1192 - January 19, 1971

[bunniefuu]

[eerie organ music]

NARRATOR:The great house of Collinwood in the year ,

a time of crisis for the Collins family.

After being condemned to die for the practice of witchcraft,

Quentin and Desmond have escaped from jail

and are hiding out in an abandoned fishing shack.

On this night, Quentin goes to Collinwood to meet

his beloved Daphne in the east wing of the great house

unaware that he is soon to witness

the world of parallel time.

[dramatic music]

QUENTIN: Oh, my darling.

I'm all right.

I love you.

I know.

Quentin, we can't stay here.

Come on.

We've got to make a plan to get out of here.

Desmond will be alright in a day or two.

We've got to wait on him.

Quentin, we can't stay in this room.

Yes we can, it's safe.

No, this room's not safe.

This is the room that you.

What's wrong?

[thunder crashing]

What's happening?

We're trapped!

We're trapped in another time!

[dramatic music]

[eerie music]

QUENTIN: What's happened?

That's what I was trying to tell you.

How can this room possibly transform itself?

I don't know, but I first saw it happen a few days ago.

You were here before?

Yes, I, I brought Julia and Mr. Stokes here.

They tried to explain it to me,

they said it's something called parallel time.

Weissman Theory.

DAPHNE: What?

Ernest Weissman.

He teaches at the University of Vienna.

Several years ago, he wrote a pamphlet about the possible

existence of twin worlds in a concurrent band of time.

I never thought it was any more than a theory.

DAPHNE: Quentin, there's no way out of this room

and back into our own time.

CATHERINE: I know, I know.

DAPHNE: We can't let them find us here.

CATHERINE: You know, Morgan, I mustn't stay very long.

I don't think your Aunt Julia was very pleased

to see me here in the evening.

Well, I have no intention of detaining you, my darling.

You may leave as soon as you've given me your answer.

Why Morgan, you're becoming impatient with me.

Frankly, I am.

You've had more than the little time that you asked for.

It's been a week, Catherine.

Yes.

Yes, I realize that.

Well, if some obstacle has arisen that I don't know about.

No, no, it's nothing like that.

Well then, darling, I must insist upon an answer

before you leave Collinwood tonight.

What?

MORGAN: I'll leave you alone

for a few minutes to think about it.

[dramatic music]

[knocking on door]

CATHERINE: Yes, who is it?

SAMANTHA: Samantha.

CATHERINE: Oh, come in.

Samantha, how nice to see you.

How well you look, Catherine.

I saw you when you came in, but I was busy with

Mr. Justin Collin, and I couldn't get away to greet you.

Oh, how is the old gentleman?

Why, we never hear about him anymore.

He's become the forgotten man at Collinwood.

His condition is about the same.

But he's by no means a forgotten man.

Everyone knows that someday the paralysis may wear off,

and Justin Collins will speak again.

How many years has it been?

Since the accident?

years.

The feeling is that if and when he does speak,

he will have quite a lot to say

about how and why the accident happened.

Oh, but Catherine, there's something else

I want to talk to you about.

CATHERINE: Well, what is it?

May I speak quite frankly

as one of your oldest and dearest friends?

CATHERINE: Why, of course you may.

I know that Morgan has asked you to marry him.

I don't know what your answer will be, but if it is yes,

I beg you, don't let him bring you to this house to live.

Why, why not?

I can only say that you will be miserable here.

But Samantha, I love this house.

I always have.

Catherine, you've never lived here.

You only love what it represents.

I've lived here for years, and I tell you that your

conception of it is very far removed from reality.

When you live here, you can sense the fear

and tension that everyone feels.

Well, if you're so frightened, Samantha, why do you stay?

There aren't many nurses available, Mr. Collins needs me,

and the pay here is much better than any place else.

Please, give some thought to what I've told you.

[knocking on door]

It was nice seeing you, Catherine.

CATHERINE: Yes.

SAMANTHA: Good night.

What was that all about?

CATHERINE: Oh, we're very old friends, you know that.

She wasn't, by any chance, giving you friendly advice?

Why no, nothing like that.

MORGAN: Samantha never has been overly fond of me.

Why, Morgan, that's ridiculous.

You're a man with no enemies.

Everyone has enemies.

CATHERINE: Morgan, what is it?

I have a miserable headache.

CATHERINE: I'm so sorry.

Well I have some pills in here, I'll get them.

[dramatic music]

CATHERINE: Morgan?

Yes?

I have a better cure for your headache.

My answer is yes.

I will marry you.

My darling, you've made me very happy.

You'll never regret this decision, I promise you.

I won't.

I know that I won't.

Shall we go downstairs and break the news to the family?

I can't wait.

[dramatic music]

CATHERINE: Oh, Daphne, I have wonderful news.

Morgan and I are going to be married.

Catherine, I'm so happy for you.

We're back in our own time.

I don't understand,

how did everything just vanish so suddenly?

I've only got one explanation.

The change took place when the Daphne

of that time entered the room.

So, perhaps it's impossible for you and the Daphne

of that time to be in the same place at the same time.

I don't know the answer,

but I think we should leave this room.

Come on.

That's the most amazing thing that's ever happened to me.

We haven't seen your counterpart in that world, yet.

But it must be there somewhere.

Listen, I've gotta go back to the fishing shack.

We've got to decide something before I do.

What's that?

Barnabas has exhausted all of my appeals.

I'm going to leave Collinsport.

I want you to come with me.

I'd go with you anywhere, you know that.

Alright.

Now, Julia says that it will take a couple of days

for Desmond to get well, so that he can go with us.

Alright.

I want you to wait here until then, alright?

I'll do whatever you say.

Quentin, you'd better leave.

Gerard and Samantha are both back in the house.

I'll get in touch with you through Joanna or Leticia.

Does Gerard know I'm alright?

Yes, I told him that you needed rest

and shouldn't be disturbed.

Well, I guess I'd better go down and talk to him.

Daphne.

You and Quentin are going to be together.

Why do you look so unhappy?

Well, we'll be together, but, we'll never be man and wife.

I don't think he'll ever be free of Samantha.

[somber music]

And so it was Gabriel who tried to k*ll me that night.

That's right, he, he admitted everything to me

when he had me in that room in the east wing.

Mm hmm.

And so now he, himself, is dead.

And there is absolutely no explanation for it.

Oh, I can't believe that Gabriel would be suddenly

conscience stricken, and somehow take his life

by jumping off a tower.

[dramatic music]

So you're back.

I assume that you know that my husband

has escaped from jail?

DAPHNE: Yes.

Have you seen him this evening?

No, I haven't.

SAMANTHA: I believe you are lying.

GERARD: Samantha.

I was told that after your ordeal,

you went up to your room to sleep.

I went up there to look for you and I couldn't find you.

Now, where were you?

I, I went out on the terrace for some air.

Nonsense.

You met Quentin somewhere here, didn't you?

No.

The reason you and the police haven't been able to find

Quentin is because he's hidden in the one place

you'd never think to look, right here in Collinwood.

And she knows where.

That's not true.

Daphne.

As much as I regret having to tell you this,

Quentin is making things a lot more difficult for himself

by becoming a fugitive from justice.

And you?

You are in serious trouble if you know

where he is and won't tell us.

I've already told you, I don't know, I haven't seen him.

I tell you, she's lying.

If she won't speak willingly,

we'll have to use force to get her to speak.

[dramatic music]

There will be no force used, Samantha.

Then you're a fool.

Quentin's problems are his own now.

We cannot be concerned with them.

So, my dear, have you found rest?

DAPHNE: No.

Well, let me take you to your room, please.

It won't do you any good to keep quiet.

They'll find Quentin!

And when they do, they'll execute him.

And I'll be there to watch every minute of it.

[ominous music]

Why don't you go upstairs with your sister?

What are you doing?

You've known for a long time

this moment was inevitable, haven't you?

Why have you come back?

What is it that you want?

JOANNA: Don't you know?

You can never have Quentin, never.

Quentin doesn't belong to either of us anymore,

he's in love with my sister.

SAMANTHA: Get out of my house, get out!

We haven't finished talking, Mrs. Collins.

I have nothing more to say to you, get out!

Mrs. Collins, we have never resolved the matter of the

notes Quentin and Daphne received, supposedly from me.

You sent all those notes, didn't you?

I don't know what you're talking about.

JOANNA: When my things were sent here from the asylum,

you went through my trunk and found the letters

that I had written to Quentin, but never used.

You had no use for them then,

but when Quentin took an interest in Daphne,

you began using those notes to frighten both of them.

You'll never be able to prove that.

And when Quentin and Daphne went on seeing each other,

you had to make the notes stronger,

so you copied my handwriting.

Yes, I admit it.

Oh, don't think I haven't been on to you

from the very first moment you came back.

JOANNA: I don't know what you're talking about.

You tried to fool me by pretending not to know

anything that happened before.

But you didn't fool me for a moment.

And there was nothing wrong with your memory

when you testified for Quentin, was there?

No, there wasn't.

And you came back here to try to get me to believe

that you couldn't remember anything from the past.

JOANNA: Mrs. Collins, you're getting much too excited.

And I know why you've been pretending.

You've been trying to lull me

into a false sense of security.

JOANNA: I don't know what you mean.

Yes, you know very well what I mean.

And you know where and when we've met before.

That's why you've come back.

You want your revenge.

My revenge, Mrs. Collins?

SAMANTHA: Well you won't get it.

You're not gonna k*ll me.

Why should I want to k*ll you?

Stop acting as if you don't know what I'm talking about.

You haven't forgotten about what happened

up there on that hill.

You know very well that I pushed you over,

and I thought you were dead.

I hated you for coming into Quentin's life,

and I wanted to see you dead.

I can't understand how you survived,

but it doesn't matter anymore.

I failed before, but I won't fail now.

[g*n sh**ting]

[dramatic music]

What the devil is going on in here?

Mrs. Collins just tried to k*ll me.

SAMANTHA: I sh*t you and nothing happened.

Gerard, it's just as I expected, she's a ghost.

She did fire the p*stol at me, but she missed.

No, no, I didn't miss, the b*llet went right through her.

Yes, of course.

She's dead, she's a dead woman, I told you.

I will take you to your room.

Gerard, stop humoring me, I know what I saw.

I sh*t her, but she didn't die because she's already

dead, she's a ghost and she's come back to haunt me.

Mr. Stiles, do I look like a ghost to you?

GERARD: Not at all.

If you'll excuse me.

[ominous music]

Are you sure you wanna go through with this?

I must know, I must have positive proof.

Open it, Gerard.

GERARD: Very well.

[gasping]

SAMANTHA: It's empty.

Now, Samantha, listen to me.

She is a ghost.

That's why when I sh*t her she didn't die.

An empty coffin means nothing.

What do you mean, where's the body?

There has to be a body.

GERARD: Not in this particular case,

and I'll try to explain it to you.

The body that we thought was Joanna Mills

was very badly decomposed by drowning.

There should be some sign, don't you understand?

Yes, yes, that's what I'm trying to tell you.

Now, if you are right, and Joanna is a ghost,

then why would she appear so young and beautiful

instead of the way that they found her on the beach?

Why is she so young and beautiful

instead of being a decaying mess?

Doesn't that make sense, Samantha?

Yes, I suppose it does.

I just don't want that woman to come back to the house.

You mustn't worry, my dear.

Believe me, you will from the last of Joanna Mills tonight.

I promise you that.

Dear Samantha, I looked for you in your room,

but you were not there.

I have come across some information

that may very well solve the mystery of Joanna Mills.

Imperative that we be alone where no one can overhear.

Meet me on Widows' Hill, love, Gerard.

[dramatic music]

Gerard?

Gerard, where are you?

He won't be coming to meet you, Mrs. Collins.

You?

JOANNA: Yes, you're not the only one capable

of forging someone else's handwriting.

You tricked me.

You wrote those notes.

Why do you want me here?

You brought everything out into the open

earlier this evening, Mrs. Collins.

You admitted the truth.

Now, I admit it.

You did not fail that night on the hill.

Just as I shall not fail tonight on this hill.

But if you're dead, how can you look the way you look?

JOANNA: You see the Joanna I want you to see.

Now you shall see me as my spirit really looks.

See the Joanna you pushed from the hill

whose body washed ashore months later.

No, please!

JOANNA: Look at me and see what you did.

See what you will become.

Oh, no.

No.

No.

[dramatic music]

[eerie music]