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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

Love, Robin

493 - The new baby comes home to meet sibling Willie!

Old House cellar - Julia, Willie and Barnabas survey the sleeping Adam, cozy on a cot, and Papa Barnabas comments how innocent Adam looks in sleep. All malice and evil leave when we sleep, he suggests, but Julia advises Barn not to stand too close to him; he might awaken any moment. Brute force incarnate, disguised now as one of earth's gentlest creatures, murmurs Barnabas. Adam stirs. Julia fearfully draws him away. They have no idea what he'll do.

Willie, cringing, wonders why they are so afraid if he's as harmless they claim. They must be cautious, says Barnabas, a lesson Julia learned at some expense. Julia explains they must show no fear. Willie says he is afraid, which Barnabas says communicates itself to Adam. Julia says Adam reacts to fear the same way any fearful creature does, to which Willie responds, "Oh, he runs away." (LOL!) Sarcastically, Barnabas tells Willie not to judge everyone by HIS standards--the natural reaction is to strike out. Willie doesn't like this. Barnabas says they must do nothing to cause Adam pain. It frightened him more than hurts him, says Julia. Adams awakens. Barn tells them to act naturally. Julia asks how Adam is feeling. Barnabas tells him they brought him to a new home, and Julia introduces Willie, his "friend"--as they are his friends. Barnabas assures Adam Willie will take good care of him.It scares Willie that Adam knows no words. He has to learn to speak, points out Julia. Barnabas gently explains to Adam that Willie will teach him certain things. As Julia taught Adam to eat (when did that happen?), Willie will teach him to speak. Willie says he's scared, he can't do this! Barn says he has no reason to be frightened, and Adam gazes angrily at Willie. Barnabas tells Adam there's nothing to fear, but Willie shakes his head and begs not to be left alone with him. Teaching him calms him, says Julia, but Willie protests he doesn't know anything (see, Adam, here's a PLAYBOY magazine). Stay with him and help him, urges Barnabas, and Adam will respond. Julia says she was the first to hurt him and he was hostile, but now that she taught him to eat, he's forgotten his anger. Willie thinks THEY should stay with him, then, rather than him--he likes them--when Barn was talking to him, Adam was calm. Barnabas assures Willie he can do the same. Barnabas and Julia start to leave as Willie again begs not to be left alone. Barnabas tells Willie he's responsible for Adam and himself--talk to him, be friendly, and there will be nothing to fear--either from Adam or Barnabas. Adam grunts disapproval when he sees Barnabas leaving and Willie points out that Adam doesn't want him to go either. Barn promises to come back and see him and says goodbye. He holds out his hand to Adam, a custom of parting, he explains, a gesture of friendship. Adam slowly, reluctantly puts his hand in Barnabas', and the latter says goodbye. Adam seems fascinated by this and examines his hand afterwards. Julia promises Willie one of them will be back to check on the two new brothers. She says goodbye to Adam, who is continuing to stares at his hand. Willie locks the door and gazes fearfully at Adam. He asks if it's OK for him to sit down, then answers himself. Adam warily watches as Willie sits down and offers him a cigarette. Willie lights it with a match and sucks on it like he's a nervous wreck. He tells Adam what a nice fellow he is. Adam is rubbing his lips. He grabs the cigarette out of Willie's hand, immediately burning himself, and Willie cries, "I didn't hurt you!" Adam knocks Willie to the floor, bangs on the locked cell door and pulls it open, gazing around him in terror. He stumbles up the cellar steps, crying in pain, leaving Willie unconscious on the floor. (Willie always had trouble following orders.)

At Collinwood, Julia examines Lang's journals. Mrs. Johnson comes in and gasps when she sees Julia. She asks if David is there. He isn't. Mrs. Johnson doesn't want to find him, she tells Julia, she's afraid to see him--she's going to her room and stay there. I've had the dream, says Mrs. Johnson--it was so terrifying! Julia doesn't want to hear Mrs. Johnson talk about bats screeching and begs her to stop. Sarah is crying, saying she tried to resist her beckoner, David, but couldn't. Never tell him the dream, Julia orders. Sarah explains that she was forced to do everything in the dream--and she must tell it to David! Julia sits Mrs. Johnson down and tells her they must stop the dream before it's too late. If she doesn't see David, she can't tell him, Julia reminds her. Leave Collinwood! Mrs. Johnson says she has no place to go, but Julia insists it could be a matter of life and death for David. Sarah keeps hearing the bats. Willie bursts in, all shaken up. Julia sends Mrs. Johnson to her room to rest. "I can't go anywhere!" wails Mrs. Johnson, and prays she doesn't see David on the way. After the housekeeper leaves, Willie tells Julia Adam knocked him out and escaped. He's gone, and he doesn't know where he is!

Adam wanders the woods, cradling his hurt hand, terrified.

Julia orders Willie to stop sniveling and come with her. She chastises him for the cigarette incident. He clutches the chair--he wants to find someplace to hide. She orders him to get hold of himself, come with her and look for Barnabas. He needs to go someplace safe, he whines, but she again orders him to come with her. Reluctantly, Willie follows her.

Adam finds his way to the terrace. He sticks his hand in the fountain and finds the water soothes his burnt hand. (A doctor in the making?) He also finds it good to drink, and catches it in his hands and takes it into his mouth greedily. Something upsets him and he angrily smacks the fountain. Mrs. Johnson catches him and demands to know what he's doing there, who he is, what he wants?--you don't belong here, she tells him, and he opens his mouth, unable to speak. He holds out his hands in a gesture of supplication, trying desperately to communicate.She orders him not to come closer and begins to scream for help. Adam runs away as Barnabas, Julia and Willie join her. She saw a huge, huge man, a monster, she cries. Barnabas looks to where the man ran away.

Julia and Mrs. Johnson wait on the terrace. Mrs. J thinks Barn should have called the police before going after the man. Julia thinks it was only a stranger who wandered onto the grounds, but Sarah said it seemed the man was more animal than man. Julia says her imagination is running away, but Mrs. J says the man really frightened her. Julia again suggests Mrs. J leave Collinwood, visit her sister in Boston, but Sarah says she's too scared to do anything or go anywhere. Sarah hears a sound. She and Julia stand. Maybe it's the bats or that mad animal crashing in the woods, suggests Mrs. Johnson, who decides to leave Collinwood for her own sake and David's. Just pray it doesn't come any closer, whoever or whatever it is, frets Mrs. J. Julia is grateful the housekeeper has decided to leave.Barnabas and Willie have found Adam in the woods. Barnabas offers him his hand. "You know I'd never hurt you," says Barnabas--I want to take you home. Willie says they need help, but Barn says that's impossible. Gently, Barnabas tells Adam to come home with him, there's nothing to be afraid of. Adam is nervous, afraid. He very reluctantly accepts Barnabas' hand gazing happily at "Daddy", and they walk off, leaving Willie staring unhappily after them.

At Collinwood, Julia paces the drawing room. Barnabas tells her they got Adam back to the Old House; he took the medicine she left for him and fell asleep. Was the restraint applied? She asks, and he sadly says yes. It was the only thing they could do under the circumstances, says Julia, trying to comfort him, and Barnabas sighs and replies, "I know." They look like two very depressed parents with an unmanageable little boy.Adam awakens in the basement and finds an iron cuff wrapped around his ankle. He's chained to the wall. Moaning piteously, angrily, he tries to wrest the cuff off, at this new confinement.

NOTES: Poor Adam. You can't help wishing they could find a better, more humane, way of caring for him. Newborn babies are small and can't wreak much havoc (besides parental sleeping), but Adam is a huge newborn and difficult to control. He just seems to bewildered about his surroundings--and growing very close to Barnabas.

Of course they never get into this, but is Adam wearing adult diapers, or did they potty train him from the get-go?

It's apparent Willie isn't ready for any of this. He's really not much better than a child himself, a kid with a tad more restraint, but not really much beyond Adam in the brainage capacity. But Willie is still providing sterling comic relief!


494 - From the intro: Man and mortal, life and death, have been drained of meaning.

Adam sits on his cot in his cell. Willie brings him some food, but Adam seems too dejected to eat it. Willie says he's doing this to help him, but Adam looks like he doesn't believe that. Willie reminds Adam that he knows how to eat, so he can do it himself. Adam looks sad. Willie tries to hand feed him. Adam, annoyed, knocks the tray off the bed, and Willie flees the cell, leaning back against the locked door, breathing hard.

Julia tells Willie he must expect this kind of reaction from Adam--time and patience are necessary. Willie fears Adam will "get through" to him first, and Julia says she dislikes his attitude. I'm scared, says Willie, and Julia says Adam must be convinced they won't hurt him again, and that will gain his trust and they can begin teaching them. Willie would rather return to Windcliff, and Julia says if that happens, he'll be admitted as a patient beyond cure (that's not fair, Julia!)--she needs his help with Adam. I'm too scared, he whines. She orders him to learn to work with Adam or return to Windcliff never to leave again. (You're a bitch, Julia.) She takes the tray from Willie and orders him to stay with Adam--perform your duties! Willie nervously closes the door. He and Adam are alone again. Adam pulls a pair of shiny buttons from Willie's jacket and holds them up to his eyes. He tastes them. This is one thing Willie and Adam have in common, so Willie opens the secret panel, counting down the bricks, and takes out Barnabas' jewel stash.Willie is gleeful as he opens the box loaded with shining, glistening diamonds and gold. They belonged to Josette Collins, explains Willie, and hands Adam a long strand of pearls to play with. Now we're friends, says Willie as Adam takes out a pretty earring. Willie says he saw a girl who looked just like Josette, named Maggie, wear those earrings. She came downstairs into the drawing room, candles alight, and made Willie feel in a special way. He helped her, sort of, but she was scared of him, and he can't feel the way he wants to toward Maggie because she's scared of him and he can't be near her. Adam listens raptly to this tale of woe, even though he might not comprehend all the words. Willie takes back the jewelry and returns it to the secret spot. Willie decides he could secretly give those pretty earrings to Maggie and make her happy--something he'd like to do. Grinning at his idea, Willie puts back all the jewels--except those earrings, over which he laughs with pleasure.

At the Evans cottage, Willie looks in the window and watches Joe and Maggie sharing a nice evening. She's cleaning brushes. Joe volunteers to clean up the coffee mugs while she gets ready for their date. Willie enters the empty room, drops the earrings into Maggie's purse, and flees. Maggie teases Joe for breaking one of the cups while he helps her into her coat.

Julia praises Adam for his excellent eating habits, annoyed that Willie left him. When Willie returns, Julia expresses her displeasure. Willie was gone at least half an hour--where did you go? she demands. He says nowhere, and she points out his muddy shoes. She doesn't believe his fresh air story and orders him to remain with Adam at all times. She promises to check him, periodically, and threatens to send him right back to Windcliff if he leaves. (she sounds like a nasty schoolmarm!!) Willie grins at Adam. Adam indicates he wants to see the jewels, but Willie says not now--Julia might come back.

Cottage - Maggie is annoyed--she can't find her keys--maybe Sam left with both sets? Joe says they can stay home, but she wants to find them. Joe suggests she check her purse, he didn't see her do so. She opens her purse--the keys are there! She also finds the diamond and emerald earrings. Josette's music begins to play. Joe swears he didn't give her the earrings; he couldn't have afforded them. Sam couldn't, either--how did they get into her purse? Joe suggests she ask Sam, and if he didn't give them to her, turn them over to the police--she'll get them back if no one claims them. Maggie admires them in the light and says the woman who wore them must be beautiful. All you need is money, remarks Joe, but Maggie says she thinks of someone lovely, elegant and--sad owned them. Joe says she has sentiment and imagination, but she says they remind her of something she's forgotten. Joe tells her to put them safely away so they can go out, but Maggie feels compelled to put them on. Josette's music plays, and she admires the beautiful, thoughtful gift. Joe wishes they were from him, and she says only a man who had gazed into her eyes with deepest love would know they were meant for her--in a very Josette-like voice. Joe eyes her uncomfortably, she's getting carried away. She thinks he looks worried--why? He's surprised--he didn't think she was the diamonds and emeralds type. Laughing, she assures him she loves a good book or a box of candy as a gift any day of the week. She hugs him and says the earrings are different. He agrees they look special. She's never felt this way about jewelry--she feels drawn to them. He agrees they're beautiful, any woman would love them.It's more than that, she says dreamily, and he gets kind of angry and tells her to put them away until their owner can be found. She takes them off and says he must admit they're really exquisite--there's nothing like them in the world.

Adam is banging on the walls while Willie cowers in a corner of the cell. Like a kid having a tantrum, Adam wants to see the pretty jewelry. Julia comes in and calms the big guy down.Willie tells her to give him her necklace, it will calm him down and save Willie's life. Julia holds it up, per Willie's orders. When she does so, Adam takes it, happy, and sits back down on his bed. Julia tells Willie to leave quickly, which he does, and he informs Julia outside the cell he won't go back in there--he thinks Adam should be destroyed. No, says Julia. Then Adam will destroy YOU warns Willie, but she disagrees. Adam has an alert mind, but it's trapped inside him. They must free it so he can learn. Willie calls Adam dumb, and Julia haughtily informs him "It takes intelligence to know intelligence." (Julia's being even more nasty to Willie than Barnabas, I swear!) Willie refuses to go back in there, and Julia agrees--he's done enough damage. Julia tells Willie she's going to play Adam some music and reach his intelligence and imagination. Willie thinks Adam needs a bullet between the eyes. They leave Lang's recorder--with the infamous tape!--outside the cell so Adam can enjoy it. Willie and Julia head back upstairs. When they are gone, the music on the tape is interrupted by Lang's dissertation on "if both live." Adam listens very carefully to this, peering out the cell door, and says, "Barna--Barna-bas."NOTES: Adam he said his first word--Daddy's name!

Isn't Julia being cruel to Willie? I think so. She must realize they made a mistake letting him out of Windcliff!

Love, Robin

489 - Tony paces the study. He's waiting for Cassandra, and when she shows up, he says he wants to discuss Dr. Lang--he doesn't know how or why, but he suspects she had something to do with his death. She stares at him, wide-eyed.David's voice fills the air, and he's with Mrs. Johnson in the foyer. David asks Mrs. J why she's so quiet, and why didn't Roger pick him up. Mrs. J says to ask her no questions, she'll tell him no lies (LOL!). Roger bounces downstairs, pleased to see his son. He tells Mrs. J to go get Cassandra. David asks who that is, and Roger puts an arm around his son's shoulders and leads him into the drawing room.

Tony reminds Cassandra he just accused her of murdering a man--doesn't she have anything to say? She can't talk to him now, she says--wait for me in the gazebo and I will join you there ASAP. He starts to say something, but sloppy editing puts us right out of that scene.

Tony and Cassandra stare at each other, and it appears she's hypnotizing him. He walks right past Mrs. Johnson, who tells Cassandra David and Roger are in the drawing room. Cassandra fusses with her hair and dress. She's so nervous! She wants Mrs. Johnson to wait for her. David won't bite you, says Mrs. J, but Cassandra really wants to make a good impression. Cassandra asks Mrs. Johnson if she feels all right, a question which puzzles her--I feel worn out!--I slept well--I always feel worn out, so I feel the same today as any other day. (I love this lady!) Cassandra expresses concern for Mrs. J, but Sarah says she's the healthiest person in the house. Cassandra checks herself once more in the mirror and Mrs. Johnson does, too, after she leaves.

Roger explains to David that his new mother, Cassandra, is quite a bit younger than he is. David doesn't know what to say, but he isn't reacting much at all--is David angry, happy, disappointed? David says if his father is happy, he is, too. Cassandra enters. Roger introduces her to David. She greets him warmly, gushing over how many wonderful things she's heard about him, but David is silent. She says she'd be shocked, too, if she were him. She asks him to do his best, as she will, to become good friends. She reaches out for him, but he backs away, and Roger scolds him for doing so. Cassandra tells her husband not to do that, it will take time for David to get used to her--it's only natural. She leaves them alone to talk "man to man." She assures Roger she and David will get better acquainted soon enough, no need to rush. David agrees, and Cassandra says she's taking a walk so father and son can talk. Roger says he's disappointed in his son and David apologizes. Roger says it takes very little effort to be civil, even to someone he dislikes--and he should get to know her before he dislikes her (perhaps David is more intuitive than his father).He didn't say that, objects David, he doesn't know how to act in front of Cassandra. Roger's good humor returns. He understands. Give Cassandra a chance, and he will grow to love her as much as he does. David says yes, but doesn't sound like he means it, and Roger makes a face. Run outside and play, suggests Roger. David wanted them to talk more, but Roger is through talking. He knows Cassandra will try to befriend David, and he hopes his son will do the same. "Yes, Father," replies David forlornly, walking slowly to the door in his Nehru jacket.

Gazebo - After Tony lights a cigarette, he gazes raptly at his lighter flame for a moment. Cassandra appears. You're always so serious, she complains, I've never seen you smile. I didn't come to talk about me, says Tony. How could I have had responsibility for Lang's death? Queries Cassandra. You wanted him dead, accuses Tony. Absurd, she says. I was Lang's lawyer for the past six months, says Tony, and I went to his home to get some papers to clean up his estate--when I got there, I realized I'd been there before, and not in a legal capacity--I was there a few days ago, I went to get something for you, something you badly wanted--a medallion--I don't know why I did it, but I do strange things when I'm around you. She asks if he thinks he does these things against his will? Yes, and you're responsible, he accuses. She tells him to look at her--she's an ordinary young woman who can't possibly force him to do anything against his will. She tells him to look deeply into her eyes, deeper, deeper, and he does.Hypnotized, he says he can hear her. She tells him to sit down; he does, gazing up at her. She needs his help again--he's Julia Hoffman's lawyer, and Cassandra has reason to believe that woman is interfering with her plans, trying to prevent the dream curse from reaching its intended victim. She describes the dream curse to Tony. Julia had the dream and hasn't yet told it to Mrs. Johnson, and Mrs. J. can't have it unless Julia tells her about it. She asks Tony to watch Julia carefully, where she goes, who she sees, what she does--don't do anything to her, but find out why she's resisting. Tony agrees. One more thing, says Cassandra, forget I had anything to do with Lang's death. He promises to forget; she gazes fondly at him and brushes her fingers across his forehead. He comes out of the trance, but is confused by her interest in him--she's a married woman and they shouldn't be seeing each other alone this way. But you ARE seeing me, she points out, but he doesn't understand why--she has a strange effect on him. It's obvious, she pronounces--you're falling in love--with me. He looks at her, and they come together in a nice, juicy kiss--which is witnessed by David! They kiss again, clutched in each other's arms, and David turns away from the upsetting sight.

Cassandra returns to Collinwood and gazes at Barnabas' portrait, batting her eyes. Roger comes out and tells her David has to get used to the idea of having a young, lovely stepmother--he'll adjust. We're going on a honeymoon the next day, he says--David knows of our marriage, so off we'll go. She doesn't think they should abandon the boy so soon, it's such short notice. They aren't abandoning him, says Roger, they'll return. She tries to talk him out of it, but he says David can survive a month without them, and they can at last be alone together. (have they consummated yet?) He wants to go upstairs, but she says she'll pack after dinner. He gives her a peck on the cheek and hurries upstairs. She looks pissed off at this turn of events and ponders how to handle it. She sits down by the fire, lips compressed. Mrs. Johnson comes in, asking where David is. Cassandra doesn't know. Cassandra asks Mrs. J if she's seen Julia. Earlier, but she left, says Mrs. J, and she didn't speak to her at all--like any other day. Mrs. J is perplexed when Cassandra inquires if Julia seemed different. She went to Dr. Lang's, reveals Mrs. J, but she doesn't know why. Cassandra asks if Mrs. J believes in dreams. No, I never dream, insists Sarah, I am a practical woman with no time for dreams. Cassandra rubs her temple as if a headache is brewing. David enters. She greets him with a huge smile. I don't care about my dinner, says David sternly--I want to speak to you--I saw you in the gazebo with Tony--and I'm going to tell my father I saw you kissing Mr. Peterson!Cassandra tells David he didn't see what he thought he saw. David accuses her of not loving his father, and she denies that. He doesn't believe her, he says, crossing his arms, he's going to tell his father. Cassandra locks him in the drawing room alone with her and demands, "How are you going to do that, David, if you cannot speak?" He tries to sweep past her, demanding she let him go, but she gazes into his eyes and tells him he won't be able to say anything. Try, she suggests, but he has been rendered mute. "You see, you aren't going to tell anything to anybody," she says harshly. She orders him to go over and sit down. He grabs his throat, shaking his head at her, but she's insistent, and he goes to a chair and sits. She tells him starting now, they are all going to be very, very concerned about David. She opens the doors and calls for Roger--"David, something is wrong with him, he can't speak!" Roger kneels in front of David and asks him what's wrong. Don't bother asking, says Cass, he can't respond. David indicates he can hear his father, and that something happened when he was outside. Cassandra suggests the boy is suffering from shock. Roger rises and grabs a pad of paper and a pencil. Write down what happened, says Roger, and Cassandra urges David to do it, too. They're trying to help, encourages Roger. Start writing, says Cassandra, but the pencil falls from David's hand. Roger is horrified--he's taking David upstairs and calling the doctor. "Poor child," croons Cassandra. Roger tells her until they know what's happening with David, they have to postpone the honeymoon--he's sorry. Cassandra understands, David's health is their first consideration. Roger leads David upstairs. Cassandra grins--she killed two troublesome birds with the same stone!

NOTES: Casting spells all over the place is our Cassandra--dreams, putting Tony under her spell (what, we wonder, are her extra-curricular plans for him?), making David mute. She's going to have to go through a lot of machinations to keep her dream curse going, and the people at Collinwood aren't going to prove quite as malleable as she hopes.


490 - Julia awakens from having her dream and calls, sobbing, for Barnabas to come to her. She tells him she had it again--even more frightening than the first time. Barnabas says Julia now knows what it is he discovered years ago--there's no escape from the witch--Julia will have the dream until she's so scared she's forced to tell Mrs. Johnson.Julia insists she must tell Mrs. Johnson before she loses her mind. Barnabas wants them to do the experiment tonight. Find some way to get hold of yourself, urges Barnabas coldly. Julia wonders if Cassandra can somehow control the experiment, but Barn believes she knows nothing about it. However, Barnabas admits he isn't sure of anything, including the experiment but he believes it's his only chance of escape. Another dawn is coming, and time is my enemy, not Cassandra, says Barnabas. If they fail, this could be the last dawn I ever see. There's a knock at the door and Julia insists Barn answer it; she's fearful it might be Mrs. Johnson. Barnabas points out their voices have already been heard. Sure enough, it IS Mrs. Johnson at the door, and she tells Barn she has no idea why she's there. Julia covers her face, silently screaming.

Barnabas tries to order Mrs. Johnson back to Collinwood, but Julia insists that she must speak to her--I'll never make it, Julia sobs--if you want the experiment to succeed, she tells her, I must clear my mind of this dream! Barn fears if Julia tells her the dream, who then will Mrs. Johnson have to tell it to?--what if it's me?--and the curse is brought back to me? They have to take the chance, Julia insists, showing him her shaking hands. He's willing to take the chance, he says, but when he orders Mrs. J back to Collinwood, she says she has to stay, thought she doesn't know why--she awakened from sleep, got up, got dressed and came to Lang's for some reason she doesn't even understand.Barnabas wants to take her back to Collinwood, but Julia again tells him she has to speak to Mrs. Johnson--it's too overwhelming! Barnabas, shaken, says, "All right--tell her."

After telling her the dream, Julia asks Mrs. Johnson to remain awake as long as she can, until tomorrow morning, if possible--when she sleeps, she will have the dream. Mrs. Johnson told Cassandra she never dreams. You're going to have one, says Julia, and a terrifying one!

11 PM. Julia, calm now, examines more of Lang's books. She tells Barnabas she's finished, and hasn't thought about the dream since she told Mrs. J. She'll be fine to do the experiment. There's another knock at the door. Barnabas sends Julia and the books to the lab--he'll get rid of the intruder. It's Vicki. She thought he'd already left when she got his note. I'm leaving sometime tonight, he says. Your note was vague, and sad, she says--I had the feeling you were saying goodbye to her forever.No, says Barnabas, but he isn't sure when he'll be back--and even though he'll be gone, he'll still be very close to her--almost anything is possible, he reminds her--he'll be with her in spirit and she might feel his presence through his cousin, Adam, from England--he's due in a few days. Barn is sure the family will be very kind to him. Vicki promises that. Barn says she'll like him very much, and she agrees. My cousin and I share a great deal in common, explains Barnabas, and he will become fond of you very quickly. Vicki wonders if Barn is leaving because she hurt him, and if so, could never forgive herself. I have business interests in England, he says, and must tend to them. Vicki apologizes that she couldn't give him the same love he gave her. Someday, he assures her, we'll talk again and I will tell you things I couldn't tell anyone else before, and you'll know it's just as well you don't share my feelings how--that loving me would have been the greatest mistake of your life. It's starting to storm. Vicki says a sad goodbye, to which Barnabas responds, "Until we meet again." He sees her out, looking very perturbed. His face is superimposed with that of Adam, who lies in the lab, awaiting his life force.

Once again, Adam and Barnabas lie side by side on the tables in the lab. Julia checks out the equipment. Julia examines a slide under a magnifier, and her eyes look huge. She tells Barn she's ready, and he says to begin. She reminds him this is the last time she'll see him as he is now, and he insensitively says that's the point of this, to save him from what he is now. Yes, she says, and Barn says time is running out--start, or there will be no hope at all for him. Julia starts the liquids flowing through the glass beakers, turns on the electricity, lifts both switches at once. Barnabas' body arches in pain as the electricity crackles. Dials roll, paper tapes run through the machine. Barnabas moans, and he tells Julia it must be working, he feels himself getting weaker, his life slipping away from him. He seems to welcome this, but Julia appears alarmed. Julia grows uneasy; puffs of smoke erupt from several places, unnerving her, and she spins the dials crazily. She turns off the power, then checks Barnabas' pulse. He's still alive! He gazes at Adam and asks her what happened. She had to stop, she failed, that's all, it's all over! He says it mustn't be and insists she let him up--they're going to try again. Julia refuses, it's too dangerous. Find out what you did wrong, he insists, correct it, they still have enough time--look through Lang's journals and trace what you did wrong. He supports himself on the table, telling her they came close to finishing it--they're trying again! Barnabas gazes at Adam. "I wanted you to live," he says. "I wanted my empty shell to be on that table. I wanted you to be standing over me, and looking down on my lifeless body. Live! Is it not still possible? LIVE!" Adam's eyes open."You're alive!" Barnabas says exultantly. Then, as it dawns on him, with bitter irony, "We're BOTH alive!" Adam turns his eyes in the direction of his "father."

NOTES: When Lang left his message on the tape recorder about what would happen if both Barnabas and the creation lived, I assumed they both would, and wondered what complications would ensue. Here we have Adam and Barnabas, both alive, and we know something Barnabas and Julia don't--if Adam dies, Barnabas reverts back to being a vampire, so Adam's survival is pivotal to keeping Barnabas curse-free.

Very silly Frankenstein scene, with Julia going nuts and twirling those dials like a mad scientist. Reminded me of YOUNG FRANKENSTEIN. Then again, you have to excuse DS for these excesses, I think Curtis had a blast doing them, even if the cast didn't.

Loved Barnabas' soliloquy to Adam, expressing his hope that his body would be lying dead on the table and Adam gazing down at him. But things didn't quite go as planned--why didn't Lang include this all-important info in his journals of the experiment?

Love, Robin

485 - Lang works on his creation, distracted. He can't forget the nightmare. He answers a knock at the door, it's Julia. She asks him what's wrong, and he says, "The dream! This is exactly like the dream!" Upset, he asks her what's happening to him.

Julia can't tell him what's happening to him. He says he can't work because of the dream. She asks what he's done about an assistant, and he can't even respond. She asks if something's happened to stop the experiment, and he says he must return to work. He only has a limited amount of time or the body will deteriorate, after 48 hours at the most. He can't keep being interrupted. He shakes his head, he's had many dreams and always been able to get up and back to business. This dream. . .she asks what's different about this dream and he curtly asks if she's asking as an analyst. He tells her his dream, every detail, concluding with the last door--his creation, without a head. He stared at the years he spent working on this, dreaming of it, he suddenly knew the experiment would fail. Julia glances at him with sympathy.It was a dream, she assures him, and he finally smiles. She's right! He thanks her. She asks him to allow her to assist him in case of emergency. He doesn't want her because she doesn't believe in the experiment; she wants Barn as he was before (what does he mean by that?) Perhaps it's for the best, she doesn't know, but she tells Eric he can depend on her.

Barnabas and Willie hear a dog howling outside the Old House. Willie says, "Well, if you won't be needin' me anymore. . ." Barnabas has an errand for Willie to run--take a letter to Elizabeth Collins at Collinwood. Barnabas is upset at the howling, and a grinning Willie suggests he isn't as changed as he thought he was. "That's very perceptive of you," says Barnabas, annoyed, and turns away from Willie. It's odd he should feel this urge on this night, and he's sure it's something Julia would explain psychologically--a man faced with the unknown, his last night on earth as himself, so naturally everything he has done seems preferable to what he faces. Or is it worse than that--is he reverting to what he was? No answer from Willie, who asks about this last night business--he fears for his own position. Barnabas says he explained it all to Willie last night--there will still be a Barnabas Collins, but he'll be in a new body--he's named him Adam. The first man, observes Willie. Yes, says Barnabas, and he will be the first of a new breed. The letter for Liz will give Adam an entree to Collinwood. Barnabas himself will be away for an indefinite period of time, and in his place a young cousin from England, Adam Collins, will arrive. Willie doesn't like it, which Barnabas says is a shame--he can always return to Windcliff. Willie frets "Adam" won't like him, but Barnabas assures him this new man will behave toward Willie exactly as Barnabas does (too bad, Willie, it would have been nice for him to be kinder to you), and Willie will treat him as he does Barnabas. Barnabas doesn't know that, protests Willie--he might come out of this different. Barnabas seals the envelope as Willie worries things won't be the same; suppose they won't let Adam live there, what will happen to him? Trust me, Willie, says Barn, things are changed at Collinwood--make sure only Liz gets that letter. Willie asks if Barnabas will see him before he leaves. Very likely not, says Barn. He assures the anxious Willie he'll recognize him upon his return, being deliberately unsentimental--even in the other body, he'll know who he is--I promise.Willie is still sure it won't work, and as the dogs continue to howl, Barnabas tells him it will work--because it must! Willie leaves with the letter.

Cassandra is wearing the infamous butterfly dress as she answers Willie's knock, anxiously asking if anything has happened to Barnabas. He has a letter for Liz. She isn't here, says Cassandra. Willie says he can't give it to her--I don't know who you are. She introduces herself as Roger's wife--Liz will be back very late, adds Cassandra, asking him in--I've been alone all evening. Willie reluctantly enters, staring at her. She offers him a seat in the drawing room, and sits across from him. She talks about how absurd it is of Barnabas not to have a telephone--one would think he lived in the 18th century (dig, dig). She asks Willie if he's known Barnabas long, and he says on and off for a spell. Do you know him well? she asks. He chuckles meaningfully. They don't see much of him, he avoids them, says Cass. To stay inside that house all day long? He doesn't stay inside anymore, says Willie--he goes to see Lang a lot now (tightlipped). Cassandra speculates Lang and Barnabas are working together--that's impossible, of course. She asks Willie if he worked for Barn before his accident. Sure, says Willie, he was very different then. Sometimes, he's almost the same, comments Willie. Is he? asks Cass--interesting.She knows Willie is busy, so she offers for him to leave the letter with her. Willie refuses. He was told not to-- Barnabas is going away. This upsets Cassandra--where is he going?--I must talk to him about Roger, it's very important! Something about Dr. Lang's, says Willie, and he hears Liz? car pull into the driveway. "Good night, Willie," bids Cassandra, smiling widely.

In the lab, Lang tells Julia assembling a body is easy--a heart can be started, breath put into lungs, but no one ever has been able to transfer a life force, the soul, into another body. He shows her his notebook. She will take Barnabas' pulse and heartbeat. Both are in white lab coats. Julia asks if Barnabas would be in pain and he reminds her she promised not to get emotional. Barnabas will be unconscious after the first phase, he explains. Barnabas, wearing a blue silk robe and pajama bottoms, enters the lab, pausing for a moment as thought getting up his courage."I am ready, doctor," he says to Lang as Julia looks at him longingly. Lang removes the covering from the face--this is how Barnabas will look (music miscue). Lang says there will be certain alterations in the face, to be done later. (The creature's face is all scarred.) Barnabas says he doesn't care how he looks--the old desires are coming back upon him again. Lang tells Barnabas to lie down on the other table. Julia and Barnabas exchange a glance before he takes his place. Lang tells Julia to tighten the straps. Barnabas gazes at Adam as Dr. Lang affixes an electrode-studded headband to his head, the same on the creature's body. Lang orders Julia to check the oxygen mask, then tells Barnabas they are ready--he's confident. Barnabas assures Eric he's equally confident, then tells Julia he's glad she's there. She smiles worriedly and thanks him. Lang shouts for Julia to take pulse reading #1.

In the drawing room, Cassandra holds an Eric Lang clay doll in her hands. She tells it she has power over the doll and over Lang himself. She can break off an arm and really break his arm. She can make him burn wherever she touches the figure. Her power was given to her by the devil himself, and she will know it soon. Eric fiddles with the dials and Julia tells him Barn's pulse is normal. He pushes up the switches and the sound of electricity cackles in the air. The lights blink on and off, and Barnabas' mouth works, his eyes glazed. Eric lifts the second electric switch, and Barnabas screams in agony, his mouth wide open. "Give him something!" cries Julia. "His heartbeat is slower!"

Cassandra continues to play with her clay Eric doll, pushing a pin into the chest--not enough to trouble you, she says, just enough to make you wonder. . .

In the lab, Eric grabs his chest, demanding that Julia check the other pulse. No sign of life, she says, and Eric fiddles more with the dials.

The pain is worse now, says Cassandra, not enough to stop you, but when the pin goes in deeper, doctor!

Eric screams fiercely. Something explodes in the lab. Eric grabs his chest, pulls off his glasses. A panicked Julia pushes Barnabas' table away. The pain subsides, and Eric, draped over a table, gasps for breath. "BARNABAS!" cries a horrified Julia. Barnabas himself lies on the table, completely still. He looks dead.

NOTES: Well, Eric was quite the usual over-actor today, but it seemed more called for, given the circumstances. Not exactly high-tech special effects, but we didn't watch DS for that, did we?

Poor Julia! We knew she would be by Barnabas' side, even though she completely disagrees with this experiment. Have Cassandra's machinations killed both Eric and Barnabas? She sure is a bitch, just toying with Eric this way, torturing him for daring to help the man she once loved and now despises.


486 - Julia listens anxiously to Barnabas' heart. Lang calls to her, and gestures to his chest. She fills a syringe and returns to Lang's side, administering a shot. He tells her to check Barnabas' pulse; she does and tells him it's very slow. Give him three cc's of this, he says, giving her a vial. She is reluctant; he nearly killed him, but Lang says she'll save him if she gives it to him. She wonders what Barn will be like--if he lives--as she prepares the shot. Julia injects the drug into Barnabas' arm and Lang weakly calls her name, begging for her help. She helps him to sit down in a chair and says she's getting an ambulance. No, he protests, she can't ruin the experiment. Barnabas calls to Julia, and there is a "Julia" chorus as Lang joins in. Barnabas awakens and asks if it's over. He realizes, with disappointment, that he is the same. He sits up on the table, staring at Eric. Julia explains he had a heart attack during the experiment, which Barnabas blames on Cassandra. He must go--he has to prevent her from killing him! Barnabas nearly falls as he steps off the table--they must save Eric so they can try again, insists Barnabas. He's getting dressed. Eric weakly apologizes to Barnabas, who assures him he'll be all right. Julia tells Barn she wants to stop Cassandra, but he says he has to attend to this himself. Barnabas leaves, walking with difficulty. Julia returns her attention to Eric, who refuses to allow her to take him to the hospital. He tries to tell her Barn will become a vampire if she doesn't do it. The medication is becoming less effective, he gasps to Julia, which Barnabas doesn't know. Increase the dose, advises Julia, but Lang says that won't work. The body will decompose after 48 hours, so she must try again before that time is up.He grips Julia tightly for emphasis, but she protests she doesn't know what to do. The records are there, says Eric--get them--get my books--very important. She takes the notebooks and insists she can't do it--she'll kill him. You'll save him, counters Eric--bring the records. Eric takes the notebooks and tells her she must--there is time!

At Collinwood, Cassandra asks her clay Dr. Lang doll if he's had enough pain. She stopped him from what he was doing. Perhaps she won't kill him yet, she wants to drag it out, make Barnabas and his friends pay, and suffer, and enjoy their games. She continues to stab the Lang doll, telling him to feel the pain a little more.

Lang grabs his chest. Julia says there's no more digitalis, and he tells her to get more from his desk downstairs. When she leaves, Eric takes his own pulse, and, finding it pretty weak, calls Julia again. She must know! he says. Fading fast, he turns on the tape recorder, (or thinks he does, another classic blooper), to record his voice. "Julia," he says, breathing with difficulty, "if you do the experiment again, if both Barnabas and my creation live--if they both live--Barnabas will be free and healthy as long as Adam lives. Adam will drain Barnabas' affliction from him, but will not suffer from the disease itself if he lives. But, if Adam dies, Barnabas will be as he was before."

Cassandra, still teasing the Lang doll, decides he's had enough--the end will be death. Mrs. Johnson pushes open the doors, yelling, "Mrs. Collins, I will not put up with this," causing the startled Cassandra to push the pin all the way though the Eric doll. Julia races back into the lab. Eric tries to gasp out what he recorded on the tape, but he only gets out a few words before falling down on the desk, dead. Julia tests his pulse at both wrist and throat, finding him gone. (no CPR, Julia?)

Cassandra slowly withdraws the pin from the doll, as Mrs. Johnson tells her she takes her orders from Mrs. Stoddard, not Cassandra, and this note about her and Roger having breakfast whenever they want is unacceptable. Barnabas comes in and tells Cassandra he wants to see her alone. He apologizes to Mrs. Johnson, who sourly calls it par for the course in that house. Cassandra thanks Barnabas for saving her. He accuses her of trying to kill Eric. What has happened now? she asks, irritated.I swear I'll see you burn if you kill him! threatens Barnabas. Cassandra insists that she doesn't understand his accusations. Admit who you are, Barnabas orders, and she tells him she's told Roger, who believes him mad. Barnabas grabs her arm, twirls her around--if you tell me, I will agree to anything, he says--what do you want of me?--"Do you still want me? I will be yours if. . ." The phone interrupts them, and she tells him he's mad. Smiling, he says, "It was easier in the past, wasn't it? Yes--even for me." He drags her close, gazing at her throat, and it looks as if he's about to bite her. "What are you staring at?" demands Cassandra, struggling, covering her throat with her hand--"What is it?" Mrs. Johnson walks in on this compromising situation and Cassandra quickly covers what appears to be an intimate embrace by saying Barnabas caught her as she was about to faint. Mrs. Johnson says Dr. Hoffman is on the phone, very important. Barnabas gazes warningly at Cassandra before picking it up. He hears the bad news--Lang is dead--I did all I could, says Julia, but he died. Barnabas tells Julia he?ll be there shortly, and stops Cassandra from leaving the room. You've killed Eric Lang, accuses Barnabas, and she just stares at him.

Lab - Julia tells Barn Eric tried to tell her something important before dying: "If they both live, then, listen, listen," and then he lost consciousness. Julia hates this room, this experiment, it killed him as much as she did. If not for the secret, he'd have let her send for help. Barnabas tells Julia they can't be emotional about Eric's death; his every instinct tells him to let go, get revenge, but there is no time--the experiment will go on, as will Julia. While the body may have 48 hours, Barnabas isn't sure HE does--his vampirism is returning, all those urges--Eric's formula is less effective. She prepares the potion. Barnabas desperately tells her he wont be a vampire again, he must escape Angelique--he can't be the victim of a witch. He's enjoyed his freedom--will she let him go back to the dark?She gives him the liquid and promises they will do the experiment, but first she has to study, so it will be successful. Barnabas drinks, looking very sad.

Julia studies Lang's notes, clearly exhausted. She has to go to bed, she tells herself, but steadfastly refuses to give in. Finally, her head falls forward and she sleeps. Her beckoner is Mrs. Johnson, and the fourth door contains a dark-haired, skeleton bride, which makes Julia scream harshly..."No. . .no," sobs Julia upon awakening.

NOTES: I always wondered if Lang would have died if Mrs. Johnson hadn't picked that moment to enter the drawing room. Oops! It's almost funny, in a way, until you realize that this "oops" causes a man's death.

Now Julia has had her dream and will be forced to tell it to Mrs. Johnson. She loves Barnabas--will she be more successful in preventing herself from telling it to the housekeeper?

Loved the scene between Barnabas and Cassandra! So much hatred between them, and she's being so obstinate in admitting who she is! Mrs. Johnson must have wondered what the hell was going on between these two, finding them in what surely looked like a compromising position. Fainting, indeed! Mrs. Johnson probably thinks the new Mrs. Collins is a slut. Imagine Barnabas offering himself to her to save Lang. Would she have accepted if things had gone differently? Would she and Barnabas have left Collinwood together? Ah, the speculation!

Love, Robin

481 - We have in this ep what some consider the Big Blooper today, when Barnabas screams to Julia in the doctor's office, "Remember. . .remember someone," and Dr. Lang fills in the name of someone he never even knew: "Dr. Woodard." Wanted to get that out of the way first thing.

The men pound on the door and Lang holds the gun on the closed doors. Julia gets a busy signal from the Collinsport police, and dials the operator, asking frantically for an emergency number for the cops. Connected to Collinsport's finest, we have the scene I mentioned above as Barnabas tells Julia not to get the police involved. "Remember Dave Woodard," repeats Barnabas as Lang feeds him the name. Julia does remember and slowly hangs up the phone.The men listen at the door. Barnabas orders Lang to put away the gun, which he does. Julia opens the door and faces them. Then follow her into the office. "You always win, don't you, Barnabas?" she asks, resigned. "We can always checkmate each other, Julia," he responds. No, she says, you stop me though I seldom stop you. He was trying to stop her from making a fool of herself; this wasn't in the province of the police. Isn't it? she asks, and Barn says a firm no. Julia goes to Lang, shocked at his creation of the body. She thinks him mad, but he calls himself a scientist. He knows it's important and he's proud of it. He might bring back life, one step beyond the heart transplant-- would she call in the cops for a doctor doing that? No, she admits. Lang knows one word from her to someone as the hospital could destroy his experiment so easily. While Julia has her back turned to Lang, facing Barnabas, Lang starts to pull out the gun. Barnabas sees this, and assures him that Julia will be silent. Julia says she can't promise that, but Barnabas says he can. (He sure puts trust in her love for him.) Lang insists on Julia's word, saying he tried to stop her coming, he didnt want her to know. Julia looks at Barnabas and says he needed her. Yes, agrees Lang. Julia asks for Lang's word that he won't try to kill anyone else as he has Jeff, and Lang gives his promise.She feels he gave in too easily, but the creature still needs a face. Lang says he can get the face the same way he got the rest of the body. Julia gives her word she'll say nothing, but she also says she will do everything possible to stop that experiment. She and Lang exchange looks and she leaves.

Later, on the terrace at Collinwood, Julia tells Barn he can't consider Lang's offer to put his life force into that monster and bring it alive. Barnabas says he won't be a monster then, unless Julia considers HIM one, which he is sure she does. She denies that, she wishes she did, then she could simply let him do it. Barnabas insists he had no choice. You do for the first time, says Julia, you aren't a vampire now. Barn says the cure isn't permanent, he finds himself regressing, and afraid. Julia says she and Lang can control that, but Barn reminds her about Angelique--she won't let him escape the curse! She's done nothing, says Julia. But she will, predicts Barn, when she's done enjoying herself, when she thinks he's suffered enough, made him feel fear--he can't live this way! The only way to catch her, says Barnabas, is to catch her in the crossroads at the dead of night-if he goes along with Lang's plan, he'll escape Angelique forever, be a stranger to her. As they speak, Cassandra is at the gate, listening to their conversation. Julia asks if he feels there's any chance for Lang's plan to succeed, and Barnabas reminds her she told him the doctor was brilliant, but THIS, says Julia. Barn says he trusts Lang, and Julia says he does so only because he's desperate. Barnabas wants to live a normal life with ordinary fears that everyone has. Is that asking so much? Julia thinks he must want to die then. At this point, Barnabas spots Cassandra, watching them. Barnabas denies wanting to die, and Julia plies him with other questions--even if it works, where will he live? How? He won't be able to return to Collinwood--what will he do? There's a great deal to be decided, agrees Barnabas. He'll leave his wealth with Julia (that's nice!) Still speaking, he begins circling around the gate. She will keep it for him, but there's something far more important to do tonight. He grabs the eavesdropping Cassandra. "We have a visitor, Julia!" cries Barnabas triumphantly, holding her tightly imprisoned in his grip. Cassandra, wearing a much nicer wig now, struggles against him--she was just taking a walk. Barnabas demands to know how long she was listening, what she heard, and Julia chastises, "Barnabas!" Cass begs him to let her go, insisting she doesn't know what he's talking about. "You're lying, Angelique!" Barnabas shouts, still clutching her. She orders him to stop calling her that, and he says she won't upset their plans, he'll see to it. "Why do you keep accusing me?" demands Cassandra. "Why do you think I hate you? Julia, why does he? He's mad. Everyone says Roger is, but it's Barnabas who is insane! I'm the only one who knows it--I'm the only one he treats this way!" "YOU KNOW WHY!" thunders Barnabas, but Cassandra cries, "No, I don't!" and pulls herself from his grasp, sobbing. Julia tells him to let her go or make it worse. Barnabas says they're fools to be there, discussing their plans, which Cassandra will ruin if she knows of them. Another reason you must not do it, says Julia, but Barnabas insists they must escalate their plans. Upset, he races off, leaving Julia alone on the terrace, crying, "No, Barnabas, no!"

Cassandra peers through the window, holding up a candle. She orders Tony to come to her, awaken if he's asleep and come to her--he must meet her at Collinwood, tonight. And Tony does so, he comes to the terrace. She knew he'd come to her, but he has no idea why he's there. He was driving back from Rockport and felt something was wrong at Collinwood. She agrees, but he asks if Carolyn is all right. She asks him not to think about Carolyn now, and she simpers. "You're angry," she says, and he says, "You--you made me come here." He doesn't understand her power, but she says there's no need for him to. It's wrong meeting her, she's married to Roger, but she says they aren't doing anything wrong. She demands he look at her, and reluctantly, he finally does. "You will do anything I ask," she demands, "anything, but you will not remember what I have told you or what you must do."He agrees. She needs something Eric Lang has. Tonyadmits her knows where the doctor lives. Tony must go there tonight, she insists. He refuses and starts to leave, but she raises her hand and stops him, warning him that she can always stop him very easily, so he had better not do it again. She tells him to try to move and speak, but he can't. She asks if she should let him, and says if he does what she says, she'll release him. In a very Samantha-like gesture, she lets him go, and says he will learn something new every time he sees her. Don't make me angry, she warns, just do as I says. He shouts, "Why did you choose me?" and she tells him because she likes his eyes, and because he reminds her of a man called Reverend Trask (and how much satisfaction this gambit must be giving her!)--I wanted to use him once, but it wasn't safe at the time. She caresses his forehead and tells him not to think so much. Your mind is calmer now, she says, and he agrees that it is--I will help you. She explains that Lang is definitely not home, and in his study is a desk with a medallion in it, small, round and old, a talisman against witches. "To protect him against you!" says Tony, sounding much like Trask. "No," she coos, again caressing his forehead. "That's a very unkind thing to say. I told you to be kind. . .you will not be able to sleep until you bring this to me." He nods. If it isn't there, she says, you'll have to wait until Lang returns, but he mustn't know you've taken it. "I won't kill him!" explodes Tony. "No," she says, you must leave that privilege to me--overpower him, take his watch and wallet, but be certain to bring me the medallion. Tony understands. I will wait in the gazebo for you, says Cassandra and you aren't to fight what you're going to do, because if you do, you'll be discovered and taken for a common thief--and you won't know why you went there. "Go," she says, "you cannot afford to fail." She kisses him before he goes, just a quick one, and gives his face one final caress. (seems she wants more than just errands from this errand boy, huh? She never did any of this stuff to Ben.)

Lang knocks at the Old House door. Barnabas, carrying a candle, comes downstairs and lets him in. Lang says he got a message from Barnabas on his answering service that he should come to the Old House, there was some kind of accident. Could it have been Roger? asks Barn, but Lang says it was definitely Barnabas. Barn says Lang must not leave tonight; Angelique/Cassandra wants them together here for some reason. "Are you here listening, watching us, Angelique?" calls Barnabas. Lang asks if they shouldn't be able to see her, but Barn says she's got lots of powers. They have no idea why Cassangelique would want them together, but Barn says it must make sense to her or Lang wouldn't be there. Barn asks Lang if he has the talisman, but dopey Lang left it in his desk. Barn insists they both go there; Lang is his passport to his new life, and he won't allow anything to happen to him. He goes upstairs to get dressed.Flashlight in hand, Tony enters Lang's office and searches the desk. He finds the talisman quickly and later presents it to Cassandra on the terrace. She clutches it (HOW? I thought it would repel her and vice versa?) and says, "Now, Dr. Lang, it's my turn. You cannot save Barnabas from me, and now you will not even be able to save yourself." She grins down at the talisman, pleased with herself.

NOTES: How can a witch hold a talisman against witches? I don't know, but this is a big discrepancy. She was unable to harm Lang when he had it in his possession, so how can she just hold it, without witchly potholders or something?

Great scene between Barnabas, Cassandra and Julia on the terrace. She just keeps denying who and what she is, and he keeps accusing her. At this point, Julia doesn't even seem all that convinced that what Barnabas says about Cassandra is true, that she is Angelique and has returned to torment him and make him a vampire again.


482 - Barnabas and Eric return to Lang's house. Eric, trying to calm Barnabas, says Cassandra is a most inefficient witch, doing little but costing him sleep. Barnabas insists that isn't so. There's no sign anyone was in the house--but the talisman is gone--and with it your safety, says Barn--and now she can do whatever she wants to you. Eric agrees the talisman and the protection it provided are gone. He says she couldn't have known it would be there, he could have been carrying it. Barnabas says whoever came for the talisman would have been waiting for Eric to return, and he would have had an accident--talismen are rare, so they don't know if they can find another one. Barnabas apologizes--I feel badly that you've changed my life for the better and this is your payment. Eric says he'd do it again. Barnabas wants to find and burn Cassandra, it could be done and no one would know. Eric says too it would result in too many questions, and doesn't want his work to be endangered. Jeff Clark, on his way out, demands to know what happened to him. Eric says he fell asleep, which Jeff finds odd. Barnabas looks guilty and walks away, allowing Eric to speak alone to Jeff. Jeff refuses to help Lang with the experiment, and Barnabas thinks they should let Clark leave Collinsport. Jeff is staying in town, he has friends here now. Jeff's parting shot to Lang is that he knows something happened to him last night. Barn assures Eric Julia's hypnotic skills will prevent Jeff from remembering. Eric and Barnabas discuss the qualities needed for a eplacement assistant--good hands and lots of nerve. Barn suggests Willie Loomis, and Lang says he needs him immediately. Barn says Julia can release him from the mental institution, if she will, and Eric says Barn must talk Julia into it, if he wants to be free. Lang will go without sleep until the project is finished, and tells Barnabas he is as important to the experiment as he is--Barn will give his creation life.Barn explains that Angelique came to him in a dream, looking as she did when they were married, and warned him against all dreams, his own and those of others--we must finish the experiment, says Barn, before Angelique finishes what she's doing.

At the Evans cottage, Maggie, dressed in her colorful (and much maligned) quilted robe-skirt, says she has to take her mind off that awful dream. She looks through a pattern book--she could sew something. She talks aloud about how awful the dream was--that knock on the door--and then someone knocks at her door for real. She lets in Jeff Clark, and is terrified of him until he introduces himself and explains that Vicki is meeting him here. She reluctantly invites him in and says her father agreed it would be OK. (Are there three bedrooms in that house; I always thought there were two)? Maggie starts to tell him about her dream and his appearance in it. That's weird, considering they never met before, says Jeff. She offers to show him her room, and he sees her reluctance and offers to stay elsewhere. She says it isn't him, but the dream, and he asks to hear about her dream. She would prefer to forget it, but he suggests she tell him--he won't psychoanalyze her since he's never met her, Jeff assures Maggie. She describes her dream; he was even dressed as he is now, he was silent, she followed him, he slammed the door and left her alone. A wall of doors. . .she recites the poem, not exactly the way it was recited to her in the dream. Behind one door she heard tinkling music, went to it, opened it, and there was a skull inside, staring at her, moving toward her.She gets hysterical as she continues describing her dream, and Jeff shakes her. Maggie apologizes and Jeff says he can't wait for the next installment. She feels much better now that she's told him, and he assures her they all have their dreams. She thanks him for listening and seems far more relaxed. Vicki arrives, angry at Jeff for his not contacting her, letting her stay up all night. Maggie tells Vicki to speak her mind and goes to make coffee. Jeff tells Vicki he fell asleep at Lang's house the previous night. Vicki doesn't believe him; she went to Lang's at 10 PM and Lang said he hadn't seen him. Jeff says his memory is going blank and he fears he'll end up back at the hospital. Why would Lang lie? asks Vicki. She touches his wrist and he recognizes her bracelet. I haven't worn it since I came back from the past, she says excitedly; he was there when it was used as evidence at the trial--Trask held it up. "Trask?" asks Jeff. He was the witchhunter who vanished after the trial, explains Vicki--he left a note saying she was innocent but they could never find him. Jeff remembers the name Trask, and Vicki explains he called himself a reverend. It's familiar, admits Jeff, but that's all. "Jeff," chastises Vicki, and he accuses her of liking him only because of his resemblance to Bradford.What if he turns out to be a normal guy with a regular past, he asks Vicki--what if he's someone she hates? She looks depressed at that possibility.

Maggie finds Jeff out in the living room, reading. He asks if Vicki is really as good as he thinks she is, and Maggie says yes. Maggie expresses her opinion that Jeff isn't used to being in love, then says goodnight. Jeff thanks her. He falls asleep in the chair and has the dream! (I don't want to put in every detail of these dreams, but suffice it to say that Jeff's doorknocker was Lang, door #1 contained the skull, and door #2 contained a guillotine, which dropped when Jeff opened the door.).Jeff awakens with a terrible start, staring, horrified, around him.

NOTES: OK, now Jeff has had the dream. Interesting how Maggie had hers and found a stranger in her version, someone she wasn't destined to meet quite yet.

Cassngelique, using Tony, managed to successfully steal the talisman from Lang, without any trouble at all. Sometimes you wonder just whose side the fates are on in this show.

It certainly appears that Jeff is Peter Bradford, but he doesn't yet know it. Was the shock of time travel too much for his tender psyche? It's funny how he accuses Vicki of liking him only because she thinks he's Peter, when he could be just an ordinary fella. And Vicki, what happened to your great love for Burke? Technically, he died only a few days ago!

Love, Robin

477 - Carolyn finds the door to Collinwood locked and is forced to knock. Cassandra answers. You must be Carolyn, she says, and introduces herself as Mrs. Collins, Roger's wife. Carolyn's mouth drops open with astonishment.

Stunned, Carolyn says, I had better sit down (her reaction is very amusing). Cass asks if she's terribly shocked. "Uncle Roger, married, I don't know what to say," says a dazed Carolyn. Cassandra suggests congratulations, and Carolyn apologizes--she never dreamed Roger would marry again. Neither did anyone else--they all reacted as Carolyn did, says Cassandra, expressing hope that they'll be good friends. Carolyn is shocked to hear they knew each other only a day when they wed, and decides to stop asking questions. (this was very funny and well-written.) I'll unpack and we can get to know each other, says Carolyn--David stayed in Boston a few days longer. Cass asks if Carolyn thinks David will disapprove of her, and Carolyn responds that she might win him over immediately--or be furious with his father for not consulting him over such a big decision. Tony Peterson barges in as Carolyn ascends the stairs; she accuses him of conducting business at strange hours. He isn't there on business, he says, and wants to talk to her. I'm not in, she says grandly, and he orders her to come down. She marches down and tells him she doesn't like him ordering her (but she did as he demanded). Cassandra is ready to go upstairs, and Carolyn introduces him as "occasionally a lawyer and almost never a gentleman". Carolyn introduces Cassandra as Roger's new wife, and Tony says he didn't know Roger was married.Since last Wednesday, beams Cassandra, and Tony congratulates her on the marriage and on Roger's good taste. When Carolyn tries to dismiss Tony, he excuses them to Cassandra, grabs Carolyn and yanks her into the drawing room. Cassandra listens as he asks Carolyn if she's forgotten how to use the telephone--he was waiting for an explanation about the cozy incident with Barnabas, and she reminds him she told him there was nothing between Barnabas and her. Tony didn't believe it. There's nothing to discuss, insists Carolyn. "There's you and me," counters Tony. She's sorry, but it takes two to tango. He refuses to leave until she tells him why she went to the Old House. You'll need a suitcase, then, she advises. (love this dialogue!) The man is your cousin, says Tony, and old enough to be your father--I'm concerned and don't believe you really love Barnabas. It wasn't what he thought, she says, and accuses him of having unbelievable nerve--you stormed out without giving me a chance, and you still think you're owed an explanation--and you aren't going to get one now--get Barnabas to tell you, she simpers. I will, he assures her. He angrily exists the drawing room, grabs his briefcase, and storms out. While they're talking, Cassandra rifles through Tony's briefcase and steals something from it.

Tony goes to the Old House to see Barnabas, who knows who he is. Peterson confesses to following Carolyn the night they had a date; Carolyn began behaving strangely. What about it? asks Barn. Tony confesses that he stood outside the window, watching them, which Barnabas says was an uncalled--for thing to do. I'm interested in Carolyn, says Tony. Barnabas counters that by saying it's a pity he isn't a gentleman. Tony did what he believed right; Carolyn was acting oddly. Barn says he's fond of Carolyn and interested in her. In what way? demands Tony, and Barnabas begs his pardon. Tony, chastened, says he's concerned Carolyn is making a grave mistake. "What the devil are you talking about?" asks Barnabas. Tony asks him his intentions toward Carolyn. Barnabas is perplexed--you can't be serious! I'm very serious, says Tony, and Barnabas grins widely.Tony resents being laughed at, and Barnabas suggests he not go around being so amusing. There was nothing funny about what he witnessed, says Tony. "There is always something faintly amusing and rather sad about a man who's jealous for no good reason," says Barnabas, who leads Tony to a chair and assures him he'll set the record straight for him.

Cassandra, in shocking green, waits at the gazebo. She "speaks" to Tony, telling him he's lost his lighter--he'll discover the loss and keep looking for it. She fires up the lighter. "You will feel the warmth of the flame on your cheek," she says, "and your instinct will tell you to follow the flame, to find the flame, Tony, and you will find me waiting for you."

Barnabas has apparently finished his explanation (wish I'd been a fly on the wall), assuring Tony he's gotten himself worked up over nothing. Tony rises from the chair, not completely convinced--I saw you kissing her. Barnabas says he has the right to give his cousin a friendly kiss, but Tony, pulling out a cigarette, insists that wasn't a friendly kiss he saw. Whatever Tony saw, he isn't romantically interested in Carolyn, Barnabas says--he can't make it clearer than that. Tony goes for his lighter in his briefcase, but can't find it. Perhaps you left it at Collinwood--go there and look for it, suggests Barnabas. Tony apologizes for taking up Barn's time, and they wish each other goodnight as he leaves. Tony touches his cheek, feeling Cassandra's promised flame.

When Tony arrives at the gazebo, Cassandra clicks the lighter closed. She sits, sobbing, and Tony touches his cheek upon finding her. She tells him not to look at her. He asks what's the matter. She says she wasn't crying, but he says he heard her. She admits she was, and he says he doesn't mind listening. She feels no one at Collinwood is willing to accept her. She feels so lonely all the time. He sits beside her and says everyone will be friendly when they get to know her better. He keeps reassuring her that they're fairly reasonable people. She's still a stranger, and she and Collinwood will need time to get to know each other. He asks to escort her back to the house. She asks him why he came there, and he says he doesn't know. He had misplaced his lighter and was heading back to Collinwood to look for it, but somehow ended up at the gazebo. Amazing coincidence, says Cassandra--she has his lighter! She takes it out and lights it, explaining that the flame was helping her forget her trouble. Isn't the flame fascinating? Yes, he agrees, going into a trance. She asks if he sees the flame flickering in her eyes, and encourages him to keep looking into her eyes, deeper and deeper. What does he see? He seem a man, his face isn't clear.Look deeper, she says. The man is him! he says. "Yes," she agrees. It's you because I need your help--will you help me? Yes, he says. When she needs him, she'll call him, and he'll come to her. Yes, he agrees. She closes the lighter and the trance is broken. Freed, Tony says he wants to take her back to the house. Cassandra says Carolyn is wrong about him--he's been a complete gentleman to her. Arms linked, the head to Collinwood. (It must amuse her so much to have a Rev. Trask lookalike in her power--but how will this affect Carolyn?)

Barnabas sleeps in his drawing room chair. He hears Angelique calling to him, and his wife, dressed in her 18th century clothing, says she must see him and tell him what the future holds. Barnabas orders her to get away from him, but she insists they must talk. He can't move, what is she doing to him? Nothing she says--you're having a dream, and I'm causing it so we can be together again for just a moment. She walks toward him, touches his head. He wants her out of his sight, but she says she won't harm him. Do what you want to do get it over with, he moans. You won't escape me, she swears, and no doctor will help you. Go away, he cries. Only a dream, she says.He wants to awaken, and will, she giggles, when the time comes. It happened for the first time in this room, Barnabas, she asks, and he answers, weakly, yes. It used to be such an elegant room, she reminds him. What do you want to say? he asks. Beware of dreams, she cautions. What evil game will you play? he asks. Beware of dreams, she says, because that's how the curse will return to him again--a DREAM CURSE! First one person will have the dream, and that person will remain terrified by the experience, until they tell the dream to a second person, only this time the dream will go a step further and be even more terrifying. Then that person will not rest until he's told that dream to a third person, and that person will have the dream, and tell it to a fourth, and on and on it will go, and each time the horror of the dream will increase. Angelique grows almost orgasmic as she continues?"And the terror will mount and the fear will be more unbearable until finally, someone tells it to you, Barnabas, and you will have the dream, step by step you will go until the very end and the dark and terrifying thing that you will find there WILL TURN YOUR BLOOD TO ICE!"

Barnabas awakens, screaming, "STOP IT, STOP IT!" He looks around. "Angelique!" he cries, his face filled with fear and loathing.

NOTES: So she came back in a nightmare to tell him he's going to experience a nightmare of his own, one that will end in a terrible way. She scared me in his dream, she really did. She really got being bad down pat by this time, didn't she? Brrrr!

Doesn't Barnabas ever sleep in a BED?

Tony Patterson will be her slave in this era, apparently, a Trask clone to do her bidding. She can destroy Carolyn's budding relationship with him--and aren't Carolyn and Tony a hoot in their Bogey-Bacall bouts?


478 - Cassandra, in a fairly hideous black and white dress, answers the door at Collinwood. It's Maggie Evans, and Cass is clearly shocked to see this Josette look-alike. She introduces herself to Maggie, who congratulates her. They stare at each other, and Maggie asks her if something is wrong. (must be that hatred.)Cass says you look like someone I knew long ago. Vicki enters the drawing room as Cassandra is telling Maggie how nice it's been to have met her--Cass is on her way to the study to write some (poison pen?) letters. Alone in the foyer, Cass tells Barn's portrait that she will start his dream curse with Maggie Evans--the irony appeals to her, and is so appropriate.

Maggie stares vacantly into space, and doesn't react when Vicki asks her if she wants more sugar in her tea. Maggie doesn't respond to lemon or cream and Vicki suggests her mind is elsewhere. Vicki pays close attention as Maggie explains how Cassandra kept staring at her; both women are spooked by it. Vicki says she can see why, and suggests Cass said Maggie reminded her of someone--but didn't say who. It's too fantastic, says Vicki, but Cass came so suddenly into Roger's life--they married the day they met. Maggie finds it strange, too.Vicki needs Maggie's help--she wants Jeff Clark to stay at their cottage for a while. (aren't there only two bedrooms?) Vicki admits she knows little about him, but says Jeff is a nice guy. Maggie wonders if romance is in the air, and Vicki admits to liking him very much--but she isn't sure if it's love. Maggie asks if Vicki loves Jeff, and she says that she DID. They met after the accident, but she feels as though she's know him a long time. Maggie can't bear this half-info, why so mysterious, she demands. Cass knocks at the door--Jeff Clark is on the phone. Vicki asks Maggie if Jeff can move into the cottage, he won't stay long, only until he gets a job, and Maggie promises to try her best. Vicki goes to the phone and Maggie picks up her cup. Cassandra eyes her like a piranha waiting to strike, making Maggie uncomfortable.

Lang prepares an injection while Jeff learns he has a place to live--he'll be at Maggie's in half an hour. Lang tells Jeff he's making a big mistake, but Jeff says that's his opinion, he has to pack. Jeff tells Lang he already leveled with Vicki and told her what he knows about himself. What about your being a murderer? asks Lang. I'm not, insists Jeff. Lang threatens that he has proof, but Jeff advises him to keep quiet--if Lang tells Vicki anything about him, Jeff will call the police and reveal everything about Lang and his monster. The police won't believe you, insists Lang, but Jeff thinks he won't want cops around the lab asking questions. They should be helping each other, says Lang, but Jeff has no interest.Jeff wants out, no threats, no deal. Lang intends to conduct the experiment tomorrow, he only needs Jeff one more day. Jeff refuses adamantly, even though Lang says he'll be completely free. Theatrically, Lang tells Jeff they will only destroy each other--give me one more day!!!! Jeff thinks it over for a few moments, and Lang repeats one more day, for sure. Jeff agrees to stay one more day and leave tomorrow night. Lang thanks him, but Jeff doesn't want his thanks. Jeff goes to call Vicki to change the plans, and while he's on the phone, his back to Lang, the doctor strolls up behind him. Jeff learns Vicki has left Collinwood, and as Lang says that's too bad, he jams the hypo into Jeff's back. Jeff cries out in pain and demands to know what Lang did to him. Jeff chases Lang, but collapses to the floor.

Drawing room - Cassandra, in a black velvet cape, tells Barnabas the time has come. His fate was sealed almost 200 years ago, and he can't change his destiny or permanently escape. The curse will fall back on him, forever, she promises. "Let the dream curse begin this night," she says, "it will be carried by the wind until it finds its way to someone who is the image of one you loved--go deep into the sleeping mind of Maggie Evans, and she will be the first to know the terrible fear it carries with it." Cass takes a leaf from the tree outside the window and tosses it. "Sleep, Maggie, sleep," she murmurs.Maggie sleeps in her bed. Cassandra tells her she will allow the dream to enter, become its prisoner, until her fear reaches the limit of her endurance. "Let the dream begin, now. . ." In her dream, Maggie climbs from her bed and finds Jeff knocking at her bedroom door. She asks him who he is and what he wants, and threatens to scream, but her scream is silent. Jeff beckons for her to follow him and says she won't follow him--she doesn't know who he is. She is compelled to follow, however, through darkness, candles, into another room. Jeff locks her out. She begs to be let out, doesn't want to be left there, but footsteps retreat away. Jeff recites, "Through sight and sound and faceless terror, through endless corridors by trial and error, a head of blazing light does burn and one door leads to the point of return." Maggie begs to be let out again, she doesn't know what that means. She continues to walk to the sound of tinkling crystal, and tries one door, which doesn't open, and then another, which also doesn't open, and the third. She hears the music from Josette's music box, then opens the fourth door. Inside is a skeletal head with bulging eyes, and Maggie screams. She awakens screaming, staring around her with horror on her face. She huddles back against the pillows, perturbed.

Lang sets up surgical instruments. Jeff lies strapped to a table. He awakens, stares around, and finds himself unable to move. Lang observes he's awake (this doc doesn't miss a thing!) Jeff demands to know why he's strapped to the table. Lang says he couldn't let him go, knowing what he knows. Jeff says he can trust him, but Lang doesn't believe him--he can't trust anyone. Jeff calls him insane, which Lang calmly accepts--he's in distinguished company, challenging the forces of nature. Jeff struggles against his bonds, saying Lang is unleashing a monster on the world, not making a contribution--why not just kill me? asks Jeff, why am I strapped to the table? Lang holds up a scalpel and says he has plans. Light dawns--Jeff realizes he's going to be providing the creature's face! Lang orders him to lie quietly while Jeff demands he let him go. Then Lang gives him another injection filled with air, by the way, and Jeff passes out. Lang picks up the scalpel again and tells Jeff he should feel honored--it's through his eyes Barnabas has chosen to see, through his lips he has chosen to speak. The scalpel descends towards the unconscious Jeff's throat. . .

NOTES: Re: the Dream Curse - I have always despised the dreams everyone has, this is my least favorite segment of this storyline. After a couple of viewings, I simply fast forward through all the dreams.

Lang is going to use Jeff's face, so familiar to Vicki, on his creation's body--doesn't he think she will notice the difference? I realize her understanding is limited, but damn. . .! This just strikes me as silly. I can't help it. After the brilliance of 1795, to come to this!

Love, Robin

473 - Vicki and Liz spot Roger's luggage sitting in the foyer. Vicki said he took no luggage with him, just the painting, and now the painting has been returned. Why didn't he come to Liz, asks Vicki, who says Mrs. Johnson is mystified also. The painting wasn't on the easel the previous evening. Roger wasn't heard driving up or seen. They both know something is happening there that has no explanation, says Vicki.Barnabas tells them he doesn't understand it at all, either, Roger hasn't been himself lately. Liz says she told the police, and asked them to be discreet. Barn feels she should have gone all-out to find him. Liz fears he's wandering around, and she hoped he'd come to Barnabas. The Collinsport Inn business is weird, too. Barnabas suggests she get some rest; he and Vicki will do her worrying for her. Liz leaves, and Vicki wonders why all these things keep happening. He suggests one mistake can multiply into a thousand--dispose of the portrait, he advises, then asks if she trusts him. She does. She says he won't reproach her for her reasons for not marrying him; he doesn't want to make her reluctant to see him. Barn is convinced the portrait is affecting Roger's behavior. How can that be? she asks. He reminds her she went to 1795, and they survived the accident--many things that cannot be understood. Vicki tried to tell Liz. Barnabas points out that Roger changed when she brought the portrait home. Really? asks Vicki. Roger wouldn't let her sell it to Stokes; the painting has tremendous meaning for Roger and is a greatly disturbing force. He tells Vicki he and Julia saw Roger the previous night at Dr. Lang's, but whatever he's got, Lang can't treat it. He was most peculiar, says Barn, and that's all he wants to say--Roger jumped from Julia's car. Vicki says they must do something, and that Barnabas knows more than he's telling. He has intuition about what is wrong, more than she does. Angelique died over 150 years ago, says Vicki, she was a witch, but. . .Barn asks if witches ever die and suggests she still has powers. Vicki wants to call Stokes and tell him he can have the painting, to come to Collinwood and get it. Liz comes in and announces that Roger missed an important meeting at work. Roger himself enters, beaming. He tells Vicki to have Mrs. Johnson to bring in champagne--in a moment, they'll know why. He brings in a woman with short dark hair and introduces her as his wife--the spitting image of Angelique. The woman is smiling, but Barn, Vicki and Liz look totally stunned.

"Your wife?" sputters Julia, and Roger admits it's a surprise, but a pleasant one. He introduces his bride, Cassandra Collins, to Liz, who says she hopes she'll be happy. Liz says she will when she gets her breath. He introduces her to Barnabas, and she expresses hope they'll be good friends--Roger is so fond of him..He introduces their good friend Victoria Winters, and the new wife gushes how anxious she is to meet David and how sorry she is that he's in Boston--I hope he likes me--it will be a shock to him, as to them. They were married in City Hall in Rockport. Liz says they should have come home, but Roger was impatient and wanted to do it right away. "It wasn't the marriage I've always dreamed of," says Cassandra, and Barnabas gets a strange look on his face at that. She asks him if something is wrong, but Barn merely says he has to leave. The couple says to stay for a toast, they're leaving for a honeymoon in the West Indies. When Barn asks specifically where, Roger answers, (naturally) "Martinique." Barn asks if she's been there before, and she says no, but she's sure she'll like it. I understand it's changed a great deal in recent years, remarks Barnabas (how would he know?? Roger notes that Vicki is staring at his bride, and reminds her about the champagne. Vicki leaves, and Liz asks if they are heading out for their honeymoon immediately. Yes, says Roger, but Liz insists they must speak. Cassandra understands; she begged him to call. They all know him so much better than she does, the bride remarks, and I envy them that. Barn says, "I think perhaps YOU know him better than any of us," which she says is very courtly of him. He thanks her. Roger says speaking to Barn is more fascinating than reading a history book, and Barn says he hopes more interesting than that. "I believe that," says Cassandra. Roger expresses hope she doesn't find Barnabas too fascinating, Barn is a bachelor. "Oh, you never married?" asks Cass, and Roger promises she will know Barn's story soon enough. Roger wants the champagne immediately so they can leave for Boston. Liz says she must speak to him about the business. Roger kisses his new bride on the cheek and leaves with his sister, leaving Barnabas and Cassandra alone. She loves the room, she says. He asks if she's ever been here before, and she says no..He thought she might have, he says pointedly, and she says she's always dreamed of a house like this. Now her dream has come true, he says, and she replies, "Incredible, isn't it?" He agrees--almost too incredible to believe--and she grins.

Liz and Roger go to the study. What about this marriage? his sister demands. You're being tiresome, says Roger. She wants an explanation--now! He feels he doesn't owe her one. Your wife hasn't been declared dead, Liz reminds him, and you're legally still married. A technicality, insists Roger. She threatens to use that, and he says they are legally married as far as he's concerned and no harm in their living together--any court decision would go in their favor. And if it didn't? asks Liz. Roger says, "I love her."--does she have any idea what that means?--I'll go through anything to be with her. Liz says this will cause huge scandal. Is that what worries her? asks Roger. No, her concern is for HIM--they've never met her, why haven't they met her? He just met her but feels like he's known her a long time, says Roger--I met her in Rockport. When Liz asks how, he accuses her of treating him like Carolyn, and she retorts his behavior is younger than Carolyn's. He's been very lonely--she isn't a stranger to him; and knows that as far as Liz is concerned, he should have married an already-approved widow, with whom he would have spent months boring each other to death and then marry. He wants what he's got. What about David? asks Liz. Roger says he needs a mother and will get to know Cassandra. Liz asks what they have in common and Roger accuses her of hostility. She says she's being sensible. Same thing, says Roger--you know nothing about my wife, but I can tell you're against it..Back and forth the siblings go--Liz was rude to her; Liz was in a state of shock without warning. Liz insists he tell Cassandra he hasn't been well, which Roger resents. Liz cites his irrational behavior, and he is furious--he's insane now because he's trying to take a chance on happiness--is she so embittered she. . . Liz insists it has nothing to do with her. She wants to speak to Cassandra, but he forbids it and vows that if Liz goes against his wishes on this, he'll leave Collinwood with his bride and never return! (Usually it's Liz making similar threats--to send her brother packing and keep David.)

A pleased-looking Cassandra examines the foyer. Barnabas gazes carefully at her. She wishes she and Roger weren't going on a honeymoon; this house is more foreign to her than Martinique would be. More so, suggests Barn, and she asks what he means by that. She remarks that the portrait is a perfect likeness of him, and Barnabas explains that is isn't his portrait, look at the clothes--he's an ancestor. How unusual the likeness, she says, and Barnabas excuses himself. "Don't go," she says, a little too forcefully. He says they'll see each other again soon. "Inevitably," she says. "Yes, inevitably," agrees Barnabas, and leaves. She smiles at the portrait. Vicki comes in with the champagne, and asks Cassandra if Barnabas left. "Yes, but he'll be back," says Cassandra-- should she interrupt Liz and Roger?--Roger asked her to, but. . .she doesn't want to do anything wrong--Vicki will have to help her in so many ways. Not true, demurs Vicki. Just meeting Mrs. Stoddard and Barnabas has made Cassandra realize she has much to learn--and only yesterday she knew nothing of any of this--she met Roger at Prof. Stokes' home--she transferred to the college, where Stokes was her faculty advisor. . . WAS--all this is so new to me, says Cassandra. She asks why Vicki is staring at her, and Vicki apologizes. Cassandra claims to be good with children and is sorry David isn't here. Vicki offers to show her pictures of David, and when Cass asks if he resembles Roger, Vicki says he's the image of Daniel, an ancestor, who Cassandra doesn't know about. Vicki says she'll try to find a photo of Daniel as well. Cass asks Vicki to knock on the study door, it's getting late--she misses him so, and it won't be such an intrusion if Vicki knocks. Cassandra examines Angelique's portrait and smiles, then begins to fiddle with her hair as if in front of a mirror. The portrait stares back at her and the two faces are, for a moment, superimposed on each other. Cassandra lets loose with a very Angelique-like giggle, quite pleased with herself.

NOTES: Now that Cassandra/Angelique has insinuated herself into Collinwood via her marriage to Roger, what is going to happen? There is already considerable friction between Liz and Roger, a relationship which has always been shaky at best. I always loved the moments between Barnabas and Cassandra; even if this isn't his witch-wife, the resemblance has to be killing him! She is very pleased at her latest coup, this Serena to Samantha bit, and one wonders what kind of spell she put on Roger to encourage him to marry her so fast.


474 - (Once again, we have an annoying opening that keeps repeating itself.)

Roger exits the study, his face morose. Cassandra says she knows him well enough to see he's upset. He takes a drink, and his bride says Liz would have prevented their marriage if she could have. She suggests they don't take a honeymoon; she wants to deal with the family's hostility, then go away on a trip. He refuses to change their plans. She begs him, cozying up; he tells her he needs her. Liz comes in and informs Roger there's an important phone call for him; he leaves to take it in the study. Liz and Cassandra decide to be frank with each other--Cass knows Liz doesn't approve of her, but Liz says it isn't Cassandra, but the sudden marriage that worries her. Cass says she wants to make Roger happy, and Liz says the best way to do that is to have the marriage annulled. Cassandra's eyes widen with shock--does Roger want the marriage annulled? asks Cassandra and wants to know how Liz dares suggest it. Liz insists Roger and his bride could barely know each other over two days. Cass. denies that; I have watched him, thought about him and I feel no one in the house has done the same in a long time. Liz denies this; she's been very concerned about her brother lately. "Why?" asks Cassandra cuttingly. "Hasn't he been doing what you want him to do?" (right between the eyes!).Liz says that remark was uncalled for. Her brother and her lead their own lives, and Roger has changed. Yes, he's making his own decisions now, agrees Cassandra. Liz says Roger disappeared 3 days ago, to the Inn, but Cass doesn't think this unusual. Liz asked his reason but got no answer. Roger has been confusing them with ancestors from the past, explains Liz, but Cass seems to doubt this happened. Liz says the marriage isn't fair to Cassandra, but the latter says that's up to her to decide. Liz suggests Roger will confuse Cassandra with some picture he's seen, but Cass trusts her new husband and wants to spend the rest of her life with him--I want to learn everything there is to know, I'm not afraid, and I would never marry a man she knew well'too boring. Liz doubts it would work, but Cass says she knows Liz is searching for another reason, like money. "You said it, I didn't," says Liz, and Cassandra says she's not fortunehunter--she never had any money and has no idea how much it means, but not much--she was planning to teach, not a rich profession. Would she have married Roger if all this hadn't been his? asks Cass, and Liz quickly points out it all belongs to her, not Roger. Then we'll find someplace else to live, says Cass, and Liz jumps in with a strong No, then says she didn't mean it that way. Cass says Liz' attitude toward her brother shocks her, and Liz says she believes him ill--Cassandra should get him to a doctor. Cass wants to wait until she sees symptoms herself. Roger calls and Cass tells Liz he needs her. He needs other help, insists Liz, to which Cass retorts, "To make him stay here with you." Liz stares after her, tight lipped and angry.

Roger shows Cass their bedroom. She again asks "Darling" not to go away on a honeymoon just yet. He still wants to go and let everyone accept the marriage. Why give them the time to think, to plan against them? asks Cass--nothing will be as simple as she thought it would be--Liz and Barnabas are against them, and they can't enjoy a honeymoon if they have to face all that when they return. If she's there, she can deal with it, she says, cuddling against him, but he promises not to let any of them harm her--they're going away. She smiles falsely and says she married a man who never gives in at all.

Liz tells Vicki Cass made her feel jealous and interfering, and made her say things she didn't want to say. Vicki points out the resemblance of the portrait to Cassandra. Liz reminds her of Barnabas' portrait--it could be his ancestor. The portrait is over 150 years old, so that's impossible. Roger races downstairs looking for Julia? Cassandra had an accident! They run in different directions to find Julia.

Julia binds Cass' sprained ankle and tells her to stay off it. (simple way to get out of a honeymoon she doesn't want) Cass says Roger will be disappointed. Julia wishes her happiness, which seems to make the bride weepy. Julia's the first person in the house to give her good wishes, sobs Cassandra. (Mike in shot.) Julia tells Cass that the Collinses are an inbred family, not unkindly, but they aren't used to a Collins doing the unexpected. They should be, but they're quite nice. Julia finds them so. Cass understands Liz, who has had Roger around for a long time--but Barnabas? hostility puzzles her. Barn and Roger are about the same age and both unmarried for some time. Julia tells her--Barnabas has never been married (ouch, the sting). Hasn't he? asks Cassandra, then adds, "Do you know him well?".Barnabas' manner is very distant, few know him well, says Julia, who says she knows him well, and has known him about 6 months. He seems strange, tortured, comments Cass. He has his reasons, says Julia. Cass senses Barn is a man of many secrets, and Julia agrees with that, but doesn't reveal any of them. Cassandra says she's very intuitive, which Julia says could be a mistake in that house, but Cass assures her she's a fighter. You'll have to be, predicts Julia, and Cass responds she wouldn't be there at this moment if she weren't.

In the gazebo, Vicki waits. Julia shows up, asking what's wrong--she got Vicki's note. Has something happened to Barnabas, asks Julia anxiously. "Not yet," says Vicki--Cassandra looks like Angelique's portrait, and she IS. Julia doubts it, and cites Peter and Jeff, and how Jeff knew how to get into the secret room. Julia insists they can't be inundated by people she met in the past. Vicki points out that Angelique was a witch and a witch can return as a ghost, like Sarah. I just bandaged Cass' ankle, says Julia, I know she's human. Vicki fears if they don't do something, Barnabas will die..Julia reminds her THAT Barnabas isn't here, which confuses Vicki. No, but why did she come back? Only to settle a score with Barnabas' ancestor, the present Barnabas--but why, asks Vicki. Julia doesn't know.

Roger opens a bottle of champagne and promises Cass they'll leave as soon as her ankle is better. Cass doesn't mind the delayed honeymoon--she's happy to be with him. He so often thought they were wrong to return to Collinwood. Cass is used to people not liking her at first--Liz will get used to her--she has her little tricks (uh oh). Cass asks Roger to get her painkillers to help her sleep, and when he leaves the room, she opens the lid on her ring and surreptitiously slips Roger a mickey. I like Julia, says Cassandra "is she a good friend of Barnabas?" Roger supposes so, and asks where her pills are. How is it that Julia living at Collinwood? asks Cass. Roger replies that's a long story. By the time he returns with her pills, she's back on the love seat, ankle propped up. Cass asks Roger if Julia's in love with Barnabas, and Roger chuckles and says of course not--you're such a romantic, he teases his new wife. They drink a toast "To us" and Roger and Cassandra down their champagne.Roger drains his glass and presses his hand to his forehead. Cass asks him if something is wrong and he says it's nothing, but he complains it's hot in the room. He opens the window and leans out. "I don't believe it," he says. Cass asks what he said, and then asks what they were discussing. They must decide where they will live, says Roger, walking unsteadily. "Why did I do it?" asks Roger, as if coming out of a trance. "Why did you marry me--is that what you're asking?" queries Cass. "Yes," he answers. Why did he?--it's insane, they barely know each other. Cass asks him to come to her, but he says the entire day seems like a dream he just remembered. She holds out her arms to him, and he steps forward. They sit on the love seat and she caresses his face. Do you still have doubts? she asks--"Look into my eyes. You love me, you told me so, I believe you. You do love me, don't you?" He turns his head away, but she forces him to look into her eyes. She orders him to look at her. "Yes, I love you," he says uncertainly. She comments on how tired he is, and he agrees--he must sleep. He sits on the bed--he never felt this way before, so much has happened, so many emotional things--Cass, Liz, the trip, Barnabas. He sinks down onto the bed, asleep as only the drugged can be. It's 1:45AM. Cassandra comes downstairs, walking without difficulty, and stares at Barnabas' portrait. "So many years, Barnabas, and I would never have known that you're free from your chains if Victoria Winters had not come from the past. You think you have escaped me even now. You may walk in the sunlight today, but you have not escaped! No, Barnabas, in time, in time you will find the curse back with you again!"

NOTES: So, we know for sure that she IS Angelique, come back to haunt Barnabas, to make sure he is turned back into a vampire. But how is she going to juggle the present day members of the family? She escaped having sex with Roger by drugging him; is she planning to do that every night? Will she give him some token sex, considering she IS his wife? Liz is seriously against her, and we can already see these two women squaring off. What will the outcome be of this new family member, this new dynamic?

Love, Robin

469 - Vicki, Julia and Jeff enter the tomb. Vicki was right-the secret room is real, and so was her trip to the past. She asks Jeff if the coffin means anything to him. No, and he doesn't remember ever being in a room like this. He has no idea how he knew the way to open the panel--he just suddenly knew. Julia looks uncomfortable during this conversation, and Vicki turns to her--you knew the room was here even before tonight. Julia denies this, but Vicki insists the doctor did her best to discourage her coming here.Julia again insists that she didn't know about the room. Vicki looks at her sharply. I had no reason to hide the knowledge from you, right? Julia reminds her. Vicki reluctantly agrees. Jeff wants to go, but Vicki, who is beginning to remember, wants to stick around. Julia looks really worried and asks if she remembers what the room's secret is. Vicki recalls a dream she had-Daniel, being strangled by Lt. Forbes. She awakened and Daniel came running in, fleeing from someone who'd kidnapped and tried to kill him. Peter and Vicki go into the main room, and Vicki's memories begin flooding back--this is where she killed Noah, not in this room, but outside the tomb--Daniel ran outside and she heard him scream because Noah was going to strangle him. She ran out with the gun Peter had given her. Warned Noah Gifford to let Daniel go, but he refused, so she aimed the gun and fired it--she didn't mean to kill him, but he wouldn't stop. She throws herself into Jeff's arms and he assures the upset young woman that it's only a dream. Julia, still in the secret room, looks panicky upon hearing Vicki deny it was a dream, and insists she knows he's Peter Bradford. It's impossible, Jeff protests. Going into the past was impossible, too, says Vicki, but he could have come from there to the present. Julia again asks Vicki about the room's secret, but Vicki doesn't remember. The coffin. . .it wasn't there when she and Peter were hiding in the room. She was here for 2 days and there was no coffin there. Jeff, smiling, opens the coffin, and finds it empty.

In his hospital bed, Barnabas sits up from sleep, his forehead creased. "Dr. Lang!" he screams over and over, terrified.

Barnabas bares his teeth, breathing heavily. Scared, still baring his teeth, he goes to the window, hears the howling dogs, pushes open the double doors and sees the rain. Quickly he closes the doors. Lang bursts in and Barnabas tells him he felt someone was watching him--he felt eyes looking at him while he was in bed, and even more frightening, he felt the urge for blood!He wanted to get up, leave the hospital and go back to the Old House basement. The feeling has passed, says Barnabas, which Lang assures him is good--Lang doesn't know why it happened, he hasn't completed his tests. He doesn't know how often or severe these relapses will be. Barnabas is upset, he didn't know about these possibilities, he thought he was completely free of the curse. In time, says Lang, perhaps he'll be completely well. Barnabas accuses him of lying, but Lang he's not, and reminds him he can function in daylight now, a major step. Barn denies being an ordinary patient and demands Lang tell him everything. From time to time, you'll feel as if you're slipping back, explains Lang. Barnabas thought the transfusion had cured him, but Lang never used the word cured. What did you mean? asks Barnabas. Your condition was temporarily arrested by the transfusion, explains Lang. Barnabas is disappointed. "I see. Then I could revert to what I was almost any time." Lang admits this is true, but also says the chances are very great he won't, if he cooperates fully with him. Barnabas refuses to allow him to be used as a guinea pig; he's been there, done that, and with disastrous results. Lang tells him he can offer him something far greater--a permanent cure for his condition, one that will set him free forever. Barnabas gazes at him, mixed hope and disbelief on his face.

Julia goes to the hospital, umbrella held over her head. She visits Lang in what looks like Tony Peterson's office, and he greets her heartily. She calls him Eric. She sits down and says she has something important to discuss. Lang knew she was coming to see him. She'd seen Barnabas earlier and was disturbed by what he said. She asks Lang if he knows a permanent cure for Barn's problem. He does, but won't tell her what it is.She thinks he should tell her, but he reminds her that HE is Barnabas' doctor, and Barnabas will remain his patient after he leaves the hospital, says Lang, because Barnabas knows only he can help him. Julia observes Lang's confidence in his plan. I want to help you, she says--Barnabas isn't sure he's ready to cooperate, he doesn't know Lang well enough; Julia could erase those doubts--he trusts me implicitly, adds Julia smugly. (since when?) If she thinks his plan a sound one, she can guarantee Barn's cooperation. Lang wants to know why the intense interest in Barn's welfare. He's been my patient, points out Julia. Is that the only reason? asks Lang. Yes, she replies defiantly. Sooner or later, she'll find out what he's up to, Julia swears, and if it's detrimental to Barnabas, I will do everything in my power to stop you. He thanks her for the warning and bids her good night. As she's leaving, Jeff Clark bursts in. She stares oddly at Lang and says goodnight to him, obviously very curious about the connection between these two.

Lang slams the door after Julia's departure and turns to Jeff. You're three hours late, grouses Lang, and picked the worst possible time to come in. Jeff apologizes. Lang wonders what Julia thought, seeing Jeff, and Clark reveals his meeting Vicki and Julia at the cemetery. Lang asks if they saw him digging, and Jeff said no. What were they doing at Stanhope Cemetery? asks Lang, but Jeff says he was at Eagle Hill, not Stanhope. Lang asks why he went to Eagle Hill instead of following instructions. Jeff understood his instructions. There hasn't been a burial at Eagle Hill for 50 years, says Lang, but Jeff has no idea why he went to Eagle Hill--he started walking and that's where he ended up. Lang is pissed he came back empty--handed, but Jeff refuses to go out again. Lang insists. I don't want to do this, it's wrong, protests Jeff--when I saw Vicki tonight, I felt rotten and sick--and ashamed. Lang asks if she knows what Jeff is doing, and he says it doesn't matter--she's a decent person who respects him, and he wants to keep seeing her, and he can't unless he stops this. Lang says not to worry--he won't be seeing Vicki anymore. Try and stop me, challenges Jeff. Lang warns him that if he intends to interfere in his plans, seeing Vicki--I won't have it! Jeff wants to know what Vicki has to do with his plans, and Lang tells him Barnabas wants to marry Vicki, and he doesn't want Barnabas to be unhappy. Jeff doesn't care about Barnabas' happiness. (no wonder I don't like this schlemiel!) Jeff wants Lang to keep away from Vicki, but the doctor orders him to get to the cemetery and get the job done.Their voices escalate. Lang reminds him that he was once in an Institution for the Criminally insane, which sets Jeff off on a screaming meemie tantrum. "STOP IT!" screams Jeff. Lang doesn't feel he has to threaten to send him back to that place--he'll go the cemetery and carry out Lang's instructions, because he doesn't want Vicki Winters to know he's a murderer.

NOTES: What is Jeff doing for Lang, "digging" in the cemetery? Who did he murder, and how is it that Lang can hold this over his head and force him to do something which is obviously distasteful to Jeff?

Julia is awfully protective of Barnabas, given that he tried to drive her insane only a few days before Vicki went into the past. She still loves him, we realize that, but she's essentially threatening Lang, and he doesn't seem like a man who will tolerate such interference. What is his plan to rid Barnabas of the curse permanently, I wonder?

Oh, that Lang grates on my eardrums, and that last scene with Jeff truly made my head pound. I don't know which is the worst over-actor, but they were running neck 'n' neck.


470 - Roger is going to be "a prisoner of an evil presence from the past", says the intro.

Vicki troops downstairs in her yellow nightgown and matching hair ribbon. She hears Roger speaking in the drawing room and listens outside the door. Roger pulls the doors open and talks to her as if he were Joshua, ordering her to her room. He wants to get a better frame for Angelique's painting. Vicki reminds him it's after midnight, calling him Roger--which he denies. He's Joshua--and Mr. Collins to her! She stares at him, horrified. Vicki tells him the painting is doing something to him--stay away from it--he is ROGER, but she's doing something to make him think he's Joshua. He doesn't know what she is talking about. She says he must stay away from it and he gets angry--he's the master, she's a servant, she can't speak to him that way. He takes the portrait. She blocks his way. He's under a spell, she insists, and he orders her to get out. She wants him to put the painting back; she fears something bad will happen to him if he leaves with that evil painting.He demands to know if she's threatening him. He refuses to listen to her. Desperate, she shows him the telephone and asks if he knows what it is. He's in the 20th century, not the 18th--he's Roger, not Joshua. He looks dazed as he stares at the phone in her hand, and comes out of it, asking mildly if the phone is for him. She's relieved and explains what happened. He doesn't remember, he didn't even know she'd come into the room. He recalls admiring the painting, but doesn't remember removing it from the easel. Vicki puts it back. She's taking it back--let him sell it to Stokes. Roger is upset. It's evil, she says, but he insists it's a beautiful work of art. Angelique Collins was a witch who almost destroyed the family before and is trying again, says Vicki--the painting must go. Roger suggests she sleep on it, she might feel differently in the morning. I'll have a nightcap, then go to bed, he tells her, and she seems to make sure he heads for the study before going to her room. Once she's gone, Roger goes back into the drawing room and drifts into another trance. He lifts the painting off the easel and walks determinedly out the door after putting on his coat. Vicki spies him leaving and runs outside, ordering him to come back. She returns to the drawing--the painting is gone.

Vicki sleeps on the drawing room sofa. We see her reflected through the empty easel. She awakens, looks outside the window. She answers a knock at the door--it's Jeff Clark. He needs to speak to her right away, even though it's only a little after 8 AM. He notes how tired she looks. She admits she didn't get much sleep. They go into the drawing room. He refuses an offer to sit down. He hesitates before asking her a very personal question-is she in love with Barnabas? No, she says, but Jeff asks if he's going to marry Barnabas. Who told you? demands Vicki--she assures Jeff they know each other better than he thinks and can ask her anything. He asks again if she's planning to marry Barnabas. Before the accident, they were going to elope, admits Vicki, but she isn't going through with it--she can't--she doesn't know how to tell Barnabas; she doesn't want to hurt him. It's unavoidable, says Jeff.Vicki wants to go to the hospital, but Jeff sharply tells her to wait until Barnabas is released--that hospital isn't safe for Vicki or Barnabas. There's a reason why he can't answer her question. He admits he works for Dr. Lang--did she trust Peter Bradford? Yes. Jeff asks for the same trust. He'll tell her everything eventually, but if she must go see Barnabas, do it quickly and come straight back to Collinwood--that's all he's able to tell her right now. She looks at him, bewildered.

Barnabas, getting dressed, gazes at his unfamiliar reflection in the mirror and reaches out to touch it, smiling with pleasure. Vicki comes to see him. He's thrilled to see her. He feels splendid, he says, and can leave the hospital today. They go out on the terrace and Barnabas remarks on how lovely it is. He says she looks beautiful in the daylight and when he gets back to Collinwood to begin a whole new life, they must do a lot of talking. She says she must speak to him now. He notes she seems troubled and she has a tough time saying it--it has to do with him and the past--she knows she WAS in the past, she has proof--she, Julia and Jeff went to the secret room--she didn't dream it, it exists. What do you know about the secret room? He asks. She started remembering all the terrible things that happened, reveals Vicki, the suffering caused by one person--Angelique Collins. Barnabas turns away. Vicki goes on to relate to the man who knows best that Angelique used her witchcraft to turn people against each other, to torture and kill them to get what she wanted--the first Barnabas--she almost destroyed the entire family before getting him to marry her. Barnabas points out that the history books don't mention Angelique. There's a lot the history books don't mention, says Vicki, but it all happened. What else? he prompts. She doesn't remember details, but until last night, she was troubled by the reason everything happened. She thinks she went back for two reasons--to save one person and to meet another. If she hadn't been in the right place at the right time, Daniel would have died, along with the Collins family of today. The other reason was to meet Peter Bradford.He belongs to the past, says Barn, but Vicki says she believes Peter came back with her in the person of Jeff Clark. She's seen him several times and believes he's Peter. Impossible, maintains Barn. I came back to the present, why not Peter? Asks Vicki. Barnabas patiently explains this is her time, now, she had to come back because she belongs here--Peter stayed in the past. Vicki isn't sure, and until she is, she can't make any plans for her future--their marriage ain't gonna happen; her feelings have changed a great deal. "I can't marry you, Barnabas," she says, and he looks bereft and miserable.

At Lang's house, a despondent Barnabas tells his doctor about Vicki's decision not to marry him. Lang is sorry, but Barnabas is sorrier--I don't want you to continue the treatments, says Barn--a new life would have been exciting, but not without Vicki--forget the experiment. Lang tells him he's making a grave mistake, but Barnabas no longer cares.Lang angrily reminds him he saved his life, but Barnabas says he changed his life, he didn't save it--he would have survived the accident and Lang knows that. Lang reminds him he would have died if he'd exposed him to the light before the transfusion, which entitles Lang to a few moments of his time--did Vicki say why she changed her mind? Yes, says Barn, there's someone else. Jeff Clark, says Lang. Barnabas is surprised he knows, and more so to learn Peter works for Lang. Lang warned Peter to stay away from her--if he could make Vicki change her mind, would Barnabas be willing to cooperate? What would you do, asks Barnabas, hopeful. He doesn't want Lang to talk to her, but Lang assures him that won't be necessary. Jeff comes in bearing a box. Lang introduces him to Barn as his assistant. "How do you do?" asks Barn politely, but Jeff doesn't look in the least thrilled to have met him. Lang escorts Barn out and Jeff, looking grossed out, sets the box on the table. Lang opens the box and we see an arm, packed in ice. Lang encourages Jeff to look at it, but he looks away, disgusted. "Don't be so squeamish," bids Lang, "it's a perfect specimen!"

NOTES: What's with the severed arm? What kind of experiment is Lang working on, and how does he want Barnabas involved?

Didn't Barnabas look so depressed when he told Lang about the other man in Vicki's life? I felt like pulling him into my arms and comforting him. Having Vicki decide not to marry him after all was such a blow--and without his vampiric control over her, he can't force her to marry him. I wonder if he wishes he still had that power?

Love, Robin