546 - As Cassandra raises the axe, Nicholas is standing behind her, giving her the evil eye. He asks if she never follows orders. Adam awakens and sits up. Nicholas tells him he's quite right to be angry with her. Cassandra, terrified, drops the axe as Adam bears down on her, demanding to know who she is and why she is trying to hurt him. She orders him to stop but he grabs her, pronouncing her BAD. Nicholas agrees that they all know how bad she is-he will take care of her. Nicholas tells Adam to release her, then says he should just exit the room and allow Adam to deal with Cassandra.
Adam grabs her throat-you tried to kill me! he accuses, and I will kill you! Nicholas asks Cass if he should save her. Adam demands to know what he did to her that made her attack him and refuses to let her go until she tells him. Cassandra tells Adam he wouldn't understand, but Nicholas disagrees-they both hate Barnabas Collins, a singularly unfortunate thing to do, obviously. Upon hearing that Cassandra shares his feelings about Barnabas, and that Cassandra hoped to hurt him, through Adam, Nicholas assures Adam that if he lets her go, she'll leave the room. Cassandra agrees, and Adam releases her. Nicholas promises Adam she won't bother him again. Adam grabs her throat one more time, but releases her when Nicholas reminds him Carolyn likes him to be gentle. Nicholas swears Cassandra won't try again, so Adam lets her go. Nicholas orders Cassandra to go to the drawing room; he will think up an unusual punishment for her. Caressing her throat, she says she was only doing what he brought her back to do, but Nicholas says she was ignoring his orders. He advises her to say goodbye to Adam, whom she will never see again. (that doesn't sound promising!) She leaves without another word.
Adam fears she will come back and try again, and wonders why she hates him. Nicholas says it's an unfortunate fact of the human world; when two people wage war, the innocent are caught in the crossfire. Adam doesn't understand, and Nicholas says he has much to teach him-after he finishes the business at hand.
Cassandra stands on the landing, berating herself for being a fool. Nicholas will punish her, and she knows what it will be--but he needs her here, he wouldn't dare. He can't stay if she were. . .no, it's her last chance, now, this minute, before he walks in. If she does nothing, Barnabas will escape her forever. She takes a clay doll in her hand and tells it, "You are Adam, made by man, and Adam can be destroyed as easily as I can tear this doll apart." She takes a hat pin, holding it poised over the chest, points to the heart, and says, "When this heart stops beating, Barnabas Collins will be a vampire again!" Cassandra tells the doll that Adam will die and Barnabas will be what her curse made him to be. She holds the pins ready.
Adam asks Nicholas why people hate him. The warlock explains Cassandra is an unusual case, and he shouldn't worry about her. Adam wants to tell Carolyn--she will stop Cassandra--but Nicholas reminds him Carolyn will be unhappy that Cass found him there. Nicholas won't tell, he's Adam's friend. Adam doesn't seem to believe this, but Nicholas assures him they will be very, very good friends and he will prove to him he can be trusted. Adam looks petulant and disbelieving.
Cassandra sits by the fire, doll in hand, saying to herself she knows that whatever Nicholas does to her, she will have triumphed. Yes, Adam will bring the curse to Barnabas. Now, the first pain! She stabs the doll, and Adam grabs his chest.
Nicholas is very concerned when Adam begins gasping for air. Cass removes the pin, then drives it in again--she will prove to Nicholas she hasn't lost her powers, she vows, that she isn't afraid of him, and what she came to do, she will still do! Adam gasps in pain, falling to the floor. Cass removes the pin, telling Adam he's still alive, and while he lives, Barnabas Collins still walks in the sun, but with this, Barnabas will lose the daylight, and his world will be as dark as the night he is forced to live in. She is about to inflict the killing puncture, but Nicholas grabs her, stops her, struggles with her, murmuring everything in her ear as they argue. He is interested in Adam, he says, and she says he can't punish her for doing what she came there to do. Yes, he can, he says, for still being in love, for having such human emotions. She sobs that she hates Barnabas--Barnabas has defied me, she cries. Nicholas tells her he can punish her for caring about that. She tells him to punish her for disobeying him, but forgive her. What would my master say? demands Nicholas, and she reminds him that they share the same. Not anymore, retorts Nicholas, "Your master lives on this earth, at the Old House!" He locks the double doors and approaches her. What shall he do to her, he ponders. Desperate, she reminds him Adam is still alive, she failed to kill him-punish her for that!--she won't try again. He tells her she sounds like a woman in panic, and that's what she will be--perfect! He asks her to tell him her name. Angelique, she replies. That is not her name, says Nicholas, Cassandra Collins is her real name now. She is no longer playing a woman married to a man, she IS a woman now, married to one Roger Collins. He presses her down on her knees, then makes a sign on her forehead, then intones, "You are no longer a witch, a member of our coven, you are human, without power, you have only the minutes left to you to live out-you will die as humans die." "Oh, no," she moans, and gazes down. He grabs her hand. "This hand is no longer the servant of my master. This hand is no longer the recipient of my master's grace. This mind is no longer the property of my master, and this heart is no longer our domain. You are a woman, born on the island of Martinique in 1774, died. . .we shall soon know." Nicholas smiles and helps her to her feet. "You are mortal now," he proclaims. She backs away from him, and he bursts out laughing at her.
She begs him not to turn her human, she'll die. That is your punishment, he says, you have no more powers. He hands her the fallen clay doll and invites her to try. She takes the figure and attempts to spell-cast, but it's useless, she can't do it. She looks so depressed! She asks how long she has left, but he says her departure has already being arranged, orderly, designed to cause little concern or regret. It will start shortly, how long it will take is his secret. She begs him to tell her, and he orders her to control herself--her husband is coming down the stairs, he says. He told her it would start soon, and it apparently has. He opens the doors and greets Roger, who asks if he's seen Cassandra. Nicholas, bouncing the lump of clay in his hand, tells Roger he'll see him in the morning.
Roger demands to speak to Cassandra, but she says there is something she must do. He demands she come upstairs with him, grabbing her. No, she isn't!--she doesn't care what he thinks of her. Roger asks when it DID matter, and she tells him he can figure that out by himself. She seems to be growing weaker as he tells her their marriage is a mistake--she isn't interested in him. She agrees with that, but says she must go. WHAT? He demands, but she says she doesn't have time and never had time for him. "Goodbye, Roger," she says, breaking free of him and racing to the door. He follows her, tells her he was willing to do anything for her--"I offered you my life so you could share it, but you weren't willing to share it, were you?" "No," she retorts. "Now you have learned the truth, there is nothing between us and there never has been!" Roger insists there was in the beginning. "I used you!" she spits at him. "Face it, I used you!" "For what?" demands Roger, angry and hurt.
She responds, "For what I'm going to do now." Roger closes the doors as she goes off into the night. The camera pans on Barnabas portrait.
Old House - Cassandra looks in the window and sees Barnabas reading a book. She knocks at the door. He asks who's there before opening the doors. "What do you want?" he asks. She reminds him she was once the mistress of this house; surely it gives her the right to come here. Why are you admitting that tonight? he asks. She glides in. When I first came to this house as Cassandra, I cried when she left, she confesses--this room, so different from what it was before, yet so much the same. Josette's portrait--I remember the day you hung it over the mantle--where is it now? Why are you suddenly admitting to being Angelique, asks Barnabas--is it a new trick? No more tricks, she says, but he refuses to believe her. I have come to say goodbye, she says--one word, after such a long history, one word can end 200 years of pain--why didn't you ever love me?, she asks sorrowfully. "Cassandra!" he says. "Call me Angelique," she murmurs, "and tell me why you never loved me. I loved Josette! He says. She turns away. "I hate you," she says. "You've proven that," he retorts. "Not successfully," she says. "Because I am not a vampire," he asks, smiling in triumph. You escaped, she says. And that drives your mad, he says. "You think you have won," she says--you can stand there looking at me with pity in your eyes. . ." "Not pity," says Barnabas, "not that. You're too dangerous to pity." "No more," she says. "I have been told I wasted my time on you, and I think that's true. You have never known what I was thinking or feeling--why did I love you so much?--Nicholas says that I still do, that even dying, I love you." "Dying?" asks Barnabas suspiciously--"What do you mean by that?" She tells him she's been granted one of the privileges of being human--for once, he should understand, since he couldn't die either for so long. "We are both human tonight, Barnabas." "You are a witch," he says. "Not anymore," she says. "I have only until morning to live, that is my punishment--morning is coming so quickly. But if I must die. . ." she pulls a gun on him, "so must you." "No," he mutters. "SO MUST YOU!" she rails.
NOTES: One of the best, most engrossing scenes between Parker and Frid. His appearance in the very last segment of the show was a big surprise, but what they said to each other, and his odd reaction to hearing she was going to die (as if he really didn't want to lose this two centuries long enemy) was DARK SHADOWS at it's finest. The two of them were rarely human at the same time, and the next time this happens is another disaster.
Also felt really sorry for Roger. She sure let him down coldly, and cruelly, but then again, she was thinking of herself, of her oncoming death, the death she wanted to inflict in Barnabas, and Roger was of no consequence, then or now. She had used him to get to Barnabas, but Roger never knew it, thank God.
So now she holds a gun on the man she professes to love, the man she made love to one sultry summer in 1795 on the island of Martinique, the man she married after she blackmailed him into it. Will she be able to pull the trigger and take him with her?
547 - To see Barnabas and Angelique, this embittered husband and wife, reenact their final scene again tears me up. She must dispense with Barnabas in a human way, and wonders why she ever loved him in the first place. Since she is dying, HE must die, too, and that's all there is to it.
Even dying, she is selfish, and wants to take this man with her, this man who has lived through so much and is finally cured. I guess in Angelique's case, she didn't want the best for her loved one, only to take him along for her deathly ride.
Barnabas refuses to believe Cassandra is human; this is another of her vicious games. Are you bored with tricks and spells? he asks. I wasted my time on you so I lost my powers, she reveals. Barnabas says, with a smile, there is even justice in hell. Her hand shakes as she holds the gun, and he realizes she really is human--and that she can't pull the trigger. He asks if she's afraid of him and wonders how she can be; all he has is his mind and hands. She tells him not to touch her, he can't change what's going to happen. She grunts in pain and tells him he's responsible for every pain she is feeling-you are stopping me! she cries, and he says she speaks like a woman who's been condemned. Did Nicholas condemn you? he asks-"is he more powerful than you are?" She falls over and he easily disarms her. The gun goes off. Barnabas holds onto it. Now perhaps he will learn the truth, he gloats, and wonders if she's capable of telling it. She limps away. He warns her not to leave. "Sit down, Angelique," he orders. She covers her head with the hood. He places the gun on the mantle. Do you want to see me die? she asks. Barnabas wonders why she's human--who is Nicholas, and how did she disobey him?--what happened--what rules has she broken? She refuses to tell him anything. Does it have to do with Adam, asks Barnabas, demanding she look at him, then pulling her around to stare into the hood in horror.
Vicki sleeps, and awakens from a dream. Angelique's picture is glowing, she notes, standing in front of it. The face suddenly begins to transform into that of an aged crone. Vicki races out to get Julia. Julia is glad Vicki found her and gazes with horror at the disgusting apparition the portrait has now become. Vicki wonders why she ever bought it, and expresses disgust--it's as though it's alive. Perhaps it is, says Julia, an ordinary picture can't change, but this one isn't ordinary--I'm going to the Old House to tell Barnabas about this. Does the picture have something to do with Angelique? asks Vicki. Julia admits that what happens to the picture happens to the woman. How can it be? asks Vicki. Julia reminds her she lived in the past with Angelique and knows what she can do. Vicki gazes at the portrait. She felt drawn to the picture, as the witch wanted her to, she wanted it to pave the way for Cassandra, and hence Roger's fascination. They wonder what's happening to Cassandra now. Julia is anxious to hurry to Barnabas. Vicki doesn't want to stay alone with the picture; it's like watching someone die. Julia tells her to stay with Roger; she will bring Barnabas back with her.
Barnabas holds Angelique by the shoulders, gazing raptly at her. "You were never vicious before," she sobs, to which he retorts, "You taught me to be!" She begs him to let her go, and he says he will after she tells him about Nicholas. She falls from his arms, crying in pain. Julia enters and starts to tell him what's happened to the portrait. He points to Cassandra, explaining that she claims to be dying--and she's human now. Cassandra, crying, begs Julia for her help. Julia wants to help, but Barnabas says she can't, Cassandra is under a spell and no one can help her. One man, sobs Cassandra. Barnabas tells Julia to look at Cassandra's face, but Cassandra refuses. "One man can help me, I must find him," sobs Cassandra, rising from the chair and scuttling away. Julia wants Barnabas to stop Cassandra, and says he must destroy her before she gets to Nicholas-it's his only chance to escape her. Barnabas explains he had his chance, he had the gun in his hand--why didn't he do it? He values life now that he's human, perhaps it's that simple, even the life of a woman who has made his life hell. Julia notes he regrets not doing it, but Barnabas insists that they let Nicholas finish her-it's the only way he will be truly free. Julia says she won't let him be so passive about it, she won't let him lose this moment, and she caresses the barrel of the gun. If you won't do something, the years of agony she caused you, sobs Julia, then I will! I haven't forgotten, says Barnabas. She reminds him with Cassandra powerless, this is the moment to strike--she will get back her powers, as she has in the past, after Trask, after the aging of the portrait, why is it different now?
Says Barnabas, for once, she wasn't pretending--I want to watch and learn a great deal about Nicholas. You can go on learning, but I will be more practical, insists Julia, taking the gun into her hand. No, Julia, says Barnabas.
Roger and Vicki survey the portrait, which Roger calls unnatural. They will get rid of it in the morning, and Vicki agrees, but Roger wants to show it to Nicholas. Vicki prefers that he not do that, but Roger says Nicholas might be able to give them an explanation--Nicholas won't mind, says Roger, but Vicki doesn't trust Mr. Blair. Why? demands Roger, but Vicki is reluctant to speak. She has no reason, but she prefers to wait until morning; she doesn't want Nicholas in here tonight.
Roger admits to being at a loss in understanding women; he proved it tonight. How curious the picture looks that way, he almost feels he caused it. He confesses he and Cassandra quarreled bitterly, and he isn't sure how unhappy he is about it. No one will be able to restore the portrait, says Roger, and suggests she stay with Carolyn tonight. They hear a banging noise at the door downstairs. Cassandra is screaming, banging frantically on the door, crying for help. Roger opens the door and is stunned to see the limping, aged crone fall to the floor. "Good God" he cries, staring at her hideously ancient, deformed face, "Who are you?"
Barnabas and Julia stand outside the door to Collinwood. He demands she give him the gun. She refuses, she wants to end this. No, says Barnabas, "Your life has changed because of me, I admit that, but Cassandra. . ." Julia suggests that if Cassandra can be done away with, perhaps she can return to her old life. Barnabas tells her she's forgetting a murder charge, and again demands the gun. She points out she's remembering what she is, and no one would convict her, knowing what they know. He tells her no one would believe them, and again demands the gun, vehemently. You really believe she's going to die, don't you? asks Julia, and he again demands the gun.
Roger apologizes for hurting the old woman and helps her to her feet. He'll call a doctor. He seats her in a chair and tells her to rest. Julia and Barnabas come in and Roger is glad to see Julia. Cassangelique, sobbing in pain, covers her face. Roger tells them he heard her and there she was, he doesn't understand how she got this far. He doesn't know who she is or whom she should call. Roger wants Julia to examine her, but Casangelique doesn't want that. Julia goes into the drawing room to get her bag as Roger and Barnabas help the old woman onto the drawing room sofa. Julia puts on her stethoscope and asks the men to leave.
"Julia," says Barnabas, and gives her a long look that speaks volumes. She orders Barnabas to close the doors, she won't be long. Barnabas looks very suspiciously at her, then Roger asks if he's coming. Barnabas joins Roger in the foyer and the latter closes the doors. "It's simply incredible," says Roger, "that woman is dying." Roger wonders how she got there, she couldn't even speak--thank God Julia showed up. Barnabas asks if Roger was the only one who has seen her, and Roger says yes. What if she dies there, wonders Roger. "What if she does indeed?" asks Barnabas. Julia comes out and tells them the woman's heart is so weak, it will only be a matter of minutes. "Honestly?" asks Barnabas meaningfully, and she says she didn't do anything--there's nothing left to do. Roger wants to take the woman to the hospital; they can use his car, it's all settled. When Julia returns to the drawing room, however, the woman is gone. Julia races to the open window and calls to Barnabas. They see the woman has disappeared. Roger is shocked. Julia says they've got to find her. Roger says she couldn't have gotten far, she's a very ill woman. Barnabas and Julia exchange a look, wondering--did they do wrong in allowing Cassandra to live?
NOTES: So where did Cassangelique go? Did she have the strength to go to Nicholas and beg him for another chance? She looked so drastically changed, Roger didn't even recognize the woman he'd married!
Once again, a fantastic scene between Frid and Parker. Loved his sarcastic remark, "There is even justice in hell." Excellent dialogue, I loved every moment of it.
So did Julia do something to hasten Cassangelique's demise? She could have injected her with something, given that she was alone with her; perhaps, like a wounded animal, Cassangelique wanted to go die somewhere, alone.
It almost seems like the end of the Barnabas-Angelique saga, doesn't it? Rest assured, new viewers, that much more--and more shocking--is yet to come!
Love, Robin
