548 - Barnabas and Julia gaze out the open window. I should have killed her, he says. They realize she's looking for Nicholas. If he forgives her, says Julia, he will be. . . I'm aware of what, replies Barnabas. She tells him to go to Nicholas' room, he'll find them together--Nicholas will have to be polite, explain her, they'll say she must go to a hospital. If he doesn't, there will be no mercy for Barnabas. Barnabas is concerned about Roger, and Julia asks him, if the situation was reversed, would SHE feel sorry for him? No, admits Barnabas. Then go, orders Julia, closing the window.
Cassandra enters Vicki's room through the secret panel, closing it behind her. She totters over to the portrait, holding onto things as she goes. Nicholas appears from a dark corner. Have you forgotten so soon? he asks--the portrait can't help you anymore, dear sister. She begs him not to look at her, and cruelly, he tells her she is his greatest masterpiece, deliberately tuning on the lamp under her face.
She begs him to turn her back the way she was, but he says they no longer need her--we don't want Barnabas to die, or become a vampire, says Nicholas. Then Barnabas won't die, she moans, but he reminds her she was going to shoot Barnabas at the Old House-he stopped her by causing the pain. She promises to obey any order, but he knows she will promise anything now. She asks to be allowed to prove it if he gives her more time. You interfered with my important plans, he reminds her. She asks why he wants Barnabas alive, and Nicholas explains: Barnabas knows something I don't--Adam--Barnabas made Adam. I can make you older, make you die, but I can't assemble a human being and make him live, laments Nicholas. Cassandra kneels before him and begs to be allowed to help him-he needs her--they won't let him stay without her. He says his plans are made, and she begs him not to let her die. He pulls away from her, remarking that fear is a new emotion for her, and he planned it that way, so she would understand how she made Barnabas feel so often-I'm trying to help you understand him better; don't you feel sorry for Barnabas? She admits to feeling sorry for Barnabas, and he suggests she go beg for his forgiveness. No, she says. Nicholas says, if I make you a little stronger, would you go to Barnabas and make him forgive you? Do you want that? She asks. It's an amusing idea, says Nick, and if Barnabas does forgive you, I will let you live-without your powers--you'll have to rely on your womanly charm (and he forces her to look at her reflection in the mirror). Perhaps Barnabas will pity you, suggests Nicholas-you're stronger already--having a mission always helps. Please to have this new chance at hope, at life, Cassandra assures him, I know Barnabas will forgive me. Nicholas encourages her to go, quickly. She asks if she can have her powers back if she succeeds. "We'll see," says Nicholas, and she exits through the secret door.
Collinwood - Barnabas comes downstairs and tells Julia Nicholas wasn't in his room. He's with her, says Julia. Barnabas is prepared to give up, but Julia says he can't. Barnabas says he can't change what will happen; when morning comes, they may know. "Good night," he says, and leaves. She watches him sadly, and notes the clock striking 3 AM.
At the Old House, Cassandra, shriveled and hideous, sits and wonders if this is another of Nicholas' tricks to give her false hope-will Barnabas ever forgive her? No, she believes Nicholas meant it, he has to have meant it. If she were young and beautiful, she'd know what to say to Barnabas, then she could (could what?-seduce him?--I can't see falling into that trap again) . . .she raises her hands up to his portrait, begging, hoping he will feel pity for her now. The door opens, Barnabas comes in. He hangs up his cape and spots his visitor. "So you are here," he says, "I might have guessed." He asks if she's come to try to kill him, but she says no, she has a different reason and asks him to please sit down and listen to her this one last time. Bent over, barely able to breathe, she watches him sit. She asks if he remembers her as she was when he first met her. He reluctantly admits yes. Do you feel pity? she asks. Does it matter? he queries. Yes, she says, because if you pity me, I have a chance. What, to torture me more? he asks.
No, to make you forgive me, she sobs, falling to her knees before him--forgive me for my injustices, wickedness and cruelty, the pain I caused you, your friends and family, she cries. What new trick is this? He demands, and she denies that, begs him to listen. He refuses to believe her; she caused the death of everyone he loved. I am sorry, she moans. It's too late, he tells her, Josette and my mother have been dead for two centuries, and you murdered them both. Can't you forget that? (now that is asking a lot!) she asks. I will never forget, he retorts, the look on my mother's face when she knew what I was. "I loved you-forgive me!" implores Cassandra, her voice ragged. Barnabas says he cannot forgive. You must, she says, clutching at him, if I am to have any peace. I cannot he says firmly, I'm sorry-if peace were mine to give, I would not have to be honest. He walks away from her. I cannot forget the suffering you've caused in this house-the dream, he continues--"No, Angelique, even if I forgave you for what you've done to me, I can never forgive you for what you've done to others." It's almost over, she murmurs, and he catches her as she falls. "Angelique," he says softly, seating her in his chair. She raises a supplicating hand. "Barnabas, can't you. . .can't you. . ." No, he says. "Why?" she asks. He responds, "I asked your forgiveness, your answer was to make me a vampire. I wanted forgiveness because I could not give you the love you wanted. Angelique, you and I could never forgive each other. . .never." She sinks down into the chair and appears unconscious. He calls her name, takes her pulse, and walks from her, giving her body one last glance.
Roger tells Nicholas how incredible it is that he and Julia haven't been able to find the old woman--they looked everywhere for an hour--he's giving up. Nicholas agrees, there's no point in it. Nicholas laments Cassandra's timing; he saw her while Roger was out searching for the old woman. He isn't good at telling bad news, says Nicholas, but perhaps it won't be bad news to him--Cassandra left him a note. Roger opens it, but says he doesn't have to read it alone. Roger's face goes cold. Cassandra is gone, he says, and is never returning to Collinwood again. Nicholas apologizes, and Roger says he isn't sure he's sorry. He'd prefer a clean legal break, but has no intention of remarrying; she probably will, and he'll hear from her then. Roger says Nicholas needn't rush away, but the latter says he'd feel awkward. Nicholas wants to take a place of his own, he likes the locale. Roger says he and Liz own several properties and he insists on setting him up with one of those. Nicholas watches Roger leave, looking thoughtful, but then the warlock smiles when Roger is out of earshot and says, "Perfect, Mr. Collins, now there only remains one more thing to be done." Grinning, Nicholas leaves the house.
Roger examines Cassandra's note and tosses it into the fire. Julia comes in and he tells her he gave up on finding the old woman. Barnabas enters and says he didn't find her, either. Roger seems annoyed at Barnabas' late call, then apologizes.
He tells them Cassandra has left him, and Barnabas and Julia apologize. Roger thanks them. He knew neither of them were fond of his wife, but he didn't see her as they did, and the less said, the better. He reveals that Nicholas brought him her "dear Roger" letter, then, distraught, hurriedly goes upstairs. Barnabas leads Julia into the drawing room. She's dead, he quietly tells Julia--she died at the Old House. Neither can believe it, and Barnabas wonders if he's free-can she come back? She has before, says Julia, but Barnabas says this is different, Angelique wanted his forgiveness. Barnabas wishes there was some way to know for sure, he can't face not knowing, expecting her night and day to return. The portrait, Julia reminds him, it will tell them her fate. They hurry upstairs.
Old House - Nicholas stands gazing at Cassandra. "You lost," he says to himself. "You made your hatred too much a part of him; he could no more forgive you than I can." He picks her up in his arms and carries her away, grinning.
Barnabas and Julia enter Vicki's room. The portrait is blank, a mass of tattered canvas.
"She's gone, forever!" says Barnabas, overjoyed. "Yes, forever," agrees Julia, staring with love and happiness at him. "I am free!" says Barnabas. "I am FREE!"
NOTES: Is Barnabas truly free? Can anyone keep a bad witch down? There is no doubt that Angelique and Barnabas went through a lot together. She wants him to forgive her for all her terrible deeds, and Nicholas knows the dynamic between the former witch and vampire well enough to know it was an impossible request. Barnabas' only crime was not being able to return Angelique's love, but hers against him was so much worse-she turned him into a supernatural creature and caused the death of everyone he loved. It's no wonder he can't forgive her. Not only did she try her damndest to inflict the curse on him again, she hurt Roger and Liz, each in different ways. Cassandra had no redeeming qualities, and while I felt very sorry for her here, aged and begging, I understood why Barnabas could not give her what she sought.
The acting was superb all around.
Episodes don't get any better than this, my friends!
549 - Approaching the Old House, Julia asks Barnabas if he was sure Cassandra was dead. I recognize death, he says with irony. Julia fears a plot between Nicholas and Cassandra--when did she write that note to Roger, when could she? Barnabas is more concerned about the practical matter of her body--the cops will ask too many questions. Julia says Nicholas will be forced into the open; if he let Cassandra die at the Old House, that means he knew Barnabas would be afraid. If they simply bury her, that would be what Nicholas wants--what questions could the cops ask?--the old woman simply came to his house. As I told the police last week that Adam did? queries Barnabas. Julia says she and Roger can testify to the old woman being dead. She enters the Old House--the body is gone! Barnabas is as stunned as Julia.
Barnabas says she can't just have disappeared. Angelique can, says Julia. Barnabas believes she lost her powers, but Julia insists she only wanted him to believe it. No, she wanted my forgiveness, says Barnabas, and wonders if Nicholas came and got her after she died. Why? wonders Julia, but Barnabas feels she's dead. You need to feel that, says Julia, but Barn insists he feels a kind of freedom, something he hasn't felt since the dreadful day Cassandra came to Collinwood--could this feeling be wrong? he asks. Julia, smiling, says she hopes not. I hope I can live out my life, he says, and ask for nothing more--if she's dead and doesn't return, I CAN. Only Nicholas can tell them, says Julia, and if he leaves Collinsport. Roger will ask him to stay a day or two out of politeness, but he has no excuse now, says Barnabas. Julia says Nicholas came to bring Cassandra back after Trask, and there's nothing for him to do now, nothing at all. Barnabas gazes hopefully at the chair where Cassandra breathed her last.
Adam paces his room. Carolyn brings him breakfast, apologizing for burning the toast, but she has to get up early and into the kitchen before Mrs. Johnson starts her day.
Adam reveals he had a visitor, dark woman with burning eyes. Carolyn realizes it was Cassandra and asks what she wanted. To kill me, says Adam. Carolyn suggests he had a nightmare. She describes what a dream is, filled sometimes with people you know, sometimes people you don't. Adam finds it hard to believe that, but Carolyn asks who here would want to kill him? Ask Nicholas, says Adam, he stopped Cassandra from killing him; he is his friend. Carolyn vows to speak to Nicholas. Adam tells her she should believe him, he tells the truth. She explains dreams can seem more real than what's really happening and says she must go. He asks her to come back soon, not just to get the tray, but to see him, read books. She promises to try. Nicholas is waiting when Carolyn exits the room. She tells him the incredible story Adam told her, about a woman trying to kill him and Nicholas saving his life.
Nicholas says it was a dream, as she suspected. She feared Cassandra has found him, says Carolyn, relieved, but he tells her his sister has left Collinwood, forever. Carolyn is stunned, but he says Roger will tell her about it. Nicholas says he'll listen to Adam's dream himself and convince him it never happened.
Adam is eating his breakfast when Nicholas joins him. Adam says it isn't polite to eat while someone else is there, something Stokes taught him. He was going to make a gentleman out of you, says Nicholas, and Adam says yes. There are more important things, says Nicholas. They discuss what happened the previous night, and Nicholas tells him to allow Carolyn to think it all a dream. Adam doesn't want her to think him a liar. Nicholas says what Adam thinks about him is important. Adam agrees. Nicholas says telling her things like that is childish, and will upset Carolyn--Adam must start behaving like a man. How, asks Adam eagerly. Why do you he allow people to lock you up? asks Nicholas. To hide from the cops, says Adam, but Nicholas assures him the police can be taken care of, it's done all the time.
He doesn't need to be cared for, even if his keeper is as pretty as Carolyn. Adam grins foolishly, agreeing Carolyn is pretty. Nicholas asks if he's in love with her. Adam turns away, embarrassed. Nicholas says all men are allowed to fall in love, it's expected. Adam finds this astounding-every man falls in love? Nicholas says the man must make the woman love him, show her how much stronger he than she is--Adam must learn to TAKE what he wants! How, asks Nicholas. Making a fist, Nicholas says, grabbing, demanding, if necessary by lying, cheating--it's the only way!--he'll help him learn. Adam says Nicholas IS his friend, and the warlock agrees. I must leave, says Blair, but will return tomorrow to his apt pupil for further lessons in male chauvinism. Adam makes a fist. "Take what I want," he repeats, "grab it!" Nicholas tells him to let nothing stop him, grinning, and Adam agrees to do this.
Roger shows Nicholas the House by the Sea, which he tells him is isolated. Nicholas likes that-- and the house of the sea. We'll do some of the work, says Roger, uncovering a chair. I try to live well, explains Nicholas, and Roger asks his what he actually does. Nicholas, saying Cassandra probably never thought about it, doesn't reveal anything to Roger, who notes his speaking of her in the past tense. Roger can't imagine her walking through some door in some city, and remarks he hopes she manages to be happy in her chosen life. Nicholas doubts she will ever achieve that miraculous state. Roger asks if he knows where he is, then says it doesn't matter; she chose the life she has. Nicholas tells him he will take the house and Roger will check with the lawyers. Nicholas would like to buy the house, which seems to puzzle Roger, but he assures him no memories of Cassandra will intervene. Nicholas was thinking of retiring, he has investments and hobbies that will keep him busy. He wants to experiment, see what happens--is the house for sale? Roger isn't sure, at least not at the moment; he must contact Liz about it. Nicholas agrees to renting the house with a clause in the lease to buy. Roger expresses curiosity--I love it here because I was born in Collinsport, but why do you want to stay? He asks Nicholas.
Adam practices what Nicholas told him-"Take what I want! Grab it! You are a man, men fall in love, Nicholas says so," he tells his reflection. "Take what you want! YES! YES! Carolyn! Carolyn, Carolyn, Carolyn!" (uh oh, this isn't good!) He unlocks his door and creeps out. Carolyn follows him back to his room, clearly angry. What is this about? she demands, what are you doing out of your room? Belligerent, he orders her not to speak to him that way. Anyone could have seen you, she reminds him. I shouldn't have to hide, he tells her--"I am a man!" Carolyn says she isn't arguing that, but there are reasons for him being there. She tells him she knows it can't be pleasant. When you come, it is, he says, calming down. I can't spend all my time here, she tells him, knowing he doesn't understand--my mother is ill. You're pretty, he tells her. I'm upset, she explains--I won't be able to keep you here any longer. He again tells her how pretty she is. I heard that, says Carolyn--but there are more important things to discuss. Adam disagrees. What's wrong? She asks, what happened?--are you bored and tired? I'm tired of being alone, he replies. She offers books, a radio--but someone might hear it. She offers to call Stokes to come see him. Adam refuses--Stokes teaches me to be polite, complains Adam, and no one gets what they want being polite! I don't have time for this, says Carolyn--Vicki is waiting to go into town with me. Adam locks the door. "Stay here," he orders--"Listen to me!" She orders him to unlock the door, but he refuses. You agreed to be locked in here, and understood the conditions by which you could stay here, she reminds him sharply--do you want to leave? No, he says. I'll call Stokes and tell him we must make other arrangements, insists Carolyn. I want to stay here, protests Adam, caressing her face. "I love you," he says. "No," she says. She flings his hands off her and backs away. I love you--and you must love me! He cries. You don't know what you're saying, she says--you don't understand about love. He grabs her into his arms. She orders him to let her go. He presses kisses on her hair, her face, telling her, "You do not love me--you will." "Adam, please," she begs, struggling in his grasp--"It's not possible." "Why?" he demands, still kissing her. You're hurting me! She screams--let me go! After he releases her, she finds the door still locked. "GIVE ME THE KEY!" she screams. Adam cries, "You hate my because I am ugly!" He pulls the key from his pocket and insolently tosses it on the floor. When she kneels to get it, he leaps on her, grabbing her arms. "You will love me!" he insists as they struggle. "You WILL love me!" He pulls her forcefully toward him and kisses her violently as she struggles to get away.
House by the Sea - Nicholas, dressed in a robe, candle in hand, enters a basement room where a coffin stands. "Here you are, Angelique," he says, "in your resting place. Your husband asked me today if I knew where you were. Well, you are here. Many things have begun to happen which you've never dreamed. Sleep peacefully, Angelique, sleep peacefully, for unlike you, my plans will become real."
NOTES: I wonder how many bruises Nancy Barrett sustained in that last scene? That's one of the more physical fights on DS. Barrett and Rodan were wonderful. Some speculate that Adam raped Carolyn. I suppose so. It looked as if it were headed in that direction. This is when Adam starts to become annoying--after Nicholas gets hold of him, he believes he's entitled to things that he really isn't--and it makes him as bombastic as his creator, Eric Lang.
Nice farewell to Angelique, Nicholas. Are you keeping her coffin in your basement, rather than burying it? Why?
Love, Robin
