1002 - April 27, 1970

[bunniefuu]

[eerie music]

NARRATOR:Night clouds hang still over

the towers of Collinwood, this Collinwood

of concurrent, parallel time, where Barnabas Collins

continues his captivity in the coffin chained

by the writer, Will Loomis.

While other destinies and other dooms await the people

who have the same appearance as those he'd known before,

and of all these, that which now grips

a young and brilliant doctor threatens a tragedy

and a terror unimagined before.

[groaning]

[ominous music]

I'll explain it to Cyrus, Alexis.

I'm sure he'll understand.

Well, what's this all about?

Cyrus? Open the door!

Are you all right?

[eerie music]

Cyrus, if you're in there, open the door.

Anything wrong?

Trask, bring me the drawing room keys!

Trask?

JOHN: No, it must look as if I left

under ordinary circumstances.

But how?

I don't dare go through the foyer.

Yes, of course.

A note excusing myself.

Dear Quentin,

Please pardon my leaving,

without first explaining.

Idiot!

I'm writing in the hand I decided to use for John Yaeger.

Start again.

[mysterious music]

Cyrus?

Dear Quentin,

Sorry I had to leave without saying goodbye,

but remembered urgent appointment.

Explain when I see you, Cyrus.

[door closes]

Amy, what are you doing here?

Mr. Loomis brought me, but didn't want to come in.

You're angry, aren't you?

Why should I be angry?

What did I do wrong that no one wants to be with me?

Young lady, what are you talking about?

Well, Will and Carolyn don't want me at their house anymore,

and when Will brings me here, you don't want me here either.

Oh, Amy, now, that's not true.

I'm sorry if I sounded that way.

You know something?

I'm very happy you're here, I was going to send

for you this morning.

AMY: You were?

Mmm-hmm. You know why?

Guess what?

AMY: What?

Daniel's coming home.

AMY: He is?

His Uncle Roger should be here with him any minute.

So why don't you take your things upstairs

and then come on back down here wait for them?

AMY: All right.

Okay.

AMY: Here, someone dropped this.

Well, thank you very much.

The handwriting...

It's different.

It's similar, but different.

[bolt rattling]

[creepy music]

Oh, no, why should I drink this?

Why should I be frightened?

I am John Yaeger.

I'm not Cyrus Longworth, the coward.

Longworth, he'd take the quickest way out, but not me.

I love life, I crave adventure, and I'm not afraid.

Even if I did change without the potion,

what of it?

What of it?

Take advantage of it.

Why not enjoy it?

I'm John Yaeger,

and I'm not afraid of anything.

You're just saying that because you want me

to feel sorry I went away.

No, it really did happen.

You saw Dameon Edwards here and he disappeared?

Yes, that's right, right over there,

and then he asked me to follow him into the basement.

And then he disappeared again through a wall?

AMY: That's right, I'll take you there if you want me to.

Amy, I want you to forget all about Mr. Edwards.

But Daniel doesn't believe that it happened.

You tell him.

He didn't disappear through any wall, did he?

No, he didn't.

AMY: I saw him!

Amy, now we both went down to the cellar.

It was very dark down there.

We both looked around and didn't see anything.

Now you could have imagined almost anything.

But I didn't!

QUENTIN: Amy.

All right.

That's my girl, you both behave yourselves.

You see, you imagined it, isn't that right?

I wish Maggie was here.

She'd believe me.

Wait a minute, Amy, I'll believe you.

Just tell it to me again.

[creepy music]

The one thing Cyrus and I share,

besides a common memory of course, is taste.

Yes, we know the best when we see it.

I'm sure Cyrus won't mind if I borrow this

and begin furnishing my rooms.

It'll set the tone.

[door rattling]

SABRINA: Cyrus?

Are you down there?

Cyrus?

[creepy music]

Cyrus, did I hear you down here?

[dramatic music]

[creepy music]

[knocking on door]

JOHN: Come in.

Ah.

Ms. Duvall said you were here.

JOHN: How kind of you to confirm her words

with your soft and lovely eyes.

Thank you.

It's going to look very nice in here.

Nice, it's going to look magnificent.

I'm sure.

I see you've already brought a picture.

It's very pretty.

Pretty? This is exquisite.

Are you pleased to see me?

Well, I sort of wondered what happened to you.

Where you'd gone to and all.

As much as I'd like to satisfy your curiosity,

there are a few explanations I'd like from you.

Explanations?

Yes, just a few simple answers to a few simple questions.

You mind?

No, no. Of course not.

JOHN: I don't frighten you, do I?

No.

Good.

Good, I don't think you've done anything to be afraid of.

Have you, Miss Harrington?

Have you?

I'm waiting for an answer, Miss Harrington.

Have you done anything to be afraid of?

QUENTIN:Oh, well it's nothing important.

Just tell him I called.

I'll tell...

QUENTIN:Hello?

SABRINA: I'll tell him that you called.

Something wrong?

SABRINA:Uh, no, what could be wrong?

I don't know, you just sounded as if something might be.

No, no, it's all right, good bye.

QUENTIN:Goodbye.

But then you did go to Dr. Longworth's laboratory?

MISS HARRINGTON: But only to--

Only to find out if my checks were valid?

MISS HARRINGTON: That's right.

Which sort of indicates to me that you neither believe

me nor trust me, am I correct?

Oh, no, I trust you, I just wanted to,

well, to thank him.

Why thank him when I was the one who gave you the check?

No matter whose signature it was?

It's all so confusing.

JOHN: It's quite clear to me.

What do you mean?

Well, I can understand how you can not trust me after such

a short acquaintance,

but it grieves me that you don't like me.

But I do like you.

JOHN: Oh?

Haven't I proved that?

Possibly.

Except that...

I thought you liked a quiet man.

Quiet?

JOHN: Well, yes, unless you're being misquoted.

I don't think I understand.

Well, did you or did you not say to Cyrus Longworth

that you liked a quiet man?

Well, were those your words or weren't they?

Why don't you answer me?

MISS HARRINGTON: He told you?

A quiet man?

Very well.

I won't make a sound.

Not a sound.

No one will hear anything.

Not a single, solitary sound.

[screaming]

[ominous music]

You didn't have to do that.

Oh, but I had to do it.

I had to prove that I could be a quiet man.

Was that satisfactory?

Let me go back to my room.

If you wish.

Oh, but Ms. Harrington, before you go,

just to prove to you

that I meant no malice in our little lesson today,

I would like you to accept this from me.

Well, don't you like it?

I thought you liked pretty things?

You really want me to have that?

Yes, yes, after all, we both, deep down inside,

share a unique appreciation for all that is beautiful.

Thank you.

And Ms. Harrington, to further prove my point,

I would like to take you out this evening.

Take me out?

JOHN: Yes, I thought to a late night supper.

A place we both appreciate with music and excellent food

and good wines, huh?

You'd take me to a place like that?

JOHN: Yes, do you accept my offer?

I don't know, I guess so.

Splendid.

[laughing manically]

What is it?

What are you laughing at?

Oh, Ms. Harrington.

Did you really think I'd take you out?

Looking like this?

With bruises all over your arms and cuts all over your face?

But you're the one who asked me!

Ms. Harrington, you really ought to take

better care of yourself.

Now as much as I'd like to spend the late hours

with your company,

well, maybe sometime when you've paid more attention

to the way you look.

Good night, Ms. Harrington.

MS. HARRINGTON: But you just said all--

I said, good night, Ms. Harrington.

I took these pages from the floor near Mr. Loomis' desk

so I could draw pictures on the back of them,

but just right now I found out that he was writing something

about a room in the east wing here at Collinwood,

but I can't figure out which room it is.

I think it might be Alexis' but he wrote about

it being empty.

Is is Alexis'?

I don't know, Amy.

AMY: Is this part of that book that he's writing

on Barnabas Collins?

The new book, I mean?

Well, whatever it is, it's just a story.

Now why don't you run upstairs and play with Daniel?

Come on.

I wonder if it could be Alexis' room?

How could I find out?

I don't know.

Oh, Amy?

Don't go bothering Alexis.

[creepy music]

[door clicks open]

[footsteps trotting]

Who are you?

What are you doing here?

Who let you in?

Hasn't Cyrus ever told you of his good friend,

John Yaeger?

Yaeger?

I might have known.

JOHN: I'm happy my fame precedes me.

How did you get in here?

With a key the good doctor gave me.

Well, now you don't think I'm a thief or a burglar do you?

I'm merely a friend, Sabrina.

Miss Stuart, thank you.

Oh.

Are you always this cold and aloof, Miss Stuart?

I seem to sense a kind of emotional release

that's crying to get out of you, am I correct?

Look, I think you'd better go.

Dr. Longworth will not be back here anymore tonight.

And I was told to wait, and wait I will,

especially now that we could have this time

to get better acquainted.

Look, if you don't leave here--

Oh, Miss Stuart, Cyrus will be disappointed

if I'm not here, because he told me to wait.

Well then, if you would excuse me.

Oh, no don't go, I'd like to discuss

that emotional release I mentioned.

[Sabrina scoffs]

[John chuckles]

DANIEL:Maybe if we stand here for a while,

something will happen.

AMY: But I don't want--

I thought I told you to stay--

I heard Dr. Hoffman tell my father

that Barnabas got caught here.

Daniel, what are you talking about?

I don't want to get caught here, do you understand that?

So I'm leaving.

DANIEL: Amy, wait a minute.

Amy, Daniel.

Wait.

Maybe something will happen, anything.

AMY: But I don't want anything to happen.

I don't even want to be here!

I'm supposed to be in bed.

Amy, can't you hear me?

AMY: Of course I can hear you, what is it?

Amy, Daniel.

What is it?

We heard you calling us, something wrong?

[ominous music]