294 - August 10, 1967

[bunniefuu]

♪♪

- There is a terrible secret at Collinwood.

It is the secret of one

who must forever walk the night,

of one who has already struck terror

into the heart and mind of an innocent girl.

But there are barriers that have kept the secret

from being known,

barriers that have kept the girl

from revealing the evil that threatens many others.

- [sobbing]

Somebody...

If only there were just anybody to help me.

I just want to go home.

Somebody...

I just need... somebody.

I want to go-- I want to go home.

- Maggie?

♪♪

- Who is it? - It's me, Sarah.

- Oh, Sarah!

- It's your very best friend.

- You're really here.

- Of course I am.

I'm sorry I took so long,

but I didn't know where to find you.

I just kept looking.

I just kept listening so very hard,

and I began to hear you.

And I found you at last,

and I'll help you go home.

- Oh, Sarah.

Oh!

♪♪

♪♪

- What a funny room.

I don't think I like it very much.

- Sarah, you will help me go home?

- Yes, of course.

I was lonely without you,

even though I made another friend.

His name is David.

- David? - Yes.

He was a very strange boy, though.

He said you were dead but I knew you weren't,

and I was right.

And you were just lost.

- Sarah, how will you help me go home?

- I can do it.

- How? The doors are locked

and-- and the window is barred.

- Every door is locked,

and every door has a key to it, doesn't it?

- Yes.

- Well, where's the key to this one?

- [sighs] Ms. Jackson, the nurse outside, has it.

She keeps it on a ring,

and the ring is on a-- a chain,

and the chain is on a belt.

- The ring is on a-- The key is on a ring,

the ring is on a chain,

and the chain is on a belt,

and that's how Maggie's going home.

- I don't understand.

- I do. I'll show you how to go home.

- How?

- But you have to promise me something.

- What is it?

- That you do just what I tell you.

Promise? - All right, Sarah.

I'm not even sure I want to go home.

- Of course you do. You said you did.

- Those bars keep me locked in,

but they also keep other things locked out,

things that I'm afraid of.

- I told you, don't be frightened.

I'll take care of you,

and I'll show you how to go home.

- All right, Sarah.

All right.

- Oh, wait a minute.

Come on.

You're gonna call the nurse.

Go ahead, call her.

- Ms. Jackson? - Louder.

Come on, louder.

- Ms. Jackson?

Ms. Jackson!

Ms. Jackson?

Ms. Jackson.

- ♪ London Bridge is falling down ♪

- What's going on? - ♪ Falling down

- Who are you? - ♪ Falling down

- I asked you who you are... - ♪ London Bridge is falling down ♪

- ...and what are you doing in here.

- Where's Maggie Evans? - ♪ My fair lady

- Oh. - ♪ Take the key and...

- Maggie? Maggie?

Maggie?

[groans] You helped her escape.

Just wait till I tell...

♪♪

- May I congratulate you on your good taste, Vicky.

It's a most beautiful old house.

- Thanks to the moon for providing such a lovely view of it.

- Shall we go inside? - Oh, yes.

- Oh, by the way, I-- I haven't seen that No Trespassing sign

you were talking about.

- Why, it's right over there,

beyond that stone fence.

- You must have the eyes of a cat, Mr. Collins,

to be able to see that well in the dark.

I can't even see the stone fence.

- It's a matter of conditioning, Mr. Devlin.

A matter of conditioning.

Well, shall we go?

♪♪

♪♪

- If you hadn't thought to bring these candles,

we wouldn't have been able to see anything.

The whole trip would have been a waste.

It's so beautiful.

Oh, Burke, I want to go all over the house,

up to the attic, everywhere.

- I don't think that's a very good idea.

- Why not? - Well, because, in an old place like this

the plaster could come down or the floorboards could fall through.

You can't tell where the danger might be,

especially by candlelight.

- Well, your caution is admirable, Mr. Devlin,

but the house seems in excellent repair.

- Yes, I think that Barnabas is right.

- I don't know. Candlelight can be very deceptive.

We'd better take another look at it in the daylight.

- Well...

maybe we could drive back tomorrow.

- Maybe.

- You'll join us, won't you?

- Well, at the risk of disagreeing with Mr. Devlin,

I happen to think that we're looking at the house

in exactly the right way:

by moonlight and candlelight.

In its most festive moments it was lighted by candle.

Perhaps for a party or for an evening musical.

One could almost hear the musicians playing.

- Whoever put this place together

sure knew how to build a house.

Why, you think it was built yesterday.

- Well, perhaps the past isn't so far behind us

as we sometimes think.

- Well, whoever it was they did a very good job.

You've found yourself quite a place here, Vicky.

Oh...

and here's the famous view of the sea,

where you see-- saw the three-masted schooner

carrying the master of the house and his bride from Barbados.

- Please, Burke. - What's the matter?

- Don't tease me about it.

- [scoffs] After the way you put me on about it?

- Well, it's one thing to talk about it up at Collinwood,

and quite another to talk about it here.

Here it doesn't seem like a story.

It seems real.

I-- I want to know all about the people

who built this house and lived here.

- Sometimes that isn't always a good idea.

- Well, I don't care. I have to.

Burke, you said that this house was solid.

Let's go up to the attic and--

and see if we can't find out something about them.

- Well, now I don't think that's a very good idea.

- Oh, I can't bear to see you disappointed, Vicky.

I have a suggestion to make.

I am more accustomed to candlelight than most people.

- All right, what do you plan to do?

- Well, I suggest that I go up and see what I can find.

I'm not so dependent on the sort of artificial light

that most people need in order to see.

Perhaps I'll find you something from the past.

- Would you?

Oh, thank you.

- It is my pleasure.

- Hey...

let's forget about presents from the past, shall we,

and think about the future of this house.

I have a feeling it could be a very rosy future,

if we let it.

♪♪

- Sarah...

I'm afraid outside here.

I can't help it, I-- I just am.

- Don't be afraid.

I'll take care of you,

and I'll take you home.

- Sarah, you're not going to leave me alone, are you?

- Oh, no, I'd never do that.

- You know, Sarah, there's something that I don't understand.

- What is it?

- Well, in the hospital room,

there were bars on the windows and the door was locked.

Now how did you get in?

- Do you really want to know?

- Yes, I do.

- The same way I got out.

- All right.

But when I left the room,

I locked you in with the nurse.

Now how did you get out?

- Same way I got in.

- [laughing] Oh, Sarah.

You know, you're a funny little girl.

- I never heard you laugh before.

You should do it all the time.

You have a nice laugh.

- Oh, Sarah, thank you.

Thank you for helping me get home.

- Why don't we sing as we walk down the road?

It might make the time go faster.

- All right.

- Come on.

- Okay.

- ♪ London Bridge is falling down ♪

- ♪ Falling down, falling down ♪

♪ London Bridge is falling down ♪

♪ My fair lady

♪♪

♪♪

- I think we ought to start heading back to Collinwood.

- Already? - "Already?"

We've been here over an hour.

So come on, gather up your eager chum Barnabas

and let's be on our way.

- All right.

I'll call him.

Barnabas?

Barnabas?

Wonder where he could have disappeared to. - Who knows?

I told him it wasn't a very good idea to go upstairs.

He probably locked himself in a secret room.

- Oh, do you think that there really are secret rooms up there?

- I don't care, I just wish he'd get back here.

- I thought you said you liked this house.

- Well, I do like it,

as a potential place to live in someday.

I don't like it at the moment.

Ooh, you were right.

The chilliest house I've ever been in.

- It probably has something to do

with the wind coming up from the water.

- Maybe so.

Well, I can fix that with central heating.

- Oh, no.

It would be a shame to change this house in any way.

- Why?

- Well, I-- I don't think that the people

who built it or lived here would like it.

- Vicky, the people who lived here are long gone.

- I think Barnabas likes this house more than you do.

- Well, the trouble is he likes all the wrong things about it--

the darkness and the-- and the shadows, the chill.

I'll be he's just crazy about the chill.

- Oh, don't get so annoyed. - I'm not annoyed.

I just want to get out of here

and I-- I resent having to wait for him to go.

- I think this house makes you nervous.

- It does not make me nervous.

I feel fine about it.

You know what I think?

I think we ought to leave Barnabas here

and let him hitch a ride back to Collinwood.

- We couldn't do that. - [chuckling] Why not?

- Burke, that would be a terrible thing to do.

[footsteps]

Here he comes.

- My dear, I'm terribly sorry to keep you waiting,

but the upstairs is every bit as attractive as the main floor.

I wish you could have seen it with me.

- Well, perhaps I can see it tomorrow.

Burke is very anxious to get back.

- Ah, yes, Mr. Devlin is a man

who has very little patience with the past.

- Come on, let's get out of here.

- Oh, Vicky...

I have a present for you.

- Present? What is it?

- It's a lady's handkerchief,

embroidered by hand.

- Where did you find it?

- In a little isolated room upstairs.

- It's got a monogram.

"F. McA. C."

It's beautifully done.

I wonder who it belonged to.

Thank you, Barnabas.

But do you-- do you think it was all right to take it?

- Of course I do.

Whoever it was, or wherever she might be,

I'm sure she'd want you to have it.

♪♪

♪♪

[laughter]

- Drink is gonna taste good.

It's so cold out there tonight.

- Can I get you something?

- Um... Scotch and water, please.

- Devlin? - I'll have a bourbon.

Dreaming about the house and its ghosts?

- Well, I'm dreaming about the house,

no ghosts.

Thank you for coming here with me.

- My pleasure.

- You know, seeing you walking around there

and tapping on beams and checking for loose floorboards...

- Yes? - ...it made the house seem very comfortable,

and very safe.

- Well, the house could be very comfortable and safe.

- You don't think it's too isolated,

too far away from the outside world?

- Well, if it were mine,

anything I wanted would be on the inside.

And besides, in this day of jet travel,

you could be in Collinsport in no time at all.

[both chuckling]

- You know, it's amazing

that two people could be as different as you and Barnabas Collins.

- Well, now, that I take as a compliment.

- There's nothing wrong with Barnabas.

- Oh, no?

- I think his preoccupation with the past is touching.

- Touching?

- Well, I happen to be fascinated with the past, too, Burke.

- You just say you're fascinated with the past,

but you're really not.

As soon as the present and the future

look sufficiently enticing to you,

you forget all about the past.

- I will? - Oh, I know you will.

And I'm gonna do everything I can

to make the future absolutely enthralling for you.

Not a moment to spare for the past.

- Oh, yes.

- What? - One moment.

To wonder who F. McA. C. was,

and what happened in her life.

- Okay, the moment's up.

Now, onward and upward.

- Vicky, may I say again,

you're a young woman with extraordinary taste.

I found the house absolutely enchanting.

- Shall I tell you a secret?

- What is it?

- That is the only house I have ever been in

that I think I could be quite happy in

for the rest of my life.

- Well, now.

Maybe we can do something about that.

Let's, uh, drink to it, shall we?

[door opens]

♪♪

What is it?

- It's Maggie Evans.

It's Maggie Evans.

♪♪

- Oh... [sighing]

No.

♪♪

♪♪

[announcer] - "Dark Shadows" is a Dan Curtis production.