884 - November 13, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:Collinwood, at the turn of the century.

A young woman blessed, or cursed, with second sight,

has seen a fire raging in the studio

that Count Petofi and the demon Garth Blackwood

are locked in a death struggle.

And in the same inferno,

she has seen the portrait of Quentin Collins.

And now the flames have died.

And Barnabas Collins searches among the ashes

to find which lives have ended and which have changed forever.

[ suspenseful music ]

BARNABAS:This was Petofi's,

I'm sure of it.

But what does it mean?

Were they both destroyed in the flames?

Is this all that remains of Petofi?

It's difficult to believe, but I must believe it.

No one could survive a fire like this.

Or could they?

[ climatic music ]

[ waves crashing ]

[ eerie music ]

[ bell tolling ]

You did it.

Charles.

Yes, all of you with your schemes and your plots.

You destroyed my studio and destroyed my work.

[ Charles stomps ]

Charles, I'm sorry.

Go on, get out of here.

Get out of here,

or I'll k*ll you. I swear, I'll k*ll you.

I cannot go until I find out

whether Petofi is dead or alive.

Petofi.

What about Petofi?

As far as I can tell, he and Garth Blackwood

were in this fire when it started.

But I've also evidence that they died in this fire,

but I also found these glasses outside the studio.

Well, if he is alive,

he couldn't get very far without those.

Especially with that creature after him.

But do you think that Garth was after him,

or do you think that the fire reclaimed

the Master of Dartmoor?

I don't know, and you don't know.

None of us knows, and we probably never will know,

and besides, I don't care.

Charles, you must continue to paint other portraits.

For your information,

some of the portraits that were destroyed

in that fire I cared a great deal about.

And there was one particular portrait

that someone else cared about, Charles.

We're back to the portrait of Quentin Collins, aren't we?

Do you have any idea if that portrait was here?

All right I guess it's,

I guess it's time to tell you the truth.

I did steal the portrait.

I stole it because I thought it would do me some good.

Well now, it won't do me any good,

or Quentin Collins.

Then it was here.

CHARLES: Yes, it was.

Then in the next time the full moon...

The next time at full moon,

you better stay away from Quentin Collins.

No, there has to be a way of stopping it from happening.

Well, I don't know.

Charles, you must paint another portrait of Quentin.

- You must. - I don't know, I told you.

You must.

If you did it before you can do it again.

Charles, you must do this before you do anything else.

Well, Quentin Collins isn't my favorite person,

but I tell you what, I'll do it.

Is tonight soon enough, about uh,

about ten o'clock?

BARNABAS: Is that time enough for you?

[ laughs ] Oh...

there's no question about it.

GREGORY: It's the last candle.

When it goes, there'll be everlasting darkness.

Is it dark now, or is it day?

Which day?

Is the sun shining?

I wish I could see the sun.

I remember I used to put the students

in a dark room to punish them.

Some of them were afraid of the dark and they'd scream,

"Let me out!"

Let me out! Please, let me out!

I'll be good, I promise.

[ phone ringing ]

Judith, don't hang up!

Judith, don't go away!

I'm not going anywhere, Gregory.

Neither one of us is.

GREGORY:Judith, you cannot commit m*rder.

m*rder is evil.

Then it was wrong for you to k*ll Minerva,

and Mrs. Curry in Fall River.

Judith, I didn't k*ll them, I didn't.

JUDITH: And I'm not going to k*ll you.

I promise I won't come near you.

Goodbye, Gregory.

GREGORY:No, Judith, wait.

Judith, Judith, listen to me, please.

Judith, I'm... I'm cold and I'm hungry.

Please, Judith, you've punished me enough.

Whatever I did to you is not bad enough

for you to do this to me.

You're right, Gregory,

you're always right.

And that's why I have a surprise for you.

What?

JUDITH:Go to the alcove and look behind the drapes.

You'll find something there to brighten

that dark room of yours.

Goodbye, Gregory.

No!

No!

No!

I'm just waiting for Miss Harris.

I'm here, Quentin.

I should ask questions,

demand an explanation,

but I can't.

I'm just so glad to see you again.

And all I care about is that we're together.

We're not going to be together.

Well, what do you mean?

Why not?

Because of what I am.

No, because of what I am.

I don't understand.

I didn't meet you at the station,

because I had to find a portrait.

A very important portrait.

AMANDA: Why is it so important?

Because it controls what I am.

Without that portrait I could become a monster capable

of k*lling anyone

including the person I love.

I don't believe that.

Believe it, because it's true.

That's why I couldn't marry,

that's why I can't stay with you

until I find the portrait.

But you just can't go away.

Amanda...

I know it hurts both of us if I leave,

but I'll hurt you so much more if I stay.

That's why I've got to say goodbye.

[ dramatic music ]

What are you doing?

I was calling a carriage.

Why, what's all this luggage?

It means that I'm,

I'm leaving Collinwood.

Where are you going?

I don't know that yet.

But I do know that I'm leaving forever.

Isn't this a very sudden decision?

Yes,

but like all sudden decisions,

I've actually been thinking about it for quite some time.

Kitty, I'm amazed.

I can't imagine Edward just letting you walk out of here.

Edward doesn't know.

You haven't told him?

KITTY: No, and I'm not going to.

Well, he's done a great deal for you.

Yes, I know what Edward's done for me,

but I also know that I'm suffering

from some sort of condition that's too serious to share

with anyone, particularly Edward.

He's a very dear, foolish man.

He's better off without me.

Someday he'll find a woman more worthy

of this ring than I am,

and I wish him happiness, whoever she is.

I'm sorry we won't be sisters.

I admire people who can face the truth

and do something about it.

I'll go to the carriage house,

and arrange for someone to take you to the station.

Thank you, Judith.

[ exhales ]

Did you hear what I said?

I'm never coming back here.

When I leave, it's forever.

To live my life for all my life,

I've got to live my own life,

and you've got to let me do it.

Do you understand?

[ music box chiming ]

JUDITH:Dear Tim Shaw,

The plan I have been working on

is coming along most satisfactorily,

and should be completed soon.

Tomorrow I want you to come here, take down the bricks,

and panel the anteroom so that it is completely cut off

from the prying eyes, forever.

KITTY: Whatever link there was

that joined us together must be broken now.

I'm going to go away, and I'm not coming back.

I have to go away to live my own life

and you can't come with me.

Please, you've got to let me.

You've got to let me be myself.

I've got to forget Josette DuPres.

[ music box chiming ]

JOSETTE:Kitty Soames.

Yes.

JOSETTE:Kitty Soames.

It is Kitty Soames you must forget.

Kitty.

No, Don't come near me!

I--I can't fight both of you!

Then stop fighting, Kitty.

And stop running away.

That's why your bags were packed, weren't they?

You were running away.

Yes.

Kitty, I know how frightened you are,

but you must believe this.

I would never do anything to harm you.

Can you say as much for her?

No, you can't

because you know that both of us can't live.

And if I stay here it'll be as Josette DuPres,

a girl who died years ago.

That's why you've got to let me go!

Let me go!

To go among strangers, where no one will love you,

not you, or Kitty, or Josette?

No, you must stay here and let me help you.

KITTY: Help me?

Will you marry me?

Does the idea terrify you, too?

No.

No, it doesn't.

I, I understand somehow that it's what I must do,

whoever I am.

Then, you will marry me?

Yes.

BARNABAS: When?

As soon as possible.

I'll arrange for the wedding this evening.

KITTY: Yes, this evening.

Wait here, until I return.

KITTY: No, I'm afraid!

There's no reason.

No harm will come to you here.

I hope not.

[ door slams ]

GREGORY: Soon it'll go out.

Soon it'll be dark.

And I don't want to be alone in the dark.

Minerva, come to me.

I can't come to you,

Minerva, I don't know how.

I have no g*n, no rope, no knife.

I have nothing, Minerva.

She took everything from me.

Minerva.

[ phone ringing ]

Minerva!

Minerva!

Gregory, do you miss me a great deal?

GREGORY:I want to come to you, Minerva.

And you can.

All you have to do is look in the desk.

In the top right-hand drawer,

there's something in it that's very valuable for you.

Go find it, Gregory.

And do whatever you want with it.

It's all yours.

[ dramatic music ]

Kitty's luggage has been here for hours.

If I only knew where she is,

- what's happened to her. - I know where she is.

Is she all right?

BARNABAS: She will be, I pray,

when she marries me.

What?

Oh Barnabas, how can this be? What will Edward say?

It no longer concerns Edward.

Whether she marries me or not, he's lost her.

Well, he'll be very upset when he hears.

That's why he mustn't know until

after we're married, this evening.

So quickly?

BARNABAS: Yes.

After the ceremony, we'll come back and tell Edward,

and then we will leave Collinwood immediately.

- JUDITH: You're leaving? - Yes.

Much as Collinwood means everything to us both,

I know that we can no longer stay here.

Where will you go?

Wherever we go, neither you nor Edward

will ever have to be concerned with us again.

Barnabas, this is incredible.

You just met Kitty Soames.

No...

I feel as if I've known her forever.

KITTY:I told Barnabas I'd marry him.

Why?

It's not me he wants, it's her.

I'm not her, I won't be her.

[ music box chiming ]

He knows I won't be her, he understands.

He's the only one who can understand.

He's the only one who can help me fight.

Barnabas, where are you?

Barnabas, I need you.

[ eerie music ]

Charles.

Charles Tate.

Charles.

CHARLES:By the time you read this, Barnabas,

I will be far from Collinsport.

My work has not been going well here.

I suppose it's time to move on,

find new scenes and new subjects.

Sorry about Quentin's portrait.

I know you'll understand.

Yes,

I understand.

You hated Quentin and this is your revenge.

[ phone ringing ]

[ phone ringing ]

[ climatic music ]

Of course I'm upset, it's my wedding night.

The night of my marriage to a man who's,

who's little more than a stranger.

How long have I known him, really?

Oh, where is he?

Why doesn't he get back here?

It's our wedding eve.

The eve of my wedding, and look how I'm dressed.

I must find something more suitable.

[ music box chiming ]

This will do.

No! [ crying ]

This will do what she wants done.

This will make me Josette DuPres forever!

I can't put it on, I can't!

Oh...

Oh, Barn...

Barnabas, where are you?

I need you.

[ music box chiming ]

[ wind howling ]

JOSETTE: Hurry, Barnabas. Hurry!

I must hurry and get ready.

He's on his way.

What am I doing?

Why did I change my dress?

I mustn't, I know I mustn't.

What's happen...

Kitty.

Kitty.

[ dramatic music ]

[ eerie music ]