849 - September 24, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:The great estate of Collinwood

at the turn of the century.

And this night, one woman, new to the family,

must seek out a man she loathes and fears, for she thinks

he may have the answer to the mysterious events

which have been happening to her.

My dear Lady Hampshire, what an unexpected pleasure.

Do we have to pretend politeness, Petofi?

Your beauty demands it.

What do you really see when you look at me?

What do I see--

No, please, let me answer for you.

You obviously see someone you consider a fool--

PETOFI: No, I assure you--

Someone you can play unexplainable tricks on.

Somebody you can control through fear.

My dear, I'm afraid you're developing

an obsession about me.

You sent that poor, mad, Charity Trask to see me.

You coached her in what to say to me.

I'm accustomed to being blamed for everything,

but in this case--

Well, she obviously rehearsed her lesson very well.

It was most impressive.

When she began to hum that little music box song,

I was actually frightened.

Were you, indeed?

Her prophecy, death and destruction,

your favorite themes.

I am not alone in that.

But it was an absolute stroke of genius,

placing that music box in my room,

knowing that I would be curious enough to play it,

know that when I did play it,

I would hear the same song that she sang.

Here.

You present that to someone else.

Tell them it will cause their deaths, not mine.

You can't force me out of Collinwood.

I know your ways, Petofi.

I know and I'll fight.

[ music box tune ]

[ eerie music ]

[ music box tune ]

I have never seen this music box before.

Oh, I must be quite a challenge to you, Petofi.

You cannot repeat the same tricks that you played

at Hampshire Hall on poor Gerald.

You think a music box is a harbinger of doom.

Yes, that is quite my style.

Exactly.

I should hate to think that someone is imitating me.

Who could it be, let's see--

Now stop this silly game. Just admit that you did it.

PETOFI: I cannot,

because I did not.

It's quite simple, Lady Hampshire.

You have an admirer at Collinwood.

Does that surprise you?

An admirer did not send Charity Trask to see me.

Coincidence?

I do not believe in coincidence.

I'm afraid I cannot offer you an explanation

that you will accept,

but please believe me when I say,

I bear you no grudge.

I sincerely hope you get the money you so eagerly desire.

I should hate to see you reduced

to your former place as a governess.

Now, if Edward sent it--

He did not.

I don't think it was the Reverend Trask,

you're not bucolic enough for his taste.

That leaves...

Quentin.

Yes. I bet you're beginning to believe me.

Quentin, is he attracted to you?

We will discuss that as we walk back to Collinwood.

I'm as fascinated as you are by your unknown admirer.

You will want to take this with you, I imagine.

[ music box tune ]

Yes, it does mean something to you.

Something quite different from what Charity said.

Yes, but I don't understand it.

I don't understand it at all.

I'm in love with her, and don't laugh at me.

I'm not laughing.

I wouldn't ask if Amanda could stay here if I weren't.

Julia, you don't mind if she stays here

until we're ready to leave, do you?

A little, it'll work out, Quentin.

But, Quentin, you must leave.

You must leave here before Petofi acts.

I know that, we will leave,

just as soon as I can make all of the arrangements.

There's only one reason I don't want to.

You.

Don't worry about me, I can take care of myself.

Why don't you try to go back to your own time?

I can't, I can't leave

until I finish what Barnabas started.

What did he leave? What must you do?

Quentin, there are things I can't tell you.

Things-Things you don't need to know.

Then I should stay, too.

No.

QUENTIN: You have to deal with Petofi and Aristede.

Aristede, I haven't seen Aristede since that night

that Barnabas came and got me at the old mill.

For Petofi,

I think,

I think we've established a sort of...

a truce.

It won't last.

[ sighs ]

It has more chance of lasting if you aren't here, Quentin.

Oh, take Amanda and go.

Just promise me that you'll let me know where you are,

and then I'll let you know

when everything is settled around here.

Won't you tell me what's really happening here?

No, not now Quentin.

Petofi will not always be the threat that he is now.

Perhaps he'll simply disappear, as Aristede has.

I'm not giving up, Quentin, I promise you.

[ whimsical and dramatic music ]

[ door opening and closing ]

[ whimsical and dramatic music ]

Count Petofi?

[ whimsical and dramatic music ]

Aristede.

What are you doing here, Beth?

His excellency feels that it was necessary to replace me?

I'm back, Beth.

Back...

for good.

[ dramatic music ]

I leave you here so we can keep up

the delightful little fiction of not knowing one another.

I wish you luck in finding out who sent the music box.

I shouldn't discount Quentin.

One of his most charming characteristics

is that he always has time to spare

for any beautiful woman.

[ door opening and closing ]

Good evening, Mr. Collins.

Lady Hampshire.

Do I owe you thanks for this?

Where did you get that?

BETH: I was hoping you might be able to tell me.

No, I can't.

But you've seen it before, I know it. Where?

I must be wrong, it can't be the same one.

Who did it belong to?

That doesn't matter.

It does matter, Mr. Collins, to me.

Well, it belonged to a relative who once lived at the old house.

Barnabas Collins?

QUENTIN: Why do you know that name?

I collect information, Mr. Collins,

and I remember what I hear.

You wouldn't expect me to forget a vampire, would you?

BETH: I listen when people speak.

And now is there any reason why I shouldn't know?

No.

Not now.

Barnabas Collins is dead.

I think I saw him that first night that I was here.

I cannot believe that he's a vampire.

[ music box tune ]

But if this was his, then why was it given to me?

BETH: Why?

I don't know.

I don't know.

[ music box tune ]

[ door opening and closing ]

Beth?

She's not here, Excellency, I sent her on an errand.

So, you've come back.

As you knew I would.

Where have you been?

To Boston for some new finery?

Let me see what you've purchased, Aristede.

Well, I did buy something.

Yes, I knew you would. Show me.

This cravat.

Charming.

Charming.

Excellency, don't be angry.

I only left because of Barnabas's curse.

He said he was going to k*ll me.

When I heard he'd been destroyed, I cam back,

just as you knew I would.

Yes, I knew you would.

Don't think I didn't prepare a special homecoming for you,

because I did, you bungling fool.

ARISTEDE: I did what you told me to.

What did I tell you to do?

What was your last order, Aristede?

To k*ll Julia Hoffman.

- And did you do it? - Yes.

Did you see Julia Hoffman die?

Well, she's dead, she's got to be.

I didn't see her die, but...

I tied her in a chair,

I fixed the g*n so that it would sh**t her

through the heart when Barnabas opened the door.

It was a clever plan, most brilliantly ex*cuted.

Then why didn't it work?

It didn't? It did, I saw Barnabas open the door.

I heard the shot.

She's got to be dead.

PETOFI: Does she indeed?

The g*n was pointed directly at her.

It couldn't have missed her.

Come, let me show you.

Look!

The b*llet went through her and out the back of the chair.

See?

Amazing.

Where are you going? Let me come with you.

- [ footsteps ] - [door opening and closing]

What's wrong with the Count?

He rushed right past me.

I've never seen him like that before.

He's pleased with my success.

He's glad to have me back, I can tell.

[ dramatic music ]

[ knocking ]

Who is it?

PETOFI: Count Petofi, madam.

[ knocking ]

What do you want?

PETOFI: I came to pay my respects,

to see how you're faring in our time.

Won't you ask me in, my dear?

I-I have very little time.

What a pity. We have so much to discuss.

I was hoping we could achieve a better understanding

of one another over a glass of brandy.

There is some brandy if you want it.

Your manner almost makes me decline, but I shan't,

the night air has brought on a slight chill.

Won't you join me?

I don't drink with enemies.

PETOFI: I come as a friend.

JULIA: What do you want?

PETOFI: We'll discuss that when we've had our drinks.

JULIA: I'm afraid I don't believe you came here

out of any feeling of friendship, Count.

May as well start this meeting

as honestly as we can.

PETOFI: I'm a great believer in honesty.

I'm glad some of the virtues of our time

have survived in your age.

To your enjoyment of .

[ suspenseful music ]

Now tell me why you came here?

PETOFI: I came to, uh...

watch you die, Dr. Hoffman.

There was cyanide in that brandy.

Enough cyanide to k*ll ten women.

Will it k*ll you, Dr. Hoffman?

That's what I came to see.

[ suspenseful music ]

Are you feeling any pain, my dear?

No, no remedies.

Your throat burning yet?

Have the unbearable pains started?

They should have,

because I went to town to purchase that exact drug.

It acts instantly.

I-I would like to act it out for you, Count Petofi.

Yes, I-I really would.

I would like to make you think that I feel every pain

the poison can cause, but I know you.

I know that you would wait for the very end.

You cannot die?

Why? Why? Shall I make you tell me?

My body exists in .

It is sitting in a trance, in a room there.

- Your astral self-- - Is here.

And your astral self cannot be k*lled.

JULIA: I don't understand it.

It is not necessary to understand it.

It is enough to know it.

[ dramatic music ]

You cook very well.

We may have a use for you.

I didn't come here to cook.

Why did you come here, Beth?

I want more than I've had.

- [ door opening and closing ] - [ footsteps ]

- Get out. - But, Excellency.

Do I have to repeat myself?

Did you find...

Julia alive?

In a manner of speaking, yes.

Now get out.

You're planning something.

You can guess what it is as you walk through the woods.

- Good night, Aristede. - But...

Good night.

Now, Beth, you can be a great help to me.

A very great help.

You don't want me to go through the I Ching again?

No, my dear. Something far more interesting than that.

What? Tell me now.

If you had gone to the future the other night

when you tried to go,

only your essence would have gone.

Your astral self, your body would have remained here

in a trance, unable to defend itself.

Vulnerable if a gypsy with a knife entered the room.

But your astral self in the future,

no one could k*ll that.

But Charity k*lled Barnabas.

Precisely.

You're more intelligent than I thought,

because the Barnabas Collins who existed in ,

was born in the th century, and in this year,

, his body was in the mausoleum.

So Barnabas's astral self had a body to occupy,

as I must have in .

You're mad!

Perhaps.

But if I am, I'm very farsighted.

If what I intended Quentin's portrait

to accomplish has happened--

BETH: I don't understand.

Look in there.

- Why? - Do what I say.

Look in there.

Forget me, forget what we were talking about.

Look. Look.

Concentrate on the future and tell me what you see.

[ dreamy music ]

BETH:I see Collinwood, only it's different.

So different.

PETOFI:How?

BETH:There are strange lights, not like our lamps.

The furniture has changed.

PETOFI:Who is in the room?

BETH:Quentin.

PETOFI:How is he dressed?

BETH:Not like now, he looks different.

PETOFI:He is in another time, he's there.

What is he doing?

BETH:He seems very angry.

He-He has a g*n in his hand, different from ours'.

He's going to k*ll someone.

[ dramatic music ]

It can't be.

Quentin's not in another time, he's here.

But he looks the same. No, older.

PETOFI: You will remember nothing, Beth.

You will not remember my coming into the room.

Count Petofi, when did you come into the room?

A few moments ago, my dear.

And I have wonderful news.

I know now how I shall go to the future.

[ dramatic music ]

[ eerie music ]