837 - September 8, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:Terror spans time in Collinwood tonight,

for in the present,

David Collins has lost his battle for life,

and in the past,

Barnabas Collins is hopelessly trapped

in a cell at the old house,

knowing that there is no help for him in that time.

What he does not know is that Julia Hoffman,

in , has learned of his predicament

and is trying through I Ching

to get back to to save him.

But the corridors of time are treacherous,

and a journey from the present to the past,

as Julia Hoffman will learn,

is filled with terror.

[ eerie suspenseful music ]

JULIA:Empty your mind of everything else.

Concentrate only on the door,

the door that will take you to the past,

the door that will take you to Barnabas.

Concentrate, concentrate.

[ eerie suspenseful music ]

The door must open, open.

[ door creaks ]

[ eerie music ]

[ door creaks ]

[ eerie music ]

[ door creaks ]

[ eerie music ]

[ door creaks ]

[ eerie music ]

[ eerie vibrating tones ]

[ door creaks ]

[ thuds ]

[ eerie music ]

Barnabas!

Barnabas!

Barnabas!

Barnabas!

Who is it?

- JULIA:Barnabas! - Who's calling?

JULIA:Barnabas!

- Barnabas! - Where are you?

What do you want?

JULIA:Help!

Who is it?

[ Julia screams ]

Who is it?

[ eerie music ]

BARNABAS:Who's calling me?

Who wants help?

Barnabas!

Barnabas!

[ moans ]

[ dramatic music ]

[ gentle chiming music ]

[ footsteps tapping ]

Ah, it's only you.

I was hopin' it was Quentin.

Needed this to warm me.

On a night like this?

Well, when you're bearin' the kinda news I got,

it puts a chill on the night, let me tell you.

I'm sure what you've got to tell Quentin

can wait til tomorrow.

Oh, no.

No, tomorrow will be too late.

Well, there's no telling when he'll come home.

Where is he?

I haven't the faintest idea.

I haven't been too successful as my brother's keeper.

Well,

he's got to come back here sooner or later.

Well, he's been known to stay away from home

for more than one night.

However, that's his business, not mine.

As for my part, I'm going to sleep now.

I said I'm going to sleep.

G'night, love.

Well, what I really mean is I would like you to leave.

Go.

I got to wait for Quentin!

Whatever for?

You've been waiting for hours, it's past midnight!

I know.

It's the day.

What day?

It's the th of September,

the day Quentin is going to die.

[ Edward scoffs ]

You know that as well as me.

You was here when I had my vision.

Oh, it was grim, gruesome!

And it's going to happen,

unless I get to Quentin to tell him to take care.

Is that what you're waiting here to tell him?

Of course, it is. What did you think it was?

Well, frankly, I didn't know. I find your thought patterns

a little difficult to follow these days.

Well, now ya see,

and now ya know how important it is

that I just keep waitin'!

What you got to do is get out of here.

Now, come on, get out!

CHARITY: No, I gotta stay until I see him!

EDWARD: It's late and you're going home.

Then tell him to come into town,

to the Blue Whale, I'm workin' there now.

Tell him I got to talk to 'im.

All right, I'll leave him a note.

You will?

EDWARD: I said I will, let's leave it at that.

[ gentle chiming music ]

Ah, yeah,

you ought to come down to the Blue Whale too, sometime,

love, catch my act.

Do ya some good to get out of the 'ouse once in a while.

[ snaps ] Keeps ya snappy,

if ya know what I mean.

[ giggles ]

Well, g'night, love.

I'm glad ya finally got 'round to listenin' to me.

[ screams ]

Aye, love, ya gotta come 'ere!

There's somebody in your front door!

What's the matter? Who is this?

I don't know.

I just seen 'er lyin' here.

Is she,

is she dead?

No, she's alive.

CHARITY: Why's she dressed like that?

I don't know.

CHARITY: I never seen nobody dressed that way before.

It ain't hardly decent.

Miss! Miss!

We've got to get her inside.

I know who she is.

EDWARD: You do, you know who she is?

She's the one what's goin' to k*ll Quentin.

EDWARD: Oh, now look here!

She's got doom and disaster

written all over her face!

Can't you see it?

Here, now let me help you.

Do you think you're strong enough to stand up?

We'd better get you inside.

No, no, you can't take her inside, love.

Well, we obviously can't leave her out here.

But then you'll have to call the coppers.

Not until I've talked I've talked with her first.

No, don't let her near Quentin!

I'm sure you shouldn't keep your

admirers at the Blue Whale waiting any longer.

Now, I'm going to look after this lady, good night!

No, love, ya can't keep playin' me!

I didn't make it up, I promise I didn't!

I seen it in her face, love, it's in her face!

- She's gonna k*ll him! - I said good night!

Poor Quentin, please!

[ sobbing ]

[ eerie suspenseful music ]

Now then,

can you hear me?

Can you understand what I'm saying?

Why did you come here?

Who are you?

Where have you come from?

[ dramatic eerie music ]

Miss, do you know where you are?

Have you any idea?

You're at Collinwood.

Did you intend coming here,

or was it some accident that brought you to our door?

Can you understand what I'm saying?

Speak, if you can.

I speak.

Good.

Now then, I will ask you again.

Who are you?

The shapes

kept whirling faster and faster.

What shapes, what kept whirling?

I don't know.

Did you--

Everything went by so fast.

Did you meet with some accident?

Oh, I'm sorry, I, uh,

I didn't realize you had company,

and at this hour of the night.

Quentin, come in here.

Edward, who is she?

I've been trying to find the answer to that

for the past half hour.

I've never seen anyone like her in my life.

EDWARD: You've traveled more than I have,

have you ever seen anyone like this?

Not even remotely. Where'd she come from?

Well, she collapsed at the door.

- She's in a state of shock. - You've got nothing out of her?

Only nonsense. I'm going to call Dr. Brooks.

I want you to wait here with her.

All right.

[ eerie suspenseful music ]

Hello.

So you're not in the mood

to tell me anything about you, huh?

Perhaps I can find something that'll talk for you.

Ah-ha.

Now, now, now, now, now, look, hey,

I'm not gonna hurt ya. I'm only trying to help you.

Now, I'm only trying to help you.

Now, I know it's not polite to look at other people's letters,

but I have to in this case.

Now, I promise I'll give it back to you

just as soon as I find out about you.

[ dramatic music ]

BARNABAS:My dear Julia.

Are you Julia?

[ dramatic music ]

I am writing this letter

on the th day of September

in the year .

But that's today.

Why is this paper so old?

I am locked in the cellar of the old house.

In another eight hours, I will die.

Who's this from?

[ dramatic music ]

Your good and devoted friend,

Barnabas Collins.

Why are you carrying a letter from Barnabas?

[ dramatic music ]

It is my fervor and hope

that this letter will survive time

and be brought to your attention in the year .

[ dramatic music ]

In order that you may know why my mission to the past

was a failure.

I learned only during the past hours

that on September the th, Quentin,

Quentin Collins will die.

It was prophesied three events would happen

before his death.

Two of them have, only the third remains,

his rejection by Jamison.

EDWARD: Dr. Brooks said he would get here

as quickly as he could.

Well, uh, you're so kind, Edward,

to be so concerned about a stranger.

Well, I don't think that she's an ordinary stranger.

Maybe you're right.

If you'll excuse me, I've got to go.

Go where?

Oh, uh,

I have an engagement in town.

Well, I think you should stay here.

Why?

Well, to find out what Dr.Brooks says about this woman.

You can tell me about it in the morning.

[ door clicks ]

JULIA: Afraid.

What?

What's that?

You said afraid, Miss.

Afraid of what?

Of whom?

Please, can't you think?

[ eerie suspenseful music ]

Julia, will you ever see the letter in this desk?

[ footsteps tapping ]

Who is it?

Is that you, Edward?

Have you come for the k*ll?

QUENTIN: It's not Edward.

Quentin, how did you find me?

I'll tell you that in a minute.

Yes, you're right.

We do not have much time,

at least until we get away from, from Edward.

Edward won't be here for a little while.

He, uh, is tied up completely at the moment.

With what?

I'll tell you that also in a minute,

just as soon as you tell me

the meaning of this letter.

[ dramatic music ]

[ suspenseful dramatic music ]

Where did you get this letter?

From a woman who is now at Collinwood.

A woman?

A very strange woman.

Strange in what way?

Very oddly dressed,

and her behavior is quite peculiar.

So hers was the voice I heard calling me.

What did she say about herself?

Not much of anything.

She's in some sort of shock.

Edward's with her now, waiting for the doctor.

Edward?

Oh, my God.

Barnabas, who is she?

Her name is Julia Hoffman.

She has come from my own time.

Your time?

Well, now,

that does explain some things, doesn't it?

But how did she come here,

and how did she have a letter written from you?

I'm not sure,

but you must get her, I must talk to her at once.

I'll bring her here,

just as soon as you answer a question about that letter.

- Well I will if I can. - You can, you wrote it.

You wrote that I'm supposed to die

on September th, today.

Yes.

Now just how did you arrive at that day?

How do you know it's going to happen?

Magda told me.

It seems that Charity Trask had a vision.

A vision?

Well, don't take it so lightly, Quentin.

[ laughs ]

Barnabas, that girl is completely mad,

and I'm surprised you believe anything she'd say.

I suppose the prophecy about Jamison rejecting me

is her's too, huh?

A few months ago,

Jamison had a dream.

In it, he learned that three things would happen to you

before you died.

Well, one,

the silver b*llet would be brought to Collinwood.

I remember the night.

And then someone who could help you would die.

Julianka could have helped you, and she was m*rder*d,

so that's two things have already happened.

But the third thing won't happen.

Jamison would never reject me.

So, you have a long life ahead of you, Quentin,

but predictions somehow have a way of coming true.

That one won't.

Barnabas,

how soon after the third event happens,

am I supposed to die?

Very soon.

I see.

Let's get you out of here.

[ keys clank ]

I'll bring Julia Hoffman.

Where will you be?

- [ clanking ] - The old rectory on Pine Road

will be it, I'll wait for you there.

Good.

Make sure that Edward

doesn't see you bring her out of Collinwood.

I don't want him to know

that there's any connection between us.

Trust me, he won't know.

It's going to be a generally disappointing evening

for Edward, isn't it?

[ dramatic music ]

Do you feel any different?

Do you feel any better?

The doctor could find nothing wrong with you, you know?

Well, you've come back from your engagement?

- Yes. - Good.

I'm glad you're here.

Oh, well that's a sentiment you rarely express.

Well, for my part,

I have a pressing engagement myself.

Oh, where are you going?

Well, I'll tell you later, let's leave it at that.

All right, let's.

While I'm gone, I want you to keep an eye on her.

Oh, I've had one of the servants

round up some suitable clothes for her.

You do think of everything, don't you, Edward?

Well, I try to.

I wonder why she's dressed that way, most peculiar.

Good bye, brother.

Ah, enjoy your rendezvous, eh.

- Hmm. - Mmm.

[ suspenseful music ]

- Julia, Julia! - [ door thuds ]

Now, you've got to come with me.

Now, come on, get up.

I'll help you.

I'm going to take you to a friend, Barnabas.

Barnabas!

Barnabas.

Barnabas

is at the Old House.

No, no, no, no, Barnabas is at the rectory.

He's waiting for us at the rectory, come on.

[ dramatic suspenseful music ]

[ clanking ]

My God!

He's gone!

He can't be gone!

He can't have gotten away!

[ door thuds ]

Not by himself.

[ dramatic suspenseful music ]

[ knocking ]

Quentin!

QUENTIN: Yes.

Julia!

I don't think she recognizes you.

Perhaps the journey through time

has been too much for her.

[ door thuds ]

[ dramatic music ]

But we must question her,

we have so little time to find out.

Find out what?

Why, and when, and who should k*ll you.

I have a feeling that,

that Julia when,

when she saw the letter she knew

something about your death that was so important

that she risked coming through time to tell me.

Yes, but what?

I don't know.

I'm really not sure.

Somewhere locked up in her mind

she knows something that we must know

before it is too late.

You're really convinced that that something's

going to happen to me, aren't you?

Yes, I am.

Now, what is it, Julia?

[ dramatic music ]

Try to tell us.

Try to remember.

Think to where you came from,

what you knew there,

what you must remember.

I'm sleepy, I--

I want to go to sleep.

[ dramatic music ]

I cannot force the knowledge from her,

even if I had the time, which I don't.

I must go now, right now, it's almost dawn.

Dawn

of September th, .

Stay with her.

When she awakes, perhaps she will remember.

And if she doesn't remember?

And if Charity is right?

This could be the last time we two shall see each other.

[ dramatic instrumental music ]

[ eerie music ]