282 - July 25, 1967

[bunniefuu]

[narrating] - We are constantly searching our memories.

searching into the past for moments

that will reveal aspects of ourselves

that have become clouded over by time,

and by our fears.

And it is from the fragmented memory of a patient

that a tale of horror and death will be pieced together.

- I can't seem to remember anything.

- Don't worry about that.

It isn't necessary, at this time,

to remember things specifically.

Today, I would like you to concentrate on sense memories.

- What do you mean? - Memories of the senses.

Things we-- we've touched, or heard.

Things we've tasted and liked or disliked--

the cold, the heat. [sighing]

What I'd like to hear is your impressions

of these things today.

Things that you-- that made you happy or sad,

things that you-- that pleased you or angered you.

- Nothing seems to have pleased me or made me happy.

Everything is sad, and dreary, and... cold.

Yes... it's cold!

- Try to describe this feeling of cold.

- Everything around me is cold.

Wait...

I think I hear some music.

- Tell me about the music.

- It's the music.

- Do you recognize the melody?

- No.

It's just a-- a tinkling kind of music.

It's way off...

just a tinkling sound way off in the distance.

[music box playing]

♪♪

♪♪

[music box playing]

- Oh, there you are, Vicki.

- Good morning, Mrs. Stoddard.

- I've been looking for you. How are you this morning?

- I'm very well, thank you.

- What's that?

- This is the loveliest music box I have ever seen.

- It's beautiful.

- Listen to it.

[music box playing]

Have you ever heard a melody quite like that before?

- No, I haven't.

It seems in perfect condition, even though it is very old.

The tone is so precise.

[music box stops]

Where did it come from?

- Barnabas Collins gave it to me.

- Barnabas? When?

- Last night.

- I-- I don't remember.

- Well, he came by the house after you had gone to bed.

He was very upset about the séance and--

and what I had been through.

- Oh, how very thoughtful of him.

- I didn't want to take it, but... he was so insistent.

I'm going to treasure it, always.

I hope you don't mind my accepting it.

- Why should I mind?

- Because it's a Collins family heirloom.

- Oh?

- It belonged to Josette Collins.

- It was Josette's? - Yes.

Mr. Collins found it and--

and restored it to perfect condition.

- I see.

Of course, I don't mind your having it,

and I'm glad it's giving you so much pleasure,

but it seems to me that suddenly you have been getting

an awful lot of Josette Collins.

- What do you mean?

- Oh, just a feeling I have.

You wore her dress to the party last night,

and now this gift.

And what bothers me the most is that

she chose you to speak through last night at the séance.

- Well, it's happened before.

- I know, and it concerns me.

I, um...

looked for you in your room. I wondered how you were feeling.

- I'm feeling fine, thank you.

No-- no bad side effects from the séance,

if that's what you mean.

- We have had enough séances

and calling back of the dead and searching for ghosts.

It's very upsetting.

Well, look what it's doing to you, for example.

Last night, you imagined

you saw a little child on the stairs.

- Yes, but that was my imagination.

And I know why I thought I saw that little girl.

You see, the day that Mr. Collins and I went through

the trunk of old clothes to find the costumes,

I came across a dress that had belonged to a little girl,

the daughter of Naomi and Joshua Collins.

- Oh, well, you-- you must mean Sarah Collins.

- Yes. That's who it was.

- Well, Sarah Collins was the sister of the first Barnabas.

- Mm-hmm. I suppose that's--

that's why it made an impression on me.

And then with the excitement of the séance and the wine...

well, when I looked up that staircase

I could have sworn I saw a little girl in that dress.

But it was just my imagination, and that's all there is to it.

- Vicki, you're a very sensitive and vulnerable girl,

because you have no connection with the past.

Just be careful you don't imagine one that doesn't exist.

[music box playing]

♪♪

♪♪

- Tell me more about the music.

- I don't know what to tell you.

- Well, would you describe it as fast or slow?

- Not too slow.

- Would you say it was modern music?

- I think it's old.

- Does the music suggest anything to you?

- No.

- Try-- try to listen to it.

Try to hear it more clearly.

- I'm trying but I-- it's so vague!

It's distant, it just echoes and echoes and echoes.

- Can you tell what instrument is played?

- I don't know.

- Would it be a piano?

- No.

- A violin, then?

- No. It's-- it's just a--

a tinkling kind of sound.

It just tinkles.

- Tinkling, like bells perhaps?

- Yes.

Like bells.

Bells that are ready to shatter.

- Very delicate, fragile music.

- As though they break into tiny pieces.

- [sighing]

Does the music mean anything to you?

- No.

- But does it make you happy?

- No. It doesn't!

It frightens me.

- Why does it frighten you?

- Because I keep hearing it. I keep hearing it!

I don't want to hear it. I don't want to hear it!

Stop it! Stop it!

I don't want to think about it!

- You have to think about it.

You have to know why it upsets you, why it frightens you.

It means something, Maggie, something very important.

- I don't know! I don't know.

- You must try to relax.

And tell me the things that come into your mind.

- Something else.

- What is it?

- Something in the air...

like an aroma of some kind.

- Do you like it?

- Sweet.

It's very sweet.

- Sweet, like-- like a flower?

- I don't know.

I don't know.

- Does it please you?

- No. I... don't think it's a flower.

- Why do you say that?

- Because... it's supposed to mean something else.

- But what could it mean?

- I don't know.

But there is something about it that I don't like.

It frightens me!

- Frightens you? Wha-- what could it be?

A sweet aroma that you're frightened of.

It seems strange, doesn't it?

- Something bad.

Something bad!

- Music and an aroma.

And both experiences seem to be bad ones.

They both seem to frighten you.

Can you describe the coldness that you felt?

- I still feel it. It's all around me.

- Close your eyes, Maggie,

and try-- try to recall the past.

Now, do you see anything, Maggie?

Tell me. Tell me what you see.

- I see shapes, uh... forms.

- What kind of forms?

- Tall.

They're towering over me.

- What place is this you are seeing, Maggie?

- I don't know, but I see these--

these forms, all around me.

- Tell me more about these forms.

- I think they are white.

- Can you-- can you reach out and touch one?

- Yes. Yes, I can.

It's-- it's cold...

hard.

It's like stone.

It's like stone!

There's writing on them.

- Could it be a gravestone?

- I--

- Maggie, are you in a cemetery?

- Cemetery? A cemetery!

I'm in a cemetery!

♪♪

♪♪

- I could have carried it up here.

- Oh, no, that's all right.

I wanted to bring it up myself.

I pressed out all the wrinkles,

so it's in perfect condition.

- Well, you didn't have to do that.

- I wanted to.

I love this dress and I loved wearing it.

- You did? - Mm-hmm.

Anybody would.

Where should I put it?

- Well, uh, just put it down anywhere.

- I can't put it down anywhere.

Where were you going to put it?

- Well, back in the trunk, I guess.

- Oh, no, it shouldn't go back in that old trunk.

- No reason for it to be anywhere else.

- But it should be here, in Josette's room.

- Okay, you put it down somewhere

and I'll hang it up later on.

- All right.

There.

It looks so beautiful lying there.

It looks like it's waiting for Josette to come in

and put it on and wear it to some fine party somewhere.

- Yeah, that's what it looks like.

- Is Mr. Collins here?

- No, he's not. - Oh.

When will he be back?

- Tonight sometime.

- How is he feeling?

- All right, I guess.

- He was very upset from that party, you know.

- Oh, yeah, it bothered him for awhile.

He didn't say much. He kind of stayed by himself.

- I was so stupid!

- What do you mean?

- I shouldn't have said that about seeing the little girl.

It upset him so much.

- Yeah, it did.

- Did he say why it upset him?

- No, not a word.

- It's all my fault.

I ruined that party. - No, it's not your fault.

Now, that's just the way Mr. Collins is.

He's, you know, kind of strange about that stuff,

you know what I mean?

- I-- I think so.

You know, he came to see me last night.

- Last night?

- Mm-hmm, after the party.

- You mean he went up to Collinwood?

- Yes. He was very apologetic.

Oh, Willie, he gave me the most beautiful present

I've ever been given.

- What-- what present did he give you?

- Josette's music box.

- Her music box?

- Oh, it's so beautiful.

- Yeah, it is.

- I listened to it before I went to bed last night.

Then, this morning I...

I sat listening to it for hours and hours, I--

- Well, you-- you shouldn't do that!

- Why? - Why? Well...

well, it-- it-- it's an old music box.

It might get worn. It's--

You might not be able to get it fixed.

- Oh, Willie, I'll be careful.

To think that she...

she sat and played that music box

right here in this room.

She has become a very real person to me.

Her perfume.

Jasmine.

I'm very glad that for one night,

I could wear her dress and, in a sense, be her.

And now I've been given something that belonged to her.

And I can sit and listen to it,

and maybe even have the same thoughts that she had.

- Mr. Collins was saying we should have waited

until tomorrow for the party.

- Why?

- Because tomorrow is Josette's birthday.

- Her birthday?

- Yeah.

He was saying that it was on her birthday that...

she was given the music box.

- And now, it's been given to me.

That makes me feel even closer to her.

♪♪

♪♪

- Oh, Mrs. Stoddard, I was wondering

if I could speak to you for a minute.

- Of course.

- I would like to have about an--

an hour off tomorrow afternoon, if I could.

- Certainly.

- Thank you.

I have something very important to do.

- Important?

- I found out that tomorrow is Josette's birthday.

She's been very important to this family,

and I think it's high time somebody did something for her.

- Such as what?

- I'd like to put some flowers on her grave.

- Well, you're not serious?

- Yes! I really am.

- Well... Vicki, I wish you wouldn't.

- Why?

I don't think anybody has put any--

any flowers on her grave in generations.

You were right that I--

I have nothing to cling to, no past and no family.

Well, Josette has become very important to me.

- Vicki, I-- I can't ask you not to go,

but I wish you would reconsider.

I see you drawing farther and farther away from reality.

- Mrs. Stoddard, I can assure you, I'm not doing that.

- I-- I don't want you walking around that cemetery alone.

- Well, then, I won't go alone.

I'll ask someone to go with me.

I'll ask Burke.

- I wish you would change your mind.

- No.

I must go there.

I have to put flowers on Josette's grave.

♪♪

- Feel better?

Good.

You have made tremendous progress today.

You have remembered many things.

- Have I? - Yes.

You have remembered coldness,

you've remembered a melody, a fragrance.

All these things are very important.

But more important...

you remembered a place, a specific place.

- A cemetery.

Why would I remember a cemetery?

- Well, you were found wandering in a cemetery once.

- I don't know. I-- I don't remember.

- You were found in the cemetery

at the beginning of your illness.

Something must have happened there.

- I don't know what happened.

I-- I can still see the image of those graves.

- What's the matter?

- I feel frightened.

- You shouldn't. You should feel encouraged.

The fact-- the fact that... [sighing]

this frightens you

indicates a possibility of the return of your memory.

We must do everything and everything and anything we can

to hurry the day that you can remember

the story of the real Maggie Evans.

You want that day to happen, don't you?

- Yes.

Yes, I do.

- [sighing]

I think there might be a way to help us to that day.

- What do you mean?

- What if you were to see that cemetery again?

- See it?

- Yes. What if you were to go there?

- I don't know.

- It could be a big and important step.

It would make things happen faster.

- I don't want to see it.

I don't want to go to the cemetery.

- Can't you see that your very fear of it

is the reason that you must face it?

- I don't want to face it!

I don't want to go there!

- Even if it would help you?

- Please! Please don't take me there!

Don't take me there!

Please! Please!

♪♪

♪♪

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