910 - December 21, 1969

[bunniefuu]

[eerie music]

VOICEOVER:In their time,

those who live in the great house at Collinwood

have been plagued by many mysteries.

On this night, Julia Hoffman

ponders the identity of a mysterious stranger

recently arrived in Collinsport.

She is certain that the man suffering from amnesia

is really Quentin Collins.

But her efforts to prove it

have been thwarted by another mysterious figure,

a woman named Olivia Corey.

[eerie music]

[door unlocking]

Is this where I'm going to stay?

Miss Corey?

What?

Is this where I'm going to stay?

Oh, no, this is my suite.

I'll call down at the desk in a few minutes

and they'll make arrangements for you.

Why are you staring at me?

I'm trying to convince myself

that it isn't a dream.

MAN: What are you talking about?

Have you no memory at all?

Listen, I don't even know whether I'm

right or left handed.

OLIVIA: My face isn't familiar to you?

Should it be?

Have we met before tonight?

Well now look, if we have, you're going to have to tell me

where it was and when.

It was a long time ago.

A very long time ago.

[dramatic orchestral music]

[intense, eerie music]

Is that all you're going to tell me?

It was a long time ago?

Perhaps I shouldn't have told you that.

MAN: Why not?

It's possible that I'm mistaken.

About what?

OLIVIA: You!

I think it would be the cruelest thing

that ever happened to me.

Waiting so long and then finally thinking

that I've succeeded

and then learning that you're not really you at all,

I don't think I could bear that.

Now look,

you know you're not making any sense.

Now why did you bring me to this room?

What is it you want from me?

Now what's the matter, have I said something wrong?

No, I've realized that

you deserve more than I'm telling you.

I wish I could tell you,

I wish I could make

everything easier.

Now look, it's not that I don't appreciate your help.

It's just that I'm in no condition to be bothered

by guessing games.

OLIVIA: We're not playing a game.

Then what are we playing?

You brought me here for a reason,

what is it?

This may sound strange,

but when the time comes,

you won't have to ask me that question.

You'll know.

I really don't think I like this.

I mean right now my life itself

is pretty much of a mystery,

I don't think it would be good

to confuse things even more

by letting you add more mystery to it.

Where are you going?

I don't know, but I can't stay here.

I'm sorry.

No, please don't leave me now!

I promise I'll do everything I can to help you.

I want you to regain your memory,

I want that more than anything.

Please believe that.

Please stay.

You really mean that.

Yes, I do.

MAN: And yet you won't tell me

why you feel the way you do.

Well I have a good reason,

and when you know what it is,

you'll understand.

Look, you don't seem to realize

what an impossible task you're undertaking.

I have no identity.

I'm a nobody

and it's going to take a lot more

than your good intentions to change that.

Well that's not quite true.

The identification that you carry with you

says that you're Grant Douglas.

But on the other hand,

there are at least two people

who think you're really Quentin Collins.

Quentin Collins lived over years ago,

it hardly seems likely--

OLIVIA: Oh, please trust me.

You won't regret it.

Please, stay and let me do what I can.

All right.

Since I have nothing further to lose, I'll stay.

[twinkling music]

Julia, I'm glad you're here.

I need your help.

What's wrong?

I'm worried about Paul.

His behavior today has been very illogical to say the least.

Yes, I know, where is he now.

Upstairs in his room lying on the bed.

He keeps muttering Carolyn's name over and over.

Have you spoken to him?

LIZ: Yes, but I can't get him to make any sense.

He insists that he saw Carolyn at the age of eight today.

He must be having hallucinations.

He told me about the little girl that he saw, too.

Can you think of any reason that's causing his behavior?

Paul started, hasn't been in this house for years.

He must feel guilty about neglecting Carolyn

for all that time and there's no telling how

that guilt might manifest itself.

I was hoping that you'd go up and have a talk with him.

Do you think,

I don't think that would accomplish anything.

You're a doctor and it's very clear that he's disturbed.

Yes, I admit he is disturbed, but.

DARK HAIRED WOMAN: But what, Julie?

Liz, do you remember the other night

when I came in and

you and Paul started, were having conversation here,

do you remember the incident?

Yes.

He was very upset.

He felt that there was some great conspiracy,

something about Barnabas and the antique shop in town.

And you told him that there was no point

in going to the police

that they wouldn't believe his story.

Frankly, he was talking so much,

I don't remember what I said.

Yes, but what was he talking about,

what story wouldn't the police believe?

To tell you the truth,

I don't really remember.

JULIA: But he was explaining it to you.

Julie, he's been carrying on like this

ever since he came back to Collinsport.

He insists that something or someone is after him.

I'm sure something from him past must be haunting him.

But, Barnabas has nothing to do with his past.

Nor do you,

yet he insists you're part of the conspiracy.

Yes, that's true.

Believe me, Julia,

everything you heard the other evening is fantasy.

[loud knocking]

Good evening, Chris.

CHRIS:Hello Mrs. Stoddard,

Dr. Hopkins' expecting me.

Hello Chris, come into the drawing room.

If you and Chris have business to discuss

I'll go back upstairs.

Liz, I'd like to finish this conversation later.

Yes, of course,

at your convenience.

[dramatic orchestral music]

Do you have everything?

Yes, a lab technician at the hospital

thought it was a little odd,

but I guess he's used to it by now.

Good because I need it more than ever,

it's more important.

Why, what's happened?

When I went to the hospital to get Grant Douglas,

he refused to come with me,

he said he didn't want me to treat him anymore.

Why, if he has amnesia,

why should he turn you down?

JULIA: He left with Olivia Corey.

Olivia Corey, I don't get it.

Why is she so interested in him?

She must either know

or suspect that he is really Quentin Collins.

Let me see the x-ray.

[dramatic music]

Now I know why she's so interested in that painting.

CHRIS: Why?

Because there's another painting under that.

A portrait.

[intense, dramatic music]

Yes, I can see the outline.

Whose portrait do you suppose it is?

- I don't know. - Quentin Collins, maybe?

No, the canvas that he was one was much larger.

A canvas can be cut down.

I suppose you're right.

Olivia Corey went to a great deal of trouble

to get to this under painting.

And now, now she wants my canvas back.

She's certainly interested in discovering

whose portrait that is.

But she couldn't do that without damaging my painting.

Now wait a minute,

Mr. Nakamor took a color photograph of the painting.

I'll just bet

I'll just bet she had a duplicate made of this canvas.

And she's planning to switch

her painting with mine.

Julia, you are and I have to discover

whose portrait is under that landscape.

I can think of only one man to ask.

[dramatic orchestral music]

[phone ringing]

Hello?

Yes, hello Professor Stokes,

I'm sorry to disturb you,

but this is really very urgent.

STOKES:Yes, Julia, what is it?

Do you remember the Charles Delaware tape

that I bought last week?

Yes, of course.

JULIA:Well, I have discovered

that there's another painting under it,

a portrait.

How extraordinary.

Now, what I want to know is

is there any way of removing the top layer

without damaging the second layer?

STOKES:Yes, it's quite possible.

I'm not competent to do it.

Well, do you know anyone who is?

Henry Osmond at the university's

an expert on that sort of restoration.

JULIA:Could you possibly call him

and ask him if he'd be willing to help?

This evening?

Yes, I'm sorry to say so,

but it is terribly important.

Well, I can try, Julia,

I can't promise anything.

Well, good, I'll have Chris

bring the painting to you right away.

Thank you very much.

STOKES:Good night.

Good night.

All right now you take the painting to Professor Stokes

and you might as well take the x-ray as well.

Now, if Professor Osmond

is willing to do anything at all tonight,

you stay there until he finishes.

You think all this detective work will do any good?

I think I already has.

You better get started.

Stokes is waiting for you.

[dramatic orchestral music]

As long as my life's a complete blank for a moment,

why don't we discuss yours.

Well, my public life is a matter of the record.

My private life,

I never discuss it.

Oh, I see.

Well, what kind of an actress are you?

I mean, what do you do?

OLIVIA: Well, I began as a dancer and singer.

Singer...strange.

What is it?

There for a moment I

I suddenly thought I remembered a song.

Try to bring it back.

I, I can't.

JULIA: Oh please keep trying.

It's a tune.

What tune, can you hum it?

I don't know,

it's like.

JULIA: Oh please, keep trying.

No, it's gone.

[knocking]

Well, Dr. Hoffman.

Good evening.

QUENTIN: Good evening, doctor.

I'm sorry, Miss Corey,

but I must speak to you.

Alone, if you don't mind.

Well, I don't mind, but perhaps Mr. Douglas does.

Oh, not at all.

Well, what can I do for you, doctor?

I'd like to know why you brought that man here.

Well, I have a good reason

but I don't wish to reveal it at this time.

Is it because you know who he is?

As far as I'm concerned,

he's Grant Douglas.

But you don't believe that do you.

You think he's someone called Quentin Collins.

Perhaps.

Wasn't Quentin Collins born before the turn of the century?

.

The man that we're talking about

does not look years old, does he?

All right, Miss Corey,

let's stop fencing.

Now, you want this man to regain his memory, don't you?

Yes.

You don't want to tell me why, do you?

No.

All right, since we both have the same goal,

I think it would be very advantageous

if we cooperated with each other.

How?

I'm a doctor,

I am more qualified to take care of him

and treat him than you are.

Well, I can't very well disagree with you about that.

Well, all right Dr. Hoffman,

we'll cooperate with each other,

at least for now.

[dramatic orchestral music]

[knocking]

That tell must be Osmond now.

Good evening, Henry, come in.

It's very good of you to come here at such short notice.

Painting is over there.

Are you the owner?

No, it belongs to a friend of mine,

someone who's very interested in Tate's work.

Tate's portraits are rare, these days.

Are still very valuable,

but his landscapes are quite inferior.

However, the old boy deserved credit,

he kept turning them out right 'til the end.

The end?

Charles Tate died years ago.

[dramatic orchestral music]

Have you two decided on my fate?

Dr. Hoffman and I have agreed to work together

to help you regain your memory.

And just how are you going to go about this?

Well, she's the professional, she'll tell you.

Good night, Mr. Douglas.

Good night, Miss Corey.

Remember, doctor, bring him back.

Are we going somewhere?

Yes, to Collinwood.

Why?

We're going to try the association method.

It's a way of inducing the sleeping memory.

Look I'm really not someone who lived years ago.

Well, I'll have to prove that to myself.

Until then, it's a way of starting, isn't it?

All right, but I'm only doing this

because I have no other choice.

[dramatic orchestral music]

Did you ever have a look at those handwriting samples

I brought over?

Come over here, Chris.

I was looking at them when Julia telephone me.

What do you think?

Similarities is astounding.

It's almost impossible to believe

they weren't written by the same person.

Wow, that is news.

Is that what you want me to tell Julia?

STOKES: No, I want to be absolutely certain

before I announce my decision.

You might ask her if I can keep them a day or two longer.

[dramatic orchestral music]

[wind howling]

[twinkling music]

I must say, I'm impressed.

I really wouldn't mind being a Collins.

But I'm afraid nothing rings a bell.

Come, I'll take you upstairs.

[dramatic orchestral music]

Are you beginning to remember something?

That's the man who paid me a visit at the hospital.

Why is he dressed like this in the portrait?

That's not the same man,

it's one of his ancestors.

Come, let's go upstairs.

[dramatic orchestral music]

Julia will never believe this.

Why shouldn't she?

She knew there was a portrait underneath the landscape.

Yes, but seeing who the portrait is of

is what's going to be the shock.

Who is it?

That is Olivia Corey herself.

[dramatic music]

[suspenseful orchestral music]

QUENTIN: Whose room was this?

Don't recognize anything about it?

If I did, I'd say so.

Well, keep looking around.

[dramatic orchestral music]

It's no use, doctor.

I don't remember anything about this room,

and I don't remember anything about this house.

Might as well go back to town and start from scratch.

No, no, not yet.

There is one thing that we can do at first

that may make your memory work.

QUENTIN: And what's that?

Won't you sit down, please?

Just listen.

[dramatic music]

We will know whether or not you are Quentin Collins

in a moment.

[solemn music]

[eerie music]