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
