That's how we dressed back in the late Sixties, plus they are wearing cast-offs from Ohrbach's, which probably provided the clothing free for being advertised in the ending credits.       They rarely dressed Julia nicely, but Joan Bennett seemed to get all the prettiest clothing on the show, undoubtedly written into her contract.  

Carolyn sometimes wore attractive outfits, but they persisted in putting Vicki in ugly tents or sleeveless horrors that did not become her.  

Love, Robin

Connie, I want to hear your Grayson Hall phone call story!

That said, I don't remember referring to my home in any Collinwood way, but I do remember walking into a dark-paneled, gloomy house while house-hunting, and turning to my husband to say, "This reminds me of DARK SHADOWS!"  (But not in a good way--we didn't purchase the house).

While I watched DARK SHADOWS in junior high, I was taking French, and our teacher told us to give ourselves a French name.  I was Josette, of course, and it make French class a lot more interesting to me to be called by the name of Barnabas' love.

I have to go to the drawing room now--later!

Love, Robin

I'm enjoying every word, Mark, my talented friend, and while I'm sorry you were denied the fest this year, I'm glad that you're regaling us with with further chapters of this wonderful story.  The fest's loss is our gain.  Thank you!

I, too, think I've guessed the identity of the new visitor, and wonder what he has up his sleeve for the Collins family.

Love, Robin

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

544 - Adam, hanging out in his room, looks depressed.

Nicholas stands on the landing at Collinwood, staring, plotting. Stokes knocks at the door and Nicholas lets him in. Stokes is surprised to see Nicholas, a reaction the warlock picks up on. Stokes says he must be more careful not to show a loss of control-it could be dangerous. Stokes has a slew of books with him and Nicholas asks if Carolyn is studying with him. Stokes remarks on Nicholas' curiosity, and Blair says he's making idle conversation. Stokes says he seems more like the kind of man who knows what he wants and says what he means. Stokes excuses himself, but before letting him head up stairs, Nicholas asks him about Adam.Stokes says he once knew a man by that name, a missionary married to a woman named Eve. They lacked humor, says Stokes, and a humorless man is an incomplete one. Carolyn heads downstairs to interrupt, and Nicholas excuses himself to take his daily walk. Left alone, Stokes asks her if she mentioned Adam to Blair; he was asking questions. Don't let him find out Adam's in the house, cautions Stokes, and Carolyn launches into how unwise it was to bring him there in the first place. She relates her problems-he tried to kill Harry Johnson, and she was forced to stop him. She assures Stokes she's taken care of Harry keeping silent; he has a police record. Carolyn says Adam is becoming unmanageable, too attached to her, falling in love with her.Stokes is sure she's mistaken, but she tells him about the kissing picture and how Adam tried to practice on her. Stokes says he'll speak to Adam, but says he can't take Adam back to his house--he'll try to persuade Adam to concentrate on studies rather than biology. Carolyn asks Stokes about his interest in Adam. Why did he help him? For the same reason as Carolyn, says Stokes-he felt sorry for him. Carolyn looks troubled as Stokes heads upstairs.

Adam is still looking at the kissing picture, saying "Carolyn" and making with the lovesick eyes. Stokes knocks and Adam admits him. They greet each other like long lost friends. Adam prefers Stokes' house; he's lonely here. Stokes observes the cheerless surroundings and hands Adam a bunch of books, a writing pad and some pencils. Adam is pleased, but unhappy Stokes can't stick around. Stokes says Carolyn will help him, but first. . .Adam admits to liking Carolyn very much, but Stokes warns him against liking her TOO much. Stokes feels ill equipped to answer Adam's why, wishing he'd had the foresight to marry and raise a family. He sits down beside Adam and orders him not to panic if anyone else discovers him. Just tell Carolyn, says Stokes, she's his friend and knows what's best for him--obey her wishes--most important are your studies, says Stokes; everyone has warm feelings toward certain other people, which is fine, but for Adam, learning must come first--the sooner he's educated, the sooner he can leave the room and go out among other people.Adam agrees to concentrate on reading and writing. Carolyn joins them, asking to speak to Stokes, who promises to see Adam as soon as he can. Adam and Stokes shake hands.

Outside the room, Carolyn tells Stokes Julia spotted his car outside and wondered where he was. She said he was in her mother's private library looking at a first edition of THE FEDERALIST. Stokes grows very excited-does Liz really have such a thing? Carolyn has no idea; she made it up. She tells him to go downstairs and he agrees; they can't rouse Julia's suspicions. Carolyn returns to find Adam avidly reading a book. She surveys him for a few moments, then asks about his talk with Stokes. Adam says he understand everything they discussed, and his studies are very important. She's happy. He covers her hand with his and says he's happy, too. She says he can't study on an empty stomach, unlatches her hand from his, and promises to return soon with food. He gazes after her, mooning, and writes something on his pad. "Carolyn," it says in big red letters, and he smiles at his handiwork.

Julia tells Stokes she and Barnabas need his help-they need to know where Adam is. Why? asks Stokes, but she says she can't reveal that. Stokes says they've developed a rather unfortunate pattern-they don't hesitate to call on him for help whenever the whim strikes them. He isn't a religious man, but sometimes he feels it's better to give than to receive. (get her, Eliot!) He thinks it's time she and Barnabas adopted that principle. She insists they've been as honest with them as possible, but he says it's rubbish-she didn't answer any of the fair questions he posed to her the other night. He examines a chess board. Desperate, Julia asks if she answers his questions now, will he tell her where Adam is? He points out he hasn't admitted to knowing Adam's whereabouts, but says if she cooperates, he might consider helping her. What do you want to know? she asks. The riddle in the dream-he can't interpret the last line-"and one door leads to the point of return." It's meant for Barnabas, she says--he went through it in the dream--it took him to the Old House. Return to what, he asks, but she says she doesn't know. Nothing happened in his dream, he woke up from the dream unharmed, and believed he'd broken the spell. She left the room and when she returned, he was gone. She found him on the ground outside the house and concluded he was dead. She assumed he died from heart failure brought on by fear. Stokes tells her to do better than that. He moves some chess pieces and asks about her decision to secretly bury Barnabas, without consulting the family or the law--WHY? She followed Barnabas' instructions, she says. He believes Julia is leaving out an important detail-Barnabas' belief the dream would result in his death. Somehow, he feared his death would be gruesome or somehow shameful, which explains the secret burial. Conjecture, counters Julia, but Stokes asks about the strange connection between Adam and Barnabas. Julia insists she doesn't know.Relentlessly, Stokes pursues: Why did Adam begin to suffocate for no apparent reason after Barnabas was buried? I didn't believe your explanation of an amazing coincidence, points out Stokes, and you don't believe it either. She says she knows no other explanation, and Stokes says he can't help her-she didn't give satisfactory answers. Stokes starts to leave, and she begs him to listen to her. Stokes asks her one final question, food for thought-could the hostility between Adam and Barnabas have anything to do with the fact that Adam is an artificially created human being-and that Barnabas is somehow responsible for his creation, and all his subsequent misfortunes? "You see Julia," says Stokes evenly, "I already know a great deal more than you think I do." In despair, Julia watches him leave. (a delicious, satisfying scene!)

At the gazebo, Nicholas summons spirits unknown to him or each other, but with a common cause. He says he has the power to restore what each of them has lost. "Spirits resting in violated graves, hear me. Listen to my command. Come to me and help me if I am to help you." He speaks as their benefactor, says Nicholas, commanding them to make their presence known to him.

Adam arises restlessly from the bed. Carolyn has brought his dinner. He opens the door and she sets down the tray. She observes he's been studying hard, but sees something is wrong with him. He says he feels not sick, just weird, and when she probes, yells that he doesn't know. She suggests he'll feel better after eating. He asks her to stay with him and talk while he eats. She agrees, and sits down; Adam begins eating.

Nicholas continues to call for the dead bodies that "contributed" to Adam's creation. Two ghosts, one missing an arm, the other a head, blood dripping down its torso, appear before him. The headless body touches the empty space where the head used to be, and Adam suddenly grips his throat. My head, says Adam--it feels strange. Carolyn suggests he studies too long without a break. He says he feels better and nods in agreement. Carolyn is relieved.

Nicholas has summoned the two bodies and decides they will be enough for his purposes. The man missing his right arm gestures to the empty space with his left. Adam clutches his own right arm. Carolyn tells him to finish eating, but he complains that his arm feels strange, too. Carolyn says she wouldn't know what to do if he got sick; calling a doctor would be too dangerous. Adam assures her he isn't sick, but she's still perturbed. He returns to eating.

Nicholas tells the two deformed ghosts that he must find Dr. Lang's creation, Adam--only after that can he avenge their suffering. Lead me to Adam, he commands, you must know where he is, being part of him--if you can't lead me, then point the way. The two ghosts lift their arms and gesture. "Collinwood!" says Nicholas. He asks what part of the house Adam is in, but they disappear without supplying that information. That's all right, says Nicholas, he knows enough--he will find him!

We see Collinwood, then Adam, sitting, eating his dinner, unaware of what is happening.

NOTES: What does Nicholas plan to do with Adam once he finds him? He doesn't appear to want to harm him, but who knows? He will have to convince him, without telling him, to cooperate with his plan. How will he go about that?

Love how Stokes handles Julia! He knows she's hiding something, perhaps even has an inkling of what it is, but when she wouldn't "give," neither would he! Julia has met her intelligence match in Prof, Stokes for sure!

Carolyn and Professor Stokes are determined to prevent anything bad from happening to Adam, but with supernatural folks like Nicholas and Cassandra around, it's going to be tough!


545 - Nicholas enters Collinwood. Cassandra, dressed in stunning black velvet, comes down and demands to know what he's been up to. Nicholas tells her he "more or less" knows where Adam is, but he can't tell anyone else. She demands he stop teasing her and tell her. Roger comes in, suitcase in hand, fresh from visiting Liz. Looking and sounding depressed; (the door won't stay closed) he kisses Cassandra on the cheek. Cass tells Roger David is fine and Nicholas says he will leave them alone; he has much to do upstairs. Cass wants to know about Adam, which Nicholas is well aware of, but he coyly says not to invite him to stay for a drink. He bids Cassandra, his "dear sister", goodnight and goes upstairs, leaving her obviously infuriated.

Roger notices Cassandra's rapt stare and asks her to come into the drawing room; he wants to talk to her. She refuses his offer of a brandy and takes one himself. He tells her he knows she and Liz were never the best of friends, but he's annoyed she didn't ask about her. She says she meant to ask him when they were alone and inquires if there has been any change. She's still a very sick woman, reports Roger glumly. Cass says that's too bad. Liz still thinks herself Naomi, living in the 18th century. He's puzzled-Liz has always been so stable, how could her mind snap like that--and her preoccupation with death.Roger tells his wife, who pays little attention, that he needs her support and advice, but he sees her gazing after Nicholas. Angrily, he suggests that if she isn't interested in what he's saying, she should say so and he'll stop wasting their time. She assures him she's listening and invites him to go on.

Adam is reading when Nicholas appears in his room. Adam, surprised, orders Nicholas to leave, but the warlock tells him they will be good friends. Carolyn is his friend, insists Adam, but Nicholas points but so is Stokes, whom he knows. Stokes told me you were here, reveals Blair, and I am going to be teaching you, too, taking up where Stokes left off. He knows Adam will finish the simple books soon, and Nicholas will see to his higher learning--Carolyn doesn't know I'm here, says Nicholas. Adam smiles and admits he likes Carolyn very much, and Nicholas tells him not to worry about what others think or do what others want him to do-he must be a strong-willed individual. He tells Adam he is stronger than other people, bigger, can learn faster, has a better brain, can do things others can't-a very important person.Adam likes this ego-stroking a lot. Nicholas promises he will learn, with his help, how important he is. Nicholas says he's never seen anyone quite like Adam, a man who, with his guidance, can alter the course of history. Adam likes this, too. Nicholas shakes his hand and promises they will be going a long way together.

Cassandra paces in the drawing room, impatient, annoyed. Nicholas comes in, smug, and says she is perpetually unable to learn--your rages will get her no where with me. Roger has gone upstairs, she says, then asks about Adam. I found him, he says, secreted away in the West Wing-by Carolyn! This surprises Cassandra, who asks how soon she can see Adam. Nicholas knows her intentions toward Adam, the only instrument that will ensure the successful ending to her curse--you must stay away from Adam or you will pay, says Nicholas.He has important plans for the creation, which Cassandra will know in due time-I have a vested interest in Adam's future. Cassandra stalks out, heading upstairs.

Adam lets himself into the sleeping Carolyn's room, quietly closing the door behind him. He gazes at her, moving in closer, and shakes her awake. She sits up with a gasp and asks what he's doing there-he frightened her. He apologizes for that. She's in a pretty pastel nightgown which she covers with a matching robe. He tells her about the man who found him--Nicholas. She's upset to hear this. Adam assures her he didn't harm him. How did Nicholas get in, the door was locked, wonders Carolyn. Adam can't remember the many things Nicholas said to him. Carolyn tells Adam she's glad he didn't panic and came to tell her, but she will handle Nicholas Blair. He's all set to return to his room, but she orders him to stay there and wait for her-she'll come and get him when she is finished with Nicholas.

Nicholas sits by the fire, creepy music playing, as Carolyn heads down the hallway.

Midnight - Carolyn walks gracefully downstairs and into the drawing room. Nicholas looks as if he's waiting for her. She orders him to sit down; she wants to speak to him. He notes she seems angry. Curtly, she reminds him he's a guest of the Collins family, and those privileges don't include indiscriminate wandering around. He realizes she's speaking of his visit to Adam in the West Wing and apologizes for what he discovered, but she says it isn't a family secret, and he asks if it's HER secret.You had no business being in the West Wing, insists Carolyn--what were you doing there? Nicholas says she wouldn't believe him if he told her, grinning hugely-he was checking for the old European architecture. She agrees--she doesn't believe him. If that was true, he wouldn't have had to break into a locked room. Nicholas insists the door was open, which was the reason he dared to go in--it wasn't, he insists. Carolyn accuses him of lying. How could I have gotten into a locked room? he asks innocently. She doesn't know, but he went to the room because he knew someone was there, someone he was looking for. Nicholas denies this, but Carolyn tells him she knows Blair questioned Stokes about Adam. Natural curiosity, insists Nicholas--he's been the subject of a great deal of talk. Carolyn tells Nicholas she isn't one of those who believe Adam is dangerous. The sheriff does, points out Nicholas, and she turns and asks if he intends going to the sheriff with what he knows. No, says Nicholas, and he isn't after anything. She asks what he intends to do about Adam. He points out he could have asked her many embarrassing questions about the strange man in the upstairs room, but he hasn't, nor has he reported it to the sheriff. I will do nothing, promises Nicholas. Why? asks Carolyn. Simple courtesy, says Nicholas, and if you'd stop working up hostilities toward me, you might find I'm not your enemy and have nothing against your family--I know my status as a guest--I accidentally saw Adam and can't forget having seen him, but I feel obligated to respect your privacy, and will keep silent about it. He hopes he put her mind at ease, and she says yes, for the moment. He's disappointed it's only for the moment, hoping he could have won her over completely, but he's a patient man and can wait. He bids her good night, and she glares after his departing figure. He smiles at her from the landing as an unhappy expression crosses her face.

Carolyn leads Adam back to his room. She goes in with him and expresses relief that no one saw him. She tells him everything is all right, but they must be more careful. She still doesn't understand how Nicholas got in. Adam tells her he was sitting and studying, went to get a book, then heard Nicholas speak. He was just standing there. Perhaps Harry left the door unlocked, says Carolyn, he's witless enough-she intends to give him the third degree. Adam is puzzled by his slang expression, and she laughs. Adam tells her he likes her smiles and starts to touch her mouth. She suggests they both get some sleep. He softly, sweetly bids her good night.

Cassandra is listening to Lang's tape for the umpteenth time. She smiles as the music resumes, then turns off the recorder. She leaves the drawing room, weapon in hand, and goes to the West Wing, where Adam lies asleep. 2 AM - She finds the door locked, holds out her hand and opens it via witchcraft, with a gentle wave of her hand. She enters, gazes at Adam for a moment, and says to herself he must not die by magic or Nicholas will know she is responsible. She must kill him the human way-and so she raises an axe above his unsuspecting head.

NOTES: Whoa, Nicholas has really pissed off Cassandra and she, surely realizing that even if she murders Adam in this "human" manner, he will still figure out she did it, does this rash thing anyway. She's acting desperate, so I guess she still fears Nicholas' retribution, but now Blair has a plan of his own, and she's sticking her foot directly through it. Cassandra doesn't even try to pretend to be a good wife to Roger, and her inattention listening to Liz' problems proves it. He's annoyed with her almost constantly these days.

In his very smooth way, Nicholas tried to convince Carolyn that he wasn't a threat to Adam, or to anyone else, but she mistrusts the warlock, with good reason, and we hope she will continue to be on her guard. She knows that his appearance in Adam's room is very weird indeed.

Adam continues to moon after Carolyn, and you can tell that's going to be an ongoing problem for her. Every time he sees her, he wants to touch her.  And Stokes, smart as he is, hasn't a clue about handling a huge man with surging hormones.

Love, Robin

You speak the truth.  It's apparent David is a highly intelligent and imaginative kid who probably knows more than the adults surrounding him.  Roger is better than he used to be, but still, all of the Collinses seem reserved, and there's virtually no affection given this kid at all.  Bored, lonely, ignored--no wonder David fiddled with his father's bleeder valve and locked Vicki up in a deserted part of the house.  He's crying for attention and no one is listening, and that can only elicit bad behavior as a means to getting that attention!

Love, Robin

I've always loved Adam, who is so dark and tall, with Carolyn, so blonde and tiny.  They just look so precious together, and I've always believed she cared for him, too, perhaps even loved him.  This is going to become even more apparent a short time later in this storyline.

I believe Robert Rodan asked Dan Curtis for more money, and thus his fate was sealed.

SPOILER ALERT!







Adam ends up hiding in Professor Stokes' closet and that's the last we see of him--or Robert Rodan.  We never again see or hear of Adam.

Love, Robin