931 - January 18, 1970

[bunniefuu]

[dramatic music]

VOICEOVER:A night of panic in the great house

of Colinwood, for Barnabas Collins especially,

forced to become a leviathan because the Cruel Clan

holds Josette hostage in the past.

Barnabas has a new and frightening problem.

Paul Stoddard has disappeared, run from the house

searching for evidence of the mysterious plot he so fears,

he goes to the antique shop and there in an upstairs room,

he discovers a secret that shocks him so much,

he is easily captured.

And now Paul confined to a small windowless room,

suddenly smells the same heavy strange odor

he smelled in the room before.

And he hears a sound, a sound which terrifies him.

That same sickening smell.

The same as in that room.

I can hear it breathing.

It'’s got to be my imagination.

[heavy loud breaths]

No.

No it'’s not.

It'’s coming.

It'’s coming.

No way out.

No way out.

[ominous music]

[heavy breaths]

[creaks, bangs]

[screams]

No.

No, don'’t touch me, don'’t come near me.

[screams]

Down.

Drop him.

Do it now.

Good.

Don'’t move Mr. Stoddard.

Stop it, you will not have him, you understand?

You will not, now stop it.

[heavy breaths, growls]

Stay where you are.

Now you will follow me from this room.

When you are human you will never do this again.

Never.

If I have to use control to force you, I will.

Forget this man.

Forget him.

Follow me.

Come.

No, you will obey me.

Come.

Come, don'’t turn back.

You know you'’re never to leave this room.

You know that.

Get back in that room.

[heavy breaths, growls]

No you will not [mumbles].

The room.

Get in there.

Now stay in there.

[locks click]

[clanks]

Megan?

Megan, come here.

What is it, Barnabas?

You heard nothing?

I must thank you, mustn'’t I?

For what?

Oh, I was so frightened, I, I knew he was out,

though I tried to wake Philip but,

well he had taken some sleeping pills, I couldn'’t wake him,

I, oh I was so frightened.

You should never have unbolted that door, Megan.

Don'’t lie to me.

I know you let him out and I know why.

You will stay here and you will do nothing until I have

taken care of Paul Stoddard.

[door jingles, wind howls]

Mr. Stoddard.

Mr. Stoddard?

[dramatic music]

Incredible.

It'’s as if his clothing were rotting away.

That smell, I noticed it the moment you brought him

into the room, that heavy sweet smell.

I'’m sorry that I had to bring him here, but I didn'’t

know what else to do, I couldn'’t take him to Collinwood.

His arm, the hairs on it are singed.

JULIA: How could that happen?

Mr. Stoddard? JULIA: That won'’t do

any good, he'’s in shock.

Did he say anything in the car?

I don'’t think he even knew who I was.

How long can something like this last?

Oh I don'’t know, with Amy it was,

it was the same way with Amy.

MAN: What are you talking about?

She was in the shop playing.

The next thing that I knew was that she came to Chris'’

cottage and she couldn'’t speak, she was terrified.

Julia, don'’t you think we should call the police?

JULIA: And say what?

They could go to the shop, good heavens, if there is

- something there, - No, no, not yet.

Because of Barnabas?

You think he may be involved in this?

I know he is.

I don'’t know how, I don'’t believe he'’s doing this

of his own free will, but tonight, tonight I saw him,

he came out of the shop, he stopped, he thought,

he went back in, he'’s in there now.

Julia I think it'’s time you were more realistic

- about Barnabas Collins. - I can'’t be.

If we bring the police in now, who ever is responsible

for this will go underground, we must wait, wait, please,

wait until Paul Stoddard can speak.

Very well, Julia.

Tell me what frightened Amy so much.

She saw Grant Douglas and she thought that he was Quentin.

Yes, that would'’ve terrified her.

But it wouldn'’t terrify Paul Stoddard.

There'’s so many things I don'’t understand.

Why are his clothes this way?

Perhaps, Amy never got close enough to it,

whatever it is.

[Paul mumbles]

[tense music]

What is it, Julia?

His pulse, his pulse is very slow.

But that'’s the way it is with shock.

I'’d better go to Collinwood and get

- my medical bag. - I'’m sure if

I'’d experienced what Paul Stoddard apparently has,

I'’d take refuge and sleep too.

[phone rings]

Excuse me.

JULIA: Don'’t say I'’m here, you haven'’t seen me all evening.

Hello?

Oh yes, hello Osmand, how are you?

Very well, thanks.

The large painting will be finished in about three hours?

That'’s splendid.

No, you needn'’t call Dr. Hoffman, I'’m expecting to hear

from her myself very soon.

Thank you, thanks for calling, goodbye.

I'’d forgotten all about that.

It does seem taking advantage of you to leave Paul Stoddard

here. MAN: I quite agree

with you, Julia.

But, I can'’t take him to Windcliff the way he is now.

I don'’t think I'’d allow you to anyway.

I like to see the end of a story once I'’ve begun it.

It can be dangerous.

Don'’t be melodramatic, Julia.

You don'’t know, you must take this seriously,

you must never let him alone, ever.

They'’ll be after him, and they'’ll do everything they can

to get him, do you understand that?

I'’ll have to tell Carolyn where he is.

You think you should?

JULIA: We can trust her, we must.

She'’s so worried about her father.

But Carolyn works in that shop.

JULIA: I trust her, then you must, she'’s the only one

we can, listen, I'’ll leave phone numbers if I have

to leave Collinwood.

You stay here and if there'’s any change, you let me know,

but don'’t use his name.

You must be more careful with this than you'’ve ever been

with anything in your life.

[door slams]

Paul Stoddard is gone.

Why did Barnabas come back into the shop?

That'’s what I want to know.

I can'’t be blamed for this, he must be.

Can we really trust Barnabas?

Can we?

[phone rings]

Hello? MEGAN:Mrs. Stoddard, please?

She'’s not in.

Oh, did she leave a number where she

can be reached? AMANDA:No, no, I,

not that I know of, I'’m sorry.

- Who is this, please? - This is Olivia Corey,

I'’m sorry, there'’s no one here, I'’m waiting for Dr. Hoffman.

[fingers tap]

Would you take a message please?

It is very important that Mrs. Stoddard call Megan Todd.

AMANDA:Of course. As soon as she gets in.

AMANDA: Alright. Thank you.

[bangs]

Oh thank God you'’re here, Julia I'’ve been waiting

- and waiting. - Wait just a moment.

Julia, please, that man, Mr. Best is here.

In Collinsport.

I saw him in the hotel lobby, he was simply looking at his

watch and smiling at me.

Tonight, Julia, tonight he'’ll come for me.

Well how much time do you have?

You must tell me.

Two hours.

Alright Amanda, you must go back to the hotel.

You must stay with Grant Douglas, you must do everything

- you can to make him remember. - No, he'’ll never say

he loves me, oh he must, or else he'’ll, or else,

when there'’s a knock on the door I'’ll answer it,

and Mr. Best will be there.

And this time he'’ll give me no more time.

Two hours.

AMANDA: Where are you going?

Professor Osmond said Quentin'’s portrait would be ready

in three, we must see it before then.

Now you go back to the hotel and stay with Grant.

I'’ll call you.

Amanda, you must keep trying.

You know, my dear, you'’re different.

Quite different from the first time we met.

You'’re changing.

It'’s almost as if Olivia Corey, the toast of Broadway

is disappearing.

If I'’m not Olivia Corey then who am I?

[chuckles]

You know everybody'’s always asking me questions.

Everybody seems to forget that I'’m the original man

- without answers. - You must answer at least one.

GRANT: What'’s wrong, Olivia?

Don'’t call me that.

Why?

That'’s your name, isn'’t it?

You'’re looking at me as if I can help you.

- I'’m sorry. - Well don'’t be.

Because I would if I could and you know it.

You know, when you first brought me back here

from the hospital, you said one thing.

And I asked you about it but you would never answer me.

Will you answer me now?

Yes.

GRANT: Why did you say we had met before?

Well if you know, why won'’t you tell me?

Look if you know something about me that I don'’t, tell me.

Please.

You know I'’m afraid I don'’t understand the rules

of this game.

I didn'’t make them up.

And what does that mean?

Who, where did we meet?

Because I also had the feeling we'’ve met before.

Olivia.

Help me.

Please help me.

[calm music]

Could you, could you love me?

Tonight, this night, could you look at me and say

I love you and mean it?

You couldn'’t?

That'’s your answer, not mine.

- Is it so important? - Yes, it is to me.

Now listen to me, it would be very easy for me to lie

to you, sometimes I, I have the feeling I'’ve lied

to many beautiful women.

Don'’t turn away from me.

Look, how does a man without a past know whether

he'’s in love or not?

What ever I feel for you, and I feel a great deal,

it'’s always the unknown.

But somehow, somehow I have the feeling that,

in my other life there'’s a woman who I love very much.

Now why can'’t I remember, why?

[phone rings]

Hello?

Amanda, you must bring him to Professor Osmond'’s

immediately. OLIVIA:The portrait?

We will see it.

It'’s our only chance.

[dramatic music]

Mr. Stoddard?

I'’m afraid I didn'’t take you sufficiently seriously

the other evening.

But you can trust me Mr. Stoddard,

I assure you of that.

Look at me please, Mr. Stoddard, look at me.

Can you speak?

You must tell me what happened in that antique shop.

Professor Osmond allowed us to see the painting alone.

GRANT: I should be used to you dragging me into

strange rooms by now.

What is it this time, doctor?

The portrait of Quentin Collins painted by Charles

Delaware Tate.

Another attempt to prove that I'’m years old, huh?

And you take it as seriously as she does.

AMANDA: Yes. Why?

Have you ever seen that portrait?

Does it look exactly like me?

No I haven'’t seen it, it was covered by a landscape

that Professor Osmond had removed, he'’s now placed it

- on another canvas. - Oh I see.

Two Tates for one, huh?

Commercially, not a bad deal.

And I'’m supposed to stare at it and suddenly say

I'’m Quentin Collins, it all comes back to me now.

This is too insane. No it'’s not.

Believe me.

Alright, my lady, now just what secret do you know?

Both of you.

Well come on there must be one or you'’re both crazy.

You know I should walk right out of this room

and straight out of this house.

No, please, please.

Now you must look at the portrait and let it have

what ever effect it has on you.

You know how vitally important it is to all of us

that you regain your memory.

GRANT: It would seem to concern no one but me, Doctor.

Oh you'’re wrong Grant. JULIA: Very wrong.

You must try to clear your mind of anger and be

as responsive as possible.

Alright, Doctor.

[Ashley screams]

No, no. JULIA: Amanda, Amanda.

[ominous music]