848 - September 23, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:Collinwood, in the year .

In this time, all those who came near the Great House

fell under the influence of the evil Count Petofi.

On this day, in an abandoned mill

not far from the Collins's estate,

a young man motivated by his own greed,

submits himself to an experiment,

hoping to seek the favor of Count Petofi.

He has placed himself in the I Ching trance,

unaware that he will soon see

a terrifying moment in the future.

[ soft music ]

[ creaking ]

[ soft music ]

[ gasps ]

[ screams ]

[ cries ]

[ screams ]

[ evil laughter ]

[ screams ]

No!

No, you can't k*ll her!

[ eerie music ]

[ soft music ]

[ knocking ]

Amanda, thank god you're here.

What are you talking about? And why are you at Collinwood?

I'll explain later, after I get you safely

back to the Collinsport Inn.

- The inn? - Yes.

Get your clothes together and let's go.

Amanda, you're in danger here.

Believe me, if I had known this, I never would have let you go--

Danger? What kind of danger?

TIM: Someone at Collinwood is planning to k*ll you.

- Who? - TIM: Quentin Collins.

- [ scoffs ] Quentin? - TIM: Yes.

Where did you get such an insane idea?

You wouldn't believe me if I told you. But trust me.

I know what I'm talking about.

Tim, do you know Quentin Collins?

TIM: I've met him a few times.

But you don't really know him.

TIM: I know enough to know what he plans to do with you.

Tim, Quentin Collins is the most...

warm, sensitive, gentle man.

Wow.

You, uh, you seem to have grown to know Mr. Collins

since you've-- since you've been here.

How well, Amanda?

How well?

Come on, I want an answer.

I don't think it's any of your business.

As long as I'm footing the bill,

I think I have a right to know what's going on.

Well, you can stop footing the bill any time you want.

You're right. I was a little brash.

It's just that I... I care for you, Amanda.

You mean a great deal to me.

Tim, if it didn't hurt so much, I'd laugh.

All you want of me is someone you can use.

That isn't so. I really care for you.

Tim, you tell yourself that to ease your conscience.

Be honest with yourself.

You certainly have changed since you came to Collinwood.

Is Quentin responsible for this?

I think you'd better leave.

Are you in love with him?

Answer me.

Yes, I am in love with him.

It would seem to be

rather an exercise in futility, wouldn't it?

What do you mean?

Does Quentin know what you and I know?

Does he know that you came

onto this earth only two years ago?

TIM: Now, be honest with yourself, Amanda.

You have no right to love Quentin without telling him

what you are.

Without telling him that you can disappear

- as suddenly as you appeared. - Disappear?

Yes, you don't know about that, do you?

Well, I do. I saw it.

Saw what?

The man.

The man Tate created out of a sketch of paper.

I saw him die.

Die, Amanda. Would you like me to tell you how?

No!

Well, I'll just tell you anyway. Tate shot him.

And he fell to the floor, and he disappeared.

That man disintegrated into thin air.

TIM: You know why it happened that way?

Because he had no mortality.

And you have no mortality either, Amanda.

You have no right to lead any other life

except the one you are leading now.

Amanda!

[ intense music ]

TIM: Amanda, you've got to come into Collinsport with me.

AMANDA: Would you please leave me alone, Tim?

Just go away.

What's going on here?

Oh. [ sobs ]

What has he done to you?

Oh, get him out of here, Quentin. Please.

I think you'd better be going, Mr. Shaw.

I'll go, Quentin.

I think you two deserve one another.

[ soft music ]

I'll pour you some brandy. It'll help settle you down.

No, I'll be all right in a minute.

Now, what did he say to you that upset you so much?

Quentin, I can't tell you.

Please try to understand and be patient with me.

He didn't thr*aten you in any way, did he?

No, he's...

He's just very possessive.

He thinks because he's the one who brought me

to Collinsport that somehow,

I'm permanently obligated to him.

Oh. Why does my life seem to be so difficult?

It wouldn't be.

If you go away with me.

[ knocking ]

QUENTIN: Stay here.

[ soft music ]

Good evening, Mr. Tate.

TATE: Good evening. I'd like to see Miss Harris.

I'm afraid you can't.

Why not?

Well, I'm afraid she's not up to seeing anyone at the moment.

Well I don't think that's exactly the case.

Well, it is the case.

She's had a very trying experience this evening.

Why don't you just let

the young lady speak for herself?

Mr. Tate, I'm getting a little tired

of you coming around here bothering her.

Oh, God.

Amanda, I have to speak with you.

Let me put it another way, Tate.

You're not welcome here.

Quentin, please don't fight with him.

Mr. Tate, I'm sorry, but I'm too upset

to talk to anyone.

Perhaps if you phone tomorrow, I'll-I'll talk to you then.

Look, Miss Harris, I have to talk to you.

It's very important.

Miss Harris, please. Amanda.

Now, are you satisfied, Tate?

No. No, as a matter of fact, I'm not.

I hadn't noticed that you put Miss Harris

under your protective wing.

You're making a big mistake.

Let me give you a bit of advice.

Leave Collinwood and leave Amanda alone.

I am not concerned about Collinwood,

but I am concerned about her.

She means more to me than she does to you

or anybody else.

QUENTIN: And just what does that mean?

Amanda Harris belongs to me.

She belongs to me because I created her.

[ intense music ]

Would you mind repeating that?

No, not at all.

Amanda Harris belongs to me, because I created her.

And just how did you do this, Mr. Tate?

Well, let's just say it's a... it's a gift, I guess.

QUENTIN: Yes.

A gift that I don't understand.

But I have the power to create things and people

by just drawing them.

Oh, I see.

So one day, you decided to paint the face

of Amanda Harris, and she just...

popped into existence, is that it?

TATE: Yes, that's exactly how it happened.

You're stark raving mad.

You know, I thought you'd say that.

But you'll believe me.

Eventually, you'll believe me.

Tate, I know you're a famous painter and I know

you're in great demand, but don't you think

imagining yourself to be God is going a bit too far?

Oh, you are the very one

who shouldn't doubt my abilities.

Think of the powers in your own portrait.

I'm not sure it has any powers.

TATE: Yes, you know it does.

I only know what Petofi told me.

And what Petofi told you was the truth.

The curse that's on you, Quentin,

has been transferred to that portrait.

And if anything happens to that portrait, Quentin,

you're going to revert to what you were

on the next full moon.

All right.

It may be true about my portrait.

But Petofi was responsible for that, not you.

Oh, no, I painted it.

I did what Petofi wanted me to do, that's true.

But the ability that I'm talking about is right here, Quentin.

Right here in these hands.

[ laughs ]

Does it seem a little more credible now?

No.

It's not the same thing at all.

It's one thing to apply black magic to someone's portrait.

It's quite a different thing to paint someone

and have that someone come to life.

But I've done it.

QUENTIN: Did you tell Amanda any of this?

I told her everything. Everything!

I'm warning you, Tate.

Now if you come back here and bother her again,

I'll have you certified a lunatic.

[ soft music ]

[ door opening and closing ]

[ thinking ]What am I?

Where did I come from?

If Charles did not create me,

why can't I remember my past?

Will I have to go on like this?

Never knowing.

Until one day, I just disappear like that man.

[ door opening ]

I told you, I didn't want to talk to anyone.

Look. I know what you want.

But I can't wait until tomorrow.

Haven't you caused me enough misery?

Look, I don't want to cause you any misery.

Now, you've got to believe that.

What do you want from me now?

I want you to tell me

what you feel about Quentin Collins.

Why?

Will it shock you to find out that your creation

has feelings that even you cannot control?

TATE: Amanda, just tell me. How do you feel about him?

I love him.

No.

No, Amanda, you can't.

AMANDA: But I do.

Well, then, it's impossible.

It's impossible for both of you.

Because I've told him about you. I told him everything.

About how you came into being, and what you are.

No, stop it!

I'll stop it, Amanda.

I'll stop it when you understand

that I love you.

Then please, have mercy on me.

I beg of you.

Destroy me now, the way you destroyed your last creation.

Oh, please, please take me out of my misery.

[ cries ]

[ intense music ]

Amanda.

I don't want to destroy you. Don't you understand that?

I don't care.

I can't go on living like this.

Amanda, when I first started to paint this portrait,

I never dreamed any of this would happen.

All I wanted to do was to...

to paint someone who would reflect my own ideal

of what a woman was.

And I painted your face. Don't you see?

I was motivated by something really beautiful.

I wasn't trying to play God.

And now that I know you exist,

I love you.

Amanda, don't you understand?

Fate brought us together.

You expect me to feel that way

because you decided that fate meant it to be?

Look. You'll feel the same way.

You'll realize someday that you don't--

People don't have any choice about things like--

And what about my feeling for Quentin?

Someday,

someday you'll forget you ever knew him.

Well, that's where you're wrong.

No matter what happens,

I'll love him until the day I die.

All your power and conviction and conceit

can never change that.

Oh, Amanda, you don't even know the man.

I know I love him.

I'm telling you, he's evil.

Now, he'll leave you the way you--

Amanda, he left all the others.

Goodnight, Mr. Tate.

But not goodbye.

'Cause I'll be back.

'Cause Quentin's going to leave you, Amanda.

I assure you of that.

He'll walk right out on you.

Just the way he did all the others.

As soon as he-he understands

that I've told you the truth about him.

[ slams door ]

[ soft music ]

Was that Tate I just saw?

Yes, it was.

What are you doing?

I'm leaving Collinwood, Quentin. Alone.

Why?

You know why. He told you everything.

Oh, Quentin. I wanted to tell you myself--

Amanda.

I didn't believe a word Tate said.

Now, I hope you don't believe it either.

I don't know.

Look. Listen to me.

Now, even if it were true,

it wouldn't change my feelings about you.

But if it were true, Quentin--

- But it's not true. - But...

We would always have doubts.

I wouldn't.

Oh, but, if you ever did--

But I never will.

Now, will you go away with me now?

Huh?

Whenever you say.

All right.

[ soft music ]

In the meantime, I-I think you better...

No. Listen.

There's a train that leaves for New York

at six o'clock tomorrow evening.

And we're going to be on it.

I'll take care of all the arrangements.

But I still think you ought to leave Collinwood first.

Why?

Because.

You have Trask to worry about, and I have Angelique.

We better not see each other for the next hours.

Until everything's ready.

You understand?

- Yes, I'll go back to the inn. - No, no, no.

I have a better place in mind.

The old rectory.

I know the woman who's staying there.

She'll be glad to put you up until you're ready to leave.

I'll meet you at the station tomorrow night

at quarter to six.

- You happy? - Yes.

- You sure? - Very happy.

Positive?

[ eerie music ]

[ thinking ]Amanda Harris is mine, Quentin.

You can try to take her from me,

but you won't succeed.

Not without this portrait.

If the portrait should be destroyed,

you will be cursed again, Quentin.

And if it becomes necessary, I will destroy it.

[ intense music ]

[ eerie music ]