812 - August 4, 1969

[bunniefuu]

[ ominous music ]

NARRATOR:The shades of night enclosed

the Great House at Collinwood

in an atmosphere of frightening unreality.

Strange and terrifying events have happened

and will continue to happen.

On this night, soothed by the strains

of a familiar song, Quentin Collins went to sleep

and began to dream, but what seemed like

an ordinary dream had suddenly turned

into a living nightmare.

[ moans softly ]

[ dramatic music ]

Edward, stop it, stop it!

I'm very sorry, sir, but you shouldn't have

treated me the way you did.

I must make certain that you never do it again.

[ dramatic music ]

[ eerie music ]

Let me go.

EDWARD: No, you would only put me away again.

You don't know what you're doing!

I know very well.

QUENTIN: You're mad!

Goodbye, Mr. Quentin.

[ screams ]

Father!

Father, please don't hurt him, please!

Who are you?

Why are you calling me your father?

Because you are my father.

Well, don't be absurd.

I have no children.

I have no family.

But Father, Father, what's wrong?

What's happened to you?

Will you please stop calling me Father!

What's happened here?

NORA: They were fighting!

Nora, you had best go up to your room.

Let me handle this.

No, I want to talk to Nora.

I suggest you take care of Edward.

TRASK: Take care of him?

I think you know what I mean, Mr. Trask.

Yes, of course.

Come along, Edward.

Certainly, sir.

[ ominous music ]

TRASK: Well, you've certainly made a mess

out of things, haven't you?

I'm afraid so, sir.

Why did you try to do it down here?

Anyone could have seen you.

You're lucky it was only the child.

Why did she insist on calling me her father?

I don't know.

Now come with me.

Where are we going?

You are going back to the tower room.

Oh, but I don't want to!

I must be permitted to perform my duties.

One of your duties here is strict obedience

to the master of this house, is it not?

Of course, sir.

Then you will stay in the tower room

until I give you another chance.

Is that clear?

Yes, sir.

Why was Father trying to hurt you, Uncle Quentin?

Well, he didn't know what he was doing, Nora.

NORA: Why not?

Well, it's rather difficult to explain.

But I want to know.

The way he looked at me.

The way he kept saying he didn't know me.

It frightened me, Uncle Quentin.

Ahh, have you, uh, have you ever read a story

when someone had a magic spell put on them?

Yes.

Well, in a way, that's what's happened to your father.

But who put the spell on him?

I don't know.

Is he going to be all right?

Yes, he is.

In a few days, the spell will end.

But what if it doesn't end?

Then I'm going to do everything I can to see that it does.

Now why don't you run upstairs and go to bed.

And don't you worry about a thing.

Everything's going to be all right.

You just leave it to me.

All right.

Good night, Uncle Quentin.

Good night, Nora.

[ gloomy music ]

There's only one way of ending the madness

that's come over this house.

I have to find Tim Shaw and the hand.

[ foreboding music ]

[ wind whistles ]

[ melancholic music ]

[ telephone rings ]

Mr. Shaw.

Ask her to wait five minutes and then come up.

[ suspenseful music ]

[ knocking ]

May I ask why I have to wait in the lobby

for five minutes before I was allowed to come up?

You may ask anything you like, my dear,

I was busy doing something.

You have more secrets than any man I've ever known.

Are you saying that as a comment on me

or a boast about yourself?

It's just a fact.

But you have known many, many men, haven't you?

You're forgetting our agreement.

The past, beyond two weeks ago, is a closed book.

No questions asked.

But what about now?

How long are we going to be in this dreary little town?

Well, if you've become bored with our little game,

you can go back to New York at any point.

In fact, there's a train leaving in an hour.

[ sighs ] All right, I'll stay.

Don't look so sad.

After all, the last two weeks have been very profitable

for you, haven't they?

New expensive clothes, furs, jewelry.

That's what you wanted, isn't it?

Yes.

And,

it's not as though your services are coming

to me cheaply.

You're being paid quite well.

I know.

And I think you're going to be worth

every single penny of it.

But what is it you're eventually planning

to do to this man?

No more questions, Amanda.

Well, I'm not just being curious.

I'm concerned about you.

Oh, we wouldn't want to lose the meal ticket, would we?

Have you always been that cynical?

Cynical is not the word, Amanda.

I think the more appropriate word would be practical.

We have a very practical relationship.

And let's keep it that way.

Now, you know where you're going,

and you know what you're going to do.

Yes.

Good, there's one other thing I want you to do for me.

I want you to hide this in your room.

Oh, what is it?

It's a box, obviously.

But what's in it?

All right, I'll hide it in my room.

Come back as soon as you can, will you?

I'll be waiting for you.

I'll see you in about two hours.

Well, well, Reverend Trask.

I shall be meeting you on the back road to salvation.

[ dramatic music ]

Now then, Miss Harris.

What's this all about?

Oh, Mr. Trask.

Will you forgive me for disturbing you so late at night,

but if I hadn't come to see you, I would have...

TRASK: You would have what?

k*lled myself.

Come now, my dear.

Come here and sit down.

Now, tell me what's wrong.

I arrived in Collinsport yesterday from New York.

Do you have relatives here?

Oh, no.

I'm alone in the world.

I was running away from a man,

a man I've never been able to resist.

I see.

AMANDA: I made inquiries in the village and learned

that you have a reputation as a good and devout person.

TRASK: I have learned that faith can be the answer

to most human miseries.

I've done so many things I'm ashamed of.

TRASK: My dear young lady.

Oh, I don't deserve to be called a lady,

not the way I've lived.

Miss Harris, no sinner can ever be

completely beyond salvation.

Faith produces miracles.

Do you think so?

I know so.

Now, tell me about this man you're running away from.

He isn't your husband, is he?

AMANDA: Oh, oh no, I don't consider myself

fit to be married.

Oh, now, you mustn't be so harsh on yourself.

Who is the man?

His name wouldn't mean anything to you.

I've never known anyone so cruel and degrading in my life.

He, he's a man who controls people.

He's a very strong person,

not just physically, but mentally.

It's easy for him to impose his will on others.

I couldn't bear it any longer, so I ran away from him,

but now I'm afraid he'll come after me.

Does he know where you are?

He has unbelievable ways of finding things out.

There's something so unnatural about him.

This man sounds like a disciple of the Devil.

Yes, I'm convinced that's what he is.

[ cries ]

I wish I knew what to do.

I can't keep running all my life.

[ sobs ]

I assure you, my dear, you won't have to.

You mean you can help me?

TRASK: If you are willing to help yourself.

Oh, I am, Reverend Trask.

I'll do anything,

anything you ask of me.

It will not be easy, of course.

I intend to give you private instruction,

and that will take time.

My time is all yours.

Good.

Then let us begin now

by praying.

[ somber music ]

Well, well.

Well, aren't you going to introduce me to your friend?

Miss Harris, this is Quentin Collins.

AMANDA: How do you do?

My pleasure.

Our first period of instruction will begin tomorrow.

Where may I contact you?

I'm staying at the Collinsport Inn.

Good, you shall be hearing from me.

Good night.

Thank you, Reverend Trask.

I can't tell you how grateful I am.

Good night, Mr. Collins.

Good night.

You know I never knew your business kept you up so late.

But of course, when business is as attractive as she is,

oh, but then I'm sure that wasn't a consideration, was it?

Why you're just a humble soul saver.

I see no reason to discuss this with you.

Now if you will excuse me.

You mean I'm going to have to find out

about the young lady all by myself?

TRASK: Good night, Quentin.

[ soft dramatic music ]

Splendid.

You were right about him.

He's despicable.

But his very days are numbered.

Now that my night's work is over, why don't we go out?

No, no, my dear, we dare not.

We can't be seen on the streets together.

Now, listen.

I don't mind leading Mr. Trask on or having to endure

this whistle-stop town, but if you think I'm going

to spend my time alone in my room,

then maybe I will go back to New York.

All right, all right.

Don't get so head up.

It's just that I have to be very careful.

Well, are we going out or aren't we?

We'll go for a walk by the docks,

but we can't stay long.

[ suspenseful music ]

I'm not sure I can make it up the stairs.

Why, what's the matter?

I'm weak from all the excitement at the Collinsport docks.

Where are we going tomorrow night,

the local cemetery?

[ suspenseful music ]

TIM: I'm sorry you're bored

but once my plan is accomplished,

we'll have more money than we know what to do with.

Oh, what's happened in here?

Go into your room and see if the box I gave you is there.

Go on, get out, hurry!

[ suspenseful music ]

AMANDA: Here it is.

Obviously, they didn't have time to get to your room.

Tim, what's in that box that-

Never mind!

I told you we shouldn't have gone out.

Someone must have seen us.

Someone wants what I have.

You're not making any sense.

And they'll be back again to get it, too,

but they're going to be disappointed again

because they're not going to find it.

Will you please tell me what you're talking about?

Give me that locket.

But it's mine, you gave it to me.

Tomorrow I'll give you diamonds, now give me the locket!

I'll be back later.

AMANDA: Where are you going?

Amanda, the contents of this box contains our security

for the rest of our lives, if we want.

With it, we can do anything we want.

Without it, [ snaps finger ] nothing.

I'm going to see that it's put in a safe place.

[ knocking ]

Come in.

Tim Shaw!

TIM: Shh, I don't want to wake anyone.

What are you doing here?

They told me that you went away.

Well, I did, but as you see, here I am back.

To stay?

That question I can't answer yet.

Now, I don't have much time, Nora.

Listen to me.

I was talking to Charity downstairs and she said

that it was way past your bedtime,

but I just couldn't leave

without seeing you, so I came up

without permission, understand?

Yes, and I'm so glad you did, Tim.

We're, we're still very good friends, aren't we, Nora?

Oh, yes.

You saved my life, Tim.

I'll never forget you for that.

I was in New York and while there, I bought this.

Oh, it's beautiful!

TIM: I want you to have it.

It's for me?

For you from me.

Something to remember me by.

Oh, Tim, you've always been so nice to me.

Thank you.

Nora, if I were to ask you to do me a favor,

would you do it?

NORA: Yes, of course, what do you want me to do?

There's something very dear to me here.

I wonder if you'd--

Oh, I thought it might be a gift for Jamison.

How is Jamison?

He's not feeling very well.

Oh, I'm sorry to hear that.

Will you, will you hide this for me here in your room?

Why?

I can't answer that just now, but believe me,

I have many very good reasons.

Will you do it?

Sure, I'll be glad to do it.

Is that all you want?

One more thing.

It must be kept a secret.

We can't let anyone know that I've been up here,

or that you're taking care of the box for me.

Promise me that?

Cross my heart.

Good, well, thank you for doing this.

It's, if you could just be sure that it's safe,

anytime I want to get it, you see,

I can just come up and see you and it'll be here.

Well, it's getting very late, so I'm going

to have to rush, Nora.

It's good to see you.

Good night, talk to you again.

Good night, Tim.

[ melancholic music ]

[ eerie music ]

[ dramatic music ]

[ ominous music ]