asks her where she lives. "Not far from here," replies Suzie. "Good. Now, from time to time you will hear me call your name on the wind. When you do, you must come here to meet me. Do you understand?" says Barnabas. She says that she does, and he allows her to leave.

In a montage, two weeks pass. Barnabas summons Suzie to meet him a few more times and he takes her blood. Amanda settles into life in the bake shop. One time Tate comes into the shop to make some purchases and is served by Mr. Harris. Amanda enters the shop from the back rooms moments after Tate has left. Neither of them has seen each other. Once again we see Tate admiring Amanda's portrait. He has no idea how close she is to him. Christmas comes and goes. Quentin tells Barnabas that there will be a masquerade party in the ballroom of their hotel on New Year's Eve. It is held every year and it gets a huge turnout. If Count Petofi is still lurking in the shadows somewhere, Quentin observes, this is the kind of event that he will not be able to resist attending. What's more, he has already obtained costumes for both of them. Barnabas nods his head in approval.

In another montage, we see all of the characters getting ready for the party. Tate dresses as a court jester. Amanda is dressed as Little Bo Peep, Mrs. Harris is dressed as Old Mother Hubbard, and Mr. Harris is dressed as a British guard of Buckingham Palace. Quentin is dressed as a man on an African safari, complete with white pith helmet, and Barnabas is dressed as a Confederate general. A shrewd observer will notice that Barnabas has a real sword as part of his costume. They each make their own way to the party. At the masquerade ball, Tate flirts with several women, including Amanda, without realizing who she is. Quentin brings to Barnabas' attention the entrance of a fat man dressed at the English King Henry the Eighth. Quentin eavesdrops on the fat man's conversations and he recognizes Count Petofi's deep baritone voice. Barnabas and Quentin keep a watchful eye on Petofi. The Count is also seen conversing with Tate. Hours go by, and at midnight everyone drops their masks. Quentin turns his back to Petofi and Tate. Barnabas discretely moves closer to them unseen behind the crowd. Petofi is standing next to Tate. The artist suddenly turns white as a ghost as he recognizes the face of Amanda across the room. The Count notices Tate's reaction. "What is it, my dear boy?" says Petofi, as he reaches out his magic hand to take a glass of champagne off of a waiter's tray. Barnabas chooses that exact moment to burst through the crowd and bring his sword swinging down. Petofi's hand is severed from the wrist, and he screams out in agony! Pandemonium erupts, as women start screaming and people start running for the exits. Barnabas snatches the disembodied hand off the floor and flees with it before anyone can stop him. Tate attempts to help Petofi, but is distracted by his attempts to spot Amanda. Others also rush to Petofi's aid. The Count loses consciousness. His stump is bandaged and he is taken to a hospital.

NEW ORLEANS HOSPITAL ROOM, night: Count Petofi is asleep in a room lit by oil lamps attached to the wall. There is no one else in the room. Outside the room a bat appears and transforms itself into Barnabas. Standing on the ledge, Barnabas raises the window and steps into the room. He leaves the window open and walks over to the Count's bed. Petofi opens his eyes and cringes in horror at the sight of Barnabas standing over him with his fangs bared. He is powerless to prevent Barnabas from going for his throat. Barnabas bites Petofi and takes his blood. He straightens up and addresses Petofi. "You are under my power. Now I will get some answers. Now, tell me. What have you done with Quentin's portrait?" says Barnabas. "I told Charles to paint over it, though that will not prevent it from retaining its powers. He told me that he turned it into a landscape and sold it to an art dealer in New York. I don't know to whom. The details do not interest me. Good luck in finding it. Charles' work is exceedingly popular these days. It's probably already been sold to the public. Quentin will remain free of the curse as long as the painting exists. A gun, a knife, poison. These things could do him in. But disease and the ravages of old age will never touch him. Did Magda ever tell you my story? I was once a werewolf. The gypsies cured me, but the price I had to pay was my hand, which was then imbued with magical powers. It amuses me to think that Quentin might live for a century or two, only to some day find the curse upon him again. Paintings are not indestructible. They are vulnerable to fire and water damage. Now, I have answered your question. Kindly allow me to ask you one of my own. What have you done with my hand?" says Petofi. "I have it. I intend to destroy it," says Barnabas. Petofi gives a raspy laugh. "You will find that very difficult to accomplish. The hand has a will of its own. It does not WANT to be destroyed. If you try to chop it up, it will resist the blade. If you try to burn it, it will resist the flame. If you are particularly abusive to it, it can teleport itself a short distance away. How can you destroy it if you can never handle it long enough to do it harm? You may attempt to hide it, as long as it remains intact, but you will never be able to destroy it! Some day I will recover the hand, and then I will have my revenge against you!" cries Petofi. "Not if I kill you first!" says Barnabas, as he bares his fangs and makes a move for Petofi's throat again. "Tate!" cries Petofi at the top of his lungs. Instantly the artist bursts into the room holding a cross in his hand. Barnabas flinches at the sight of it and turns his back on it. "I regained consciousness an hour ago. Charles was by my side. I asked him to wait in the hallway with a cross. I expected you to come to me tonight. My willpower is much stronger than yours. I am NOT under your thrall! I told you the truth about Quentin's portrait of my own volition. It serves my ego to have you know these things. Having the hand again has reinvigorated me. I feel as if I could live for another hundred years. So leave now, Barnabas, and try your best to find a place to hide the hand away from the world. Until we meet again, I bid you adieu," says Petofi. Realizing that he has been beaten, Barnabas transforms himself into a bat and flies out of the open window. END OF EPISODE ONE. (Note: Just as the disfigurement of Quentin's face by the hand was temporary, so too was the mark that Petofi put on Barnabas to prevent his transmogrification. Eventually it faded, and once again Barnabas was able to transform himself into a bat.)

NBC DARK SHADOWS SEASON 4- Episode Two

Aired September 19, 1993

(by Anthony Edwards): "The date is January 1, 1898. Charles Delaware Tate has completed the portrait of a young woman who then, unbeknownst to anyone, including herself, came to life out of thin air. She has been given the name of "Amanda Harris" and been taken in by the couple who runs the bake shop just a few doors away from the artist's studio apartment. Barnabas prowled the docks in New Orleans by night and enslaved a young woman named Suzie Kurtz. He has been using her to quench his blood lust. Barnabas and Quentin finally caught up with Count Petofi at a masquerade ball on New Year's Eve. There Barnabas cut off the Count's magic hand with a sword shortly after midnight and fled with it before anyone could stop him. Later Barnabas went to Petofi's hospital room and the Count was powerless to prevent the vampire from taking his blood. Petofi then told Barnabas what has become of Quentin's portrait. Tate painted over it, turning it into a landscape, and subsequently sold it to an art dealer in New York. Petofi then revealed that the hand has a will of its own and will resist all attempts to destroy it. The Count then vowed to recover the hand and wreak his revenge upon Barnabas. When Barnabas then tried to kill Count Petofi, he was prevented from doing so by Tate, who burst into the room holding a cross. It is still the same night, and Barnabas has returned to Quentin's luxurious hotel suite to plan their next move."

INTERIOR LIVING ROOM OF HOTEL SUITE, night: It is 3:40 a.m. Quentin rubs the sleep out of his eyes and pours himself a drink. Barnabas tells Quentin what happened earlier in Petofi's hospital room and what he learned. So far Petofi's prediction as to the hand's resiliency has bourne out to be true. The hand managed to transport itself a few feet away to safety when he tried to slash at it with his sword or toss it into the fire. For now he has the hand locked in a metal lockbox which is currently resting on a table in the suite. Barnabas suggests to Quentin that he should go see Tate in the morning and try to convince him to reveal the name of the landscape that was once his portrait and the name of the art dealer in New York to whom it was sold. If he can get the information he should then go to New York to track down the lead. "Warn him not to lie. Tell him that there will be reprisals if he leads you on a wild goose chase. Meanwhile I shall return to Collinwood and attempt to use the I Ching to return to my own time," says Barnabas. "Barnabas, I really think it's too late for that. If you use the I Ching to return to 1992, I doubt very much that you will recognize any of the people when you get there. I was never meant to live long enough to see New Year's Day of 1898, but here I am. Beth Chavez was to have murdered me and then killed herself, and our ghosts would haunt Collinwood in the future. All that has changed now. Consider the domino effect of changes that will now occur. People who were meant to live will die, and people who were meant to die will live. And people who never met each other in your time will marry and have children who never existed in your time. But as you say, there must still be a link between your time and mine, otherwise your friends Julia and Willie would never have been able to come here. Barnabas, what you need to do is find a way to move sideways in time, not forwards, back into the world where Beth shot me and then herself and you were never at Collinwood in 1897 to interfere. Barnabas, use the I Ching, right here and now," says Quentin. "But you just said that you don't think I'll be able to use it to get back to my own time," says Barnabas. "Your own timeLINE, Barnabas. Think of time like a road. You've got to find a detour which can take you from my road back on to yours. As for the I Ching, you've got to introduce some new random element into the equation. The Hand of Count Petofi. Place the hand on the table in front of the wands and ask it to throw them for you. Then enter the trance. With any luck you will have a vision that will show you the way back to your own timeline, if there is one," says Quentin. Barnabas agrees to try Quentin's idea.

Barnabas takes the hand out of the lockbox and pockets the key. He then places the hand on a table in the room. Barnabas then proceeds to take the I Ching wands and the guide book out of a small travelling bag which he placed on a chair when he came into the room. He places the wands on the table in front of the hand and speaks to it. "I need your guidance. Throw the wands. Guide me," says Barnabas. For a few moments nothing happens, and then suddenly the hand begins to move by itself. The hand grasps the wands and throws them onto the table. Barnabas arranges them into a hexagram and then looks it up in the guide book. "The 10th hexagram, the Hexagram of Divine Wind. Quentin, this is not the hexagram I used to come to this time. That was the 49th hexagram, the Hexagram of Change," says Barnabas. "Barnabas, allow the hand to guide you. Enter the trance," says Quentin. So Barnabas seats himself in a chair at the table and enters the I Ching trance. He visualizes a door with the 10th hexagram imprinted upon it. Barnabas' astral body rises from the table and he walks through the door. He begins to have a vision. We see what he sees. Two children, a boy and a girl, are seated at a table playing checkers in the drawing room of Collinwood. They each appear to be about ten years old. Their clothing and the style of furniture in the room suggests the current time period. Amanda Harris enters the room carrying a painting in her arms. "Good morning, Jacob. Good morning, Lenore. How are you children today?" says Amanda. "We're fine, mother. What have you got there?" says Jacob. "This is a present for your father. It's a landscape by my favorite artist, Charles Delaware Tate. It's entitled 'A View From South Wales.' I want to hang it in this room," says Amanda. "Mother, will you please play hide and go seek with us?" asks Lenore. "Oh, very well. I shall hang this later," says Amanda, as she places the painting on the floor leaning against a wall. She tells the children that she will count to 100 and then come to look for them. She reminds them to stay in the house and not try to hide outside. The children scamper out of the room as Amanda sits down on a sofa and begins to count. She gets to 15 and then is interrupted by Reverend Gregory Trask. "Excuse me, Mrs. Collins. I would like to ask you about this note which I found on my desk in my study," says Reverend Trask. "Yes, I wanted to ask your permission to allow the children to be excused from your bible study class this afternoon. Their cousin Jamison wants to take them on a fishing trip," says Amanda. "I shall allow it this one time. In future please schedule these outings on the weekend. I will avail myself of the free time by visiting Judith in the sanitarium," says Trask. "How is your wife?" asks Amanda. "She has gotten steadily worse since I had to reinstitutionalize her a few years ago. Her mind comes and goes. Her body is strong, but her mind is weak," says Trask. "Perhaps if you were to bring her back to Collinwood, being in familiar surroundings might cause her to improve," suggests Amanda. "Perhaps, but she requires an excessive amount of care. I will consider it," says Trask. "Very good. Now, if you will excuse me, I have something that I need to attend to," says Amanda. The reverend gives her a little bow, and she stands up and leaves the room and goes upstairs to search for the children.

Amanda enters the east wing and she begins to search the rooms there. She comes to a pair of double doors and flings them open. The children are both sitting down on the floor of a well lit, lavishly furnished room. Jacob and Lenore are talking to each other as Lenore is playing with a doll and Jacob is playing with a ball and jacks. It must also be noted that both children are wearing different clothes than they were seen wearing downstairs. "There you are! You didn't do a very good job of hiding. I could hear you talking out in the hallway. Why have you changed your clothes? Say, come to think of it, I have never seen this room with furniture in it before. When was it decorated?" says Amanda. But to her profound bewilderment, both children ignore her and continue to converse with each other. "Children, answer me!" says Amanda, but to no avail. They both continue to ignore her. Then Amanda tries entering the room. An invisible force prevents her from entering the room. "What is this? Why can't I enter the room? Jacob! Lenore! What is going on here?" cries out Amanda. The children still do not seem to hear her. A few moments later, Judith enters the room from another door. "Mrs. Trask! What are you doing here? I must say, you're looking very..." says Amanda, but she cuts herself off when she realizes that Judith is also ignoring her, and as Judith begins to speak to the children, she wants to hear what she has to say. "Children, today is your father's birthday. Would you like to go with me to the cemetery to place flowers on his grave?" says Judith. Both children tell their aunt that they would like that very much, so Judith tells them to go downstairs and get their coats and wait for her by the front door. She will be down shortly. Jacob and Lenore stand up and leave the room through the same door that Judith came in from. Then Judith goes over to the double doors and closes them on Amanda's face. She pounds on the doors and demands to be let in. She then tries the doors again and is surprised to discover that they open on a completely empty room. This time she discovers that she is able to enter the room. "Jacob! Lenore! Where are you?" cries out Amanda. A few moments later the children appear at the threshold to the room wearing the same clothes that they were wearing in the drawing room. "Here we are! This time you hide and we'll try to find you," says Jacob.

The vision ends and Barnabas opens his eyes. He puts the hand back into the lockbox and puts the I Ching wands and its guide book back into his travelling bag. He then begins to describe his vision to Quentin. "She was your wife, Quentin. I have never seen her before in my life. She had long brown hair and brown eyes. I didn't catch her name. She was very beautiful. She really seemed to care for your children," says Barnabas. "But Barnabas, I have no children," says Quentin. "Either you already do and you don't realize it, or you are destined to have children with this woman. In any event, I believe that I witnessed one possible future in your timeline," says Barnabas. He also tells Quentin about the painting that Amanda had. He believes that this clue is significant, and that "A View From South Wales" is the landscape that Tate painted over his portrait. He then goes on to describe the Parallel Time room to Quentin. His wife knew the room to be empty in this timeline and she glimpsed a scene from Barnabas' timeline where Judith was not institutionalized and he was dead. Barnabas speculates that the link between their two timelines was created in this room by the I Ching. Presumably the room changes from time to time. "If I could be standing in that room when it changes, I might find myself back in my own timeline," says Barnabas. "Yes, but Barnabas, if you are successful in getting back to the world where I have been dead for less than one year, your presence there could still change history," cautions Quentin. "Yes, I know. That is why when I get there I must be very careful to be seen by no one. I shall bury the Hand of Count Petofi in the woods outside of Collinwood, and then use the I Ching to return to 1992. I'll dig up the hand after I get back to my own time. I disagree with Julia's theory. This body belongs in 1992. I believe that I will be able to travel with it to the future, not just in my astral body. Anyway, there is only one way to find out," says Barnabas. The clock in the room chimes four o'clock. "I must get back to my coffin before dawn. Quentin, go to see Tate today. I will leave the city to return to Collinwood tonight, but I will come to speak to you one more time before I leave," says Barnabas. He gathers up the lockbox and his travelling bag and leaves the suite with them. Quentin goes back to his bedroom to go back to sleep.

CHARLES TATE'S STUDIO APARTMENT, later that morning: Tate is once again admiring the portrait of Amanda Harris and is talking to himself. "I'm sure it was her! But how? She doesn't exist! I made her up!" says Tate. There comes a knock at the door. Tate gets up to answer it and when he opens the door the artist is stunned to discover Quentin Collins standing in front of him. "I should have known you would be here too. You and Barnabas Collins are joined at the hip. What the hell do you want? I ought to knock you on your ass!" says Tate. "Easy, Tate! I don't want any trouble. I only want to talk to you about my portrait. May I please come in?" says Quentin. In lieu of an answer, Tate just glares at Quentin for a few moments and then turns his back on him and walks a few feet away. "I'll take that as a yes," says Quentin, as he steps into the apartment and closes the door behind himself. Tate turns around to face Quentin and does not say anything, thus inviting him to speak first, which he does. "First of all, let me say that whatever enmity may exist between Barnabas and Count Petofi need not involve us. Yes I knew that Barnabas was planning to take the hand from Petofi at the ball last night, and if the weakening of your mentor somehow adversely affects you in the future, well I'm sorry, but there's nothing I can do about that. So I'll come right to the point. I'm sure you know by now that Petofi revealed to Barnabas last night that you painted over my portrait, turning it into a landscape, and that you subsequently sold it to an art dealer in New York. I have two questions. What is the name of the new painting, and what is the name and address of the art dealer to whom you sold it?" says Quentin. "And why should I tell you, ESPECIALLY after what happened last night?" asks Tate. "No reason. No reason at all, I must confess. But obviously I have a vested interest in recovering my portrait. So while I hate to resort to cheap threats, I really have no choice, so here goes. You know that a vampire can compel his victim to tell the truth, but Barnabas and I decided to give you the benefit of the doubt and give you an opportunity to cooperate with me of your own free will. So don't lie to me, Tate, because if you do and you lead me on a wild goose chase, we'll be back, and things will go much harder on you," says Quentin. "You're right. That is a cheap threat. But I suppose that if Petofi doesn't care whether or not you and Barnabas know the truth about your portrait, why should I? Okay, I'll tell you. It's called 'Lillies of the Field.' I have the dealer's business card here somewhere. Let me find it for you," says Tate. On a hunch, Quentin says, "You're lying." "I beg your pardon?" says Tate. "I said you're lying. That's not the name of the painting. The true title is 'A View From South Wales.' " says Quentin. Tate is flabbergasted. "How could you possibly know that? I didn't even tell it to Petofi!" says Tate. "Never mind. I have my ways. Now give me the true name and address of the dealer in New York," says Quentin. Tate fishes out a business card from a drawer of a desk and hands it to Quentin. He swears that it's the right one. Quentin glances at the card and pockets it. "I'll be leaving you now," says Quentin, and he begins to show himself out. He has the door to the apartment open when Tate says, "Quentin." Quentin pauses and looks at the artist. "Good luck to you," says Tate. Quentin is surprised by the sentiment and doesn't speak for a moment. "Thank you," says Quentin, and then he leaves, closing the door behind himself. It should be pointed out that during their conversation, the portrait of Amanda was prominently displayed, but Quentin barely glanced at it a few times.

When he gets outside in the sunny but cold day, Quentin begins to walk down the sidewalk. When he gets to the Harris' bake shop, he decides to go inside. The bell over the door rings and Amanda waits on Quentin. After purchasing a few cakes from her, Quentin says to Amanda, "Miss, I know this is going to seem terribly forward of me. I don't usually do things like this but, well, I guess I just find myself charmed by your beauty. My name is Quentin Collins. Would you please have dinner with me tonight?" says Quentin. Amanda blushes. "You don't even know my name", says Amanda. "Then why don't you tell me?" says Quentin with a charming smile. His charisma wins her over. She introduces herself and then accepts his invitation. Then suddenly Amanda goes pale. "What's the matter?" says Quentin. "I suddenly realize that I have nothing to wear," says Amanda. "Don't worry. I'll have a dress sent over here this afternoon. I think I can judge your size. A carriage will be here at seven o'clock to pick you up and take you to my hotel. There's an excellent restaurant on the ground floor of the hotel. I'll pay for everything. I'll see you tonight, Amanda," says Quentin, as he gathers up his purchases and leaves. Moments later Mrs. Harris comes into the shop from the back rooms. Amanda tells her what has just happened. "That's wonderful, dearie!" says Mrs. Harris. "Is it? I'm not so sure. Last night at the ball I overheard people talking about things which I had no idea existed. I don't remember my childhood. I don't remember how I learned to speak or read or write or do simple arithmetic. What if Mr. Collins asks me something about the world and I have no idea what he's talking about? How will I ever be able to explain my naivete to him?" says Amanda. "My dear, you can't spend the rest of your life in this shop. The only way to learn about the world is to get out into the world," says Mrs. Harris. Amanda is forced to admit that she is right.

NEW ORLEANS HOSPITAL LOBBY, morning: Quentin tells a nurse that he is a friend of the man who's hand was cut off last night and that he would like to see him. He inquires what the man's hospital room number is. The nurse replies that very early this morning the man checked himself out against doctor's advice and left the hospital. She adds that she saw the man, and that he looked to her remarkably recovered and poised for someone who had suffered such a vicious attack less than 8 hours earlier. Quentin thanks her for the information and leaves.

In a montage, we see a dress being delivered to Amanda at the bake shop. She tries it on and is delighted with it. Quentin leaves Barnabas a note telling him that he can find him having dinner in the hotel's restaurant with a young woman. He requests that Barnabas please come to speak to him before he leaves the city. Quentin leaves the note on a table in the suite and then goes downstairs. A carriage arrives at the bake shop to take Amanda to Quentin's hotel. At dinner Quentin regales Amanda with stories of his boyhood. It is obvious that he expects her to tell him similar stories about herself. She is forced to tell him about her amnesia. Barnabas approaches their table carrying the lockbox in one hand and his travelling bag in the other. Barnabas immediately recognizes Amanda. Quentin introduces Barnabas and Amanda to each other. Barnabas asks Quentin to speak to him in private. Quentin excuses himself and goes out to the hotel's lobby to speak with Barnabas. Barnabas tells Quentin that Amanda is the woman from his I Ching vision. "Well, I must admit that she is very beautiful, but I hadn't contemplated marriage just yet," jokes Quentin. Barnabas says to Quentin that his vision would seem to indicate that his interest in her will be reciprocated. But he also reminds Quentin that he has free will, and he does not have to marry Amanda if he does not want to. Quentin explains to Barnabas how he met Amanda. He also adds that he went to see Tate this morning. Tate confirmed that "A View From South Wales" is his portrait and gave him the name and address of the art dealer in New York to whom it was sold. However, Quentin reveals to Barnabas that he does not plan to go to New York right away. Instead he will remain in New Orleans for a while to continue his courtship of Amanda. Perhaps he will eventually be able to convince her to come with him to New York. Perhaps one day he will take her back with him to Collinwood. Quentin also mentions that Count Petofi disappeared without a trace from his hospital this morning. "Hopefully that will be the last time you or I ever see him," says Barnabas, but he doesn't sound convinced. Barnabas tells Quentin that he has booked for himself passage on a ship leaving for Boston tonight. He has lied to the captain and told him that the coffin he is travelling with contains the remains of his father, and that he would prefer to keep it in his stateroom rather than the hold to ensure that it is not disturbed. Quentin says that it is dangerous for Barnabas to travel alone. Barnabas replies that he will not be travelling alone. Suzie Kurtz, who is under his power, will be travelling with him and will guard his coffin by day. He will release her when he gets to Boston and then travel the rest of the way to Collinsport alone. "Obviously I will not be coming with you. It makes far more sense for me to live my life in a world where people believe that I'm alive than in one where I'm believed to be dead. So this is goodbye, Barnabas. I want to thank you for all you tried to do for me," says Quentin. The two men shake hands and wish each other luck. Barnabas leaves.

Towards the end of his dinner with Amanda, Quentin suddenly realizes that she looks familiar to him, and he comments on it. Amanda suggests that perhaps he saw her at the masquerade ball last night and she tells him which costume she was wearing. Quentin says that yes, he does remember Little Bo Peep, but he's pretty sure that he didn't see her face after the midnight unveiling. Then suddenly it comes to him. Quentin asks Amanda how long she has known the artist Charles Delaware Tate. She says that she has never heard of him before. "Well, apparently he knows you," says Quentin, and he tells her of the portrait of her that he saw in Tate's studio that morning. Amanda gets very excited at this, suggesting that perhaps Tate might know something about her past. She wants to go visit Tate immediately, and is further intrigued to learn that the artist lives just a few doors down from the bake shop. Amanda asks Quentin to come with her when she goes to see Tate. They take a carriage ride back to Amanda's neighborhood and then they enter Tate's building and ascend the stairs leading up to the second floor. Outside the door to Tate's apartment Quentin tells Amanda to stand off to the side so that she will not be seen when the door is first opened. "Do not come into view until I give you the signal. I want to study his reaction the first time he sees you," says Quentin. He then knocks on Tate's door. A few moments later the door is opened by the artist himself. It is clear from Tate's reaction that he is not happy to see Quentin. "What do you want now?" says Tate irritably. "There's someone here who wants to meet you," says Quentin, and he steps to the side and signals Amanda to step into view. "You ARE real! I thought I imagined you last night," says Tate. Now suddenly his mood changes. Tate excitedly invites both of them to come inside. Amanda immediately gravitates towards her portrait. She studies it intently as she asks Tate to tell her the date he completed it. He thinks for a few moments before replying that it was on the morning of December 15th. Amanda turns around to face both men. "That was the day that I entered the Harris' bake shop. I can remember nothing before that day," says Amanda. Tate has put it together immediately. "Quentin, don't you see what this means? Count Petofi imbued me with magical powers, which are manifested in my paintings. One example is the portrait I painted of you. The other example is standing in front of us right now," says Tate. "What are you saying?" asks Amanda cautiously. "I'm saying that you did not exist before I painted you. I created you. Tell me, did you have a brown dress, a pearl necklace, and a pair of emerald earrings when you came alive?" says Tate. "Yes, I still have them," says Amanda. "You see? What more proof do you need?" says Tate. Amanda bursts into tears. "No! This is horrible! Far too horrible to contemplate!" says Amanda, and she flees from the apartment. "Amanda!" cries Quentin, and he is about to run after her when Tate beckons him to remain for a moment. "What is it?" says Quentin. "I just wanted to give you a warning. Stay away from Amanda. She's mine. She is all mine!" says Tate. Quentin looks at Tate for a moment as if he is insane and then leaves. Tate laughs uproariously. END OF EPISODE TWO.

NBC DARK SHADOWS SEASON 4- Episode Three

Aired September 26, 1993

(by John Rhys-Davies): "The date is January 2, 1898. Barnabas Collins entered the I Ching trance and had a vision which revealed to him the existence of a room in the east wing of Collinwood which may be a link back to his own timeline. The vision also suggested that Quentin Collins might be destined to marry Amanda Harris. It also gave a clue as to what became of Quentin's portrait, and later Charles Delaware Tate confirmed for Quentin that the landscape he painted over Quentin's portrait is entitled "A View From South Wales," and Tate also gave him the name and address of the art dealer in New York to whom it was sold. Upon leaving Tate's apartment, Quentin entered the Harris' bake shop and was served by Amanda. He was struck by Amanda's beauty and invited her to dinner, which she accepted. That evening Barnabas came to Quentin's table to say goodbye to him and he instantly recognized her as the woman from his I Ching vision, which he then revealed to Quentin in private. Quentin updated Barnabas on what he had learned that day, including the news that Count Petofi had disappeared from his hospital earlier that morning. Barnabas told Quentin that he was leaving New Orleans on a ship bound for Boston that night and that his victim Suzie Kurtz would protect his coffin by day. It is Barnabas' intention to return to Collinwood to search for the Parallel Time room. It is his belief that if he stands in the room when it changes, it will transport him back to his own timeline and then he will be able to use the I Ching to return to his own time. Barnabas and Quentin said goodbye to each other and wished each other luck. After Quentin returned to dinner with Amanda, he revealed to her that there is a portrait of her in Charles Tate's apartment. Believing that it might mean that the artist knows more about Amanda than she does, Quentin accompanied her on a visit to meet Tate. Upon learning that she has no memory from before the date that her portrait was completed, Tate revealed to Quentin and Amanda that he believes that this is proof that he created her and she did not exist before her portrait was completed. The shock was more than Amanda could bear, and she fled from Tate's apartment in tears. Before Quentin could run after her, Tate warned him to stay away from Amanda, claiming her as his own. It is now the next day, and in the back rooms of the Harris' bake shop, Quentin is attempting to console Amanda."

BACK ROOMS OF HARRIS' BAKE SHOP, morning: Quentin tells Amanda how he accidentally killed his insane wife Jenny in a fit of rage after she tried to kill him, and that he was then cursed as a werewolf by her gypsy half-sister Magda. He then explains to her that the portrait of himself that Charles Tate painted has abated his curse and has left him invulnerable to disease and natural aging, though he could die in other ways. He doesn't tell her that Barnabas is a vampire and that he comes from the future of another timeline. He simply tells her that he is a friend who helped him in the past and is now returning to his home. Amanda tells Quentin that she feels a connection to him because of their mutual supernatural natures. He is able to convince her to come with him to New York to search for his portrait. He tells her that they will leave tonight. Quentin leaves. Later that morning Tate comes by, bringing Amanda's portrait with him. He tells her that he wants to conduct an experiment. He takes a pin and pushes it against the cheek of the face of her portrait. Amanda cries out in pain. Tate says that this confirms his theory. There is a connection between her and her portrait. He warns her that if she leaves the city with Quentin, he will destroy her portrait, and that will destroy her as well. "Why are you doing this?" asks Amanda. "You belong to me. I created you. You can be with no other man but me," says Tate. "But I don't even know you!" protests Amanda. "Amanda, you will come to love me in time. You'll see," says Tate, and he leaves, taking Amanda's portrait with him.

Amanda goes to Quentin's hotel suite and she tells him what happened with Tate. Furious, Quentin goes to Tate's apartment to confront him, but the artist tells Quentin that he has placed Amanda's portrait in a bank vault, so Quentin will not be able to stop him from maintaining his leverage over Amanda. Quentin threatens to kill Tate, but he later has to explain to Amanda that he realized he was overheard by Tate's housekeeper Mrs. Harper, and if he were to carry out his threat, he would become the prime suspect, and he refuses to harm an innocent woman just to keep her silent. Quentin is forced to say goodbye to Amanda at the train station that night. He's going to New York to hunt down his portrait, and he promises to return for her after he has recovered it. Then they will attempt to resolve the situation with Tate. The next day, Count Petofi comes to Tate's apartment to tell him that he is leaving the city as well. He's going to New York to seek his fortune in business and industry. Petofi tells Tate that he is not going to actively pursue Barnabas Collins. He has faith that fate will some day cause their paths to cross again. Tate tells Petofi about the situation with Amanda. Petofi is amused, but says he doubts that Tate will be able to force her to love him. He hands Tate a photograph of himself. "Something to remember me by, my dear boy," says Petofi. The two men shake hands and Petofi leaves.

OCEAN LINER AT SEA, night: Barnabas leans over the railing of a ship, staring at the sky on a clear starry night. Suzie Kurtz is with him. She complains to Barnabas that it was not fair of him to force her to come with him. She told her parents that she is visiting a friend in Texas. But what will happen if they decide to check up on her and they discover that she was lying? Barnabas tells Suzie that he was already planning on compensating her for her time. He reaches into his pants pocket and pulls out a wad of bills and gives it to her. Suzie counts the money. "Oh my god! There's three thousand dollars here! Where did you get so much money?" says Suzie. "I sold some of Naomi Collins' jewelry. With that you can start a new life for yourself," says Barnabas. She thanks him gratefully for the money. The ship sales on. The screen dissolves and a caption reads: "TWO WEEKS LATER." The ship is docked in Boston and Barnabas' coffin is being loaded into the back of a wagon. Barnabas takes Suzie into the back of an alley to take her blood one last time. But instead of pulling away after a reasonable amount of time, Barnabas seems unable to control himself. He keeps sucking and sucking on her neck, until she suddenly falls to the ground, dead! "Oh no! What have I done?" says Barnabas aloud to himself. A few moments later, Suzie opens her eyes. There are fangs in her mouth. She has become a vampire. She stands up. "Oh Suzie, I am so sorry. I could not help myself. Now you have become as I am. You must spend your days in a coffin, because sunlight will destroy you. If you concentrate hard enough, you can transform yourself into a bat and back into human form. You must take the blood of the living to survive, but you can still live amongst humans if you don't take too many victims and draw attention to yourself. The money I gave you will still help you. You will find uses for it. Suzie, I know this will sound cruel, but you cannot come with me. Once again, I am sorry. I must go. Suzie, good luck to you," says Barnabas, as he turns his back to her and walks away without a further glance behind him. Suzie dispassionately watches him leave. Barnabas gets into the wagon and tells the driver to go, as he reluctantly looks behind him at her one last time and gives her a sorrowful and apologetic look as the wagon rolls away. The wagon arrives in Collinsport shortly after midnight, three days later. (This is denoted by a caption on the screen but isn't otherwise explained.) It pulls up in front of The Old House and the driver helps Barnabas to unload the coffin to the ground. He tips the driver and the wagon leaves. Magda hears the horses and comes outside. Barnabas greets her and tells her that he will update her on what has happened since he and Quentin left Collinsport after he has put his coffin in the cellar. With his supernatural strength he is able to lift it easily.

After the commercial, in the drawing room of The Old House Magda says to Barnabas, "And you really think this 'Parallel Time' room exists?" "Yes I do. I think I know the room with the double doors in the east wing of Collinwood. I shall slip into Collinwood undetected, find the room, and wait for it to change. If it does not change before dawn, I will return here to sleep in my coffin during the day. But if I do not return before dawn, it probably means that I am back in my own timeline, and you will never see me again," says Barnabas. He then goes into a secret room behind a bookcase in the drawing room and comes out a few moments later with a box, which he hands to Magda. "Here are the rest of Naomi Collins' jewels. I hope they compensate you for the loss of Sandor," says Barnabas. The night before Barnabas had attempted to return to his own time with the I Ching, to hinder Barnabas, Count Petofi had poisoned Sandor and he had died. Barnabas prevented Magda from eating the same poisoned stew.

Barnabas is indeed able to slip into Collinwood in the middle of the night undetected. He finds the empty Parallel Time room in the east wing and enters it. The room is dark but is illuminated by the light of the full moon. Barnabas is carrying the lockbox and his travelling bag. He glances at his pocket watch. It is 1:00 a.m. Perhaps it is because of his presence, but an instant later Barnabas finds himself standing in the middle of a furnished room. He quietly slips out of the house and goes to Eagle Hill Cemetery, where he finds the graves of Quentin Collins and Beth Chavez. He returns to Collinwood and borrows a shovel from a tool shed. He uses it to bury the lockbox which contains the Hand Of Count Petofi in the woods outside of Collinwood. Then he returns the shovel to the tool shed. All this time he has been seen by no one. "Now I shall go to The Old House, quietly slip into the house, and enter the I Ching trance in the basement," says Barnabas aloud to himself. But as Barnabas is walking along the path between Collinwood and The Old House while still carrying his travelling bag, a heavy fog rolls in from the sea. It is so thick that Barnabas loses his way and cannot find the path again. Suddenly he sees two figures, a man and a woman, wearing hooded robes approach him. For some reason Barnabas seems quite afraid of them. "Who are you?" asks Barnabas suspiciously. The man answers. "We are Leviathans. I am called Oberon. This is Haza. You can be of great use to us, Barnabas Collins." "How do you know my name? What is this? Where did you come from?" asks Barnabas. "All will be explained to you in time. Now it is time to perform the ceremony," says Oberon. "What ceremony? What are you talking about?" says Barnabas. But instead of answering, Oberon approaches Barnabas. "Don't touch me!" cries Barnabas hysterically. Oberon touches Barnabas on the forehead and he falls unconscious. He later awakens to find himself laying on top of a stone altar in the middle of the woods. The fog is gone. Barnabas discovers that he can only move his head. Oberon and Haza perform a ceremony to their dark gods. Oberon tells Barnabas to rise, and he finds that he is able to stand up. Oberon hands Barnabas a wooden box, and tells him to keep it hidden and safe. He will be given instructions on what to do with it at a later time. "You may do anything you like with your life, Barnabas Collins, but when we come to you, you must follow our orders. Do you understand?" says Oberon. "I do. Is this still 1898? I do not belong in this time," says Barnabas. "We understand that. We have already returned you to your own time. It is four o'clock in the morning on the same night that you entered the I Ching trance. Also, it is in our interests that the Collins family be able to resume their lives as normal. The ghosts of Quentin Collins and Beth Chavez have been banished back to their graves. Tell the Collins family that they may move back into Collinwood immediately. Barnabas, keep the box hidden and safe. Now return to The Old House and find your friends. Until we meet again, Barnabas," says Oberon, and he and Haza bow to him and they and the altar vanish into thin air. Barnabas is able to find the path to The Old House again, and he begins to walk in its direction. END OF EPISODE THREE. (Note: Do not be overly concerned by the fact that the 1898 storyline was left unresolved. Many of the 19th century characters will return in season #5.) (Note: Episode three ran only 30 minutes long.)

CAST LISTS:

I have envisioned several famous actors to portray the roles of many of the new characters. (By "new" I mean any character that did not appear in season one.) Below I provide the cast lists for the 1897 and Leviathan sequences. I do this so that the reader will be able to better visualize what some of these characters would have looked like. Remember, these actors and actresses would have appeared as they looked in the early 1990s. Season two would have been filmed during the spring and summer of 1991; season three would have been filmed during the spring and summer of 1992; and season four would have been filmed during the spring and summer of 1993. Where no name of an actor or actress is provided, it means that I could not think of a suitable famous actor to fill the role. In those cases the role would have been played by an actor or actress who was not famous. The reader will also note that some of the roles I envision to be filled by actors and actresses who appeared on the original ABC Dark Shadows. I believe that the producers of the NBC Dark Shadows would have tried to incorporate some of the original actors into the show where they felt it to be appropriate. (The Leviathan cast list may include some characters that have not appeared in the story yet. If you are reading this story for the first time, check back from time to time. New chapters in this story will occasionally be submitted to .)

1897 CAST LIST

Barnabas Collins-Ben Cross

Sandor Rakosi-John Karlen

Magda Rakosi-Barbara Steele

Judith Collins-Jean Simmons

Edward Collins-Stefan Gierasch

Quentin Collins-Pierce Brosnan

Carl Collins-Henry Thomas

Jamison Collins-Joseph Gordon-Levitt

Nora Collins-(same child actress who portrays Amy Haskell)

Beth Chavez-

Rachel Drummond-Joanna Going

Dirk Wilkins-Alan Ruck

Laura Collins-Lara Parker

Edith Collins-Estelle Getty

Jenny Collins-Allie Sheedy

Rev. Gregory Trask-Roy Thinnes

Aristede-Steve Buchemi

Count Petofi-John Rhys-Davies

King Johnny Romano-Raul Julia

Julia Hoffman-Barbara Steele

Willie Loomis-Jim Fyfe

Amanda Harris-Stephanie Richards (fictitious actress)

Charles Delaware Tate-Anthony Edwards

Mrs. Harris-Fionnula Flanagan

Mr. Harris-

Mrs. Harper-Juliana McCarthy

Suzie Kurtz-

Evan Handley-

Pansy Faye-Barbara Blackburn

Nurse-

Jacob Collins-

Lenore Collins-

LEVIATHAN CAST LIST

Barnabas Collins-Ben Cross

Julia Hoffman-Barbara Steele

Willie Loomis-Jim Fyfe

Elizabeth Collins Stoddard-Jean Simmons

Roger Collins-Roy Thinnes

Victoria Winters-Joanna Going

Carolyn Stoddard-Barbara Blackburn

Mrs. Johnson-Juliana McCarthy

David Collins-Joseph Gordon-Levitt

Amy Haskell-

Chris Haskell-Jerry O'Connell

Paul Stoddard-Mitchell Ryan

Phillip Todd-David Hyde Pierce

Megan Todd-Jami Gertz

Oberon-Michael Stroka

Haza-Donna Wandrey

Maggie Evans-Ely Pouget

Jeff Clark-Michael T. Weiss

Jeb Hawkes (dream)-Mark Wahlberg

Alexander-Keiran Culkin

Michael/Michael Collins (Parallel Time)-Macaulay Culkin

Sophie Collins (Parallel Time)-Sophie Aldred

Sen. Alexander Petrosian (Parallel Time)-John Rhys-Davies

Suzie Zee (Parallel Time)-(same actress who portrayed her in 1897-1898)

newscaster (Parallel Time)-

Benjamin Braddock-Charles Dance

Peter Bradford (dream)-Michael T. Weiss

Charles Collins (dream, and ghost)-Scott Bakula

Laura Collins (dream)-Lara Parker

Cassandra Blair (dream)-Lysette Anthony

Henry Collins-Louis Edmonds

Jason McGuire-Dennis Patrick

Sabrina Clark-Alyssa Millano

Sabrina's nurse #1-

Sabrina's nurse #2-

Dr. Prescott-

Dr. Reed-

Police Officer-

Nurse-

Daphne-Rachel Weisz

NBC DARK SHADOWS SEASON 4- Episode Four

Aired October 3, 1993

(by Joanna Going): "Barnabas Collins has returned to the present of his own timeline, but not in the way that he had expected. Quentin Collins was forced to go to New York to search for his portrait without Amanda Harris because Charles Tate threatened to destroy her portrait if she left with him, and that would have destroyed her as well. The next day Count Petofi came to Tate's apartment to tell him that he was also going to New York to seek his fortune in business and industry. Petofi told Tate that he was not going to actively pursue Barnabas, trusting instead that fate would some day cause their paths to cross again. Barnabas travelled with his victim Suzie Kurtz on a ship to Boston, and after they arrived there he accidentally turned her into a vampire. Barnabas left her with nothing but some sage advice and left her there to seek her own fate. Upon arriving back at Collinwood, Barnabas told Magda of his intention to search for the Parallel Time Room in Collinwood, which he believed he could use to cross back into his own timeline. Barnabas found the room and was indeed successful. He buried the Hand Of Count Petofi in the woods near Collinwood, but before he could use the I Ching to return to his own time, he was ensnared by two strange robed figures who called themselves Leviathans. They subjugated Barnabas' will to their own, and after performing a ceremony on an altar in the woods gave an ornately carved wooden box to him. They simply instructed him to keep the box hidden and safe until such time that they tell him what to do with it. The Leviathans also told Barnabas that it was in their interests that the Collins family be able to resume their lives as normal. Therefore they banished the ghosts of Quentin and Beth back to their graves and told Barnabas to tell the family to move back into Collinwood immediately. The Leviathans have returned Barnabas to the present day. It is now the morning after Barnabas entered the I Ching trance, and in the drawing room of The Old House, Barnabas has just finished telling Julia and Willie about his experiences in the past."

OLD HOUSE DRAWING ROOM, morning: Barnabas is finishing up his story to Julia and Willie. It is morning. Barnabas is not a vampire. "So what you're telling us is that Quentin is alive in the past of another timeline, but you did nothing to alter our own reality," says Julia. "That's right. And since I did nothing to alter our reality, there is no paradox," says Barnabas. "But Barnabas, if you did nothing to alter our reality, how can you be so sure that the ghosts of Quentin and Beth are gone?" asks Julia. Knowing that he must say nothing about the Leviathans, Barnabas chooses his words carefully. "I just felt coming out of the I Ching trance that the ghosts are at peace. They will trouble us no more," says Barnabas. "Well, now that that's all over, Barnabas, it's time for you to get used to living in the 20th century. You're human now. And I know the best way for us to start. Barnabas, I'm gonna teach you how to drive. We can practice driving my truck out in the field behind the house. Or maybe we oughta start off using the doc's car. I'll take ya to Bangor to get your license, and then you can buy yourself a nice big fancy car. You're probably gonna need to sell some more of your mother's jewels to pay for it, and sooner or later the money from the jewels is gonna run out, and then you're gonna have to get yourself a job. And say, since I ain't your slave no more, isn't it about time you started paying me a salary?" says Willie. Barnabas and Julia burst out laughing. "Quite right, Willie, quite right. Sooner or later I'm going to have to make my own way in the world, if I ever want to marry Victoria and raise a family with her. I think learning how to drive would be an excellent way to begin. When do we get started?" says Barnabas. "As my auntie likes to say, 'no time like the present,' " says Willie. Both men stand up and appear ready to leave the room when suddenly Julia asks Barnabas to remain for a few more minutes. She wants to give him one last blood test. She says that she will send the test to a lab in Boston to be analyzed. It will take one week to get the results back. Barnabas tells Willie to wait outside for him as he begins to roll up his sleeve.

With Willie in the passenger's seat, Barnabas drives Julia's car in the field behind The Old House. Willie teaches Barnabas how to accelerate, brake, steer, and park. Most of the driving lesson is shown in a montage. Willie suggests to Barnabas that they go to Collinsport to the town hall where he will be able to buy a learner's permit so that he will be allowed to drive on the streets with a licensed driver with him. Barnabas suggests that they go to Collinwood to invite Vicki to go with them. They'll all have lunch together in town and make a day of it. At Collinwood, Vicki is delighted to learn that Barnabas is learning how to drive. She suggests that he tell the rest of the family that he was so pampered in England, being chauffeured around everywhere, that he never bothered to learn how to drive until now. Willie drives them into town in his truck. They go to the town hall where Barnabas purchases his learner's permit. They then go to the Blue Whale to have lunch. After lunch Vicki suggests that they do some window shopping before returning home. They are delighted to discover the grand opening of a new shop in town, Todds' Antiques. They enter the shop as a bell over the door rings, announcing their presence. They browse around the shop for a couple of minutes and then a man in his early thirties walks up to them and introduces himself. "Hello there. My name is Phillip Todd. I own this shop with my wife Megan. You're one of our first customers," says Phillip. Barnabas compliments Phillip on the variety of antiques in the shop, which range from pieces of furniture to vases, jewelry, and works of art. Presently a woman in her late twenties joins them. Phillip introduces Megan to them. Willie suggests to Barnabas that he might want to sell off some of his pieces in The Old House to raise some money, but Vicki points out that Barnabas took great pains to restore The Old House to its original 18th century condition, and would be more likely to be looking to buy something than sell something. Barnabas agrees with her, and says that he is interested in an antique grandfather clock in the shop. He and Phillip haggle over a price and eventually come to a compromise agreement. They shake hands on the deal. Barnabas realizes something else that he is going to have to do soon: open a checking account for himself. Barnabas tells Phillip that he will return to the shop later in the afternoon with the money. Vicki notices a "help wanted" sign in the window. She suggests that Carolyn should apply for the job. "Elizabeth is always nagging Carolyn to get out of the house and get a job. I think it would be good for her," says Vicki. Phillip tells her to urge Carolyn to apply for the job as soon as possible. There's no guarantee how long the position will remain open. Vicki says that she will urge Carolyn to come down to the shop later today. They all say their goodbyes to each other and leave. Barnabas drives Willie's truck home with Willie and Vicki in the vehicle with him. At an intersection, a pedestrian is crossing the street, and Barnabas accidentally steps on the accelerator instead of the brake. "NO, BARNABAS!" cries Willie. But too late! The truck strikes the man in the intersection! Barnabas is barely able to slam on the brakes in time to avoid completely running the man over, but not soon enough to avoid contact entirely. Barnabas puts the truck into park and the three of them leap out of the vehicle and examine the condition of the man who was struck. They roll him onto his back and get a good look at his face. "Oh my god, Barnabas! That's Peter Bradford!" exclaims Vicki.

Vicki cries out to passersby for someone to call an ambulance. Within minutes a police car and an ambulance arrive at the scene. Paramedics load the unconscious man onto a stretcher and take him in the ambulance to the hospital. Barnabas shows his identification to the officer and admits that he was driving the truck and explains what happened. The officer apologetically explains that he is going to have to arrest Barnabas on charges of careless driving. Before he is handcuffed, Barnabas hands Willie a key, explaining that it goes to a lockbox in his dresser in his bedroom. The lockbox contains large amounts of cash. Barnabas tells Willie to give the key to Julia and have her come to the jail to bail him out. Willie first drives Vicki to the hospital because she wants to check on the condition of the injured man. She is surprised to learn from a nurse at the hospital that the man (who is in stable condition but is still unconscious) has identification which lists him as having the name of "Jeff Clark." Vicki gives the nurse her phone number at Collinwood and urges her to call her to notify her as soon as Mr. Clark regains consciousness. The nurse promises to do so and Vicki leaves with Willie. Back at The Old House, a nervous pacing Willie is relieved hours later to finally see Barnabas and Julia return home. Barnabas explains that he has been released from jail on $10,000 bail. His next court date is in three months. Barnabas says that he plans to hire the best lawyer he can find to defend him. He tells Julia and Willie that he is tired and is going to his room to take a nap. At Collinwood, Vicki explains to Elizabeth and Carolyn about the accident. She also tells Carolyn about the job at the antique shop. Liz urges Carolyn to go and apply for the job. Carolyn begrudgingly agrees, and she leaves the house to go into town.

BARNABAS' BEDROOM IN THE OLD HOUSE, afternoon: Barnabas is sleeping in his bed and he begins to have a dream. Oberon appears to him and tells him to give the box to the Todds. Barnabas wakes up and gets dressed. It is only late afternoon. He retrieves the box from a hiding place in his closet. Not wanting to attract attention to himself, he walks to Collinsport with the box in tow. At the antique shop, Carolyn has just been hired by the Todds. She shakes hands with both Phillip and Megan. Barnabas is careful not to be seen by Carolyn as she leaves the shop. When she is gone, Barnabas enters. There is no one else in the shop besides Barnabas, Phillip, and Megan. Barnabas takes the box out from beneath his coat and hands it to Phillip. "The time of the Leviathans has come," says Barnabas to the Todds. "The time of the Leviathans has come," repeats Phillip and Megan in unison. Phillip takes the box upstairs and enters an empty room in the apartment above the shop. He puts the box on the floor and opens it. We cannot see its contents. Phillip leaves the room and closes the door behind himself. Presently the sounds of heavy breathing can be heard. "He is born! The time of the Leviathans has come!" exclaims Phillip. END OF EPISODE FOUR.

(Note: Episode four ran only 30 minutes long.)

NBC DARK SHADOWS SEASON 4- Episode Five

Aired October 10, 1993

(by Mitchell Ryan): "Upon returning from the past, Barnabas Collins began to receive driving lessons from Willie Loomis. Barnabas invited Victoria Winters to accompany himself and Willie into Collinsport, where Barnabas acquired his driver's permit and then the three of them had lunch together in town. After lunch they discovered the grand opening of a new shop in Collinsport, Todds' Antiques. They browsed around the shop and were introduced to the shop's new owners, Phillip and Megan Todd. Barnabas purchased an antique grandfather clock from the Todds. Vicki noticed a "help wanted" sign in the window of the shop and said that she would later suggest to Carolyn that she apply for the job. Upon leaving the shop, Barnabas drove them home in Willie's truck. At an intersection, he accidentally put his foot on the accelerator instead of the brake and struck a man who was crossing the street in the crosswalk. Vicki gasped when she recognized the injured man. He appeared to be Peter Bradford. Barnabas was arrested for careless driving while the injured man was taken to the Collinsport Hospital. Barnabas was later released on $10,000 bail. His next court date is in three months. Elizabeth was able to persuade Carolyn to apply for the job in the Todds' antique shop. She went to the shop and was hired by the Todds. Barnabas had a dream in which Oberon appeared to him and told him to give the Leviathan box to the Todds. He awoke and took the box with him to the antique shop and gave it to Phillip and Megan. Phillip then took the box upstairs to the apartment over the shop and put it on the floor of an empty room and opened the box and then quickly left the room. Soon the sounds of heavy breathing could be heard coming from inside the room. It is now the next day, as Carolyn Stoddard prepares to begin her first day of work in the Todds' antique shop."

TODDS' ANTIQUE SHOP, morning: Carolyn enters the shop at a few minutes before eight o'clock. Phillip greets her and begins to explain what her duties will be. In addition to working with customers, she will be asked to help with paperwork pertaining to orders of new merchandise that they will be acquiring from time to time. She is told that she can take one hour for lunch any time between eleven a.m. and two p.m. He simply requests that she give them at least ten minutes notice before she plans to leave. Phillip begins to show her around the shop and relates several anecdotes as to how he obtained rare objects. Megan comes downstairs from the apartment with an infant in her arms. "Megan, is that your baby?" asks Carolyn. "No, Phillip and I don't have any children of our own, at least not yet. No, this is Joseph, Phillip's nephew. We're helping take care of him for a few days while his parents are out of town," says Megan. Megan asks Carolyn if she would like to hold the baby. Carolyn looks squeamish. "Haven't you ever held an infant before?" asks Megan. Carolyn admits that she has not. Megan shows her how to hold the baby and Carolyn reluctantly takes Joseph into her arms. The baby begins to make cooing sounds. His face definitely begins to light up as he is held by Carolyn. "I think he likes you!" says Megan. Phillip says that he is sorry to have to break up the happy moment, but he needs to show Carolyn how to make a record of all sales in a log book. Carolyn gives the baby back to Megan, who returns with him back upstairs as Phillip resumes his tutorial.

THE BLUE WHALE, late morning: There are only a few customers in the restaurant, as the breakfast crowd has left and it is still too early for lunch. A peppery haired man sits at the counter and orders a late breakfast of scrambled eggs and bacon. Although this character will not be identified by name in this episode, Dark Shadows fans will recognize the actor. He is Mitchell Ryan, who portrayed Burke Devlin on the original series. Therefore it is likely that this character is going to be important. Soon Carolyn comes in and sits at the end of the counter. She orders a bacon, lettuce, and tomato sandwich for lunch. She tells Maggie that she will probably treat herself to a piece of chocolate cake for dessert. Maggie gives Carolyn's order to the cook and begins to gossip with Carolyn. Carolyn recaps for her the events of yesterday. She tells Maggie about Barnabas' accident, and explains that Vicki is anxious to speak to the injured man as soon as he regains consciousness. She says that she thinks she is going to like working for the Todds, and tells Maggie about the baby in the shop. Carolyn begins to steer the conversation in another direction. Now that Cassandra is gone, is Maggie going to resume her affair with Roger? Maggie expresses surprise that Carolyn knew about that. "Please, Maggie. There's nothing that goes on in that house that I don't know about," says Carolyn. Maggie confesses to Carolyn that she knew that both Cassandra and Laura had supernatural powers, but she never tried to do anything to thwart them because she knew that their powers were greater than hers and she was afraid that they would try to hurt her if she made a nuisance of herself. "But I swear that I never knew that Laura was planning on killing David. I would have tried to stop her, no matter what the cost to myself," says Maggie. The camera reveals the fact that the peppery haired man is eavesdropping on their conversation with great interest. Eventually he decides that it is time to leave. He drops a twenty dollar bill on the counter and shows himself out of the restaurant. As she cleans up the man's plate, Maggie is astonished by the size of the tip. She serves Carolyn her lunch. The lunch crowd comes in and Maggie is busy taking orders as Carolyn eats in silence.

MAGGIE EVANS' BEDROOM, night: Maggie is sleeping in her bed and begins to have a dream. She is in a church. Maggie is sitting in a pew near the front of the church on the left hand side. Vicki is sitting next to her. Immediately to her right Barnabas is sitting in a pew on the right hand side, and in the pew in front of him sits Phillip and Megan Todd. In the pew in front of Maggie sits the peppery haired man. At the front of the church in front of an altar stands Oberon wearing a minister's robes. Haza is seated at the organ. Standing in front of Oberon is a man whom Maggie has never seen before. Haza begins to play "Here Comes The Bride." Maggie turns her head around and sees Carolyn walking down the aisle wearing a white wedding dress. David is walking a few paces in front of her. He is the ring bearer. He is holding a red velvet pillow upon which rests two gold rings. As the procession passes Maggie, Vicki says to Maggie, "Excuse me, Maggie. I'm Carolyn's maid of honor." Vicki stands up and goes to stand besides Carolyn. Barnabas stands up and goes to stand beside the groom as his best man. David stands near the groom too as Carolyn joins her husband to be in front of the minister. The music ends as Oberon addresses them. "Dearly beloved, we are gathered here today to join this man and this woman together in the bonds of holy matrimony. Who will give the bride away?" says Oberon. The peppery haired man stands up. "I will," he says. Oberon turns to face the groom. "Do you, Jeb, take this woman Carolyn to be your lawfully wedded wife, in sickness and in health, for richer or poorer, till death do you part?" asks Oberon. "I do," says Jeb. "And do you, Carolyn, take this man Jeb to be your lawfully wedded husband, in sickness and in health, for richer or poorer, till death do you part?" asks Oberon. "I do," says Carolyn. "Is there anyone present who has any reason to object to this union?" asks Oberon. No one speaks up. "Then let the ring bearer come forth!" says Oberon. David holds the pillow up to Jeb. "Jeb, take one of the rings and place it upon the third finger of Carolyn's right hand and repeat after me: 'With this ring, I thee wed.' " says Oberon. Jeb takes one of the rings and places it upon the third finger of Carolyn's right hand and as he does so he repeats the vow. But soon Carolyn looks down at her hand and screams! Why? Because she notices that Jeb's hand is covered in blood. She tries to flinch her hand away, but too late to prevent some of the blood from getting on her own hand. "Jeb! Who's blood is that?" asks Carolyn franticly. "I don't see anything, Carolyn. Now take the other ring and put it on my hand and repeat the vow," says Jeb. The peppery haired man whispers into Carolyn's ear, "I'm sorry, Carolyn. This is all my fault. It has to be this way." Carolyn stares in horror at the ring on her bloody hand. She appears to be in a daze as she takes the other ring and places it on Jeb's hand and recites, "With this ring, I thee wed." "Then what Satan has brought together, let no man tear asunder," says Oberon. Then Jeb kisses Carolyn and he escorts her down the aisle as Haza plays the traditional exiting tune on the organ. The guests throw rice at them. They all get up and leave the church. Maggie is the last one to leave. At the back of the church, sitting in the very last pew on the bride's side, she notices Laura Collins and Cassandra Blair. Both women stand up and speak to Maggie. "We just wanted to give you a warning. Sometimes you have to do what you know to be right, no matter what the risk to yourself," says Cassandra. "What do you mean?" asks Maggie. "Don't worry, darling. I'm sure you'll figure it out when the time comes," says Laura. They leave. Maggie is the last one to leave the church, just in time to see Jeb escorting Carolyn into a car with a "Just Married" sign on the back of it. However, it's not the kind of car you would expect. It's a hearse. As the car pulls away, Maggie wakes up, obviously shaken from the dream.

COLLINWOOD DRAWING ROOM, the next afternoon: Vicki tells Elizabeth that she phoned the hospital and found out that there is no change in Jeff's condition. She says that she is going to The Old House to see Barnabas. Vicki leaves. In front of The Old House, she finds Willie cutting the grass with a lawnmower. She tells him that she is there to see Barnabas. Willie escorts her into the house and then when Barnabas greets them Willie goes back outside to resume his duties. Barnabas tells her that he went to Bangor this morning. He drove Julia's car with her in the passenger's seat. In Bangor he retained for himself a lawyer. His lawyer told him that since this is his first offence, he will likely receive probation, no jail time. Vicki is relieved to hear the news. She tells him that as yet there is no change in Jeff Clark's condition. He is still unconscious. "Could he really be Peter Bradford?" asks Vicki. Barnabas states that he believes that Rachel Drummond, the Collins family governess in 1897, was the reincarnation of his long lost love Josette DuPres. So anything is possible. He suggests that after Jeff regains consciousness, Julia could try hypnotizing him to help him recover memories of a past life. Vicki begins reflecting on her experiences in 1790. She realizes that this is the first time she has spoken of them to Barnabas. For the first time since season one, Barnabas reminds Vicki just how much he is in love with her. Does she have the same feelings for him? he asks. She admits that she is very fond of him, but she won't commit herself to saying that she is in love with him. "Is it possible that my feelings for you might deepen as time goes by? Yes, it's possible, but remember, I fell in love with Peter Bradford in the past, so I find the return of this mysterious stranger with Peter's face quite intriguing," says Vicki. Barnabas invites her to stay for lunch. He'll make sandwiches and pour ice tea. They can talk more about the 18th century. Vicki says that she would like that very much. Dissolve to a montage that depicts Barnabas' long conversation with Vicki. Eventually Willie comes into the kitchen, perspiring and covered in cut grass. It is 4:00 p.m. Vicki and Barnabas have been talking for three hours. "Oh my goodness! Where has the time gone? I can show myself out. I'll see you guys later," says Vicki and she leaves. When she is gone, Barnabas admits to Willie that he feels that he and Vicki have grown closer as a result of their reminiscing, but he is deeply troubled by the appearance of Jeff Clark. What if he is indeed the reincarnation of Peter Bradford? "Barnabas, you don't even know nothing about that guy. Maybe he's got a wife or girlfriend somewhere," says Willie. Barnabas admits that there is no point in worrying about something that he cannot control.

Back at Collinwood, Vicki receives a phone call. "Yes, this is Victoria Winters... He has? Oh, that's wonderful! I'll be right there. Thank you. Goodbye," says Vicki. She hangs up the phone and tells Elizabeth that Jeff Clark has just regained consciousness. She's about the leave to go to the hospital to visit him. "Vicki, you don't really believe that this man is Peter Bradford, do you? I find that a bit far fetched," says Elizabeth. "Mrs. Stoddard, I know that you don't believe that my experiences in the past are real. You think I imagined them. But my experiences are real to me, just as I'm sure that what happened to Barnabas during the I Ching trance is real to him too. Obviously something must have happened, because immediately afterwards the ghosts disappeared. Could Jeff be Peter? I don't know, but the only way I'm going to find out is by talking to him," says Vicki. "I just hope you're not setting yourself up for a disappointment," says Elizabeth. "Don't worry, Mrs. Stoddard. Everything will be alright," says Vicki. She then leaves the house and gets into her car and drives into town.

COLLINSPORT HOSPITAL, evening: A doctor updates Vicki on Jeff's condition. He suffered a mild concussion and a broken right wrist, but he is otherwise okay physically. "I'm afraid, however, Miss Winters, that Mr. Clark's problems go beyond the physical. He's suffering from a form of retrograde amnesia. It's common in cases like this. He told me that the last thing he remembers is getting drunk on New Year's Eve and passing out. He was quite surprised when I told him that today is in fact Wednesday, June 18th," says the doctor. "May I see him?" asks Vicki. "Yes. In fact he seemed quite excited a minute ago when I told him that someone who was involved in the accident was coming here to see him. Come with me," says the doctor, who then escorts Vicki to Jeff's room. The doctor makes brief introductions and then leaves. Jeff is laying in his hospital bed watching CNN on TV. He turns off the TV with a remote control with his left hand and looks at Vicki to speak first. She explains that the accident was "...well, just that. An accident. My friend Barnabas Collins is just learning how to drive. When he saw you in the intersection he accidentally put his foot on the accelerator instead of the brake. I'm sure he will come here to see you very soon to apologize. In fact he's quite wealthy. I wouldn't be surprised if he offers to pay for all of your hospital expenses," says Vicki. Jeff mutters something under his breath about hoping that Barnabas has a good lawyer because maybe he will sue him because of the accident. "Hey, that's not fair. He's rich, but he's not that rich. What happened couldn't be helped. Listen, I'm sorry for changing the subject, but I want to ask you something. Does the name 'Peter Bradford' mean anything to you?" asks Vicki. "No, it doesn't ring a bell. Why? Should it?" says Jeff. "It's a long story. I'm not sure you would believe me if I told you," says Vicki. Jeff laments that he doesn't even know why he is in Collinsport. He lives in Newport, Rhode Island. Both of his parents are still alive. His father is 60, his mother is 56. He's 28, and his sister Sabrina is 24. He says that the doctor told him that his memory might come back all at once, or it might come back in bits and pieces. Jeff asks Vicki to tell him something about herself. She begins to tell him about her job at Collinwood, about the members of the family that live there, and about Barnabas, Julia, and Willie. While she is talking, the doctor comes in and tells her that it is time for her to leave. He needs to give Jeff some pain medication which will make him sleepy. She tells Jeff that she will come back tomorrow to visit him again. Jeff says that he would like that. Vicki leaves.

COLLINWOOD DRAWING ROOM, evening: Elizabeth tells Vicki that Chris Haskell is there to see her. Liz shows Chris into the room. He tells Vicki that he needs to talk to her in private. She suggests that they go into the adjoining study. In the study Chris tells Vicki that he just read about Barnabas' accident in yesterday's newspaper. Sometimes he's a little slow in reading them. "The paper mentioned that the name of the accident victim is Jeff Clark. Mrs. Stoddard just told me that you just got back from visiting him. Vicki, I think I know why Jeff Clark is in Collinsport. He's looking for me. You see, I used to date his sister Sabrina. Vicki, Barnabas told me that I should trust you. He and Dr. Hoffman and Willie Loomis already know what I am about to tell you. So here goes. Vicki, I'm a werewolf. My father was a werewolf, and his father was one too. A few months ago, Sabrina witnessed the transformation. I don't know how she survived. She was left in a state of catatonia. It happened in her apartment. The place was left in a shambles. After the incident I left town without telling anyone. But I would have to assume that Jeff somehow found out about me and is here to question me about what happened to his sister, and I can't tell him the truth," says Chris. Vicki tells him about Jeff's amnesia. Chris is relieved to hear it, but she points out to him that sooner or later he is likely to recover his memories. She decides to confide in him too and she tells him about her experiences in 1790 and about Jeff's uncanny resemblance to Peter Bradford. They both speculate on what kind of weird coincidence caused their fates to cross like this. Vicki promises to keep him posted about Jeff's condition. Chris leaves. END OF EPISODE FIVE.

NBC DARK SHADOWS SEASON 4- Episode Six

Aired October 17, 1993

(by Michael Stroka): "Dark forces swirl just below the periphery of consciousness for the residents of the great estate of Collinwood. It has been six days since Barnabas Collins returned from the past. Carolyn Stoddard is settling into her new job in the Todds' antique shop. Victoria Winters has visited Jeff Clark in the hospital every day since he regained consciousness. They are starting to form the basis for a friendship by telling each other about their lives. Chris Haskell has confessed to Vicki that he is a werewolf and has postulated a theory at to why Jeff came to Collinsport: he believes that Jeff learned of his relationship with Jeff's sister Sabrina and came to look for him. Vicki in turn has told Chris about her experiences in the past and of Jeff's resemblance to Peter Bradford. One of them hopes that Jeff's memory will soon return to him. The other one dreads it. And while all of these events unfold, a malevolent force grows stronger in an upstairs room of the Todd's antique shop."

OLD HOUSE DRAWING ROOM, evening: Julia finds Barnabas reading in the drawing room on Sunday evening. He is reading a biography of John Adams. Noting her arrival, Barnabas closes his book and says, "Julia, did I ever tell you that my father was once good friends with John Adams?" "No, I don't think you've ever mentioned it before," says Julia. "Yes, they had many dealings while Adams was a member of the Continental Congress," says Barnabas. "That's fascinating. Listen, Barnabas, there's something important that I need to talk to you about. Do you remember when last week I asked you to submit to one more blood test? Well, I just got the results back from the lab this afternoon and I need to discuss them with you," says Julia. "Please continue," says Barnabas. "Barnabas, do you recall me telling you when I first analyzed your blood that I had discovered the presence of very destructive cells, to which I attributed your vampirism?" asks Julia. Barnabas nods his head in ascension. Julia continues: "This latest test confirms that these cells, which I have named 'v-cells,' have not completely disappeared from your bloodstream. They have simply been made dormant." "Do you mean to say that I could become a vampire again?" asks Barnabas. "It's possible, though I don't know what could cause your v-cells to become active again. But there are deeper ramifications to be considered here," says Julia. "Such as?" asks Barnabas. "Such as the fact that I'm sure these v-cells permeate every part of your body, including your reproductive system. If you should ever have children, this defect could be passed on to them," says Julia. "Are you saying that a child of mine could be born as a vampire?" asks Barnabas. "I would find that unlikely. The v-cells would probably be dormant at birth. But with the onset of puberty and the releasing of many hormones from the brain into the body come many changes. It's possible that one of those hormones could trigger the v-cells to become active," says Julia. "But if that were to happen, surely you could cure them as you have me," says Barnabas. "You are assuming that I will always be here to help you. What if I were to die before your children became vampires? I'm simply pointing out to you that this bears careful consideration before you ever decide to conceive a child with a woman," says Julia. "If only you could pass on your knowledge to others in your profession," laments Barnabas. "Barnabas, do you remember what Professor Stokes' reaction was when he discovered that I was trying to cure vampirism? He was incredulous, if not also morally outraged. I imagine that would be the reaction of most of the members of the medical community. Besides, if word ever got out that I'd perfected a cure for vampirism, I'd have every vampire in the world beating down my door to be cured," says Julia. "Yes, but if you could share your knowledge with others, the burden of ridding the world of vampires would not fall to you alone!" points out Barnabas. "It's a noble sentiment, Barnabas. Unfortunately Cassandra destroyed all of my notes and equipment in this time. I was on the verge of perfecting the cure in the past of Quentin's timeline. I'm sure I could have finished the cure if I had remained there longer. The question is now moot. Your v-v-cells were automatically rendered dormant when Cassandra lifted her curse from you, but they're still there. But as it stands now, there's very little I can learn from your dormant v-cells. I suppose if I ever had another vampire to study, I could recreate my research. But Barnabas, do you really want to take that chance?" says Julia.

While Barnabas ponders this, his new grandfather clock chimes the hour: seven o'clock in the evening. Julia glances at the clock and then continues. "Barnabas, there's something else I need to tell you. I spoke to Dr. Reed from Collinsport General this afternoon. Jeff Clark is making rapid improvement and should be released from the hospital in the next day or two." "Yes I know. Victoria told me the news earlier this afternoon after speaking to the good doctor herself. She also managed to maneuver me into a rather uncomfortable arrangement," says Barnabas. "What was that?" asks Julia. "She suggested that rather than make him return to the Collinsport Inn, that upon his release, I should invite Mr. Clark to stay here with me in The Old House, indefinitely!" says Barnabas. "And you agreed?" asks Julia. "What choice in the matter did I have? How would it make me look in Victoria's eyes to appear ungracious?" says Barnabas. "Why did Vicki make that suggestion?" asks Julia. "To placate him, of course. She told me that young Mr. Clark is contemplating a lawsuit against me because of the accident. I have already taken one of Victoria's suggestions by offering to pay for all of Clark's medical bills- an offer which he accepted. But it appears that that is not enough! Now I must be subjected to the presence of someone who may soon become a rival for Victoria's affections!" says Barnabas. "Barnabas, they barely know each other. Isn't it a bit premature to be calling Jeff Clark a rival?" asks Julia. "Perhaps. But I have an intuition about these things," says Barnabas. He goes on to tell her about Vicki's revelation to him earlier in the day about Chris' confession to her about his lycanthropy and his theory about why Jeff is in Collinsport. "But I have another theory. What happens if it turns out that Jeff Clark really is the reincarnation of Peter Bradford? And what if Clark came to Collinsport to look for Victoria?" asks Barnabas. "Then the accident would be the height of irony, considering that Vicki was in the truck when you hit him. But Barnabas, that would be incredible!" says Julia. "No more incredible than some of the other things I have seen in my life," says Barnabas.

The camera dissolves to Barnabas' grandfather clock. It is 10:15 p.m. Julia is gone and Barnabas is still reading. He is suddenly overcome by a fit of sleepiness. Barnabas closes the book and falls asleep. He begins to have a dream. Once again, Oberon appears to him. Oberon tells him that he wants him to find a way to have Jeff Clark discover Chris Haskell's secret, but to do it in such a way that Jeff will not realize that he is responsible for exposing Chris. "Why? What threat is Haskell to you?" asks Barnabas. "Have you ever seen alpha male bears fighting for supremacy in the wild? They have an innate ability to sense one another. Werewolves are creatures that we have never been able to tame. Like the wild bear, werewolves have an innate ability to sense other supernatural creatures, and when they do, their usual response is to attack, and there's nothing we can do to stop them," says Oberon. "And you think Clark's reaction will be to kill Haskell?" asks Barnabas. "Either that or turn him into the police, which would serve our purposes just as well," says Oberon. "You could just as easily order me to turn Haskell into the police," observes Barnabas. "Yes, but then your friends would find your behavior most unusual, and we must do nothing to arouse their suspicions! No, Barnabas. You are too valuable to us. Jeff Clark must be the scapegoat," says Oberon. "But of late we have been having Haskell spend the nights of the full moon in the secret room of the Collins mausoleum. The situation is under control," says Barnabas. "You only have the illusion of control. It is always possible that something may happen that will shatter that illusion. You will do as I have instructed. Obviously I realize that Clark will not have the motivation to deal with Haskell until he learns of the relationship between him and his sister, and that he is responsible for his sister's current condition. Expose one fact and it may lead to the discovery of the other," says Oberon. "And how am I to do that?" asks Barnabas. "You are a clever man, Barnabas Collins. You will find a way," says Oberon, who then bows to Barnabas and disappears. Barnabas wakes up and begins to read his book again.

DAVID'S BEDROOM, evening: David and Amy are playing chess. She checkmates him within a few moves and then suggests that they play another game. David says that he is tired of chess and he makes a counterproposal. He wants to go back and explore the west wing again. Amy seems apprehensive, but David points out that the ghosts of Quentin and Beth are gone. There's nothing to be afraid of. There are rooms in the west wing that haven't been lived in in decades. Who knows what they might find? Amy reluctantly agrees to accompany him. David grabs a flashlight out of a dresser drawer and he and Amy leave the room together.

WEST WING CORRIDOR, evening: David and Amy are creeping along when they select a room on their left at random to explore. David turns the knob of the door and pushes it open inward. He shines the beam from the flashlight upon the contents of the room as they cautiously enter. David spots an old oil lamp sitting on a table in the room and he is able to light it with a box of matches that rests beside it. He turns off the flashlight and lays it on the bed in the room. They begin to rummage through the drawers and closet in the room. They have left the door to the room open. Amy is pleased to discover a woman's long pink frilly scarf, and David is delighted to have found a black top hat, a monocle, and a long straight black cane. They play with the objects and laugh. Suddenly the children are astonished to hear the sound of faint tinkling music. It's not coming from inside the room. It's coming from the hallway. They put down the objects and leave the room to investigate the source of the music. David has grabbed the flashlight and has once again lit it to guide their way through the dark hallway. They advance through the hallway several yards until they stop before a door on their right. "I think it's coming from in there," says David. Amy nods her head in agreement. There is a light coming through the crack below the door. David turns the knob of the door and pushes it inward. They are both astonished by the sight before them. Neither of them has ever seen anything like it before in their lives. The room is a child's playroom, filled with antique toys. There are stuffed animals, toy soldiers, musical instruments, a dollhouse, a hobbyhorse, a rubber ball and jacks, and dolls. In the center of the room stands a round table and on it spins a miniature toy carousel on its axis. This is the source of the tinkling music. David and Amy step into the room and close the door behind themselves. "This is amazing! Where did this room come from" asks David. "Beats me, David. You've been living here longer than I have," says Amy. Their fascination quickly overcomes the strangeness they feel. David examines the toy soldiers and Amy the dollhouse. The reader will recall David playing with toy soldiers in season #1, so it's no surprise that that's what he has gravitated to first. As they each play with their objects of interest, Amy comments, "It's too bad there isn't a chess set, or we could play." "Yeah," agrees David. A few moments later, Amy looks up. "David, look!" says Amy. She is pointing to an ornately carved wooden chess set made of red and white pieces sitting on a nearby table. "I could have sworn that wasn't in here when we came in," says David. "We just didn't notice it," says Amy. "No, I looked all around the room, and I'm positive that that wasn't in here," says David. "But David, that's impossible. A chess set can't just materialize out of thin air, can it?" asks Amy. "I don't know," says David in a bit of a hushed voice. He glances at his watch. "It's almost eleven o'clock. Let's get out of here before Vicki comes looking for us to remind us that it's our bedtime," says David. As soon as he finishes saying that, the music box carousel, which had been continuing to play all this time, suddenly stops. Both children seem to find that a bit disconcerting. "Come on. Let's get out of here," says David again. Amy walks out of the room first, followed by David, who gives the room one last lingering look as he closes the door behind himself. David and Amy begin to walk down the hallway back towards the house proper. Once again David's lit flashlight illuminates their way. David looks back over his shoulder in time to see the light from the crack below the playroom's door disappear. He turns around and goes back to the door to the playroom and Amy follows him. This time hinges appear on the outside of the door and the door swings outward, not inward, but they are both certain it's the same door. David opens the door and they are shocked to discover that the playroom is no longer there. In its place is a linen closet full of musty old sheets and blankets. "Amy, I don't think we should tell anyone about this," says David. "I think you're right," says Amy. David closes the door to the linen closet and once again they head back to the main part of the house. But before they reach it they discover that they had left the oil lamp burning in the first room they played in. David goes into it and extinguishes the lamp but leaves the door to the room open when he exits it. Finally the kids run back to the main part of the house. David says goodnight to Amy outside the door to her bedroom. Then he returns to his room and goes to bed.

COLLINWOOD DRAWING ROOM, the next morning: The clock in the room chimes the hour: eight o'clock. Liz, Carolyn, and Julia are sitting in the room, eating pastries and sipping coffee. Julia asks Carolyn if she is going to be late for work. "No. The Todds offered me a chance to work a four day week. I could either take Mondays or Fridays off. I chose Mondays. 'Rainy days and Mondays...' know what I mean?" says Carolyn. A few moments later Vicki enters the room accompanied by Jeff Clark. The bandages have been removed from Jeff's head, but he is still wearing a small cast on his right wrist. Vicki introduces Jeff to the women and they greet him. Vicki explains to the women about Jeff's memory loss (Jeff interjects that he can now recall watching the Super Bowl earlier this year, a sign that perhaps his memory is returning in bits and pieces), and then she asks Julia if she can do them a favor. She wants Julia to hypnotize Jeff. "It was originally Barnabas who made the suggestion," says Vicki. Julia agrees to try the procedure and suggests to Jeff that he come back later this afternoon, perhaps after he has had a nap. "The mind is usually receptive to hypnosis after one has had a good rest, and I wouldn't want to try now. I'd imagine you'd be too distracted from the excitement you must feel from finally being released from the hospital," says Julia. Jeff points out that he and Vicki have just come from The Old House where they greeted Barnabas and dropped off his possessions in his guest bedroom. "I have some pain medication that makes me pretty sleepy. My wrist is still pretty sore. I'll go back to The Old House later and take a nap. I'll come back here after I wake up," says Jeff. "Good. Then I'll see you then," says Julia. Vicki asks Julia's permission to be present when she hypnotizes Jeff. Julia says she doesn't have a problem with it, as long as she is quiet. Vicki suddenly realizes that she is very hungry and comments on it. Jeff says that he is too. "Why don't you go to the kitchen? Mrs. Johnson will make you anything you like," says Liz. Jeff says that he would like to take her up on the offer, but first asks permission to use the telephone. He wants to call his parents to let them know that he is out of the hospital. "Of course. You can use the one in the study," says Liz, who points to the door to the adjacent room. Jeff excuses himself and goes into the study. When he is gone, Julia says to Vicki, "Vicki, are you hoping that when I hypnotize Jeff, he will recover memories of a past life?" "Perhaps," admits Vicki. "I thought as much. I can tell you now that that isn't likely to happen. We must first help Jeff to recover from his more recent memory loss. Only then will I be able to peel away the layers of his mind to discover what, if anything, lies beneath," says Julia. "Wow, Vicki! He's a hotie! You sure know how to pick 'em," says Carolyn. "It's not like that," says Vicki, but Carolyn flashes a devilish grin.

COLLINWOOD STUDY: Jeff is on the phone. We cannot hear the other end of the conversation. "Yes, mom. I'm fine. You're sure there's nothing I can do for Sabrina?" says Jeff. He pauses to listen to his mother speak. "Very well. Then I'll stay here. Give my love to dad. Bye, mom," says Jeff, and he hangs up the phone. He goes back to the drawing room and explains to the four women present that he has just learned that his sister Sabrina is in a state of catatonia. "Or rather she was when she was admitted to the hospital three months ago. Mom says that the doctors feel that she is making progress. She makes eye contact with people and seems to understand what is said to her, but she still can't speak or write," says Jeff. He also explains that he told his mother that he intends to remain in Collinsport until his memory returns, which hopefully Julia can help him with later today. "Possibly longer, depending on what my reason for coming to Collinsport was in the first place," Jeff adds. Jeff and Vicki leave to go to the kitchen to eat breakfast. When they are gone, Carolyn asks Julia what could have caused the condition that Jeff described Sabrina as being in. "Only one thing. A severely traumatic shock," says Julia. "Yes, but what could have caused that shock?" asks Carolyn. "Your guess is as good as mine," says Julia. All three women fall silent and sip their coffee, content to let the conversation end at that.

COLLINSPORT GROUNDS, morning: David and Amy are swinging on a swing set next to each other. They are discussing the events of last night. "I know what you said last night, David, but I've been thinking about it, and I think we should tell Vicki about the playroom," says Amy. "I disagree. If we tell her, she probably won't let us go back there. Grownups are always afraid of things they don't understand," says David. "You mean you want to go back there?" asks Amy. "Sure. Don't you? There's something about that room that I find... intriguing," says David. "I still think we should tell Vicki," says Amy. "We won't tell her as long as the room doesn't seem dangerous. Agreed?" says David. "Oh, alright. Maybe the next time we go back it'll just be a closet," says Amy. "No, the playroom WILL be there. I have an instinct about it," says David. "When do you want to go back?" asks Amy. "Tonight. We're going back tonight," says David.

COLLINWOOD STUDY, afternoon: Jeff is laying on a couch. Julia is seated in a chair near Jeff's head. Vicki is sitting in another chair a few feet away from them, watching them both. Julia is holding a purse in her lap. She tells Jeff to relax, and then pulls a medallion on a chain out of her purse. She dangles the medallion on its chain in front of him and tells him to examine it. "See how the jewels in the medallion reflect the light. See how they seem to blaze and sparkle in a million colors," says Julia. She suggests to him that despite his recent nap, he might be finding himself getting sleepy again. Close your eyes, she tells him, but do not fall asleep. Jeff closes his eyes and Julia puts the medallion back into her purse. "Listen to the sound of my voice, Jeff. Relax. Feel your mind at ease. Surrender to the void, relax, and float downstream. Now Jeff, soon I am going to ask you some questions, and when I do, you will not find yourself struggling to answer. The answers will come floating to the surface of your mind like a bar of soap that's been dropped into a bathtub. Now, Jeff, tell me. How do you feel?" says Julia. "Good," says Jeff. "Good. That's good. Now tell me, how old are you?" asks Julia. "I'm 28," says Jeff. "And where do you live?" asks Julia. "Newport, Rhode Island," answers Jeff. "Good. Now, tell me, Jeff. What's the last thing you remember before the accident?" asks Julia. "Some buddies of mine from college were in town. They invited me to a show. We saw Howie Mandell perform his stand up act. Then we went to a bar. I drank a lot of shots of tequila and passed out. Then I woke up in the hospital," says Jeff. "Come now, Jeff. Earlier you told us that you can remember watching the Super Bowl earlier this year. Who played in that game?" asks Julia. "The Redskins and the Bills," answers Jeff. "Good, now, let me ask you: why did you come to Collinsport?" asks Julia. "I... I..." says Jeff, struggling to remember. "You must have had some purpose in coming here. What was your purpose in coming to Collinsport?" asks Julia again. For a few moments Jeff does not say anything. Then suddenly he says, "Charles Collins." "Who?" asks Julia. Jeff opens his eyes and sits upright. He looks excited. "I remember! Charles Collins was the last person in the United States to be tried and executed for witchcraft, in the year 1842. Others were later tried but were acquitted. Charles Collins claimed to be under the influence of another warlock named Judah Zachary, who had been tried and executed 150 years earlier, in 1692. Charles Collins was executed on Halloween, October 31, 1842. I've been researching witchcraft trials for years. I've always wanted to write a biography of Charles Collins. Others have written about his trial, but it seems that no one has yet written a comprehensive biography of his entire life. Now I remember! It's so ironic that I'm in this house. I came to Collinsport to conduct my research, and I intended to ask Mrs. Stoddard's permission to look through old family diaries and journals, letters, and photographs. I still intend to do that," says Jeff. "And do you now also remember what happened to your sister?" asks Julia. "Oh yes. Poor Sabrina. I was the one who discovered her. Her apartment was in a shambles. I remember Sabrina telling my parents and I that she had been dating a guy named Chris, but we never thought to ask her his last name, and I could find no photographs of him in her apartment. I'd like to ask the guy a few questions if I could find him, but I have no idea how to do that. None of Sabrina's friends or neighbors seem to know anything about him. He seemed to have disappeared after her accident," says Jeff. "Jeff, does the name 'Peter Bradford' mean anything to you?" asks Vicki. "You asked me that before. But even though I've recovered my memories, I'm sorry, but the name still doesn't... wait a minute! Yes! NOW I suddenly DO remember! Peter Bradford was the brother-in-law and close personal friend of Charles Collins. Peter Bradford died a month before Charles, in September 1842 at the age of 77," says Jeff. "Jeff, you look exactly like him!" says Vicki. "How could you possibly know that? I've never seen any photographs or portraits of Peter Bradford. I don't think anyone has," says Jeff. Vicki looks sheepish. "Go on, Vicki. You're going to have to tell him sooner or later," says Julia. "Tell me what?" asks Jeff.

When the show comes back from commercial, Vicki is finishing up her story. "So then I woke up in bed with rope burns around my neck," says Vicki. "And Phyllis Wicke, the girl who took Vicki's place at the seance and soon lapsed into a coma, had disappeared," adds Julia. "Months passed for me in 1790, but only 24 hours passed here in the present between my disappearance and reappearance," says Vicki. "I'm familiar with the story of Phyllis Wicke. She was tried and executed as a witch in Collinsport in 1790," says Jeff. "So the history books still say. I think I was meant to go back to the past and experience everything that she did. And while I was there, I fell in love with my lawyer," says Vicki. "Peter Bradford," says Jeff. "Yes. Jeff, I think you might be the reincarnation of Peter Bradford! Why else would you have such a fascination with witchcraft trials, unless on some subconscious level you remember what happened to us?" asks Vicki. "Dr. Hoffman, do you also ascribe to this rather wild theory?" asks Jeff. "What happened at the seance was real. Barnabas, Elizabeth, Roger, Carolyn, and I all saw it. It was no mass hallucination, despite whatever Liz might think. But whether or not you are the reincarnation of Peter Bradford, I couldn't say," says Julia. Jeff rises to his feet. "Dr. Hoffman, I want to thank you for helping me. Now, if you don't mind, I think Vicki and I should go for a walk. It will give her more time for her to tell me about her experiences in the past, and for me to assimilate my returning memories," says Jeff. Vicki and Jeff leave, leaving Julia looking rather self-satisfied.

WEST WING CORRIDOR, evening: David and Amy are once again creeping along, their way being lit by David's flashlight. Soon they find themselves standing outside the door to the first room they played in last night. David shines the flashlight's beam into the room. It illuminates the objects that they had been playing with on the bed where they left them. "David, I'm scared," says Amy. "Come on, Amy! There's nothing to be frightened of. The playroom's not going to hurt us," says David. "How do you know?" asks Amy. "I just know," says David. "Do we have to go there?" asks Amy. "Yes, we have to," says David. As if on cue, the carousel's tinkling music begins. "Come on," says David, and without waiting for a response from her, he shines the flashlight ahead of himself and walks towards the playroom's door. Amy's fear has rooted her to the spot where she is standing. She watches as David shines the flashlight on the door to the playroom, turn its knob, open the door, and go into the room without a moment's hesitation. He has left the door to the room open, and light spills out into the dark hallway. David's disappearance finally spurs Amy to action. "David! Wait for me!" cries Amy, and she runs ahead to the playroom and enters it, closing the door behind herself. By the time she gets there, David is already rocking himself back and forth on the hobbyhorse. Amy laughs. "Don't you think you're a little bit too old for that?" she asks him. "This is my favorite toy in the room," says David. Amy looks as though she is about to say something else when suddenly her attention is diverted by the dollhouse. Captivated, she kneels in front of it and is delighted to discover that it can be opened along a crease down its middle. Inside it are tiny dolls of men, women, and children. "I love it!" says Amy to no one in particular. "Yes, Rose Cottage always was your favorite," says David. "What are you talking about, David? I've never seen this before in my life," says Amy. "Carrie, why are you calling me 'David?' You know perfectly well that my name is Tad," says David in perfect seriousness. Amy looks at him in horror. END OF EPISODE SIX.

NBC DARK SHADOWS SEASON 4- Episode Seven

Aired October 24, 1993

(by Barbara Blackburn): "The great estate of Collinwood seems to attract mysteries to itself like moths to a light, but one of these mysteries has recently been solved. Julia Hoffman has hypnotized Jeff Clark, and in doing so has allowed him to recover his missing memories and to remember the reason he came to Collinsport. Jeff wants to research the life of Charles Collins, a man who was tried and convicted of practicing witchcraft and was subsequently executed in Collinsport in the year 1842. Julia warned Barnabas that a defect in his blood which caused his vampirism could potentially be passed down to his children. Later Oberon appeared to Barnabas in a dream and ordered him to find a way to have Jeff discover Chris Haskell's secret without Jeff realizing that it is Barnabas who has exposed him. And unbeknownst to anyone but themselves, David and Amy have discovered a magical room in the west wing of Collinwood. It is a child's playroom, filled with antique toys. Now, during their second visit to the playroom, Amy looks on in horror as she witnesses the effect the room is having on David. Once again, David Collins appears to be possessed."

THE PLAYROOM, continuous: "David, are you playing a joke on me?" asks Amy. "You're the one who's playing the joke if you keep insisting on calling me 'David,' " says David, as he continues to rock himself back and forth on the hobbyhorse. "You're serious, aren't you?" asks Amy. David steps off the hobbyhorse and gives an exasperated sigh. "Really, Carrie. Sometimes you are the MOST annoying girl," says David, as he sits down to play with the toy soldiers. Amy stands up and faces him. "You really think your name is Tad and mine is Carrie, don't you?" Amy asks David. "How can you pretend that you don't know me? You've only known me your entire life," says David. "That's it, Da... I mean, Tad. Let's pretend that we don't know each other and are meeting each other for the first time. Let's introduce ourselves to each other. You go first," says Amy. David seems captivated by the idea. He stands up and gives Amy a little bow. "Pleased to meet you, m'lady. My name is Tad Collins. I am the son of Charles and Samantha Collins, and I am twelve years old," says David. "And my name is Carrie... oh dear, I seem to have forgotten my last name. Could you give me a hint?" asks Amy. "Are you feeling alright?" asks David. "I'm fine. Could you at least tell me if we're related?" asks Amy. "We're cousins. Really, Carrie! If you don't know who you are, why don't you take a look at yourself in a mirror?" says David. "You've just given me an idea. Stay here. I'll be right back," says Amy. She grabs the flashlight and leaves the playroom and turns it on as she leaves. Amy walks down the hallway and enters the first room they played in the previous night. "I know I saw one in here somewhere," she says to herself, as the carousel's music continues to play faintly in the background. Amy flicks the flashlight's beam around the room until she finds what she is looking for. She spots a hand mirror lying on a table in the room. She grabs it and quickly returns to the playroom. When she returns to the well lit playroom she turns the flashlight off but continues to hold it in her hand. She holds out the mirror to David. "Here, take it. Look at yourself in the mirror," says Amy. "Carrie, what kind of game is this?" says David. "Just do it, will you?" says Amy. "Oh, alright!" says David in a huff. He takes the mirror from Amy and holds it up to his face and looks into it. Instantly David becomes panic stricken. "That's not me! That's not me!" cries David. He moves the mirror away from his face and looks at Amy. Finally the spell has been broken. "Amy, what's going on?" cries David, still in a state of agitation but now once again in control of himself. As if on cue, the carousel and the music suddenly stops. "Come on, I'll tell you once we're back in your room," says Amy. She proceeds to gently take David by the hand and she leads him out of the playroom. She closes the door behind herself. Neither of them see the light from under the door to the playroom extinguish behind them and the door change back to the outwardly opening door of the linen closet as Amy leads David back to the main part of the house.

Back in David's room, Amy says to him, "What happened to you back there, David?" "I'm remembering it as if it were a dream. My mind shut down for a few minutes and Tad stepped in," says David. "Who's Tad?" asks Amy. "You know. He told you," says David. "No, I don't know! None of this makes any sense! No, wait a minute. Now that I think about it, I think I do know what happened to you. I know because I remember overhearing Barnabas talking to your father and your aunt Elizabeth when you were with Quentin. You were possessed! But with Quentin, you simply felt an uncontrollable urge to be with him, but at least you were still yourself! Here it was like you were a different person!" says Amy. "I know. But Tad isn't a ghost, Amy. I've studied the Collins' family history. Tad Collins died at the age of 81 in 1910. I think the playroom somehow made a copy of Tad's mind when he was twelve and superimposed it over my mind," says David. "How is that possible?" asks Amy. "I don't know, but I'll tell you another thing. We haven't seen the last of the playroom. It wants Carrie to live again too," says David. "How do you know that?" asks Amy. "I don't know. I just do. And I can tell you something else. Don't ask me how I know this. All I can say is that my possession has given me some insight into how the playroom works. From time to time we are going to feel an irresistible compulsion to return to the playroom. When we do, one or both of us will be possessed. But the playroom doesn't want to hurt us. It just wants us to be happy! Sometimes it might even let us bring our own toys and games with us to the playroom and let us be ourselves," says David. "It? You talk about it like it's alive. Is it?" asks Amy. "The playroom is controlled by an intelligence that is more like a computer than a living being. And Amy, now we CAN'T tell anyone else about the playroom. Because if we do, and they prevent us from going there, the frustration we feel from not being there will drive us insane!" says David. "David, you're scaring me! I still think we should tell Vicki, before this goes any further," says Amy. "Do that, and we might wind up spending the rest of our lives in Windcliff Sanitarium. Trust me, Amy. It's going to be alright. In a way it actually might be kinda fun. We'll allow ourselves to become possessed temporarily, and we'll be able to keep the memories of what it was like to be Tad and Carrie. The playroom is intelligent. It knows that it can't summon us too often, or we'll be missed. It can't make us become possessed outside of the room, only inside of it," says David. "What happens if Tad and Carrie ever figure out what's going on?" asks Amy. "What do you mean?" asks David. "I bet you think that Tad and Carrie will always think it's still the year 1841. What happens if they discover that it's really 1992, and that their real bodies are long since dead? What happens if they then decide that they want the possession to become permanent?" asks Amy. "I don't see how that could happen," says David. "But you're not sure," says Amy. "No, Amy! I'm not sure! There are still some things about the playroom that I don't understand. Perhaps in time we'll gain more insights into how the room works. Anyway, we don't really have a choice. Don't be frightened. Like I said, the playroom just wants us to be happy," says David. "You mean it wants Tad and Carrie to be happy," says Amy. "Same thing," says David. "Is it?" asks Amy. But David falls silent, and Amy shakes her head and gives him a reproachful look, as if to say, "I sure hope you know what you're doing."

COLLINSPORT DOCKS, the next morning: Paul Stoddard is sitting on a bench near the docks, watching men work. Some are loading boats with supplies. Others are offloading fish from other boats. We hear Paul's thoughts through voiceover narration. "It's amazing how little this town has changed in 18 years. The faces change but the work remains the same. Paul, you've been here a week and you still haven't found the courage to talk to her. You knew something was up when you found that calendar page slipped under the door to your office. It had a date circled on it with the words 'payment due' upon it. You knew then that time is running out, and that you'd better act fast before it's too late. So why do you procrastinate?" Paul watches as another ship comes in and anchors itself to the dock. "Any port in a storm, eh? But then, Collinsport isn't just any port, is it?" Paul thinks. It begins to rain. "Perfect," Paul mutters sarcastically aloud. He stands up and wanders off.

COLLINWOOD ATTIC, morning: Jeff and Vicki are sifting through old letters and diaries. Jeff comments that it was nice of Elizabeth to give them permission to search up here. But after a while, Jeff laments that there doesn't seem to be anything older than 1860 here. Vicki suggests that perhaps Barnabas has some records that they can look through in The Old House. Jeff sits down in a chair next to an old rolltop desk. He stares at it for a few moments and then suddenly reaches out his hand and pushes a button on the desk which opens a door to a hidden compartment. "Why did you do that?" asks Vicki. "I don't know. My hand just seemed to move by itself," replies Jeff. "Is there anything in there?" asks Vicki. "Let me see," says Jeff, as he reaches his hand inside the compartment and pulls out a leather bound book. He begins to examine it and quickly becomes excited. "My god, Vicki! This is the diary of Carrie Bradford, Peter Bradford's daughter. Let me read the first entry to you. 'June 28, 1841. Today is my tenth birthday. Mother gave me this diary today as a present. She says that I should write in it every day. I had a lovely party.' It goes on and on from there," says Jeff. "Do you think that will tell you everything you want to know about Charles Collins?" asks Vicki. "Probably not. I'm sure the family tried to insulate the children as best they could during Charles' witchcraft trial, but it's a start. Vicki, I'd like to take this back to my room in The Old House and start to read this. I'll talk to you later, okay?" says Jeff. "Sure," says Vicki. Jeff hesitates for a moment, as if he is debating whether or not to make some display of affection. Instead he simply stands up and leaves the room, taking Carrie Bradford's diary with him. A moment later Vicki gets up and leaves too.

TODDS' ANTIQUE SHOP, midday: Paul Stoddard is standing outside the shop holding a cardboard box. "I sure hope this works," mutters Paul to himself. He opens the door and goes into the shop. The bell over the door rings, announcing his presence. Carolyn is sitting behind a desk, filing papers. Eight year old Alexander is sitting at another desk in the room, coloring with crayons in a coloring book. Paul goes over to Carolyn and places the box on the desk between them. He takes an antique cuckoo clock out of the box and places it on the desk and he addresses Carolyn. "Hi there. I was wondering if you can help me. The clock works fine, but the little cuckoo doesn't come out to chime the hour. Do you think you can fix it for me?" says Paul. "Hang on a minute. Let me check," says Carolyn, and she calls out to Megan in the back room. A moment later Megan appears and Carolyn explains the situation to her. "Oh sure. That should be no trouble at all. Fixing watches and clocks is a specialty of my husband's. A sort of hobby. He's out of town for a few days, but I'll bring it to his attention as soon as he gets back. We can fix it for you for fifteen dollars, but if you're willing to sell it, I'm willing to give you a hundred dollars for it right now, as is," says Megan. "No thanks. I think I'd like to keep it. I'll let you fix it for me, though. My name is Paul Simms. I'm staying in the Collinsport Inn, room 305," says Paul. "Suit yourself. We'll be in touch. It was nice meeting you," says Megan. Paul returns the compliment and Megan goes back into the back room of the shop. When she is gone, Paul says, "You've got a lovely shop here. I think I'll browse around a bit before I leave." When Paul begins to browse, Carolyn goes over to him and makes small talk with him about the objects that he is looking at. Paul catches Alexander scowling at him, but Carolyn is oblivious to the boy. After they have been talking for a while, Paul asks Carolyn if she has been to lunch yet. "No. Why?" says Carolyn. "Well, ya see, I used to live in this town, a long time ago. Would it be too forward of me to invite you to lunch with me? You can catch me up on all that I've missed," says Paul. Carolyn says that she would be delighted to take him up on his offer, and she calls out to Megan once again. When Megan reappears, Carolyn tells her that Paul has invited her to lunch and that she has accepted. Megan says that's fine, and Paul and Carolyn leave. When they are gone, Megan notices Alexander scowling again. "What's wrong, sweetheart?" asks Megan. "I don't think I like that man," says Alex. "Why? What's wrong with him?" asks Megan. "I don't know. I can't put my finger on it. I just have this feeling about him," says Alex. "Oh, Alex. I'm sure it's nothing. Go back to your coloring," says Megan. Alex obeys her, but Megan turns her back on the boy to hide from him the fact that what he has said has disturbed her.

JEFF CLARK'S BEDROOM IN THE OLD HOUSE, afternoon: Jeff is laying on is bed reading the diary of Carrie Bradford when he is overcome by a fit of sleepiness. He puts the book down on the bed and falls asleep. He begins to have a dream. In the study of Collinwood sits an elderly man by the fireplace. The man looks exactly like Jeff except for his aged face. The style of clothes that the man is wearing and of the furniture in the room suggests an earlier time. It is evening. There comes a knock at the door. The elderly man calls out to the knocker to enter. The door opens up and into the study steps a man with dark hair and brown eyes in his early thirties. "You wanted to see me, Peter?" asks the younger man. "Yes, Charles. Please come in and shut the door. Sit down next to me. Let me pour you a drink," says Peter. Charles does as instructed and takes a seat. Peter pours a brandy for himself and Charles. Each man takes a sip of their drink. "Did you enjoy your party this afternoon, Peter? It's not every day that a man turns 70. Congratulations!" says Charles. "Oh, don't I know it. That wife of mine and sister of yours dotes on me like an angel. I can hardly believe that I have lived long enough to see March of 1835, but here I am. Yes, the party was lovely. Actually, the birthday is the reason I wanted to speak to you. I've been living with a secret for over 40 years, and I've been debating for a long time whether or not I should tell anyone. I have finally decided that I should. I'm going to tell it to YOU," says Peter. "Why to me?" asks Charles. "Because you are head of the family, or will be once your father passes away. Let me get right to it. Charles, do you remember the story of Victoria Winters?" says Peter. "Of course. Although it happened 15 years before I was born, what member of this family, or indeed any resident of Collinsport for that matter, hasn't heard the story?" says Charles. "Indeed. Victoria Winters was accused of witchcraft and placed on trial. At her trial, she claimed to have come from the future, from the year 1991. She also claimed that the last thing she remembered before coming to our time was participating with the other members of the Collins family of her time in a seance, a ritual to contact the dead. That admission was most damaging to her, as well as her fanciful claim of being from the future, which no one believed anyway. They thought that it was a ruse to distract them from her true nature as a witch. But most damning of all was something that was at first kept secret by all those who witnessed it, until the story slowly leaked out over the years. Victoria Winters was found guilty and sentenced to hang. They discovered that after her body was taken down from the gallows and the hood removed, it wasn't her body at all, but one which was later identified as belonging to a Miss Phyllis Wicke, a woman who had mysteriously disappeared en route to Collinsport from Boston to become the Collins family's governess. But Charles, I believe that she was telling the truth. That she did come from the future. But I do not believe that that also necessarily means that she was a witch," says Peter. "Why do you believe that?" asks Charles. "Because of the things that she told me, her jailor, and only me, in her jail cell in Collinsport. Of the amazing advances in technology that the human race will see in the 20th century. Audio and visual signals will be transmitted through the air and then reconstituted for viewing, a medium she called 'television.' Of amazing advances in medicine and science. Little pills that can prevent or cure disease. Of the exploration of the heavens, which she called 'outer space.' She said that in the year 1969, men will walk on the moon! And there was more, so much more, Charles, that I cannot remember it all," says Peter. "But she was unable to offer you any proof of her story," says Charles. "Of life in the 20th century, no she was not. However, she did know one thing which I believe greatly improved her credibility. Something I believe she could not possibly have known unless she did indeed come from the future," says Peter. "And what was that?" asks Charles, inching closer to Peter in his seat in anticipation of the revelation. "She knew that Barnabas Collins was a vampire," says Peter. "What!?" exclaims Charles incredulously, and then a moment later adds, "I can see by the look on your face that you know it to be true and are about to explain to me how you know it to be so. But if it were indeed true, wouldn't the simplest explanation be that Victoria Winters was a witch and she cursed him as such?" "No. It has already been borne out that the real witch was Angelique, mistress Josette DuPres' maid. Barnabas and Angelique were having an affair in Martinique. When she arrived at Collinwood with her employers for the wedding between Barnabas and Josette, Barnabas broke it off with her. Angelique took her revenge by causing Barnabas' sister Sarah to die, something that Victoria Winters had prophesized. Angelique framed Miss Winters as the witch. When Barnabas discovered the truth, he shot Angelique, but before she died, she cursed him as a vampire. Barnabas was responsible for many strangulation deaths in 1790. When Barnabas' father Joshua Collins discovered the truth about his son, he could not bear to destroy him, so instead he instructed his manservant Benjamin Loomis to chain Barnabas' coffin, and together they hid it in a secret room in the Collins family mausoleum in Eagle Hill Cemetery. I will show you Barnabas' chained coffin later this evening to prove my story. Victoria told me that a few months earlier in her time of 1991, someone released Barnabas from the chained coffin and he once again escaped into the world, passing himself off to the present day Collins family as the descendant of the 18th century Barnabas. In fact, Barnabas also took Victoria's blood and for many weeks she was under his thrall, but finding herself in another time broke the spell, and she was able to tell me these things. She told only me, and she was incarcerated the entire time that these events unfolded. I do not see how she could have had anything to do with Barnabas' death and subsequent return," says Peter. "Incredible!" exclaims Charles. "Yes, it is an incredible tale, and it is all true. Before he died, Joshua told these things to his son, your father Daniel. And many years ago Daniel told it to me, his most trusted and closest friend. But I had already known it, or at least most of it, years earlier based on what Victoria Winters had told me in 1790. Earlier this evening I gained Daniel's permission to tell you the family secret of Barnabas Collins, but he did not know I also planned to tell you about Victoria Winters. I suggest that you guard these secrets very carefully, perhaps telling only one close friend, until some day your son Tad comes of age and you feel he is ready to hear the story," says Peter. "I will take your advice, Peter. But Peter, we could perhaps move Barnabas' coffin to another location. That might prevent him from escaping in the future," suggests Charles. "Do that and there might occur as a result a temporal paradox the consequences of which might be too terrible to contemplate. My suggestion is that we leave it alone and let history take its course. Come, you must see Barnabas' coffin," says Peter. Both men rise and leave the room. The dream ends and Jeff wakes up. The look on his face indicates that he is quite astonished by what he has learned.

THE BLUE WHALE, afternoon: Paul and Carolyn are sitting in a booth. Half eaten meals appear before them. Paul munches on a french fry as he says, "So tell me, what's the most exciting thing that's happened here in a while?" "Exciting? Hmm. Let me see. Six years ago a high school senior, Desmond Baker, set the SECOND longest state record for pogo stick jumping by jumping for 6 hours and 36 minutes in front of the school until he quit because he had to go to the bathroom. Oh, and four years ago someone tried to rob the Collinsport Bank. He took hostages but the police eventually talked the gunman into letting everyone go. No one was hurt, thank god," says Carolyn. It is obvious that she does not know him well enough to confide in him some of her family's supernatural history. Finally she asks him to tell her something about himself. "Well, let me see. I grew up in this town. Married my high school sweetheart. I had a kid with her too, but it didn't work out. Carolyn, I... I never meant to hurt you," stammers Paul. "Wait. What are you saying?" asks Carolyn. Paul looks at Carolyn but doesn't say anything. The silence hangs heavy in the air. Finally Paul says, "Carolyn, I am Paul Stoddard. I'm your father." "My... father!?" says Carolyn incredulously. The look of shock on her face is palpable. "Yes, that's right," says Paul. "You leave my mother when I'm a baby, and there's not one word from you while I'm growing up," says Carolyn. "Carolyn, please. I can explain. Elizabeth caught me stealing from the family business and demanded that I leave town or else she would turn me into the police. She also accused me of cheating on her. She said that she didn't love me any more. I was, but they were all one night stands. They didn't mean anything to me. I tried to call you when you were a child, but Liz wouldn't let me talk to you. She didn't want me to be part of your life at all," says Paul. "So are you saying that this is all my mother's fault?" asks Carolyn. "Not entirely. Certainly I could have been a better husband to her. But Liz made it clear that she didn't want me to have any contact with you," says Paul. "You're not dying, or anything like that, are you?" asks Carolyn suspiciously. "No, nothing like that," Paul assures her. "You're probably going to ask me to help you get back into Liz's good graces, aren't you?" asks Carolyn. "Not necessarily. I won't try to go back to Collinwood unless you want me to," says Paul. "Aren't you worried that Liz might find out that you're back in Collinsport and turn you into the police?" asks Carolyn. "No. Statutes of limitations took care of that years ago. I should have come back years ago, but I've been busy. I've made myself a very wealthy man," says Paul. "Wait a minute. This doesn't make any sense. If you cared about me, you would have found a way to see me, no matter how my mother felt," says Carolyn. "Actually, there is more to it than that..." begins Paul, but then suddenly he sees another man sit down at a table near them and it gives him pause. He quickly recovers himself and continues. "But it will have to wait until another time. It's almost time for you to get back to work. You don't want to be late. Hurry up, finish your lunch," says Paul. A few bites and Carolyn is done. "Don't worry about the check. I've got it. I'll come back to the antique shop to see you soon. Off you go now," says Paul. Bewildered by his abrupt manner, Carolyn gets up and leaves. When she is gone, the man from the nearby table gets up and sits down at Paul's booth across from him where Carolyn had been sitting. "So, it really is you, Mr. McGuire," says Paul. "So, you remember me, do ya, Mr. Stoddard?" says Mr. McGuire with an Irish brogue. "How could I forget? You were the one who pitched that incredible offer to me in this very restaurant 18 years ago," says Paul. "We could void your contract for coming back to Collinsport, you know," says Mr. McGuire. "Look, Mr. McGuire..." begins Paul. "Call me Jason," interrupts Mr. McGuire. "I will not. That would imply that we are friends, which we are not. As I was saying, I don't care if you void the contract or not. I came back to see my daughter, and there's nothing you can do about it," says Paul. "Actually, you're wrong. Actually we could do quite a lot. But we'll take no action, as long as you don't tell Carolyn, or anyone else, about the Leviathans," says Jason. With that, Jason stands up and appears about to leave when Paul grabs him by the arm. "Wait! One more question. What's all this 'payment due' business?" asks Paul. "You'll find out when the time comes. We always collect our debts," says Jason, and he walks out of the restaurant. A few moments later Paul leaves a tip, pays his bill, and also leaves the establishment.

COLLINWOOD STUDY, evening: Jeff tells Vicki about the dream he had earlier. She confirms for him that everything that Peter told Charles was true. "Even the part about..." says Vicki, trailing off. "About Barnabas?" asks Jeff. "Yes, but Jeff, Barnabas is a good man. He's human now. He has been since Cassandra lifted her curse. Please do not expose him!" implores Vicki. "I can see that he means a lot to you," says Jeff. "He's my best friend," says Vicki. Jeff promises to keep what he has learned a secret. He notes that it was in this very room that Peter and Charles had their conversation. Vicki thinks that reaching Carrie Bradford's diary is bringing back memories of a past life, but Jeff isn't willing to go that far. He says that if anything, the dream has only further inspired him to continue his research on the life of Charles Collins.

COLLINWOOD DRAWING ROOM, morning: A shot of a calendar on the wall reveals the fact that it is now Saturday, June 28th. Elizabeth is writing a letter at a desk. Vicki comes into the room and tells Liz that yesterday she gave David and Amy their final examinations. She is going to be giving them the rest of the summer off until September. Furthermore, later this afternoon Megan is going to be bringing Alexander over to Collinwood to play with David and Amy. Liz says that she thinks it will be good for David and Amy to have another child to play with. Dissolve to a shot of a car coming up the driveway. It parks in front of the mansion and Megan and Alexander exit the vehicle. Megan rings the doorbell and shortly thereafter Mrs. Johnson admits them into the house. She escorts them to the drawing room where Liz and Vicki are waiting for them. Liz makes small talk with them while Vicki goes upstairs. In less than 60 seconds she returns, with David and Amy who run ahead of her and beat her to the drawing room, anxious to meet their new playmate. Liz facilitates introductions between the children and then David invites Alex to come up to his bedroom to play. Up in David's bedroom, Amy suggests a game of Monopoly, but David has a better idea. Why don't they all play hide and go see in the west week? Alex says that he likes hide and go seek. He volunteers to be "it" first. David and Amy take Alex into the west wing. They take him into a room at random and suggest that he could to 100 in here while they go hide in other rooms. They leave while Alex begins to count. When he gets to 100, Alex leaves the room to begin the hunt for David and Amy. Soon the camera reveals the Point Of View of Alexander. The sound of heavy breathing can be heard as apparently Alex has changed back into his monster form. A trail of slime and ooze follows the unseen monster along the floor. In one bedroom, David hears the sound of Amy screaming. He abandons his hiding place to leave the room where he is hiding. He goes out into the hallway and enters another room which he believes is the source of the scream. He discovers Amy lying on the floor. Her eyes are open, but she seems unresponsive. David does not seem to notice another trail of slime and ooze on the floor of the room leading out into the hallway. "Amy! What's the matter with you? Speak to me!" cries out David, but to no avail. Amy is in a state of catatonia. END OF EPISODE SEVEN.

NBC DARK SHADOWS SEASON 4- Episode Eight

Aired October 31, 1993

(by Jerry O'Connell): "A mysterious stranger who has returned to Collinsport after an absence of eighteen years has revealed himself to Carolyn Stoddard as her father Paul. But before being able to fully explain his motives for returning to her, Paul was unnerved by the sight of someone who had played a large role in his life right before his self-imposed exile. After hastily adjourning his afternoon lunch date with Carolyn, Paul lingered after she had left long enough for him to converse with the familiar man, who acknowledged his role as a minion of the Leviathans. The man (named Jason McGuire) chastised Paul for violating a stipulation in his contract with the Leviathans by returning to Collinsport, but suggested that the Leviathans would take no punitive action towards Paul as long as he did not reveal their existence to Carolyn or anyone else. When Paul questioned Jason as to the meaning of the foreboding "payment due" note that he had received, Jason was deliberately evasive in his response. Meanwhile, Jeff Clark began his research into the life of Charles Collins, a warlock who was executed in Collinsport in 1842. With Victoria Winters' assistance, together they discovered in a secret compartment of an old rolltop desk in Collinwood's attic the diary of Carrie Bradford, Peter Bradford's daughter. Later when Jeff took the diary back to his guest room in The Old House, he fell asleep and had a dream. The dream chronicled an actual conversation that Peter Bradford had had with Charles Collins in 1835, in which Peter revealed to Charles many secrets about Vicki's journey from 1991 to 1790 and of Barnabas Collins' history of being cursed as a vampire and his subsequent entrapment inside a chained coffin which was hidden in a secret room of the Collins family mausoleum. Later Jeff told Vicki about his dream and she was forced to admit that the man who had driven the truck which struck him and caused his temporary amnesia was indeed the former 18th century vampire. But upon citing Barnabas' recent recovery of his humanity from the lifting of his curse, Vicki was able to exact from Jeff a promise not to expose his secret. And lastly, Amy Haskell was able to help David Collins recover from his possession by the mind of Tad Collins after the children's second visit to the magical playroom in Collinwood's west wing. However, upon recovering his wits, David cautioned Amy that he had a foreboding that they had not seen the last of the playroom. Explaining that his possession had granted him a unique insight into the playroom's designs, he informed her that they could expect to feel a compulsion to return to the playroom from time to time, and that failing to do so could result in the loss of their sanity. David was able to convince Amy not to reveal the playroom's existence to anyone and to resign themselves to their fate, which he insisted would not be bleak, despite her paranoid fears. Several days later, on the last Saturday in June, the children suddenly found themselves released from their obligations of home schooling for the summer and they inaugurated their vacation by meeting Alexander, the eight year old who now resides with Phillip and Megan Todd in the antique shop in Collinsport. David and Amy invited Alex to play hide and go seek with them in the west wing. Alex volunteered to be "it" first and began to count to 100 as they went to hide in other rooms. What no one else realizes is that the boy Alex is actually just one manifestation of a very powerful creature who holds the key to the Leviathans' plans in Collinsport. While hunting for David and Amy, Alex reverted to his natural form, who's true nature was not fully revealed except for the trail of slime and ooze left in the monster's wake. David was astonished to hear Amy scream, and bolted from his hiding place and discovered, much to his profound shock and horror, Amy lying on the floor of a west wing room, eyes wide open but totally unresponsive. David did not realize that Amy's encounter with Alex's true monster form has left her in a debilitating state of catatonia."

WEST WING ROOM, continuous: David is still kneeling over a prone Amy. "Oh, Amy, what's the matter with you? Please speak to me!" David implores, but to no avail. Amy gives no reaction. "Oh my god, what am I gonna do? What am I gonna do?" frets David, almost in a panic. Suddenly he begins to hear the faint tinkling music of the playroom. "Of course!" blurts out David aloud. Suddenly inspired, he stands up and grabs Amy by her legs and drags her out of the room and through the hallway to the door to the playroom, outside of the room where by now the music has gotten louder. David opens the door to the playroom and drags Amy inside the room, and then he picks her up and settles her into a chair at the table in the center of the room. He goes to shut the door to the room and when he turns around again he is astonished by the sight of a birthday cake that materializes out of thin air on the center table next to the miniature toy carousel. But what is even more astonishing is the fact that the sight of the cake seems to snap Amy out of her catatonia. She smiles at the sight of the cake and then looks at David. In the blink of an eye both of their personalities seem to change. "Happy birthday, Carrie!" says Tad. "Oh, Tad, it's lovely! You shouldn't have!" says Carrie. "It wasn't MY idea," says Tad modestly. "Who's, then?" asks Carrie. Suddenly a young woman with flowing dark hair and blue eyes materializes in a corner of the room holding a box. Her dress is of the period of the mid-nineteenth century. The children react to her presence but not to the manner of her appearance. "Daphne! Is that a present for me?" asks Carrie. Daphne approaches the table and seats herself there. Tad sits down at the table too. Daphne slides the box across the table towards Carrie. "Open it and see," suggests Daphne. Carrie opens the box and pulls out a magnificent necklace studded with diamonds, emeralds, and rubies. "It's the most beautiful thing I've ever seen!" gushes Carrie. "Put it on while I light the candles," says Daphne, who takes a box of matches out of her pocket and uses them to light the wax candles on the birthday cake, which has vanilla frosting and strawberries on it. "Why are there twelve candles?" asks Carrie after she clasps the jeweled necklace around her neck. "One to grow on!" says Tad. "Blow out the candles and make a wish!" says Daphne. "Oh, Daphne! You are so much more than a governess to Tad and I. You are a true friend!" says Carrie, who then inhales deeply and blows out all of the candles on the cake. "What did you wish for?" asks Tad. "Tad, she can't tell us, or then it won't come true!" says Daphne. Suddenly from somewhere outside of the room they can all hear the voice of Victoria Winters calling for David and Amy. "Who is that!?" exclaims a bewildered Tad. He gets up to open the door to the playroom and soon Vicki is again heard to cry, "David! Amy! Alexander! Where are you kids playing? Come downstairs! It's time for lunch." Carrie also gets up and goes to stand next to Tad at the edge of the threshold to the room. The children creep out of the room to investigate the unfamiliar voice. Both children's true personalities instantly reassert themselves. "Amy! Are you alright?" asks David. "Yes, David. Why do you ask? You mean about the possession? Yes, I'm fine," says Amy. "No, I mean about what happened before, when we were playing hide and go seek with Alex," says David. "Gee, that's funny. I can't remember any of that. I remember going into a room to hide, and the next thing I know I'm standing here talking to you, but I still remember what happened in the playroom. David! They could hear her! They heard Vicki! And look! My necklace is gone!" says Amy. "I guess that things that are created inside the room can't exist outside of it, kinda like the holodeck on 'Star Trek,' " says David. "David! Amy! Where are you guys?" Vicki is heard to cry, suddenly much closer to them. The door to the playroom closes by itself and turns back into the outwardly opening door of the linen closet. The music had stopped the moment both children had left the playroom. A moment later Vicki turns a corner and spots them. "There you are! I've been looking all over for you guys! What are you doing here?" says Vicki. "We're playing hide and go seek with Alex," answers David. "Well, hurry up and find him. Lunch is ready downstairs in the dining room. It's your favorite: grilled cheese and tomato soup," says Vicki, who then turns around and leaves them. "Whew! That was close!" exclaims Amy. "I know. Come on, help me find Alex," says David, and together they walk down the hallway and begin to look into the rooms of the west wing.

OLD HOUSE DRAWING ROOM, afternoon: Willie Loomis escorts Chris Haskell into the room to see Barnabas, who is sitting in a chair once again reading the Adams biography. "Chris Haskell's here to see ya, Barnabas," says Willie. Barnabas closes the book and looks up. "Thank you, Willie," says Barnabas. Willie leaves. "What can I do for you, Chris? Please, sit down," says Barnabas, motioning to a chair near his own. Chris sits. "Tonight is the first full moon since you resolved the problem with the ghosts and, well, I was just wondering, now that you don't have to deal with that problem anymore, what have you done lately about our agreement?" asks Chris. "Did you think that I'd forgotten about you, Chris? In exchange for your helping us to fight Nicholas Blair, I promised to help you find a cure for your werewolf curse, should it ever return. And return it did, after Adam was killed. I've been researching arcane literature on the occult. Believe me, it has not been easy to find texts that take themselves seriously in our enlightened age. Even then, everything seems to be prefaced by 'according to legend...' as if the author is forewarning us that lycanthropy may be merely a fiction much popularized by Hollywood. Unfortunately, we both know differently, don't we? For even a man who is pure of heart and says his prayers by night, may become a werewolf when the moon blooms bright," says Barnabas, who then gets up and crosses the room to an ornately carved wooden table, and from out of a drawer he removes the recognizable metal lockbox. He turns around and holds it in his hands as he faces Chris. "All of my arcane texts may not offer you your best chances for a cure as what is inside this box," says Barnabas. "What is it?" asks Chris, as he cautiously approaches him. Barnabas raises the lid to reveal the disembodied hand. "The Hand Of Count Petofi," says Barnabas, who then explains something of the hand's origins to Chris. "I cannot guarantee that this relic retains its powers, having been idle for nearly a century and originating in another timeline. And even if it does, it's just as likely to act for evil as it is for good. But it did my bidding the last time I commanded it, so hopefully that indicates that it recognizes me as its true master," says Barnabas. "How will you use it?" asks Chris. "Come back here tonight 15 minutes before moonrise. I will place the hand on your heart at the first sign of the pain and command it to suck the supernatural forces that transform you into itself. If it works, you will be cured. If not..." says Barnabas, leaving the end of his thought unspoken. "Thank you, Barnabas. This means a lot to me," says Chris. "Don't thank me yet. But I appreciate the sentiment," says Barnabas. After a bit more small talk, Chris shows himself out, and Barnabas closes the lid of the box, puts it back into the drawer of the table, sits down, and returns to his book.

EAST WING HALLWAY, afternoon: Alexander has changed back into his human form and is wandering the hallways of the east wing. We hear his thoughts through voiceover narration. "Hahaha! I sure scared her! Now I'll hide and see if they can find me. But I'm not gonna hide in the same part of the house that they were in. This is a pretty big house. I must be all the way on the other side of Collinwood," thinks Alex to himself. He comes to a pair of double doors and flings them open. Alex is quite astonished by what he sees: a luxuriously furnished room, into which he can see a blond haired, blue eyed boy of about thirteen years old sitting on a sofa watching a three foot tall 3-D hologram of a woman with dark hair playing a guitar and singing loud rock music. "I'm sorry, I didn't know anyone was in here," mumbles Alex. But the boy on the sofa does not respond to what Alex says but continues to enjoy watching the hologram. Other band members can also be seen behind the lead singer. "Duh. He can't hear me. The music's too loud," thinks Alex to himself. Now, a little bit louder, Alex begins to walk into the room and he says aloud, "Hey, that's a really cool... ow!" For suddenly Alex seems to bump into an invisible barrier which prevents him from entering the room and causes him to reel backwards in pain. "Hey! What is this?" cries Alex, certainly loud enough now to be heard over the rock music, as he puts his hands out in front of him and runs them along the invisible wall which prevents him from entering. But still the boy on the sofa does not appear to notice him. A few moments later a young woman in her early twenties wearing a leather jacket enters the room from another door. She walks over to the boy on the sofa. From where she is standing she should clearly be able to see Alex standing at the threshold of the open double doors, but she does not seem to notice him either and instead addresses the boy on the sofa. "Hey, wanker. What are ya watchin' on the tri-telly?" says the young woman with a very distinctive British accent. "Sophie, I've told you a million times, I don't like it when you call me that. But to answer your question, this is Suzie Zee's latest rock video, 'I Want You So Bad,' " says the boy with an American accent. "Sorry, Michael, my luv. I just love teasin' me favorite cousin. May I sit down and watch it with ya?" says Sophie. "Sure. You must be glad to be home on holiday from Cambridge," says Michael, as Sophie sits down next to him. Meanwhile, Alex continues to stand in the threshold, fascinated by the scene unfolding in front of him. "Oy, you can say that again. You know me mum and dad first sent me to England to boarding school when I was ten, and I've lived over there for so long I completely lost me American accent. 'Course, to me it sounds like YOU'RE the one that's got the accent. Wow! Suzie Zee sure knows how to rock! But seriously, Michael. This stuff'll rot yer brain! 'Ere, gimme the remote," says Sophie, and she grabs it from him and begins flipping through channels. "Hey!" cries Michael, and he tries to grab the remote back from her. They wrestle for the remote for a few moments as, quite by accident, the trivision has landed on a news broadcast. An anchor sitting at a desk reads, "...seven were killed and twenty-six injured. No one has yet claimed responsibility for the attack. Repeating our top story, New York senator Alexander Petrosian landed in Denver this morning, preparing for the Colorado primary, fresh off his victory in California. Petrosian, seen here last night during his speech to his loyal supporters, continues to be the leading candidate to win the republican nomination for President Of The United States." And while Michael and Sophie might be oblivious to the broadcast on the trivision, as they continue to wrestle over the remote control, the audience is not. For senator Alexander Petrosian is quite obviously, in fact, Count Andreas Petofi (once again portrayed by John Rhys-Davies). Additionally, it should be pointed out that the female rock star Suzie Zee is in fact Suzie Kurtz, albeit now with shorter hair and more modern attire. No sooner has Michael succeeded in wrestling the remote control away from Sophie and has turned the channel back onto Suzie's performance, suddenly in the blink of an eye the Parallel Time room winks out of existence, to be replaced by a completely empty room. And as Alexander was partially leaning his weight forwards onto the invisible barrier in front of him, he now falls forwards and onto the floor. He picks himself up and walks a few steps further into the room, a look of complete bewilderment on his face. Thirteen seconds later, David and Amy are seen at the threshold of the room. "Alex! There you are! We've been looking all over for you. Come downstairs with us to the dining room. Our lunch is ready" grilled cheese and tomato soup. After lunch let's go back to my room and play Risk, okay?" says David. Alex shrugs his ascent and follows them downstairs, without saying anything to them about the bewildering scene he has just seen unfold in the Parallel Time room.

OLD HOUSE BASEMENT, early evening: Barnabas and Chris are in the same cell where Count Petofi had Barnabas trapped in 1897. Although now Chris is sitting in a chair next to the wall, and Barnabas is attaching manacles to his wrists. The metal lockbox sits on a small table nearby. "I think it best, Chris, that we take these precautions, in the event that this ceremony fails. These chains attached to the wall are made of silver, a material that werewolves are loathe to touch. And quite thick and strong to boot. Should you go through the transformation, the beast should be trapped here until morning. Now, I want you to try to relax and calm yourself. As you've told me before, typically somewhere between one to two minutes pass between the first sign of the pain and the complete metamorphosis. That should be enough time for me to accomplish my task," says Barnabas. He looks outside through the window in the cell. He notes to Christ that the moon is beginning to rise and Barnabas takes the Hand Of Count Petofi out of the lockbox. Chris is already beginning to writhe in pain as Barnabas places the hand over Chris' heart and speaks to it. "All powerful hand, I beseech you to do my bidding as you have before in the past. This man is under the same curse as your former master. I ask that you suck the supernatural forces which cause his transformation into yourself and leave him completely free of it. Take the evil from this man and leave him only with the capacity to love and to do good!" Barnabas implores the hand. But nothing seems to be happening as Chris continues to writhe in agony, unconsciously struggling against the chains that bind his wrists to the wall behind him. "Oh mighty hand! I beseech you to do my bidding! This man has done nothing to deserve the fate that has befallen him except to be born the son of a man who suffered the same curse as his father before him. Take the evil forces that transform him into the beast under the light of the full moon into yourself and leave him free, and cured! Hand Of Count Petofi, I implore you to do my bidding!" says Barnabas. "It's not working, Barnabas! It's not... ahhhggghh!" cries out Chris in pain, as suddenly we can see his face and features begin to transform themselves into the werewolf. Chris gives out one last wolfish snarl, and then suddenly, in a state that seems to be half man and half wolf, Chris ceases his cries of anguish, as quite remarkably the transformation seems to begin to undo itself, as the wolfish features begin to revert back into his fully human form. A few moments later, it is over. Barnabas glances outside through the window. The moon is still rising, but Chris is completely human. "How do you feel?" asks Barnabas. "A little out of breath, but otherwise I'm fine. Barnabas, it worked! It worked! The pain is completely gone!" cries out Chris in a state of euphoria. Barnabas unlocks the manacles from Chris' wrists and places the hand back into the lockbox. "Come upstairs with me, Chris. I think a drink to celebrate our victory is in order!" says Barnabas, as he escorts Chris upstairs to the drawing room.

COLLINWOOD DRAWING ROOM, Monday afternoon: Vicki comes into the room holding a stack of mail, which she hands to Elizabeth. Mrs. Stoddard had been seated in a chair reading a magazine, but she puts it aside to sort through the mail. One letter in particular attracts her attention. Vicki is about to leave but Liz asks her to stay for a moment as she quickly opens and reads the letter of interest. When she finishes she turns her attention back to Vicki. "My uncle Henry is coming to visit us. He's my father's younger brother. He's going to be turning seventy in a week and he says he wants to return to Collinwood to celebrate it with us. Uncle Henry is a real world traveler. It says in his letter here that he's spent the past six months in Singapore. He's flying on his private jet from Los Angeles to Boston tomorrow and will join us on Wednesday. He's asked us to prepare his hidden room for him," says Elizabeth. "Hidden room?" asks Vicki. "Yes. That's what we've always called it. It's located in the rear wing and has never been used by the family here. In a special way it is Henry's room and his alone. Come along and I'll show it to you," says Liz, as she stands up and walks out of the room, followed closely by Vicki, who follows the Collins matriarch up the stairs to the second floor and then out the corridor to the rear wing of the house. Soon they arrive at the door of an apartment which contains its own kitchen and bathroom. They enter the apartment and Elizabeth opens the door to what appears to be a closet. Pushing the hangers out of the way, a second door is revealed on the rear wall of the closet. Liz opens this door with a key and enters the hidden room, beckoning Vicki to follow her.

"No one has been in here in nearly a decade," says Liz, coughing as she touches the window drapes. She locates the cords controlling them and draws them back. Brilliant sunshine comes through the dusty cobwebbed panes to illuminate the room. "I've never seen anything like it before," a dazed Vicki gasps as she gazes around the room. "Nor are you likely to again. This room was brought here piece by piece at great expense by Uncle Henry some forty years ago. It's a complete room with all of the original furnishings from the old Ritz Hampton hotel in New York. When the hotel was torn down to make way for an office building, Uncle Henry asked my father for permission to rebuild this room from the Ritz here. We had the room that Henry lacked in his New York apartment. The hidden room, according to Collins family legend, had lain empty for over a century, and the quaintness of it appealed to Henry, so the Ritz Hampton room was recreated here. It was sent to us item by item and put in place by a crew of workmen. Even the plastic moldings and the centerpiece chandelier of the ceiling are identical to the original room, and the light fixtures are the same," says Elizabeth. Vicki continues to stare in astonishment at her surroundings. "It's incredible!" marvels Vicki. The walls are a deep crimson of richly patterned, scrolled wallpaper. The canopied bed is ivory with crimson curtains; the rich oriental rug of yet another matching shade of red. The large mantelpiece is ivory with a huge framed painting of troops assembled in orderly fashion on the slanted deck of a sinking ship. There are easy chairs in crimson and ivory, a large rolltop desk, and several doors giving access to closets, all decorated in ivory. "Everything is covered in dust. We have a lot of work to do in here to make this room habitable again. We'll need Mrs. Johnson. The three of us shall set this room to rights. Come along, Vicki. Let's find Mrs. Johnson and get started," says Elizabeth, as she exits the room, followed by Vicki, who closes the door behind herself. A few moments after they are gone, the ghost of Charles Collins materializes in a corner of the room, portrayed once again by Scott Bakula. The ghost is dressed in the same nineteenth century clothing and walks towards the center of the room, looking in the direction of the door through which Liz and Vicki just exited.

OLD HOUSE DRAWING ROOM, midnight: Barnabas' antique grandfather clock chimes the witching hour as Barnabas, alone in the drawing room, is once again reading the Adams biography by candlelight. A sudden gust of wind extinguishes some but not all of the candles, and out of the shadows in a corner of the room materializes Oberon. He approaches Barnabas with a look of disapproval on his face. "Barnabas, you did not do as I ordered you to do," Oberon scolds him. "I simply found another solution to the problem. You yourself remarked about how clever I am. You should be congratulating me, not scolding me," says Barnabas. "I was unaware of the fact that you possess the Hand Of Count Petofi," admits Oberon. "So, you Leviathans are not omniscient, I take it," says Barnabas. "I will neither reward you nor punish you for the actions you have taken, Barnabas, but I must caution you. Do not take the liberty in the future of believing that all of my orders to you are open to interpretation. Your loyalty to the Leviathans must never be in question. Otherwise, it may be within my powers to order that relic to transform the werewolf curse which it has just relieved young Mr. Haskell of onto you," says Oberon. "Your threat is well noted. Do you have anything else for me?" says Barnabas. "Not at this time. Just remember what I've said. You only have the illusion of independence. When you come right down to it, you're our slave, and you shall remain so until our goals in Collinsport are achieved. Until we meet again..." says Oberon, and he bows and vanishes into thin air. "Adieu," says Barnabas to the empty room, and once again he resumes reading his book. But then, a moment later, we hear Barnabas' thoughts through voiceover narration. "But Oberon said that werewolves are creatures the Leviathans have never been able to control. So what would he do if he actually transformed me into one? Kill me, I suppose," thinks Barnabas, suppressing a shudder.

TODDS' ANTIQUE SHOP, the next evening: Megan is going through some accounting logs when the door to the shop opens and the bell rings. "Hello, darling. Did you miss me?" says Phillip. Megan rushes over to kiss and embrace him as Phillip closes the door behind himself. "Wait till you hear me tell you about the Chesterfield desk I picked up at the auction, darling. It will be delivered here tomorrow. It's an absolute treasure!" says Phillip. "That's wonderful, Phillip. So much has happened since you've been gone. Alex was invited to Collinwood last Saturday and befriended David Collins and Amy Haskell. Mrs. Purdy bought the Ming vase for two thousand dollars, and, oh, a Mr. Simms dropped off an antique cuckoo clock. The little cuckoo doesn't chime the hour. I told him you could probably fix it for him for fifteen dollars," says Megan. "I'll take a look at it tonight and get started on it right away," says Phillip. Megan goes over to the stairs that lead up to the apartment over the shop and calls upstairs. "Alex, Phillip has come home. Come downstairs and give him a hug and a kiss." But moments later, the boy who descends the stairs is not Alexander. Instead it is the spitting image of Michael Collins from the Parallel Time room. "Oho! And what do we have here?" says Megan to the boy with a grin. "You can call me Michael," says the Leviathan monster's newest incarnation to Phillip and Megan with a mischievous grin. END OF EPISODE EIGHT.

(Note: portions of this episode were partially plagiarized, but also originally embellished, from the novel "Strangers At Collins House" by Marilyn Ross. The NBC Dark Shadows borrowed heavily from the plot of its ABC counterpart. Why not also take some inspiration from one of the Marilyn Ross novels?)

(Note: I am forced to admit that one element of my story does not jibe with the established canon of season one as it was originally broadcast: Barnabas never took Vicki's blood in season one and she did not know that he had been released from the chained coffin. But on the ABC Dark Shadows, Barnabas did take Vicki's blood just prior to the 1795 flashback. Therefore I must ask the reader to reconcile these discrepancies by assuming that the history I am depicting occurred during scenes that were not part of the broadcast version. This is especially necessary as regards conversations between Peter and Vicki in 1790. I am simply building upon the broadcasted scenes between Peter and Vicki in her jail cell in 1790, and it's not that far fetched to believe that she was relating to him things that Barnabas had revealed to her about himself after he had made her his victim. As to why they never told anyone else what they knew, by the time they'd had these conversations, Vicki had fallen out of the Collins family's good graces and they had no proof of what they knew. My revisionist history also strengthens the idea of Vicki being a close ally of Barnabas, Julia, and Willie from season two onward if she was aware of Barnabas' vampirism and his history- memories that Julia had caused her to forget through hypnosis suddenly returning to her after Barnabas again told her the truth about himself while she hid him from the vampire Angelique. I hope that these contradictions from established canon will not prevent the reader from enjoying my story. Also, it is my contention that Peter Bradford did not die when he was shot during Vicki's hanging. Joshua Collins nursed him back to health, and Peter remained friends with the Collins family for many years. Joshua was naturally grateful to Peter for the assistance he had given him in saving Daniel's life.)

NBC DARK SHADOWS SEASON 4- Episode Nine

Aired November 7, 1993

(by Louis Edmonds): "David Collins was able to help Amy Haskell snap out of her state of catatonia by taking her to the magical playroom in the west wing of Collinwood, where they were possessed by the minds of Tad Collins and Carrie Bradford. There Tad and Carrie encountered a manifestation of their governess Daphne Harridge. After leaving the playroom, Amy remembered her possession by Carrie but did not remember an earlier encounter with the monster form of the child Alexander, whose horrible visage had plunged her mind into catatonia. Meanwhile, Alexander roamed the east wing of Collinwood and, unbeknownst to anyone else, encountered a scene playing out in the Parallel Time room. There Alex saw a boy named Michael Collins and a young woman named Sophie Collins fighting for control of a remote control for a sophisticated 3-D television unit, and while they were wrestling over it the trivision randomly stopped on a news broadcast which depicted a senator named Alexander Petrosian in his bid to become the next President Of The United States. It was quite obvious that Petrosian is actually Count Andreas Petofi. Likewise it was also obvious that the female rock star who Michael was earlier watching perform was in fact Suzie Kurtz, now dressed in modern attire. Barnabas Collins successfully used the Hand Of Count Petofi to remove the werewolf curse from an understandably elated Chris Haskell. Yet later Oberon appeared to Barnabas and chastised him for finding a roundabout solution to the task that he had charged him with, but elected to neither reward nor punish Barnabas for his actions. Elizabeth Stoddard received a letter from her uncle Henry Collins, who expressed his intention to soon return to Collinwood from abroad to celebrate his seventieth birthday with them, and Liz showed Victoria Winters Henry's enigmatic "hidden room" in the rear wing of Collinwood, as Liz recruited Vicki and Mrs. Johnson to clean the dusty cobwebbed inner sanctum. Yet unbeknownst to them, after they left the room, the ghost of Charles Collins appeared in the hidden room. And when Phillip Todd returned from his recent trip out of state to collect new merchandise for the antique shop, Megan Todd called up to the apartment over the shop for Alexander to come downstairs to greet Phillip. However, the boy who came downstairs was not Alex. Instead, Phillip and Megan were both astonished to see that the Leviathan creature had selected for itself a new incarnation: the spitting image of Michael Collins from the Parallel Time room."

TODDS' ANTIQUE SHOP, continuous: Phillip and Megan are astonished at the sight of the Leviathan creature's new incarnation. Michael says that he was bored and desired a new form. Phillip says that Alexander's disappearance will be easy to explain and suggests that they tell everyone that Michael is a foster child who they are taking in. Megan agrees that that is a good idea and suggests to Michael that he try to ingratiate himself with Carolyn, insinuating that she is destined to be a big part of his future. Michael gets excited at the idea and wants to know more, but Phillip cautions him that Carolyn must come to him of her own free will and cautions him not to press her prematurely. "This is not the form you are destined to be with Carolyn in. Your physical form is also a representation of your emotional maturity. So in a way, you are still a boy. You are not a man yet. Remember that, Michael. Get to know Carolyn more but try not to behave inappropriately around her," says Phillip. "Yes, father," says Michael sarcastically, as Phillip excuses himself, saying that he wants to get to work on Mr. Simms' clock, and he goes into the shop's back room. Megan gushes and dotes on Michael's new appearance as Michael beams at her maternal affection for him. She assures him that if he is patient, Carolyn will soon be his. Michael's grin widens.

COLLINWOOD DRAWING ROOM, the next morning: Elizabeth, Roger, and Julia are in the drawing room having coffee when Mrs. Johnson escorts Chris Haskell into the room. Chris says that he is there to see Julia, and he tells her that he wishes to speak to her privately. They go into the adjoining study, where Chris tells Julia that thanks to Barnabas, he is no longer a werewolf. "Yes, I know. Barnabas told me the news yesterday. Congratulations, Chris. You must feel as though you have a new lease on life," says Julia. "Absolutely. And that's why I wanted to speak to you. I wanted to ask you to do something for me. I want to go to Newport to see Sabrina and see how she's doing. The last I heard, she is still in the hospital there. I want you to come with me. As a doctor yourself, perhaps you might be able to consult with Sabrina's doctor about her condition and offer some helpful advice. But more importantly, I heard about what you did for Jeff Clark. Perhaps you could do the same thing for Sabrina. Hypnotize her and tell her to forget her memories of seeing me go through the transformation. Will you please help me, Julia?" says Chris. "I'd be happy to. When do you want to leave?" says Julia. "Right away. Let me go home and pack a bag. I'll meet you in front of Collinwood's front door in an hour. I'll drive us to Newport in my car," says Chris. "I'll pack a bag myself and be ready when you get here," says Julia. Chris thanks her and shows himself out.

Later, Chris and Julia are leaving the Collinwood grounds in his car as another car, a limousine, is entering the grounds and parks in front of the mansion. A chauffeur opens the back door of the limousine for his client, and out of the vehicle steps the elderly Henry Collins, who is immediately recognizable to Dark Shadows fans as being portrayed by original Dark Shadows actor Louis Edmonds, who portrayed Roger Collins and several other characters on the program. Liz and Roger come outside to greet him. As the chauffer hands Roger Henry's bag and then departs in the car, Liz and Roger escort Henry into the house and go to the drawing room, where Vicki happens to be, reading a book. She puts it down when Liz and Roger enter the room with Henry and Liz introduces Vicki and Henry to each other. "So this is the woman who's been taking care of my great-nephew. I hope that master David has been behaving himself," says Henry. "He can be a handful at times, but no worse than any other boy his age," says Vicki. "I haven't seen him since he was four years old, what with him living in England with his mother all those years," says Henry. Suddenly Henry acts as if he's said something inappropriate and turns to Elizabeth. "Oh, I'm so sorry. I hope I'm not dredging up bad memories. You told me what happened to Laura in one of your letters earlier this year. Has David been able to get over the shock of his mother's death?" says Henry. "It was hard for him at first, but I support he's gotten over it by now, yes, I'd say so," says Roger. "Well, good. I'm looking forward to seeing him again. I wonder if he'll remember me. I doubt it, though, as he was only four. Oh dear me, forgive me for prattling on. Elizabeth, have you prepared the hidden room?" says Henry. "Yes, Henry. Everything has been prepared as per your specifications," says Liz. "Excellent. Then I'd like to retire to my apartment and get some rest. I'm tired from my long flight. But before I take my leave of you all, I want you to know that I plan to hold a dinner party in the hidden room tomorrow night, and I want all of you to attend. Miss Winters included," says Henry. "We'd be delighted to come, Henry. Let me escort you to your room," says Liz, as Henry takes her arm as she leads him up the stairs, and Henry gives Vicki and Roger a little wave goodbye as he leaves with Elizabeth.

NEWPORT HOSPITAL, evening: Chris and Julia inquire at the registration desk as to what room Sabrina Clark is in. They're told that it is room 407, and they leave and walk down the hallway and quickly find the room. Outside of the room they knock and a nurse opens the door. Chris introduces himself and Julia to the nurse and he says that they are there to visit Sabrina. Chris says that he is a friend of Sabrina's and that Julia is a friend of his. The nurse admits them to the room. Sabrina is laying in a bed watching television as the nurse tells her that she has visitors. Sabrina looks at the nurse but does not say anything. Then she turns her attention to the people entering the room, and as soon as she sees Chris, Sabrina freaks out, reacting wildly in terror. The nurse is forced to call for help and another nurse rushes into the room. Chris and Julia leave the room as the two nurses calm and restrain Sabrina. Chris and Julia wait in the hallway and eventually one of the nurses comes outside and tells them that they have given Sabrina a sedative and she has fallen asleep. The nurse asks Chris if he has any idea what may have caused Sabrina to react like that. Chris plays dumb and says he hasn't a clue. The nurse leaves. Chris and Julia go to the waiting room to talk. Chris suggests that they put their plan into motion. Julia agrees to try it. They go back to the reception desk and ask to speak to Sabrina's doctor. The receptionist pages a Dr. Prescott, and soon a middle aged physician comes to the desk and Chris and Julia introduce themselves to the man. "Dr. Prescott, my name is Chris Haskell, and I'm a very good friend of Sabrina's. In fact until a few months ago I was her boyfriend. I left her for a while to attend to some personal business. I had no idea what happened to Sabrina. I only found out about it a few days ago and this was my first opportunity to come down to see her. Dr. Prescott, I want to introduce you to a good friend of mine. This is Dr. Julia Hoffman, from New York University. She's been staying with the Collins family in Collinsport, Maine for some time. Julia, please tell Dr. Prescott your idea," says Chris. Julia turns to the doctor and says, "I believe that I may be able to place Sabrina under hypnosis to learn the root cause of her condition. In fact, with that information, I may be able to reverse it. I'd like your permission to try to put her under." Dr. Prescott agrees, but suggests that they let Sabrina sleep for another hour first, as she may still be feeling the effects of the sedative she was given earlier. Julia agrees to wait and she suggests to Chris that they go to the hospital's cafeteria to wait. Chris and Julia leave.

After the commercial, Julia is alone with Sabrina in her hospital room. The television is off as Julia sits down in a chair next to Sabrina's bed as she introduces herself to Sabrina as a new doctor who's been asked to consult on her case. Julia takes her jeweled medallion out of her purse and asks Sabrina to examine it. "See how it seems to blaze and sparkle in a million colors," says Julia. She continues to speak to Sabrina in a soothing voice and within a minute she succeeds in putting Sabrina under hypnosis. Although Sabrina still does not speak even while she is under hypnosis, she responds to questions Julia asks her while her eyes are closes by nodding her head yes or no. Julia is able to take Sabrina back in her memories to her last encounter with Chris right before she saw him make the transformation into the werewolf. Dredging up those memories causes Sabrina quite a bit of agitation, but Julia is able to calm her by insisting that she is safe and that nothing can hurt her. It is while she has Sabrina under hypnosis that Julia puts it to her that the reason she cannot speak or write is because she has an unconscious fear and dread of being asked to describe what happened to her before she was hospitalized. If she can't talk about it or write about it, then she can't relive the traumatic experience in her mind again and be further upset by it. Julia asks Sabrina if she would like to forget the memory of what she saw Chris turn into, and she vigorously nods her head yes. Julia tells Sabrina that she will make her forget these painful memories, and to imagine that she is erasing these painful memories as one might erase a piece of magnetic tape. Furthermore, Julia gives Sabrina a posthypnotic suggestion. She points out to Sabrina that since when she comes out of the hypnosis she will no longer be able to remember the traumatic experience of seeing Chris going through the transformation, there will no longer be a need for her to not be able to speak or write. So Julia tells Sabrina that when she comes out of the hypnosis, she will not remember what she saw happen to Chris, she will not be able to remember being hospitalized or any of the time she's spent in the hospital these past few months, and she will be completely normal. She will be able to speak and write and have no lingering symptoms of posttraumatic stress disorder whatsoever. Julia also tells Sabrina that she will not remember her earlier encounter with Chris today when she freaked out at his appearance in her room. She tells Sabrina that the last thing she will be able to recall is going to bed the night before the day she suffered the trauma of seeing Chris change into the werewolf. Julia then slowly brings Sabrina out of the hypnosis, and when Sabrina comes out of the trance, she looks at Julia and says, "Who are you?" Then she looks around her and says, "Where am I? How did I get here?" Julia immediately gets up to summon Sabrina's nurse, who in turn summons Dr. Prescott. Prescott comes into the room and introduces himself to Sabrina. Julia then introduces herself to Sabrina too. Julia explains that she's been in the hospital for the past three months because she suffered from an attack by some unknown assailant that at first left her in a state of catatonia, and then even after she became able to perceive her surroundings, she could not speak or write. Julia explains to Sabrina that she just successfully put her into a state of hypnosis, but adds that it is not uncommon for people to be unable to recall what they discussed while they were under hypnosis. In front of Prescott and Sabrina's nurse, Julia tells Sabrina that while she was under hypnosis, she expressed a paranoid fear that she was in imminent danger of being attacked again. Once she was able to convince her that she was safe in the hospital, her paralysis of speech and her inability to write disappeared, Julia postulates. (In truth this is not an accurate description of Julia's conversation with Sabrina while she was under hypnosis. She just wants to give Prescott and Sabrina a plausible description of what was discussed while Sabrina was under hypnosis.) After checking her vital signs, Prescott says that Sabrina appears to be normal and that if a few more tests check out, she should be released from the hospital by the end of the day. Then Chris enters the room, and Sabrina reacts to his presence with pleasure. Chris admits that he's come from Collinsport and that he brought Julia with him. Chris says to Sabrina that earlier on the day of her attack he had told her of his intention to go to Collinsport to look for his brother Joe, but since she cannot remember anything from that day she does not realize that he is lying. (Chris came into the room after Julia spoke to him in the waiting room to tell him the results of Sabrina's hypnotic trance and what she can and cannot remember.) Sabrina says that she would like to return with Chris and Julia to Collinsport after Julia reveals to Sabrina that her brother Jeff is there and that it was from him that they learned of her condition in the hospital. "I'll just pop home to see mom and dad and pack a couple of suitcases and then we can be off," says Sabrina. She says she wants to surprise Jeff with her recovery too. Chris and Sabrina then reaffirm their desire to once again resume their relationship with each other, as they kiss. Obviously Chris feels comfortable doing this, now that he has been cured.

TODDS' ANTIQUE SHOP, the next morning: Carolyn is chatting with customers about the new Chesterfield desk, which has attracted the attention of several antique collectors, when the bell over the door rings and Phillip enters the shop with Michael. "Carolyn, would you come over here for a moment? I'd like you to meet someone," says Phillip. Carolyn excuses herself from the customers and goes over to speak to Phillip and Michael. "Carolyn, I'd like you to meet Michael Barrows. Before now Michael's been living in an orphanage in Bangor, but Megan and I have decided to become foster parents of Michael, at least for a while," says Phillip. "Well, hello, Michael. It's nice to meet you. I'm sure you'll like it in Collinsport. Everyone is very friendly and you should have no problem making friends at school. Phillip, what happened to Alexander?" says Carolyn. "He was Megan's nephew and his parents came by late last night to pick him up and take him home. We'd known they were coming for some time now so we made arrangements to take custody of Michael today. Um, Carolyn, a new shipment of items just came in early this morning. It's in the back room. Perhaps you could let Michael help you in creating the inventory sheet?" says Phillip. "Sure, that's a good idea. I could use a hand. By the way, Michael. How old are you?" says Carolyn. "I'm thirteen. And it's nice to meet you too," says Michael. So Carolyn escorts Michael into the back room of the shop while Phillip goes to deal with the customers in the shop. In the back room, Carolyn starts pulling antique items out of a large crate in the middle of the room one by one and asks Michael to write down descriptions of each item on a lined piece of paper. Michael has fun with one piece in particular, an African mask, by putting it up to his face and attempts to scare Carolyn with it. She laughs at his playfulness, and Michael puts the mask down and smiles at the fact that Carolyn appreciates his sense of humor. She also laughs when Michael climbs into the empty crate and suggests that they could use it to ship him off to some far off exotic location. Michael is obviously ecstatic at the fact that he is quickly developing a great rapport with Carolyn. A dissolve of a shot of a clock on the wall reveals that later it is 11:45 a.m. Carolyn and Michael are now in the front part of the shop and Carolyn is talking to him about some of the rare items in the shop. A few moments later Paul Stoddard enters the shop. Megan spots him first and introduces him to Phillip, and Phillip tells him that his cuckoo clock will be ready at 5 p.m. today. "I just need to replace one broken spring and it'll be as good as new. But it's been hectic around here today as we've just had a new shipment in, and word of mouth gets around quickly in a small town like this, and as you can see by looking around you, we've been quite busy today. But I promise you I'll find a few minutes this afternoon to finish the repair on your clock," says Phillip. "That's fine, Mr. Todd. I'll come back at five today. Actually I stopped by to speak to Carolyn," says Paul, and he excuses himself to go over to speak to her. "Ah, hello again, Ms. Stoddard. I was wondering if I could entice you to come with me to lunch again this afternoon. I hear the Blue Whale has a special today: grilled salmon in butter and lemon juice, with fries and a milk shake on the side. Who could pass that up?" says Paul. "I like a man who thinks with his stomach. Let me grab my jacket and tell Phillip that we're leaving," says Carolyn. When she tells Phillip of her impending lunch date with Mr. Simms at the Blue Whale and what the special is today, Phillip says, "Now you're making ME hungry!" He then announces to the customers in the shop, "I'm sorry, folks, but we're closing the shop for half an hour for lunch. Please come back at 12:20." Carolyn and Paul leave, and the rest of the customers in the shop file out too, as Phillip closes the door behind them and locks it and pulls the shade over the door down and changes the sign on the door from "open" to "closed." Michael, however, is far from pleased by the attention that Carolyn paid to Paul. "Why did she have to leave with HIM? Why did he have to take her away from me? Everything was going great! And then he had to show up and ruin everything! I HATE him!" cries Michael, as in a fit of rage he grabs a vase off a pedestal and smashes it on the floor. Megan and Phillip are shocked at his behavior. "Michael! What's gotten into you?" says Megan. "Michael, you are going to need to learn how to control your emotions. You need to learn how to behave like a civilized person!" says Phillip. Suddenly all three of them hear the disembodied voice of Oberon say, "You are absolutely right, Mr. Todd. I shall attend to it." Megan, Phillip, and Michael all find that a bit disconcerting.

THE BLUE WHALE, afternoon: Carolyn again presses Paul for an explanation as to why, if he claimed to have cared about her when she was a child, he made no attempts to contact her, despite how Elizabeth felt about the situation. Paul claims that he simply eventually resigned himself to the fact that Liz was going to do everything in her power to block all of his attempts to see her or speak to her, and later he got wrapped up in his own business affairs. "Well, I've decided to give you a chance. But obviously it seems to me that the only way we'll be able to forge a new relationship is if we can get my mother's permission for you to come to Collinwood. So I want you to come with me to Collinwood after I get off from work at five o'clock today," says Carolyn. "Fine. I have to come by the shop at that time anyway to pick up my clock from Mr. Todd. Do you really think you can convince Liz to be reasonable?" says Paul. "I'll make her understand how important this is to me, and that I'll resent her for it if she tries to stop me from seeing you, and that it will be a hundred times easier for both of us if you aren't banned from coming into the house. So yes, I think I can persuade her to cooperate with us," says Carolyn. "Great," says Paul. They both quickly finish the food on their plates and get up and leave the restaurant together and they pay their bills at the cash register. After they leave, a man who was sitting at a table next to their's folds up a newspaper that he had been reading, and is revealed to be Jason McGuire, who is looking in the direction that they left.

COLLINWOOD, 5:10 p.m.: Carolyn introduces Paul to Liz and Roger, who both recognize him. Roger says that he is willing to let bygones be bygones, but Liz seems more reluctant. Carolyn urges her to give Paul a chance, for her sake. Paul gives the cuckoo clock to Liz as a peace offering, "...because I know you like fine things. Or at least, you did when we were married," says Paul. Liz accepts the gift. Vicki and Henry come into the drawing room while the four of them are talking. Although they only met a few times before Paul left Collinsport, Henry says that he remembers Paul. Carolyn explains to Vicki and Henry how Paul recently came back to Collinsport, wishing to forge a new relationship with her. Henry asks Liz if it would be alright for him to invite Paul to his dinner party tonight. Liz agrees. Vicki then reminds them that if this is to be a family affair, Barnabas should be there too. Liz asks Vicki to go to The Old House to extend an invitation to Barnabas. Vicki leaves to do that.

IN FRONT OF THE OLD HOUSE, late afternoon: In front of The Old House, Barnabas displays his new car and new driver's license to Vicki. He has bought for himself a red classic 1967 Cadillac convertible. He is pleased to accept the invitation to Henry's dinner party, saying that he is intrigued by the idea of the hidden room, citing that there are also many secret rooms and secret passageways in The Old House. "You must remember, Victoria, that Collinwood was still under construction when I was chained in my coffin in 1790. I never paid much attention to it. My father Joshua must have designed the hidden room after he and Ben Loomis confined me to oblivion in the secret room of the Collins mausoleum," says Barnabas. He again assures her that he will be at Collinwood at the appointed time, and Vicki leaves.

THE HIDDEN ROOM, evening: At Henry's dinner party, Henry regales Elizabeth, Roger, Carolyn, Paul, Vicki, and Barnabas with stories of his travels, and mentions that while he was in Singapore he came across a very rare Collins family heirloom: the journal of Charles Collins, who was taken ill in Singapore in early 1840 and spent four months there in a hospital. The journal was given by Charles to the administrators of the hospital, and they gave him a silver medallion, as a Chinese tradition of an exchange of gifts at the parting of close friends. Vicki mention's Jeff's interest in Charles Collins and asks Henry's permission to let Jeff take a look at the journal later. Henry agrees. Later, after all of them have left the hidden room, the ghost of Charles Collins makes an appearance. The ghost is wearing his silver medallion on a chain around his neck.

TODDS' ANTIQUE SHOP, evening: Later that evening Phillip receives a phone call from Carolyn. She explains to him that it turns out that Paul Simms is in fact her father Paul Stoddard, and she asks Phillip to be allowed to take tomorrow off from work so that she can spend some time with him. She says that she is willing to work the following Monday to make up for the time, but Phillip tells her that that won't be necessary, as he is willing to grant her a personal holiday. After he hangs up and tells Michael that Carolyn won't be coming into the shop tomorrow and why, Michael again flies into another rage, and is about to smash another vase, when suddenly the front door to the shop flies open from an incredibly strong gust of wind, and a man in a silver and grey suit and a turquoise tie steps into the shop. "Young man, put that down!" says the man in a very authoritarian voice. Phillip and Michael have been startled by these events and stand still where they were just a few moments ago. Michael reacts to the authority in the man's voice and gently lowers and replaces the vase on its pedestal, but then says, "And who are you supposed to be?" with a touch of arrogance in his voice. "My name is Benjamin Braddock, master Michael. I'm your new teacher," says the man. END OF EPISODE NINE.

TO BE CONTINUED

Dark Shadows filksong to the tune of "We Didn't Start The Fire" by Billy Joel, written by David Short

1966:

Vicki Winters meets Burke, then she's told she's a jerk

David steals the bleeder valve and Roger's car goes zoom.

Who killed Bill Malloy? David is a rotten boy.

He got mad at Vicki and he locked her in a room.

Devlin is a sneaky guy, Mrs. Johnson is his spy.

Matthew kidnaps Vicki and he's gonna end her life.

Suddenly ghosts appear, Matthew drops dead of fear.

Look who shows up back in town: Roger Collins' ex-wife.

CHORUS:

Everyone loves Dark Shadows,

we have all been hooked since the day we first looked.

Everyone loves Dark Shadows,

we have always loved it since the day we saw it.

1967:

The Laura subplot lasts till spring, then it's time to end the thing.

Laura Collins dies in fire, David is saved.

Paul Stoddard's old friend shows up in town again.

He will blackmail Liz, he is so depraved.

Jason's young friend Willie Loomis will pretend

that he likes to read a book, but he's really just a crook.

He breaks into a tomb, then he finds a secret room.

Rusty chains he will break, he'll regret his mistake!

Chorus repeats

Barnabas moves into The Old House and makes it new.

Maggie is kidnapped. In the cell, she is trapped.

She gets free and is found, on the beach, on the ground.

Sam and Joe will pretend Maggie's life came to an end.

Whoa-ha-ho!

Dr. Hoffman will give Barnabas a chance to live

what could be a normal life and dream of Vicki as his wife.

Then next Burke leaves town. Oh no! His plane went down!

What are we supposed to do? Sarah, we are calling you!

Chorus repeats

1795:

Vicki will soon see terror grip the family

as things go awry, and no one at all knows why.

Angelique makes Sarah sick and promises to make her well.

She'll make some tea. Really, she just lifts her spell.

So then Angelique finally gets what she seeks.

Barnabas learns the truth, then becomes long in the tooth.

Chorus repeats

1968:

Barnabas meets Dr. Lang, who discovers he has fangs.

He'll grant a new life, Roger has a new wife.

Soon the dream curse will begin, Adam meets Carolyn.

Not long afterwards, he decides to kidnap her.

Adam will demand a mate, how long can they make him wait?

Nicholas has a scheme. Is it just a crazy dream?

Barnabas won't play his games. Nicholas goes up in flames.

At this point the ratings soar. Don't you worry, there's much more!

Everyone loves Dark Shadows,

we have all been hooked since the day we first looked.

Everyone loves Dark Shadows,

but when it is gone, it will still play on and on and on and on.

Everyone loves Dark Shadows!

Dark Shadows filksong to the tune of "Creeque Alley" by The Mamas & The Papas, written by David Short

Tad and Carrie were feeling kind of scary

'cause they knew Gerard had a scheme.

Barnabas is worried, he's feelin' kinda hurried,

1995 was no dream!

And at Maggie's side Sebastian sat,

hearing her describe a dream that she'd had.

He wants her to go, but she says no,

she doesn't want to think about that.

And no one seems to know where Rose Cottage's at.

Carolyn's Leticia, and don't ya know we wish ya'd

use your second sight to help us now, maybe,

you could use your powers, and try to see the tower,

and tell us when Gerard waves the flag.

Then suddenly Sebastian says, in a real state,

"We gotta get Maggie out before it's too late."

They make the decision, first he'll have a vision,

and then he and Maggie will go. But he doesn't find out

exactly what they wanted to know.

Julia can hear it, she's tryin' to get near it,

it seems to be an awfully loud sound.

It's comin' from the portrait, it's something important.

Quentin Collins is in the ground!

Carrie comes in and starts screaming.

Tad says he knows that that was the way that

it happened in the past, and then he's aghast.

Gerard will make it happen again.

And then they'll surely die after that happens.

The kids have sent 'em to go find Quentin.

He's buried in an unmarked grave.

They find him, they free him. They tell him they need him.

They've got a lot of people to save.

Sebastian is gone and he is taking

Maggie Evans to Windcliff for her safety.

Collinwood's on fire, the flames are getting higher,

the zombies will destroy everything.

We gotta get out and try and make it to the west wing.

The children are dead, and Daphne is dead,

and Quentin's going out of his mind.

Barnabas is fighting, and Julia is sighting

the staircase that will take you through time.

Barnabas says, "Julia, go on!"

But he's too late. "The staircase is gone!"

He escapes the west wing, but soon he'll need the I Ching.

He cannot wait indefinitely.

'Cause 1995 is becoming a reality.