742 - April 29, 1969

[bunniefuu]

[ ominous music ]

NARRATOR: The influence and the effects

of supernatural forces have been felt

by all who live in and near

the Great House of Collinwood.

Two men, Quentin Collins and Barnabas Collins

have been trying to solve

the mysterious past of a woman

recently returned to the estate.

Each man knows that there is a connection

between Laura Collins

and a frightening supernatural power.

- Quite a picture. - [ woman gasps ]

Very prim and proper before the fire.

You frightened me.

No, that surprises me.

Quentin, it's very late.

We've been here later before.

I'd like to say I don't remember now.

But you do, I do.

Laura, why have you come back?

Quentin, you are such a little boy.

Have you wondered that ever since I appeared?

Haven't you been able to make up your mind yet?

I really can't believe you've come back for the children.

I need the children Quentin.

What will you take in their place?

I'll get anything, money.

- [ woman laughs ] - Don't laugh,

I'm serious.

I'll steal it but I'll get it.

I'll do anything so you'll leave.

I have powers, I'll use them to help you.

All I want is my children.

Why is that so difficult for you to accept?!

Because I know what will happen to them

if you take them!

And I know what will happen if they stay here!

You will ruin Jamison.

And I know why, because he is the heir.

You'll get money by using him.

Do you think I am really gonna let that happen?

Oh no.

You can't have him Quentin!

But at least he'll be alive.

Oh you're not starting that again.

Laura died in a fire in Alexandria--

Yes, yes I'm starting that again.

Well that's very foolish of you.

No no it's not.

Because now Laura, now I have this.

LAURA: More paper, Quentin?

Yes.

A paper from Alexandria from the police.

Well your friends.

Regarding your cable April th, stop.

Police records confirm,

Laura Murdock Collins died by fire

March th, .

Death certificate follows.

[ dramatic music ]

[ ominous music ]

So you see, I know.

I know all about you.

I have the proof right here,

and I'm ready to use it.

The proof of what?

That you're dead.

Quentin, you're showing me a side of yourself

that I've never seen before.

Through sheer persistence and determination

you will, I am sure,

manage to convince everyone

of just how stupid you really are.

QUENTIN: What are you talking about?

Are you idiotic enough to think that

that cablegram means anything?

Go on, show it to the world. Have it published.

I'll tell you what will happen.

Nothing, nothing at all.

QUENTIN: It proves what happened in Alexandria!

I am the only one who has any proof!

And that proof is me!

A living, breathing, human being.

My mere presence here makes a shambles

of your death certificate

and any other so-called proof

that you might care to uncover.

Now, kindly leave.

All right, maybe this

doesn't constitute proof to anyone else.

But it does to me.

And I'm going to find out what you are

and how you got back here

if it's the last thing I do!

And it may be the last thing you do.

Well, well, it's your luck.

Shall I be discreet and say personal bodyguard?

I think you've said enough already.

You needn't escort me out, I know the way.

Remember what I said, Laura.

He came here to threaten you, didn't he?

His threats are as hollow as he is.

You know, you underestimate him.

He's a dangerous man.

No, no, not as long as I have you.

And what if I hadn't come in just now?

Why did you come, Dirk?

I don't know, I just wanted to see you.

No, no, my dear,

you instinctively knew that I needed you.

That's why you came.

You know, I've never felt like this before.

As time goes on, you'll understand more and more.

I want to stay here with you.

I'd like that, Dirk.

But it's not a practical idea.

You have your duties at Collinwood,

and it's necessary that you perform them.

We can see each other tonight, can't we?

Yes, yes, tonight.

[ slow paced music ]

Good evening, Miss Trask, you ready?

Yes, I'm ready.

Well, I have the carriage waiting down by the gate.

Thank you, it's very good of you to give me

a ride into town.

[ rustling wind ]

[ ominous music ]

Charity.

Charity, you will hear my voice.

You will leave Collinwood now

and you will come to me.

Now, Charity.

I need you now.

[ rustling wind ]

Oh, where'd all this wind come from?

It was calm before.

I don't know.

Must be a storm coming up.

We'd better get started.

Are you coming?

BARNABAS: Come to me, Charity.

Come to me.

Miss Trask?

Miss Trask, are you all right?

Yes.

We'd better get started, come on.

No, I forgot a book I want to bring with me.

Well, I can get it for you.

Inside, on the table near the stairs.

Miss Trask, there's no book here, so we...

Miss Trask?

Miss Trask?!

[ slow paced music ]

BARNABAS: Come in, my dear.

No, I mustn't be here tonight.

Come in, Charity.

My father is waiting for me in town.

He'll be expecting me.

I need you more than he does.

Now, there is something I want you to help me with.

Please, let me go, Barnabas.

I don't want to be here.

I want to go into town.

[ dramatic music ]

[ ominous music ]

What would you like to do now, Charity?

Stay here with you.

Good.

What was it you wanted me to do?

Do you believe in spirits?

My father says there are evil spirits

that can influence people.

For once, your father and I are in agreement.

Why did you ask me?

You remember the portrait that we discovered

the other night of Laura Stockbridge?

CHARITY: Yes.

We opened that grave of that woman,

there is no body there.

You opened her grave?

Somewhere Laura Stockbridge Collins is at large.

And tonight I'm going to try to communicate with her.

I don't understand any of this.

I do not need your understanding now, my dear.

Why do you need me?

I have a plan.

If it works, it may solve the mystery of Laura Collins

and why she is at Collinwood.

I need someone I can trust to be witness to

what I'm going to do.

What exactly are you going to do?

I will explain everything when I

come back from Collinwood.

You will wait for me here.

[ ominous music ]

I have to leave now.

Why?

I've been too long already

I'm afraid Miss Judith will start asking questions.

What are you going to do if that happens?

I don't know.

You could tell her we were in love with each other.

Could I?

Yes.

But it's a very casual kind of love isn't it, Quentin?

I could tell something was the matter

with you this evening.

Not something, everything.

I don't know what that means.

It means I feel a sense of hopelessness.

Why?

I would like to think that we

have a future together, Quentin.

I'm sorry, but we just can't have as long as

you're married to Jenny.

Beth, we've been all over this before!

Yes, but we haven't settled it yet.

Sooner or later we must.

Jenny is stark raving mad!

Quentin, that doesn't change a thing.

She is still your wife.

I've told you, when the time comes

and I feel that I can approach Judith with the subject

everything will be worked out.

Jenny will be committed, the marriage will be annulled.

BETH: Are you sure it can be?

With the Collins money and power behind me,

anything is possible.

That's why approaching Judith at the right time

is very important.

Beth, now be patient.

I promise you, you won't regret it.

You know I love you very much.

[ bat squeaking ]

Come on now, I'll take you downstairs.

We shouldn't be seen together too much.

Nonsense, being seen together may even be the answer.

What do you mean?

Well, maybe we ought to let Judith begin to suspect us.

It'll occupy her mind for a while.

Then when her suspicions are confirmed,

[ laughs ] it'll give her a great feeling of triumph.

At that point, she's always easier to deal with.

Come on.

[ suspenseful music ]

Well, when you make an effort to attract attention

there's never anyone around to look.

Maybe that's just as well.

Come on, walk me to the door.

I'll be back soon.

Well?

Well what?

Isn't this the appropriate moment

for a stern lecture on morality?

I don't see why, Beth.

I mean, it's your life.

If you want to throw it away,

you do it any way you choose.

[ slow paced music ]

Mr. Collins.

Beth.

Well, I was looking for my cousin Quentin.

Obviously he's not here.

That's right, he just left the house.

Well, I was most fascinated with this rare

old volume that I saw here the other day.

I was sure that Quentin wouldn't mind

if I borrowed it.

I intend to leave a note, of course.

That won't be necessary, Mr. Collins.

When he returns, I will be most happy

to tell him that you were here.

[ suspenseful music ]

When did this happen?!

About a half an hour ago.

He must have gone into the room

just after we went out.

But why didn't we see him

while we were going down the stairs?

I don't care about that!

What book did he take?

I don't know.

But I did see part of the title.

QUENTIN: What is it?

It was the word dead.

Does that mean anything?

Where was he when you walked in?

Near the bookcase, or at my desk?

BETH: Your desk.

The Egyptian Book of the Dead.

But what would he want with that?

What is the Egyptian Book of the Dead?

Never mind, I'll be back later.

Where are you going?

I've got to go to the Old House.

My cousin Barnabas and I have some talking to do.

[ slow paced music ]

Why did you want the door locked?

I expect that we will be having a visitor.

By now Quentin knows that I

took this book from his room.

Why did you take it?

It is the Egyptian Book of the Dead.

The dead?

And I believe there is a curious connection

between Laura, Quentin, and the occult of Egypt.

Why?

Laura's child had a premonition that she would return.

The child made a drawing of a pyramid,

and of several Egyptian hieroglyphics.

Laura and Quentin spend a great

deal of time in Alexandria.

And now this book from Quentin's room.

I may be wrong,

but there may be a connection,

and I intend to find out tonight.

CHARITY: What are you doing?

I am ready to begin.

Barnabas, I'm frightened.

You needn't be, my dear.

If anyone is in danger, it is me.

Now, I want you to sit over here

on the settee.

And be very quiet and watch carefully,

do you understand?

Yes.

Amun Ra, prince of light and radiance,

creator of things which came into being

when the earth was formed in the beginning.

Master of the bounds of eternity,

bright flame of fires

mighty in splendor.

I summon an eternal

shade who worships thee.

Your presence has given me great strength, Dirk.

But you must go now.

I think it would be a mistake to leave now.

Why do you say that?

Because you need me.

You need my protection.

No, I'll be all right.

Really.

[ Laura gasps ]

What's the matter?

I don't know, I suddenly feel...

Feel what?

Weak, my strength ebbing away.

[ ominous music ]

Let the way be open to her.

Let her not her soul be kept in any longer.

Let her shadow be not fettered.

Let the corridors of time be open to her

that her soul and shadow may be free to rise

and walk and speak again.

Laura, tell me what's happening.

Let me go.

I need the scarab.

I can't move.

Get it for me, Dirk,

get me the scarab.

All right, where is it?

It's over there.

I know it's Quentin, it is Quentin isn't it

that's doing this to you?

You know, you're not safe and

you're not going to be safe

until Quentin's dead.

Here it is, Laura.

[ suspenseful music ]

Laura!

Laura.

Let the way be open to her, Amun Ra.

Barnabas, something is happening.

Quiet Charity.

You have disturbed me.

Who are you?

Laura Stockbridge Collins.

Are you the same Laura Collins that exists here now?

I am Laura Stockbridge Collins.

Why have you returned to Collinwood?

The children shall be mine.

[ Beth screams loudly ]

No, no!

Tell me why you must have the children!

Oh, no. Oh, my God.

[ Laura shrieks ]

[ dramatic music ]

[ ominous music ]