335 - October 6, 1967

[bunniefuu]

[Elizabeth Collins Stoddard] - Within the walls of the great house at Collinwood,

there is a frightened child.

Young David Collins is searching desperately

for a friend who has the dark secret answers to his questions.

But his friend is not easy to find

because she comes from a world

beyond the world we know at Collinwood.

- Sarah?

Where are you?

I want to talk to you.

Sarah, I know you're staying away from me on purpose

'cause you're mad at me.

Well, I'm mad at you, too.

Sarah, we got to talk.

♪ London Bridge is falling down ♪

Sarah, please come and talk to me.

Sarah, you've got me into a whole mess of trouble.

You've got to get me out!

Sarah!

[flute begins to play] ♪♪

[eerie music] ♪♪

[announcer] - The part of Dr. Woodard is being played by Peter Turgeon.

- Sarah, you certainly took a long time getting here.

- I wasn't going to come at all.

- Why not? - You know why not.

- Because I told Burke and Dr. Woodard

about the secret room.

- Yes! - I had to tell them.

- When a sec--

When a secret's not a secret, do you know what it becomes?

- No, what? - Nothing, just nothing!

- Well, Sarah, it's easy for you

to sit there and say that, but...

but I'm the one that's in all the trouble.

- Because the secret door wouldn't open?

- You knew it wouldn't open, didn't you?

- Yes.

- Just how did you know?

You did something to make it stay closed, didn't you?

- I didn't do anything.

- Then who did?

- Somebody. - Who?

- Just somebody.

- Sarah, well, all I can say is

Burke and Dr. Woodard must think I'm crazy now.

In fact, that's probably what everyone thinks.

- I don't.

- Well, thanks Sarah, but... but yesterday

when I really needed you, you weren't anywhere around.

- I wasn't far away.

- You know what's happened now?

My aunt's gone to the city to get a psychiatrist

to come out here and talk to me.

They think I've been making up stories.

You know I haven't so that's why I'm mad at you.

- Well, I guess I'd better go.

- No, don't go, Sarah. I'm not really mad.

- I'm going to leave as soon as you give me back my flute.

- I can't give it back.

- Why not?

- Because Dr. Woodard said he wanted to study it.

I let him have it.

- Oh, David, you shouldn't have done that.

- I'll get it back to you as soon as he's finished with it.

- Sometimes my flute's the only thing I have to keep me company.

- Stop worrying about your silly flute

and tell me what I'm gonna do to make people believe me.

- I don't know.

- You've got to think of something.

Sarah, if things get any worse,

they might send me away someplace,

to a hospital or something.

Some place that Barnabas can get to me.

[knocking on door]

Sarah.

Sarah, don't go far away.

Please, because we haven't finished talking.

Please?

- David, may we come in? - Sure.

- Did I hear you talking to someone?

- Yes, Sarah.

- Sarah? - Yes, Sarah.

- David, this is Dr. Fisher.

He wants to have a talk with you.

- Are you a psychiatrist? - Yes.

Does that word scare you?

- No. - Good, it shouldn't.

- I'm not crazy. - David, no one said you were.

- That's what everyone thinks...

everyone.

- I don't. What's that?

- My crystal ball. I use it all the time.

- What for?

- I use it to look for Sarah when I have to find her.

- I see.

Mrs. Stoddard, if you'd be good enough to wait downstairs.

I'd like to talk to David alone.

- Certainly, I'll be in the drawing room.

♪♪

- Is that when the dream ended?

- No. Then Sarah took me into this,

this strange room with a coffin in it.

I told her I didn't want to go in

but she said we had to because...

the person she was looking for was in there.

- And was the person there?

- Yes, in the coffin.

It was Barnabas. - Barnabas Collins?

- Yes.

He, he was-- he wasn't dead, he was something horrible.

He...

He came at me and...

And then... his face.

I don't even want to think about it.

- What about his face?

- It was all horrible and... mean.

He came at me and I could see his fangs.

- He had fangs in the dream?

- Yes, like a wild animal!

A wild animal that wanted to eat you.

I started screaming

and that's when I woke up and found out I was safe.

- Of course you were.

- That time, yes.

- What do you mean, that time?

Have you had this dream more than once?

- No.

Barnabas is gonna come after me

again and again.

And I'm afraid maybe next time I won't be safe.

He'll get me! - Oh, David...

- That's why you can't let them put me away someplace

that Barnabas can get to me.

- David, nobody is going to get you, here or anyplace else.

Now, do you think you can answer a few more questions?

- I'll try.

- Do you think about, uh, dying very much?

- Hmm, I didn't use to, but... but now I do all the time.

- Are you afraid of dying?

- I'm afraid of Barnabas k*lling me.

- Now Sarah is dead, isn't that what you told me?

- Yes. - But you're not afraid of her?

- No, of course not. Sarah's my friend.

The only one I'm afraid of is... Barnabas.

- David...

I'd like, uh, you to tell me about your dream one more time.

- I already told you everything in it.

- I know. Tell me again.

Now start very slowly,

and don't leave anything out.

- Well, I was walking through a sea of clouds,

and there was a wall all around me.

Then all of a sudden there was this, this lady standing there.

She had no face.

But she kept shining this medallion in my face.

- He's certainly taking his time up there.

- That may be a good sign.

It must mean that David's willing to talk with him.

- Oh, I'm sure he's giving him an earful.

- Dr. Hoffman, I only hope the boy's delusions

haven't gone so far that...

- You still think he's suffering from delusions?

- Well, don't you? - No.

- But he has to be, there was no coffin in the basement.

- No secret room. There have been other things.

That flute that David found,

and the doll that turned up in Maggie's room,

and a lot of little things that we're all just half aware of.

There's enough of them to make me feel

that there's something seriously wrong.

And not with David's mind.

- With what, then?

- I don't know, I wish I could answer that question.

I just feel that there's some...

some similarity between what happened to Maggie and...

and what's happening to David.

- Oh, how could there be? Maggie was kidnapped by Willie.

And it's Barnabas that David's afraid of.

- Burke, I'm not at all certain that Willie kidnapped anyone.

- Well, they found Maggie's ring in his room.

- And Willie put it there?

- Well, who do you think put it there?

- I don't know.

I guess it's wrong to speculate,

so let's stick to the facts that we, that we do know.

Fact number one--

When Maggie, Maggie Evans was found,

she was suffering from a very strange neck wound.

Face number two--

When Willie Loomis was found

he was suffering from a very similar,

exactly similar type neck wound.

Now Burke, I'm ready to go along with the idea that,

that Willie was responsible for Maggie's wound.

But that still leaves us with

one very big question unanswered.

- Who's responsible for Willie's?

- Exactly.

This I'm certain of.

Both of those wounds were inflicted

by the same person or... creature.

That person...

or creature is still at large somewhere.

[ominous music plays] ♪♪

- How is he, Doctor? - He's resting.

He seemed quite relieved to talk to me about his dreams.

- What do you make of them?

- Well, I'll have to take some time to study them.

Try to discover the deeper meanings.

But I can tell you that right now

he's very disturbed.

- Oh, the poor child.

- Of course, he's disturbed, he's terrified!

But the question is why and how real is it?

- Oh, a patient's fears are always real

because they're rooted in the only ultimate subjectivity.

His own existence, his own experience.

- Doctor, do you think this might have

something to do with David's past?

- Well, it might just be possible that, uh,

David has never accepted his mother's death.

And because of this, death is more terrifying to him

than it is to most people.

- Do you really think it's as simple as that?

- Well, why, for example was the woman who appeared to him,

the one who dangled the shining medallion in front of him,

a submerged figure, why did she have no identity?

Perhaps because the very thought of his mother's death

is so painful to him that he has to keep it at a distance.

Try to cover it up, so to speak.

- Well, it's true, he never talks about his mother.

- Oh, but he's very attracted to her.

Why else would she dangle that medallion in front of him?

Try to lure him?

[Dr. Woodard] - What about Sarah?

- Yes, Sarah.

Well, first of all, we'll have to admit

that all children have imaginary companions.

- Well, of course they do, but not dead ones.

- Well, that's an answer I don't presume to know yet.

But then again, it might very well fit in

with David's inordinate fear of death.

- How?

- By making Sarah, a dead child, his dear companion,

David is trying, uh, subconsciously speaking,

symbolically, to make friends with death.

To reconcile himself with it, do you understand?

- [sighing] Yes, I think so.

- But it's a reconciliation that, uh,

he obviously can't come to by himself.

He's torn, he, he wavers.

Just as Sarah is his attempt to come to terms with death,

Barnabas is the fear of death come back again.

- But why Barnabas?

- Perhaps there's something about him.

His height, his shape,

the shadow he casts, that frightens the boy.

Why Barnabas and no other person

is something that isn't easy to know.

It might very well be the striking resemblance

of the present Barnabas to his ancestor.

- Do you remember the old nursery rhyme,

"I do not like thee Doctor Fell.

"For the reason I cannot tell.

"But this I know and very well.

I do not like thee Doctor Fell."

- Yes, that applies to the real Barnabas.

Now what he, as a person, represents to David

is something I can't tell.

But the imaginary Barnabas,

the one that David has created in his dreams,

is one that I understand a little better.

He is the fear of death, he's always there.

Now sometimes he can be put in his coffin...

put down so to speak,

but he always rises up again.

An overwhelming sight with his fangs bared,

ready to gobble up the boy.

[Elizabeth] - Doctor, what can I do to help him?

- Hm, for a while, keep him here and see that he stays calm.

Keep him away from Barnabas Collins.

I'm sure Barnabas will understand

and not take David's reaction personally.

[Elizabeth] - Well, he's already shown a great deal of patience

in a very awkward situation.

Hasn't he, Doctor Woodard?

Doctor Woodard? - Uh, oh, what?

- Is something the matter? - No, no, nothing at all.

- You seemed a million miles away.

- Yes, I was, I...

I was just thinking of what Dr. Fisher here just told us.

I'm sorry, Mrs. Stoddard, but...

I've got to go somewhere and do something immediately,

if you'll just excuse me.

- Oh, yes, of course.

Doctor, I want to thank you for all of the time

and attention you've devoted to David's problem.

Let's hope we're closer to a...

uh, closer to a situation now than we were before.

- A solution, I'm sure we are.

- I'll go out with you, Doctor.

After I've gone over my notes thoroughly, Mrs. Stoddard,

I'll, uh, get in touch with you

and we'll bring David over to my office.

- Thank you, Dr. Fisher.

- Liz, I guess I'll head back to town, too.

- Oh, Burke, would you mind waiting for a few minutes?

- Not at all.

- Good-bye, Doctors.

Thank you again.

- What's on your mind, Liz, something about David?

- No, we've got to talk about something

that concerns you and Vicki.

- Well, what is it?

- Well, I had a letter from my lawyers today

and I'm afraid they gave me some news

that you're not going to like at all.

Let's go in there.

- Don't keep me in suspense, Liz, what's the bad news?

- It's about the house you want to buy from me.

Do you remember that old deed I found

that was marked "not for sale"? - Yes.

- Well, according to my lawyers,

I have to abide by that deed and an old family will.

- Well, did they tell you why?

- Well, it seems that the last member of the family

to live in the house was called Caleb Sayers Collins.

And he apparently had a morbid fear of strangers.

- Well, what does that have to do with the house now?

- Well, he felt they were out to take everything he owned.

He didn't marry because he felt a wife would steal from him.

- He sounds like a real charmer.

- He finally ended up a very, very old man

all alone in the house

except for the things he collected.

And he collected and hoarded just about everything.

- Including one very beautiful house.

- Well, the house was the thing he loved most.

And so to protect it from falling

into the hands of strangers after he was gone,

he made a very unusual provision in his will.

That the house could not be sold or passed on to anyone

but a member of the Collins family

for a period of years.

- A hundred years?

- And to make certain the provision was carried out,

he left a sum of money to pay the taxes on an empty house.

- That's ridiculous.

A house as beautiful as that and no one can live in it?

- I know Burke.

I wanted you and Vicki to have the house very much.

- What about breaking the will?

- Well, the lawyers think the matter could be brought to court

but it would take several years to invalidate the will

and the -year ownership-after-death clause

will be over in five years.

- Well, that's great.

That's just great, five years.

I guess there's a lot to be said for long engagements,

but I'm not the one to say it.

- Vicki will be very disappointed, won't she?

- Yes, yes, she will be.

She had her heart set on getting that place.

- Burke, I promise you.

As soon as it's legally possible,

you and Vicki will have the house.

It will be my wedding present to you.

- Well, thank you, Liz.

But I don't think we want to wait that long for the wedding.

- Oh, I don't mean that you should wait.

Get married and live somewhere else.

And then when the house is available, move into it.

- Yes, I suppose we could.

- I'm sorry, Burke.

I was so sure the news would be good news,

but it didn't work out that way, did it?

- No.

No, it didn't work out that way.

[bird chirping]

[gate squeaking open]

[Dr. Woodard voiceover] - Last night there was no way into the secret room.

But I know now something that I didn't know last night.

Not the way into the secret room.

But, but perhaps, just perhaps,

the why, the reason for that room.

Something so unbelievable, so, so terrible...

it had to be sealed out of sight of heaven and hell.

If the room exists in fact,

then the entrance exists in fact.

You're... you're little Sarah.

♪♪

[eerie music] ♪♪