840 - September 11, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:The turn of the century at Collinwood,

where a woman has journeyed from another time,

from the year , to help her friend.

But unknowingly, she has been betrayed,

and now in a mill near the great estate,

she faces an enemy:

an enemy she has never seen before this night.

Yes, my dear.

This is the source of my power.

I haven't introduced myself since Aristede

so kindly brought you to me.

- I am-- - Count Petofi.

Oh, my fame has preceded me, Dr. Hoffman.

What do you want?

You're a very direct woman.

Tell me, are all women like you in your time?

I'm fascinated by the future,

but I'm beginning to find it rather forbidding.

Everyone who has been there

seems so reluctant to talk about it. Why?

I can force you to tell me, you know.

I dislike using force on such short acquaintance,

but if I must I will.

You see, before this night is over,

I intend to see

what you so recently have seen.

The glories of Collinwood in another time.

I plan to leave this lamentable year tonight,

and you will help me.

[ dramatic music ]

[ waves crashing ]

[ eerie music ]

I don't know why you think I can tell you

how to get anywhere.

[ sighs ]

Must we go through all this?

But I'm a stranger here.

You've memorized your story very well.

Tell me, why is your hair so short?

Is it the fashion in or have you recently

had fever and had it cut off?

I don't need to tell you any of my story.

You're right.

I already know it.

You were found sitting on the steps

of Collinwood wearing a ridiculously short skirt.

From there, you were taken in a state of shock

to the old rectory, where you were assisted by

Barnabas and Quentin Collins.

Quentin told you?

Quentin Collins has the reputation of being

a singularly graceless liar.

No, Dr. Hoffman.

I do not rely on humans for my information,

which is why you will find it impossible to lie to me.

You will help me.

JULIA: I-- I can't.

We shall see.

[ thunder booms ]

I'm afraid we shan't be able to finish our conversation now.

Someone is coming.

Not Barnabas Collins.

Don't be frightened when you find yourself

unable to speak.

I'll see that you can again when I want you to.

[ grunting ]

Now, I think you'd better come with me.

You'll be quite comfortable in here.

I'll see that you are made comfortable.

CHARLES: Petofi? PETOFI:Charles?

Just a moment.

CHARLES:Does he know that when I draw something,

something that doesn't exist, it comes into being?

I have got to find out if he knows.

Must stop these impromptu visits.

CHARLES: Why are you locking that door?

It is no concern of yours.

What do you want?

I came here to talk about me,

to talk about what I was before,

before I met you and you met me.

What were you?

A decidedly mediocre painter.

Look, you said that,

you said the first time I met you that

all I had to do was be loyal to you.

I never allowed you to be disloyal.

Look, I know that somehow, somehow you,

you let me discover the talent I had.

I somehow supplied the talent I found lacking.

All right.

All right, but when you gave me that talent

did you give me any other talents?

I thought one was enough.

What is all this?

You don't know?

I never shall unless you tell me.

We are talking about Amanda Harris.

No indeed we are not, Charles.

We are not discussing romantic nonsense.

Whatever mad coincidental relationship there may be

between your portrait and this girl,

I am not interested.

Amused perhaps, but your romantic life,

Charles, does not interest me.

But don't you want to know?

What could there possibly be new about falling in love?

Now, go home Charles, please.

Go home and dream about Amanda Harris.

[ laughs ]

Why do you stay here?

And what's this game you're playing?

The fallen woman in search of truth?

I didn't say it was that.

I wouldn't have believed you if you had.

But you are here for a reason.

No!

Amanda.

Look at me.

I think you're quite capable of taking care of yourself.

You're strong enough without Trask's prayers.

Do you want me to leave this house?

No, of course not.

I just don't want you to get mixed up with Trask.

Perhaps you're not aware of the way he looks at you,

but I am.

So what are you doing here?

Oh I can't explain it to you.

QUENTIN: Why?

Well, because...

Because it started before I knew you.

It made sense to me then perhaps as much as anything else did.

And it doesn't now?

I don't know!

Oh, please Quentin, let me

figure it out my own way.

All right.

I'll let you.

If...

You meet me tomorrow night, after dinner.

Oh, not here.

No, away.

Away from Trask's prying, huh?

That's all right.

In the garden?

I'll, I'll try.

No, no, no, no, no, none of that.

Do you want to come?

Yes.

Yes I want to come.

All right.

Then you will.

[ knocking ]

That's what I mean.

I'm not going not hide the fact that we're together.

Well, well, well, good evening Mr. Tate.

An odd hour to call, isn't it?

Well I was just passing by the house.

And you were curious to see who was up, huh?

No I saw a light on and I,

I thought maybe Miss Harris would be here.

Miss Harris, I have to talk to you.

It'll only take a minute, it's very important.

I didn't know you two knew each other

well enough for anything to be important.

The Reverend Trask has asked me

to paint a portrait of Miss Harris.

Well this is an ideal time to discuss it, Tate.

What's so important?

The color of her gown?

AMANDA: Please Quentin, will you leave us?

But I don't have any other choice, do I?

Goodnight.

What do you want, Mr. Tate?

I have to talk to you because I know everything.

Because I,

I know why you can't remember anything

before March , .

[ dramatic music ]

- You know about me? - Yes.

Oh tell me, please.

CHARLES: Well it's,

it's not gonna be easy.

Oh please tell me!

Look, the last time I saw you was here, right?

And you told me that you didn't remember

anything before March , .

Well that, that date.

It meant something to me too,

but I didn't know exactly what so I went

back to my studio and I found a painting.

A painting that I did on March , .

The date was right there

on the painting for anybody to see.

AMANDA: Well yes, but what has

the painting to do with me?

Miss Harris,

that painting was of you.

But, you didn't know me.

Perhaps it's someone who resembled me.

No I, I painted a portrait of a face I wanted to create.

A face I wanted to see, your face.

I don't know what you're saying.

What I'm saying is

that when I painted you, you came into being.

You're mad!

CHARLES: Oh look at me.

Do I look mad?

Well if you are, it's the most romantic

bit of nonsense I've ever heard in my life!

Look, I can prove it to you.

Now that night, I went back to the studio and I,

I couldn't get you out of my mind.

Well there's something I do when I want

to forget something.

I start to sketch.

I did a still life.

There were some things on a table across the room

and when I was almost finished,

I thought the sketch needed something to balance it off.

A vase, and I thought it up.

It wasn't on the table, I just

dreamed up a vase and I, I sketched in it.

When I sketched it, that vase appeared on the table!

Mr. Tate you're, you're hallucinating!

I'm telling you the truth and I can prove it, look!

This table.

Now.

There's nothing on it, is there?

AMANDA: Nothing!

I'm gonna sketch a glass on that table.

Now you just look at it.

Mr. Tate, I can't believe any of this.

You need help.

Obviously you're overworked.

CHARLES: Just look at the table.

There.

There now.

Describe the glass that's on the table.

Go on!

There is no glass.

No.

No!

I'm telling you, I sketched it.

I heard about your sketch,

I don't want to hear any more of this!

Listen, you've got to come to my studio now.

You've got to see the portrait, the portrait that I painted.

And the brooch.

I didn't even tell you about the broach.

- Please, you gotta come. - I don't want to!

I'm telling you, you got to come to my studio--

No!

Hey, what's wrong?

Let go of me!

Tate, what'd you do to her?

What I did to her

started the day I met Count Petofi.

- You're talking in circles. - No I'm not.

You'll understand.

Soon enough.

- I don't think so. - Oh yes, you will.

You've dealt with Petofi before.

Soon you're going to be doing things

that you're not gonna even understand.

No, you're not gonna even understand yourself.

[ ominous music ]

You will be able to speak again now.

A woman who won't talk?

Perhaps you'd like a further demonstration

of my powers?

I know how difficult it is to convince a stranger

of one's own determination.

But I have a scent upon me, Dr. Hoffman.

I have enemies.

Enemies I cannot fight. Enemies I must escape.

How did you transcend time?

How did Barnabas Collins?

What is the method you used?

I must know it now!

You see this hand?

Shall I pass it over your face, Julia,

then bring you a mirror?

Would you like not to recognize yourself?

If I cast a spell on you.

JULIA: No, no.

PETOFI: Tell me!

No, no, no!

I Ching.

That's how we came here.

The I Ching.

[ dramatic music ]

[ Petofi clears throat ]

- Admiring yourself? - What are you doing here?

I want a favor.

It's late and I'm tired.

It's a very small favor.

I believe you have some I Ching wands.

In fact I'll wager you even knew Barnabas used it to get here.

Did you?

Did you lie to me about it?

I shall mind it very much if you did.

I guess last night,

they're in the basement of the old house

where Barnabas was when Edward locked him up.

There you are, Petofi, you have your favor.

PETOFI: For the moment.

At least.

QUENTIN: It's the last favor I do for you.

We are finished, through, done.

You can take this portrait and get out.

I don't care what you do with it.

I want nothing more to do with you ever again.

You are a petulant little boy, Quentin.

I am a man who has betrayed a friend!

And who let you kidnap a woman who did nothing to you.

Yes, a conscience can be a very troublesome thing.

Shall I rid you of yours?

Did you hear me? I said get out!

QUENTIN: Or k*ll me.

Because I don't want to spend the rest

of my days doing you favors.

My dear boy, you haven't even started.

Is there nothing I can do to get rid of you?

No.

Then I'll have to k*ll you.

You could try.

There would be punishment for that, too.

An unexpected relapse when you least expect it.

No Quentin, full moon isn't necessary.

It could happen anytime.

I have many powers.

- You won't control me. - I do control you!

We shall meet again, Quentin.

Whatever happens tonight, we shall meet again.

You are a sl*ve, Quentin.

You didn't used to be, but you have become a sl*ve.

I, on the other hand, have always been a master.

[ laughing ]

BARNABAS: You've dealt with Petofi,

soon you'll begin to do things you can't explain,

even to yourself.

You've dealt with Petofi, soon you'll begin

to do things you can't explain even to yourself.

You've dealt with Petofi.

No, no!

You explained it to me, but have you told me everything?

Everything, everything I know, yes.

I think I shall feel quite at home in the unknown.

It's impossible for anyone who's lived

as long as I have to feel very much fear.

I throw the wands on the table.

Yes.

Now you must place them parallel.

How like the Chinese to have made something

so complex on a simple set of wands.

They will form one of hexagrams.

Which is this one in the book?

It's the third one, the cune hexagram.

PETOFI: What does it signify?

There will be great progress and success.

Oh, excellent.

The character cune shows how a plant

struggles with difficulty out of the earth,

gradually rising above the surface.

That is quite perfect.

But, but the top line, it's divided.

The horses of the chariot are obliged to retreat.

There are weeping tears of blood.

We'll hear no more. We can begin now.

And any blood shed here tonight, it will be yours.

Aristede stands guard outside the door.

One move from you and he will k*ll you,

do you understand?

Yes.

You can sit down now and,

and begin to concentrate on the hexagram.

Concentrate deeply enough, you will see a door.

The hexagram will be on the door.

The door will open,

and your astral body will journey through it.

Yes, yes.

Into another time.

I will make it happen.

Count Petofi, what's happening?

Can-- can you hear me?

I can...

hear you.

[ eerie music ]

PETOFI: I see the hexagram.

And the door.

And beyond it

lies the future.

[ hinges squeak ]

[ door squeaks ]

[ dramatic music ]