916 - December 29, 1969

[bunniefuu]

[suspenseful music]

VOICEOVER:Since the return of Barnabas Collins

to the year , one person more than

any other at Collinwood has been troubled by the

radical change in Barnabas.

Little by little, Dr. Julia Hoffman has become convinced

that the people of Collinwood are in grave danger.

This is the third child they'’ve had

staying with them in the past month.

I imagine that Megan and Phillip have lots of relatives.

I don'’t believe those children come from relatives.

Julia, what are you saying?

I'’m not sure I know, myself.

The whole situation is just so bizarre.

What'’s bizarre about it?

Elizabeth, there is definitely a connection

between the three children.

I am sure of that now because of that birthmark.

- ELIZABETH: The birthmark? - Yes.

First, I saw it when I examined the baby.

Then I saw it on Alex, the same mark.

Right above the wrist.

And this morning, I saw it on Michael.

If it didn'’t completely defy logic, I would say that

all three children were one and the same.

[dramatic music]

[spooky theme music]

Three children with identical birthmarks?

It is an unusual coincidence.

Oh, it isn'’t just a coincidence, I'’m convinced of that.

Well, what else could it be?

I don'’t know, but I will find out.

How?

First, I'’ve got to have a talk with Paul Stoddard.

He was the first one to express fears about the antique shop

and I need to know why. Is he in his room?

Yes, but you can'’t see him now.

JULIA: Why not?

Well, since you'’ve last talked with him,

his condition has worsened.

I called in Dr. Reeves to examine him,

- he'’s under sedation. - I see.

Julia, I'’d hate to see you make an embarrassing mistake.

JULIA: What do you mean?

Well, these suspicions you have.

They seem to me to be, no more than that.

I'’m sure there'’s something strange about those people

in that antique shop.

- But, you have no proof. - No, not yet.

I have every intention of investigating it further.

If there is a conspiracy, as Paul Stoddard claims,

I will find out.

Very well, Julia.

But be careful, very careful.

[suspenseful music]

[knocking on door]

Did you go to the address Stokes found?

JULIA: Yes, I got there after dark last night.

Does Harrison Monroe live there?

There is no such person as Harrison Monroe,

but Charles Delaware Tate does live there,

and he'’s very much alive.

Julia, can he help me?

JULIA: I don'’t know if he could if he wanted to.

You mean, he doesn'’t want to? You asked and he refused?

No, Chris, there are two things you'’ve got to know.

One, is that I think he'’s slightly mad.

And secondly, strangely enough, he looks just as young

as he did in .

Julia, you'’ve got to go back again.

You'’ve got to go back today.

I don'’t care if he'’s crazy or not.

I'’ll do whatever you want me to do,

but I don'’t think seeing him will ever do any good.

We'’ve got to do something.

There'’s a full moon again tonight.

JULIA: Well, I'’ll drive you back to Windcliff.

That'’s not the answer.

I know, at the moment there are no answers.

We'’ve run out of time, Chris.

Why do we go on k*lling ourselves?

There'’s no way out for me.

Chris, there was a way out for Quentin,

there'’s got to be one for you.

Charles Delaware Tate told me that

the portrait of Quentin had been burned.

There'’s a way of finding out if that'’s true.

CHRIS: What good does all that do me?

If the painting was destroyed, Chris,

and if Grant Douglas really is Quentin, then tonight,

he will go through the transformation.

You see, if it doesn'’t happen, then that means

Quentin'’s portrait is intact somewhere.

I still don'’t see what good it could possibly do me.

Chris, I have no reason, I have no control over,

over time, I can only do what I can.

I know, I'’m sorry.

Look, I'’ll make all the necessary arrangements

for you to go to Windcliff.

You be here at o'’clock this afternoon.

Where are you going now?

I'’m going to arrange to be with Grant Douglas

at dusk this evening.

[suspenseful music]

How long ago did Julia speak to you?

ELIZABETH: About an hour ago.

It was wise of you to come to me at once.

I tried to dissuade her from her investigation,

but she seems determined to go on with it.

Then there is only one course of action.

Julia Hoffman must become one of us.

Yes, she must.

I'’ll meet you in Collinwood

and give you the necessary instructions.

- Barnabas. - What is it?

I'’ve often heard you talk about the goal we must achieve,

but you'’ve never mentioned what it is.

Can you tell me?

What makes you ask that now?

Oh, I think it was something Julia said.

What is our goal, Barnabas?

What is it we are trying to do?

And what has Paul got to do with it?

You will know when the time comes.

But this I can tell you,

we will bestow on a particular person,

a very great honor.

Who is this person?

Someone we'’re all going to be very proud of, Elizabeth.

And that'’s all I can tell you.

[dramatic music]

[mysterious music]

Julia, there'’s something I want to talk to you about.

Oh, what is it?

Well, I was wondering what arrangements

you had made for Chris Jennings.

What are you talking about?

Well, tonight there'’s a full moon.

I was getting concerned about him.

You expect me to believe that?

When you came back, you said there was

nothing you could do about him.

You wrote him off.

You continue to misunderstand my feelings and my motives.

JULIA: I don'’t think so.

I never wrote Chris Jennings off.

I honestly felt that I couldn'’t do anything more for him,

so I was quite candid with him,

but I can still feel compassion for what he

must have to go through tonight.

Is that really why you'’re here?

Or is there some other reason?

I'’m sorry that you would feel the way you do.

So am I.

Chris will be going to Windcliff tonight,

so he will be saved through this transformation.

I'’m very pleased to hear that.

You'’re really determined to solve his problem, aren'’t you?

I'’m determined to not give up, as you have.

And what is it that you'’re reading?

Another book on lycanthropy.

[dramatic music]

What, what are you doing?

What do you want of me?

You'’ve been working very hard, Julia.

It'’s beginning to show.

Have you been resting enough?

Yes.

Are you sure?

Doctors are often very careless

about the rudimentary rules of health, you know.

I don'’t know what'’s prompted this sudden concern of yours,

but for some reason I don'’t believe you.

You will in time, but I hope that you

find what you'’re looking for.

Good night, Julia.

[tense music]

[mysterious music]

[laughs] There she is, folks!

Our own little Jenny Lind! [laughs]

Come on now, Jenny, sing me a song.

Why are you in my suite?

Because my room depresses me.

And doesn'’t have a bar. [laughs]

And you know something?

At this very moment, you depress me, too.

So, why don'’t you go on a farewell tour or something.

What'’s the matter with you? Why are you behaving this way?

Oh, if we'’re going to talk about behavior,

let'’s start with yours, huh?

All right, now I admit that mine may be a bit

on the tacky side, but at least it'’s open and honest.

And you think mine is not?

Oh, I hate to think how successful you could'’ve been

during the French Revolution.

[chuckling]

Oh, there'’s no point in talking to you.

You'’re in no condition to make any sense.

There'’s nothing wrong with my condition.

Look, [laughs] I can stand on my own two feet.

[laughing]

See there, huh?

And I can look at you and I can talk to you,

and I know what I'’m saying.

Now, there'’s only one thing wrong,

I don'’t know who I am.

But, we'’ll work on that, won'’t we?

Huh? [chuckles]

You seemed so calm and sensible about your problem until now.

Why is today different?

You know, that'’s the first perceptive thing you'’ve said

since you walked in the door.

Now, why is today different?

I don'’t know, but it is.

You'’ll go to sleep and you'’ll feel better.

And then we'’ll find out why it is.

Why do I have the idea it'’s not me

you'’re trying to help at all,

but yourself and you'’re quite right!

At least there'’s some hope for me.

At least once, I knew who I was.

I don'’t think you ever knew who you are!

[eerie music]

[thunder crashing]

BARNABAS:You will believe, Julia.

Someday soon, you will believe.

And then you and I shall be close once more

as we were long ago.

We need you, Julia.

We need the resources of your mind.

Come to us.

Come to us.

[thunder crashes]

[wind blowing]

[doors creaking]

[thunder crashing]

Come, Julia, don'’t be frightened.

What is it you want?

You were fascinated with this box,

the first time you saw it.

I want you to have it.

[heavy breathing]

What'’s inside of it?

That'’s what you wanted to know when I stopped you

from opening it that night, isn'’t it?

JULIA: Yes.

Well, I have no reason to stop you now.

Go on, Julia, open it and look inside.

Just turn the key and open it.

No, no I don'’t want to.

You have no choice, Julia.

You want to know what'’s in that box.

No, no I don'’t want to know anymore.

I don'’t want to see it, I don'’t want to see it!

It'’s too late to run now, Julia.

You'’ll be unable to resist anymore.

When you see this box next,

you will be compelled to open it.

[laughing]

[dramatic music]

[tense music]

Julia Hoffman has had her dream.

So now she believes?

But, there is one more step.

She will come downstairs and you will show her the box,

and you will stay with her until she opens the box.

I understand.

[suspenseful music]

Julia, I had no idea you were in the house.

Yes. Yes, I was in my room reading

and then I fell asleep and I had a dream.

ELIZABETH: Are you feeling all right?

I don'’t know.

Oh, by the way, somebody left something for you.

JULIA: For me?

It'’s here.

Who left it for me?

I have no idea.

It'’s an interesting looking box, isn'’t it?

[suspenseful music]

Yes.

ELIZABETH: I wonder what'’s inside.

I don'’t know.

Well, why don'’t you open it and find out?

Go on, Julia, open it.

[knocking on door]

There'’s someone at the door.

I'’m curious, open the box, Julia.

[knocking on door]

I'’ll see who'’s at the door.

Well, you asked me to meet you here at three, remember?

Yes, I'’m very happy I did.

Julia, what is it? What'’s happened?

I'’ll tell you later, Chris.

Elizabeth, I'’ve forgotten something I had to do,

I'’ll be back later.

The interruption must'’ve broken the spell.

She didn'’t open it.

I know,

and she never will.

The interruption should not have stopped her.

The spell should'’ve been strong enough for her to do it.

ELIZABETH: What does it mean?

There'’s certain people, Elizabeth,

whom we are not able to absorb.

It has to do with their genetic structure.

And Julia Hoffman is one of them.

What do we do now?

We will have to find another way to deal with her,

and you will have to find it.

[dramatic music]

In a little while, the moon will be full.

If Quentin'’s still here,

I'’ve got to talk to him before it happens.

I'’ll know what I have to know by his behavior.

Oh, Dr. Hoffman, come in.

I'’d like to see Mr. Douglas before we talk,

if you don'’t mind.

Well, could I look at the painting first?

You did come to lend me the painting again, didn'’t you?

Yes, but I don'’t think you'’re going to be interested

in it anymore, Miss Corey, because I'’ve done to it

what you were going to do.

I don'’t understand.

I discovered this under my landscape,

you knew it was there, didn'’t you?

Oh, I'’m afraid I didn'’t, doctor.

You knew the portrait was under the landscape

because you had it x-rayed.

You didn'’t know whose portrait it was though, hmm?

Well, now that I do, it has no value for me.

I have several of my grandmother'’s paintings.

It has no value for you, because it is not a portrait

of Quentin Collins, that'’s it isn'’t it?

You'’re the one that seems preoccupied

with Quentin Collins, not me.

And now the reason I'’ve brought the portrait,

really was because I'’d like to show it to Quentin

because of his relationship with your grandmother.

- Do you object? - Why should I?

Where is Mr. Douglas?

Well, he'’s in his room as far as I know,

but this is not the right time to see him.

- Why not? - Well, he'’s...

he was disturbed by something today

and he took to drinking quite heavily

and as far as I know, he'’s sleeping it off.

Then this is definitely the right time to see him.

[suspenseful music]

[knocking on door]

Mr. Douglas, are you in there?

[dramatic music]