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

610 - (Joan Bennett) - The great house at Collinwood has known many dark and sinister secrets. Now it is the scene of another one, a secret that has its origins in the late 18th century, a secret that has mysteriously transcended time and space to create a threat to the future of two young people. So deep in the supernatural is this secret that not even the young man who it concerns is aware of it-but there is one who is, a strange woman who recognizes him as someone she knew in the year 1795.

Jeff demands to know who Eve is, and she notes he responded to the name she called him--I was right, you are Peter Bradford!

It doesn't matter who I am, she says. Jeff denies being Peter. Yes you are, she says, circling him, even though you're dressed so strangely, everything else is the same. Jeff doesn't know what she's talking about. I didn't think I'd ever see you again, she says, I watched you die. He insists he's never seen her before in his life. You can't pretend you don't know me, she says. I'm not pretending, insists Jeff. You must be, counters Eve. It's a joke, he says. No, Peter, she corrects him. Don't call me that, he says, I'm Jeff Clark. Of course, she realizes, you don't recognize me, I look different--we both lived before, but you came back looking the same, and I different. Why are you at Collinwood? he asks. I don't know, says Eve, I can't remember anything but you. He orders her to go away and never come back, but she says she can't, now that she's found him again. Stop it, he orders. Why? she asks--if you don't believe me, why are you getting upset?--you needn't be.Jeff tells her she mistook him for someone else. There could be two people in the world who look exactly the same, she agrees, but you can't convince me you aren't Peter--I don't know how or why I know you, the memories are so dim and long ago, but you're my Peter Bradford and I won't rest until we're together again. She leaves Peter madly thrusting his hands through his hair.

Vicki enters the drawing room to find Liz working on correspondence and is surprised to see her out of bed. My doctor said I could attend to routine things, says Liz. Vicki is pleased she's better. Liz considers herself lucky--everyone has been so understanding and patient. We care, Vicki reminds her. Liz asks to speak to Jeff. Vicki explains they're seeing each other again--he's coming tonight--Jeff and I are getting married--we've resolved our difficulties--we love each other and want to be together. Are you leaving Collinwood? asks Liz. We haven't set a date yet, replies Vicki--there are plans to be made. The doctor advised that I keep my mind occupied, says Liz--I want to help you plan the wedding. Vicki is pleased. Perhaps if kept busy, I can convince myself I'll be alive on your wedding day, adds Liz. Vicki objects to Liz saying this, and the older woman apologizes--even in better moments, I can't help dwelling on it. Vicki can't understand the root of Liz' fear--I know you aren't going to die.My doctor agrees, says Liz, and yet, the other night, when I collapsed, you all thought me dead--I recovered, but the terrifying thing is, it will happen again, and when it does, I might not come to consciousness so quickly, and when I do, I'll find myself buried alive. Vicki looks somber.

Jeff paces the terrace, looking like he's choking.Vicki joins him and apologizes for being late. She wants him to come inside so Liz can thank him for helping her the other night. Jeff says Liz doesn't need to speak to him right away--she can talk to them when they return from the movie--I don't feel like talking to anyone but you, he says. She asks what's the matter; he's acting the way he did a few weeks ago, his mind elsewhere. Tired, he says. That's what you said then! she reminds him. I'm starting a new job in a few days, he says, and I'm uptight (love that word!) about it--I let Roger down once, I don't want to do it again--I still want to see the movie. She comments that his expression isn't one of his best--but will have to do. He promises to try to improve it on the way to town, and the two of them exit through the gate. Eve pops out, looking angrily after them. When Liz comes out, she spots Eve and asks her who she's looking for? Eve doesn't answer. Liz guesses--you came to warn me that I haven't much time left--you're the angel of death! Eve looking creeped out, hurries away. Liz gazes after her.

Blair House - Nicholas doesn't look at all happy. He's rubbing his hands together, pacing. Eve returns. Nick sternly asked where she's going. Up to bed, she says, I'm tired. He demands she come in. (This red-haired "daughter" of his is such a trial!) You're doing everything to ruin my plans, he accuses. Eve doesn't understand why he's upset. I'm upset about what happened at Collinwood, and you know it, he says. Nothing happened, she lies. Nicholas knows about her fight with Carolyn. "Poor Adam," she croons sarcastically--"The minute something doesn't go his way, he comes running to Papa Nicholas!" Nicholas slaps her across the face. "I hate you!" she spits. You weren't brought here to love me, says Nick, only to follow my orders. Yes, master, she says. He orders her to drop the sarcasm. What do you want from me? asks Eve. Answer my questions, he says. She admits she fought with Adam--I don't like him and never will. You must pretend you do, says Nicholas. It isn't that easy, she retorts--he is impossible, like a spoiled child. He can be handled, says Nick, who wants to know why she left the room after fighting with Adam--and where did she go? I went outside for air, she says--Adam knew where I was and could have come to get me. Adam said you completely disappeared, says Nicholas. I was down in the garden, she says. You aren't to wander around herself, orders Nick, if someone saw you at Collinwood, it could be dangerous--no one knows about you--I don't want questions asked. I don't understand, complains Eve--why not?--I can give the right answers--I did it tonight. Someone saw you? he asks. Suppose I don't want to tell you? queries Eve. He grabs her arms and demands to know, reminding her she isn't indispensable. I know that isn't true, counters Eve--for some reason I'm very important to your plans, and you don't want anything to happen to me. No deals, he says--you're right--you are important to me, but not indispensable--who did you meet on the terrace? She asks him to answer one question for her, she deserves an answer--who was she and where did she come from before the experiment? You were no one, nothing, he says. You're lying, says Eve--I know I lived another life--there is someone I knew in another lifetime who I recognized--I want to know more about him--he loved me, though I don't know when, where or why--tell me!Someone you knew, muses Nicholas, in another lifetime. . .that's fascinating, he says. Then it's true, I have lived before, she exults. The less she knows about that life, the better, Nicholas says--I want to know about HIM--not who he was before, but who he is now. Eve doesn't want to endanger the man, who might take her away from Adam. You're not stupid, says Nick--you know it would be foolish to let anyone take you away from Adam. What harm would it do to know about my past? asks Eve. Nicholas again asks who the man is. Jeff Clark, she replies--I know he's Peter Bradford, but I don't know how or why. Blair asks how long ago this man lived. I only know it was long ago, says Eve. If that is true, says Nick, they are one and the same--and forces are at work I don't know about. She doesn't understand; neither does Nick--I must find out. Eve says she will do anything he wants her to do, but he must tell her. Nick says he will let HER tell HIM. He has her sit at a table, turns off the lights, and assures her everything will be quite clear. He lights the candle and tells her to look into the flame. Look deeply into it, he tells her, putting an arm around her. Keep looking, deeper, deeper, until you begin to feel light and relaxed. . .deeper, deeper into the flame. . .until your mind is completely weightless and free. Tell me what you are thinking, he asks. Nothing, she says. Your mind is a void, asks Nicholas. Yes, she agrees. You will enter that void, he orders--let yourself be taken back through the flame to another time another place, long long ago, almost 200 years back, back, through the flame to the time you lived before. . . Everything is hazy, says Eve, but I see something. . .a room, I can't see it clearly, there's a figure, two figures, sitting at a desk.

Eve, wearing a white, 18th century cap, asks Peter what he's going to do. He doesn't know. You aren't going to tell them, are you? She asks. I should, says Peter, I should tell them what a vicious, crazy animal she is. I did it for us! she cries, why can't you understand? I'll never Understand, he assures her. Philippe would have kept us apart, she says desperately, he would have killed YOU! So the answer was for you to kill Philippe, says Peter--as simple as that. Yes, she says--I saw the spilling of blood for four years during the revolution, killing no longer shocks me--I killed Phillippe because we love each other. I did love you once, Peter agrees. You still do, she insists, after you recover from the shock of this. He grabs her arm and, making a fist, orders her to listen--Maybe I do feel something for you and that's the only reason I ought to turn you in to the authorities and let them hang you, but I'm going to tell them everything about you. But I'm going to give you more of a chance than you gave Philippe--you've got until tomorrow morning to get out of Collinsport. Now get out of my life--I never want to see you again-never!

Exultant, Eve returns to the present. I was right, she tells Nicholas, he IS Peter Bradford and I love him--I love him!

NOTES: Ho hum. No Barnabas, Angelique or Julia makes for two dull episodes, at least to me. This sidebar into Peter/Leona seemed far too coincidental. Peter fell for an innocent like Vicki, it's hard to believe he had a torrid romance with Danielle Roget. And when did this affair take place, anyway? Presumably before he met Vicki. Leona apparently murdered Philippe to be with Peter, and he was fine with their romance until she killed her other lover. Frankly, I find it hard to care.

I say, let's get back to some serious love bites between Angelique and Barnabas!


611 - (KLS) - The plans of many people will be changed or threatened by the events of this night, events occurring in the large old house by the ocean and in the mind of a strange young woman subjected to the spell of a mysterious man. Placed in a hypnotic trance by the flame, her eyes have looked away through a great void and into the past, seeking the true identity there of a man she has just met in the present. What she learns from this fleeting look through the flame is that a moment in the 18th century may have tragic results at Collinwood.

Having foolishly sent Eve back to learn that she loves Peter Bradford/Jeff Clark, Nicholas turns on the lights and tells her he wants her to relate exactly what she saw. It makes no difference, I was right, I found him again! she says--I care not for Adam, I'm going to be with Peter Bradford--and you can't stop her!

Proudly, Eve raises her head in defiance of Nicholas. Before you make the mistake of leaving the room, says Nicholas, you must acknowledge you could be wrong about Jeff Clark--it took place in your mind, perhaps you imagined it as you wanted to. No, Peter and Jeff are one and the same, insists Eve--I also recalled I loved Peter enough to kill for him. Philippe Cordier, guesses Nicholas, who says he knows all about her past; YOU are the one in the dark. Philippe and I came from France after the French Revolution, and I fell in love with Peter here, she says--Philippe tried to keep me away from Peter, so I knifed him to death. You weren't very nice in your other life, says Nicholas. Now I understand my urge to kill Adam, she says. An urge you will never fulfill, says Nick. You can't force me to love Adam, says Eve. Nick says you must pretend--someone as fundamentally evil as you are can do it--forget Peter, orders Nicholas--I have my ways of making you forget.They smile at each other. I don't believe your threats, she says, if you were going to punish me, you would have done it before. Grandly, she leaves the room, running into Adam, who demands to know where she's going. She says nothing, but leaves the house in a flutter of filmy black. Adam asks Nicholas where Eve is going. Nick claims he doesn't know what's wrong with her--she said she had a headache. (already?) Adam wants to go after her, but Nick says no. She's been acting oddly, objects Adam. Nick assures him she will be herself in the morning. Adam feels she hates the place, and says the longer she stays there, the more miserable she will be. Nicholas orders Adam upstairs; he wants to think. Adam refuses to go--when are they going someplace else? They will, after they get certain things done, insists Nick, you have to wait--your scars must be taken care of. Adam doesn't care about that, he wants Eve to be happy. Nicholas promises to see to that, and Adam asks how. Nick doesn't know, but will think of something. Too late, says Adam, he wants to leave NOW. Nicholas tells him he, not Adam, makes the decisions.Adam accuses him of talking like they belong to him--we don't. Nick apologizes, saying he has much troubling stuff on his mind. Have you changed your mind about going with us? asks Adam. No, Nick assures him. What's keeping us here? demands Adam. All right, says Nick, we'll go, but only after I've done one more thing--there will be four of us leaving--not Angelique, but Maggie Evans. This surprises Adam--are you in love with her? he asks. I want her along, Nick says, let's just say that, and as soon as I have convinced her to come with us, we will leave. Good, says Adam, Eve will be happy to hear it. They smiles at each other.

Jeff lies in his bed in his room, smoking. He answers a knock at the door--Eve! She asks if he's going to ask her in. He's not too thrilled--how did you find me? he asks. She knew the name he was using. He closes the door, trying to force her out, but she comes in, then turns on the light--we have much to discuss, she says--I know things now that I didn't when I saw you earlier. I don't want you here, he insists. I'm right about you, she says. I know who I am, insists Jeff. You don't act like it, counters Eve. I want to have you committed, he says. I know the truth, she tells him. I'm Jeff Clark--Peter Bradford died 200 years ago! He says. You do know about Bradford, she accuses--where did you hear it? Forget it, he says. She realizes he doesn't remember anything. How can I get through to you, you don't listen, he says. You're afraid I'm telling the truth, says Eve, and that you'll remember who you are. Jeff denies this--he isn't afraid of her or anything she has to say. Then listen, she says--you're being unreasonable now as then. If I let you speak, he asks, will you go away and leave me alone?No, she says, touching his arm, now that we're together, I can never leave him. We aren't together! he bursts out, moving away from her caress--I've never seen you before in my life and never want to again. I saw you with a woman at Collinwood--who is she? demands Eve. Jeff won't tell her. She threatens to find out from the woman she saw him with--I can go to Collinwood and see her! Leave Vicki alone, Jeff commands--she's my fiancee (way to give it all away, Mr. Brilliance!) and we will be married ASAP. Eve isn't happy. I don't have very much time, do I, to find a way to convince you you once held me in your arms, told me you loved me--we were to be married! Jeff can't believe this claim! We will be together again, she vows. I love Victoria Winters and will marry her, retorts Jeff--the man you think I am died a long time ago, and people can't come back from the dead--good night. It IS possible, she insists. You're crazy, says Jeff. I was brought back from the dead to live a new life and look different, says Eve, but so were you, and you look the same. She caresses his shoulder. He tells her to get out. Unperturbed, she says she will find a way to make him remember--it will take a little time--and that marriage of yours will never take place! Jeff locks the door after her, very upset.

Maggie is at the cottage, dressed in her quilted flowered long skirt, when Nicholas pays her a visit. She's thrilled to see him--I thought you had to work tonight. I couldn't concentrate, you were on my mind, he says--I'm putting all other matters aside to get something settled with you.  He sits on the sofa with her and takes her hand in his. "Maggie, will you marry me?" he asks. She seems unsure of what to say. Nicholas admits it's sudden--I might have to leave Collinsport soon, he reveals, permanently, and I want to take you with me--if you don't know how you feel, if you need time to think. . . It isn't a question of time, she says, I know how I feel about you, but I can't marry you--I'm sorry.

Nicholas is disappointed; he'd hoped for a different answer--there's nothing more to say. She feels he has a right to know why she refused him--you've been very good to me, and if circumstances were different, I would have said yes--it's Joe, I'm worried about him. Nicholas assures her he understands her feelings--but I thought you'd decided it would be better to forget about Joe. She realizes that, but after his suicide attempt last night. . . Nicholas can't believe this news. I couldn't ignore it, says Maggie--I had to go see him. Of course, agrees Nicholas, surprised to learn she visited Joe not at the hospital, but at the Old House, where he's staying with Barnabas. Maggie explains that Barnabas found Joe in the woods and brought him to Julia.Maggie learned there was another girl; Joe kept talking of her the whole time she was with him. Nicholas carefully asks if he told her the name of the woman. No, says Maggie, but she intends to find out. Why? he asks, what good could it do? She begs him to understand--she knows it's over between her and Joe, but as long as he goes on bring troubled, she will go on being concerned. Nick looks like he wants to do something about that--badly, and quickly.

When Eve returns to Blair house, Adam calls to her and asks where she was. For a walk, she says curtly--I go where and when I please; if we are to get along at all, you'd better remember it. He tells her they will be leaving, expecting her to be pleased. When? she asks. A few days, he responds, noting she isn't happy at all. She turns away. Yes, she lies, I'm delighted. She bids him good night, leaving him standing there, puzzled. He sighs. Nicholas comes in, equally unhappy with his love life, and seems distracted when Adam asks when they are leaving. Nicholas tells him it's going to take a little longer than he thought--he can't force Maggie to leave with them--she must do it willingly, and doesn't want to yet. What will you do if she doesn't change her mind? asks Adam. She will after I attend to a certain matter, Nicholas assures him. There's a knock at the door and Nicholas orders Adam into the other room. Adam insists on knowing who it is. Harry Johnson--I sent for him to do an errand for me, replies Nicholas--we'll discuss this tomorrow. Adam demands his final decision tomorrow! He leaves.

Harry enters. Nicholas praises him for making good time--I have a job for you. He hands him a vial of poison, which he will give to someone. Harry objects. Nicholas asks Harry if he must "discipline" him. No, says Harry hastily. Go to the Old House after Barnabas is asleep, instructs Nicholas--find out which room Joe Haskell is in; there will be a medicine tray next to his bed--empty the vial into the medicine--by tomorrow morning, Joe Haskell will be dead. Harry surveys the vial in his trembling hands with disgust and horror.

NOTES: So it wasn't bad enough that Nicholas broke up Maggie and Joe; now he wants the poor young man dead and out of Maggie's life as completely as possible--so he can move in and marry her and do God knows what with her! It's weird that such a bad `un fell in love with such a good, sweet, honest person, but somehow, you'd figure he'd be reviled by someone like Maggie. I guess opposites really are attracting here!

Give Harry credit for finding it loathsome to kill a man. He may have resorted to petty thievery, but he's no killer!

Adam is stuck with such a bitch in Eve, you'd think he'd just sling her over his shoulder, cave man style, and take her to his cave and have his way with her--but she might love that! I can't in a zillion years picture her and goody two shoes Peter together. This was just stuck in the plot to keep Vicki and Jeff apart. Boring--at least to me.

Love, Robin

606 - (Grayson Hall) - The great house of Collinwood is silent, and its residents sleep peacefully, unaware of the dangers which exist elsewhere in a strange, isolated house by the sea, Barnabas Collins is risking his life to destroy an evil woman named Eve. He does not know he is approaching the greatest moment of terror he has ever known.

"It isn't possible!" Barnabas insists, horrified, staring at his former wife. "You thought you were rid of me, didn't you?" she taunts--"Well, you were wrong."He's totally stunned--I thought Nicholas destroyed you! "Well, he allowed me to live again," she tells him. "You're frightened, aren't you?--oh, I like seeing that expression on your face--I've been waiting for this moment a long time." "GET AWAY FROM ME!" he shouts. Angelique asks, "Aren't you curious to know why I'm alive? How Nicholas allowed me to live? This is what I am. This is what Nicholas had made me." Her fangs descend; Barnabas, backing away, moans, "No! No! No!" She darts forward, snakes her arms around his neck and sinks her fangs into his throat. He screams, a vein in his forehead pounding as she drinks from him.

Barnabas sits in a chair, blood dripping from two holes in his throat. Angelique calls his name, tells him to look at her. He wakes up and weakly mutters her name. "Yes, your bride--the only bride you'll ever have." she says softly. I will never be rid of you, will I? he asks forlornly. Never, she says. As long as I live, you'll exist to torment me? That's right, and he will never escape her now. I thought I finally had--I should have known better. She rises, tripping over the diaphanous white dress. "You're mine," she says--"You'll never belong to anyone else." Do you know how much I hate you? He asks bitterly. She says it doesn't matter--"Your hatred for me could never be as strong as my hatred for you." You loved me once, he reminds her--it's hard to believe now. If only you'd accepted my love, she says. I couldn't, he tells her. Yes, you wanted your precious Josette--"Well, you lost her." "Because of you," he says. Yes, she agrees with satisfaction--and now at last I can teach you to want me. What are you planning to do? he asks--make me revert to what I was? He closes his eyes, miserable at the thought of it."Possibly," she says. And there's nothing I can do to stop it, he says. No, nothing, she agrees--I hate being what I am, but one thing about it pleases me--"You, and what I can do with you." She tells him to look at her. He does, with the eyes of a wounded animal. She exults, "You're beginning to need me already, aren't you?--you are, I can tell." His mouth works. "And each time we're together, you'll need me more" she says triumphantly. "I've got to get away from you," moans Barnabas. He struggles from the chair. Not yet, she cautious. He stumbles out. She looks at her reflection in the mirror (vampire faux pas) and smiles happily. She's got her man!

Barnabas works his way downstairs, nearly falling, telling himself he must get out and escape her. He opens the door--Angelique is waiting for him. "Oh no!" he rasps. I told you I wasn't ready for you to go, she says, closing the door behind her. Barnabas leans heavily on his cane, barely able to stand. Did you really think you could escape me that easily? she asks. People are waiting for me, he tells her. I know, she laughs. I've been gone a long time, and they'll be suspicious, he says. Let them, she insists, it doesn't matter to me. She escorts him into the drawing room, pointing.

Old House - Stokes offers more sherry to Nicholas, who says he must be going. "Please don't," says Julia. Stokes reminds Blair that Barnabas will be disappointed. Nicholas wonders what's keeping him. Julia wonders, too. Perhaps he stayed with Liz, suggests Nicholas. Stokes agrees; otherwise, Barn would never leave guests waiting. Nick asks Julia if Liz is that ill. She's very ill, replies Julia--her rational moments come and go, but she seemed upset, calling to Barnabas as though only he could comfort her, so she felt he should be with her. Julia gave her a sedative and Barnabas should be here before long. The clock strikes one AM and Nicholas comments on how nervous she seems. It's because of Liz, says Julia. Stokes remarks that's understandably frustrating. No one seems able to help Liz, remarks Nicholas. He stands--he must be going--it appears Barnabas isn't getting here this evening. Stokes says he wanted to discuss his house with him. Nicholas begs off, says he must go--thank Barnabas for an interesting evening. He shakes their hands, makes pleasant good-byes and sees himself out. What will happen if Barnabas is found in Blair's house? Frets Julia--what will happen?--what will we do? Julia demands an answer from Stokes. He says nothing--we have to wait, we have no other choice. We must warn Barnabas, she insists. Stokes says they couldn't possibly get there ahead of Blair--besides, perhaps Barnabas already left the house by now and Blair will never know he was there. Possible, says Julia, but he's been gone so long. Concerned, Stokes says he doesn't know. Julia drains her glass, worriedly thinking that Barn could have run into Adam, Eve might not be sleeping. . . Stokes reminds her Barnabas knew the risks and was willing to take them--he made his choice. Julia is sure something has happened to him--he's dead, she knows it, Adam found and killed him.Stokes tells her not to panic, but Julia says if he isn't dead, something else must have happened--something terrible!

Barnabas is fingering the holes in his throat as Ang tells him he will come to her whenever she calls him: "You are mine now." He murmurs he should never have come here--how I wish I hadn't. She says he underestimated Nicholas; from the moment he got his invitation, he knew what he had in mind, wanting to get into the house--so he let him. "So I walked into a trap," says Barnabas bitterly. Yes, she says--I'm really surprised at you, I thought you more intelligent. He rises--I must leave now--"Please," he says, a combination of reluctance, anger and pleading. "Say that again," she asks silkily--"I enjoy hearing you plead with me." (she's having too much fun!) Hoffman and Stokes will be waiting for him, wondering why he's so long. Angelique doesn't care. What can I tell them? asks Barnabas Tell them anything, she suggests--tell them the truth. Barnabas can't do that--what can I say? I'll leave it up to you, she says. They'll be suspicious, he reminds her. You must end their suspicions, she instructs him. Yes, but it won't be easy, he says. She says that Stokes and Julia already suspect too much--he must end that, and she's sure he'll find a way. "You may leave me now--temporarily." He gives her a look of hatred as he starts to leave, and she repeats her orders about Stokes and Julia. Yes, he says. "I release you," she tells him. "You may go." Giving her another look of hatred, he limps away, and she looks after him, a woman in lust with her victim.

Angelique is wandering the room, lightly touching the furniture, when Nicholas returns. He can tell by her expression their plan was successful. She told Barnabas everything Nicholas told her to, obeying all his orders--Barnabas is in their control now and will do as they wish. He asks if she's happy now. I've never been happier, she says, glowing.And is she grateful to Nicholas for giving her what she's wanted for so long? Very, she says. You can only see Barnabas occasionally, he warns--*I* will determine when you see him and you won't see him until I tell you you can. She agrees, too quickly, of course. He know she'll be tempted to call Barnabas, but must withstand the temptation until Nicholas tells her to summon him. She agrees, and he says she's acquiescing too quickly. He doesn't trust her crafty little mind--she wants to make Barnabas what she is. She admits that, but she knows she can't disobey Nicholas, he has too much power over her. She has disobeyed him before, with less provocation, he reminds her. She knows he'll destroy her if she doesn't do as he says. That's right, says Nick--so you must obey me whether or not you want to--do you mean it? he asks. She does. They understand each other, they agree. He says this is his only warning--remember it. I will, she says, and after he leaves, she looks pissed and determined.

Barnabas returns to the worried Julia and Stokes. Holding his collar closed over his wounded throat, he assures them he's all right. Nothing happened, he say--our plan failed. He got into Blair's house, found the room, but Eve wasn't there. He searched, but the whole house was empty. Stokes and Julia say this makes no sense, they were certain Eve was there, they had proof. She wasn't there while I was there, says Barnabas, speaking distractedly--I don't know where they are. He sits down. Barnabas assures them Blair didn't see him leave the house, and Julia says Blair left only 10 minutes before Barnabas got back. Barnabas says no one will know he was there, and he was there as long as he was because he was searching the house, even the grounds, but found no sign of Adam or Eve. Julia can't believe this has happened. Barnabas tells her he doesn't want to talk anymore, he's exhausted. Julia says he looks strange, but he quickly denies nothing is the matter. He thought this nightmare would be over tonight and it isn't, and he doesn't know what to do next. He clutches his cape around his throat, confessing to being afraid and worried. Julia wants to keep talking, but Barnabas begs her to leave it until tomorrow. Stokes offers to take her home, and Julia gives Barnabas one last look of concern before leaving. Barnabas smothers a yawn.

Julia tells Stokes she's worried--he looked and behaved oddly--something is bothering him. Stokes tells her she's done enough worrying for one night, and they leave.

A dog howls. Barnabas sits in the chair, wincing at the sound. He must find a way of escaping her! How? The dog howls again. He rises from the chair, holding onto it for support. He goes to the window, looks out. The wind blows the curtains. The candles go out. Barnabas is afraid. No, he protests, I know what's happening. Angelique appears, miniaturized, (poor special effects). "I know what you were thinking," she says, "but you'll never find a way to escape me. Never." He asks if Nicholas sent her here. He doesn't know I'm here," she says--"and he's not going to know, because you're not going to tell him." "Haven't you done enough to me tonight?" demands Barnabas, backing away unsteadily. "Can't you leave me alone?" "I'll never leave you alone," she says, advancing on him, "until you're mine--completely MINE!" She slithers her arm around his neck. As he cries, "PLEASE, no, NO!" she plunges her fangs into his throat again. He screams fiercely as she holds him close and enjoys the sweet taste of his blood.

NOTES: Lara Parker was heard to say that she likened a vampire bite to an orgasm. She certainly brings that philosophy to her vampiric relationship with Barnabas, which borders on pornographic! While she expressed a wish to be a GOOD girl, by this time, Lara Parker was genuinely enjoying herself as the baddie.

Such a good, tense episode--Julia and Stokes, trying so hard to keep Nicholas occupied while Barnabas is on his errand, Nicholas knowing damn well exactly what they and Barnabas are up to, enjoying their worry and concern for their friend.

Barnabas, face to face with his greatest terror--Angelique--except now, she's a vampire as he once was, and feasting upon his blood, messing with his mind. It's so much fun to watch these two! Notice that Angelique really went for Barnabas in a big way, biting him twice in the same night. I guess she was trying to recreate some of that Martinique magic.


607 - (Lara Parker) - The walls of Collinwood are still obscured by darkness, but soon the light of morning will come. For this long night is almost over. It has been a night of terror, for one man was lured to a mysterious house by the sea, and underwent a horrifying experience, an experience that will not only change his life but the lives of others around him. And before this day is over, another man might die a horrifying death.

Adam sleeps restlessly. Nicholas comes into his room and smiles down at him, waking the big guy up with a start. Adam, having a bad dream, is glad to be awake. Eve is safe, says Nicholas, their plan worked--Barnabas came here and found Angelique; he is under her spell and will never again do anything they don't want him to do. Adam is happy, but--damn, he feels crappy--weak--strange. He's grasping his throat. Nicholas suggests lack of sleep, but then he notices how Adam is rubbing his neck and realizes something is wrong with him. He takes Adam's hand from his throat and finds ghostly fang marks!

Nicholas tells him there are marks on his neck and gives him a mirror so he can see them for himself. Adam has no idea where they came from, but his dream. . .that someone attacked him. Nicholas is surprised to hear this. Adam felt strange and weak in his dream, frightened, too, though he doesn't know why. Something is going to happen, something terrible, predicts Adam. Nicholas asks him if Angelique was in his room tonight. No, says Adam definitely.Nicholas thinks this over and knows what happened. He can't explain, it's nearly morning and he must locate Angelique. Adam is afraid of Angelique, he says, though he doesn't know why. Nick knows, and reassures him nothing will happen to him--he understands Adam's fear and will put an end to it right now!

Blair House living room - Angelique looks out the window. In a few moments, the sun will rise, she says, and when it sets again, she will summon Barnabas to come to her. He won't be able to resist her, she says dreamily, and he will be hers at last. She smiles at this thought. Nicholas enters. She tells him she must go to her coffin. He insists on speaking to her--don't argue, he orders, this is vital--it's Barnabas and you are concerned. Stay away from him, orders Nicholas. But you told me. . .she protests. Nichilas knows, but he must change his mind because of Adam. They forgot--Eric Lang's message on the tape recorder! It said there was a connection between Adam and Barnabas, and if anything happens to the latter, the same would happen to Adam. And something has--he has wounds on his neck, says Nicholas, and is weak and dazed, just as Barnabas is--you must not see Barnabas again. When I rise, I'll need Barnabas, she insists. Call Joe, Nick orders. I don't want Joe! Ang says.Too bad, says Nick, summon him anyway. Ang accuses him of wanting Joe summoned because of Maggie Evans and Nicholas' involvement with her--you want her for yourself. Beside the point, says Nicholas--the sun is rising, are you going to do as I say? She agrees to his terms; he calls her wise. She goes to her coffin, slowly, first turning to give him a look before heading to "bed."

Blue Whale - Joe sits at the bar, drinking shots--he wants another one. When Maggie comes in, they look at each other for a moment. She starts to greet him, says nothing, then walks behind him and says a quiet hello. He sadly tells her he didn't think she was going to speak to him. She admits she wasn't, but she had to--the way he looks. . .He doesn't care. You don't care about anything, she notes. Joe agrees--I suppose you're here to meet Nicholas. Yes, she admits, and we've been seeing a lot of each other--is there any reason I shouldn't?--Nicholas has been kind, considerate, thoughtful. She asks if he's been working and he says no, rubbing his face. He knows everything she's going to say, and wants no lecture. She agrees. He finally turns to look at her, asking if she's OK. I guess so, she says. I've thought about you, he admits. She thought he stopped caring long ago, but he tells her that isn't true. Maggie, he begins, but doesn't finish. She says when he looks at her that way, she thinks he feels the way he used to. You have no idea how I feel, he says--I wish I could tell you, but I can't. We're living in the present, she says, and it isn't easy to talk to each other. He agrees it's hard. Nicholas comes in and greets both Joe and Maggie. Maggie wants a table, so they leave Joe behind. Maggie says goodbye and he says it back. He gazes at her and wishes he could tell her what SHE has done to him--but he can't. The sun is beginning to set, he realizes, and he must go to her. He doesn't want to, but he has to--he has to! He leaves, but not before exchanging a longing look with Maggie. SO SAD!

Nicholas asks Maggie what she wants to drink. Anything, she says. He calls the bartender over. He notices how upset she is. It's just seeing Joe that way, she explains. Nicholas understands. He orders a Black Russian for Maggie. She says she doesn't want to think or talk about Joe--as far as she's concerned, she doesn't even know him, and wants to forget him. Nick asks if she means that, covering her hands with his. He asks to see her smile, and she does, but it doesn't look sincere.

Adam is reading in the drawing room, slitting open pages that are stuck together. Angelique comes in and he stands. "You!" he says, clearly scared. She demands to know where Nicholas is. Adam backs away from her and tells her he's out with Maggie Evans. I knew it, she says angrily--are you afraid of me? Yes! Says Adam, I don't know why, but I don't want to be in the same room with you. He flees out the door. She looks totally pissed off, thinking that Nick is getting what he wants and depriving her of what she wants--and doing it deliberately. She gazes at the mirror. Nicholas thinks he can control everything, but he's in for a surprise, she says, because tonight, she will do everything she can to spoil his plans! She grins with satisfaction.

Joe enters Blair house and goes into the drawing room, where Angelique is sitting. I didn't summon you! she says--leave me alone. I had to come, says Joe--you never said that before. Go away, she repeats. I can't, I need you. Ang doesn't care--I don't need you now, she says. He asks what's happened. She coldly informs him she doesn't want him anymore.You can't mean that, says Joe--but she does. Joe is horrified. He can't believe this is happening--there must be somebody else. Yes, she admits, someone she wants much more than him. He demands to know who, he'll kill him! She won't let him. Is he coming here tonight? Yes. I'll stay and wait here, he announces, sitting down. She orders him to leave the house and never come back, but he refuses--he'll stay until he comes. She's going to show him something, hoping it will drive him out of here--look into the mirror and see what's happening to your beloved Maggie right now. Reflected is the cottage door; Nicholas is telling Maggie he wishes he could make her life less difficult. You have, she says--being with someone as kind and considerate as you has been a help. He denies being those things; he is very fond of her, he says--very fond.  Joe watches this, sickened. In fact, says Nicholas, I am falling in love with you--don't say anything, let me talk--if you feel you could care about me the way you cared about Joe, I want to go on seeing you, but if you don't feel that way, we should stop seeing each other--it's up to you. Maggie doesn't know what to say. Yes or no? he asks. She replies that she doesn't want them to stop seeing each other. Then there's a chance? he asks, smiling jubilantly. Yes, she says, grinning back. That's all he wanted to hear. He kisses her, and she kisses back, like a couple of statues.

Joe says he's seen enough. Now go, Angelique says, and don't come back. "I've lost her," says Joe forlornly, "because of you." Callously, Angelique suggests Maggie will take him back, but Joe knows she won't, not as he is now. It doesn't concern Angelique either way. Joe recounts that he's lost Maggie, his job, and all because of her, all he has left is her! She reminds him he doesn't have her anymore, she doesn't want him. Joe becomes more agitated--you've ruined my life and you don't even care! Not particularly, she agrees. Evil, he calls her, rubbing his face. Vicious! He picks up a letter opener and approaches her--he'll kill her! No you won't, she says--you can't, you know that--drop that, you look ridiculous. I should kill myself, snarls Joe, I hate himself and everything I've become--I'll never be anything else. Angelique tells him to please leave. Joe insists he wants to die. She says if he won't leave her, she'll leave him--you bore me. Joe shoves the letter opener into his stomach and falls to the ground, unconscious, the handle protruding from his stomach. Joe? Angelique cries.

NOTES: Angelique is such a cruel bitch, whether she's a witch or a vampire. She casts Joe off like an old pair of shoes she no longer wants--and this poor man has given up his lady, his job and just about everything else that meant anything to him--and now she no longer wants him! What will happen when he learns Barnabas is his rival for her "affections?" Joe doesn't know their history, so this is going to come as a shock.

Nicholas is working hard on Maggie, offering to stop seeing her if there's no chance for them, but she opts to stick with their relationship, more's the pity. I felt so awful for the two of them in that bar scene; I always loved them as a couple and wished they found their way back to each other. I thought them DS' most promising couple.

Nicholas has realized that a link exists between Barnabas and Adam (shame on his for forgetting in the first place) and all his plans might be thwarted by the vampire he created. He knows only too well how treacherous Angelique is--can he really trust her promise to leave Barnabas alone? I think we already know the answer to that!

Love, Robin

602 - (Marie Wallace) - On this cold, clear night, one can hear the sound of the ocean at the great house of Collinwood, a sound which means peace to some, but rage and fury to others. And in another house, nearer the sea, the emotion is rage, rage because one of the many plans conceived there is in danger of being stopped by a violent death.

Nicholas stabs the same letter opener into the same table Eve did, wondering when Barnabas will learn it's useless to fight him--he won't allow him to kill Eve and defeat him! It's too easy to destroy him--and such a great pleasure! If he was sure it wouldn't also destroy Adam. . .but he considers his plans for Barnabas as delightful as death would be. Adam, hinting Ang listens to her own orders, not Nick's, tells Nicholas Angelique is out of the house. Blair is angry she's missing when he needs her. It won't happen again, says Nicholas, but Adam says dealing with Barnabas is HIS responsibility, not Angelique's. Adam grabs Nicholas' arms and tells him to listen to him. For a moment, satanic fire flares in Nicholas' eyes and he looks as if he could gladly kill Adam. Then he smiles. "It's taken you less time than I would have thought to begin to give orders," he tells Adam--if you are not careful, I shall see to it that you never give another." Adam looks like a chastised little boy, lip thrust out defiantly.

Adam and Nicholas glare at each other; Adam turns away. This is no time to test each other, he tells Blair--a man protects his mate, he doesn't let a woman do it for him. Nicholas assures him that Barnabas is more frightened of Angelique than Adam. If Barnabas knew Ang was there, he would have more fear in him than if Adam were in the same room as he, holding a knife to his heart. Adam doesn't believe it, but Nicholas assures him it's true. Adam is concerned Barnabas will make his move while they're waiting for Angelique--he wants to get Vicki, assuring Barnabas will not act.No, says Nick. Adam wants to know why, and Nick explains he wants it handled delicately--Angelique will control Barnabas with her powers. Adam is surprised to hear both of them have powers. Nicholas reminds him he saved Carolyn for him, provided the life force for Eve. Adam doesn't trust men who try to handle him, and Nicholas is trying to handle him! Trust me, says Nicholas, about Barnabas. Find Angelique with your special powers, challenges Adam. Nicholas says, "I shall." Adam taunts him, and Nicholas orders him to leave the room while he searches. No, says Adam, prove it to me while I'm standing here. Nicholas uses the magic mirror. Although Adam insists it's only a mirror, Nicholas tells him nothing is exactly as it appears, says Nicholas. Nicholas' mouth doesn't move as he summons the disobedient Angelique. Her face appears in the mirror, impressing Adam. She is with Jeff Clark, leaning over his sleeping form, caressing his hand. Nicholas is unpleasantly surprised. Adam wonders how Nicholas can do this--can he see anywhere, anytime, anyplace? Nicholas puts off his questions.

Ang calls to Jeff, waking him up (he's in the infamous brass bed that will appear in later storyline). Jeff is not happy to see her and orders her out. You always fights me, she complains. He turns away--I'd hoped you'd forget me, I can't help you anymore--Barnabas won't let me near the lab. You can, she insists, as long as the equipment is there. He doesn't want to listen to her. She caresses his face, and he keeps saying no. I want to see Vicki, he whines. You need me, she reminds him--haven't you missed me? He looks at her, not saying anything, wanting her despite himself. She knows he needs her. He smiles and says he dreamed about her. (wet?) What is the power she has over him?Fangs descend in her mouth; Jeff happily grabs her as she sinks down to bite him. Abruptly, Nicholas grabs the back of her neck and drags her back like a teenage daughter caught making out on the sofa. She stares at his furious face, her eyes huge.

Jeff leaps off the bed and demands to know how Nicholas got in and what he's doing. Nick continues to grip Ang on the back of the throat and tells Jeff not to ask any questions. Jeff demands to know what Nicholas knows about her, but the warlock orders him to be quiet and sit down--now! Jeff, hypnotized, obeys. Nicholas turns to Ang. He thought he knew everything about her life, he didn't realize she had time to surprise him--are there other things she's keeping from him? He hopes not, he says in a dangerously soft voice, especially since he's about to be very nice to her. Go home and wait for him--he'll be there before dawn. Chastened, she stands and leaves, giving Jeff a longing glance first. Nicholas says he will make her goodbyes for her. Once she has gone, he asks Jeff where he met her. In the Old House he says woodenly, in the lab. She came and told him Barnabas sent her to be the life force. He didn't believe her at first, and she came more than once. The second time, she lay on the table and he connected the electrodes and turned on the equipment. You did the experiment? Demands Nick. No, says Jeff, I started, but Barnabas came downstairs. . .he didn't see Angelique, she disappeared--one minute there, the next, gone. Jeff would like to forget about Angelique, and Nicholas tells him to go to the bed. Jeff lies down on his back. Nicholas orders him to close his eyes--you are sleeping, yet you can hear my voice and obey--forget what happened tonight--forget Angelique.She existed only in your imagination--she never came to the lab, you dreamed she did--when you waken, all the scars she has given you (he gestures to the fang marks) will be gone. Nicholas smiles and leaves, closing the door behind him. Jeff hears a knock at the door and wakes up. Nicholas is calling, "Mr. Clark!" Jeff stands, feels his throat and lets Nicholas in. He slaps Jeff's arms with one of his gloves and asks if he wants to have a drink--is something wrong? No, says Jeff, I just had a weird dream. He agrees to have a nice big drink with Nicholas.

Adam, talking to Eve, stares into the magic mirror, pissed that Nicholas didn't show him how to use it before leaving the house. He shouldn't have done that--they could have found Barnabas and known when he was coming. Eve disdainfully calls him a child, and he says that isn't true, she will see--he will protect her. She doesn't need it. Yes you do, insists Adam--Barnabas will kill you, and I'm a man who does what I say. Eve tells him she wants to look at the ocean, she isn't afraid. Adam, afraid for her, won't let her leave, and she has to order him out of her way. She shouldn't even be in the room, protests Adam, Barnabas might be outside right now. He grabs her arm--come with me. She struggles in his grip and he propels her away. Her hair covers her face as she orders him to stop it--the moment you let me go, I'll kill you! No you won't, counters Adam. Yes I will! she screams through gritted teeth.

Basement of Blair House - Adam takes Eve downstairs. I don't want to stay here, she says, terrified. It's for your own good, he says. She remembers this room, she says, he's going to send her back to where she came from!--I won't go. No, says Adam, you were made as I was--I only want you to stay for a little while, safe from Barnabas--stay until the danger is over, he orders, and goes upstairs. I will kill you, she cries, I mean it. He locks her down there. you'll see, she shouts insanely, I'll do as I say I will--you will see!

Adam tells Nicholas he must take Eve away. Nicholas agrees their time is almost up, but HE makes the decisions here. Eve and I are unhappy, bitches Adam, we want to leave tomorrow. Where would you go? asks Nicholas. The city, nearby, says Adam--I want to be alone with Eve--I can get a job. You must wait, says Nicholas. Adam is petulant--Eve won't wait, and he's afraid if they stay there much longer, she will hate him. Nicholas assures him he will speak to Eve tomorrow about waiting until they get Adam's scars removed--then they won't have to hide--the police are still hunting him, which Adam hasn't forgotten, and without scars, they can go in complete safety. Can it be done? asks Adam. Nicholas assures him it can, but he must find a doctor he can trust--they could go into the city or he might bring someone there. When? demands Adam. Don't be so impatient, chides Nicholas--Eve will agree with all his reasons and see the sense in them--it will be quite soon. Angelique comes in. It's nearly dawn, she points out, her brow furrowed with concern. Nicholas sends Adam to think. The big guy glances at her as he leaves.

Ang wants to know what her punishment will be--she expects Nicholas to be cruel, given that he IS cruel, after all. You touched me tonight, he says. Her face brightens as hope. He never realized how much she hates being what she is, but he was moved by her passion with Clark. She doesn't believe him. Ingenious, he praises, but she fears he has something terrible planned for her. He insists he hates to see her so miserable when he himself is almost happy.  She's noticed that. He's going to give her a present, something to make her life happy and more pleasant--someone she will DELIGHT in controlling. . .someone who will make her happy to be a vampire. . . She asks if this is a joke, if he's making fun of her--she can never tell when he's serious. Nicholas assures he is quite serious now. There's a man who must become her slave and nothing must prevent it from happening.She knows. . .she knows. . .don't be afraid. She will have him. Her face is filled with hope and disbelief--Barnabas? Barnabas Collins?

NOTES: Thus begins one of my very favorite segments in all of DS. While the Adam storyline bored me a great deal, this little segue was utterly enthralling and erotically stimulating. We know how much fun Angelique has in draining her victims (and notice none have been female), but imagine her lust when allowed to go after her former husband--with an eye toward returning him to his vampire state so he can be with her. . .forever!

Love the bitchy Eve. She's so nasty to Adam, always threatening to kill him. The big lug just puts it down to boredom, but he sure isn't her type of fellow. You can't imagine these two settling down to a life of babies reared for Satan. It's just too ludicrous a pairing.


603 - (Alexandra Moltke) - A quiet, still night at the great estate of Collinwood. A whisper of wind barely stirs the branches of the trees, but that whisper seems to carry a message to one woman--a message that her death draws nearer and nearer.

Liz surveys a model of her mausoleum, which says Stoddard on it. Vicki comes in and calls to her, but Liz doesn't pay attention at first. Vicki asks if she wants to go for a drive, but Liz requests that she come in and close the doors. I want to show it to you, says Liz, and I'm grateful at the closeness we've shared--no one else has seen it, it came today--I'm unsure if it's all right, I might want to make changes, but there is no time--I want you to be my witness, to say I insisted on it being finished, and if something happens to me before, you will see they hurry. Vicki doesn't understand.Liz stands aside and shows Vicki her tomb. Promise me, says Liz, if I die before it's built, you won't allow them to bury me under the ground. "Mrs. Stoddard," says Vicki helplessly.

Vicki looks lovely in black with her hair down (perhaps it's that pregnancy motherhood glow). Vicki refuses to make the promises because Liz isn't going to die. Liz is upset. Vicki realizes she can't help what she's thinking, but physically, Liz is fine, and the reports from Windcliff say she's in excellent shape. They won't admit how powerful the mind can be, says Liz, how it can defeat the body. Stop yourself from thinking of these things, asks Vicki. Liz says it isn't that simple. There are doctors who can help her, says Vicki. I've seen them, says Liz. Vicki tells her that if this were happening to anyone else, she'd be the first person to advise them to get help. I can't be helped, says Liz. Vicki insists Liz can't state they understand each other and claim THAT--you and your family have been kind to me, and when I was in the orphanage, I feared I'd always be lonely--I couldn't prevent myself from thinking it, just the way you think she can't do anything--but you showed me I was wrong--let all of us show you you're wrong--help yourself. I've tried, says Liz, I don't like being this way--I have to be, she says, gazing at her model tomb--I'll build it by the sea, on the cliff, and when the bell rings, you can hear it--someone must always be at Collinwood, in case the bell does ring, because if it does, it will mean I'm alive.Roger enters and barks at Liz: "What are you talking about?"--you promised me not to mention it again; Vicki isn't encouraging you to speak of it--you must think of other things, demands Roger--you haven't tried hard enough. Liz hides her model tomb from him, telling him he'll see it soon, standing on the cliffs. When she reveals it to him, Roger looks lost--he can't believe she had an architect draw up plans--did you tell him of your terrible fear of being buried alive?--do you know what he thought while making it? Liz doesn't want to hear such cruel, negative talk. He was humoring an insane woman! shouts Roger--they must be laughing in the village. Vicki steps in to assure him they aren't. Liz tells him he shouldn't be so concerned about what others think--he'd have a better life. They're talking about THAT, says Roger, disdainfully pointing to the model. Liz cries that he'd better get used to that, because it will be built--she's paying for it. Roger, in a rage, takes a statue and destroys the model, causing Liz to cry out a strangled NO and run from the room. Vicki is angry at Roger for doing this. He realizes swiftly that he shouldn't have done it. Vicki tries to put it back together while Roger sits in a chair, in despair. I don't know what to do, he says, I've tried everything--listening, reasoning--I had her almost on the point of admitting the absurdity--she's seemed her old self, and just when I thought all was OK, she starts with the death business. He knows things will never be the same again. He finds himself almost on the point of believing it. Vicki continues trying to put Liz model tomb back together.

Liz, standing in her room, hears a voice calling her--her own voice, filled with menace and stealth. "You can't hide from me, says the voice, you must listen. Get ready. It's nearly time for you to go to your grave. GET READY! "NO, NO!" Liz cries.

Roger ruefully tells Vicki it seems everything began to change when he married Cassandra--perhaps I blame her because. . .we've never been very lucky in love, although at least you didn't marry young Clark. "No, I didn't," says Vicki sadly. A knock at the door interrupts. It's young Clark, who looks nervous. Roger demands to know what he wants. To see Vicki, says Jeff--I have to see her, please. Roger closes the doors, leaving him outside, and tells Vicki Jeff is here--Should I say you don't want to see him? No, says Vicki, I'll see him.

In her room, Liz continues to hear her own sly voice: They will find you in your room, think you dead--you will never leave this room--tonight, you will seem to be dead, here in this room. NO, objects Liz.

Jeff slowly enters the drawing room. Vicki greets him. It's good to see you, he says. He takes out a ring box and says he has a ring that doesn't belong to him--it's yours, he says. She keeps her face turned away. It will always belong to you, he adds. He touches her shoulders; she pulls away: "Don't touch me." He says she has every right to be angry at him, and forgiving is a part of love. Knowing the man you love is also part of love, counters Vicki. Am I Peter Bradford, he asks? I want to know about Jeff Clark, says Vicki. You do, he says. No, I think I made up the man I loved, says Vicki, because the man in my mind wouldn't have acted as you did. (true!) I know I should have taken Roger's job offer, says Jeff, but I couldn't. That's the only explanation you have, she says, and if you love me, you could tell me--"I don't like that job, hate working in a cannery, hate Roger"--something I could understand, even if I didn't like it. I did everything I did for your sake, he explains. You HURT me for my own sake? she asks, not understanding--try and explain it, she invites. I can't, but I will, later, he promises.I'll wait until you do, she says. We love each other, he begs. People can love each other and still know a life together wouldn't work, says Vicki--I'm sorry. She turns away.

Roger goes to Liz' room and knocks. No answer. He asks to speak to her, and finally opens her door. "Liz?" he calls, but she isn't there.

Jeff takes his ring. I tried, didn't I? he asks. Yes, you tried, Vicki agrees. I said everything I planned to say, says Jeff--perhaps you didn't want to hear everything I'd planned to say, perhaps that would have made you want to be part of my life again. Roger comes in and announces that Liz is gone.

In the cemetery, Liz walks amongst the tombstones. This is where they will bury me, here with my ancestors, but I won't be dead--I'll lie under the ground, unable to breathe. This is where I will lie, because my tomb won't be finished in time.

Roger and Jeff slip into their coats to look for Liz. Roger tells Vicki to get Mrs. Johnson and search the house.

Liz gazes at Peter Bradford's tombstone. That day, so long ago, mutters Liz, when Vicki found you and knew you really were Peter.I wonder if someone will look down at my tombstone, thinking me at peace, not knowing I died, struggling to breathe. Liz feels a pain in her chest and moans. Roger and Peter hear a sound as they search.

Why would Mrs. Stoddard come to the woods alone? asks Jeff. Roger explains she hasn't been herself lately, she's been troubled. They decide to split up; she might have gone to Widows' Hill.

"No," cries Liz, "I'm all right." The ugly voice tells her it's starting, soon she'll be lying there and whoever finds her will think her dead! Jeff comes to her then. She tells him not to come near her--he's dead--Vicki told her he's dead. He grabs her shoulder as Liz orders him not to touch her, and she falls over, giving him a good look at Bradford's tombstone--born 1/18/1770 died 4/3/1795.

Vicki comes dejectedly downstairs. Peter enters, carrying Mrs. Stoddard in his arms. I found her in the graveyard, he explains, placing her on the sofa. Vicki calls to her, finding her hands cold. She has no pulse. She listens to her chest--no heartbeat! "She's dead!" cries Vicki.

NOTES: Sorry, folks, even more boring to me than the Adam storyline is the Liz-being-buried-alive storyline. Ick.

All Roger ever cares about is how the Collins family looks to the townspeople. He really should get off that horse, considering everyone probably considers the family eccentric, if not downright nuts. He should be more concerned about Liz than the family rep.

Jeff is being a decent guy, trying to make it up with Vicki, but right now, she wants that explanation for why he did what he did, or she's not buying. Will he get her to change her mind? Will his kindness toward Liz change her mind? He's still not my idea of marriage material, too bombastic, like the actor portraying him!

Love, Robin

598 - (KLS) - A strange life or death experiment has been completed successfully, and the long nights of danger for those who live at Collinwood is over. But at least one man believes that the success of the experiment must now be reversed--for he believes that the female creature brought to life in the Old House is evil incarnate.

Stokes goes to Adam's room in Collinwood's west wing, but no one is there. The professor is looking through a book when David enters the room, startling Stokes, who claims to be looking for old books. David suggests he was looking for Adam--apparently, he and David were good friends. David bounces onto the bed, telling Stokes that Adam went away last night and was never returning to this house. (It's been a long time since we've seen David, and this is news to us.)Stokes asks when Adam told him all this. Early, replies David, about 6 PM--I came up with some new books for Adam, who said it was the last time I'd see him. David was afraid of him at first, but Carolyn assured him Adam wouldn't hurt him. He never told anyone Adam was here, and they became good friends--Adam showed off how quickly he learned. Too quickly for his own good, remarks Stokes. Adam said a lot of things, says David, but not why he was leaving or where he was going, just that he was meeting someone new and starting a new life, reveals David--he was just going away. Stokes assures David nothing is wrong. David asks if anything is going to happen to the strange man who he isn't sure can take care of himself. Stokes agrees with this assessment. Carolyn joins them. Stokes says he came to see Adam but was too late. Carolyn says Adam has gone away for good and tells David to go downstairs and eat lunch; she wants to speak to Stokes alone. David listens in as Carolyn tells the professor she was surprised Stokes came up here without her permission. Mrs. Johnson told him Carolyn was out, explains Stokes. Carolyn wants to know why he told Barnabas she was keeping Adam; he only suspected, and Stokes confirmed it.Stokes says he must find Adam--does she have any idea where he is? Carolyn doesn't know, she was shocked to find him gone--he never said goodbye to her (yes he did, yesterday). Stokes mutters THEY must have some sort of plan, they couldn't survive without one. Carolyn pounces on that. Stokes asks if she doesn't know about the woman. She's puzzled (and jealous?) Stokes says she was an old friend of Adam's, but Carolyn protests he knew no one around there, he told her that often--where did this woman come from? Stokes doesn't know. Carolyn gets petulant as she asks if he doesn't think it strange he told Stokes and not her? Stokes says it isn't the first strange act of Adam's. Why didn't Adam confide in her about this? asks Carolyn. Stokes says he doesn't know, he must keep searching for Adam. Why? asks Carolyn, if you're so sure he went away with this WOMAN, how do you expect to find him? Neither had any money, they couldn't have gone far, says Stokes. Carolyn hints he knows more about them than he's willing to tell--why is it so urgent to find Adam? Some other time, he demurs. She insists if Adam is in danger, she has a right to know--is he? Stokes is reluctant to respond, but says he might possibly be. David, who has listened closely, but walks away. Stokes says the fact that Adam set out alone places him in danger; he isn't fully prepared. What about the woman with him? asks Carolyn. Stokes says he'll learn that when he finds them. Carolyn, clearly upset, asks him to keep in touch.

Cemetery - David calls to Adam, searching amongst the tombstones. Willie and Maggie sit in the mausoleum, both exhausted. Maggie's face is blank, and she doesn't say a word. Willie hesitantly asks her to say something, anything to him--just speak to him--the look on your face is disturbing me--IF you aren't going to speak, don't look at me. . .all right, then he won't look at her--he can play games right along with her. He knows what she's up to, and it ain't gonna work. She's trying to bug him, but it won't work. His nearly-hysterical voice belies his words. Finally, he turns back and begs her for a break--he's doing this for her, so no one will hurt her.He never treated her badly, putting her in a coffin like Barnabas, so why is she treating him like this? She gazes at him stoically, hatred blazing from her eyes. He screams at her, begging her to yell at him, get mad at him, call him names, but say something! He buries his face in her breast and, crying, begging her to say something. She closes her eyes as though his shouted pleas have gotten to her, but doesn't react in any other way. Crying, Willie stands, and she asks if he's ready to release her yet. Is that all you've got to say? he asks, incredulous. It's all she's staying alive for, she retorts, to get out, and he's going to help her do it. He can't let her out and she knows why, he says, and she counters that he can't continue to keep her here and HE knows why. Willie says he can last as long as she can. No you can't, she says, since you're the one feeling the guilt, not me. Guilt, he asks, what guilt? If it wasn't for me, you wouldn't alive now--"I SAVED YOUR LIFE!" he cries, pointing vigorously at his face with his thumb. That's a fine way to talk, he chastises her. She says she'll be patient and quiet with him, and when he's ready to. . .SHUT UP MAGGIE, he screams, and she agrees. He gets down on his knees and begs her to be herself, not to give him the silent treatment, she's torturing him and that isn't right. Maggie says that kidnapping someone and holding her against her will is OK, and he says not to get into that again. "All right, Willie, whatever you say," Maggie responds, and Willie buries his face in his hands. He tells her he has to go to the Old House and will be back as soon as he can. He doesn't like to do this, but. . .he must tie her hands and feet. She tells him to tie her up, do whatever he wants to her, but she'll get out somehow, some way. She winces as he tightens her bonds. Willie warns her not to think about working the secret panel under the door. He ties her feet. She asks why he has to go to the Old House. He's going for food, he says. She informs him she is going on a hunger strike. If you don't eat, you'll die, he protests. "That's right," she says. He asks if she wants to die. She informs him she'd rather die than be kept a prisoner here. Willie refuses to let her die. And I won't eat one bite of food as long as you keep me here, she says. Willie vows to go get food, and she's going to eat it, and she says eating is one thing he can't force her to do--and she isn't going to eat!--he can fill the place with food and gorge himself, tempt her, cry, get angry, plead, threaten, but she isn't going to eat. Willie insists she doesn't want to die, and she agrees that while she doesn't want to die, she will if she has to, and he knows who will be responsible. . . Willie gags her and says he isn't listening to her anymore. When she's hungry, she'll change her mind, because she's human like everyone else. Willie opens the secret panel and tells Maggie she's just gotta change her mind. He closes the panel, leaving her bound and gagged. Willie is plainly exhausted as he leaves, and David, hearing a sound, hides behind a tombstone. Willie plods downstairs and passes right by David's hiding place. David enters the mausoleum and closes the gate behind him. He surveys the middle panel for a few moments, reading the plaque, then sits on the middle coffin. He wonders if Willie was in the secret room. If so, why? Perhaps there's something in there he doesn't want anyone to see--maybe something horrible. David starts to go, but being David, decides instead to open the secret panel. David steps down into the secret room."Maggie Evans!" he cries, and she turns glad eyes toward him.

Willie is about to leave the Old House with a bag of food when someone knocks. He hides the bag behind a column and opens the door. It's Stokes, who says he must see Barnabas or Julia right away. Willie doesn't know where they are, and Stokes notes his nervousness. Willie has something important to do, so Stokes lets him go. The doors blow open and Willie wonders why. Stokes glances outside and says it wasn't the wind; the trees aren't moving. What's going on, wonders Willie. Stokes says it's here again. The chandelier and curtains begin to blow. Willie is spooked, and Stokes calls it the same astral projection that was there last night, after the experiment was completed. He thinks it has something to do with--what? Willie is anxious to get out of there, and the strange happenings stop. Willie doesn't care, he's leaving. Stokes stands in the middle of the room, calling it utterly fascinating.

Willie returns to the mausoleum, finding David sitting on the center coffin. He demands to know what he's doing here. David says he's looking for a friend of his. What friend, demands Willie hysterically. You, says David, which calms the handyman down. Willie tells him to return to Collinwood. David says he knows why Willie's here--he saw her--Maggie Evans. Willie goes ballistic--you were in that room? David says Maggie said a lot of things, screaming at him to hurry and untie her. Willie, frantic, opens the panel--Maggie is gone! He looks at the discarded ropes and gag and tells David he shouldn't have done it--"You shouldn't have let her go."

NOTES: What does this mean for Barnabas and the others? Did Maggie head straight to the police to turn them all in?

GREAT acting on the part of Karlen and KLS, absolutely amazing. Her eyes were filled with such enormous hatred, and he was so desperate for her to speak to him, then not so when she was blathering things he hated to hear!

Were you as surprised as I was to learn that David had a relationship with Adam all this time that we only just learned about?

This episode was excellent, taut and well-written.


599 - (KLS) - Darkness enshrouds the walls of the great house as it shrouds the walls of the Old House on the great estate. There is danger in this night, danger for Barnabas Collins, for on this night he may be exposed and destroyed.

Willie, frantic, returns to the Old House, calling for Barnabas. When he comes downstairs, Willie reveals that Maggie knows about him--and has now escaped! They figure she's on her way to the police, and Barnabas clings to the stair railing in despair.

Barnabas ponders--they'll find her. Willie says she left the tomb half an hour ago, and is probably weak. Barnabas says they must find her. When Willie asks if he'll hurt her when they do, Barnabas evades the question: "Let's just find her, Willie."

In the woods, Maggie clings to bushes and trees, willing herself to go on despite her exhaustion. She considers going to Collinwood, but realizes Barnabas might be there. She has to get to town, to the police!

Barnabas and Willie, holding flashlights, search for Maggie. Willie explains that David found Maggie and let her go--he admitted it to Willie himself. Barnabas accuses Willie of letting Maggie escape, and making up the story about David. Willie argues with him--it's the truth. Barnabas finds it hard to believe David wandered into the tomb and entered the secret room--how does David know about the panel?He does, Willie assures him, he was lost in there once and that's probably how he knew about the secret room. (didn't Barnabas see David exit the secret room sometime back?) Willie complains they're wasting time talking, they should continue the search--they've got to find her!

Maggie wanders along, slowly, wondering what will happen if the police think her crazy. She was Julia's patient, committed to Windcliff. What can she do? Joe. . .find him. He'll believe her, protect her, tell her what to do. She continues to plod along, a decision now made.

Joe gazes out his window at the full moon. Night--he can feel her out there. He can feel her eyes watching him. He knows she's calling to him. Indeed, Angelique's eyes appear in his vision. He is shaking, looking seriously ill. He vows not to go to her. This time he'll resist her--he can't let himself go near that house, he has to stay in his room, not go out. Angelique, in black velvet with lacy throat and wrists, appears in his room. He didn't answer her call, so she came to him, she says--why didn't you come? He asks how she got in. She says it doesn't matter. Joe says he doesn't want her there. She says he knows that isn't true. She sits on the bed with him, touches his shoulder and says he needs her as much as she needs him. Joe denies this. "I hate you," he says, "I hate everything that happens when we're together." But you still needs me, she says. I wish that wasn't so, mutters Joe. It's all that matters, she says. It was dangerous for her to come here, he objects, she doesn't want people to know they see each other. Tantalizingly, she caresses his throat and assures him no one saw her, she's sure. He reacts to her caress, but says he doesn't want her to be here, please leave. You don't want that--look at me and tell me that. He climbs off the bed and asks her what she's done to his life--does she know? She says she knows he lost his job and his precious Maggie Evans. All because of you, he accuses. She reminds him he still has her, and he turns and screams in her face, "I DON'T WANT YOU!" She tells him to stop saying it, it isn't true, but he says it is--why must it be him, why not someone else? She says she wants him and shall have him. Joe looks defeated--she's right.

Willie finds Maggie's slipper in the woods. She didn't go to Collinwood, she must be heading for town. Willie doubts she was strong enough to make it into town.

Joe asks Angelique to go, leave him alone--I wish I'd never gone to Blair's house that night. You wish you'd never met me, she adds, but you did, and nothing can change that now. He supposes not.Look at me, she implores. Joe resists. She tells him it's useless--turn around and look at me. She insists, and he is compelled to look into her eyes. She hypnotizes him and tells him he has no will of his own. He begs her, but she says he can't resist her, and forces him to say so. She smiles, asks him to put his arms around her. He does. Angelique first asks him if he's happy now--you want to be with me more than anything else in the world, right? Yes, he says, transfixed. Never forget that, she says, and don't ever try to resists me again. He promises not to. She tells him he won't after tonight. She bites into his throat, but as she's feasting, Maggie enters his room, spots the couple in the vampire embrace and begins to scream fiercely. Joe pulls from Angelique's grasp in time to catch his fainting former fiancee. Angelique looks on in anger.

Joe places Maggie on his bed and warns Angelique--she saw us! Angelique agrees it was unfortunate. They argue about Angelique's coming there--it was dangerous. Ang says the appearance of his "friend" was unexpected, but not to worry--she'll fix it. Joe asks how, and she assures him he'll find out shortly--he doesn't have to understand everything. When Maggie awakens, Joe orders Angelique to leave--but she is already gone. Joe holds Maggie, who sits up and anxiously asks if the girl is gone. Yes, says Joe--I'd hoped you hadn't seen her. Ashamed, Joe refuses to reveal the woman's name, but does say he wishes he could explain what she's doing to him, but he can't. Maggie stuns him by telling him she CAN understand--I know what the woman is and what she's doing to you--the same thing happened to me!--I was attacked the same way!--we must escape, both of us, get out of this town.Joe doesn't think he can. You've got to try, Maggie insists--go to your car and drive as far away from town as possible. She slips her arm around his neck. Escape, he agrees, yes. She asks him to help her up, and he does. There's a knock at the door. She asks him not to answer it. He doesn't want to, but he has to, he says weakly. She asks him to wait--the person will go away, but he feels compelled to open it. She begs him not to--something terrible will happen! Nevertheless, Joe opens the door and she sags against the wall, twisting her head from side to side miserably.

Willie and Barnabas return to the Old House after their fruitless search. Willie's face is twisted with worry. Barnabas looks resigned. Willie suggests they search more, but Barnabas pronounces it useless--she escaped two hours ago. What will we do? asks Willie. Wait for the police, advises Barnabas, sitting in the chair at the desk--when they come, we will tell them Maggie is insane. Willie kneels beside Barnabas' chair. They can prove some of her story, objects Willie, take them to the tomb, show them the room, talk to David--they'll start an investigation. Willie covers his face, frantic--there must be some way out! Barnabas says there may be no way out. A knock at the door terrifies Willie. Barnabas tells him he will do the talking. Joe, waiting outside, greets Barnabas calmly, with a smile--he's here to deliver a message from Maggie--she wants to see him at his convenience. Barnabas is cool but apparently surprised as they bid each other good night. Barnabas goes back into the house. Willie wonders why Maggie wants to see him. Barnabas insists he must find out. Willie helps him on with his caped coat and the two of them leave, the doors bouncing open. Joe appears from the bushes, staring after them with a death mask of a face. (SCARY!)

At the Evans cottage, Maggie surveys a black and white drawing of Barnabas, her face inscrutable. Barnabas and Willie knock on the door, both nervous. Maggie, looking pretty in blue and red, answers and greets them calmly. The men are afraid to come into the house, but Maggie cordially invites them in, her face neutral. She asks if something is wrong. Willie starts to speak. Barnabas shushes him, explaining to Maggie that he was surprised she wanted to see him. It's not important, she says, handing him the sketches Sam made before starting his portrait--she thought he'd want to have them. Barnabas grins, exchanges amazed (probably grateful) glances with Willie, and accepts them. Willie asks if that's all she wanted, and Maggie says that's it. Willie is glad to let the matter drop. She tells him she's glad he came over too, it's been a long time since she's seen him. Just HOW long? asks Willie, as Barnabas listens intently.Three or four weeks, she says, and Willie nods and grins like a jack o lanterns. She tells him not to be a stranger--stop by anytime. Barnabas thanks her for the sketches. She's disappointed they won't stay for coffee. They leave the cottage, stunned. Willie doesn't get it, but Barn figures someone got to her before she got to the police, erasing her memory. Julia, suggests Willie. No, says Barn, she tried and failed--Nicholas Blair must have done it--he's the only one who could. Why would Cassandra's brother help you? queries Willie. I don't know, replies Barnabas--someone has been helping us, first with Carolyn, now with Maggie, and it must be Blair. That doesn't make sense, says Willie. Barnabas figures Blair did it to further a diabolical plan--what could it possibly be?

NOTES: Really, one wonders why Nicholas has any interest now in helping Barnabas, Julia or Willie. Eve has been successfully created, so why protect the Titanic Threesome by saving Carolyn and silencing Maggie? And what was done to Joe? He seemed quite affable, but that look he gave after passing along Maggie's message was not at all friendly!

Angelique is a very sexy vampire. You can tell, however, that she must utilize all her powers, womanly and vampire, to keep Joe with her. That was quite the dramatic scene when Maggie burst in on them, mid-bite. Joe was astonished to hear that Maggie KNEW what was happening to him! We can only assume Nicholas Blair knocked at the door and did what he had to do to both Joe and Maggie to keep them unknowing, and quiet. If he can do all this, why does he need Adam and Eve?

Great pair of episodes, huh?

Love, Robin

594 - (Humbert Allen Astredo) - On this night, a stillness pervades the great house of Collinwood, an ominous stillness, for unknown to the others, one member of the Collins family is dead--and because of her death, Barnabas Collins has made a terrifying decision--a decision that may result in his own destruction.

Carolyn greets the dumbfounded Barnabas and asks him why he's staring at her. Can't you see? Can't you speak? she asks. He comes in looking dazed and says it's not possible. Is she all right?Yes, she says, and he shouldn't have been alarmed--she just fainted during the experiment, and she's sorry for Adam's sake that it was unsuccessful--the only thing she remembers after fainting is waking up in her bedroom--she assumed Barnabas and Julia took her there, but it must have been Adam. Yes, says Barnabas doubtfully. He doesn't know what he and Julia are going to do now, but they're not going to try the experiment again. She remarks how strangely he's acting. He says everything's fine and he's got to leave, then dashes out the door. (his face was really something; no one does shocked to the core better than our Barnabas, and Carolyn was so deliciously casual about all this!)

Once outside, he's mystified at Carolyn's being alive--Julia's a doctor, she couldn't make that big a mistake. Carolyn was dead, now she's alive. How is it possible?

How is it possible? echoes Adam, in his room, as Nicholas tells him the good news about Carolyn. Nicholas grins as he boasts of his special powers.(OK, NOW HERE IS A HUGE DISCREPANCY! Nicholas claims he can't give life to the dead, right? Well, obviously he was responsible for bringing Carolyn back to life, so why can't he do so on his own without forcing Julia and Barnabas to create a mate for Adam? Is it because he can't put a "perfect" body together, then give it life? It seems to me he can do anything, yet can't. . .anyone else find this weird?) Adam agrees to let Nicholas supply the life force for his mate. Nicholas toys with the chess pieces as he assures Adam he'll be very happy with his mate--she'll possess Carolyn's qualities, but will be more beautiful. Adam doesn't care--Carolyn is the only one who matters. Nicholas assures him he'll learn to love the mate as much as he loves Carolyn. Adam says right now he can't think of anybody but her, and he wants to see her. Nicholas says he'll go get her, but Adam must say goodbye to her. The experiment is going to be completed tonight, and Adam will begin a new life. Adam says he's frightened, but Nicholas reassures him that he'll see to it that Adam and Eve are happy. (I guess that name made sense, but it would have been more original to give her a different name--although I suppose the bastardization of the biblical reference amuses Nicholas.)

Carolyn arrives and is surprised to hear Adam say he's never been so happy to see her. She thought he'd be disappointed at the failure of the experiment--and she's willing to go through it again.He's amazed that she is willing to do that for him, but he feels it's too dangerous, and besides, somebody else is going to be the life force. She insists she wants to help. Adam tells her she makes it difficult to say goodbye--after the experiment, he will leave and probably never see her again. Carolyn looks unhappy, but bravely points out that it's dangerous for him to stay in Collinsport--she'll miss him. Adam pleads with her not to forget him. Carolyn says she will always remember him--always. He says he's got to go now, but can he hold her for a moment? Of course, she says. He embraces her and strokes her hair for old times' sake. She then agrees to allow him one tender kiss. He gazes at her, gives her hands a quick kiss, says an abrupt goodbye, and rushes out the door. (Aw, tell me she doesn't care about the lug, just dare to tell me! She loves him, but is in total denial. A pity, because the guy she DOES end up with. . .well, no spoiling allowed, but those who have seen the show know what I mean.) Carolyn looks almost brokenhearted.

Adam, now no longer in a good mood, goes to the Old House, pissed off at Barnabas--where's Julia?--Barnabas has to find her so they can complete the experiment tonight--Adam's going to provide the woman for the life force, and Barnabas doesn't need to ask questions--just tell Julia to get everything ready. The experiment WILL be completed tonight. Adam heads out the door.

Carolyn tells Nicholas how helpless she feels--she wishes she could do something for Adam. Nicholas just happens to know a way she can help--she can assist him with a ritual to summon the spirit of a woman who has been dead almost two centuries.

The nervous Carolyn accompanies Nicholas down the winding staircase to his cellar. He gives her a pack of matches and instructs her to light four candles on a small table. He has her sit down, then points out a double circle drawn on the floor around the table. No matter what, she mustn't cross those lines; if she does, the woman they're summoning will kill her. (oh, how nice!) The minute Danielle Roget is in the room, Carolyn won't be safe anywhere but in the circle. He explains that Danielle lived during the French Revolution, then came to America and died here. Miss Roget enjoys the spectacle of death--she sent seven people to the guillotine, two of whom were members of her own family. Carolyn wonders why he wants to summon somebody like that. Nicholas only replies that he must.She'll appear only to kill somebody, but Carolyn mustn't be frightened--he'll protect her, but she has to stay in her chair no matter what happens, and the sooner they begin, the sooner it will be over. He hands her a paper and tells her to read it. With a quavering voice, the frightened Carolyn reads out loud: "Danielle Roget, you will hear me calling to you. You will hear my voice and you will come to me..." Laughter fills the room, and Nicholas explains that Danielle Roget is in the room. The laughter is replaced by a series of bloodcurdling screams. Carolyn screams she can't stand it--she's got to get out--and she jumps out of the chair. Nicholas grabs her, but she's hysterical. Look at me, orders Nicholas, and calms her down with his hypnotic stare. He gets her to sit back down in the chair, where she collapses with her head on the table. A female voice asks why Nicholas is protecting her. A ghostly female figure, dressed in an elaborate old-fashioned long dress with big ruffled sleeves, appears in the room. Nicholas sternly says that he didn't summon her there to harm Carolyn. He asks Danielle if she'd like to live again. She says it's not possible, but he assures her there is a way. She must come back to this room when the clock strikes 3:00 - but she must appear as she was in life. She reminds him that she can exist that way for only a few hours, and he says that's all they need. If she shows up again at 3:00, he'll explain then. She doesn't want him to banish her before she can destroy Carolyn and watch her die. Nicholas orders her to return to her grave and starts putting out the candles. The apparition is snuffed out at the same time as the last candle.

Nicholas wakes Carolyn up and tells her she's safe--he'll take her home. With his assistance, she staggers back up the spiral staircase.

As the Collinwood clock strikes 2:45, Nicholas helps Carolyn through the door and seats her in the chair under Barnabas' portrait. She can't forget that terrible laughter and screaming. Nicholas hypnotizes her into forgetting everything, including the experiment--she'll only remember that Nicholas dropped by to see Roger. (at this hour? Why not, doesn't everyone visit anytime they want in good old Collinwood?) After he snaps his fingers, Carolyn giggles and tells him Roger isn't home--should he phone when he returns? No, just tell him I stopped by, says the grinning Nicholas. He gives her a courtly kiss on the hand and departs.

As the clock on the Old House mantle chimes 3:00, Barnabas wonders where Julia could be. And what did Adam mean--how can they conduct the experiment tonight?--who could he find for a life force? He answers a knock on the door. A blonde woman dressed in modern clothes and coat tells him that Adam asked her to come. Her name is Leona Eltridge. Adam appears from behind her to tell the amazed Barnabas that she is the one who will provide the life force for his mate.

NOTES: Some people find this woman rather interesting, but I'm not one of them. I found her voice interesting, but her behavior wooden. She didn't seem like the kind of gal who could have been responsible for so many murders. I think Adam should have stuck with Carolyn, but of course, Nicky wants his Adam to have a BAD girl for a wife, one he can control and who has the potential to produce BAD children for Satan!


595 - (Grayson Hall) - The great house of Collinwood is shrouded in darkness, and a cold night wind seems to whisper secrets, ominous secrets. In the Old House on the great estate, a frightened man waits, not knowing what will happen next. If he knew, his fear would mount to terror, for he is about to be confronted by the living dead.

Adam triumphantly tells Barnabas he promised them a life force and here she is. He's perturbed to learned Julia isn't there, and insists the experiment must be completed tonight. Adam leads Leona upstairs to rest and await the experiment. Barnabas, surprised this stranger is willing to participate in the experiment, asks to know more about her. Why? he asks Leona She replies, "for a variety of reasons," but doesn't want to answer further questions, she's tired.Barn insists on knowing where she's from, etc. Adam orders Barnabas to find Julia, now, so they can begin the experiment. Barnabas isn't pleased at all! Julia comes in with Stokes; she didn't know what else to do. Stokes asks if Barn told the Collinses the truth, and Julia is relieved to hear he didn't. Stokes says no police visits are likely. Barnabas tells her some weird stuff has happened since she left, things he can't explain.

Adam leads Leona to Josette's room and helps her off with her coat. (Nice yellow outfit and scarf, and the coat matches.) Adam asks who she is, and she says she's a friend of Nicholas'. Quite a good friend, says Adam, and she agrees. He asks how long she's known Nick, and she says he asks as many questions as the guy downstairs. She reminds him of two things Nicholas said--no one must know they only met tonight, and most importantly, no one must know her relationship with Nicholas--or that he has anything to do with this. Adam promises, and Leona watches him leave, disdain on her face.

Julia can't believe Carolyn is alive, but Barnabas assures her it's true. Stokes asks if Carolyn believed she'd only fainted. Barnabas explains that she even wanted to do the experiment again. Adam told him he would provide a life force and just came back with this girl--Leona Eltridge--that's all she told him about herself, refusing to answer any questions. Stokes considers the name, thinking it's odd. Adam comes in and tells them to begin the experiment again. Julia says they must re-set the equipment, and Adam says it must succeed this time--and his mate must live.

Adam tells Julia to let him know when he's ready. Stokes calls to Adam, who refuses to answer any questions.Stokes doesn't have any, and Adam says he always asks the most questions. Stokes requests a meeting with Leona, but Adam refuses--she's resting. Barnabas accuses him of being afraid to allow them to speak to her, but Adam says he's assuming she's not up for company. All assumptions aren't necessarily correct, says Stokes, and suggests Adam ask her. Adam says if Leona refuses to speak to them, he is to stay away from her.

Leona rests, staring at nothing. If this experiment succeeds, she says, if she can live again through the creation, she'll destroy ALL of these people. (nice gal!) When Adam comes in, she sits up, flashing quite a bit of thigh. She tells him about Stokes, who she's already heard about from Nicholas. To Adam's surprise, she says she'll be glad to see him. Adam seems concerned; Stokes is a smart, suspicious man, but Leona sits down at the vanity, combs her hair, and tells him to let Stokes in. The professor greets her warmly and they shake hands. He expresses his view that she's a mystery--how did she meet Adam and become involved in all this? She tells him she's known about the experiment all along, via Eric Lang--she was the only one who knew; they were in love and since it meant so much to Eric, she felt the same. She did love Eric, but she isn't risking her life; she's going to die anyway, she explains. She and Eric met as doctor and patient, and he discovered she is suffering from an incurable disease. It's hard for her to talk about, but the fact is, she's going to die, soon, very soon, and it will be a painful death. She doesn't like to think about it. She wants to die the way Eric died--making his experiment a success.Stokes calls her brave, but she says she hasn't had much of a life without Eric, and she isn't afraid to die. How did Adam find you? Stokes asks. She responds that she'll answer his questions gladly, but she wishes to sleep for a while; the waiting is driving her crazy. Stokes thanks her for seeing him and departs. Leona grins, pleased at her ruse. Adam comes back in and asks if Stokes believed her. Every word, she assures him, and he'll tell the others and convince them as well.

Stokes relays the tale and says Leona was very convincing, but he finds her very "curious." They must use her for the experiment, says Barnabas. Stokes spells out her name and Barn asks about it. Stokes says it might be important and he has to leave--he'll explain later. He leaves, Barnabas gazing, dumbfounded, after him.

Down in the lab, Julia turns on the power, then stops it. She lets the fluids move, then turns them off. Barnabas comes downstairs; she tells him they're ready to start. She doesn't look too happy about it, and we see the bandaged face of Eve. Julia tells Barnabas she doesn't believe the woman's story, it's too pat and sentimental. We must use her, says Barnabas, and Julia agrees. Leona, dresses in a nightgown, comes down with Adam. They will begin now, declares Adam, and Julia asks if the woman is aware of the risk and is willing to go through with it anyway. Leona says she explained it to Stokes, surely she needn't explain it to her. Adam says they're wasting time, let's go, and Julia instructs Leona to get up on the table. Adam gazes at the bandaged face of his creation. "Soon, you will live, and you will be mine," says Adam. Barnabas tells him if the experiment is a success, she will come alive without knowledge or experience and must be educated--who will do that? I will, says Adam. Julia injects Leona with something. Barnabas is wondering if Adam can see to her education, but the big lug feels he can take care of her--she will be his. Leona defiantly refuses the injection for pain, insisting she can stand it. Adam says too much time is being wasted arguing. Julia doesn't give her the shot, but tells her she must be prepared--first, she'll feel a slight shock, then a tingling, then she'll lose consciousness, and after that, she can't say, too many unpredictables. Leona says she understands. Julia tells Barnabas to stay with Leona, take her pulse and let him know if it begins to weaken--she'll shut down the experiment. Julia assumes it's useless to ask Adam to leave, and asks him to stand out of the way. Adam refuses--he wants to stay with Eve--he wants to see the moment she comes alive. Julia tells Leona that she's putting on the first control--be prepared.

Everything flares into life, then darkens. Leona feels dizzy, strange. Julia plays with the controls. Barnabas stands with Leona, Adam with the creation. Lights flash. Leona feels pain and licks her lips. Barnabas announces Leona's pulsebeat is getting weaker. Julia pushes up the power. Leona can feel it. The pain, she murmurs. Julia calls for the pulse. Barn announces it's much weaker. Leona screams and passes out. Julia announces the gauge has reached 50 and shouldn't go higher. Barnabas calls for Julia to come, he feels no pulse. Something is wrong, blares Adam. Julia shushes him. Julia listens to both womens' hearts and turns off the juice. There is silence. She's dead, Julia tells them. She begins to unstrap Leona, muttering, "I don't want to think of what we've done." Adam demands to know what's happening. Julia tells him they've failed--his mate won't come alive. "I should kill you both!" declares Adam. Julia says they did all they could. Suddenly, the woman on the other table begins to moan. Adam insists he must see her and starts unwinding her bandages. They all cluster around eagerly. Julia tells him to be careful and he promises he will. He unwinds the bandages to reveal the face of his mate, whose eyes are open."She is alive!" Adam cries in exaltation.

NOTES: Why would Barnabas fear being faced with one of the living dead? He used to belong to that club himself.

The way Leona introduces herself sounds like she's a guest on TO TELL THE TRUTH, doesn't it? To me, this was one of DS' worst actresses.

I always smile when Julia performs this experiment. It just smacks of such bizarre science, making little sense, but I suppose neither did Frankenstein.

This time, Adam felt more concern for Eve than the woman on the other table, but that wasn't Carolyn. This chick seems downright nasty, but that's no surprise, given her origins. Nicholas just might find out that a murderer has a mind of her own!

Love, Robin

590 - (John Karlen) - While some sleep a quiet sleep in the great house of Collinwood, others in the Collins family face great danger, for in an Old House on the estate, there is a mysterious secret laboratory, and in it, a doctor prepares for an experiment which, if it succeeds, will save many lives.

Julia labors in the lab, working on the female creature's body. She sets up instruments, removes her rubber gloves. Barnabas comes downstairs and asks if she can leave now. Someone has REMEMBERED, he says, agitated--Maggie remembers what Julia hypnotized her to forget, and now wants to go to the police. Barnabas wants Julia to stop her using hypnosis again. But I'm ready to start the experiment, protests Julia. Barnabas suggests she imagine the police showing up now that he's free of his affliction, of having to pay the penalty for those first months--I can't, and won't--if you won't silence Maggie, I must!Julia is perplexed; Maggie's memory shouldn't have suddenly returned--perhaps Willie is exaggerating? He was hiding her in the mausoleum, says Barnabas significantly. Julia realizes Maggie saw the coffin, stirring up memories. When Willie comes downstairs, Barnabas orders him to tell Julia everything. Willie sees no point--besides Maggie could escape, as she almost did once before--what'll we do? asks Willie, panicking. Julia calms him down and requests details. He asks her not to treat him the way she did when he was back at Windcliff--Maggie remembered about the music box, thinking she was Josette, and about Barnabas and how he frightened her. Julia insists there's nothing incriminating about that, but Willie tells them she said "I know what Barnabas Collins is."Julia asks what will happen with the experiment while she's seeing to Maggie, who she doubts is in a receptive mood. Barnabas says he can't be effective help with this hanging over him, and Julia says she isn't sure what she dreads more, or which is more dangerous to them--seeing Maggie in the tomb or Carolyn here. Barnabas orders her to go; Willie will accompany her--he'll tell Carolyn something is wrong with the equipment. Julia says no, that'll scare her, but then she changes her tune--she doesn't care, perhaps Carolyn will begin to have some doubts about the experiment and change her mind about doing it. Barnabas thanks Julia for her help and after she leaves, Willie plaintively asks Barnabas if Julia can erase Maggie's hatred of him, too. (poor guy!) Barnabas says he can't concern himself with Willie's personal problems--you did something you shouldn't have, and brought me to the edge of disaster--I must find a way back. Julia calls to Willie to come downstairs. The front door opens. A hand snakes in. It's Adam, who asks where Julia is going, on a case?--no, you're not going anywhere, he says, barring the door.

Adam orders Julia back inside. She refuses, but she can see he means business, so she obeys. She must leave, she says, I have an ill patient. He refuses to let her go--she has responsibilities to HIM. Willie comes in, spots Adam, and screams for Barnabas. Adam thanks him for kidnapping Maggie, and offers to shake his hand, confusing Willie. Adam keeps his hand outstretched--he's happy!--I'll have my mate the way I want. Adam says Julia's patient must find another doctor. Barnabas enters the fray and Adam says now they can all go downstairs and begin the experiment. Julia says she tried to explain to Adam, but the latter sarcastically says it's hard to explain anything to him. Julia must go, says Barnabas--she can't concentrate on the experiment otherwise. Adam makes his Vicki threat. Willie starts to head upstairs, and Adam demands to know where he's going--Willie was going with Dr., Hoffman, accuses Adam--why did Willie lie? He gives Willie a push, and Willie races upstairs. Adam tells Julia Willie won't be much value to her patient. She says she was just dropping him off in town. Adam calls this a lie, too, and Barnabas tells him to wait one hour--this is no stall!--they want to get it over with. Barnabas says Carolyn isn't ready, she needs more rest. Julia agrees. Always something new, says Adam--new rules, and he doesn't believe them--he will go get Carolyn! He heads upstairs, ordering them, with a "please," to come with him--Stokes told him that's a sign of a gentleman who doesn't forget his manners during a crisis, and he wants his mate to think of him as a gentleman. On the landing, Willie appears with the house gun. He orders Adam to stop, he isn't going anywhere. Willie tells Julia to go. Adam orders Barnabas to make Willie drop the gun. Willie says no one is telling him anything, but Barnabas advises Willie to do what Adam says. No, says Willie, I've been wanting to kill him since the moment I met him. Julia begs Willie to think, and not shoot Adam. Willie says he IS thinking, he isn't scared now--all he must do is pull the trigger! "And Barnabas will die," says Julia, taut-lipped. Adam chimes in, "You forget, Willie, there's some connection between Barnabas and myself." Adam advances on Willie, who orders him to stay away. Willie cocks the gun and warns him not to get closer. Adam accuses him of bluffing--you care too much about Barnabas. Adam wrests the gun from Willie and Barnabas tries to shoo Julia out, but Adam, holding the gun on them, tells them that the first one out that door is going to be his mate, and he will follow her!  Adam holds the gun aimed on them and says they must get to work. Willie says he isn't needed down there, and Barnabas agrees, but Adam doesn't trust him and wants him there. Barnabas says he and Julia won't be able to concentrate and Willie should stand guard in case someone shows up. Barnabas tells Julia to go start the equipment, Barnabas will join her shortly. "NO!" barks Adam, but Barnabas tells him gun or no gun, he can't tell him what to do in his own house--he has to give Willie instructions. Adam makes fun of this--Willie has to be told even that. He points the gun at Julia and they head down to the lab. Willie asks Barn not to tell him what he should have done since he already did it, and Barn agrees. Willie doesn't know why everything he does turns out badly. Because you don't think, chastises Barnabas, ordering him to the tomb. Willie is afraid Adam will come after him, and wonders what he'll say to Maggie. Keep her quiet and don't let her out of your sight, demands Barnabas. Willie reminds him Joe is searching for Maggie, but Barn says he'd never think of the mausoleum. Willie begs him for something to say--he did treat her so badly--and he feels sorry for her. Those days are gone, and should be forgotten by everyone, says Barnabas--make sure Maggie doesn't get away from you! After Willie leaves, Barnabas gazes worriedly upstairs.

Julia has set the equipment in motion and it's making lots of little noises. Adam is staring at the body on the table. She tells him he must follow her orders, she's in charge. He starts to look at the body, but she tells him firmly not to touch anything and to sit down. He asks if it will work, and she responds that it did before. That isn't what he wanted to hear, tell him it WILL! I said the only thing I could, admits Julia. You don't care, he accuses her. She tells him she just wants it over. But a success, adds Adam desperately. Julia complains his talking is making her nervous. She orders him to go upstairs and wait, but he won't, so she tells him to be quiet. He asks Julia not to scare the new creation with a needle, not to hurt her, but Julia says she'll do whatever is necessary--she did what she had to in order to calm him down! Julia doesn't understand Adam--she can't hurt the creation, but it's OK to hurt Carolyn. Julia smiles bitterly as she informs him giving life force is painful--she watched Barnabas, heard his screams when Adam was brought to life.No drug will be strong enough, she tells him. She doesn't know how he talked Carolyn into this. She's doing it for me, he says. Julia doesn't understand what right he had to ask her. I saved her life, he retorts. She tells him if he has any affection for Carolyn at all, stop this now! Adam says Julia doesn't want him to have his mate at all. Barnabas comes downstairs and tells Adam they're doing what he wants at some cost to themselves--remember it if he can. Adam sits back down like a sullen child. Julia tells Barnabas to attach the straps on the creation. Barnabas is waiting for the last minute to see Carolyn. Julia finds something wrong with the gauge. You must hurry, says Barnabas, we can't have more problems. For once, Barnabas is right, agrees Adam. Julia gets it fixed. They're ready to begin after one more check. Adam rises, goes to the head of the table to his intended mate. It will happen at last, he exults. Barnabas reminds him of his part of the bargain--take his mate away immediately after the experiment. Adam asks if she will be as he was, knowing nothing, unable to speak. Yes, says Barnabas. Adam wonders if he'll be able to teach her all she needs to know, to which Barnabas stoically replies, "You will have to." Julia tells Barnabas to go get Carolyn, but his forehead creases as he wonders how Liz and Roger would feel if they knew about this. Adam tells them HE will go get Carolyn, but before he goes, before Carolyn comes down, he tells them if anything happens to Carolyn, THEY will be hurt even more--do you understand?He leaves after a final glance at the creation. "Soon you will breathe. You will hold out your arms, you will walk. You will smile at me." Adam starts to reveal the creature, but Julia warns him she's still bandaged. He orders them taken off, but Julia says they already explained that she's bandaged so she will be beautiful, and unscarred. "She will be beautiful, as beautiful as Carolyn," he says. "At last, I will have my Carolyn."

NOTES: The scene with Willie, Julia, Barnabas and Adam on the landing was really good. For those of you who wish someone would just put a bullet into Adam, sorry! : )

I still feel sorry for Adam. He can't have Carolyn and he knows he's different, so he wants someone like himself to love. That he's going about it by force and threats is something that Barnabas used to do all the time, so like father, like son. It's understandable that Barnabas and Julia are fearful about using Carolyn, but I can understand Adam wanting his mate to be like the girl he already loves.


591 - (Nancy Barrett) - The great house of Collinwood is quiet. The wind is as soft as a whispered secret. But in an Old House nearby, a secret is about to explode into reality. A body lies waiting to come to life, waiting to become the mate of a man in love with the girl who will provide the life force.

(Adam's makeup looks a lot uglier than usual. Some days he seems less scarred than others.)

Adam looks goofy, imaging how glad he'll be when this is over and he sees two Carolyns and one is his. Julia hesitantly tells him the creation doesn't look like Carolyn, infuriating him. Barnabas tells him that was impossible, there were no qualifications. Julia promises Adam he will like the way his mate looks, but Adam in unsure. Trust us, asks Julia. Adam asks if she will be like Carolyn, and Julia says she will if they use Carolyn for the life force. Adam says THAT is definite! He warns her not to try and talk Carolyn out of this, grabbing her arm for emphasis, and Barn forces him to drop it. The equipment is ready, says Julia. Adam again asks if the mate will be like Carolyn--or like him, as different from the life force as possible? (there are more similarities than you realize, Adam.) Julia doesn't know, and Barnabas is stoic. Julia says Lang believe it possible to bring one's personality, "?lan vitale," into another body--that was the purpose, so they have to hope Carolyn's spirit is in this one. Adam warns Julia that the mate had better be like Carolyn, and Barnabas asks if they are never to be free from his threats--they're doing as he told them to do! Adam asks Barn why he isn't more like him, and Barnabas responds perhaps because they both are alive. Carolyn must be alive, too, barks Adam, and Barn reminds him Carolyn is his relative and friend--if he believed this equipment would cause her death, he'd destroy the equipment. Adam accuses him of loving Vicki more, but Barnabas reminds him he threatened everyone at Collinwood. Barn wants to get the experiment underway so Adam can take his mate and leave, as he promised. Adam gazes at the draped form and wonders if he'll like her. You won't know until she's alive, says Barnabas cruelly, heading up to get Carolyn. Adam asks Julia if she understands his concerns, and she says yes, in a way she does. He feels she knows more about love than Barnabas, but Julia says she understands Adam's kind better--but she knows Barnabas is capable of great love, she's seen it. Adam observes that she's frightened, but she says no, not now. He can tell she is, he insists, but she says she just has to push the proper buttons and trust the equipment--nothing to fear. She suggests he's afraid, and he looks at the creation on the table and fears what will happen if she doesn't like what she sees. What will he do then? WHAT?

Josette's room Barnabas tells Carolyn he fears she doesn't know what she's about to do--he wants to tell Adam she's ill, and he'll have to accept it. He get someone else, he pleads, anyone, somehow. She appears not to have heard him, and says it's absurd--she owes Adam, he loves her.She smiles at him--love, not friendship, the kind of love she felt when she was very young, without reason or knowledge--he loves her without knowing who she really is. She feels he'd worship her no matter what. Carolyn, you've been hiding him, accuses Barnabas, and she tells her cousin he wouldn't ask her that if he's been listening to her. Then Barnabas says, "You are in love with HIM." (indubitably) Carolyn doesn't answer that one. Adam enters and says Julia's waiting. Carolyn says she's ready and Adam tells Barnabas to go on. GO! Carolyn nods, giving Barn permission, and he shoots Carolyn a long look before leaving the room. Adam asks Carolyn if she feels all right. Yes. She's not frightened, or she doesn't think so. She should be, it's a new thing, but. . .he hugs her, knowing she is frightened, caressing her hair. He never wanted her to be scared, but she pulls away. It's the waiting, she says. He's pleased she let him hold her, for the first time ever--he's imagined it so many times.She admits she has, sometimes. She wants to get it over with, she tells him, as if changing the subject, but he says not yet. They sit together on the bed and he asks if she's ever thought of going far away from Collinsport. Adam, please, she protests, but he continues, and asks again, if she could go away and live her life, not her family's, not her friends--Stokes once told him people often live lives expected of them, and he doesn't understand. Carolyn can't explain. She has thought of living her own life, she admits, and he asks her to come away with him. She didn't want to have this conversation, there's no point. There is, he insists, he wants her to think. She admits he's right. He suggests she stop thinking, but she says she's thought about him, but. . .he wants to know WHAT she thought, but she can't tell him. When the experiment is over, he's leaving, he reminds her, this is the last time they will have to talk--tell him now! She gently says she's thought about how dear he is, how attractive, scars notwithstanding--she doesn't see them anymore. They should go downstairs, she says, but he insists he finish. She says he sounded like Stokes just then, or others who have taught him things. He seems annoyed that she thinks of him as a child, but she confesses she thinks of him in other ways, too, which pleases him--he wants her to admit that to herself. He takes her by the arms and tells her he wants them to leave this room, go downstairs, go somewhere, they can be married, he'll work for her, there's no need for the experiment, he can make them happy. Upset, Carolyn tells him he can't make them happy by himself, no one person ever can. She leaves his arms. "Carolyn, please," he begs, but she says they've waited long enough. He begs her to wait, takes her in his arms, kisses her hair passionately.

Down in the lab, Julia tells Barn she wishes it weren't Carolyn. "Julia, please!" be begs. He tells her Carolyn understands the risks, and Julia says she feels bad worrying about the dangers to themselves. He assures her nothing will happen, but Julia reminds him this is only the second time for the experiment, and it didn't go according to plan. It went well, he says. Yes, by chance, she says--who knows this time? Barnabas says it's perfectly natural for her to be apprehensive, and she orders him not to try to "handle" her. He denies doing this, and she retorts, "Yes you were!" They realize they're both upset and Julia says such situations can turn allies against each other. Adam comes down and tells them Carolyn is coming; she wouldn't change her mind at the last moment. Barnabas says he hoped she would, and Julia concurs. When Adam warns Julia that both creation and Carolyn must live, he sees fear in her eyes, and tells her she must not be nervous and make a mistake. Barnabas tells Adam he's making her more so. Carolyn comes downstairs and touches the table on which she'll be lying. She surveys the creation and asks to see her. Adam says she won't be as beautiful as she is, which bothers Carolyn--of course she will be, and Adam must think so. She demands he say that to her--judge her fairly. She forces him to say it as if he means it, and he response, "I will," as if in a wedding ceremony. Carolyn gently tells Julia she's glad she's doing this. Julia tells Adam to leave, but he wants to stay. She refuses, it's terribly difficult to accomplish; she wouldn't allow him in a hospital during surgery. Barn agrees. Carolyn begs Adam to do as they say, but he refuses to leave her. Another reason, says Julia, you're emotionally involved. Adam points out both Julia and Barn are emotionally involved, but in a different way. Barnabas argues they have more knowledge than Adam, and Julia says Adam will interfere with her concentration, which could mean the difference between success and failure. Adam says stubbornly, "I will stay." "You will NOT!" responds Julia. The camera focuses on Carolyn during this, who is growing upset. Barnabas asks Adam if he doesn't have faith in them, even now--they won't try to get out of this. Carolyn begs them to stop; she can't just stand there--what difference does Adam's presence make? She wants to start now. Julia tells Carolyn to lie on the table. Adam lifts her up himself. She holds onto him with both arms. He leans in and touches her hair, gazing at her with love. She gazes back, looking equally smitten. Julia orders Adam to stand at the arch and neither move nor speak, no matter what happens.She tells Barnabas to fasten the straps, and gives Carolyn something to help fight the pain (Adam demands to know what it is). There will be discomfort, warns Julia, and asks her not to be brave. (I'd leave now.) Julia says she'll hopefully feel only a slight shock or tingling. Julia turns on the juice, looking at Carolyn, Adam and Barnabas, who all seem anxious and unhappy. Lights go on and off. Julia fiddles with dials and Carolyn begins to moan, twisting from side to side. Barnabas has his hand on Adam's shoulder, both to stay and to comfort, one hopes. Carolyn cries out, sobbing with pain. Adam wants to go to her, Barnabas prevents it. More power, Carolyn is screaming now. Adam is beside himself. Julia tells Barnabas to watch a scope; if the waves begin to collapse, it will mean Carolyn is in danger. Barnabas tells her they are beginning to change. Carolyn is sobbing with agony, then screaming, "ADAM!" ADAM!" "She's calling me!" cries Adam, but Barnabas orders him to get back and let Julia do her work. Adam notes she isn't breathing, and Julia, frantic, asks how the scope reads. It's flatline! Julia tells him to keep watching, goes to Carolyn and listens for a heartbeat. She looks horrified and backs away. "JULIA!" Adam screams. Julia tells Barnabas Carolyn's breathing is weak--if the mate doesn't come alive in 60 seconds, Carolyn will die.They turn agonized eyes to the clock's second hand as it sweeps towards life. . .or death.

NOTES: Is Carolyn going to die? We doubt a main character can perish on DS, but who knows whose contract is up at this point in time?

Oh, very good stuff there, if a tad melodramatic. The lab scenes always seem like silly medicine to me, and quite unbelievable, but it's still fun, if you can suspend that disbelief.

Adam and Carolyn really do seem in love here, but poor Carolyn certainly can't love a CREATION, can she? More's the pity for her; Adam's proposal was kind of touching and sweet, and he was clearly trying to save her pain. Will Adam get his mate but lose Carolyn?

Love, Robin