290 - August 4, 1967

[bunniefuu]

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[Victoria narrating] - The quiet nights are longer now at Collinwood

as the season continues its advance

toward the still-distant fall.

Succeeding days surrender to the coming night without complaint,

and nature would seem to have made a truce within itself.

But deep within the night,

opposing forces stalk each other--

forces so opposite, no peace is possible,

and their meeting, when it comes,

will shatter the ancient truce

between the living and the dead.

[hinges creaking]

♪♪

[eerie music]

♪♪

♪♪

- I'm not sure I believe that. - Well, it's true.

I was up most of the night, and I was asleep when you arrived.

I don't feel the need for apologies.

- I'm not asking for an apology.

I'm asking for an explanation.

- In either case, then,

you're asking for something I am not prepared to give.

- Well, all right, then. You leave me no choice.

- About what?

- I'm going to remove my patient from your care.

- What do you mean?

- I'm gonna take Maggie away from Windcliff.

- Oh, you can't do that.

- Oh, now, you know perfectly well that I can,

and I am going to.

Now, her father put her in my charge.

I sent her to you only for special treatment.

- Which I'm giving her.

- Well, I see no evidence of it.

- Is evidence of treatment always apparent?

- No, but evidence of the lack of treatment often is,

as in this case.

- Well, what evidence do you have

that I'm not treating Maggie?

- Julia, for one thing, you're miles away from her.

- Only to carry out some necessary research.

- Well, I'm sorry, but it seems to me that the research

has become more important than the patient.

- Oh, they're one and the same thing. I've told you that.

- Julia, I'm sorry to say this, but...

I'm convinced that you're neglecting Maggie.

I'm going to take her away from Windcliff as soon as I can.

- That's not what you believe and you know it.

- I'm through arguing with you.

- I'm not through arguing with you.

What you're really objecting to is--

is not my treatment but my manner.

- That's not true. - It is.

You're angry because I haven't given you a day-to-day report.

- Only because I think I'm entitled to it.

- I agree, but I told you again and again

that I can't give you any reports yet.

- That answer isn't satisfactory anymore.

- Oh. In a way, I don't blame you.

I'm getting a little impatient myself.

- What do you mean?

- Well, I'm sorry to say I've made almost no progress at all.

- You mean you haven't come across anything?

- Not a thing, but-- but I would like to keep at it

for a little while, anyway.

- I'm a little surprised.

I've never seen you discouraged before.

- Well, so far, it's all been very tedious.

- You know, you-- you've never really made it clear

exactly what you're expecting to find.

- Well, the way things are going,

I may never find anything.

I have a feeling that I'm going up a blind alley.

- Well, sorry to hear that.

I know you had great hopes.

- Well... [sighing]

Maybe I was wrong.

- You know, that doesn't sound like you, Julia.

- Oh, it's me all right.

So, you can see why I haven't been giving you any reports.

- Are you telling me the truth?

- What do you mean?

- Are you sure this isn't just another tactic

to get me to stay quiet and keep out of the way?

I've known you for a long time, Julia.

You always know what you're doing and where you're going.

If you don't, you don't waste time.

You know something. I know you do.

- I know that I'm tired and a little bored.

Very, very bored.

♪♪

- Then-- then, you'll let Maggie stay on at Windcliff?

- I suppose we shouldn't even be mentioning her name.

- But you'll let her stay?

- Yes, I suppose, for the time being.

- Trust me. - Oh, I do.

I suppose I shouldn't, but I do.

[knocking on door]

- Maybe it would be better if we didn't have these meetings here.

I mean, people might really find out

I'm not really doing historical research.

- Well, maybe from now on,

we can try to arrange the meetings at my office.

[knocking continues]

- Oh, Vicki, I was just about to answer.

- I'll get it. Hello, Dr. Woodard.

- Hello, Vicki.

I guess I should say goodbye. I'm just leaving.

- Oh, has Miss Hoffman told you

about the exciting work she's been doing?

- Oh, yes, I just got a full report.

Very exciting.

- Barnabas, come in. You know Dr. Woodard.

- Of course. No one's ill, I hope.

- No, no, no, just a social call

on my friend, uh, Miss Hoffman.

- Oh? - Well, good night, Julia.

And, uh, I hope I see you soon. Keep up the good work?

- Thanks, Dave. I will. - Goodbye.

Mr. Collins, Vicki.

[door opens]

Thanks, Vicki.

[door closes]

- Well, I didn't know

that you and Dr. Woodard were old friends.

- Oh, yes, from-- from undergraduate days.

Then he went on to medical school,

and I went into historical research.

- Apparently.

- Are you sure, Mr. Collins, that I can't change your mind

about cooperating with me?

- As a matter of fact, that's why I came.

- Oh?

- I'd like to have a word with you.

It won't take long. - Oh, I'll get my notebook.

- Oh, there's no need for that. - Oh, I'll be right back.

- I'm glad that you're going to talk to her.

Perhaps you'll even let her look at your library.

- And how have you been enjoying the work?

- I'm not sure. - Oh?

But I expected that you'd be enjoying it immensely.

- So did I. - Well, what is it?

- I get so confused. - Confused?

- Yes, confused about the past and the present.

- Well, I'm not sure I know what-- what you mean.

- Well, sometimes I feel

that I'm gonna lose the present altogether.

- Well, is that necessarily so bad?

- Oh, yes. - But, why?

I-- I thought you loved the past.

- I do, but I get frightened. - Of what?

- Of being trapped. - Trapped?

- Yes, sometimes I think

that I'm going to get so far into the past

that I'll never be able to get back.

- Well, you mustn't be afraid.

- Mrs. Stoddard let me do the work with Miss Hoffman

in-- in the hopes that it would give me

an objective view of the past.

It doesn't seem to have helped.

- You're as attracted to it as ever?

-Yes, I am, and it's got to stop.

I hope that you won't be offended by this.

- By what?

- Josette's music box.

I think I must give it back to you.

- But why? - It's so difficult to explain.

It has such an odd effect on me. - In what way?

- It seems to-- to cast a spell and...

I-- I find myself playing it all the time.

I-- I can't seem to stop playing it, in spite of myself.

- But it can hardly hurt you. The music is lovely,

and-- and Josette herself was enchanted by it.

- I know that.

- Well, please, you-- you must keep it.

I'd be very hurt if you didn't.

- But, then, what am I to do

to keep from being so attracted by the past?

- You know what I think you should do?

- What?

- Well, I think you've been so deeply affected

because the music is so unusual, but, uh,

I think that you should let it become quite ordinary.

- You mean that I should let it become even more familiar?

- Well, doesn't that make sense?

- Yes, I guess it does. - Well, then, try it and see,

and, if after a while, you still are disturbed by it,

then I'll take it back.

And please, don't be afraid

of what being trapped by the past means.

After all, one should be afraid of being trapped by the present.

♪♪

- I hope I didn't mislead you.

All I wanted to do was apologize

for my behavior the other day.

- Oh, I see.

- It was rude and a little abrupt. I apologize.

- You know, of course, what you could do to make up for it?

- My apology isn't sufficient?

- You could tell me what you know about your namesake

and his sister, Sarah.

- I told you, I know nothing.

- What puzzles me is why nothing has such an effect on you.

- Well, I have heard parts of the story, as everyone has,

and it's always been deeply affecting.

- Sarah was the only one he seems to have loved,

and from the picture, one can understand why.

- Please, I'd rather not discuss it--

if you have accepted my apologies

and you're willing to forget the entire situation.

- Even-- I remember the picture.

The picture exudes an innocence.

She was a lovely child.

- If you'll excuse me, I really must leave.

- Of course, the person I really care most about

is your namesake, the original Barnabas Collins.

- A rather dull person from all accounts.

- All accounts?

- Well, from all the accounts that I've come across.

- Oh, then perhaps I've uncovered some things

that you're not familiar with.

- What do you mean? - Exactly what I said.

I find Barnabas Collins-- not you, of course--

the original Barnabas Collins,

the most fascinating of all the Collins'.

- How can you?

He went to England when he was very young

and died there almost obscurely.

- So the story goes.

- You mean you've uncovered some new facts?

- I told you, when I first met you,

that I knew a great deal about a great many things.

- May I ask what you've discovered?

- Oh, if you remember at the time,

I offered you an exchange of information.

I would tell you everything I knew

if you would tell me everything you knew.

You refused.

- I can't believe

that you really have found out anything startling.

- Maybe I have, and maybe I haven't.

- Have you been doing some special research

on Barnabas Collins?

- Yes, I have-- very special.

- And what would you like from me

in exchange for that information?

- Well, my original offer still stands.

Tell me everything you know and I'll tell you everything I know.

- Well, it hardly seems fair,

since, obviously, I know so little by comparison.

- Do you?

- If you're willing,

perhaps we could talk tomorrow at my place.

- I'd like that very much.

Uh, shall we say tomorrow... morning?

- I'm afraid that wouldn't be inconvenient.

- Oh. Well, tomorrow afternoon then.

- I won't be available until the evening.

- I understand completely. - I look forward to it.

- So do I. - Then it's agreed?

- Very definitely. - Then, 'til we meet again.

- Until then. I'm happy it's to be so soon.

- So am I.

- Oh, I've never been able to get used to the resemblance

between you and this portrait.

- It is amusing, isn't it? - Amusing? I find it uncanny.

- Well, my cousin Elizabeth finds it almost unbelievable.

- Oh, unbelievable? I don't find it unbelievable.

I find it completely believable.

After all, you are closely related.

Very closely related. - Yes, aren't we?

Well, thank you for your interview, Miss Hoffman.

I can't tell you how much

I'm looking forward to our next meeting.

- I can hardly wait.

I can't wait 'til tomorrow, and I'm sure you can't either.

♪♪

♪♪

[wind howling]

[knocking on door]

- Who is it? - Miss Hoffman, it's Vicki.

- Come in.

- I hope I'm not bothering you,

but could I talk to you for a few minutes?

- Of course. What's wrong? You look worried.

- I don't know what to do. - About what?

- Well, I-- I don't know

whether I should continue working with you.

- But I thought you were enjoying it.

- Well, that's just it-- I am.

- I'm not sure I understand. - Well, I--

I'm beginning to feel that--

that my attraction to the past is-- is not normal,

and I'm afraid of getting trapped in the past.

- Well, if that's really the way that you feel, then...

- Miss Hoffman, how do you do it?

How do you get so close to the past

and still stay so objective?

- [chuckles] Are you so sure I'm so objective?

- Oh, yes, you are. I can tell. To you, this is just a job.

- Oh, I'd like to think it means a little more than that.

- Oh, no, I-- I didn't mean that you don't take it seriously.

I meant that you don't let it take over.

- Thank you, but there are those who have said

I've let my work become an obsession--

that I'd do anything for the sake of it.

- Oh, but that's not true.

- Well, whether it's true or not doesn't matter.

The work itself is what's important,

and if that means losing my objectivity,

then I gladly let it go.

[dog howling]

What's the matter?

- That dog.

- Is there anything unusual about that?

[howling continues]

- It's getting closer. - Well, don't be upset.

You look-- you look frightened.

- I heard a dog howling

the night that Maggie Evans vanished.

I suppose it's nothing to get frightened about,

but I keep remembering.

- I wouldn't let it worry me if I were you.

- I seem to get frightened about so much lately.

- Why don't you get a good night's sleep

and then we'll talk it over in the morning.

- I'm-- I'm sorry I'm keeping you up.

- Don't worry.

There's nothing for you to be afraid of.

- Thank you.

I-- I hope that dog's not gonna keep that up all night.

Good night. - Good night.

[howling]

[clock ticking]

[clock chiming four-note phrases]

- Good evening, Barnabas Collins.

I've been waiting for you for a long time...

a very long time.

♪♪

[eerie music]

♪♪

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