1171 - December 21, 1970

[bunniefuu]

[ominous orchestral music]

NARRATOR: Collinwood in the year .

An evil hangs over the great house.

For Gerard Stiles, possessed by the spirit of the warlock

Judah Zachary, threatens to destroy the Collins family.

Evil pursues Quentin Collins.

Jailed and awaiting trial for witchcraft

and Daphne Harridge continues to receive

strange notes from someone long dead.

Now the notes to Daphne thr*aten her with death.

Gerard knows of the notes,

but doubts their supernatural origin.

On this night, he hides in Daphne's room.

Confident that before the night

is over, he will solve the mystery.

[suspenseful orchestral music]

God, it's you!

I knew it all along.

[dramatic orchestral music]

[ominous orchestral music]

I knew it was you all along.

Don't you [mumbles] you come over here and sit down!

We have a little accounting to do.

I don't have to account to you.

Would you prefer explaining your

actions to a judge in a court?

Now you tell me, tell me it all.

[suspenseful orchestral music]

I won't tell you anything.

The notes, tell me about the notes.

I don't know what you're talking about.

- Don't you? - What notes?

Supposing a judge would like to hear

more about your talk on your

testimony in court about the ghost?

The ghost that turned out to be you?

That's a lie!

GERARD: Is it?

Daphne received a note tonight saying that someone

would try to m*rder her and here

I find you over her bed with a Kn*fe.

What were you doing here tonight?

When she showed me the note,

someone tried to k*ll me last night.

I started to think who it could've been

who wanted to dispose of both Daphne and me.

The only name I could think of was yours.

You tried k*lling me last night, didn't you?

No, I didn't!

Not that I wouldn't love to see you dead.

I don't deny that, but you don't deny

that you would've sent those messages to Daphne

and that you wanted to k*ll her had she been here.

I had no intention of k*lling her.

GERARD: Then what you were doing

standing by her bed with a Kn*fe?

I will tell you nothing.

Oh, yes, you will, my dear.

Before this night is out, you will.

Why did you write the notes?

What had you gained by them?

Come on, Samantha, start talking

or else the police will start asking the questions.

On what charges?

GERARD: Attempted m*rder.

[dramatic orchestral music]

All right, I didn't want to k*ll her.

I just wanted to frighten her.

I wanted her to leave this house desperately.

Just the way I want you to leave it.

And then?

You planned to get rid of her and start working on me.

Yes, you answered a few questions.

You will be very useful to me, Samantha.

Very useful, indeed.

[dramatic orchestral music]

I don't know what you have in mind, Gerard,

but if you think I'm going to help you, you're insane.

Why don't you just stop and think for awhile.

Don't touch me.

Does my touch really disturb you?

I can't bear to be in the same room with you.

That will change.

I'd rather die than lift a finger

to help you with anything.

Oh, come on, Samantha, stop acting

like a little school girl.

If you know what you want and I assume

you know what you want.

Yes, I know what I want.

Then why don't you help me and I will help you.

First of all, tell me about the notes

and tell me about Joanna.

All you know about her from the beginning.

What if I refuse?

I will make sure that you go the authorities.

Oh, I promise you.

It won't be too beneficial for Quentin

because he will still have no acquittal

and as for you, I shall make sure that

you are prosecuted at the highest degree.

Now what will it be?

Work with me or with the law?

Oh, yes, my dear, you take your time and think.

I don't mind being in the same room with you.

In fact, I rather enjoy it.

[dramatic orchestral music]

I was beginning to think you didn't get my note, Lamar.

I'm sorry that I'm so late, Flora,

but the trial has taken up so much of my time.

The trial seems to be occupying much

I sent for you because I'm anxious to know

the result of your investigation.

Investigation?

Oh, come now, Lamar, you haven't been that busy.

The other day when you and Gerard left this house

you were convinced that Barnabas Collins was a vampire.

Oh, yes, of course.

FLORA: Well, what did you find out?

Well, our suspicions appear to be unfounded.

We were convinced he was a vampire

but Gerard went to the old house

and saw him during the light of day.

Well, that certainly proves his innocence.

He couldn't appear in daylight

and be a vampire, I for one am most relieved.

Well, you don't look too pleased about it all.

I'm still quite upset about my experience

in the cellar of the old house.

What do you mean?

Gerard and I discovered the remains

of my poor, unfortunate father there.

Sealed up behind a brick wall.

Oh, how dreadful.

Yes, he was left there to die

by Barnabas Collins' father in .

Why do you think that Barnabas'

father would do a thing like that?

My instincts tell me.

Instincts do not constitute proof, Lamar, and I doubt that

Barnabas' father would do a thing like that.

In any case, you can't hold one generation

responsible for the misdeeds of another.

Misdeeds, what a curiously ineffective word you use

to describe an act of coldblooded m*rder

but then I've always noticed how

deviously clever you Collins can be.

FLORA: What do you mean by that?

How protective you can be of one another

especially when it comes to a matter of family guilt.

I think you better explain yourself, Lamar.

I think you better watch your step, Flora.

I beg your pardon?

Don't think I haven't noticed how interested

you've been in matters of the occult.

Lamar.

Seances, books on vampires, trafficking with the dead.

All you Collins seem to take that sort of thing

in your stride and who but another Collins would defend one

of you against charges of practicing witchcraft.

Mark my words, Flora!

Your son's defense of Quentin Collins places

all Collins including yourself under some suspicion!

[suspenseful orchestral music]

[mysterious orchestral music]

You are against Quentin, aren't you?

Yes.

That also means that you're against Tad

and that's the reason that I won't cooperate you.

No, you're wrong there.

I am quite fond of the boy and the boy is quite fond of me.

[mysterious orchestral music]

Oh, Samantha.

Don't you think I understand why you're against Quentin?

Why you've been miserable all these years?

[mysterious orchestral music]

Oh, God, I can't believe that anybody knows

what a living hell my life has been in this house.

I've never been loved.

Not by Quentin, do you understand why

I must get even with him for all

the misery that he has caused me?

Of course, I do.

That's what I'm trying to tell you.

I do understand.

[ominous orchestral music]

[sighs] I met Joanna briefly.

She was seeing my brother Randal at the time.

Quentin met her and fell in love with her

and took her away from Randal.

He then asked me for a divorce, of course, I said no.

I thought that was the end of the affair, you know.

He went away to sea, to forget about her,

but I knew that he wouldn't.

What I didn't know was that, his leaving

would affect her in such a strange way.

How did it affect her?

It made her live in a complete fantasy world.

She was trying to recreate the life she had with Quentin.

Eventually, they sent her to an asylum.

The authorities got so alarmed by her deterioration

that they got in touch with Quentin here.

That's how I found out where she was.

I decided that I was going to go and see her.

I knew that she had freedom of the grounds

and I saw her one day standing there.

[ominous orchestral music]

Nobody saw us.

You're the first person who knows about this visit.

It's been a secret until this moment.

Why did you go see her?

I wanted to know what it was that

was destroying my marriage.

She talked in great length.

When I learned of the passion that she

and Quentin had experienced, it made me hate him even more.

[ominous orchestral music]

There had been love there.

The kind of love that Quentin never showed me.

[ominous orchestral music]

After that I heard that she was escaped from the asylum.

The week after that her body washed ashore in some beach.

Since Quentin was the only one that she ever mentioned,

all her belongings and affects were sent here.

I've had them locked in a closet upstairs ever since.

That's how you received the possession of the notes.

Yes, she was writing in the asylum to Quentin.

Convinced that somehow her letters would bring him back.

But tell me, how did Daphne and Quentin

come into this position so easily?

At first, I used her letters.

Then I began to copy her handwriting,

and then I could say anything I wanted.

At first, I merely wanted to t*rture him a little.

Then when Daphne came here and I realized that she

was Joanna's sister, I knew that I had to go farther.

I knew that I had to drive her from this house.

Wait a minute.

Daphne is Joanna's sister?

Yes.

Of course, that's why she had the p*stol.

What p*stol?

When I first met her, she was carrying

a p*stol in her purse.

I asked her about it and she explained to me.

I believed her.

SAMANTHA: I don't understand.

What?

[laughing] Oh, how ironic it all is.

How incredibly beautiful it is.

She came here to avenge her sister's death by murdering

Quentin and if it wasn't for you, she might've done it.

I don't know what you mean.

GERARD: The notes, my dear.

You sending her the notes merely brought

Quentin and Daphne closer together.

She will never m*rder him now.

Perhaps, that's just as well.

Dying that way is too good for him.

I'd rather see him beheaded.

That's a fitting end to Mr. Quentin Collins.

Have you always hated him this deeply?

He's responsible for ruining any

happiness that I might have had.

Well, you still have a chance.

What do you mean?

Did it ever occur to you that I was forced

into treating you like I did?

When you had to choose between Quentin and me.

I don't believe that.

You must believe it because it is true.

Samantha, I knew there wouldn't be any chance

between you and me if Quentin was still around.

You must understand.

You must believe me.

It's the truth.

We could have a new life together.

Well, I would believe you if you would help me.

Get Daphne out of this house.

It's impossible.

Why, because you love her?

No, because I want you to write more letters.

You see, Quentin will lose everything

and his faith in the letters will disappear if he finds out

Daphne is out of the house, so we must keep her here.

Then we will put the final touches on Quentin Collins.

They will both be gone and only you and I will remain.

[mysterious orchestral music]

I don't mind telling you, Gerard.

I haven't slept very well ever since your encounter

with Barnabas Collins that day.

I'm haunted by the ordeal that my

poor father must've gone through.

Gerard, your mind seems to be somewhere else at the moment.

I trust I'm not boring you.

No, not at all, Trask, I'm sorry.

I understand your feelings.

The fact is I've resigned myself to the reality

that we will never get Barnabas Collins by legal means.

The man is far too clever.

But I do have a way of dealing with him.

Oh, how?

TRASK: I'll need your help.

Of course, I'll be happy to help.

TRASK: Barnabas Collins will

be at Rose Cottage this evening.

Yes, I know.

Flora has invited me with several other people for dinner.

Yes, I'm aware of that.

I want it to be known to Barnabas Collins

that for the past three nights at midnight,

the spirit of Roxanne Drew has appeared to me

in the cellar of the Trask Chapel.

She has not spoken as yet but I have reason

to believe that she will tonight.

Will you see that he gets this information?

Of course, I will but you must remember, I called Barnabas

a vampire and he's been suspicious of me ever since.

So I will have Flora tell him.

Thank you, Gerard.

But, Trask, I do hope you're not

going to keep me in suspense.

What do you plan to do with Barnabas?

I believe it is the holy obligation

of a son to avenge his father's death.

Even if that act of vengeance must

be carried into the second generation.

[dramatic orchestral music]

BARNABAS: It was a lovely dinner, Flora.

Thank you, Barnabas.

Yes, Flora has no peer as a hostess here,

so I asked her to serve in that capacity at Collinwood.

It was very dear of you, Gerard.

Now if you will excuse me, I have some work to do.

Of course, go right ahead.

Good night.

I wanted a chance to talk with Barnabas anyway.

Barnabas, dear, I feel I must explain why

I was so insistent on your coming here tonight.

It's because I feel guilty.

About what?

Well, I began to have strong suspicions

about you after we held the seance to contact Roxanne.

If you remember, you broke contact

during the seance just as Roxanne was telling us

the name of the one who made her a vampire.

She said it was Angelique and I had the feeling

that you did it deliberately because you knew more

about Roxanne's death than you cared to admit.

If you'll recall, I told you that

my mother's name was Angelique.

Yes, I know and then Gerard and Lamar

came to see me and we discussed the dreadful events of .

Well, we all thought

that it was possible that you were

responsible for the death of Roxanne.

That you were indeed, the vampire.

Now you know that's not true.

Yes, I can't tell you how ashamed I am.

I hope you won't hold it against the others.

I only wish the whole thing hadn't had

such a terrible effect on poor Lamar.

What do you mean?

Quite frankly, Barnabas, he hasn't been the same since.

He's become quite bitter and now he's having

this curious experience with the spirit of Roxanne.

[dramatic orchestral music] What are you talking about?

FLORA: For the past three nights,

Lamar has actually seen the spirit

of Roxanne in the basement of his chapel.

Perhaps, he's only imagined that he's seen her.

No, if you could talk to him,

you'd know it was not his imagination.

Now I'm quite sure that she does appear

just as he says each night at midnight.

Did she speak to him?

FLORA: Not yet, oh, how I wish I could speak to her.

But he won't let me go there to see her.

He won't even go himself anymore,

he says it's too dangerous.

But I'm not afraid, she went to her

grave with a great secret.

I'd give anything to learn it.

So would I.

Well, if you'll excuse me, Flora, but it's getting

terribly late and I have a lot to do in the morning.

Won't you stay for brandy?

Thank you so much but I must

be getting back to the old house.

Thank you so much for a lovely dinner.

The pleasure's been mine.

Good night.

Good night.

[ominous orchestral music]

[door opens]

MAN: Trask, Trask, are you there?

[door creaking]

[door shuts] [ominous orchestral music]

Roxanne. [ominous orchestral music]

Roxanne, are you here?

You must appear to me, Roxanne.

I must talk to you.

She's not here, Mr. Collins.

[dramatic orchestral music] She won't be here.

So it was a trap.

Yes, a carefully conceived and ex*cuted trap.

You're all alone, Mr. Collins.

I've waited a long time for this moment.

Why did you want me to come here?

Well, I shouldn't think you'd have to ask that

but if you're really in need of an explanation,

I suggest you look carefully at the far wall.

[dramatic orchestral music]

My father's death must be avenged, Mr. Collins

and you are the one who must pay.

I think it fitting that you should die

the same way he did, sealed up behind a brick wall.

Do you really think that you'll get

away with something like this?

Well, consider how long my own

father's tomb went undetected.

Now move into that alcove and if you're thinking

of escape, remember I'm prepared to use this p*stol.

[dramatic orchestral music]

At one point, I was really convinced

that you were a vampire.

But now I'm glad that you're human,

Mr. Collins, as human as my father was.

It makes my revenge so much more complete,

so much more fulfilling.

Now put on the manacles, Mr. Collins.

[ominous orchestral music]

The manacles, if you please.

[suspenseful orchestral music]