542 - July 23, 1968

[bunniefuu]

- On this night at Collinwood,

one woman has made a terrifying discovery.

The witch who has vowed vengeance on Barnabas Collins

now possesses some highly dangerous knowledge.

In the old house on the great estate,

Barnabas Collins is about to discover

he is in very grave danger.

- Barnabas?

Barnabas!

- Julia?

- Thank God you're here. - What's going on?

What happened?

- Cassandra, she knows--

she knows everything.

- Knows what?

- She knows about you and Adam.

- Adam?

- She knows about the experiment.

She knows how Adam was created.

- What?

- That could mean she knows how to destroy you.

And I don't know how to stop her.

♪ [music playing]

♪ [eerie theme music]

- Barnabas... Barnabas, what are we going to go?

- Now, come into the drawing room, sit down,

and try to calm yourself.

Now, try to tell me what happened.

- All right.

- How did Cassandra find out about the experiment?

- Through David.

- David?

- Yes, do you remember that tape recording

that I gave to David, the one that

used to belong to Eric Lang? - Yes.

- Do you remember what Eric said just before he died,

that he left a message for me, a vital message,

and we were never able to find the message?

- Yes, of course.

- The messages on the tape recorder.

- But we listened to the recorder.

And we heard nothing but music.

- We didn't listen long enough.

It's in the middle of the tape.

- And Cassandra has heard it.

- David heard it.

And he was he was full of , questions, naturally.

Unfortunately, the first person he

chose to ask to listen to the tape was Cassandra.

- Why didn't he come to you?

You gave him the machine.

- He did.

We rushed to Collinwood.

But the tape had been changed.

Cassandra had time to switch the tapes.

- And Cassandra has the original?

We've got to find it.

We've got to find out what that message is.

- Now that Cassandra has it, I'll

doubt if we'll ever find it.

- What does David remember of the message?

- Maddeningly little.

He knows Eric mentioned you, and Adam, and his creation.

And he knows that there's a connection

between you and Adam.

- What connection?

- That's what he can't remember.

He knows that if you and Adam both live,

then something will happen to both of you.

But if Adam, dies something else will happen.

He doesn't know what.

- We've got to get David to remember the entire message.

- He's a little boy.

And the message confused him.

I doubt that we'll ever get him to remember

everything he heard.

- Then somehow we've got to find that tape.

- I think it's more important now that we find Adam.

- How can you say that?

- Because if there is any connection between you

and Adam, and Cassandra knows what it is,

and she knows how to use it to harm you,

no, we've got to find Adam before Cassandra and Nicholas

find him.

- I wouldn't know where to begin looking for him.

- Me neither.

But we must find him.

We must.

If Adam is found by Cassandra and Nicholas first,

the consequences could be terrifying for you.

- Where could he be hiding?

Where?

- What are you doing up? - Waiting for you.

- Bed check.

- No use asking where you've been.

I can tell you you've been with the Blue Whale drinking up

that money I give to you.

- OK, so I had a few beers, what of it?

- I have to talk to you.

- Oh, here comes, lecture number , all about poor old mom

and her no good son.

Why don't I get a job?

What kind of job could I get in this jerkwater town?

- Come here.

- Oh, you don't have to deliver your little speech tonight,

mother dear.

I can deliver it myself in my sleep.

- I said come in here. I have to talk to you.

It's very important.

- OK, what is it now?

- Have you been stealing food?

Answer me.

Have you been stealing food?

- Well, of course, I haven't been stealing food.

What kind of question is that?

- Someone has been stealing food from the kitchen.

Now, I won't say a word to anyone else.

But if you're responsible, I want to know about it.

- Why would I want to steal food?

- For one of those worthless friends of yours, to feed him.

- Friends?

- Yes, one of those men you met in prison.

One of them could be hiding out around here somewhere.

- Hiding? - Yes, hiding from the police.

And you're helping him.

You've been known to do things like that before.

- I think you've lost what's left of your mind.

I'm not hiding anybody.

- I hope you're telling the truth,

because the only way I got permission for you to stay here

was on condition that you'd behave yourself.

- How many times have I heard that?

Listen, I'm not hiding anybody.

If you think I am, prove it.

- All right, Harry.

Only somebody is stealing food from the kitchen.

And I can't imagine who would do it or why.

I think it's strange, very, very strange.

[clock sounding]

- Alone.

Alone.

Alone.

[knocking]

- Adam, it's Carolyn.

- Carolyn.

- Good morning, I brought you breakfast.

- Carolyn, I was afraid.

- Afraid?

- I was alone, afraid.

- Afraid I wasn't coming.

- Yes.

- Adam, you know I always come to bring you food.

It's difficult sometimes.

I have to wait until everyone is out of the kitchen

and be very careful no one sees me coming up here.

You're not afraid now, are you?

- No, not afraid now.

- Good.

Sit down and eat your breakfast.

- No.

- You have to eat.

- No, listen.

- Listen to what?

- The-- the widest land.

- The widest land?

- Doom takes two.

- Adam, what are you trying to say?

- Read.

- The widest land, doom takes to part us,

leaves thy heart in mine with pulses that beat double.

What I do, and what I dream, include thee,

as the wine must taste of its own grapes.

And when I see God for myself, he hears that name of thy,

and sees within my eyes the tears of two.

- The tears of two, two.

- Adam, did you read this?

- Yes.

- That's amazing.

You were able to read only the simplest

sentences a few days ago.

- When I am alone, I read.

- Adam.

I'm so proud of you.

- You are proud?

- Very proud.

- What does it mean?

- It's a poem.

- Poem?

- A love sonnet.

- Love sonnet.

- That's right.

- But what does it mean.

- It's a poem written by a woman telling

a man how much she loves him.

- Woman loves man?

- Yes.

- A woman loves man.

- All right, class is discussed.

Sit down and eat your breakfast.

- Carolyn.

- What is it, Adam?

- Carolyn.

- Don't do that?

- Don't?

- No.

Don't.

- Carolyn is afraid of Adam.

- No.

No, of course I'm not afraid of you.

- You hate Adam.

- No, of course I don't hate you, Adam.

I'm your friend.

- Friend.

That's That's right.

Now, you have your breakfast.

I have to go.

- No.

- Adam, I have to leave now.

They'll miss me downstairs.

- No, stay.

[knocking]

- Yes?

- Who are you?

- I'm Harry Johnson.

I'm Mrs. Johnson's son.

I'm staying here for a while.

- Oh, I see.

Well, I'm Barnabas Collins.

Is Carolyn Stodder here?

- I think so.

- Would you please tell her that I would like to see her?

- Well, I don't know where she is exactly.

I'll try to find her, OK?

- Thank you.

- Adam, please let me go.

Please.

- Ms. Stodder?

Did I startle you? - Yes.

- I'm sorry.

- What are you doing up here?

- There's someone downstairs that's looking for you.

He sent me to see you, a man named Barnabas Collins.

- I see.

- Do you want me to take that to the kitchen for you?

- Yes, please.

- Harry?

- Yes?

- When you were given permission to live here,

you were not given permission to roam around the house.

In the future, will you please stay downstairs

where you belong?

- Yes, anything you say.

- Carolyn, I've got to talk to you.

- What is it?

- Where is Adam?

- Adam?

- Where is he?

- I haven't the slightest idea.

- You must know where he is.

- Must I?

- He's hiding in the root cellar.

You found him there.

And that's where you brought Stokes.

- What about it?

- Well, he disappeared from the root cellar.

You and Stokes must be hiding him somewhere else.

- That's not true.

- Then what's happened to him?

- I don't know.

He simply disappeared.

- Disappeared?

- Yes, Professor Stokes and I left him alone for a while.

And when he came back, he'd gone.

I have no idea where he went.

- Why do you suppose the police haven't been able to find him?

- I know as much about that as you.

Probably, he just run away.

And by now, he's miles away from Collinsport.

- I don't believe you.

I believe you and Stokes are hiding him.

- Believe what you want.

- I know he's not living with Stokes any longer,

because the police searched his house.

You must be hiding him somewhere else.

- I'm not hiding him anywhere.

Why would I want to hide him?

- To protect him, because he saved your life.

- That's a very interesting theory.

It doesn't happen to be true.

- If you know where he is, you must tell me.

It's vitally important that I find him.

- Why is it vitally important?

- I can't explain why.

I simply tell you that I must find Adam.

If you're afraid that I'm going to hit him,

I promise you I won't.

I give you my word.

- You needn't bother.

I can't tell you where he is, because I don't know.

- You must know.

- I don't.

- I've got to find him.

It's a matter of life and death.

- I'm not hiding him.

I haven't the slightest idea where he is.

So please, leave me alone.

- What is it?

- Well, you're got to be getting some static about me

from the very high and might Miss Carolyn.

So I thought you may just as well be prepared.

- What have you done now?

- Nothing.

A man came to the door asking to see her Royal Highness.

And he told me to go look for her.

- Well, what about it?

- Well, I went upstairs to look for her.

And I found her there.

But she was very mad that I went upstairs.

- Did you explain what you were doing there?

- Oh yes, but she was still mad, or something.

She told me never to go up those stairs again.

- Well, if she doesn't want you to go upstairs,

you don't go upstairs.

- I found her coming out of a room at the far hallway.

She locked the door.

- Must have been the west wing.

- The west wing?

- Yes, that's always kept locked up.

- How come?

- I don't know.

No one is supposed to go near.

It's Mrs. Stoddard's orders.

- Then what was Carolyn doing there?

- I don't know. And I don't care.

That's her business.

- Why would they keep that section of the house locked up?

What could be so secret about it?

- I don't know, because I don't ask any questions.

And if you're going to stay here, you better do the same.

- OK, OK.

- Mrs. Johnson, may I speak with you?

- Oh, yes, of course.

Here, Harry, take this to the kitchen for me, please.

- All right.

- Yes, Miss Carolyn.

- If Barnabas Collins should come up here looking for me,

will you please tell him I'm out?

- Out?

- Yes.

I don't want to see him, for personal reasons.

- Miss Carolyn?

- Yes.

- I know that my son gave you some trouble this morning.

- No, not really.

- You see, he didn't understand about not being upstairs.

- I realize that.

- You're not still annoyed with him, are you?

- No, no.

I would just prefer that he stayed

in this part of the house.

- I'll see that he does.

I'll see he behaves himself.

He won't give me any more trouble, Miss Carolyn.

I promise you.

- Carolyn.

Carolyn.

Carolyn.

♪ [music playing]

♪ [eerie theme music]