Hallie and Jeff, together. . .

Pardon me while I hurl.

Jeff Clark's brain. . .AB Normal?  Just discard it!  Do we really want his brain in someone else's body to torture the world?

Love, Robin

The scene in the hut was always one of my favorites.  She kneels behind him and bites his throat--a very erotic scene.  She talks about their affair, which they see quite differently.  For Angelique, Barnabas made a pledge-- apparently with his body language--to her.  He insists, annoyed, that he made no pledge.  She speaks of always feeling as a woman feels, even though she's a witch.  And she tells him that while she's hated his actions, she could never hate him.  Barnabas, in despair, realizes that she's planning to turn him back into a vampire.  Their conversation  really seems to explain how she felt he was repressing his real feelings for her, but Barnabas, a
typical guy, felt it was nothing but a fling.

Also, she mentions "that night in Martinique," but on another occasion, indicates "nights."  I know some folks believe theirs was a one-night stand, but I always felt it had to be of longer duration, given her obsession with him.

What do you think?  Night--or nights?

Love,
Robin

Worst were all the Dream Curse segments.

Best would have to be (spoiler) Rachel's odd dream in 1897--it was very surreal, and I think a warning to Miss Drummond about the dangerous place she had come to.  

I also like the one Luciaphil refers to, with David's birthday party.  That was genuinely scary.

Love, Robin

618 - (Grayson Hall) - It is late at night at Collinwood, but for one man, there will be no more sleep this night-for he has had a strange and perhaps prophetic dream, a dream which has warned of tragedy in the life of a young woman. Now his task is to warn her and hope that she will listen and change her plans for the future.

Vicki glances at the foyer clock-2:30. (when does she sleep?) Roger, clearly upset, pads downstairs and tells Vicki he must speak to her in the drawing room. He closes the doors and nervously asks her if she and Jeff have set a date. Sometime next month, says Vicki. Roger tells her to cancel it immediately--if she marries Jeff Clark, it will be the most tragic mistake of her life!

Vicki, confused, demands to know what Roger means. I had a dream, he explains, and woke up so terrified, I knew he had to warn you. He relates the dream, and how radiant and happy she looked. Then he turned to look at her--beneath the bridal veil was only a skull! I woke up trembling, he says. This isn't like you, remarks Vicki, you don't believe in dreams or the supernatural. I took the nightmare as a warning, he says--steps must be taken to stop it.Vicki finds it hard to believe a nightmare, no matter how realistic, could change his mind--she thinks there is another reason-why the hostility toward Jeff? (let's count the ways.) Roger denies this, but she believes he should have the decency to tell her what's happening. Think about it, he asks. Vicki insists she is going to marry Jeff, no matter what. It will be the greatest mistake of your life! Shouts Roger. She turns and asks what he has against Jeff. NOTHING! Yells Roger. Vicki believes there's more to it--does he know something she doesn't? No, says Roger, but Jeff's behavior has been strange lately--look at the way he treated her in the recent past--not the way a gentleman should treat a lady. I have forgiven him for that, she asserts, and thought you had, too. Perhaps we both made a mistake, suggests Roger. Vicki demands he tell her what is on his mind. Roger finally admits he believes Jeff isn't trustworthy. Why not? asks Vicki, but Roger can't tell her. Because you don't know, accuses Vicki, refusing to hear anymore on the subject. She storms out, leaving poor Roger is horribly distressed.

Julia enters as Vicki leaves, looking exhausted. She greets Roger, who asks if she's just getting in. Yes, she says, refusing a drink--I can't risk being sleepy. He says she looks like she hasn't slept for some time. I haven't, she says--I've been terribly worried about Barnabas--he hasn't been himself since Joe tried to strangle him. Roger understands. Julia says earlier this afternoon, she made Barn go to bed to get some rest, and he did, but then later, after sunset, she went to his room to bring him food and he was gone. Roger is shocked. I've looked everywhere for him, but he's completely disappeared, she says, tears in her voice.

Abandoned hut by the sea - Angelique closes the door and troops down the stone steps. Barnabas is seated on a rock, looking around like a lost child. "Where have you brought me? he asks, his voice dead. "What is this place." She tells him he's by the sea, far from where anyone would try to find him--this is where you'll stay, she says, "until it's time for you and I--for us to go away together." She slips a hand over his shoulder, kneels behind him. Barnabas, his face showing he knows what's coming, has an expression of euphoria and despair. "No. . .no," he moans, yet he cranes his neck toward her waiting fangs, grunting in pain (pleasure?) as she plunges them into his throat.

Afterwards, Barnabas struggles to get up. Angelique anxiously tells him not to--she doesn't want him to stand because he won't be as steady on his feet as he thinks. She urges him back onto the rock. He asks what she's going to do with him. "Don't you know?" she asks, amused. You said something about our going away together, he recalls. Yes, she agrees, just the two of us. You can't do that, he says, Nicholas won't let you. Nicholas will have no idea what's happened to us, she says, pleased. Barnabas doesn't understand--"after all these years of hating me. . .in spite of how you feel about me." Softly, Angelique says, "Regardless of what I am, what I have been, I'm still a woman, Barnabas. I think and feel like a woman. I hate the things you've done, but I've never hated you yourself. How could I? The memory of a night in Martinique has never left my mind." "Angelique!" says Barnabas, embarrassed or irritated, a combination of both. (THIS again??--how much do I have to pay for some hot rolls in the hay all those years ago?) She continues, "You came to me that night, and I was full of love for you. How else could I have given you so much of myself? And I knew then that no power in the universe could prevent us from one day keeping the pledge we made that night." His voice filled with anger, Barnabas insists, "I made no pledge!" To which she replies, "Not every pledge is made with WORDS, Barnabas." (I guess he let his body do the talking.) You'll never succeed, says Barnabas--Nicholas will find out. She insists that won't happen--Nicholas has his own involvements, and won't have time to find out--in a few days, I'll have all the preparations made. . . Barnabas, realizing the full import of her words, sinks back on the rock. She asks if he can hear her. "You're going to turn me into what you are," he says, defeated. "Yes," she says, sounding surprised at his reaction. "Well, it's too late, he says--you've moved too quickly, you've been too anxious." What do you mean? She asks. He replies, "You can't afford to let me die now, before you're ready--dawn is approaching."She assures him he won't die yet, and he says, with a grim smile, "I will if you don't leave me." She touches him. The cock crows. She caresses his head and says, "Perhaps you're right. I must be more careful. I must keep you alive until the moment comes." "I hope I disappoint you and die before dawn," he says bitterly. (Too bad he didn't disappoint her in bed, in Martinique--perhaps he wouldn't be in this mess at all!). She assures him he will survive this night and a few others but will be too weak to move, which is why she brought him here. She realizes she must go, it's close to dawn--I needed a place where you'd be safe while I slept during the day. Barnabas, horrified, scared, asks if she's going to leave him here. I can't stay, she says--"Don't be afraid, Barnabas. You'll be too weak to do anything but sleep today, as I will. And when night comes again, I'll come back to you. Until tonight then," she says, raising her arms as if to hug him, and she fades away, leaving Barnabas weak, miserable, and heartsick.

Vicki comes downstairs. Julia is in the drawing room. It's about 9:00, says Vicki, asking Julia how long she's been here. All night, says Julia, despairing--I've looked everywhere and don't know what else to do--Barnabas left his bed early last night and has disappeared--I can't find him--I'm so afraid something's happened to him. What? asks Vicki. Julia says she doesn't know, but it scares her just to think of it. Since Julia hasn't been to the Old House since midnight, Vicki suggests she go back there and check.No, Willie is there watching for Barnabas, says Julia--I don't know what else to do. Vicki advises that Julia sleep. Awaken me if Willie comes to tell me Barnabas has returned, says Julia. (Alex Moltke looks quite pregnant in this beige belted dress.)

Hut by the sea - Barnabas, fading in and out, realizes he must leave this hut, but where can he go where she won't find him? Who can help him? Julia? No, Angelique would think of her and might harm her, not Julia--or Willie--not even Stokes, she'd suspect him, too. Who can help me? Vicki! Yes, Angelique knows how I feel about Vicki and feel I wouldn't go to her in my condition--yes, Vicki will find safety for me. Barnabas struggles to stand, clinging to anything to support himself, repeating "Vicki" over and over. He opens the door and flinches at the sunlight pouring in, covering his eyes with a moan. He keeps saying "Vicki" to help propel himself out the door of the hut, and with great effort, he finally succeeds.

Roger comes downstairs to find Vicki drinking coffee in the drawing room. They are cold to each other at first, and he knows she's still angry at him. I stayed in my room all morning, thinking about last night, he says--I want to apologize--my reaction to the dream was wrong. Vicki assures him she isn't angry about the dream. Roger reminds her how he and Liz feel about her--she's a member of the family. She asks about his mistrust of Jeff--not telling me isn't fair. Roger agrees, and offers an apology--I spoke without thinking--will she forgive him? She smiles and says she will. She asks if he was up when Julia came in, and if he heard about Barnabas. Roger asks if there are new developments. Vicki says he still hasn't been found.

Barnabas walks through the woods, clinging to trees, muttering, "Vicki, I need you! I can't make it alone! Vicki, hear me!"And Vicki does. Roger notes her expression and Vicki's trancelike stare. She goes to the foyer and stares at Barnabas' portrait. Roger pursues her--what's wrong? I must go to the Old House, she insists, Barnabas is there now, I have a feeling--he's in danger and needs help. Roger wonders where she got that idea, but Vicki hastily flees, leaving Roger puzzled.

Woods - Vicki searches for Barnabas, coming upon the Old House. She heads that way. Barnabas, rapidly losing strength, clutches a tree in a death grip, begging Vicki to hear him. He finally loses his grasp and falls to the ground. Vicki hears a moan and follows the sound, finding Barnabas lying on the grass. "Barnabas!" she cries, kneeling beside him. "Vicki," he whispers, "you've come to find me." She asks what happened, and he murmurs, "You've come to find me, but it's. . .too late!" He passes out. Vicki grabs his hand and calls his name. "It can't be!" wails Vicki. "It can't be!"

NOTES: One of the best Angelique Barnabas scenes in the series, IMHO, and an erotic bite, for sure. This couple has a fascinating history, and this scene told us a few more little things about their time together. For him, it was a good time, for her, it was apparently "a pledge made without words." Typical!

How interesting that Barnabas is able to psychicly link with Vicki and draw her to him. How? Was it their former vampire-victim link? The fact that they met in the past? Or are they such close friends, he was just able to delve into that bond and make her realize he needed her? In any event, ir was fascinating.

Poor, desperate, exhausted Julia, searching for the man who loves who only considers her a friend at this point. She knows he's a vampire victim and fears that by the time she finds him, it will be too late to save him. Now Barnabas tells Vicki it's too late! Does that mean he's about to die and rise as a vampire? Will Vicki be able to save him?

I'm glad the tree they had Barnabas clinging to was fairly strong. We know how easily props topple at Collinwood, and it surely would have destroyed the drama to see Barnabas go down with the tree.


619 - (Grayson Hall) - Even in the warm light of day, the effects of evil forces can be felt and seen in and around the great house at Collinwood. In grave danger and too weak to move on, Barnabas Collins realizes her is lost in the woods and may die before help can come--but through some strange mental bond that exists between them, Victoria Winters has sensed that Barnabas is in desperate need of her.

Woods - Vicki shakes Barnabas--it isn't too late! She protests. He comes to, and Vicki asks if he can speak to her. She asks what happened, but he says it's too horrible to relate. Hide me quickly, he pleads, there's so little time. She wants to get him a doctor, to Julia, but Barnabas insists no doctor can help him, only you can--please don't disappoint me. She promises she won't. He asks her to take him somewhere no one will find him. People are worried about you, says Vicki, how will I get around that? That doesn't matter, he says, but hiding me does.She isn't sure she knows where to take him, but she suddenly decides she knows a place--the secret door to the west wing of Collinwood, which hasn't been used for years. She helps him up (I always worried about that, given her real life pregnancy). Barnabas tells her he needs a day's strength before darkness. She helps him along the path.

Collinsport Hospital - Joe hides his face from the sun's glare, hoping Angelique will come to him tonight. Julia enters. She greets him and asks how he's feeling. He asks her to close the blinds. She does so, blocking out the light. He asks about Barnabas. She tells him he's gone, and she hoped he would tell her where. Joe claims not to know. You know a lot more than you've been telling, says Julia--I know you've been under a vampire's spell.  Joe denies knowing what she's taking about, but she goes on that she knows how much he's suffered, because it happened to her, too. He glances sharply at her, saying he doesn't believe her. It was Tom Jennings, reveals Julia, I was his victim. Joe asks if she knows what happened to Tom. The same thing that must happen to the vampire who put you under a spell, she says--he was found at dawn in his coffin, a stake driven through his heart. Joe doesn't like hearing this, but Julia says it's the only way he can be free, and begs him to tell her who it is. He covers his face--it's no use, he says--even if I wanted to, I don't think I could.Summon up all your willpower, urges Julia. Joe reminds her--if you've been through this yourself, you know how impossible that is. Yes, agrees Julia, defeated--you aren't my last hope. Joe asks if there have been others beside Barnabas and him. Julia is thinking of the vampire's protector, and asks Joe to tell her who that is--who's been behind all this, and don't pretend you don't know--"I know you do?" Joe suggests she get out right now, but, intrepid Julia forges ahead--is it Nicholas? Ridiculous, pronounces Joe. If that's so, says Julia, I can go ask him a few questions. Don't go to that house, warns Joe, stay away, don't go near that man--I can't tell you why, you've just got to believe me. She nods and assures him it's all right--he's told her a lot more than she ever expected he would. She turns to go. Joe asks what she's going to do. I have no choice, she says--no matter what the danger, I have to have a showdown with Nicholas Blair (YOU GO, GIRL!) Joe leans back unhappily on his pillows.

Vicki takes Barnabas to Adam's former room and helps him lie down on the bed. I didn't think we were going to male it, says Barnabas weakly. Vicki sits beside him and asks him to tell her why he wants to hide. Barnabas begs her to trust him. If you're sick, you needs a doctor! She cries. She gets no response from Barnabas.

Nicholas stands by his mantle, rubbing his fingers on a piece of statuary. He answers the knock at his door and greets Julia cordially--an unexpected pleasure, he says--he's been meaning to call and thank her for the delightful evening at the old House. Julia pulls off her gloves with decisive motions and suggests they level with each other. He feigns not knowing what she means. "Let's stop playing games--I know what you are and we both know why I'm here."  He assures her he never plays games, and she retorts, "Nonsense, you've been playing a very cruel game with all of us ever since you left Collinwood--now let's not waste time--I know you were behind the experiment from the beginning, the experiment that created an artificial mate for Adam. I also know what you've done to Barnabas, or HAD done to him." Then perhaps you'd be good enough to tell me, suggests Nicholas. "Barnabas is the victim of a vampire," says Julia. Nicholas bursts into laughter. A vampire?--you have a fertile imagination, Doctor, he says, grinning. Julia continues relentlessly, "And for whatever reasons, you are protecting that vampire." She is twisting her gloves in her hands like she wants to slap him with them. I am? he asks. "But what I don't understand is why you've allowed it to go so far. I didn't think you were a man who is subject to serious mistakes." Nicholas rises from the sofa and tells her it goes without saying he hasn't the slightest idea what she's talking about, but there is one thing she said that was quite accurate--he doesn't make serious mistakes. Julia informs him there is something he isn't aware of--Barnabas disappeared early last evening. Nicholas' grin dims. He was in a weakened condition, says Julia, and probably even weaker today--if he's not found and saved by tonight, he may die. Nicholas carefully asks if she doesn't know where he is at the moment. If I did, I wouldn't be here, would I? she asks. Nicholas says he fails to understand why she felt he could help her. Julia is glad to tell him: "You have a plan involving Adam and his mate--but for your plan to succeed, it is imperative than Adam remain alive and healthy. Nicholas glances out the window. "And you know as well as I do," says Julia, "that if Barnabas Collins dies, Adam will die, too."He asks if she's finished. Not quite, she says. Nicholas says, "Well I have. If you'll excuse me, I have a great deal of work to do." It can wait, she insists. It can't, he counters, still urbane and gentlemanly--I'm sorry I haven't been able to help you. Smiling prettily, Julia says, "I do believe I have upset you." He chuckles and says, "Don't be absurd." "I'm not, she answers, "you don't seem quite as self-assured as you were when I first arrived." Grinning, he begs her to excuse him--I'm busy and must get to my work. Julia glances out the window and says, "Yes, it is getting LATE in the day, isn't it?" Nicholas' grin disappears as he retorts, dangerously, "Don't try my patience, doctor. Don't do it." (I love the way he says this line!) Is Barnabas in this house? she demands. He is NOT, replies Nicholas. Do you know where he is? Asks Julia. I haven't the vaguest idea, says Nick. She suggests it would be to their mutual advantage to find out. Through gritted teeth, he responds, "I will do everything I possibly can to help you, doctor. Good day." As she turns to leave, he says, "I rather admires you for coming here this afternoon." "What do you mean?" asks Julia, rattled. "You know what I mean," he says softly, significantly, and sees her out, smiling. She gives him a "we understand each other" look and leaves. He stands there, intensely pissed off.

Julia walks through the woods, musing that Nicholas was lying when he said he didn't know where Barnabas was. He must know! Or maybe he doesn't. He was anxious to get me out of there, after he went to the window and looked out at the sky. The sun will be going down soon, then he'll take some kind of action. But. . .what? I must stay. She pulls her jacket around herself, a determined look on her face.

Barnabas sleeps. He opens his eyes and calls to Vicki. She assures him she's still there. He asks the time, but she doesn't know; he's been asleep for hours. He asks if the sun's gone down. Vicki checks out the window and reports the sun is just setting. You shouldn't have let me sleep so long, says Barnabas. You needed the rest, she says. I know that, says Barn. Vicki again asks what's happened. Barnabas ignores the question and begs her to find him a cross. This alarms Vicki--do you fear you're going to die? He again begs for a cross--there's no need for you to understand, just bring me a cross. Disturbed, she heads out the door, giving him a look of concern.

When Angelique rises, Nicholas is sitting in the living room, rubbing a yellow tea rose over his chin. She greets him and remarks how chipper he's looking--Maggie's company has had a good effect on him. He doesn't respond. She asks if he's seeing her this evening--is something  wrong? No answer. Then, his voice filled with venom, twirling the tea rose in his fingers, he asks if she'd REALLY like an answer. Yes, she says. "All right," he says dangerously, rising, sniffing the rose, "I'll give you one." And he viciously backhands her across the face. She falls into a chair with a cry of protest and asks what he did that for. Still inhaling the scent of the rose, he orders her not to ask stupid questions.She claims not to know what he's talking about. He grabs her by the throat and forces her to look at him. "I'm talking about Barnabas Collins, and what you've done to him and what you're doing to my plan and how you had better UNDO them--immediately." Chastened, she tells him she understands. He asks where Barnabas is. Angelique, caressing her stinging cheek, admits, "in a hut by the sea." He tilts her head up with the rose and says, "I don't have to ask you WHY you brought him there, do I?" She complains that he hasn't been fair with her. Under ordinary circumstances, says Nick, "I would let you have your precious Barnabas--what you see in him is your own peculiar problem, not mine," but if anything happened to Barnabas, Adam will die, he reminds her. If that happens. . . You don't have to say the rest, she assures him. Apparently, I do, says Nicholas--I won't just punish you, I've done that before, and it doesn't work--"No, Angelique, if you've gone too far this time. . ." and he pats her blonde head as if she's his bad child, leaving the words unsaid, but the intention obvious. He's still twirling that rose between his fingers. Angelique bows her head. Now, says Nicholas, go get Barnabas back to the Old House, leave him there, and stay away from him! Yes, Nicholas, says Angelique obediently. You are to be waiting for me here when I return, says Nicholas--Maggie is expecting me, and you've already made me late. When it comes to your interests, she says bitterly, you do very well. He puts an arm around her back, caresses it, and says, "That's one of the advantages of being the master, my dear." He sniffs the rose, kisses it,  grazes her sore cheek with it. She touches her cheek, furious, as Nicholas puts on his hat, takes his gloves and takes his leave.

Julia waits in the woods. There's no reason to stay; if Nicholas had intended to do anything about Barnabas, he's done it by now. She hears the door of Blair house opening. Someone is coming. Nicholas tucks the tea rose in his lapel and heads off. Julia wonders why he's leaving now, where's he going? She could have been wrong, the vampire could be hiding elsewhere, and Nicholas is going there now. Should I follow or try another look inside the house? If Barnabas is in there, I could get him out before Nicholas comes back. She hears someone else exiting the house--a woman! She notes--she's coming this way. Julia ducks behind some trees, then gasps, getting the shock of her life. She lifts her hand in front of her mouth and says, with horror, "It's Angelique Collins!"

NOTES: How did Julia feel, knowing Barnabas was once a married man? How much did he tell her about their relationship? Did he confess it started with an affair in Martinique?

One of the best eps of the series. The scenes between Julia and Nicholas and Angelique and Nicholas were sheer beauty, and HAA put in a superb performance all the way around. The bit with the rose has always fascinated me; whoever put that little bit in was a genius. The rose was used brilliantly in a mesmerizing scene!

Love, Robin

Imagine a tornado hitting Collinsport!

Vicki Winters alone in the house when it's picked up inside the funnel.  She's transported to a world where her hair is in pigtails, Barnabas is her Scarecrow, Willie her Cowardly Lion and Eliot Stokes her wise Tin Man.

Both Wicked Witches would be Angelique, of course, and the good witch would be Maggie.  

However, when she taps her shoes together, chanting, "There's no place like home", she is instead transported back to the foundling home where she began her life, with no memory of Collinsport or Collinwood.

Love, Robin  

614 - (Joan Bennett) - The great estate of Collinwood has seen many secrets, secrets which have led to horror, to violence, even to death. And at the Old House on the grounds, another secret is working its spell, for two men bear the mark of the vampire, and one, insane with jealousy and suspicion, is taking his revenge.

Joe continues to throttle Barnabas, and it looks like our hero is about to be dispatched by a jealous man who shares vampire Angelique. As they struggle, Joe tells him I know you poisoned my medicine--and no one is going to have her but me! Mrs. Johnson comes in and screams as she beholds this terrible scene.

Joe orders Mrs. Johnson to stay there--you don't know what Barnabas is like!--but she comes right over and tries to release his hold on the rope around Barnabas neck. Mrs. Johnson actually hits him, but he pushes her away and strangles Barnabas into unconsciousness. Nothing can stop me! screams Joe. Crying uncontrollably, Mrs. Johnson returns to the fray, screaming "Please!" over and over. Realizing what he's done, Joe loosens his hold on the rope and runs. Mrs. Johnson yells, They'll find you--I'll see to it!"  She ministers to Barnabas, crying over the unconscious man, putting her hand on his hair as if she has no idea what to do. (She really must like him, she sure was upset.)

At Collinwood, Roger rings for Mrs. J, looking for a "civilized" cup of tea. Tea won't solve my problem, says Liz. Roger asks her not to start again. You started first, accuses Liz, overhearing me talking to the contractor about my mausoleum. Liz hasn't hired him yet, and Roger requests a rational discussion. If you won't lose your temper, she asks, then I am willing. He notes she seems well today; he thinks she believes he has a limited understanding of her, but he has honestly tried to understand this fear of hers the past few days of being buried alive. This isn't fear, which is usually reserved for the unknown, says Liz, I know what will happen to me. He scoffs and turns away, saying he feels she shouldn't accept it as reality. I can't help it, she says, I have no choice. He isn't going to recommend she think positively, although she would love to. Consider the consequences--is she determined to build the tomb? Yes, to escape, she says, with bells and buzzer and doors that open. It isn't the money, they agree, but Roger's concern the way the villagers will talk, labeling her eccentric or mad--stop the mausoleum, he urges. Liz says but she minds suffocating more than village gossip. Why did this happen, he laments, how did you get this obsession? It can't be explained, she says, so let's not talk about it. Roger suggests equipping the Eagle Hill mausoleum with what she needs--there, they could do what she wants, no one would question it or think it strange.Liz doesn't care about that, but Roger does, and admits it--so many things have gone on in this house, attributed to the Collinses--for Carolyn and David's sake, they shouldn't encourage such a reputation. He suggests they go to Eagle Hill together--they can look over the mausoleum and she might agree to change it. Not this afternoon, she demurs. Roger says if she considers that place, he will take over getting the job done--he wants it settled. She gives him a look and they walk off.

Mrs. Johnson removes the rope from Barnabas' neck and pats his face, begging him to awaken. "Thank God, you're alive," she cries, insisting she wants to go for help--Joe Haskell went crazy--it's always the people you never think, who seem so normal. Barnabas grips his collar, talking harshly through his raw throat, assuring her he'll be all right in a moment. She wants him to stay still. What a time for Julia not to be there, laments Mrs. J, I want to run for Julia and to call the police. Barnabas begs her to return to Collinwood and forget all this. She can't!--that madman, that maniac. . . Barnabas asks her not to call the police as a favor to him. She's astounded--don't you know what Joe was trying to do to you?--his eyes, you didn't see them, they were like an animal! She wants to run to Collinwood to call the sheriff, but Barnabas FORBIDS her--she isn't to call the police, or anyone, and he doesn't want Julia to know about it either--it's between Joe and him--does she understand?Her face clearly shows she does NOT!

Joe wander the woods. What will he do, where will he go? He's in obvious pain, but knows he must get away.

Eagle Hill Cemetery - Liz asks Roger if he heard anything, she heard someone sobbing. They find the tombstone of Jonah Collins, who died in 1863 at the age of 23. Roger says her imagination is running away with her, but Liz is sure she heard something. Roger calls them morbid fantasies. Liz looks at the tombstones and comments on all the undone portions of their lives--plans unfulfilled--doesn't he ever think of these things? Roger says it's dangerous for her to indulge in such speculation, she has no control over her thoughts. Soon I'll be one of them, says Liz, but not dead, that's why I need my mausoleum or I'll be underground like them. I hate it here--the dead walk there, burst out Liz. It's not true, says Roger, begging her to look at the tomb. Liz says there are spirits there, watching, envying and hating them because they want to live. Roger insists they go into the mausoleum, and ushers Liz in ahead of him. They hear someone clearing his throat as they enter; Joe Haskell falls to the ground at their feet. "Oh, my God," says Roger. "It's Joe Haskell!"

Mrs. Johnson returns to Collinwood. She asks Harry what he's doing at the front of the house. I was looking for something for Carolyn, he answers. Mrs. J is obviously upset, muttering that she can't figure out people anymore--everyone, even a sane man like Mr. Barnabas--has lost control of his senses. She makes up her mind and begins to dial Sheriff Patterson. Harry asks if she's been to the Old House, and she looks at him sharply. Why?--she notes that he's nervous. What happened? he asks. She says if she hadn't walked in, someone would be lying there dead right now. "You saved Joe?" asks Harry. "Joe?" she asks--what do you know about this? Nothing, says Harry. How do you know Joe is mixed up in this? She asks. He's staying there, says Harry. How do you know that? Demands his mother. I saw him there, answers Harry evasively. Why were you at the Old House, asks Mrs. J. Harry says he was passing by and Joe told him he was staying there a few days. Whatever for? persists, Mrs. Johnson. Harry gets angry and tells her not to ask him--just tell me, what happened to Joe? No, Mrs. Johnson is asking because she knows he's lying. I knew Joe was sick and staying there and that there was some chance he might not get better, stutters Harry. "He's not too sick to try to kill Barnabas!" cries Mrs. Johnson. This surprises and confuses Harry. She picks up the phone. He asks what she's going to do? What does it matter to you? she demands. It matters, he says, to me. She tells him firmly she's calling Patterson. Harry looks really worried.

Harry cuts off his mother's call--no, he says--please, Ma, no. She knows he's afraid of the police, and knows more than he's saying. He didn't do anything, he assures her. Everyone tells her the sensible thing to do is the crazy thing to do, complains Mrs. Johnson--even Barnabas, who said he didn't want me to call a doctor or Julia--I hope I never have to experience a day like this again! Harry repeats, "Joe Haskell tried to kill Barnabas. . .Mom, something weird's happened down there." Mrs. Johnson accuses her son--that's making you restless, isn't it?--I know you--you want to go out and find someone--there's someone you must tell this to--who and why? They are interrupted by Liz and Roger bringing Joe in. Mrs. Johnson becomes hysterical--you're bringing him in after what he's done? Roger, supporting Joe, asks what she's talking about. Harry and Roger help him into the drawing room as Sarah Johnson screams, "You wouldn't help him if you knew what he was going to do. He's gone mad!" Liz asks what she means. Mrs. Johnson tells her Joe was trying to kill Barnabas. Joe is deposited on the sofa and Mrs. Johnson explains she saw the whole thing--he had a rope around Barnabas' neck--and no one is going to do anything!Roger asks her quietly to tell them what happened, and Mrs. Johnson describes the scene, ending with the fact that Barnabas is all right, but didn't want anyone to know--Joe has gone crazy. Roger points to Joe and says he's hurt, how could he have had the strength to do this? Liz says it seems impossible, but Mrs. Johnson demands they ask him. "MOM!" screams Harry, trying to shut her up. Mrs. Johnson insists Roger and Liz are there and will do what's right. Roger gently asks Joe if he tried to kill Barnabas. "Answer me Joe, we have to know!" Joe gasps out, "I have to kill Barnabas, I have to--before he kills me!"  Mrs. Johnson looks smug and vindicated. Liz asks her brother what he's going to do. Roger picks up the phone and dials the police.

NOTES: Two men fighting over one beautiful vampire. . .ironically, though Barnabas doesn't want Angelique, he continues to protect her. Joe is willing to make himself a murderer, hoping Angelique will turn to him, but that wouldn't happen, and we know it.  Clarice Blackburn as Mrs. Johnson was excellent, absolutely fantastic!

Roger, as usual, worries about what the neighbors will say, but the rep of Collinwood is already firmly in place, what's one more crazy lady with a strange coffin? His idea to utilize a mausoleum already available sounds sensible, but will Liz go for it?

What will happen to Joe? To Barnabas? Where will this sticky love triangle end?


615 - (Lara Parker) - Again the sounds of shrill police sirens has broken the silence on the great estate of Collinwood. For one man has tried to kill another, and vowed that he would keep trying until the deed is done.

Mrs. Johnson paces outside the closed double doors of Collinwood's drawing room. Sheriff Patterson calls her in to hear her account of what happened today. I pray I never have to live through another day like this one! she wails--the things I have seen!--you must keep Joe in jail, he's going to try again, you should have seen his eyes! Patterson assures her they have Joe in custody. She tells him she's known Joe all his life. She went to the Old House because she was worried about Barnabas and wanted to check on him. She found the door open and walked in. Julia, who has walked downstairs, overhears the rest. I saw Mr. Barnabas and Joe was standing over him, a rope around Barnabas' neck, says Mrs. J., pulling tighter, and Barnabas was strangling!  Julia's face fills with shock.

Julia is listening so intently, she's unaware when Sheriff Patterson pulls open the doors and catches her listening. She begs to know if Barnabas is all right. He assures her he is. Mrs. J tells her Joe ran out when she came in and she tried to make Barnabas comfortable. Julia wants to immediately leave, but the sheriff wants to talk to her. (There appears to be some badly cut tape here.) The sheriff is suddenly questioning Julia--Joe was found an hour later at the Eagle Hill Cemetery by Roger. Mrs. J leaves Julia and the sheriff alone. He takes out his pad. She tells him she didn't know it had even happened, but Patterson feels she knows why Joe did this. She denies it. Patterson assures her he is patient. Julia suggests Joe isn't well. Patterson asks her why Joe thinks Barnabas wants to kill him. Julia asks, "Does he?"That's his defense, says the sheriff--in your opinion, does Joe have any reason to think this? Of course not, she says. He questions her about the poisoned medicine, and she tells him it WAS poisoned. He asks who could have done it. Julia lists Barnabas, herself, Willie, and Maggie Evans, who visited him. I have the medicine at the Old House, she says, I came to get fresh--I don't know how the poison got in the medicine bottle. Patterson questions her about coming in on Barnabas giving Joe a dose of the medicine when she noticed something was wrong. Julia immediately jumps to Barn's defense--he didn't know anything was wrong with the medicine. Did he usually give Joe his medication? Asks Patterson. We all did, says Julia, whoever was sitting with him. Julia again denies knowing any reason why Barnabas would kill Joe, especially since he saved him in the first place--Joe isn't rational, he's disturbed mentally--you can't take the accusation seriously. The sheriff disagrees, someone drove Joe to this irrational state--and he means to find out who. He allows Julia to leave--but warn Barnabas I have many questions for him, too.

Old House - Barnabas holds the poisoned bottle of medicine. He tells Julia the sheriff can have it. (Barn is wearing an open shirt and a scarf, which would have been a dead giveaway to ME.) He had nothing to do with the poison, and no one can prove he did. Julia asks to examine him; Joe might have hurt him. Barnabas refuses--his throat is getting better. She gives in, but reminds him that the sheriff is going to question him, and unless she can say he's in no condition to. . .  Barnabas assures her she shouldn't be thinking about him, but she can't help it--I am--Patterson implies that it's quite serious, and she agrees--she thinks he should call a lawyer. Barnabas is more concerned about the police finding the marks on Joe's neck, and Julia wonders why that's of such concern. What if they ask him to explain how he got the marks? persists Barnabas. Julia feels Joe won't tell them, and anyway, what if they do learn who the vampire is?--they might be more successful than they were!--what difference does it make who catches the vampire? She asks. Barnabas feels if they do find the vampire, his own past will somehow be discovered. Julia insists that's insane, he has no connection with this. (you should only know!) Barnabas wants to take no chances and asks where Joe is. In the hospital, she says, under guard. As his physician, I want you to go there this very minute and learn what Joe has said--try to give him a sedative to silence him. When she demands to know why he's so concerned, he gets testy--he's concerned about what Joe might say. WHY? she demands. Irritated, Barnabas tells her if she won't help, she might just go back to Collinwood.That stings--I do want to help you, says Julia. You know how you can, he says pointedly. Chastened, Julia agrees to go to the hospital, but says she wishes she understood. He insists he's explained it all. Julia points out that he suddenly seems to be protecting the vampire--WHY? "I'm doing no such thing, Julia," he says defensively. She leaves without a word.

Darkness. Mrs. Johnson tells Barnabas she always prided herself on not saying too much, but Patterson rattled her so, she hopes she didn't get him into trouble. Of course you didn't, says Barnabas kindly. Ah, but you didn't hear what I told the sheriff--I had to tell him you told me not to call the police--I didn't, but Roger, who didn't know you didn't want the police involved, did. I was concerned about Joe, Barnabas explains. Mrs. Johnson calls his attitude a Christian one. They hear a car. Mrs. J says she couldn't share such feelings. It's the sheriff, and Mrs. J gasps. Barnabas reassures her, tells her to be calm, and welcomes the sheriff--I was expecting you, says Barn. Barnabas bids Mrs. J. goodbye and tells her to assure his cousin Liz he'll be all right.

Barnabas invites the sheriff into the drawing room and offers him some sherry. Barnabas pours a glass even though the sheriff refuses. Barnabas tells him it was an unfortunate incident--I want Joe given the proper care--it's tragic to watch someone we know collapse as Joe has. The sheriff asks Barnabas how long Joe had been staying there before the incident. Two-three days, answers Barnabas, inviting Patterson to sit down. He describes how he found Joe in the woods, badly injured. He says he didn't know the extent of his injuries, which the sheriff finds hard to swallow--he called Dr. Hoffman, doesn't he have a theory? Barn just holds the glass of sherry in his hands and explains, I gathered Joe had caused the wound himself. The sheriff says if they had taken Joe to a hospital, the police would have automatically been called in. Barnabas says he knows. Is that why you didn't take him? Queries Patterson. No, says Barn evasively, Julia felt Joe shouldn't be moved. Yet three days later, he was strong enough to get out of bed, attack you and run through the woods, says the sheriff. At what cost to himself? says Barnabas--Julia went to the hospital now, worried Joe's actions caused a serious relapse. Patterson asks why he didn't report Joe's suicide attempt to them. Joe is a friend, Barnabas reminds him, I didn't want his difficult time known. The sheriff asks why Joe is having a tough time, but Barn can't answer for him--I simply felt the fewer people who knew, the better. "And he tries to murder you," says Patterson. Barnabas insists that's been overstated, but the sheriff said Mrs. J told him everything. She was hysterical, insists Barnabas, her story more vivid than real. Patterson tells Barn Joe confessed to doing it--and promised to do it again. Barnabas doubts it, but the sheriff says he thinks Joe has a reason--he thinks Barnabas is trying to kill him. Barnabas tells the sheriff Joe isn't in control of his faculties, obviously. Patterson asks about the breakup with Maggie--did Barnabas try seeing her afterwards? Good heavens, no, says Barnabas with an amused smile. (pick a different name, sheriff.) "Well, then," says the sheriff, "over any other woman?" Here Barnabas looks away. The dogs howl. (Uh oh!) Barnabas walks away from him, looks out the window at the encroaching dusk. Patterson says something is missing in this case, and his hunch is that it's a woman--am I right? Barnabas doesn't answer.

Angelique rises from her squeaky lidded coffin. "Barnabas?" she calls.

The object of her hot-blooded affection tells Patterson he and Joe never quarreled over a woman, so "your hunch is wrong." Julia says Joe's medicine had been poisoned, reveals Patterson. Yes, agrees Barn, handing the bottle over to Patterson. The dogs howl, seriously distracting Barnabas. The sheriff says after they check out the medicines, I'll have more questions for you, Mr. Collins. Barnabas, however, is listening to the howling dogs and ignoring the sheriff.

Ang calls to Barnabas to come to her. I told you to be here when I awoke, she chastises--why didn't you come to me, why?--come, she demands, leave your house, now.

Barnabas starts to wander away, and the sheriff asks where he's going. No where, says Barnabas nervously.

Ang tells Barn, I know you want to come to me--why are you fighting it?--I need you, come to me, she calls, reaching out."No, no," mutters Barnabas. What did you say? asks Patterson. I'm suffering the effects of my experience, says Barnabas. Patterson asks if he remembers his last question, but Barn says he doesn't recall--I don't feel well--can't we discuss this further another time? Patterson is puzzled--something is happening in this house, now, isn't it, something that's making him feel this way?--WHAT, Mr. Collins, WHAT?

Woods. Julia runs into Patterson. The woods are scary, she remarks. He tells her she shouldn't be wandering. "The dogs. . ." she says. He tells her they upset Mr. Collins, too. This registers with Julia, but she carefully hides it. I know you're close to Mr. Collins, says Patterson--is he usually in the best of health? Yes, she replies. He's acting strangely, almost as if he were having some kind of attack, he tells her--he was standing at the window, listening to the dogs, and didn't seem to hear a word I was saying--it's as if he were ill, and I thought he was going to faint--he was talking to himself, and it was as if those dogs howling did something to him that changed him completely. Julia's eyes go wide.

Old House - Barnabas sits in the wingbacked chair. I will not go to her, not tonight, he orders himself--it's too dangerous--I will not go! He hears THAT giggle, and Angelique appears. I can't leave you alone, she purrs, so if you don't come to me, I must go to you. The police were here, he says, I couldn't leave. Come to me now, she coaxes, opening her arms. Didn't you hear me; the police might come back! He warns. Did you give Joe the medicine? she asks--is he dead? No, says Barnabas, he's alive--Julia stopped me. Ang is not pleased--we must finish him now, she says. We can't, says Barn, the police have him in the hospital. "How dare you fail me?" she demands. "You have not yet learned, have you, that you must not disappoint me. No, you're still too much your own person, Barnabas." He rises from the chair. She walks slowly toward him. "I will not have that," she says. "No, I will not. You must learn that you are mine." She wraps her arms around his neck. "No. . .no," he murmurs. (We get a quick glimpse of her slipping the fangs into her mouth.) He moans as she sinks her fangs into him, and she looks like she's going for every drop he's got.

Julia is in the woods, looking worried as she heads for the Old House.

Barnabas sits in the chair again, breathing shallowly.Angelique asks if he can hear her--now you must know how much mine you are, she murmurs, and soon, you will be with me forever. Her face has a dreamy look.

Julia enters and sees Barnabas sitting in the chair. She asks what's wrong. He's barely conscious. Stay away from me, he says in a weakened, faraway voice--nothing is wrong, at least nothing you can do anything about. He passes out. Julia looks beneath the scarf and finds the dripping bite marks. "Barnabas!" she cries. "Oh, Barnabas!"

NOTES: Chilling-by far, one of my favorite bites. She really looks like she's burying those fangs into his throat, and all that talk about belonging to her is spooky-and sexy--as hell. She never gets Barnabas out of her blood, even though, as her victim, he tries not to listen, not to obey. Great performances on the part of both actors.

Who thinks Julia should have caught on sooner, even that first night when Barnabas returned to the Old House looking sickly and pale, holding his collar around his throat so protectively? Julia had her Tom experience only recently; how could she fail to notice the signs?

Wasn't it fun watching Barnabas trying to pay attention to his inquisitor, Sheriff Patterson, trying not to listen to Angelique's summons but unable to help himself? Fortunately for Barnabas, Julia knows now, thanks to the Sheriff's innocent prattle about how oddly Barn was behaving. Highly dramatic last scene there, as Julia finds the bites and says his name, twice, of course.

Love, Robin

A most warm welcome to Afan and CD Tate.  Allow me to raise a glass of sherry, brandy or Diet Coke to your health, and wish you much pleasure and fun on this delightful board.

We're a goofy group, but essentially harmless--well, most of us, anyway, and those who aren't, you'll never know which, hehhehhehheh!

Love, Robin