889 - November 20, 1969

[bunniefuu]

[ eerie music ]

NARRATOR:On this night, a mysterious part

of the past will merge with the present,

and when it happens, an insidious form of evil

will descend upon the Collins estate.

There will be those who will have strange

and frightening premonitions of the horror that is to come,

but for a long time, no one will know precisely

how real and how close the danger is.

[ gloomy music ]

[ wind howling ]

[ thunder clapping ]

The waters shall nourish each grain of sand

wedged between ancient sacred stones...

and guide us to the threshold of a time to be...

and restore our flesh and bones.

[ thunder claps ]

Time is at hand.

[ dramatic music ]

[ eerie music ]

Charles Delaware Tate,

now that is a name from the distant past.

Where did you find it?

Oh, I found it in Collinsport at a little antique shop.

Tell me, do you think it's genuine?

Don't worry.

That's a curious thing about Tate,

no one seems to have copied or forged

any of his paintings.

What brought on this sudden interest

in late Victorian art?

Tell me, how would I go about finding out

if Charles Tate is still alive?

Alive?

I should think it most unlikely.

Why on earth do you want to know?

I'm afraid I can't tell you that now.

It's information for a friend of mine.

I'll see what I can find out.

[ clock chiming ]

Now I must go and visit a patient.

A patient?

A patient of Dr. Reeves.

He called me up a week ago and asked for my help.

It's a fascinating case.

A young woman who's had a traumatic shock.

We don't know what happened,

but her hair's turned white,

and she's lost the power of speech.

What is this woman's name?

Sabrina Stuart.

Why?

How long have you been working on the case?

About a week.

Do you know her?

Yes, yes I met her once.

Her brother consulted me about her.

Have you met him?

Yes, he seemed a rather surly fellow.

I'm afraid my feeling is that you're fighting a losing battle.

I examined her very carefully,

and it's my feeling that she'll

never fully regain her powers of speech.

Perhaps not fully, but I have made

some progress with her already.

She can say certain words and phrases.

I think if I continue to work with her,

she'll at least be able to tell me

what her traumatic experience was.

I'm due at eight.

I must hurry.

[ somber music ]

Good night, Professor.

[ pulsing beat ]

Barnabas.

[ knocking at the door ]

Chris!

I'm sorry to shock you this way, doctor.

I'm afraid I'm not shocked.

Carolyn had told me that you had phoned her last night.

Is she here? I want to talk to her.

No, you can't talk to her now.

You've got to answer some questions for me.

Why did you leave Wincliff?

Because I was going stir crazy in that padded cell!

But it's not possible for you to be here.

You know that.

It's insane.

You could change any minute without any warning.

I know. I know.

I no longer even have the luxury

of waiting for the full moon,

but that cell, solitary confinement,

just isn't the answer.

Julia, there must be some other way.

Chris, I don't want to raise any false hopes,

but--but I have found out about a man named Charles Tate

who might be able to help you, if he's still alive.

Chris, there's only a slim chance

that he may still be alive.

Who is he? How does he know about me and my problem?

Well, I--I can't tell you any of that now.

After I find him, I'll tell you everything.

If you find him--

even if youdofind him, it may be too late.

Why?

Because of Sabrina Stuart.

I was engaged to her, you know.

She's still in Collinwood.

She's still the only person who ever

witnessed the transformation.

If she should talk,

if she should ever regain her powers of speech,

she'll tell everything she knows.

[ intense music ]

Tonight we'll begin by reviewing

ome of the things we've learned already.

Are you ready?

Ready.

Do you know what you name is?

Sabrina Stuart.

Uh huh.

Where were you born?

Malden, Pennsylvania.

Good.

You lived there until you were years old,

and in that year, something happened one night.

Night.

That night is the last thing you remember.

I remember.

I remember the night.

Sabrina, if you can tell me what

happened that night, you can be well again.

The night Ned found me.

Do you know who Ned is?

My brother.

Good.

You remember him finding you,

so you must remember him asking you what happened.

What did happen?

What was it that frightened you so?

You're beginning to remember, Sabrina.

Tell me, please.

Who is Carolyn Stoddard?

[ dramatic music ]

What does that name mean to you?

I must see her.

I must tell

Carolyn Stoddard.

What do you want to tell her?

What is it, Sabrina?

Hello, Carolyn.

Well is that the best you can do?

Just hello, Carolyn.

No apology, no explanation of where you disappeared to?

Just hi there, nice to see you again.

I had to go away for a while.

I had to think things out.

You do too much thinking,

but then I've told you that before, haven't I?

You have every right, of course, to be angry with me.

I've learned that being angry with you

accomplishes nothing.

Shall I leave?

No.

I think we should try talking again.

[ telephone ringing ]

Hello.

Carolyn, good evening.

This is Timothy Stokes.

Oh, yes, Professor. How are you?

I'm very well thank you.

I wonder if I might ask you a great favor.

What is it?

I'm at the Graham Rest Home on the Shore Road.

I've been helping Dr. Reeves

with a patient of his, a young woman

who's had a traumatic shock.

I wonder if you could come here immediately.

May I ask why?

It's rather difficult to explain.

We've been trying to help this young woman

regain her power of speech.

Tonight, for no reason that is apparent to me,

she spoke your name.

[ dramatic music ]

Barnabas, you are back.

Oh, thank God!

[ dramatic music ]

Yes, Julia, I'm back.

Oh, thank God.

Oh, Barnabas, I'd begun to give up all hope.

How devoted of you to wait for me all that time.

How did you do it, Barnabas?

How did you get back from the past?

The same way I went into it.

Through the i ching.

But--but Barnabas...

But what, Julia?

Nothing.

I didn't think it was possible.

Well, it was.

Here I am.

Barnabas, are you all right?

Is there any reason I shouldn't be?

I don't know.

Did anything happen to you on the way back?

No.

Well, tell me what happened there.

You came back because everything got resolved, didn't you?

Isn't that why you came?

I came back because I wanted to.

Now what happened to all those people?

What happened to Quentin and Petofi?

Petofi may have been k*lled in the fire,

but no one knows for certain.

Quentin left Collinwood to join Amanda Harris in New York.

What about the portrait? Did he take it with him?

Julia, I'm tired.

I'll answer all your questions another time.

Barnabas, what is that?

What?

That box.

It wasn't in the house before. Where did you get it?

In the past.

- May I look at it? - No, don't touch.

You mustn't touch this, Julia.

It happens to be very old.

[ dramatic music ]

Carolyn, it was good of you to come here.

Under the circumstances, I didn't see how I could refuse.

You have no idea why she spoke my name?

None.

I'm hoping you can help me to find out.

This way.

Sabrina?

I've brought someone here to see you.

Who are you?

This is Carolyn Stoddard.

[ mysterious music ]

Hello, Sabrina.

Alone.

I must speak to you alone.

Sabrina, it is most important that I hear

whatever you want to tell Carolyn.

Alone.

Alone!

Professor, I don't mind if it's all right with you.

Very well, I'll leave the two of you alone.

Are you really Carolyn Stoddard?

Yes.

Ned told me about you.

Ned?

My brother.

What did he tell you about me?

Enough to make me know you are in danger.

What kind of danger?

Even though he loves you,

he will try to k*ll you!

Who will try to k*ll me?

Chris...

Jennings.

[ dramatic music ]

Chris Jennings will try to k*ll me?

Why?

Sabrina, what do you know about Chris?

He is good,

but...

He--he what?

Sabrina, tell me what you remember.

I remember...

I remember how he looked.

How he looked when?

Where did you know Chris and when?

Sabrina, you must tell me what you're talking about.

Let me get Professor Stokes.

Perhaps he'll understand you.

No, you must not speak to him!

You must promise me.

Why?

You must promise me, please.

All right.

I promise.

I'll say nothing to him.

Yes?

Good, because there's certain things we've got to deal with,

things that have to be resolved around here.

Yes, I'm aware of that.

I think I may've found a way to help Chris Jennings.

Oh, yes Chris.

I assume he's still confined to the mausoleum.

No, it was impossible to keep him there.

I had to move him to Wincliff, but he's left Wincliff now.

He's back here now.

I see.

But Barnabas today I was given reason

to believe that Charles Delaware Tate

may still be alive.

There's no reason to believe that's true,

and even if he were alive,

he'd be almost and totally useless.

We can't just assume that.

We've got to make sure, Barnabas.

[ knocking ]

Julia, Carolyn's with Sabrina Stuart.

- Sabrina. - Suppose she talks.

Barnabas, I'm glad to see you.

How long have you been back?

I came earlier this evening.

I still need your help, Barnabas, desperately.

We were just talking about your problem, Chris.

And I was just about to give Julia

the conclusion based on my experience in the past.

Good, now you can tell me.

I do so with regret, Chris.

What do ya mean?

In all the time I was in the past,

I found no solution for you.

I am afraid there's nothing that I can possibly do.

Nothing?

But Barnabas.

I'm sorry, Chris.

I must ask you to excuse me.

I'm very tired.

I'll walk you back to the cottage.

Good night, Barnabas.

Good night.

[ somber music ]

I don't believe him.

He couldn't've meant that.

I don't know whether he did or not,

but I do know that something has happened to him.

He's undergone a frightening change.

There's no reason for him to lie to me.

Lie to you? What about?

He told me he returned from the past

the same way that he went there, through the i ching,

and that would mean through the cellar.

But that's not possible

because I locked the cellar door from the outside.

I don't understand.

I don't either, but I'm gonna get to the bottom of this.

How?

You go back to your cottage.

I'm gonna stay here.

Why?

I'll explain it to you tomorrow.

There's something I've got to do here.

That box.

Why did he bring it back from the past?

What does it mean to him?

He didn't want me to touch it.

There must be something inside it.

Something that will explain

why Barnabas isn't himself anymore.

[ dramatic music ]

[ box breathing ]

Breathing.

I hear breathing.

[ dramatic music ]

[ eerie music ]