I was a big cat fan during DS' stint on the air.  I recall Peter, a nasty black male that was always fighting and getting nasty wounds, named for Dr. Peter Guthrie, the parapsychologist who died at Laura's hands.  Then there was the black female I wanted to name Angelique, but knew my brother would never put up with such a name and I had to be clever.  So I suggested Angel.  He thought it neat to name a black cat Angel, so that's the name she kept.

My hubby and son are allergic to cats, so we've always had dogs in my married household.  Right now, Snapple Bundy Vogel, a black and gray schnoodle, rules our roost.  He's totally adorable--and knows it.  He'll climb on the table and try to steal food, if he can get away with it, but we watch him carefully.  He did get hold of a bunch of Thin Mint Girl Scout Cookies and scarfed them up.  At least it took care of his dog breath!

Joshua was once a cat in 1795.  DS and cats go well together, and so do animal lovers of all types!

Love, Robin

I received mine, too, yeeee hawwww!

Love, Robin

This was a great scene.  I suspect Karlen got so into it, he spat out the food almost without thinking--or perhaps someone coated it with pepper as a joke and it burned his mouth!  They weren't above playing silly pranks on each other on DS!

Poor Adam, Willie was just SO mean to him, like a jealous older brother!

Love, Robin

499 - Sam has put the finishing old-age touches on Angelique's portrait.

A hooded figure waits in the gazebo, calling to someone, begging that person "to try." Sam pauses in his work at a little after midnight, sipping some coffee. He hears sobbing emanating from the portrait.

Cassandra/Angelique bows her head and cries, hiding her aging face in the hood.

Tony comes to the gazebo. Cassandra calls him over. She's grateful he came so quickly, but won't let him get close to her. Nothing is wrong, she says, she doesn't want him to see her. She feels pain, and needs his help desperately. He wants to face her, and she says, if he insists. . .she tells him to use his cigarette lighter, if he wants a better looks. He sits beside her and illuminates her hideous, ancient crone's face.He asks what's happened to her, but she uses the lighter flame to hypnotize him. He'll do whatever she asks, he vows. The portrait has been stolen, she says, she must get it back tonight--her survival depends on it--if she doesn't get it back tonight, she'll die. Someone is practicing black magic on the portrait, aging the face, and as the portrait ages, she will age with it. She asks him to help her find the artist working on the portrait--an artist who has dealt with the Collinses. Amos Parks and Sam Evans, volunteers Tony--his daughter is Maggie Evans. Of course, says Cass, the one who looks like Josette. Tony said he once did Barnabas' portrait. So he must be the one, surmises Cassandra. She thanks Tony and promises she will show him her gratitude. Carolyn catches them. "Well, well, isn't this a cozy little scene?" she asks icily.

Cassandra covers her face in the hood and Carolyn asks if one of them isn't going to say something in his/her own defense. Tony assures her this isn't what she thinks. She says he doesn't sound convincing--what's going on? asks Carolyn. Tony says Cassandra needed help in a legal matter. To be discussed in a tender, romantic atmosphere? asks Carolyn--she happened to wander out here because she saw his car pull in the driveway--she thought he was coming to see her! She saw him get out of his car and go to the garden, so the followed him, and didn't expect to find anything so tacky as this. Tony turns to Cassandra. Please tell her she's wrong, he insists. Speak up, Carolyn urges Cassandra. Cassandra says it wouldn't do any good--Carolyn has already passed judgment on them. No, I've only had to come to a conclusion, says Carolyn--the one who will have to pass judgment is Uncle Roger. This upsets Cassandra, who has far more pressing matters to contend with. You remember him--your husband, says Carolyn. That would be a mistake, says Cass--ever since she came here, no one has understood her, or even tried. Poor, misunderstood Cassandra, laments Carolyn with sarcasm--"If all this is so pure and innocent, why do you keep slinking back in the shadows?--come on, show us your big blue eyes!"

Sam continues to paint, and Cassandra screams, "STOP IT! STOP IT!" Carolyn asks what's wrong and Tony asks if she can't see Cass is in pain. She doesn't care, points out Cassandra, and Carolyn again observes how Cassandra doesn't want to show herself. Don't come near me, warns Cass--I don't want your help, leave me alone. Cassandra flees, and Carolyn tells Tony not to go after her--let her get help from Roger, says Carolyn, but Tony says he's the only one who can help her. Well, then, warns Carolyn, if you go after Cassandra now, you'll never see me again. (oh, no!) Tony gazes from the disappeared Cassandra to the dewy-eyed Carolyn, unsure of whether to pursue the lady or the tiger.

Tony sticks with the blonde--he'll stay. She asks if it was that difficult to make that decision. Yes, he says, but he doesn't know why. Why did you meet her here? asks Carolyn. She asked me to, he says, but he can't explain it--it makes no sense to him. They've met before, he confesses, and it's been going on about a month. (sorcery and sex?) She asks if he's in love with her, and he says of course not. Is he doing it because he hates Roger?--no--he doesn't blame Carolyn for thinking the worst, but he can't explain--she'll just have to take his word for that. Tearfully, she says she's glad to know her track record is still perfect--she meets someone she likes and everything is rosy, until she starts convincing herself he shares her feelings--then comes a rude awakening.She knows how much he cares about her, Tony says. Yes, she says sadly, and he was wise not to let it go beyond that. That's her usual mistake--she can't just care and let it go at that--she has to start falling in love. This admission startles Tony. Carolyn says she isn't blaming him--she should have learned by this time. He pulls her close and says that a month ago, he would have been worth falling in love with. Now he isn't so sure. She asks what's happened to him, but he doesn't know. He's changed, because of Cassandra, but again, doesn't know. I know how to handle her, says Carolyn, I'll put her in her place--with Roger--she's his wife, and if she wants to stay married to him, she'll take my advice. Tony warns her that Cass is dangerous, he doesn't know how, but she has power over people. Tony, says Carolyn, if there's one thing my family has in abundance, it's power. (I love that!) He isn't referring to that kind of power, says Tony, but Carolyn assures him that if it comes to a showdown, Cass' power is no match for theirs. Tony advises Carolyn to stay away from her, and Carolyn responds that she has too much to lose if she does. She makes Tony promise not to see Cass again, but he says he can't. He doesn't want to go on seeing her, but he might not have a choice. He can't keep that promise, no matter how hard he tries. No, it makes no sense, protests Carolyn--he's either gone crazy or lost all sense of self-respect. Frankly, she doesn't care which it is anymore. Goodbye, Tony, she says, and stomps off, leaving him standing there, hands in pockets, dejected and confused. (and Cassandra is destroying the Collins family relationships in this century as she has in the past!)

Sam continues working on the portrait, which looks downright hideous now. He tells the subject of the picture that she did have such a pretty face, he doesn't know what Barnabas was thinking, but he was always on the eccentric side. Cassandra hovers outside the window, staring in. She knocks at his door and when he opens it, she enters and tells him she must speak with him. He protests--I'm working! She knows he's working, that's why she is there. She shuffles in, barely able to walk. She gazes at her portrait, then pulls back her hood to show him the face he was working on--don't you recognize it-- she asks--he's been looking at it all evening. Sam is stunned--he sees the resemblance.She doesn't care if he understands, she says, who she is isn't important--she has come for her portrait--give it to me and I will leave you alone. The painting belongs to someone else says Sam. Barnabas Collins? spits Cassandra. Barnabas stole it from her, the portrait is hers, and she will have it back. She tries to take it, and he says if there is a dispute between her and Barnabas, she must settle it with him. She tells him she has no intention of leaving without her portrait, but he says she has to leave. She has only met him, she says, and has nothing against him personally, but she gives him one more chance to return her picture. If she refuses she will be forced to take it from him. He orders her to leave his house. Very well, she says, return to your work--try and finish the picture--just try! She hobbles out, her beautiful, youthful legs not matching her ravaged face. Sam returns to the portrait and finds it going blurry before his eyes. What's wrong with me? he wonders. Horrified, Sam realizes he's losing his sight. He looks around the room; everything growing blurry--then his vision goes dark altogether. "I can't see anything!" he cries, stumbling over his own furniture."Oh my god! What's wrong?" He hears someone entering the house and demands to know who it is. It's Cassandra, and she walks past the blind man, takes her portrait and tells him, "I gave you fair warning, Mr. Evans!" He demands to know what she's done to him and she bids him goodbye and leaves with her portrait. Sam, attempting to follow her, stumbles over the step, and cries, "I am blind!"

NOTES: This is one of those cases where Barnabas gets someone into terrible trouble without meaning to, but it's a damned sad thing that Cassandra took out her fury on poor Sam. Dragging the innocent into his feud with Angelique, leaving Sam blind, is taking it beyond just the two of them. Also, Cassandra mucked up Carolyn's budding relationship with Tony, which is a shame, because I think he's good for her.


500 - The blind Sam sits in a chair, staring at nothing. Maggie returns home, babbling away, and he asks, "Maggie? Where are you?" She's puzzled, then stunned when he tells her he can't see.He tells her not to panic, then describes what happened--he was able to see, but the minute be picked up the brush. . .she goes to call Dr. Sloan, but Sam tells her before she calls him, bring Barnabas to him. He angrily orders his upset, confused daughter, "BRING HIM HERE!" Maggie hastily leaves, and Sam stumbles forward, trips over a stool, and reaches out to the empty easel.

Basement cell - Barnabas finds Willie holding up a diamond necklace and Adam trying to capture the lights reflected from it. Willie is laughing, taunting his brother, saying that Adam is so dumb, he doesn't know the value of the necklace. Barnabas enters and angrily tells Willie HE does know. Barnabas demands to know what Willie is doing. Adam found it in the wall, claims Willie. With no help at all? asks Barnabas, angry Willie is lying to him about finding Adam with the box of jewelry. Barnabas says Adam disagrees with Willie, and the latter hands back the necklace and says, "I quit." He refuses to stay! Barn asks him where he'll go--back to Windcliff? Willie says he wouldn't have left Windcliff had he knows of this baby-sitting gig. Doing a poor job of it, too, remarks Barn. Willie accuses Barn of taking everyone else's side, never his. Barnabas returns the necklace to the red velvet box, telling Willie the only thing lacking in his character that would make him a truly great blackguard is intelligence. (Ouch!--poor Willie is only looking for Barnabas' approval, how sad is that?) Willie is annoyed, but Barnabas orders him not to lie to him--then realizes the emerald earrings are gone. Where are Josette's earrings? he demands of Willie--who immediately blames Adam. Willie pretends to search the floor and Barnabas asks Adam if he has any of the jewels, holding up the necklace as an example. Barnabas pulls out his pockets, one at a time, to show they are empty. Willie does the same. Willie nervous watches as Barnabas repeats with the other pocket, as does Adam. Willie has them, says Barnabas, he must. Nope, insists Willie--search him, I don't have them! Someone has, says Barnabas. Willie suggests Adam hid them in the bed. Find them or be accused, orders Barnabas--he'll wait there while Willie tears up Adam's cot. Adam does protest when Willie takes his pillow, but Barnabas assures him it's all right. Adam smiles and says "Barnabas," looking very happy and trusting.

Julia sits upstairs at the Old House, reading a book. She answers Maggie's knock at the door. The young woman relates what happened to Sam--he wants to see Barnabas, but he needs Julia more--he's gone blind. Julia rushes off to get Barnabas--they'll both go.

Barnabas, Julia and Maggie head to the cottage. Sam wants to speak alone with Barnabas. Julia wants to give him a preliminary examination, and Maggie calls her father cruel for not allowing Julia to check him before speaking to Barnabas. Maggie leaves. Barnabas wants Julia to stay, and a furious Sam accuses her of being "in on this" with Barn. I'm not in on anything, insists Julia. Sam says she can stay, then explains to Barnabas that he followed his instructions; he describes what happened. Julia listens carefully as Sam tells of aging Angelique's portrait--all ordered and paid for. A woman came in, the woman in the portrait--she said it was stolen. Barnabas insists he had permission from the owner. Sam refused to give it to her. When he went back to paint, the woman told him he'd never finish it. He picked up his brush and found he couldn't see! Barnabas exhibits fear, knowing what has happened, feeling extremely guilty that he has brought this on Sam, who demands to know what Barnabas involved him in.Barnabas says he had no idea there would be any danger. Julia interrupts--she wants to examines Sam's eyes. He sits down and she turns off the light. She takes out an ophthalmoscope, telling him he'll need to see a specialist tomorrow. She looks very perturbed after checking Sam's eyes, turns on the light, and reluctantly tells the artist that he must see a specialist. Maggie hears this and sits next to her father. Julia wants Maggie to give her father a sedative and hands her some pills. Sam curtly demands to know what she saw, but Julia evades this by telling him, again, he needs to see a specialist. Sam doesn't think his condition temporary, but reluctantly accepts the pills. He falls over another stool. Maggie helps him up, and Sam demands, as he is led away, "What's an artist without eyes?" Left alone, Julia tells Barnabas the old woman was, of course, Cassandra. She asks why he brought the portrait to Sam. I had to see if the portrait controls her or she controls it, he says--she and the portrait are one and the same. Julia gives him the bad news--the optic nerve is damaged and Sam might never see again. The nerve endings are pale now. Barnabas wonders when he'll learn not to involve others. When you are free, says Julia. Barnabas frets he never will be--and now he's destroyed another life. Julia tries to comfort him, but he is still guilt-stricken. Barnabas wishes something could be done--surgeons?--if only Eric Lang were alive. Julia agrees, if he were, all this might not have happened, even Adam. Adam, worries Barnabas, what if Angelique learns of him, what will she do to Adam?

Adam listens to Lang's tape. "Before," repeats Adam. "As before." Willie brings in food and accuses Adam of talking to himself, of not being his friend. Adam is hungry. 10 o'clock feeding for the baby, taunts Willie. Adam reaches for his food, saying, "As before." You learned something, huh? asks Willie cruelly--he wants to teach Adam something new. He tosses away some of the food, then begins to hold up and tease Adam with a chicken leg. "Barnabas," says Adam, reaching angrily for the food. Willie tells him if he wants the food, he has to say "I stole. . ." Things escalate, and Willie prowls the cell, wanting Adam to say "I stole the earrings", or he's going to eat his food.Say it! Demands Willie, as Adam continually reaches, fruitlessly, for his chicken. Adam frees himself from the leg chain and comes after Willie. Willie tries to lock him in, the entire wall shaking, but Adam escapes and pursues Willie. They reach the front door, Adam menacing Willie. Barnabas and Julia return to the Old House. She tells him she won't let him stay alone, he's too depressed. He feels he has a right to be, given his guilty load. Then enter the house to find Adam strangling Willie. Barnabas orders him to let Willie go, but Adam doesn't, he's had too much taunting from his pseudo-brother. Barnabas tries to drag Adam away, raising his cane over Adam, beating him with it.Adam, shocked at this cruelty, stares in disbelief at his "father". Again and again, Barnabas beats Adam. "Let Willie go," he shouts. "Barnabas," sobs Adam, releasing Willie. Adam stands, grabs Barnabas' cane from him, tosses it away, and begins strangling Barnabas. "No, Barnabas, no!" cries Julia as Adam pushes Barnabas, gasping for air, against a chair and continues to strangle him

NOTES: SAD, SAD, SAD! Poor Sam, Adam, even poor Willie, to some extent. Willie is to blame here, he took things too far, but then again, this shows clearly that releasing him from Windcliff was a terrible idea, and that is Barnabas and Julia's serious error. Adam wants and needs approval like a child, and no one seems to be giving him what he needs. And now, with this explosion of violence, things can only get worse. As far as Adam is concerned, Barnabas has betrayed him, hurt him, and now he will hate him as much as he revered him.

What will become of Sam, an artist without eyes? He once lost the use of his hands thanks to another wicked woman--Laura Collins. Barnabas asked for his help but didn't think through the consequences, as he often fails to do. Is poor Sam destined to lose everything thanks to the Collins family?

Love, Robin

They simply seemed to drop the "David fearing Barnabas" storyline.  Barnabas is human now, so perhaps the boy senses there is no reason to fear him.  Children are generally very sensitive to such things.

Love, Robin

497 - A frantic Mrs. Johnson returns from Boston, goes to the Old House, and tells Julia the terrible dream keeps repeating itself, each time more terrifying than before. Mrs. Johnson doesn't want to tell the dream to David, but she can't help herself--she came to the Old House because she feared seeing David, but it's no relief--she must go to Collinwood and tell him, or she'll have no peace. Julia tries to stop her, but Mrs. Johnson tries to hurry away. Julia closes the door so she can't leave.

I won't let her do it! Julia insists. Mrs. Johnson knows Julia realizes how bad the dream is, she must let her go. Hysterical, the housekeeper says she has to tell David. So Julia slaps her across the face, apologizes, and helps the sobbing Mrs. Johnson into a chair. What is it about the dream that makes us stop being ourselves? wonders Mrs. Johnson. Julia doesn't know, but she's bringing in Stokes to help them. Mrs. Johnson wants to go see Stokes, but Julia says it's going to take several days to figure things out--she'll call the professor today.Mrs. Johnson cries, what can I do until Stokes is ready? Control yourself, encourages Julia, but Mrs. Johnson feels that someone else is controlling her, and she can't. Julia went through it, too. There's a knock at the door, and it's David. He tells Julia Roger wants to see her at Collinwood. Mrs. J wipes her eyes and smiles at David, then stares raptly at him. Julia clearly doesn't want to allow David to hang out with Mrs. Johnson, and sends her back to Collinwood. David offers to go with the housekeeper, but Julia won't let him--she has something fascinating to show him--a tape recorder. He's excited about this. Willie runs in and tells Julia to come downstairs--he must speak to her. Julia tells David to stay upstairs; she'll bring up the tape recorder. David calls to Julia that he'll be playing outside. Of course, he runs smack into Mrs. Johnson, who's been hiding from him. She had to see him, she says, and couldnt leave. "Come with me," she says. "I have something very important to tell you." Trancelike, she leads him away.

Joe arrives at the Evans cottage, where Maggie frets that she lost those earrings. I have them, he says, in my pocket--I took them from your pocketbook that morning--had them appraised, wanted to find out if they were valuable enough to be stolen property. Maggie is annoyed at his obsession with the earrings--are they part of the crown jewels? she asks sarcastically. They are worth fifteen thousand dollars, he reveals. (whew!--no wonder Barn is living in such wealth!) She's shocked--are they stolen? No, but they are very old, he says. She comments on what a busy day he's had. He explains he looking out for her interests. My hero, she says sarcastically. He accuses her of not being the least interested in where they come from, and she asks why she should be. He gets in her face and says you don't just get a pair of earrings worth that much money out of no where. She puts them on and curtly tells them if someone comes along and says it was a mistake or lays claim to them, she's going to keep them. This makes Joe unhappy. She still has to get dressed. She stares at the earrings in the mirror and Joe asks her to take them off.She asks why. He says she looks better without them, and adds, angrily, that she isn't herself when she wears them and he doesn't like it. Smiling, she suggests he thinks she's hiding something, that there's another man in her life--and he's jealous. He refuses to dignify that with an answer, and suggests they cancel their dinner. Or find a place that serves baby food, she suggests nastily. Joe storms out. Josette's music begins to play and she wonders if there is something important about them. What does she remember? Something about the Old House, but what?--she must go there and find out.

We focus on the Old House drawing room. Willie is playing with the unloaded rifle when there's a knock at the door. He hides it and answers. It's Maggie, and he's thrilled to see her. She asks to be invited in. Come right in, he offers eagerly. Seemingly in a trance, she says she hasn't come to see Barnabas, she doesn't know why she came. She seems confused, but she had to come. Willie is puzzled. She began to remember things, she says, and thought she'd remember more if she came here--it happened a long time ago. Maggie stares at Willie. "It wasn't you, was it?" she asks--I know you didn't come to my house to hurt me, but to warn me of danger--she's suddenly sure of it, and grateful to him. He's ecstatic she isn't afraid of him anymore. Could they be friends, he asks. Yes, she replies--there was something else she was supposed to remember, but can't. She asks who was going to hurt her, why did he come to her house that night? He doesn't know, he claims, he just had a strong feeling she needed protection--he's always liked her, and lots of women were being attacked then--he didn't want her to be the next victim. She thanks him for being so thoughtful. Now that they're friends, could they get together, go to a movie? asks Willie--he'd take good care of her. (so pathetic, poor Willie.) She knows that, but doesn't think Joe would like that--she's engaged to Joe.They could still be friends, insists Willie. She agrees. People need friends, points out Willie--he has no friends. She asks about Barnabas. I work for him, says Willie--not the same as friendship--it gets lonely at the Old House, and he needs somebody to talk to, smile at him--he'd like it to be her. He asks her to think about it, and she promises she will. Willie is pathetically grateful. She has to leave, and both are glad for her visit, and each other's friendship. They bid each other good night, and he opens the door to let her out. Willie retrieves the gun and tells the absent Maggie that it will be her and him--after Joe is gone. He aims the gun and pulls the trigger. (sounds like you can't take the psychotic out of this boy, can you?)

Mrs. Johnson sits beside the sleeping David, regretful. It was wrong of her to tell him the dream, which is going to be terrible for him, but over in a little while. She had to. The least she can do is stay with him until it is done. David's dream starts. Willie is his beckoner, and David is drawn along against his will. Willie's recitation is quiet, emotionless, creepy as hell. Skull. Laughing bride. Bats. A spider web with a huge spider, in which David gets caught.David awakens screaming for help, and Mrs. Johnson pulls him into her arms and holds him as he sobs.

NOTES: Isn't Mrs. Johnson's love for David really sweet? She genuinely cares about the kid, as much as any family member, perhaps more.

I always felt sorry for Willie, despite his violent tendencies. The guy is lonely, an outcast, and wants to be loved. He isn't asking for so much, but is apparently planning on eliminating Joe from Maggie's life so HE can have her for himself. This sounds like big trouble for all concerned. Giving a man like Willie a gun is unwise.

Adam continues to be a touching character, and his obvious love for Barnabas is sweet. His attempts to thank Julia were a little too violent, but he's not a baby, he's a big man with enormous strength, and he didn't mean to hurt her. Julia seemed to soften towards Adam, who is, for all intents and purposes, her and Barnabas' bouncing baby boy! Her pride was a nice thing to see.


498 - Barnabas finds poor, sad Willie sitting on the stairs, gazing through the banister, and asks him if he doesn't have work to do. Willie doesn't want to work--he asks Barnabas to help him--he's afraid he's going to have the dream. This scares Barnabas.David told him the dream, says Willie Mrs. Johnson returned from Boston and told David, and so it goes on. Barnabas says Willie will have the dream tonight, bringing him one step closer to it himself. Willie doesn't want to have the dream. Barnabas assures him he has nothing to fear--HE is the intended victim of the dream curse--time is running out for him. Fight her, urges Willie. Barnabas can't think of how. You must do something, insists Willie, but Barn says he tried to destroy her before, back in the very beginning. One night, in the secret room, he learned what she'd made him and strangled her. She found a way to come back, to transcend time and space and come back. The portrait, realizes Barnabas, must be the key--perhaps there is a way to deal with her via the portrait. He tried to burn it and it reappeared; when Roger tried to sell it to Stokes, it was gone and reappeared on the easel. Willie doesn't understand the connection between the portrait and the dreams, but Barnabas says it has to do with her existence in this time--either she controls the portrait or it controls her. He must find the answer ASAP. Willie might not have to suffer the dream, just follow simple instructions--go to Collinwood and steal the portrait after dark. Barn will assure the window is unlatched. Bring it back to the Old House, and he will give Willie a note instructing Cassandra to come to the Old House at 10 that evening. Even if his plan fails, says Barnabas, he has very little to lose, if he succeeds, Cassandra will leave Collinwood and be returned to the 18th century where she belongs.

Old House - As Lang's message plays on the tape recorder, Adam listens closely. Barnabas, bearing a tray of food, comes downstairs, but only music is playing once again. Barnabas greets Adam with a smile, observing how much he enjoys the music. He switches off the recorder and says they'll get him more tapes. "If both live," says Adam.Barnabas is stunned--say it again! he urges. Adam repeats what he'd said. Where did you learn those words? queries Barn--it's remarkable what you've done, learning three words. Willie comes in bearing the portrait. Barnabas instructs Adam to eat. Willie assures Barnabas he had no trouble getting the portrait, and Barnabas is so pleased, he slaps Willie on the shoulder. Observing this, Adam makes a sound of protest--jealousy? Willie assures him they weren't discussing him, but the picture--he tells Adam if he's a good boy and if he eats his food, he'll show it to him. He turns the portrait to face Adam, who goes ballistic, overturning his tray. Barnabas tells Willie Adam recognizes the evil in the portrait and is afraid of it--this is one more indication that he is right; the portrait was created by black magic, and they will create some black magic of their own. Barnabas gives Willie a letter to take to Cassandra--he'll be back in two hours. Willie wishes him luck and Barn leaves with the portrait. Willie goes in to Adam, annoyed that he has the work of cleaning up the mess he made. Willie taunts Adam about big baby being afraid of a tiny picture. "Afraid Daddy Barnabas is gonna let the picture bite ya?" taunts Willie. Adam attacks his pseudo-brother, swiping at him. Willie offers to teach him to box, and calls him a big ape as he and Adam get into a hitting match. Willie hurts Adam, who can't reach him because of the chain, and Willie, giggling cruelly, runs out and leaves poor Adam locked up.

At the Evans cottage, Sam works on a picture. We haven't seen him in a while. Barnabas visits, bringing the portrait with him. He has a job for Sam--a unusual one. Sam's cool with it, and promises not to ask questions. The work must be completed tonight, says Barnabas. Sam is working on another canvas; Barn promises him $500 in cash, half now, half when finished, if he drops the other job. Sam likes this kind of money for one night's work. Barnabas gives him an envelope with the first half, and Sam accepts. He gives Sam the painting; the artist places it on the easel. He admires Angelique, who Barnabas says is only pretty on the outside. He won't tell him the name of the subject of the portrait--make that pretty face as old as possible, orders Barnabas, gradually, in stages--first, the eyes, the corners of the mouth, lines on cheeks and neck, and finally, deep wrinkles and sagging flesh that comes with old age.Sam doesn't understand why Barn wants to deform such a pretty face, but he understands. Use a brush with hard, sharp bristles, instructs Barnabas (pain!). Sam agrees. Don't start until 10:15 this evening, says Barn, not a moment before. Sam asks why, but Barnabas reminds him of the no questions clause. Sam asks how far Barnabas wants him to go with the aging process, and Barn says to stop when she looks 200 years old.

10:00 PM at Collinwood. Cassandra stealthily leaves the house. At 10: 05, Sam glances at the clock, then at the portrait. Barnabas checks his pocket watch; it's 10:10. Cassandra knocks at his door. It's beginning to storm. I was helping Vicki locate the portrait, says Cassandra. How unfortunate, sympathizes Barnabas. She has no idea what happened to it--someone could have borrowed it. Why would anyone want it? asks Barnabas, it's not of any particular value. How would you know, she asks coolly, and he suggests she'd be the one person in the world who would know it's real value. She warns him about saying those strange things again--she's outta here! He says she made a mistake in letting it go so long--to kill him or put the curse on him, or whatever she's intending. She feigns innocence. She had the power to get it over with anytime she wanted; he points out--why did she leave it until now? She suggests they find a good doctor for him--he isn't in his right mind.

10:15, and Sam begins to work on the portrait.

Cassandra suddenly grabs her eyes, feeling a sharp pain. You'll feel another, and another, says Barnabas happily--don't you know, Angelique? He asks. What is happening to me? she demands, and immediately adds, "Don't call me that name!" Why not? asks Barn, it's your real name. She denies it, her face giving her pain. Admit it, he says, come out in the open! She touches her face, demands to know what he's doing to her.What you tried to do to me, he counters, I'm destroying you--I found a way to get rid of you forever. Advancing on her, he tells her she's going to get older and older and older until she shrivels away into nothing--nothing but the bones and dust of her old age. She accuses him of being mad, and he tells her the age is already beginning--she can feel it in her face, but it will spread to the rest of her body as well. Look at your hands, he orders, and she finds them ancient crone's hands, grotesque. She screams in horror.

NOTES: Good scene between them here. He was so clearly relishing what he was doing to her, and she, still trying to insist she isn't Angelique, kept fighting back, growing hysterical--until she was backed into a corner and realized what was happening. Will Barnabas succeed here? Will he finally be rid of her?

Always drove me crazy how Adam kept hearing the Lang portion of the tape but everyone else just missed it. Suspenseful, but after a while, annoying!

Willie really behaves as if Adam is the younger sibling getting Barnabas? attention--and he's so jealous of that! Willie teases Adam in a typical brother-brother fashion, with a little more psychotic torment thrown in. They're fun to watch together. I bet Karlen and Rodan had fun.

Love, Robin

1795 - Angelique knocks on Barnabas' door and we learn that they had a torrid affair in Martinique--which she wants to continue, but he does not.

Barnabas and Angelique's sad little wedding ceremony, where she is the only one who is happy.  Barnabas, Ben and Naomi are so solemn, as if this were a funeral instead of a wedding.

Angelique curses Barnabas as a vampire and the bat swoops in and bites him.  Shortly afterwards, Ben comes in to find husband and wife lying on the floor, both bleeding and in bad shape.

Barnabas kills Nathan after playing with him as a cat does a mouse.  When Nathan shoots him at the Eagle, Barnabas informs him that he is already dead.

Barnabas and Joshua's farewell just before Ben locks Barnabas in the coffin for 175 years.  Very poignant.  I also was sad to see Ben say goodbye to his friend before locking him away.  Sad!

SPOILERS. . .





1841PT - Catherine tells Bramwell she's having his child.

Leviathan - Carolyn and Jeb awaken in bed together on their wedding night--very racy for DS!

Leviathan - Megan, a new vampire, enjoys herself by biting Roger Collins.  

1968 - Adam says "Barnabas"--his first word!

1968 - Barnabas goes to Cassandra to beg her to let Eric Lang live--and tells her she can have him back if she agrees.  He seems at one point as if he's going to bite her and she covers her throat to stop him, but he takes her hand and brings it. . .where?  We can only speculate.

1968 - Angelique, now a vampire, sinks her fangs into Barnabas as he screams in pain and terror over her shoulder.  You can see how tightly she's holding onto him, and how much she enjoys making him her victim.  A few eps later, she kidnaps him and spirits him to a hut near the sea, where she kneels behind him and bites his throat--erotic to the hilt!  The last time she bites him, hoping to turn him into a vampire and take him away with her, he tells her, "I'm dying." and she begs him not to be afraid.

There are dozens of favorite scenes, but these are a few that come to me right now.

Love, Robin

Great job, Profstokes!  I was singing along, too!  

Love, Robin