919 & 920 & 921 - January 4, 1970

[bunniefuu]

[eerie music]

VOICEOVER:Not far from Collinwood,

Chris Jennings and the man Julia believes to be

Quentin Collins, have found the recluse

Charles Delaware Tate.

The name of Quentin Collins has opened the door

of Tate's home and brought them face to face

with a strange, incredibly youthful looking Charles Tate,

who insists they keep their distance.

Stay where you are, both of you.

Don't come any closer.

That's right, no further.

Now, let me take a good look at you.

Liar, liar!

QUENTIN: What?

You are not Quentin Collins, you are a young man.

Yeah, and so are you.

I thought you told me he was old?

Yes, yes, old in years.

Old in years, but there are ways of remaining young,

if one has true genius, and one is a true artist.

Isn't that right, Quentin?

You see, I called you Quentin.

I call you Quentin,

because you are merely another example of the genius

of Charles Delaware Tate.

My genius!

Do you know him?

Do you think I'm Quentin?

How could I ever forget you?

What do you mean?

You took Amanda Harris from me!

Who's Amanda Harris?

[laughs]

what's the matter?

Why are you laughing?

[laughing]

It's true love--

Stop that laughing!

You don't even remember her!

[laughs]

Stop it!

[laughs]

TATE: I always knew she was a fool, a fool!

[laughs]

Stop it!

[laughs] Now wait a minute!

[laughs] No!

[door thuds]

[dramatic music]

[waves crash]

[eerie instrumental music]

[dramatic music]

This isn't real.

[tense dramatic music]

It's only a dummy.

All right, all right, I know you're in here,

and I'm not leaving until I find you.

[tense dramatic music]

[gasping]

[crying]

[dramatic music]

Tate?

No.

No, Tate is gone.

Years ago he died,

because I k*lled him

when he got old and ugly.

And I made a new Tate.

A Tate who was young,

young and handsome.

And now,

now he's gone, too.

[crying]

No one's gone, Mr. Tate.

This thing here is only a dummy, you know that.

My creation, my creation,

and you destroyed him.

You destroyed him.

Why did I let you in?

[thuds]

Go away.

I can't go away.

Go away.

Not yet.

I have jewels, I have money.

I'll let you know

where they are. CHRIS: I don't want

your money!

What do you want then?

What do you want?

You must want something.

[tense music]

I want you to paint my portrait.

Paint your portrait?

Yes, the way you did Quentin Collins.

Oh, I know about Quentin, I know about that portrait

you did for him and what it did for him,

how it solved for him the awful agony of the full moon!

Then you're.

That's right!

I'm a werewolf,

and that's why you're gonna start painting right now,

and you're not gonna stop until you finish.

I can't paint anything if I'm a prisoner.

I'm sorry, I,

I've been searching for an answer for so long.

I'm desperate.

I know you're desperate,

but I'm no answer.

That's not true.

I tell you, I can paint, but it won't help you.

It helped

Quentin Collins! TATE: It won't work.

It won't work.

That was before, many years ago.

Things were different then,

there was a power, a force.

CHRIS: I don't believe you.

You don't believe, because you don't want to,

but it's true.

Everything I'm telling you is the truth.

You just don't want to believe it.

Now you can leave this house.

Leave now,

or I'll set my dogs on you.

You've got to try.

I told you I can't paint, and I'm not going to.

And I told you you are!

Get away from me.

What's that?

Does that call somebody in the house?

Or your dogs?

Well, it won't work.

No one's getting in here

until you've done that painting.

I told you, I'm not going to paint.

We'll see about that.

Don't lie, where's the key, where's the key to this room?

I haven't got any key, leave me alone.

Someone like you has a key to everything.

Now give me the key to this room.

[dramatic tense music]

[clanking]

[door thuds]

[sobbing]

Get out your canvas and your paints.

No.

No, I don't have to help you.

Nothing can make me do what you want.

Oh, I think something can.

You've been in this room for a long time, Mr. Tate,

with no concept of day or night,

but outside day and night still exist,

and there's going to be a full moon tonight.

Yes, a full moon,

and I'm not going to leave this room

until you've done my portrait.

If I were you,

I'd finish it before the moon is up.

[dramatic tense music]

[soft instrumental music]

Oh!

Alex, you shouldn't do that to me when I'm working,

I might drop something.

We'll play later.

Oh, I, I thought you were Alex.

BOY: Sure you did, but it isn't.

Alex is gone.

Gone?

It couldn't be helped.

I'm Michael.

[eerie dramatic music]

And after the accident,

there was no one else to look after me,

so I had to come here,

and that meant Alex had to go away.

Oh, Michael, it must have been terrible for you.

MICHAEL: Yes, it was.

But I'm sure your cousins will do everything they can

to make up for your loss

and see you're as happy as you can be here.

I'll be very happy here,

'cause you're here.

[soft instrumental music]

I bet you say that to all the girls.

Don't do that, Carolyn.

CAROLYN: Do what?

Laugh at me.

You must take me seriously.

I do take you seriously, Michael.

I'm sure you and I are going to be very good friends.

I have a cousin who is about your age.

You and he should get on well together,

and there's a little girl staying at our house.

I'm sure you'll like her a lot.

She'll probably make you forget all about me.

You're laughing at me again.

I, I told you not to.

I don't think you're a silly child,

and I'm not laughing at you.

Do you want me to prove it?

MICHAEL: How are you going to prove it?

Do you see that stack of magazines on the desk?

I want you to sort them for me in chronological order.

Now, I wouldn't ask a child to do that, would I?

A child couldn't.

[gentle instrumental music]

[dramatic music]

Carolyn?

CAROLYN: Yes, Michael?

I have a present for you.

Oh?

Hold out your hand and close your eyes.

And you will get a lovely surprise.

Go ahead, hold out your hand.

Only if you promise not to put a snake or a frog in it.

I wouldn't do anything that childish.

Do as I say.

[soft instrumental music]

That's Megan's locket.

No, it's mine.

I know it's Megan's, I recognize it.

It was Megan's.

She gave it to me.

CAROLYN: Why would she give you this of all things?

So I could give it to you.

Michael, you can't give me something

that doesn't belong to you.

How dare you not believe me?

How dare you take Megan's locket?

I'm sorry, Michael, I didn't mean to get angry with you.

It's very generous of you to want to give me a present.

Philip,

I didn't hear you come in.

You and Michael seem quite involved.

Believe it or not, we were arguing

about a present Michael wants to give me.

PHILIP: A present?

Yes.

[soft tense music]

I'll give it back to Megan.

MICHAEL: You can't, she gave it to me.

She may have said something to you jokingly

about giving it to you, but there's no reason.

Yes, there is.

So I could have something to give to Carolyn.

[soft tense music]

Carolyn would be just as happy with an ice cream soda.

I'll even pay my own way.

I guess I should get back to my work.

[soft tense music]

Ask Megan, go ahead,

see what she says.

See whose locket it really is.

[soft tense music]

[wind blows]

[soft eerie music]

QUENTIN: Why did I run away?

Was I afraid I'd k*ll him?

Was I afraid I hadn't?

He'd tell me more about myself.

Who was Amanda Harris?

And who am I, and how did he know me?

Why did he just keep laughing at me?

Why?

[soft eerie music]

CHRIS: Why are you stopping?

I'm stopping because I'm tired and I need a rest.

You can't rest.

Five minutes.

You don't have five minutes.

In a couple of hours the moon will be up,

and then, Mr. Tate.

[dramatic music]

[soft eerie music]

I,

I'm going for a cup of coffee.

Can I bring anything back to anyone?

I'll go with you.

No, you won't.

MICHAEL: I want to.

Maybe some other time, Michael.

I, um, I do have some errands to run this evening.

[bell jingles]

[dramatic music]

She didn't have errands.

She just said it because of you.

No, she said it because of you.

You made her uncomfortable staring at her.

I can stare at her if I want to.

Not yet, you can't.

Michael, I'm doing it for your own good

and for the good of all of us.

Don't rush things.

Let things happen in their own time.

Don't turn away, listen to me.

We've waited a long time

to be able to take our place in the world,

and you have no right to endanger everything

by moving too fast.

And you have no right to talk to me like this.

PHILIP: Yes, I have when you're stupid.

Stupid?

PHILIP: Giving Carolyn Megan's locket was stupid.

When are you going to ask Megan whose locket it really is?

Or are you afraid to?

I'll ask her when she comes home.

When will that be?

It's getting dark.

It's hard to tell how long an auction will last.

Well, here's something easier to tell.

I miss her and I want her here.

She leaves me alone too much.

She only leaves you when she has to.

She didn't have to go to the auction.

Yes, she did.

Michael, we're trying to run a business.

Nonsense!

It's not nonsense.

It's something Megan and I have wanted for a long time.

We'll you'd better stop wanting things.

What I want is all that's important.

PHILIP: We have lives of our own!

Do you really?

Michael.

You've got to try and understand.

We appreciate the honor that's been given to us.

We're doing the best we can.

Are you?

I don't think so.

You only talk to me this way

because I'm not as big as you are.

Well I won't be small always.

Remember that,

because I'm going to.

[footsteps thud]

[soft eerie music]

QUENTIN: I can't go, I can't.

Something is drawing me back to that crazy man

in that crazy house.

[eerie dramatic music]

[soft eerie music]

There, there it's done.

Take it, take it and get out of here.

[groans]

What's the matter with you?

The pain has already begun!

[thuds]

TATE: Take your painting and get out of here.

Can't move!

Can't move!

You must.

[yells]

You must.

Get away from me, don't you understand what's happened?

It didn't work!

[growls]

I told you it wouldn't work.

You don't blame me for that.

Now, I, I did what you asked.

I did what I could.

[groaning] Look,

I'm sorry.

I can't stay here with you now.

Give me your key and I'll-- [groans]

I can't do anything!

Too late!

[chair thuds] [dramatic music]

Help. [Growling]

Help. [growling]

[intense growling]

[screaming]

[dramatic music]

[eerie instrumental music]