844 - September 17, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:Collinwood at the turn of the century.

The Great House seems to lie quiet,

its occupants unaware that other people in other places

are moving them towards terror.

For on this night, in an artist's studio,

a man has seen a drawing come alive.

Now, in his hotel room,

Tim Shaw tries desperately to question the man

born on Charles Tate's sketchpad.

Aware that he can be worth a fortune,

but he will soon learn that Charles Tate will pay any price

to keep his secret safe.

[ slow music ]

Yes, yes, you can trust me.

I'll protect you.

No harm will come to you, but you must,

you must tell me everything you can.

Everything.

CHARLES: Are you sure about that Mr. Shaw?

TIM: How did you get in?

Well, I was quiet and you were occupied.

Just in time, Tate, I persuaded him to talk.

He will talk.

No, he won't.

TIM: Tate, no, for--

Don't! [ g*nsh*t booming ]

[ dramatic music ]

[ eerie music ]

You idiot!

[ screaming ]

Why, Charles?

He's disappeared!

It's incredible, it's impossible.

Impossible, but it happened.

What's happening?

What's happening to me?

What have I become?

Get me a drink, please.

And now, Mr. Tate, you and I have some matters to discuss.

CHARLES: Not now.

Now! You realize you just m*rder*d a man.

I didn't m*rder anybody.

TIM: What do you call it?

He wasn't m*rder*d.

He wasn't a man, he was just an idea.

An idea that took substance, form, he never existed.

He never existed before tonight.

This never happened, don't you understand? It never happened.

- It's never gonna happen again. - Where are you going?

I'm going to walk around.

Wait, perhaps if we both talk about this,

we'll both feel a little better.

No, I don't wanna talk.

Talk, yes, yes.

You talk to me about it

and perhaps you'll be able to incorporate it

into your sense of wellbeing.

Well, how?

How am I ever going to do that?

Well, we can start by talking a little to me right now.

You don't know very many people in Collinsport anyway,

do you?

Yes, yes, as a matter of fact, I do.

I know one person very well, unfortunately.

I met him nearly years ago.

Oh, if I'd only known then.

TIM: What happened years ago?

A person I created actually came into being then.

I was living in Paris, trying to paint.

I wasn't getting on too well, and then one night

a man came up to me and introduced himself.

He looked at me and said,

"My name is Count Petofi."

[ dramatic music ]

I must find out why this woman, this Julia Hoffman,

came here from her own time.

She came here to save Barnabas from Edward.

And she did save him.

I couldn't let him die.

I'm afraid, my dear Quentin,

any friendship between you and Barnabas Collins

is impossible.

There is nothing left of it.

But hypocrisies and lies, eh?

PETOFI: I'm sorry if that pains you.

But that's the way it must be.

I don't know how much I can do for you, Petofi,

because I don't know how much Barnabas trusts me.

He hasn't told me where his coffin is, no.

I am very sure he will tell you what I want to know.

You're a man of considerable charm, Quentin.

Speaking of that, your bitterly disappointed

Miss Chavez has recently come into my employ.

Beth is working for you now?

Yes.

Coming to me was the wisest decision she ever made.

I must go.

Send word to Barnabas.

Persuade him to meet you here.

When he comes,

warn him that Edward is still determined to capture him.

Edward?

Oh, it's not far from the truth, dear boy.

I'm sure Edward would like nothing better

than to capture Barnabas.

But he will have to remain frustrated.

Barnabas Collins is mine.

TIM: Another drink?

Why not?

Hey, you're not drinking.

You know, an artist notices things.

Hey, you know what I notice when I,

when I look at you?

What I see behind your face?

TIM: What's that?

I see somebody who wants to be more than my friend.

TIM: But I am your friend, Charles.

Now, why don't you finish this story

of what happened after you drew the vase.

Oh h*, no, no, I'm not gonna tell you anything more.

No, you know everything now.

You know everything that happened tonight.

And boy, you better not tell anybody!

You understand?

- Of course not. - That's right.

And you better not tell anybody about Amanda either.

Because she might get hurt if you do.

TIM: You think I'd do anything at all to hurt Amanda?

Listen, I don't know what you'd do.

But if you do tell anybody, I'm gonna k*ll you.

You understand?

[ dramatic music ]

Oh, this is interesting.

QUENTIN: What is?

I see the portrait of your cousin is missing

from your ancestral walls.

QUENTIN: Edward had it removed

after his experience with Barnabas.

Good. Very good.

I've worked very carefully to isolate Barnabas Collins.

That is why Julia Hoffman must not be allowed

to interfere in my plans.

That is why you must find out everything I want to know.

[ dramatic music ]

[ knocking at door ]

[ knocking at door ]

[ knocking at door ]

Good evening.

I received a note telling me to come here.

Yes, I sent for you.

People generally come to see me.

I was amused by yourpresumption, so here I am.

But tell me, Mr. Shaw,

was it really necessary to keep me waiting?

What are you trying to prove?

I'm not trying to prove a thing.

I invited you here

to discuss the beginnings of a business partnership.

You and I, a partnership?

I thought it was customary for one partner

to offer something mutually advantageous to the other.

I can think of nothing you could possibly offer me.

How would you like to have an army?

An invincible army peopled with innumerable soldiers.

Does that interest you?

Yes, yes, of course it does. With such an army

you could conquer and control the entire world.

What is all this talk of armies, Mr. Shaw?

Then, I presume you are interested in a partnership?

PETOFI: Presume nothing.

Tell me what you have to say.

It has to do with Mr. Charles Tate.

Oh, yes.

Yes, I know about your little arrangement with him.

He told me.

And I know things that you don't know.

Count, the man can create human beings.

Charles told you that?

And you believed him?

Poor Charles.

It's no delusion, I saw it myself.

With pad and ink,

he can create a human being out of nothing.

He created such a human being?

- Yes. - And where is he now?

That particular one is gone.

Gone.

Where?

Really, Mr. Shaw.

Count, I'm not so naive

as to try to persuade you without proof.

Believe me, Tate can manufacture persons.

Any kind of person you should desire, I swear to that.

Well, what you say is not without

a certain element of interest.

It's a pity the man Charles created is gone.

A great pity.

But there is still...

Amanda.

What about Amanda?

Come now, Mr. Shaw.

If you really believe

that Charles possesses the powers you describe,

surely you can't deny

that Amanda Harris is the most beautiful of his creations.

Why did you want to see me, Quentin?

QUENTIN: I'm worried about you.

I'm managing.

QUENTIN: But how?

Now, surely there's something I can do to help you?

For the moment,

Julia is providing all the help I need.

Barnabas.

Why do I have the feeling that you don't trust me?

I trust you, Quentin,

but in my position I must be careful.

With me?

With everyone.

I understand.

But everyone didn't free you when Edward held you prisoner.

Barnabas, you can forget many things if you want,

but you can't forget the fact that you and I were friends

when neither one of us had anyone else to rely on.

I'm sorry, Quentin, but, well, my fugitive existence

has made me far too suspicious.

QUENTIN: Well, you should be.

Petofi is a dangerous enemy.

What about Petofi?

Well, he's still very determined to deal with Julia.

I'm sure of that.

Just as Edward is determined to deal with you.

- Edward? - QUENTIN: Yes.

He has a new plan of action.

I don't know any of the details yet.

Well, let me know when you find out.

Of course.

Barnabas, do you and Julia have any plans?

What do you mean?

Well, you can't simply remain here

waiting to be destroyed, you've got to keep moving.

Where?

I don't know.

Have you ever thought about going back to your own time?

I've had many thoughts, Quentin.

Well, I must go.

I have a feeling

that there are evil forces at large tonight.

Thank you for your concern.

We will see each other again.

Very soon.

[ suspenseful music ]

QUENTIN: Well, did you find out enough to satisfy Petofi?

I doubt it.

You don't even make a good traitor.

KITTY: All right, Kitty, here you are at Collinwood.

Well, go ahead and knock.

Nobody's going to suspect a thing.

Well, please come in.

And who in this place would know a pretty thing like you?

I'm looking for Mr. Edward Collins.

Oh, Edward, huh?

Well, I'm sorry he's away until tomorrow.

Oh, dear.

Well, can I be of any service?

I'm his brother.

Quentin or Carl?

Quentin.

Carl's dead.

Oh, I'm terribly sorry.

You seem to know a great deal about the family.

Yes, I do.

In fact, I was hoping that I might visit here.

But now with Edward away, it's impossible.

Why?

I can arrange a room for you.

Whoever you are.

Oh, I'm terribly sorry, I'm Lady Hampshire.

QUENTIN: My pleasure.

Edward was a very dear friend of my husband.

And I hope he's still a very dear friend of mine.

You say he was a dear friend of your husband?

Yes, unfortunately, poor Gerald is dead.

I'm sorry.

And after Gerald's death

I suddenly felt such a stranger in England.

A terribly lonely stranger.

You see, I'm an American, so I decided to come home.

Yes, I decided to come home.

[ dramatic music ]

No, Quentin, it is not sufficient

to know that Barnabas Collins has no immediate plans

to leave for the future.

He wouldn't tell anything else.

He was very nervous, but I will find out more.

And I'm expected to wait here patiently

while Barnabas Collins fobs us off with excuses?

You'll have to wait.

No, I can't wait.

The enemy may be closer than I think.

I've decided, Quentin, Barnabas Collins must die.

When Barnabas is gone, Julia Hoffman will turn to you

because there will be no one else.

Then you can find out the way to the future.

Julia Hoffman will talk when Barnabas Collins is dead.

Just how do you intend to k*ll Barnabas?

I'm not going to k*ll him, my dear boy.

You are.

Oh, no, Petofi, I'm not.

Are you beginning to doubt my powers?

No, I just think you've pushed them a bit far.

How quickly men forget.

[ glass shattering ]

[ Quentin screams ]

Take your hands away from your face, you fool.

Where's the blood?

Look!

The pain.

PETOFI: This could be you.

You doubt my powers now?

No.

Good.

Barnabas Collins must die, Quentin.

I expect results.

[ suspenseful music ]

You!

PETOFI: My dear Lady Hampshire, how

Petofi, you can't be here.

But as you see, my dear, I am.

What are you doing here?

No, I don't need to ask that, do I?

I'm an intimate friend of several members

of the Collins family.

Then, I can only pity the Collins family.

I was sorry to hear of the sudden death of your husband.

And what choice did you leave him?

Public disgrace or death!

Really, my dear, your obsession with supposed crime.

has become rather boring.

I should advise you not to pursue it further here.

Have you met all the men of the Collins family?

There's Edward, and--

I find this foyer stifling.

I must get some clean, fresh air.

[ wind whistling ] [ birds calling ]

[ leaves rustling ]

Oh, I beg your pardon, I seem to have gotten myself lost.

Will you help me?

Do you live at Collinwood?

I guess that is a strange question,

considering I just came from there.

Are you staying at Collinwood?

Yes.

Now, are you a friend of the Collins family?

Why are you staring at me?

BARNABAS: I'm sorry.

It's just that you're so very beautiful.

Well, thank you very much, sir.

Would it be rude of me to ask, who you are?

No.

I don't think I'm going to tell you.

Now, why don't you walk me back to Collinwood,

and help me find my way?

Well, I'm afraid I can't tonight.

But if you follow the path you will arrive at the house.

Yes, of course.

Good night.

Will you be staying at Collinwood long?

I don't know, my plans are very vague.

I may be leaving by tomorrow.

BARNABAS:No, you cannot go.

You must not go, now that I've found you again,

Josette.

Why was the portrait of Barnabas moved?

QUENTIN: How did you know that?

Do you know Barnabas?

What a strange question, of course I know Barnabas.

QUENTIN: How do you know him?

Lady, I ask you, how do you know Barnabas?

How do I know whom?

Barnabas.

Well, I'm sorry, but I don't know anybody named Barnabas.

Well, you just said that you did. You asked why the portrait

of Barnabas Collins had been removed.

Now, why ever in the world would I ask that?

I don't know about any portrait,

and I know no one named Barnabas.

Barnabas.

[ eerie music ]

[ eerie music ]