525 - Joe struggles with Jeff, yelling his name, demanding to know what's wrong with him. Jeff finally comes to and recognizes him as Joe Haskell, not Nathan Forbes.Jeff apologizes to Joe, saying that he looks exactly like someone named Nathan Forbes, and that he was having a dream in which he was trying to kill Forbes. Joe asks Jeff, why don't you like me, puzzled--Jeff really doesn't know Joe well enough to like or dislike him. I don't know, claims Jeff. Could it be because I look like this Nathan Forbes? asks Joe. It suddenly hits Jeff-of course, he says, almost to himself-that's it--and that means that I know Nathan Forbes, a man Vicki knew in the past. Joe doesn't understand any of this, but if Jeff is fine, he's going back to bed. After he leaves, Jeff finally admits the truth to himself-I'm Peter Bradford!! He smiles with joy and relief.

Back at Collinwood, Nicholas brings Angelique's portrait into the drawing room and props it up on a chair. He begins to address the portrait, commanding Angelique's spirit to guide him to the tree in the forest where she was tied, so that he can bring her ashes back to life. We hear Angelique screaming in the distance, and Nicholas increases the intensity of his incantation. Just as he's pushing the spell into high gear, the drawing room doors open-it's Vicki!

Nicholas is forced to stop what he was doing. That's my painting, insists Vicki--where did you find it? Taken aback at being caught, flustered, Nicholas tells her that Roger loaned it to him. It's all faded, notes Vicki, but I want it back. Nicholas is reluctant to let the portrait out of his hands--why not let me restore it at my expense, he offers. No, I like it the way it is, Vicki asserts. Nicholas begs to be allowed to keep it, just for tonight--it reminds me of Cassandra, and having it near helps me not worry so much.Vicki refuses. Outmaneuvered, Nicholas is forced to step aside and let her take the portrait. He smiles his too-polite smile at her until she is gone, but his face in close-up seethes with anger and frustration.

Later, Nicholas is pacing in the drawing room when Roger comes home--still no news of Cassandra, he reports. Even a search of bus terminals, railways and the airport turned up nothing. Nicholas urges Roger to have a drink to relax. As they sip their brandy, Nicholas begins to probe Roger about Vicki. Roger describes Vicki's fantasy that she was transported back to 1795 and persecuted for witchcraft. Nicholas snaps to attention at this bit of news and asks a few more calculated questions.Roger eventually tells him about how Trask tied Vicki to a tree in an effort to exorcise her. After eliciting all the information he needs, Nicholas urges Roger to go to bed. Nicholas muses that he finally has the key to finding Angelique-- Trask's ghost would take Angelique to the same tree where he took Vicki. Nicholas conjures up a spell on Vicki, commanding her to lead him to the tree. She rises from her bed, clad in a saffron peignoir, and moves dreamily out the door. He follows her through the forest to a tree which has some ropes around it.Seeing the tree, Vicki grows hysterical in her trance, but Nicholas calms her and orders her to return to Collinwood and remember nothing of this. Left alone next to the tree, Nicholas begins to chant a spell to bring Angelique back to life, calling the Prince of Darkness to beseech her return. The air is filled with thunder-and the sound of a woman's piercing screams!

NOTES: So, will Nicholas' spell to return Cassangelique return? Or will she just return as plain old Angelique? You have to applaud the skillful way Nicholas interrogates Roger, and it's neat, how he uses Vicki to guide him to the tree to which she herself was tied. It's a pretty big assumption on his part that Trask would utilize the same tree (which was destroyed back in 1795, anyway, right?), but it worked for the plotline.

Is Jeff pleased to learn he's Peter Bradford? Wouldn't you be worried if you found out you were a guy from the past who is supposed to be long dead? Weird reaction. Or perhaps Jeff is just relieved to have the mystery of his identity finally solved, even if it is that he's a dead guy somehow brought to life nearly 200 years later.


526 - Lightning flashes, illuminating the landscape. Cassangelique screams. Her body appears tied to the tree where Trask left her. She recognizes Nicholas. I had been calling you, she says, sobbing. Nicholas wants to know how she let this happen.She confesses that her power wasn't stronger than Trask's. Nicholas blames it on her letting her love for Barnabas get in the way. Angelique claims she hates him, but he doesn't buy it; she assures him she will think of nothing but vengeance toward Barnabas. How did you find me? Cassangelique asks. Nicholas explains how he had Vicki lead him to the same tree to which she had been tied by Trask for exorcism in 1795--Vicki will return to Collinwood and sleep, and no one will know she made Angelique's return possible.

Jeff Clark comes to Collinwood at 2 a.m. and finds the front door partly open. He knocks and wakes Roger, demanding to see Vicki. Roger complains but Jeff is so insistent, he goes to wake her.

Nicholas and Cassangelique stand outside Collinwood, synchronizing their stories--he's her brother--everyone believes that. Some family members are suspicious of Cassandra (for which he chastises her), but she thinks she can win them over with Nicholas' help. His help may be needed to make sure the dream curse continues. He reminds her of their bargain, which means "more than anything else" to him (wonder what that is?). She seems uneasy about this "bargain," but promises to keep it.

Roger returns to tell Jeff that Vicki isn't in her bed, although she was at earlier in the evening. They both find it unusual. Jeff mentions that the front door was open when he arrived. Jeff leaves to look for her. Roger wants to join him and slips on his coat, but before he gets out the door, he is greeted by Cassandra. They embrace (her kiss is not enthusiastic)--she's so happy to be home-she foolishly left on impulse--she's weak, not good at facing hostility--she had to get away.Roger assures his wife that everyone will accept her in time. She understands and promises not to disappear again. Cassandra claims she went to Philadelphia, where she grew up and feels secure. Roger can't believe she wouldn't tell him, but forgives her-then suddenly remembers Vicki. Cassandra is concerned that she is gone.

In the woods, a nightgowned Vicki is wandering around in a trance. Jeff finds her and shakes her. She wakes and wonders why she's outside. Jeff tells her she's been sleepwalking. Vicki finds she's clutching a button in her hand. Jeff puts it in his pocket and takes her back to Collinwood.

Roger and Cassandra are discussing Vicki's possible whereabouts when Nicholas comes downstairs. Brother and sister greet each other happily. She apologizes for worrying him. He scolds her for running away. He tells Roger that she needs people to be strict with her. Roger realizes how happy his wife is and tells Nicholas that he can stay as long as he wishes. Nicholas may take him up on the invitation. Jeff and Vicki return.Vicki's eyes get wide when she sees Cassandra--you're back, she says. When Cassandra offer to take her upstairs, Vicki yelps, "No!" Instead, Jeff takes her.

The remaining threesome troop into the drawing room. When Roger leaves to get champagne, Nicholas notes that Vicki is suspicious of Cassandra, and promises to do something about her-and quickly.

In her room, Vicki tells Jeff that she is terrified of Cassandra, and hoped that she was gone forever. Vicki tells him how strongly she resembles Angelique--she can't prove anything, but she's scared, of both Cassandra and her brother. Jeff promises to protect her-he won't leave her. They kiss. Vicki asks why he was here so early in the morning I know I'm Peter Bradford, confesses Jeff--the memory of his past came back to him in a dream. However, Jeff's memory differs from Vicki's--he saw himself escaping from the jail cell and shooting Nathan Forbes, who laughed--he wouldn't die. I can't die, said Nathan, because I'm already dead. Vicki tells him it didn't happen--Peter neither escaped nor killed Nathan, although he wanted to do so. Jeff can't believe it didn't happen because it was so vivid. Vicki thinks he's heard her talk about 1795 so much that he dreamed about it--he probably is Jeff Clark (quite the flip-flop, Vicki!)No, says Jeff, I'm Peter Bradford! Vicki advises him to go to Stokes and get hypnotized--then they'll both know for sure who he is. Jeff promises he'll go, and kisses her. They are interrupted by Nicholas, who enters the room to ask if he can do anything for her. Jeff notices that Nicholas is missing a button on his jacket. He pulls out the button Vicki was carrying-- it's a match.

NOTES: Uh oh, looks like Nicholas has been caught! How will he explain his button being found on Vicki? Doesn't it appear that he had something to do with her sleepwalking, or perhaps did something to her while she was sleepwalking?

I guess it's back to making Roger think he's having sex with her for Cassandra. She must be forced to drug him every night! But somehow, I'm sure this marriage hasn't yet been consummated, although whether or not Roger knows that is another story, LOL.

I don't think we ever do learn what Nicholas and Angelique's dark bargain was, but it sure is interesting, and possibly titillating, to speculate on what it might have been.

Love, Robin

521 - In a scene eerily reminiscent of the end of 1796, Roger and Barnabas wait in the foyer, wondering what's taking Julia so long. Roger says Liz hasn't behaved like herself for four days. Barnabas says he should have done something about it then, and Roger says he's aware of it now, but doesn't know what to do. The camera pans on Barnabas' 1795 portrait. Barnabas can't understand Liz thinking herself Naomi, and Roger says she said it before, but Naomi never took poison, she died peacefully. Yes, she did, says Barnabas, staring ashamedly down at his hands. What if Liz dies, frets Roger, he can't think of life without her. Roger starts heading upstairs, but Barnabas discourages him. Roger wonders why Liz was in the tower room, and how Barnabas knew to go up there. Intuition, replies Barnabas evasively. There's a family legend about that place, says Roger--someone was locked away up there, poor devil, years ago, but he doesn't know who. Barnabas' face says HE knows who, only too well. Roger fears Liz is dead, but it can't be true. Barnabas says they'll hope not-and where is Julia?

Barnabas and Roger go into the drawing room. Rog wishes Cassandra were there; she would know why Liz tried to kill herself. "I daresay she would," says Barnabas. Roger knows Barn doesn't like her, but Barn agrees Cassandra has "a positive genius" for knowing people. Julia comes down and assures them Liz will be all right-she was very ill after taking an ancient poison, an herbal death from the 18th century compounded of deadly nightshade. Physically, Liz will be fine, but still thinks she's Naomi and living in the 18th century-she needs treatment, she's mentally ill. She attempted suicide for a reason, and they must find out why or she will try it again.Julia advises a stay at Windcliff, but Roger refuses to commit his sister. Barnabas agrees with Julia, but Roger coldly says he wants to speak to Liz himself and decide. Julia warns him not to question her or let her know of his concern, but Roger angrily says he can deal with Liz himself. Don't stay too long; Liz needs her rest, advises Julia. Roger leaves. Julia says Cassandra must be responsible for what happened to Liz, given the clue of the 18th century potion. My mother probably took the same, agrees Barnabas. If Cass is still alive, says Julia, why is Trask's skeleton down in the Old House? Barnabas suggests checking with Stokes, he can help them. Barnabas calls the professtor, and Julia says to find out if they can see him tonight.

The phone is picked up at Stokes' house-by Adam, who has no idea what to do with it. Barnabas keeps asking if someone is there, but Adam holds the phone upside-down. He recognizes Barnabas' voice and an angry expression crosses his face.Barnabas and Julia can hear someone breathing at the other end of the line and Barnabas continues calling for Stokes. Julia is worried something has happened to the professor, and Barnabas hangs up. Adam puts the buzzing receiver down on the table, next to the phone, and kneels in front of some papers he's been working on. Stokes enters and says "Good evening," Adam replies, "Good evening, Professor," very nicely. Stokes says at least Adam doesn't have to listen to lectures from stupid people--I must get a more advanced set of flash cards for you, he tells Adam, then holds them up. "Car. Dish. Clock" says Adam with childish delight. At the word telephone, Adam demands a new card, then easily recites eye, hand, etc. (Give the boy an A!)

Julia and Barnabas speculate on what's happened to Stokes, and Barnabas suggests calling the police. They decide to go to Stokes' home, and take Julia's car.

"Dictionary" says Adam to another of Stokes' flashcards. Adam picks up an unabridged dictionary and recites the alphabet, leaving out "L". Stokes says that isn't a letter he cares much for. Adam finishes, perfectly, and Stokes praises him, calling him perfect. Adam enjoys heading this. Someone rings the doorbell and Stokes asks who is there. Hearing Barnabas, Adam snaps a pencil in half, and Stokes orders the big guy into the back room. Barnabas and Julia wonder why Stokes is taking so long, and Stokes has to order Adam into the other room a second time. Adam keeps the door ajar so he can listen. Stokes admits Julia and Barn, apologizing for taking so long. They explain about trying to telephone, that someone answered. At first, Stokes says it's impossible, then Barnabas shows him the phone off the hook. They heard breathing and worried about him, they explain. Stokes says it must have been his cleaning woman, no one else, and he appreciates their concern. He offers them sherry, and they say they want to talk to him. They think Cassandra has disappeared, and Trask's skeleton is back where it was before the seance. I felt Trask would serve us well, says Stokes, but Barnabas says Liz seems to be under some kind of s pell; she believes herself Naomi Collins from the18th century. If Cass was taken care of by Trask, wouldn't her spells end? Stokes serves sherry, and Barnabas says they need a sign, or they won't rest. Adam listens. Barrnabas walks toward that slightly open door, which Stokes firmly closes. He offers them cheese. They refuse. Julia suggests another seance to reach Trask. Barnabas says no. Stokes reminds them of Angelique's portrait-where is it? Cassandra got it from the Evans' after Sam drew lines on her face. If they find the picture, they'll know the truth.Perhaps her bedroom, suggests Julia. What if she went away and took it with her? asks Barnabas, and Stokes says they have to find all this out for themselves-tonight.

Collinwood - Barnabas tells Julia to distract Roger while he goes up to Cassandra's bedroom. Roger has been reading a book, and he anxiously rises; he thought it was Cassandra--no news from the cops, and Liz is the same. Barnabas wants to go upstairs and see Liz, and Roger is about to accompany him, but Julia offers a chess challenge, promising no opportunity to think of anyone else. He says he was teaching Cass to play, so he doesn't want to, and Julia inquires about any family of Cassandra's. She never wanted to talk about it, says Roger, and assumed her life was tragic. Roger wants to go upstairs to bed, but Julia detains him-talk about Cassandra--you'll feel better. He seems cool with this.

Barnabas enters Roger and Cassandra's bedroom, looking for the portrait. Why not just hang it on the wall, wonders Barnabas, since Roger liked it and she wouldn't have had to hide it. Did she take it from the frame, roll it up? He checks her closet, but it isn't there. What if Roger comes in, how will he explain being there? He must keep looking, find it tonight.

Roger tells Julia Cassandra hasn't been that happy there--maybe they should have gotten a place of their own. He's been selfish, he's been so settled here, and his wife knew he didn't want to leave. It's hard for someone new to fit in. Julia adds Cassandra had nothing to do, with Liz in charge. Barnabas comes in while they're talking and shakes his head at Julia. Roger says Cassandra did something especially strange, and takes out the portrait Vicki bought. It's faded almost to white! Roger found it in an empty closet, the vibrant colors faded. It looks like someone left it in the sun, and why would Cassandra lock it away? Roger plans to take it to town and see if it can be restored.

A teal blue gloved hand knocks at Collinwood's front door. Barnabas volunteers to answer it. Roger and Julia speculate that it might be the police with news. Barnabas opens the door; standing thee is a handsome, mustachioed man in a bowler hat and teal blue suit, who mistakes Barnabas for Cassandra's husband. "No," says Barnabas, shaking his head (just husband #2). Roger has joined them and introduced himself as Roger, and asks who he is."What a pleasure," says the man, "I've been looking forward to meeting you ever since I heard of your marriage. I am Nicholas Blair-Cassandra's brother!" Barnabas and Julia are shocked!

NOTES: Nicholas is, IMHO, one of the very best characters introduced on DARK SHADOWS, and I always reveled in his performances. He is so evil, sexy and fun, and punches up this storyline wonderfully. However, it is also his presence that brings the curtain down on Adam, who turns into a completely different character after Nicholas arrives.

I love Adam's interaction with Stokes. They're having fun together, and Adam loves being praised for his successes. Wonder why he doesn't like the letter L? B I could understand, but L?

What has brought Nicholas Blair, Cassandra's "brother," to Collinwood? Is he a warlock? Since he claims to be her brother, what else could he be? You sense he is going to be trouble for the Collins family!


522 - Just noted Roger's comment to Julia about how active Cassandra can be, and Julia said she sure could. LOL! Again, we see Roger showing Barnabas and Julia Angelique's faded portrait. The two co-conspirators exchange glances as Roger blathers about taking it to be restored and how upset Vicki will be. Also ironic how Nicholas assumes Barnabas is Cassandra's husband, considering Barnabas WAS married to the blonde version of Roger's wife. Enjoyed the stunned-to-the-max expressions on Barn's and Jul's faces at the arrival of Cassandra's brother.

Roger, stunned, invites Nicholas in. He stares at Julia as Roger expresses his "extraordinary" surprise. Roger introduces Nicholas to Barnabas, who reluctantly shakes hands, and Julia. Julia and Barn again exchange expressions of disbelief. Nicholas asks if Cassandra is asleep, he wanted to surprise her. Stalling for time, Roger offers Nicholas a drink. Mr. Blair refuses, claiming that he doesn't have "little" vices. Julia accepts a brandy. Barnabas asks where Mr. Blair is from. Martinique, reveals Blair. Barnabas says he hasn't been there "recently." And remembers it "very well." Yes, says Nicholas pointedly, it's a HARD island to forget. (love the double entendres!) He wishes he lived there now, but is now a "citizen of the world." Nicholas asks Roger not to let Cassandra know he's there, he wants to see her expression when she sees him. Roger says Cass isn't there, and awkwardly admits she has disappeared, gone 24 hours. Nicholas doesn't seem concerned, but Roger says the police are searching. Nicholas seems to find this disturbing, and says someone in the house didn't like his sister. He asks if Julia did, and assumes she didn't. Cassandra isn't well-liked by many women, he reveals. I barely knew her, says Julia. Nicholas then asks Barnabas, seemingly a man who knows his feelings, how HE felt. They stare avidly into each other's faces as he asks if Barn "barely knew" his sister, too. Cassandra follows a pattern, and this has happened before-feeling hostility, Cassandra has walked away from it, a typically feminine act--she will walk back when she feels she can cope with whatever caused her to leave. Roger, expressing doubts that Cassandra will return, offers to allow Nicholas to stay with them. Nicholas assures him nothing has happened to his sister that she hasn't caused herself-nor that cannot be undone (directed to Julia and Barnabas, who stare right back at him).

10 o'clock - Roger says there will be no news of Cassandra tonight, and offers to show Nicholas to his room. He bids good night to Julia and Barnabas, telling the latter he will see him again soon, he's certain. Barn agrees.After Roger leads Nicholas away, Barn and Julia discuss him. Barnabas tells her Angelique has no blood brother, but a brother devil. He's come to get her, says Julia, and both are sure Nicholas knows what Cassandra is. What will we do? asks Julia. The portrait is faded, as though Ang were dead, says Julia, smiling. Barn asks her to call Stokes and tell him all; perhaps he can help.

Roger leaves the portrait in his room, and tells him he hopes he hasn't gotten the impression anyone in the family had been rude to his sister. The Collins family is settled, moving in on them is difficult. Nicholas says his sister is very young (one of the charming things about her, says Roger), and Nicholas is glad he found a man who appreciates that. They talk about how much the portrait resembles Cassandra, and how weird that a member of the household picked it up in an antique shop. Roger wants her back desperately, which Nicholas doesn't doubt, and hopes she's all right. She'll turn up, they're more than brother and sister, they are great friends, says Nicholas. Cassandra has never mentioned a brother, nor any other family, says Roger, then apologizes.They're close, says Nicholas, and remarks that the portrait fascinates him. It's a crime it's faded, says Nicholas, and suggests that HE try to restore the portrait--it's a hobby.

Old House - Willie paces back and forth, cradling the rifle. Barn tells him he's going to see Stokes, and orders him to stop walking around with the gun. Willie is afraid with Adam on the loose. Barn doubts he's return here, but Willie doesn't believe that, and plans to be ready for him. Barnabas, on his way out to Julia's car, orders Willie not to harm Adam--they are not to get involved-put the gun away! Willie makes faces and takes the gun into the back, leaving it there. He mocks Barnabas ordering him, "Remember that, remember that!"  Willie is putting out the candles when Joe looks through the window at him. Willie isn't happy to hear Haskell is his visitor and retrieves the gun he put away, hiding it under a chair. He demands, through the door, to know what Joe wants to discuss with him, and asks if anything has happened to Maggie. Only this induces him to let Joe into the house. He says Maggie is fine for a woman whose father has just been murdered. Willie claims to know nothing about that., but Joe reminds him Sam was killed by a man named Adam-and Willie knows that man, called him by name when he came into the cottage. Willie denies, that, rubbing the back of his neck. Adam doesn't like Willie, which means he knows him--Joe wants to find Adam, and Willie will help him. Willie refuses, saying Maggie is wrong, but Joe pulls Willie's arm behind him, hurting him, demanding the truth. In agony, Willie says Adam is just a bum he fed a meal to-I don't know why he hates me. "He hates Barnabas, not me!" screams Willie--"Barnabas said he'll never come back here." Joe releases him. Willie grabs the rifle, points it at Joe and orders him to ask Barnabas those questions. Joe tells Willie to tell Barnabas he'll be back, and Willie locks the door after the man, clutching the rifle and looking morose..

Nicholas, in his room, gazes at Angelique's portrait, telling her she's gotten herself into a real mess this time. Where are you, whisper to me where you are if you can, he says--let the wind carry your words, whisper where you are. "Was it Barnabas?" Give me a sign you still exist. He hears eerie music, then asks where he can find her, where shall he start, here in the house? Where Barnabas lives? The eerie music plays again, I guess responding yes.

Willie is down in the basement, complaining about being there giving him the willies as he mixed mortar to fix the brick wall (a stagehand appears on camera). Willie ruminates upon his miserable life; at Windcliff he didn't have to do jobs like this--Barnabas drives off with Julia, leaving him to do the scut work. He hears someone upstairs. Adam? Someone else? Joe Haskell? Willie goes upstairs. Nicholas spots him through the bars in the cellar door and orders him to come out. Twirling an umbrella in his gloved hands, he commands that Willie tell Barnabas he's here, but Willie says Barnabas isn't home. Nicholas orders Willie to show him through the house, hypnotizing him. He knows Willie is good at following orders. He asks Willie if he trusts him completely, he can tell him his name and take his eyes away.Willie nods and grins, like they're old friends, and says, "Willie Loomis." He will tell him everything he wants to know, will forget what has happened, and won't tell Barnabas he was here. Willie takes out a cigarette, smiling, more than ready to reveal all-sure, Willie knows Cassandra, she and Barnabas fight. That doesn't surprise Nick. Willie has heard Cassandra is a witch. Nicholas' face gets ugly. "How stupid she is," he says. He tells Nicholas they sent a ghost after Cassandra, a ghost from the skeleton in the basement. Nicholas orders Willie to sit in the chair and fall asleep, and not awaken until he leaves. Willie does as commanded. Nicholas goes into the basement as Willie, smiling, drifts off. Nicholas checks out the skeleton. "The Reverend Trask, I presume--where is Angelique? Don't you know I will find out? You can't defeat me. You soon will know, Reverend, if you do not now."NOTES: Will Nicholas force Trask to release Cassandra to him? Can he defeat the ghostly Trask's power? Probably. He really is one cool dude, isn't he? The way he used Willie, the cat and mouse game he played with Barnabas and Julia. This guy is by far one of the best villains on the show, at least at this juncture. Just like they dumbed down Vicki, they rendered this warlock almost powerless, robbed him of his cojones, which was a shame. He coulda been a contender for the master's position in hell!

Love, Robin

517 - Cassandra is burning, but this time the fire doesn't look like a white jet, but more of an orange, dancing flame. Cassandra fights against it, summoning all her powers to extinguish the flames. When she's done, she sits down, surrounded by smoke, not even slightly burnt, and assures the absent Trask that they will meet again--and when they do, Barnabas Collins will be destroyed!

When Cassandra returns to Collinwood, she overhears Vicki on the phone talking to Joe. She tells him that Sam Evans fell, has a concussion, and is in critical condition at the hospital. She knows Joe had an argument with Maggie, but advises him to go comfort is girlfriend. When Vicki leaves the drawing room, she meets Cassandra in the foyer. The witch admits overhearing and asks some questions. Vicki doesn't know much and quickly excuses herself. Cassandra leaves the house. At the hospital, Maggie is pacing her father's room. Joe arrives and hugs Maggie. He feels that Sam would have been OK if he had stayed with her. Maggie describes what happened. She calls it a misunderstanding--Pop thought Adam was trying to hurt her. There was a struggle, and Pop fell and hit his head. Maggie doesn't think Adam intended to hurt him--she couldn't face the police so she had a doctor do it. Maggie's sure they're out looking for Adam now. Cassandra comes in, filled with sympathy, surprising Maggie and Joe with her appearance. She offers to watch Sam while Maggie takes a coffee break. Joe agrees that she needs one, so after some polite talk, the couple leaves Cassandra alone with Sam. (noooooooo!) She immediately pours some powder in a glass of water and wakes the patient. He grunts and asks who is there. A friend, replies Cassandra--the nurse asked her to get Sam to drink some water.She pours it down his throat. Sam wants to tell Maggie something. Cassandra tries to urge him to sleep, but he mumbles something about Adam. . .my friend. . .it wasn't Adam's fault. Cassandra tries to get him to explain the tie between Adam and Barnabas, but Sam falls asleep. She's a bit disappointed, but decides it's more important that he sleep--and has the dream.

Maggie and Joe return with coffee. Cassandra reports that she was whispering to Sam to go back to sleep--he stirred slightly, but now he should sleep peacefully for the rest of the night. Sam has the dream--Vicki summons him from the hospital room. He's not blind in the dream, although he keeps his dark glasses on. He protests that he's not supposed to leave the bed. Off he goes to the room. Vicki reads the blazing head of light poem and Josette's music begins. Sam shrieks and yells as he encounters the skull, the skeleton bride and the guillotine behind the doors. His final door reveals Maggie, dressed in black, mourning at a coffin.When he realizes she is mourning his death, he repeatedly cries out that he's not dead. When he wakes, he's still yelling to Maggie that he's not dead. Of course you're not, his daughter assures him, and tries to calm him down. Pop says he had the dream, just like hers--he must see Vicki before he dies. He's very insistent.Vicki is packed, ready to go visit Jeff in Portsmouth, but Joe convinces her to come with him to the hospital--he'll explain everything in the car. Back at the hospital, Sam is sleeping. Maggie takes the opportunity to call Stokes and tell him that Pop has had the dream--she needs his help. Vicki is the beckoner. When Sam wakes, Maggie explains that the Stokes will be here soon--he knows all about the dream. Sam wants only Vicki, who may arrive too late. Maggie keeps telling assuring him that he won't die-he'll tell Vicki the dream and will be all right.

At Collinwood, Cassandra goes to the open window with a candle and speaks to Sam Evans, casting yet another spell--"You must live until Vicki hears the dream--Vicki must hear the dream because she will take the final step and carry the dream to Barnabas."

Sam impatient awaits Vicki's arrival as Maggie tries fruitlessly to calm him down. When Vicki arrives, Sam is very grateful. Vicki assures Sam he isn't going to die, but he's not afraid of that--he just wants to tell her the dream. Vicki is ready to listen: "Tell me your dream," she urges.NOTES: Oh, dear, it's pretty certain that Barnabas will be the next to have the dream after Vicki, so if she goes through with this, Barnabas is surely going to be a vampire soon. Cassandra is working overtime to ensure this comes about, and wait until you see just how far she goes!


518 - Sam begins to describe his dream to Vicki, but Stokes barges in and orders Vicki to leave the room at once. (He must be the Dream Police.) Sam protests, but Stokes insists. He physically escorts Vicki out of the room, over Maggie's protests, and tells her to wait outside. He must speak to Sam first, says Stokes, it's for the best. Maggie asked Stokes to help them, and he says he will, she must be patient and trust him. Stokes tells Sam he had to take Vicki out, and he plans to send Vicki home. Sam complains, as does Maggie, but Stokes says if the dream goes one step further, to Vicki, it might prove fatal to the next person who has it. Do your best to refrain from telling the dream, begs Stokes-I will try to alleviate your mental torture. Stokes stands and thinks, while Maggie tends to Sam, urging him to try to rest. Sam says he is tired and would like to sleep. Stokes spots Adam staring in Sam's window, but the big man disappears when Stokes goes closer to the window and looks out. After Sam falls asleep, Stokes questions Maggie about her father's accident. Maggie describes that Sam took a fall. Adam was there, yes, and he was responsible for the fall--Sam insists it was just an accident, but Maggie is unsure. Stokes says Sam knew Adam for a brief time, but believed a strong bond of friendship existed between them. Maggie wonders how this is connected to the dream, but Stokes says it's just rather curious. Stokes leaves to speak to Vicki, while Maggie hovers over her father.

Vicki drums her fingers on a desk. When Stokes and Maggie come out, Vicki demands an explanation.She should be grateful he arrived when he did; he prevented her from having a terrible experience in that dream. He won't let her see him--he's suffering the effects of the dream curse and Vicki is the next to have it. She's uncomprehending. He asks Maggie about witchcraft, and tells her it is involved in this dangerous situation. She finds it hard to believe this curse was caused by a witch, and he reminds her nine people have had the dream thus far, and there is a reason for it; he knows that reason and is trying to cope. He tells Vicki to go home, but she doesn't want to. Then don't go into Sam's room, he requests. Vicki protests, but Stokes tells her there is danger to Vicki, and not only her. Vicki feels badly about not easing Sam's suffering, but Stokes says she can't, anyway. Don't go in, he asks again--promise me. She agrees. Stokes asks Maggie to walk him to the door to hear further instructions. Vicki waits outside. Sam sleeps. Adam peers in the window again, opens it, and climbs in. "Friend," he says to Sam, "listen!"Sam murmurs Adam's name, and Adam indicates he wants to help Sam. I need Vicki, says Sam, calling to her. "No! No!" cries Adam. Vicki paces, hearing Sam call to her. "I need you!" he begs. "Please!" says Vicki, tortured, and finally relents and goes to the door.

Vicki enters Sam's room. She sees the wide open window and closes it. She promises him that she won't go away again, and he says it's all wrong, he can't help it, he must tell her the dream. Maggie comes in and Vicki explains that she had to come in when she heard him calling. "The doors," says Sam, "behind the doors, strange music, everywhere. Strange riddle." Vicki and Maggie know Sam is describing the dream, and Maggie says Vicki needn't stay if she doesn't want to. Vicki wants to comfort Sam, and is willing to stay. "No return, no way out," Sam mutters. Maggie remembers the riddle from her dream, too, and tries to quiet Sam. He continues to describe the dream, beginning with the knock at the door.He tells her what he saw, then sits up, reaching. He falls back down, dead. "Pop! Pop!" sobs Maggie, shaking her father, while Vicki goes to the door and calls for the doctor.

Stokes goes to the Evans cottage and walks right in.

Vicki and Maggie exit Sam's room, where doctors have tried working on Sam, but apparently to no avail. Maggie blames herself--if she had been home, this wouldn't have happened--she panicked, Adam wasn't trying to hurt Sam, but she was so scared. Vicki tries to comfort Maggie's grief over the death of this good man, and Maggie sits and cries. Stokes walks through the cottage, calling to Adam. I'm a friend, he assures him. He thinks he can't be far away, perhaps a lamp in the window will help. Sam turns on the light and leaves.

Maggie sits in the hospital, quiet now, breaking into new tears. Vicki offers her a sedative and a glass of water. Maggie takes it docilely. Vicki tells her to come back to Collinwood with her tonight; she shouldn't be alone at the cottage. There are things to be done, but they can be done at another time, says Vicki. Maggie agrees. It seems so unreal, Maggie says, even the way it started, a strange, pathetic man-they've got to find Adam before he harms anyone else! Adam is out there wandering around and no one knows how dangerous he can be. So ironic--Pop felt sorry for that man, tried to help him, he didn't know how dangerous he was and now he's dead because of him.

Adam spots the light shining in the window and gazes in. He opens the door and enters. Stokes, waiting for him, greets him, "Adam?" Adam is all set to run, but Stokes assures him he's a friend and wants to help him. Adam is mistrustful, afraid, despite Stokes' assurance. The professor observes the scars, calling him an extraordinary creature. When Adam tries to push Stokes away, the latter drops a stick pin on the carpet. Stokes says "Friend," says Stokes--I AM your friend, possibly the only one you have left--I can help you, give you food, which you can't survive without. The word food makes Adam point to the kitchen, which surprises Stokes. "My name is Adam," says the big man, and Stokes asks him to say more. "Paintbrush" says Adam, showing him the object. Stokes is pleased.They must find out why Adam says little but understands what is said to him. He offers Adam a home with him, give him lots of food, teach him to speak and communicate with people. Adam tries to say "Communicate," and Stokes says he'll help him learn quickly--they'll be good friends. He leads him out, and Adam repeats the word "Friend" with good cheer, happy to have found someone who cares-and is alive.

NOTES: The bottles of blood and the IV add an unusual air of authenticity to DS, which usually has patients lying there without any sustenance at all.

I've said it before, but Vicki looks really pretty with her hair up.

How odd that Stokes is extending his hand to Adam-why, we wonder? He has no idea of his beginnings, how abused he's been all this time. Why would be risk his own life, knowing what happened to Sam?--or does he sense, as Sam did, that there is a good, gentle person under this seemingly violent, huge man?

Sam has died. He was with the show from nearly the beginning (they started with a different actor portraying Sam for a few eps). Supposedly they made his character blind so he could look at the teleprompter without anyone knowing (the dark glasses and all). David Ford was once married to Nancy Barrett (you read that right) and was wonderful in the musical, 1776. I was sorry to see Sam go, but I guess they felt he had outlived his usefulness, and Maggie no longer needed "Pop."

Love, Robin

513 - Collinwood - Cassandra contemplates her plans for destroying Barnabas and then summons Tony Peterson. He tries his best to resist, but can't; as he's heading door, Professor Stokes appears and asks: "Going somewhere Mr. Peterson?" Tony discusses with Stokes the events that transpired in the basement of the Old House; they also talk over their strategy for destroying Cassandra (Angelique), which Tony believes impossible. Stokes explains to Tony that it's important that Cassandra believes Peterson successful in killing him with the poison she provided.  Stokes thinks Cassandra wants Tony now because she plans to bring back the dream curse and will attempt to communicate that dream to Sam Evans. Resist her summons, says Stokes, but if you can't, at least don't let her know I'm still alive. Stokes heads to the cottage to warn Sam.

Cottage - Joe tells Maggie that that he went to both the Old House and Collinwood--nobody knew where Barnabas was-they're worried Adam has harmed him. Maggie asks what was going on between Sam and Adam the other night. When Stokes arrives at the cottage Joe and Maggie are there, but Sam has gone to the Blue Whale to have some drinks friends. Stokes explains his concern that Sam is going to have the dream, which upsets Maggie-her father has been through enough!Stokes assures them he will do whatever he can to prevent Sam from experiencing the dream. Shortly after Stokes' arrival, Cassandra appears at the door, bearing a gift of pipe tobacco for Sam. When she sees Stokes, she is shocked. He grins at her, enjoying his victory, and compliments her on how wonderful she looks. She asks him how he is; Stokes replies: "I'm alive and kicking." Yes, she says, I'm sure you'll outlive all of us. I shouldn't be surprised if I did, he says, beaming. Cassandra asks about Sam, and Joe tells her that Sam refuses to allow his handicap to interfere with his social life, and is at the Blue Whale. Cassandra leaves her gift for Sam with Maggie, and when she announces she must leave, she promises Stokes they will be meeting again.Stokes' parting shot to Cassandra: " If you see Vicki tell her I am no longer interested in buying the portrait because the one she has is a copy and I have found the original." When no one is looking, Stokes swipes and pockets the pipe tobacco and says he's heading to the Blue Whale to look for Sam. After he goes, Joe and Maggie notice it's missing.

Collinwood, terrace - Cassandra once again summons Tony Peterson, angry with him both for his earlier resistance and because Stokes is still alive. Why don't you let me go? He asks-you know I don't want to help you. It isn't a matter of what you want, she retorts, it's what I want, and need, and what I have the power to get. You have no concept of my power-what I've done to you until now has been child's play-but you're going to learn just how powerful I am!Tony tells her that he knows about her powers and that Stokes reversed the glasses when he poisoned Stokes' glass of sherry--he thinks she's afraid of the professor. Ridiculous! She insists. Maybe you're equal, suggests Tony-or perhaps he's a little better than you are. Eyes a-kindle with fury, she outlines her punishment: you will fall in love with me next time you kiss me-and you'll stay in love with me as long as I want! Tony looks up and spies Liz looking out a window-she's seen everything. He takes the awkward moment as his opportunity to slip away.

Tony's returns home to find Stokes awaiting him. He confesses he couldn't resist Cassandra's summons, and Stokes assures him it's nothing to be ashamed of. Stokes explains to Tony about Cassandra's little gift for Sam Evans-pipe tobacco mixed with some powder that would have induced Sam to have the dream. He hands it over to Tony, who stares at it.

At Collinwood, Elizabeth confronts Cassandra about the incident she overheard between Tony and her. Cassandra insists it's all a mistake, but Liz, unconvinced, decides to tell Roger about it. He won't believe a word, insists Cassandra, ordering Liz to gaze into her eyes. Liz can't help but feel compelled to obey. You spend too much time thinking about other peoples' problems, accuses Cassandra, your way of escaping the emptiness of your life-I'll give you something to think about, something that will fill your every waking moment-death, in all its forms-and most of all, your own death!NOTES: Cassandra seems to be trying to outdo her blonde counterpart in the Spell Department! This woman loves to cast them in bunches these days-a spell on the pipe tobacco, a threatened spell on Tony to make him fall in love with her, and Liz's nasty Death Spell. Angelique performed her share, but this dark-haired witch is really racking them up!

You can't help but root for Stokes in this fight. He's just too cool for school, LOL!


514 - Joe waits impatiently in the cottage as Maggie combs her hair. He says he should go pick up Sam at the Blue Whale, but Maggie thinks her father might still be talking to Stokes. Joe wonders if Stokes ever showed up, considering he had the nerve to steal Sam's gift from Cassandra. He's sure it was Stokes, he was the only one who could have done it. The rich give cheap gifts, it's the thought that counts, suggests Joe. Maggie cheerfully sends him on his way to pick up her pop. Maggie slips the emerald earrings Willie gifted her with, and Josette's music box theme begins to play. She surveys herself in the mirror, and, looking as if she's fallen into a trance, leaves the cottage. Outside, Adam stares through the window at the empty room.

Old House - Willie sweeps up the brick debris left behind when Trask walled up Barnabas. He slips off his jacket, spits on his hands and moves a heavy trunk out of the way. He sweeps under it (hey, hire him at my house). Maggie, wondering what drew her to the Old House, lets herself in. Willie hears the door closing upstairs and leaves; behind the brick wall, we hear the sound of something knocking (don't knock, Barn, yell!). Willie calls out to Barnabas and Julia, but is delighted to see his guest is Maggie. She tells him she doesn't know what she's doing here; she was in the cottage, putting on the earrings, and started thinking of the Old House. Maggie hears the mysterious knocking, but Willie assures her the house is filled with old noises. The sound stops. Just a mouse, says Willie. Maggie is puzzled about why she keeps thinking of this place, but Willie puts an arm around her and leads her to a chair. He's been lonely, and he wanted someone to talk to, and bam, she showed up. He's been thinking a lot of her lately. He wants them to get together. Perhaps, she responds, which pleases him greatly. He leans in close and asks her not to wear those earrings next time she visits--they look too valuable, she might lose them.He wants her to take them off and put them in her purse, perhaps they can take a walk, then go downtown. Once the earrings are off, the trance is broken; Maggie switches gears--she has to go home, she tells him. Willie is confused, did he say something wrong? No, she says. She can't understand the strange feelings she has while in the Old House. Willie again asks her to stick around and keep him company, but she races out. Down in the basement, the knocking recurs. Willie listens.

Liz, on the phone at Collinwood, says she finds it hard to believe Adam jumped from Widows' Hill and survived, but there have been numerous reports of Adam sightings. Liz takes her coat and leaves the house.

Down in the Old House basement, Willie is shrugging into his jacket when he hears Liz calling to Barnabas upstairs. Willie is surprised to see Liz. She joins him in the basement. He doesn't know where Barnabas is, he says, and she says to tell Barnabas the sheriff has had reports of local vandalism-and a man fitting Adam's description has been seen. Willie is shocked-isn't Adam dead? At the sound of the latter word, Liz looks perturbed. Carolyn is safe, says Willie, but Liz says death isn't always as swift or certain as people would like it to be.Sometimes it seems to take forever, and the waiting is unbearable. Willie asks if she's all right, and Liz continues, "She told me I'd think of nothing but death, and she was right. How long before my time comes?" Willie finds Liz' introspection disturbing, and tells her she has everything to live for. Except the will to live, says Liz. They hear the knocking, or at least Liz does. She says it sounds like someone is behind the wall, but Willie says no one is there. Buried alive, murmurs Liz, she can't bear it-why doesn't she kill her now and get it over with? Liz races out, the second woman in only a few moments to leave Willie flat. Willie leans against the wall, listening, and mutters that Liz should see a doctor. Again, we hear the knocking behind the wall.

Cottage - Maggie admires her earrings and answers the door. It's Joe, telling her that Pop is still at the Blue Whale and Sam had better shape up--he wanted Joe to help him get up a search party to search for Adam. Maggie laughs, but Sam was dead serious, says Joe--Sam feels his "friend", Adam needs help. Joe explains that Sam couldn't call Adam a friend--he was a total stranger three days ago--something is strange, adds Joe--Sam was hostile towards him.Maggie suggests her father doesn't like their pity and that Adam treats him differently--they must be patient; Sam is making a difficult adjustment. She sends Joe back into the breech to get Sam, predicting they'll be back in a few minutes. Willie saunters up to the cottage door as Joe is leaving, and Joe, infuriated, grabs him by his jacket. I warned you not to see Maggie again, says Joe--Maggie is afraid of you. No, she likes him now, asserts Willie-she has visited him at the Old House. Joe accuses him of being crazy and orders him away. "Beat it!" says Joe, and they begin to argue. Willie asks Joe if he isn't afraid of a little competition, ragging on him about maybe losing Maggie. Joe punches Willie out, leaving him unconscious on the ground. Joe returns to the cottage, his face set and angry.

Joe returns to Maggie and asks her about her relationship with Willie--he got me all worked up, complains Joe, tried to tell me you had been out to see him at the Old House, more than once. Maggie hesitates, but admits it's true. Joe wonders if she has lost her mind, considering what Willie did to her in the past, but she doesn't believe he tried to kill her--he came to warn me of danger that night, she insists. He's a potential killer, protests Joe, upset she has really gone to the Old House. Maggie can't explain why, she didn't go to see Willie, she doesn't know why she went. Joe demands an explanation, and she says there's no law against going where she wants. Joe grabs her arm and demands to know why she went there. She doesn't know! Find out a reason, he demands--by tomorrow. Maggie is angry at this ultimatum. He storms out and she sits down, looks at the earrings and gazes uncertainly around her. Willie stumbles into the cottage, telling her Joe hit him. She helps him to sit down on the step inside and tells him she'll get a cold cloth from the kitchen.She gazes up, shocked--Adam is there. "WILLIE BAD!" he yells, pointing to the other man. He grabs Maggie's arm, drawing her back from Willie. "BAD!" he yells, and, terrified, she screams fiercely.

NOTES: Joe has suddenly developed a set, hasn't he? He's never been this way with Maggie before, but I guess her odd behavior is both upsetting him and pissing him off. She goes to the Old House and sees Willie, who clearly believes/hopes there is a chance for him and Maggie, so much so, that he's even challenging Joe! Joe makes some valid points, of course, but Maggie is going into these Josette trances and seems oblivious. Is Cassangelique causing this? If so, why?

Adam has returned to the cottage-will he harm Willie and Maggie? Given his violent track record so far, it doesn't look good.

Love, Robin

509 - (black and white - we haven't had any of these in a long time) - Sam asks who it is, he knows someone is there, he can feel him breathing! Adam backs away, realizing something is wrong with this man. "Say something!" demands Sam. Adam backs off, holding the knife, then drops it on the floor. Sam hears it fall and tells Adam he can't see. "See?" asks Adam. Sam asks who is he, and Adam responds, "Adam." Sam asks what he's doing there. Sam touches him and realizes he's hurt. What are you running away from, what have you done wrong? asks Sam. "Hurt!" cries Adam. Sam says he'll fix his arm, and realizes this huge man is afraid. He helps Adam to the sofa and asks what his last name is. He decides Adam can't understand English, and says it's nice to take care of someone else for a change. Sam goes into another room, and Adam painfully bends to retrieve the dropped knife. Sam brings out a bowl of water and asks where Adam went. "Here," says Adam. "Come here," says Sam. "Give me your arm." Adam trustingly extends his arm to Sam who warns him it's going to hurt. He washes Adam's arm with the rag, talking about germs. Adam moans with pain, and Sam talks to him as if he's a little child. There's a knock at the door, and this upsets Adam. Sam notes this and tells him to stay there. Sam goes to answer the door and Adam limps away. It's Stokes, who says he wanted to add a footnote to their meeting this evening. Stokes spots the bloody mess that is Adam and, surprised, says, "Mr. Evans." "That is Adam, last name unknown," explains Stokes. Adam stands there, clutching his wounded body, as Sam introduces Adam to Stokes, who notes that he's been in an accident. Stokes tells Sam he was trying to fix him up, but Stokes notices the knife on the floor and picks it up. Stokes asks what's happening here. Adam seems ready to flee, and does so, with Sam calling for him to come back.

Sam asks Stokes to stop him, citing the serious trouble he's in, and the professor says the man resembles the newspaper description of the man who kidnapped Carolyn. That man jumped from Widows' Hill, protests Sam--no one could survive that. His arms were nothing but muscle. Stokes describes Adam as a giant who speaks no English.He was so gentle, says Sam. Stokes explains that Adam saved Carolyn's life, she told him so herself. And they were going to shoot him after he did, says Sam, no wonder he jumped. Poor misunderstood Adam won't be coming back, says Stokes, and says he needs to speak to him. When he left the Old House, he realized he hadn't been properly communicative. Sam is distracted. Stokes tells him about his dream, which Sam might have, too-it's rather like measles. (LMAO!) If Sam has a dream that begins with a knock at the door, and a man, probably Barnabas, gesturing him to follow him, please call me at once, urges the professor--a man's life might depend on it. Sam is more concerned about Adam's life, and Stokes adds one more thing-in Adam's case, there isn't a witch involved! He bids a stunned Sam good night.

At Tony's office, Cassandra asks him why he always fights her. Because I don't like you, he claims. She calls him quite the puritan and says it's himself he doesn't like. He orders her to stop analyzing him and she says she knows him so well. He says she doesn't know him at all. "Spoken like the sulky boy you pretend to be," she coos, taking out a cigarette. What do you want? he asks. He wishes she were sitting at home with her husband. "Do you?" she asks, and he gazes at her and asks again. A light for my cigarette, she replies. He pulls out his lighter and holds it up. She chides him for never remembering about the cigarette lighter. The moment he looks into the flame, she does what he asks. Tony sinks to his knees and lights her cigarette. (Implications!) She has an important matter for him to attend to and needs his help.He agrees to help her. Professor Stokes, a very interfering man, is his target, and all will be very easy-Tony is going to pay him a visit. Coming out of his trance, Tony says, tensely, "I won't go!" "You must," she tells him--look into my eyes and tell me you will. Tony fears Stokes will know why he's there. Cassandra hands him what looks like a cross with a circle on top of it, and she tells him it's the key that will open Stokes' door for Tony tonight. She closes his hands around it, then gives him her poison ring, explaining it will close all doors for Stokes-forever! She slides the ring on the third finger of his left hand. (Like a wedding band?)

Vicki comes to see Stokes at his home--the portrait disappeared last week, she reveals, and she was very upset about it. Stokes says he might be able to help, bluntly adding that he wants to talk to Vicki about Angelique Collins. Vicki looks uneasy, and Stokes says he realizes it's a personal matter for her. Why did you buy the portrait? asks Stokes. He asks her if she realized the identity of the woman in the portrait, but Vicki refuses to answer this question-she doubts he'd believe her, anyway, and she's trying to forget. I envy your trip to the past, he says, and believes it happened. This fascinates Vicki. If you tell me everything you know, he points out, it might save Barnabas' life. Vicki asks if Barnabas is in danger-is she trying to kill him? It's Cassandra, reveals Stokes. She looks so much like Angelique, muses Vicki--I tried to tell myself I was wrong and had misjudged her-if you're right, I'm frightened.Stokes tells her Angelique was a witch. "And I was blamed for it," says Vicki. Did Angelique accuse you? asks Stokes, and Vicki says, no, not at first--there were strange things happening in the house, Angelique was Josette's servant, but it was Abigail Collins who decided a witch was causing the odd happenings, and she called in a witchhunter. "Named Trask?" asks Stokes, and Vicki looks away and says "Yes." Stokes takes a daguerreotype and shows it to Vicki, who sees Trask's obvious profile and walks away from him. She apologizes, explaining that she had hoped never to see that face again. Stokes says they must discuss Trask-did he honestly believe Vicki to be the witch? Yes. He wasn't working with Angelique? Queries Stokes. Vicki is sure of that--before he disappeared, Trask discovered she was innocent and left a note exonerating her, but they couldn't find him. Stokes' doorbell rings. He asks Vicki to leave by the back way; this visitor must not see her--will she help him further? For Barnabas I will, she vows. Stokes requests that she spy on Cassandra. The witch will kill you, she warns him. Stokes assures her he is constantly vigilant--and so must you be, he advises.

Tony is Stokes' visitor; calling himself Mr. Haley, he thanks Stokes for seeing him so late. Tony Cassandra's "key" in his hand--he heard Stokes was the only one in the city who would know about the cross--he and his wife just bought a house from the 1720's, and when he was tearing up the floorboards, he found this cross. He hands it to Stokes, who wonders how Mr. Haley found out about him. His neighbor, Mrs. Bland (ancestor of the Bland who married Barn and Ang?), knows you, says Tony. Stokes recognizes the artifact as a gold Coptic cross. Tony says his wife got all excited about the piece. Stokes tells him the writing on it means nothing. Tony paces the room nervously, and Stokes asks if something is wrong. No, replies Tony, I feel bad bothering you like this. Stokes offers him a sherry, and Tony accepts. Stokes says the cross is probably not authentic and he'll need it for a few days to test it. Tony agrees. It's used for protection against witches, says Stokes. Stokes pours the sherry, and Tony surreptitiously takes out the ring containing the poison. Stokes says he's going to get some cheese, which helps him sleep, and excuses himself to get it. Tony says he'd like some, too, and after Stokes leaves the room, empties the powder in the ring into Stokes' glass. When Stokes returns, he finds Tony examining the cross, saying he's fascinated by it--his wife thinks it's real gold. Tony's back is to the professor while he's talking to him, and Stokes urges him to come drink his sherry."To your antique gold Coptic cross," toasts Stokes, "may it turn out to be antique and gold for your wife's sake." They drink, Tony draining his glass in one gulp. While Stokes is prattling on about the cheese, Tony grabs his throat and begins to convulse. "Professor!" cries Tony, before falling to the floor, unconscious.

NOTES: Hm, it appears our intelligent professor figured out that "Mr. Haley" was only Cassandra's shill and deliberately switched drinks with the intended poisoner. Very clever, Professor, you might outwit Cassandra yet!

OK, who thinks Tony's relationship with Cassandra is platonic, raise your hand! I think she's giving him what Roger isn't getting ANY of right now!

How well Adam responds to a little kindness! This is straight out of FRANKENSTEIN, of course, with the blind man and the monster, but with DS' own unique twist. Sam seems to need a project more needier than himself. Adam just might be what he needs.

This episode was slated to be shown 6/6/68, but was pre-empted by Robert Kennedy's assassination and instead aired 6/7.


510 - Stokes calmly dials Collinwood, luckily reaching Julia, and tells her to come immediately-he might have just killed a man!

Stokes paces back and forth in his living room, picking up Tony's dropped sherry glass. Julia comes out and report to Stokes, "You gave him the right emetic."--Tony's been very sick, but he's resting now. Stokes explains that Tony was acting quite nervous, and he suspected him of being up to something--when he went to the kitchen, he felt the man might have tampered with the sherry, so when he returned, he switched the glasses. Why would Tony do this? asks Julia, and they learn that the lawyer, who Julia says has lots of integrity, is not Mr. Haley. "Just the sort of person our favorite witch would pick!" suggests Stokes. Julia finds this odd, but Stokes believes she has Tony in her power--what she can't do herself, says Stokes, she delegates to others. How many others have helped her? They wonder. This IS war, and both realize Cassandra won't let him stop the dream curse. Stokes says she'll learn they can fight back--they must find someone who is already dead, says Stokes, someone she can't affect. Stokes asks Julia if she believes in ghosts-even a witch will fear a ghost, especially the ghost of a witchhunter. He mentions Trask, the man responsible for Vicki's hanging--Trask left a note admitting Vicki wasn't the real witch, but couldn't be found to give his reasons. Trask is very important to them, says Stokes, a religious fanatic whose one passion in life was and is to kill witches--this is Trask's chance to right a wrong, and they can use his fanatacism. Julia reminds him Trask isn't instantly available. Stokes takes out a notebook-Ben Stokes' memoir--he didn't learn to write until the first Barnabas Collins taught him after the age of 40--somewhere in the notebook, from which entire chapters are missing (Stokes says the first Barnabas changed from a fairly advanced thinking gentleman into some kind of monster). Julia is uncomfortable about this, and hesitantly asks Stokes if his ancestor explains how or why. He dreams of finding the missing chapter, says Stokes. He shows her the section where Ben says that Barnabas, in a rage because of the innocent girl sentenced to be hung (and here Stokes himself mysteriously fills in the name Trask, and in Ben's handwriting, not his own). Trask was walled up, explains Stokes--Mr. Barnabas convinced Trask he had accused the girl falsely, and the evil man signed a statement to that effect, but Mr. Barnabas walled. . .again, Stokes adds, "Trask up on the north wall of the coffin room."Julia and Stokes are stunned. Ben Stokes is on their side, and Timothy says they must find the coffin room, which Stokes finds an interesting name. It's in the basement of the Old House, says Julia, although she doesn't know why they called it the coffin room (yeah, right). Excitedly, Stokes tells her they must go to the Old House and reach Trask--he will now stage his last witch hunt--his beliefs will make it happen, he assures Julia. An exhausted Tony exits Stokes' room, saying he feels terrible physically or mentally. Tony is shocked to hear Stokes doesn't want to turn him in-he himself could be arrested for switching the drinks. Tony has no explanations and simply wants to get out. Stokes knows why he came there to kill him, and Cassandra is the reason. Tony sits down. Stokes tells him he knows Cassandra gave him the cross and his fake name--he doesn't seem like the kind of young man who would deliberately do that, and Julia vouches for Tony's good character. She has power, says Tony, and Stokes says Cassandra is literally a witch who has him under a spell--would you like to fight her? asks Stokes.Tony says he would. They'll start immediately. Stokes needs time to fight Cassandra, and Tony can give him the few days he needs. Go tell Cassandra Stokes is dead, orders the professor heartily--he drank the poison and is dead. Tony looks uncertain.

Roger and Casssandra are playing chess in Collinwood's drawing room, but she is clearly not into the game. He notes her poor concentration, and the fact that she couldn't concentrate last night or the night before that. Perhaps it isn't her game, suggests Cassandra, and Roger, miffed, asks her just WHAT her game is. To make him a loving, perfect wife, even if it doesn't include chess, she answers. Do they do that, asks Roger. Only he can tell her, she says, but he complains he doesn't see enough of her. He wraps a hand around her arm and reminds her they haven't even had their honeymoon-let's pack our bags and fly out tomorrow, he urges (I bet they haven't yet consummated, at least not for real). No, says Cassandra, walking away from him. Roger wants them to be alone, and while she says that would be marvelous, he seems to doubt she means that. When they're alone, they fight, she retorts. He sometimes feels she is just here filling time with him, there's something else important in her life happening somewhere else (go with that, Rog!) She denies this, and suggests he go to bed. Roger won't go, he hasn't finished his brandy. Take it up to bed, she says, since he'll only have another when he gets there, anyway. Roger drains his glass and asks if she's coming up. Not quite yet, she says, and he silently, angrily heads upstairs alone.Cassandra hears the clock striking midnight. Where is Tony?--it must be done by now!--what if he failed, or was caught? Tony watches her through the window, then knocks at the glass. She gestures for him to come to the front door. He comes inside. I was worried about you, she says, and he tells her it's done-he's dead! Tell me how he died, she demands. Roger appears at the top of the steps and Tony, quickly covering, says he's sorry Carolyn is asleep and he hopes he didn't disturb her. He bids her Cassandra good night and leaves. Cassandra sees her husband glaring down at her.

In the Old House basement, Stokes asks Julia if she's sure Barnabas won't mind them being there, but she assures him he wants Cassandra stopped as much as they do. What about Willie? They've driven up the coast, says Julia (looking for Adam, I guess), to look for a friend. Stokes understands why they call it the coffin room and notes Julia's nervousness. Seances make me nervous since Vicki disappeared at the last one, says Julia. Tony comes downstairs and reports that Cassandra believes Stokes to be dead. "May I rest in peace!" quips Stokes (LOL!)--but no time for eulogies. He asks Tony, who doesn't believe in seances, to sit at the table he's set up. Just concentrate, he urges an unbelieving Tony. Stokes, Julia and Tony assume the seance position, fingers touching. Concentrate on the spirit of the Reverend Trask, and don't break the connection. Stokes calls to Trask, asking for his spirit to come to them--they need him, they're at the mercy of a witch. An innocent girl was hanged because of Trask, and he didn't see the truth until it was too late. You have the chance to correct that wrong, Trask, come to us, help us, calls Stokes. Tony goes into a trance, and Julia wants to stop-he's been ill. Stokes orders her to be quiet. "No, no," says Trask. "Ben Stokes does not need me." Timothy says HE needs him very much, Angelique tried to kill him, and he let her live. "I was killed before I could do anything!" says the Trask-possessed Tony.Stokes urges, "Come back to us, for your own sake, for your conscience's sake, finish Angelique and rest in peace!" The candle goes out as Stokes demands an answer. Behind them comes the sound of the brick wall behind which Reverend Trask was entombed coming apart, breaking up!

NOTES: Intro: In such a short time, Stokes has set himself up as Angelique's greatest threat? Cool! That last scene is mucho creepy. Does this mean Trask is joining the party? It would be great if he could deal with Cassangelique, but he's got a bone to pick with Barnabas, too!

Tony does a great job of reacting to the poison, doesn't he? We see Stokes for a brief moment in his bathrobe over the credits, but he quickly retreats.

It's true that Cassandra is being a real bitch-witch here, but not just to Barnabas, Tony and Stokes. Her biggest cruelty is toward Roger, who she's sending to bed alone without any nookie to speak of. It's supposed to be their honeymoon, who needs to go away/be alone to have a good time when you're behind a locked door-even in Collinwood? C'mon, Cass, what's the big deal? Give Roger some loving!

Love, Robin

505 - Adam, hunted by the sheriff and his men, runs through the woods. The sheriff sees the Old House and says that every time things go wrong around here, that's where all roads lead. Adam watches them head toward the Old House, his face contorted with fear.

Barnabas sits at the Old House, fretting over Adam--what's happening to him now?--they hunted him down and penned him in like an animal, and he can't help him! Barnabas hears voices outside and looks out the window. The sheriff and his deputies come to the front door, where the sheriff gives orders to his men. Barnabas hears the knock at the door and slowly goes to answer it. He greets Patterson cordially, surprised to see him again. The sheriff asks him what he's been doing all night, and Barn says he's been there since Adam's capture. Why didn't you look for Carolyn? asks the sheriff, and Barnabas says he figured Carolyn was safe, that the man had confessed to her whereabouts.The sheriff drops the bomb on Barnabas-Adam escaped! Barnabas' reaction is almost one of relief. The sheriff describes how the escaped prisoner broke the bars on his cell window, mauled one of his deputies, who might have a broken neck, and released himself from the chain attached to the wall. What brings you here? asks Barn. This is the place they picked him up the first time, says the sheriff. It would be foolish to return here, points out Barn, but the sheriff says they aren't dealing with an ordinary man-are they? Barnabas doesn't know what he means. Did he come here? asks the sheriff, and Barn says if he had, he'd have told him. Patterson looks skeptical, and opens the double doors leading to the back of the house--how much does he know about this man? Demands the sheriff. Barn knows nothing, doesn't know who he is, only saw him once, when Roger shot at him. What about Willie?-the sheriff questioned him and believes he was concealing something. Barnabas doubts this. Why was Willie so nervous? The bad dream he had, says Barnabas. Patterson points out Willie was nervous when Liz questioned him, too, and blurted out the man's name. This stuns Barnabas. Adam, says the sheriff. Nonplused, Barnabas walks away, saying that's news to him. The sheriff wants to know how the man knows his name, if he never had dealings with him. Barnabas has no idea, and suggests he be out looking for Adam instead of talking to him. The sheriff has two dozen men looking, and he intends to keep asking his questions until he gets satisfactory answers. Barnabas insists he's told him everything he knows, but the sheriff says that means someone else is lying--there must be some reason Willie knows the man's name, and some reason why Adam knows Barnabas' name. Prepare yourself for an ordeal, warns the sheriff, telling Barnabas to sit down--he won't leave until he gets the answers he wants. Barnabas obligingly sits.

Adam wanders the woods. He comes to the root cellar where he left Carolyn, and smiles. She's still trying to force it open, but the large rock he left there is preventing it. It's no use, she tells herself, I'll never budge the door. She leans her head against a brick wall thinking morbid thoughts. If he doesn't come back, she'll die there, she tells herself, unless she can find another way out. She searches the root cellar, checking the small space, but realizes the only exit is the door. She hears Adam's chain outside. He moves the rock, opens the door and looks around. Carolyn, hiding behind a wall, tries to crawl quietly out, but he sees and grabs her, toppling her to the ground. He grabs her hair, and she cries that he's hurting her. She begs him to let her go--he's hurting her! "Hurting" repeats Adam, "No hurting, no!" He lets go of her hair. She cries that she wants to go home and begs him. He repeats home, and she screams that he has to stop repeating what she says. He covers her mouth and drags her back into the root cellar, closing the door. He tries to calm her down. She tells him he can't keep her here. The police are looking for her. Doesn't he understand? They'll find them here, arrest him, take him to jail. You don't want to go there, do you? she asks, then realizes he doesn't understand her.He plays with her hair, crying, too, trying to make himself understood. He hugs her, presses his face against her gold hair, and cries with her. Dogs approach, barking. He takes her hand and pulls her from the root cellar. When she screams, he covers her mouth. He lifts her into his arms and carries her off again. The deputies search. They hear Carolyn's scream and run in that direction.

Nose to nose with Barnabas, the sheriff demands to know another thing that doesn't make sense-when they met Adam in the woods, Roger shot at him and he was hit in the shoulder. The last time he saw him, a few days ago, he was running into the woods with a bullet wound in his shoulder-and yet, when they captured him earlier that evening, it took six of his deputies to subdue him--no man alive has that kind of recuperative power-he had help from an expert attending his wound. No licensed physician in the area treated that wound, and there's only one doctor they haven't checked-Julia Hoffman.Do you think Julia did it? queries Barnabas. This whole business stinks to high heaven, opines the sheriff (love it!), and no one is above suspicion, including Barnabas. Barnabas asks what connection he could have with a vagrant, which is what he believes the man to be. The sheriff doesn't know anything but what he feels, and he won't let up on Barnabas until he tells him everything he knows. Barnabas feels he's making a big deal about nothing. The man kidnapped a member of your family, the sheriff says, but Barnabas says he believes Carolyn is quite safe. How do you know that? asks the sheriff, and Barnabas says it was something Willie told him. Ah, now we're getting somewhere, exults the sheriff. Not that Willie knows the man, says Barnabas, but the man did come to the house several days ago, looking for food. Willie felt sorry for the man and gave it to him. The man couldn't speak at all, and didn't understand what Willie said. Willie did mention Barnabas' name several times, which could explain how he knew that name. What did Willie say to reassure him that Carolyn is still alive? Asks the sheriff. The man seemed gentle, said Willie, but the sheriff points out all the opposing facts-the kidnapped woman, wrecked jail cell and broken-necked deputy--why didn't Barnabas come to him in the beginning? Barnabas explains that he feared being implicated somehow. The sheriff still isn't convinced he's not. A knock at the door intrudes on the inquisition, and Barnabas lets in one of the deputies, who tells the sheriff they've tracked down the man-he was hiding Carolyn in an old root cellar. They're heading now for Widows' Hill. This perturbs Barnabas. The sheriff says to get all the deputies, they'll have him trapped. The sheriff insists on Barnabas coming along, not for help, but to be there when's he's caught-he wants to see if this man recognizes Barnabas. Tight-lipped, Barnabas gets on his cape, grabs his cane, and ushers the sheriff out ahead of him. A deputy stands guard at the Old House door.

Widows' Hill - Adam carries Carolyn up there, and the two of them gaze nervously at the water crashing over the rocks below. Adam looks around, scared. The cops home in on the Hill. Carolyn tells Adam he can't get away, the police are getting closer, and he's trapped. He can only go back into the woods, and that's where they are. She begs him to let her go, kicking her legs. He puts her down; she loses her footing and falls over the cliff, grabbing onto and desperately clinging to the rocks. She begs him to grab her arm-I'm slipping, for God's sake! The sheriff, three deputies and Barnabas enter on this tableau, and they all quickly realize they can't do anything or Carolyn might fall. Adam grabs her arms and pulls her up and back, then caresses her hair and releases her. Like her cousin David the other day, she runs into Barnabas' arms. The deputy cocks his rifle, ready to shoot Adam, but Carolyn begs, "Don't shoot him, he saved my life."Adam, realizing he is completely trapped, leaps off Widows' Hill, sending Carolyn into wild sobbing against Barnabas cape. The sheriff and his men gaze at the now-empty cliff. We see another view of the ocean crashing on the rocks as they all retreat.

NOTES: Once again, we hear Dr. Lang's message to Julia recited over the wild thrashing sea. Is Adam dead? Does that mean Barnabas Collins will be as he was before, a bloodthirsty vampire?

How was that grilling Patterson gave Barnabas, I think he cooked him to a turn! Some of it was almost comical. You've got to love the sheriff's comment that "something stinks here."

Great stuff today. You've got to feel badly for poor Adam--what a way to go! At least he got one last caress of Carolyn's hair as his consolation prize, right?


506 - Intro: "Appeared to be the destruction of. . .Adam."

Over the crashing waves, we AGAIN hear Dr. Lang's tape.

Barnabas and Willie search the beach for Adam. Barnabas is annoyed that Willie is shining the flashlight in his eyes, and Willie insists that any man who jumps off the cliffs will die as soon as his body hits the cliffs. Barnabas reminds him that Adam isn't an ordinary man, and besides, his intuition tells him Adam is alive. Willie reluctantly stands from the rock on which he's sitting at Barnabas' orders, and Barnabas himself screams, "ADAM!" to the wave-torn beach.Willie screams for Adam, too, and a few feet away, so does Barnabas, in a voice that must have left him hoarse. Willie says Adam is dead-get over it, but again Barn says he isn't. He might be badly hurt. Willie says he's never seen Barn like this, refusing to listen to reason (?), and Barnabas tells him to stop arguing, he doesn't care about the police, or believe Adam's body was washed out to sea. Barnabas feels that the sheriff, believing Adam dead, won't question them further. Willie suggests coming back in the morning, when it's light, but Barnabas insists they continue the search. Willie says he can't do it, and Barnabas says he will. Willie needs to go to Collinwood; the dream is driving him crazy and he has to tell it to her. Barn forbids it, even though Willie says he'll go crazy. Carolyn's been through an ordeal, Barnabas reminds him, and he won't let him put her through another. What about what I'm going through, demands Willie?-- I'd rather go back to Windcliff than have the dream again. Barnabas says he understands (but his voice belies that), but if the dream curse goes to its end, he'll be the one who suffers. Willie complains he's scared all the time, always shaking with fear. Barnabas assures him he DOES know how he feels. Then let me go to Collinwood, begs Willie, and stop searching for a dead man. They argue about it vehemently. He probably broke every bone in his body, screams Willie, yet Barnabas feels Adam survived and crawled off somewhere. Barnabas sits on the rocks and Willie tells him the way he's acting isn't healthy--he was washed out to sea. The abandoned root cellar, remembers Barnabas, and sends Willie there to look while he continues combing the beach. Willie wants to tell Carolyn about the dream, then he'll do whatever he wants him to. Stop harping on the dream, orders Barnabas, and go to the root cellar. Willie gives Barnabas a look of pure hatred.

Carolyn, clad in a pretty powder blue nightgown, sits in her room, her sandwich untouched. She seems dazed. She brushes her hair, looking like she's about to cry. Liz comes in to check on her, noticing she hasn't touched her food. I will, says Carolyn, assuring her mother that she isn't afraid. Carolyn doesn't seem happy to hear the police are certain Adam is dead--she needs time to get back to being herself. Liz asks if Adam hurt her. He used force to keep me there, says Carolyn, yet didn't hurt her--he was strange, pathetic, trying in his own clumsy way to be gentle. Liz finds this hard to believe.He was frightened, trapped, and had to do something desperate, explains Carolyn. Liz wonders how she can defend this man, who could have killed her. He wouldn't have done that, says Carolyn, trying to explain, but in a strange way, she feels sorry for Adam, but doesn't understand why--she isn't happy the man is dead, because now they'll never know who he was, where he came from--there was something about him that made him so different from other people, almost like a child who hasn't learned to talk or had any experience with other human beings. His instincts were childlike, too, he kept trying to learn from her, and seemed sensitive. Liz listens; she still believes the man could have killed her. Why did he save her life, if he had no human compassion, why didn't he let her die on Widows' Hill? queries Carolyn--he pulled her up, saved her life-why? Liz is glad they won't have to see the man again, and says Carolyn should sleep, but you just know there will be no sleep for the troubled Carolyn this night.

Willie lurks in the garden by the fountain at Collinwood, disobeying Barnabas' orders, deciding if he should scale the side of Collinwood.

Liz offers to stay with her a while, but Carolyn says she's tired and will fall asleep quickly. They exchange kisses and Liz leaves.

At 2 AM, Willie begins climbing. Carolyn is asleep when Willie climbs through her window. He creeps toward her bed, then leans over and softly calls her name. Carolyn wakes up with a start, leaps from bed, and covers herself with her robe. She wants him to go out the same way he came in, demanding that he leave or she'll call for help--she doesn't want to get him into trouble, she says, backing away from him, but she will if he has to. He says he needs to tell her a dream. Carolyn, holding her head, asks if he really broke into her room to tell her a dream-he must be crazy!She gives him one more chance to leave her room, but, acting crazed, he grabs her, covers her mouth, orders her to keep quiet--he'll tell her the dream and go away. When it becomes clear she won't be silent, he screams that he'll tell her anyway, and, holding her fast, his face a mask of terror and determination, begins to tell her his dream. Carolyn bites his hand, forcing him to release her. Carolyn screams. Liz, downstairs in the garden, hears and races up to her daughter's bedroom. Willie, nursing his wounded hand, asks why she did that, he had to tell her the dream, he didn't mean to hurt her! Carolyn, as hysterical as he is, orders him out, but neither is listening to the other. Willie, sobbing, exits through the window. Liz enters and gathers the sobbing Carolyn into her arms. Carolyn calms down and tells Liz Willie broke into her room; she doesn't know why. Liz locks the window, assuring her he wouldn't get another chance--she's telling Barnabas to send Willie back to Windcliff. He told me he didn't mean any harm, explains Carolyn, he wanted to talk to me--he must be crazy, he kept jabbering about a dream he had and had to tell me about it. He's having hallucinations, says Liz, he told her about some dream, too, at the Old House. Carolyn thinks what scared her the most was the way he spoke of the dream-it must be the most terrifying thing that's ever happened to him--he acted like he had no peace of mind until he talked about the dream. He said Carolyn was the one he had to tell the dream to, which puzzles both women. He took a huge risk, breaking into my room, says Carolyn, yet he did it anyway-why? Willie's mental state, guesses Liz, but Carolyn said he didn't act deranged, just terribly frightened. Carolyn thinks Willie really did have this dream and for some reason, she is the only person he could tell about it.Liz doesn't believe this, and tells Carolyn to go to sleep. No, says Carolyn, she's afraid. No one can get in, Liz assures her. But it's the dream that is scaring Carolyn-if she goes to sleep now, she'll have the dream Willie was telling her, and if she does, she's afraid she'll die!

NOTES: Another stellar performance from Karlen, both in the beach scene with Barnabas and the scene with Carolyn. He is just so good!

Why is everyone so mean to Willie? At least Carolyn seemed to have some compassion for him, more than anyone else is giving him these days. Carolyn felt badly for Adam, too, and hopes he didn't die. But how could he possibly survive such a fall? Barnabas is sure he's alive, too, something we're pretty sure of. How? Wouldn't Barnabas be a vampire already if Adam were really dead?

Did Carolyn hear enough of the dream to be the next victim of it? Or does Willie have to finish it in order for her to have it?

Love, Robin

501 - Barnabas struggles in Adam's grip, Julia trying to pull his hands away from Barnabas' throat. "You love him," Julia reminds Adam, "he created you, without him, you'd be dead, you do feel that, don't you, Adam?" Adam releases Barnabas, who falls unconscious to the floor. The big guy, sobbing, runs from the house, terrified by the thunder and lightning roaring and flashing above his head. Julia examines Barnabas.

Barnabas opens his eyes and Julia is glad to feel a pulse.She opens his shirt collar. He can barely speak, but she helps him up and into the chair. He nearly killed you, she says--let him go--he can't control his temper. We must get him, protests Barnabas. He'll be killed, says Julia, he doesn't know about cars, or anything like it--he'll be killed and that will be the end of it. (isn't Julia the one who argued for him to live at the very beginning?) Barnabas struggles to his feet. Adam has tried to kill all of them, she reminds him, but Barnabas insists his actions were always for a reason. Julia's painful injection, his hitting him with the cane. . .perhaps Adam's brain is injured, suggests Julia. She asks Barnabas why he has to find him. Because he's my responsibility, he replies. I don't believe that, says Julia. Barnabas fears Adam may attack someone, be captured--and Adam can say his name. Barnabas goes to find the gun and a flashlight. Julia feels he can lie his way out of that--I fear Adam will kill you. Stay here, orders Barnabas, but Julia begs him not to go. Stubborn as always, he leaves, Julia calling "BARNABAS!" after him. Determined to protect him, she grabs a flashlight and follows him out.

In the woods, Adam cowers from the thunder and lightning, crying like a scared child and calling Barnabas. "No, Barnabas!" he cries, remembering the beating.

Barnabas searches, meeting up with Julia. You shouldn't be here, he says, you can't stop me. He can't think in this situation. When he gets Adam back, what will he do? Stronger chain? Another helper? Let him disappear, begs Julia. Rain pours down as Adam hears their voices. Barnabas wants Julia to go back to the house--I must find and kill Adam--I've known it all along but couldn't face it--Adam is too dangerous, and I worry what will happen to the creation if anything happens to me--when I was cured, I vowed I'd never kill again, but now I must.They continue to search, walking right past Adam, who has hidden behind bushes. "Barnabas!" whispers Adam. "If Adam dies. . ." Adam overhears Barnabas say, "I must kill Adam." The latter knows that word, and says it through gritted teeth. Adam has found a big stick, and he stands in the lightning. "Kill. . .kill. . .kill!" he says with increasing fury, and breaks the thick stick in half, baring his teeth.

Adam, still muttering "Kill!" finds his way to Collinwood. Tony has called Carolyn, who tells Liz to tell Tony she isn't there--she's busy. Adam stands at the open window, watching Carolyn play solitaire with a smile on his face. He already likes her! Carolyn wonders why Liz has to be polite to everyone, but her mother tells her to talk to Tony herself--when she isn't busy, of course. Carolyn tosses away the cards and tells her mother she no longer likes Tony--she can't confide in her mother, however--too many skeletons in too many closets. Carolyn wonders about Liz' perceptions--what does she think of Cassandra? Liz knows little--Roger and Cassandra seem happy. Carolyn angrily calls her mother naƒ¯ve. Adam listens. Carolyn tells Liz Cassandra has put Tony under a spell. Liz doesn't believe it. Carolyn shuts the window and tells her mother it's based on fact--she saw them together in the garden. Liz doesn't want to accept this, but Carolyn says she has to believe what Tony told her--he admitted it! Why does she want him? wonders Carolyn, she has Uncle Roger. Liz doesn't know. Carolyn admits she likes Tony, and he's so unhappy. Adam huddles against Collinwood's front door, which opens under his weight. Carolyn goes to close the doors, which Liz thinks have blown open, and runs into Adam. Carolyn screams (and she is a great screamer). Liz comes to her side as poor Adam tries to reassure them, his face contorted with fear.Adam approaches Carolyn while Liz dials the police. "Stay away from us!" begs Carolyn. Adam grabs the phone from Liz. Liz and Carolyn stand together as Liz warns him he'll be caught, someone is coming--leave before there's trouble. Adam looks miserable, unable to tell them anything. "Music" he mumbles, so Carolyn goes into the study. Liz joins her, trying to lock him out of the double doors. Carolyn turns on the radio, but it isn't what he's used to, so he pushes the radio to the floor. Liz thinks he's insane. Adam, desperately trying to communicate, says, "Not music! If both live! If both live!" Liz orders Carolyn to get out, she'll talk to him, distract him--try to get out the window. Liz asks Adam if he's hungry, she'll get him food. "Food," he repeats, following Liz. Carolyn runs to the window, but Adam drags her back. Liz picks up a letter opener as Carolyn screams for her mother. He literally lifts Carolyn up, and they struggle wildly. Julia overhears the fray and calls to Barnabas to hurry. Adam forces Liz away and is grabbing for Carolyn when Barnabas comes in, points the gun at Adam and orders him to let Carolyn go or he'll kill him. Adam drags Carolyn outside and dashes away with her, Barnabas following, as Liz watches in horror.

Julia comforts a distraught Liz, who wants to call the police. Julia tells her not to, she'll do it. Liz closes the doors. Julia dials the sheriff, telling him to come to Collinwood--a prowler took Carolyn Stoddard as a hostage--Barnabas is out hunting them. Julia tells them to send several men, then assures Liz everything will be all right. Thoughtfully, Liz asks why Barnabas has a gun--were they hunting this man? Do they know who he is?Julia doesn't answer. She says they were at the Old House, heard a noise, saw someone outside, and Barnabas got his gun. Liz, not knowing what to believe; she buries her head in her hands and moans, "Carolyn!"

Adam, carrying the struggling, screaming Carolyn, has his hands full. She demands to know what he's going to do with her, and she bites his hand when he covers her mouth. He again covers her mouth to stifle her screams, pressing so hard, she passes out. Adam caresses her, making miserable sounds of protest, "Nooooo!" He lifts up her limp body and carries her away again.

NOTES: Notice that Liz wasn't her usual clueless self in this episode; Barnabas running around with a gun set up alarm flares in her.

Things get physical with the big guy and Carolyn, who proves herself a pistol in poor Adam's well-meaning clutches. She'll will be doing a lot more screaming and Adam will be touching her hair a whole lot in the days to come, too!


502 - Tony, upset about Carolyn's kidnapping, appears at Collinwood and offers Liz his help. The cops have been there and gone, and are out searching. She wonders where the man took Carolyn. Tony asks about him. He's a mute giant, says Liz, not from another country, but. . .she says he's just some monster from. . .well, she doesn't know. He's not human, she says.

Adam, carrying Carolyn, arrives at the Old House. Willie looks out the window and spots him, then gleefully gets the rifle. Willie goes outside and orders Adam to put Carolyn down--or I'll shoot! Willie. Willie teases him that the gun makes Adam a good boy, and Barnabas is going to be so proud of him for capturing Adam. He orders Adam into the house, but Adam somehow disarms Willie, hits him across the face, and knocks him out. Adam picks up something and is about to bash in Willie's brains, but decides not to. Lifting the unconscious Carolyn up again, Adam heads off, his ankle chain clanking. (Carolyn does make a great limp rag doll.)

Tony and Liz, searching the woods, arrive at the Old House. He tells her he'd be a lot more help looking for Carolyn. Liz suggests Barnabas came to the Old House; for some reason, she thinks that house is involved in all this. They spot the unconscious Willie, who tells them the fugitive hit him--he had Carolyn, and they headed toward the gate. Tony tells Willie to get Mrs. Stoddard into the house; he's going to search. Willie suggests a gun: "He ain't got no sense, and he's so strong, Adam. . ." Liz picks up on this. Tony leaves. Liz says to Willie, "You know, don't you?"--more than the fact that he hit him--he called the monster Adam, accuses Liz, and Willie, eyes bulging, realizes he said one word too many.Liz demands an answer. How does Willie know this man? Willie claims she misunderstood him--he isn't thinking clearly because of the dream. Liz accuses him of changing the subject, but he says this dream gives people the jitters. Where is Adam? demands Liz. Willie doesn't know him, or where he took Carolyn, and that is the truth. Liz looks unconvinced.

Adam brings Carolyn to an old root cellar. He kicks open the door and brings her in, placing her body on a makeshift cot made of wood planking. He caresses her blonde tresses, so like jewels. She wakes up crying, "No,"--she wants to go home, and the two of them struggle. She tells him he's hurting her, and he releases her. She realizes that he doesn't want to hurt her, and he grabs his wounded arm--hurt! he says. She asks why he doesn't talk, and why he brought her there. "If both live," he says. She doesn't understand what he means, and asks if he's going to kill her. Adam reacts to that word with anger. Why do you hate me?, she asks, why do you want to hurt me, you don't know me--are you insane? He fruitlessly tries to comfort her, touching her hair. "No!" he says. She tries to escape, but he grabs her back. She demands he let her go, and he closes the door. They stare at each other. She asks again what he wants. "Kill Barnabas," he says, and her eyes grow huge.

Collinwood - Liz tells Tony the police have no report of anyone escaping prison or an asylum. Tony suggests she go to bed--he'll stay. She's upset to realize they almost caught them at the Old House. She asks Tony to stay with her. The police have set up a roadblock, but the thought of that creature driving. . .Tony tells her not to think about it.Liz is terribly upset about Carolyn. Tony sits beside her, puts a comforting hand on her shoulder, and tells her he knows how she feels--he feels the same way. When she has emotions, she shows them; he and Carolyn cover them up. She tells Tony Carolyn was there when he called earlier that evening. He guessed that. She was angry at her for being childish, says Liz, but if she walks in that door, she can be as childish as she wants for the rest of her life. She'll be back, he assures her--he has had some experience with the criminal mind and doesn't think this man a kidnapper. He thinks he was being chased, and took Carolyn as a shield. There's something completely animal about him, says Liz--the scars, the eyes, the shackle around his ankle--she can't help thinking about him. Tony wants to search again. Why can't they find Carolyn, frets Liz.

Carolyn, shivering, sits in the root cellar. She asks Adam how much longer they have to stay--she's cold! Adam imitates her action of rubbing her shoulders. He shows her what he picked up at the Old House. He picks up a pine cone and she uses a match to light it. He's fascinated, and she asks what's wrong with him. She says he's like some little kid, a baby. He smiles at her.The pine cone burns him, and Carolyn, despairing, cries, "You don't know anything, anything at all!" He waves around his burnt hand, sobbing, and she apologizes, she thought he knew. She tells him she didn't mean to hurt him. He continues to moan about his hand, and she starts to cry, too. "You're nothing but a savage!" she wails, and they cry together, Adam holding her face, caressing her hair. (A really nice scene, too. Adam has inherited some of Barnabas' gentle nature).

Willie, trying to keep himself awake, fearing the dream, remembers the terrible nightmares he had while at Windcliff. He drifts off despite his resolve, and the dream begins. His beckoner is Carolyn. He tells her she got away and asks about Adam. He asks if she's dead. She points, and he follows, even though he doesn't want to, like a man who is drunk. He tells her he tried to save her, but she pushes him into the room, unhearing. He begs her to let him out. She recites the Dream Curse Litany. Doors: skull, guillotine, skeletal bride, wolf's head, which makes Willie scream as it growls ferociously at him.Willie is shrieking with terror as he wakes up, his tongue fluttering like that of the Simpsons in their cartoons.

NOTES: Actions speak louder than words department--sure seems to me that Tony feels a great deal for Carolyn, and Adam is beginning to, as well. He loves touching her, doesn't he? She's like a giant doll he's playing with. They are so cute together, Adam so huge, Carolyn so small. I always wished she gave him a chance, but Tony is better suited to her, anyway.

Love, Robin