818 - August 13, 1969

[bunniefuu]

[ eerie music ]

NARRATOR: Collinwood in the year .

The night is almost over, and Barnabas still lies

chained in his coffin, prisoner of the Count Petofi.

During the hours of darkness, Barnabas has pitted

his powers against Petofi's but to no avail.

Petofi has destroyed his hold over Beth Chavez

by showing her a vision of the dreadful future

that awaits her if she should ever come

to Barnabas Collins again.

This is the very last time you will go to him.

But I must go to him when he calls me.

He is my master.

He was your master.

He is your master no longer.

Turn your back on him.

Turn your back on him now, Beth Chavez, or you will die

and spend eternity as a vampire.

She came to you because you are powerful.

She left you because I am more powerful.

Surely Mr. Collins, you realize that you have no choice.

That there's no one left to help you.

That you must take me with you to the future.

[ ominous pounding music ]

[ spooky theme music ]

[ ominous music ]

This portrait has captured more

than Quentin Collins's face and body.

It's captured his heart and mind.

And his soul.

It is Quentin Collins and once it's finished,

once it's finished.

Suppose it was never finished.

Suppose I destroy it now.

Suppose I take my pallet knife and slash it to threads!

My dear Charles, you needn't use the pallet knife.

Nowhere is the paint too thick.

I let myself in, I hope you don't mind.

Why so startled?

You know I've always been interested in your work.

Aristede said you were sick.

Such a pallid little word to describe my recent condition.

I was dying, Charles, dying.

But I have recovered more than my health.

I have recovered every power I once possessed.

It's amazing.

Amazing?

Again a pallid little word to describe

the torrent of miracles that flow from this hand.

Look at it, Charles.

Would you like a demonstration?

No.

You will get one if you keep on thinking

as you were thinking when I came in.

You will not destroy that picture.

It's a wonderful painting.

Both Quentin Collins and you would suffer

if it were destroyed.

I have a feeling that Quentin Collins

will suffer the minute that picture is finished.

Your feeling is inaccurate.

Really, Charles, I find it remarkable that one with your

lack of perception should have become so successful

in such a sensitive profession.

Look Petofi,

someone came here and they saw the face

in that portrait change.

They saw the face of Quentin Collins change

and an animal's face take its place.

You know, Charles, your brushes are dreadfully dirty.

I wonder you manage to paint with them at all.

Hey, what are you gonna do?

Help you.

Or have you become so sure of yourself that you reject help?

Has your head been turned by too much praise from critics?

Interesting.

You know, history records several cases of artists

whose talents came suddenly

and disappeared just as suddenly.

For the most part they ended badly,

bemoaning the sad fate that brought them

from success to failure.

From adulation to angry abuse.

You wouldn't like that would you, Charles?

You wouldn't want it known that the great

Charles Delaware Tate was no more than a third rate hack?

Take that thing off of me.

Take it off of me.

I will if you answer my question.

You don't want that to happen, do you?

No, no I don't, I, please.

Then keep on behaving like a good chap.

And remember, your assignment is to paint.

As long and as well as you can.

[ eerie music ]

Beth.

Come here.

How is Jamison?

Sleeping since you left.

You went to see Barnabas, didn't you?

Don't lie, Beth.

I know you did.

Yes.

But you couldn't help him could you?

I know where he is.

I know all about the coffin, the chains, and the cross.

And I couldn't do any more against Petofi than you could.

There must be a way to free Barnabas.

There has to be.

I don't want Barnabas to be free.

What?

I want him to stay chained up forever.

And he will if he waits for me to come to him.

I'll never go to Barnabas again.

Beth, you couldn't make this decision by yourself.

Petofi helped you to make it.

How?

He showed me the future.

My future.

And when I saw what would eventually happen to me

if I opened the coffin.

When I saw myself rising from the dead with those fangs,

I knew I would never listen to Barnabas again.

How do you know it was the future Petofi showed you?

It was.

It will all happen if I don't get away from Barnabas.

Oh Quentin, let's go away from all the anguish

and the sorrow, all the evil of Collinwood.

You and I?

You and I and your little daughter.

Let's take her away from this terrible place

before it's too late for her.

She's already away from here.

She's going to remain with Mrs. Fillmore.

Collinwood casts a long shadow.

It will get her if we don't get away from here.

But if we take her with us

And become what, Beth?

A pretty little family?

We can try.

And what would this pretty little family do?

Anything we want to.

You like to travel, don't you?

All right, we'll travel.

All three of us.

Paris, Berlin, Rome.

What do you say to that, do you like that?

Oh, it sounds wonderful.

And when the night comes we can all look up

at the sky and watch the moon.

You can see the moon all over the earth, you know?

Here at least there's a hope for ending the curse

if there's any hope at all.

I don't think there's any hope here.

There's nothing for us here but despair.

And death.

And I'm afraid of death.

I'm afraid, I'm afraid!

Beth, Beth.

[ crying ]

All right, dry your own tears.

I've got other things to do.

Quentin!

Oh Quentin! [ crying ]

Don't go, Beth.

I want to speak to you.

What about?

You and Quentin Collins.

I have work to do.

You better listen to me, Beth.

Your life may depend on it.

[ ominous music ]

BETH: What do you want to talk to me about?

You may not believe it, Beth, but your quarrel

with Quentin Collins is a blessing in disguise.

We didn't quarrel.

I heard you.

Just what did you hear?

If you're a clever girl, Beth, you'll find someone else.

Quentin Collins isn't for you.

You don't think so?

I know so.

And not because you work here and he's a Collins.

Most people would say you're not good enough for him.

But I know better.

He isn't good enough for you.

Quentin is wild and irresponsible, selfish,

and even cruel sometimes.

But I know all that about him.

But you don't know, the really terrible thing

about him, do you?

What?

Just stay away from him, that's the best thing.

What terrible thing about him?

Beth, you'll pay with your life if you don't listen to me.

What are you saying about him?

Maybe I'm saying he's a m*rder*r.

Maybe I'm saying something much worse.

At least a m*rder*r is a human being, but...

But what?

What?

Just listen to me, Beth.

Stay away from Quentin.

Why?

Because you're implying terrible things about him?

Or because you're in love with him yourself?

I am not.

Oh yes, you are.

I've seen the way you peek behind closed doors at him.

Yes, and I've seen you stare across rooms

with that wide eyed lovesick little girl look.

Maybe I did think he was handsome once.

And maybe you still do.

No.

Now when I look at him I see another face.

An ugly, cruel, animal face.

Charity, too many things have happened here at Collinwood.

Too many terrible things.

I warn you, don't spread malicious rumors

that you'll regret.

Perhaps they're not just rumors.

Of course they are.

I know Quentin.

I know him very well.

But not as well as you think you do.

Oh Beth, listen to me.

Leave Quentin alone.

My dear Charles, I always admire your work.

These are superb.

You have an embarrassing amount of talent.

Yes, yes.

I think it's finished.

No, I have some more work that I want to do on it.

There's no need.

It would be mere dabbling.

I told you, I have some more work that I want to do on it.

Very well, Charles.

Work, but quickly.

Work, my dear Charles, work.

[ knocking at the door ]

Whom were you expecting?

I'm not expecting anybody.

Look, I won't even answer it if you don't want me to.

But of course, you must answer it.

I'll wait in the next room.

[ knocking at the door ]

[ knocking at the door ]

Ah, Miss Trask, come in.

I knocked for quite a long time, I was beginning to wonder

if you were here.

Well I was just absorbed in my work.

Look at that.

Portrait's almost finished.

So I see.

Well, how do you like it?

Going to be painting a portrait of you soon.

Mr. Tate, I don't want you to paint my portrait.

Look, I thought we agreed.

I've changed my mind.

Why?

Say, uh, you didn't tell me what you thought

of the portrait of Quentin Collins.

I guess you don't think I'm much of a painter, do you?

Mr. Tate, I think you paint too well.

I'm terrified that you'll see in me some horrible secret

just as you did in Quentin Collins.

Is there, is there really

a horrible secret in that portrait?

Not now, but there was.

When the face of Quentin turned into the face of a wolf.

Look, I thought I'd convinced you that the portrait

didn't change, it just, it's just

your imagination now, okay?

Yes, yes, you convinced me then.

But I didn't know then what I know now.

And what is that?

The reason the portrait changed.

And what is the reason?

If I thought I could tell you and you would believe me.

I'll believe you.

Then perhaps I should tell you.

I must tell someone or I'll go mad!

But not right now, father is expecting me at home.

But Mr. Tate, I must tell you this,

stay away from Quentin Collins, he isn't good for you.

Or for anyone else.

And Mr. Tate, on nights when the moon is full

stay inside and keep your doors locked.

Miss Trask, I don't understand.

Please.

Just do it.

[ ominous music ]

So that's it.

I knew the minute that portrait changed

that, that Quentin had some vile secret.

That portrait actually did change.

And now you think you know what his secret is.

Yes, I know.

I know that he's a werewolf.

Isn't he?

Isn't he?

Yes.

The unfortunate young man is afflicted with

that terrible curse.

What are you going to do about it?

What has my portrait over there got to do

with what you're planning?

My plans for Quentin Collins are peculiarly my own

and none of your business.

You forgot, I am the one who's painting that portrait.

And you forgot I am the one who allowed you to.

You must always remember that, my dear Charles.

The young lady was most agitated by what she'd learned.

She could think of nothing else, talk of nothing else.

Fortunately for me she talked only to you.

But I must deal with her immediately.

What do you mean?

Do you remember the charming but pathetic story of Echo?

Echo was a nymph who talked too much.

She made the gods angry and they were forced to deal

with her, my dear Charles.

Much to her eternal sorrow.

[ ominous music ]

[ faint classical music ]

[ knocking at the door ]

What are you doing here?

May I come in?

I'm sure your brother Edward would admit me.

I have an excellent recommendation from

the Earl of Hampshire.

My brother Edward is a mad man thanks to you.

Jamison is possessed and perhaps dying.

Oh, stop worrying about your family.

They may all still recover at the proper time.

And Barnabas?

Will he recover his freedom?

Barnabas Collins and I have a matter between us

that can be settled only by us.

And it will be.

And now, as to my reason for coming tonight,

I have come, Mr. Collins, to save you.

Now, why should I believe that anymore

than your other lies, Mr. FennGibbons?

I often lie, true.

But tonight I'm telling the truth.

I like you.

But not enough to end my curse.

- If you can. - I can.

Your taste in music is so melancholy, Mr. Collins,

for a young man with the whole world before him.

Or perhaps you were brooding about the fact

that your cousin Barnabas can no longer be of help to you.

Why, I can.

And I will.

Again, at the proper time.

I swear it.

What gods do you swear on?

I have but one and his name is Petofi.

You are in grave danger from Charity Trask.

Showing her her father's confession did not silence her.

I know.

She talked to Beth.

She's also talked to Charles Tate.

What?

Leave the matter to me.

I will deal with Charity.

And who's going to deal with Charles Tate?

There's no reason to worry about him.

- Why not? - Because I say so.

Believe me, if there is any danger I will deal with it.

I am determined that nothing will happen to you.

Why are you so determined?

Because there is no longer any question in my mind.

You are a power to the future.

The ghost of David Collins knows you well.

Something impossible has happened.

Perhaps together we will find out why.

You!

I knew I heard your voice.

[ chuckles ] My dear Miss Trask,

I'm delighted to see you.

Don't you dare to be polite to me, Mr. FennGibbons.

Get out!

Immediately.

If you don't I shall summon my father.

My dear, I don't think you'll summon

your father or anyone else.

How dare you!

Tell me Miss Trask, are you enjoying

your stay at Collinwood?

Or do you find the responsibilities too,

too much for you?

The weight too heavy for your fragile shoulders?

Tell me, Miss Trask, have I guessed right?

Oh dear, you can't tell me you've lost your voice.

Perhaps I can help you.

I'm said to have a very healing touch.

[ ominous music ]