Night of Dark Shadows (1971) Movie Script
WOMAN: How much land is there?
MAN: Oh, only about 200 acres.
Hey, look up there.
lt's really incredible.
You were around for all those years...
...and l didn't even know you.
You wouldn't have liked me then.
l was mean and surly.
TRACY:
lt's gonna rain.
l still can't believe it's really Collinwood.
l can't even see the house from here.
Here it comes. l'm gonna put the top up.
What do you wanna bet l turn into
one of those women in House and Garden?
Yeah. l can see it now.
Mrs. Quentin Collins,
in her fashionable jeans...
...sitting at her 18th-century
rosewood desk...
...making out menus for the week.
We have a housekeeper, you know that?
Oh, great. l'll bet she looks
just like Mrs. Danvers.
l'm sure she does.
That solves one problem.
She can probably do everything...
...and l'll just sit around
arranging flowers all day.
And loving me.
l don't think l'm going in there.
QUENTlN:
Yes, you are.
Can you believe it?
lt's all ours.
WOMAN:
Mr. and Mrs. Collins.
Welcome to Collinwood.
l'm Carlotta Drake.
Thank you, Miss Drake.
How do you do?
Mrs. Stoddard, before her death,
had tea served here every afternoon.
That's one tradition we won't keep.
Oh, no. We can't let the house down.
[PLAYlNG PlANO]
We can call Claire and Alex
and invite them for tea in the drawing room.
With the lord of the manor.
Did you tell the Jenkins
we'd be here today?
Carlotta, did you tell the Jenkins
we'd be here?
No. l'm sorry.
l didn't know that's what you wanted.
- Let me show you the rest of the house.
- All right.
CARLOTTA: Collinwood was built
by Joshua Collins in the late 1600s.
Of course, there have been many changes
and additions since then.
As a child, l used to hide here.
So many parties in those days,
and the guests were so elegantly dressed.
And the candles were always burning.
TRACY:
You lived here as a child?
CARLOTTA:
Yes, my mother was the housekeeper.
QUENTlN:
What's up there?
Oh, nothing you'd be interested in now.
ls that the tower l saw from the outside?
CARLOTTA:
Yes.
The master bedroom is this way.
lt has an excellent view
of the front grounds.
QUENTlN:
Quite a collection.
l've got a feeling my ancestors
wouldn't have bought my work.
TRACY:
Quentin's paintings are very abstract.
You're a painter. How interesting.
QUENTlN: ls she one of the family?
CARLOTTA: Yes, she is.
Her name is Angelique Collins.
She died in 1810.
Wow, she's beautiful, isn't she?
Carlotta, l think this is my favorite room.
The view is really incredible.
CARLOTTA:
l've prepared a salad for dinner.
Shall l serve it here?
TRACY:
Well, yes, would you?
That's our housekeeper.
She makes me feel like
she invited us here.
lt's beautiful, isn't it?
l got a feeling l'm gonna do better work
here than l've ever done before in my life.
TRACY: lt's almost like living
in a museum, isn't it?
Quentin?
Darling, what's the matter?
Darling, what's wrong?
What are you thinking about?
Nothing.
l was just daydreaming, l guess.
Well, l think we're very naughty.
We should have tried to call the Jenkins.
They'll understand.
QUENTlN:
Are you gonna be happy here?
TRACY:
Well, l think l am, if you are.
QUENTlN:
That's something.
l don't know why...
...l almost feel like l've come home again.
Well, that's good.
MAN 1 [lN VOlCE-OVER]: Angelique Collins,
you have been condemned as a witch...
...and you must die as a witch.
Let your soul be returned
to the pits of darkness forevermore.
For thou knowest we do
what we must...
...for thy sake, in thy name. Amen.
Prepare yourself for eternity, witch.
Let the devil take his own.
[HORSE HOOVES PATTERlNG]
You killed her.
You killed Angelique, Strack.
Up, Doubloon.
[YELLlNG]
You killed her!
MAN 2:
Charles, you've been with her again.
What's wrong with you, brother?
Don't you remember?
Your wife's dead...
...though she still comes to you.
l know it.
All right.
You will have her for eternity, brother.
For eternity!
She's yours, brother.
You will have her for eternity.
Kill, Doubloon.
Quentin.
Do you know what happened last night?
Do you?
Everything has changed.
You must accept that.
l was good enough
until he came around. And then--
Now, listen.
l want you to go to the stables.
He'll be there soon to ride.
l told you
that everything was different now.
QUENTlN:
Styles.
l'm Mr. Collins.
Yeah. Yeah, l know. l...
l got your horse ready for you.
QUENTlN:
Good-looking horse.
Come on.
- l saw your wife today.
- Yes?
She rides, doesn't she?
- What did you say?
- l said, she rides, doesn't she?
Yes, she does. Come on. But not today.
[BELL TOLLlNG]
MAN:
Dust to dust.
Ashes to ashes.
Oh, Lord, we beseech thee to have
mercy on this sinner, for we all sin...
...knowing the mercy
of our heavenly Father.
And so we commend to thee
the flesh and spirit of Angelique Collins...
...beloved wife of Gabriel...
...loyal and loving sister-in-law to Laura.
[LAUGHlNG]
Angelique Collins has departed this life
for a far better world...
...a world without sorrow...
And so we commend her spirit
to a just and loving God.
Amen.
Quentin.
QUENTlN: l see you've still got
that crazy eye of mine.
That's it, buddy.
Wherever we go, that goes.
lmagine finding the master of Collinwood
roaming around a cemetery.
Hey, Alex, they've got tombstones
in that place that are over 300 years old.
Tell me, how's life at the old castle?
- Have you seen Miss Drake smile yet?
- Once.
She had no reason to smile at you, Alex.
The first time he meets her,
he asks if the place is haunted.
ls it?
Not according to her.
ALEX: One of these nights,
we're gonna go to the Blue Whale.
l'll introduce you to a Captain Russell,
who'll tell a different story.
Seems there's a young, beautiful servant
girl who roams the halls of Collinwood.
lf she cleans well, we'll hire her.
CLAlRE:
lt's time for lunch.
Oh, what do you want?
Ham or tuna fish?
ALEX: Both.
- The same.
Right.
So, my rich landlord who doesn't charge
rent, how's life in the old estate?
- When did you and Claire get here?
- Two weeks ago.
Man, l thought you
were never gonna show up.
Hey, pal, what's wrong?
Hey.
Bloodshot eyes, unsuitable pallor.
Well, doc, l didn't sleep well last night.
lt's a funny thing about this place,
l keep imagining things.
What do you mean, imagining things?
- Nothing. Forget it.
- Oh, man, maybe l can use it.
You know, Claire and l
are starting a new Gothic novel.
That reminds me, l got a library that's
got to be full of material. Be my guest.
l'd appreciate that.
Thank you.
[KNOCKlNG ON DOOR]
QUENTlN:
Carlotta.
l wanna start work today.
- Could you suggest a good room?
- Yes. l know just the place.
Wait a minute.
l got the strangest feeling
l've been here before.
How could you have been?
l couldn't have.
Does it still seem so familiar?
No.
l wouldn't worry about it
if l were you, Mr. Collins.
There's usually some logical explanation
for these feelings.
- Will the room do?
- Oh, yes. Yes, it's fine.
- lt's been used as a studio before,
hasn't it? - Yes, l believe it has.
Not in my time.
As long as she's here in this house,
l can't be happy.
Bring the painting to life, Charles.
Please.
Promise me.
[BANGlNG ON DOOR]
GABRlEL:
Charles?
l want to talk to my wife.
l know she's in there.
Now, open the door.
MAN 1:
More of your dreary moralizing?
GABRlEL:
Open the door!
MAN 1:
Try my patience, brother.
ANGELlQUE:
Let him in.
l've come for my wife, Charles.
Little brother's suddenly become a man.
Will you take the credit
for that, my dear?
- Have you lost your mind?
- No.
- Stop.
- You touch her, and l'll kill you.
Don't any of you touch me.
l'll come with you,
but don't any of you touch me.
MAN 2:
Come with us, Angelique Collins.
ANGELlQUE: As long as she's
in this house, l can't be happy.
Bring the painting to life.
Please.
CARLOTTA:
Oh, Mr. Collins, you startled me.
l was just straightening up the room.
l saw a little girl standing here
by the window.
- A little girl?
- Yes. l was outside.
Yes, l know. l saw you from the window.
But l didn't see you.
l saw a child holding a doll.
This was a child's room, wasn't it?
Yes, it was. lt was Mrs. Stoddard's
when she was a little girl.
lt must have been a trick of the light.
Yes, it must have been.
Well, l'd better get back to work.
l'm glad l'm not driving.
- Sweetheart, some wine?
- Just a touch.
A touch. Now, who'd have thought
we'd have been here two years ago?
- l would have.
- You would, huh?
- Makes life interesting.
- Take a look at this thing.
Gregory strikes again.
He must think we're the manor folk.
Honey, remember, we are broke.
A little more wine for the gentleman.
A little wine.
ALEX:
Well, hello, Carlotta.
How are you?
QUENTlN: What's that?
TRACY: That's your surprise.
QUENTlN:
What is it?
Well, it's something
that you can't be without.
[ALEX LAUGHlNG]
ALEX:
You've gotta be kidding.
Why? l think he'll look marvelous in them.
TRACY:
Gregory said l could take them back if--
- Promise you, l'll wear them. Someday.
- Someday.
- Oh, Carlotta.
- Yes?
l found some old paintings
of Charles Collins up in the tower room.
Oh?
Do you know anything about his history?
Yes, l do.
He was a marvelous man,
a brilliant artist.
Oh, you almost sound
like you know him, Carlotta.
Will you be having brandy in the gallery?
No, thanks.
ALEX:
Not me. l'm up with the sun these days.
- Sure?
ALEX: Positive.
- Ready, baby?
- Ready.
Ready.
A little more wine.
l'm having more
of those crazy daydreams.
Wanna talk about them?
- Can you come over tomorrow?
- Sure.
Okay.
[MUTED SOUND]
TRACY:
Quentin, stop it!
Stop it, Quentin. Get away.
Tracy?
Mr. Collins.
TRACY: Darling, we don't need to
talk about it anymore.
QUENTlN: The first thing l remember
was Gerard, but l didn't recognize him.
- What was he doing in the house, anyway?
TRACY: He simply thought he saw a light.
And what was l about to do to you?
You stopped when you realized
what you were doing.
Don't worry about me.
The important thing is to try
to figure out why it happened.
l know.
How are we gonna do that?
Well, let's go to sleep.
l'm sure it'll seem easier in the morning.
You're not afraid of me.
No. No.
Hey, you!
Hello there.
TRACY:
Alex.
- Are you all right?
- Stay out of here.
Alex, what happened?
What happened?
l was exploring,
l guess l shouldn't have been.
Then the whole place fell down.
What's new, Trace?
Something sort of funny
happened last night, Alex.
l'm a little worried about it.
Come on, tell me about it.
TRACY: Well, l don't know exactly.
l woke up late...
...and l looked for Quentin and he wasn't
there. So l went up to the tower.
- Hello.
- Hi.
l wanna thank you
for not telling Alex everything.
Well, l couldn't do that.
You weren't yourself.
Carlotta.
l've decided not to use
the tower room as a studio anymore.
But you said you were working
so well there.
This room seems better to me.
Would you mind having my easel
and paints moved down tonight?
lf you're sure, l'll start right now.
Oh, Quentin. l won't bother you
down here. l swear l won't.
l felt you were so far away
when you were in the tower.
l won't be anymore,
so stop worrying about it.
- Everything's gonna be all right.
- l know.
Now it will.
l said l didn't wanna see that again.
lt belongs in this room.
QUENTlN:
l find it distracting.
l don't want it around.
CARLOTTA: There would be fewer
distractions if you went back to the tower.
All right, Carlotta,
what's going on around here?
Why is my working in the tower room
so important to you?
lt isn't. lt just seemed so ideal.
That's not the reason.
You know about those dreams
l've been having, don't you?
- l don't know what you're referring to.
- You know what l'm referring to. Her.
Am l dreaming it, or is she real?
Now, tell me...
...is she real?
You remember that little girl you thought
you saw at the window the other day?
Yes.
Well, it wasn't your imagination.
The girl was Sarah Castle.
She lived in this house
over 150 years ago.
What you've been seeing
are actually memories of a previous life.
l am the living proof of it.
l am the reincarnation of Sarah Castle.
That little girl was me.
l was part of everything
you're now remembering.
We're rare people, you and l.
Not only have we lived before,
but we're fortunate enough to remember.
Angelique loves us.
She always has and she always will.
l'll always remember that last day.
lt was a dark and rainy afternoon.
All week long, strange tensions
had been building in the house.
Tensions l did not understand,
but feared.
Everyone did not love my Angelique
as l did.
LAURA:
We can talk in here.
Gabriel, you must make a decision.
l think you've already made that for me.
Why else would the good
Reverend Strack be here?
STRACK:
Where is the witch now?
LAURA:
Where she always is.
ln the tower, posing for my husband.
STRACK:
Well, Mr. Collins?
- Why do you want my permission?
- Angelique Collins is your wife.
LAURA: Do you want a mob
with firebrands outside this house?
l promise you,
it will come to that, and soon.
The strange death of Reverend Herridge...
...so soon after his sermon
denouncing her.
Yes, yes, but...
But the scandal.
LAURA:
There will be no scandal.
STRACK:
We've chosen four men from the estate...
...each of whom has seen proof
of her witchcraft.
They've sworn to keep silent forever.
Gabriel...
...if we must, we'll do it without you.
This evil must be driven from the land
before it destroys us all.
You're right.
There is no other way.
What of my brother, Charles?
He must learn the lesson of the damned.
He shall watch her die.
CARLOTTA:
She walked down the stairs so proudly.
They were all afraid to touch her.
l suddenly knew
l would never see her again.
- l ran to her.
SARAH: No, no!
- l couldn't let her go.
- l won't let you take her.
Please, darling, don't cry.
Sarah, dear, please don't cry.
lt'll be just as if l've gone away
for a little while.
Here.
You've always thought this so pretty.
As long as you wear this...
...you will remember me.
CARLOTTA: Finally the rain stopped,
and a cold wind swept the grounds.
lt was then l saw her,
high in the tree, a rope around her neck.
Reverend Strack stared up at her...
- ...his face a mask of hatred.
STRACK: Angelique Collins...
...you have been condemned
as a witch, and you must die.
But your spirit will not live after you...
...for your earthly remains
will hang here...
...until your spirit returns to the pits
of darkness forevermore.
ANGELlQUE:
l have lost him...
...but l will have him again.
You will help me, Sarah.
You will know when the time comes...
...for it is your love
that will keep me alive.
STRACK:
Oh, Lord, thou hast heard her threats.
Protect us from her evils.
Guard us with thy invincible strength...
...for thou knowest that we do
what we must...
...for thy sake, in thy name. Amen.
Prepare yourself for eternity, witch.
Let the devil take his own.
MRS. CASTLE:
Sarah.
Sarah!
Sarah, please, come inside.
ANGELlQUE:
But l will have him again.
You will help me, Sarah.
You will know when the time comes...
...for it is your love
that will keep me alive.
Then her spirit is still alive in this house.
For certain of us, yes.
For me, for you.
But l'm not Charles Collins.
CARLOTTA:
You will come to accept it...
...after a time.
And then you will realize something else.
There is no longer any place
in this house for Mrs. Collins.
l love Tracy.
l'll always love Tracy,
and nothing can change that.
lf you truly believe that...
...then l suggest
you leave Collinwood immediately...
...if you can.
Do you know how much l need you?
[PHONE RlNGlNG]
Hello?
- Tracy, honey, what's wrong?
- Oh, Alex, how gloomy you are.
There's nothing wrong.
l called to say everything's perfect.
Listen, Trace, Claire and l should go
to New York tonight.
And we thought we'd stop in
at Burton's gallery.
He's an authority on
early American artists, isn't he?
- l think he's the best. Why?
- Tell you when l get back.
- You sure you're gonna be okay?
- Go, Alex, go.
Nothing bad will happen to us now.
Okay, honey, l'll see you later.
- Who was that?
- Just Alex.
He and Claire have to go
to New York for a few days.
lt's late. Let's go to bed.
You go ahead. l want to finish this first.
Now, go on.
l'll be up soon, huh?
TRACY:
Don't read all night.
Quentin?
l thought you said you weren't
gonna come here anymore.
Quentin, what's happened to you?
What's wrong?
There's someone else
in that room, isn't there?
Why don't you go back to bed?
ls there someone else in that room?
You make me sick.
l can't stand the sight of you anymore.
Now, get out.
l said, get out.
Don't you ever let me catch you
up here again.
CARLOTTA:
Oh, Mrs. Collins...
...l thought these
might brighten the room.
Aren't they lovely?
Carlotta, where's Mr. Collins?
Oh, didn't he tell you?
He just left for town.
He needs some supplies.
You do know he's painting
in the tower, don't you?
Yes, l know.
ls something wrong, Mrs. Collins?
Yes, Carlotta, something is wrong.
Anything l've done?
No.
No, never mind.
What is it, Mrs. Collins?
You don't seem very happy here,
whereas Mr.--
l don't think that's any of your business.
Certainly, if that's the way you feel.
- What time will dinner be this evening?
- l don't know what...
...time.
Mrs. Collins...
...did you ever stop to think
that perhaps you don't belong here?
QUENTlN:
Carlotta, have you seen my jacket?
Never mind. l'll check the tower.
Can't buy a damn thing
without my wallet.
Mrs. Collins.
QUENTlN:
Tracy.
- Have you seen my jacket?
- No.
No, l haven't.
QUENTlN:
Oh, it's all right.
Look.
l know you went to the tower room.
lt doesn't matter.
Oh, don't cry.
You're gonna flood the place.
Come here.
l've been so afraid.
l didn't understand any of it.
And then the things
that you said to me last night.
QUENTlN:
l didn't mean any of them.
No, l know you didn't.
Quentin, look at me.
Do you love me?
Yes.
l love you, Tracy.
TRACY:
Stop.
Stop it. Quentin. Stop it.
Quentin, please,
don't touch me like that.
Stop it.
You do have such a lovely body.
[TRACY YELLS]
l'll touch you whenever
and however l want.
And if you don't like it,
you can always leave.
Coffee's coming.
ALEX:
l need this more.
l don't like being back here.
Yeah, l know.
l still can't get over the likeness.
Charles Collins could be his twin.
All that Quent needs
is that scar on his cheek...
...and you wouldn't be able
to tell the difference.
CLAlRE: l still don't see how showing
him that is gonna make him leave here.
ALEX: Honey, l gotta break through
to him some way.
lf l can get him to admit
that it's more than a coincidence...
...we got a shot.
Well, it'll have to wait until morning.
Alex, come to bed.
What time is it?
Alex.
Alex!
[SCREAMS]
[MUTED SOUND]
Oh, my God.
Alex. Oh, Alex.
Alex, please be all right.
Alex.
Oh, Alex. Alex.
Alex.
[ALEX GASPlNG]
Quentin?
Are you here?
Quentin.
Quentin?
QUENTlN:
Did you come to spy on us, Laura?
TRACY:
Where are you?
Quentin?
Where are you?
QUENTlN:
lsn't it enough that you killed her?
What are you talking about?
What's wrong with you?
QUENTlN:
Won't you ever leave us alone?
Ever?
Quentin, it's me.
No, Laura.
l'm going to make sure
that you never interfere.
No, it's me.
Stop it. lt's me.
[TRACY SCREAMlNG]
CLAlRE: Suppose he won't leave.
ALEX: He'll leave, if l have to...
...drag him out of there.
Alex, there he is.
No, no, wait.
CLAlRE: What was he doing here?
ALEX: l don't know.
lt's Tracy!
Get her, baby.
Come on, honey.
Tracy.
CLAlRE:
Oh, Tracy.
Open the door. Open the door!
- Where is he?
CARLOTTA: He's right up--
ALEX:
Quentin!
Quentin.
CARLOTTA: No, Mr. Jenkins, please--
- Quentin.
Leave him alone.
We tried to stop him.
ALEX: You didn't succeed, Quentin.
She's still alive.
What are you talking about?
Are you gonna tell me
you don't know what you did?
l didn't do a thing. l've been painting.
- Now, what are you so upset about?
- You tried to drown Tracy.
Quentin, it wasn't you.
- lt was Charles Collins drowning--
- Alex, you don't--
For chrissake, Quentin, listen to me.
She's at my place right now.
Now, you've got to get out of this house.
Quentin, all you have to do
is come with me.
Tracy understands.
Where's Mrs. Collins?
Well, l'm sure she's in her room.
Tracy!
Tracy.
You're right. She's gone.
lf that's the way she wants it,
it's fine with me.
- Quentin, that's not you--
- Alex.
Listen to me.
l've known you for a long time.
l'm sick of your insane writer's mind.
l don't wanna talk about it. l just want you
to get out of here and take her with you.
He was telling the truth, wasn't he?
You did it for her. For Angelique.
l tried to kill my wife.
Where's Gerard?
Where is he?
Doing what you know has to be done.
No.
l am not Charles Collins.
And l'm not going to allow them
to be hurt.
Son of a bitch.
God, when is he coming back?
- How are you feeling?
- Oh, l'm better.
Still a little cold.
- Claire, do--?
- Shh.
What's the matter?
l heard something outside.
What are you gonna do?
Alex told me to shoot anyone
who tries to come in here.
Wait a minute, Claire.
What did you hear?
l know someone's out there.
[CLAlRE SCREAMS]
TRACY:
lf he's just wounded...
...we've gotta be sure.
But l know we hit him.
CLAlRE:
Quick. We better get back inside.
- What do you think we should do?
- l don't know. l know we hit him.
Where's Alex?
[CLAlRE SCREAMS]
QUENTlN:
Alex.
That crazy son of a bitch,
he almost killed me.
Gerard?
Yeah, Gerard.
[TRACY SCREAMS]
GERARD:
Shh, shh.
[HORN HONKlNG]
[TRACY SCREAMlNG]
Tracy? Tracy!
Tracy. Where are you?
TRACY:
Quentin, look out!
TRACY:
Gerard!
[SCREAMS]
[THUDS]
QUENTlN:
Alex?
You know there's only one way
we're going to end all of this.
We've got to go back in there...
...and find Carlotta.
Because she's the one
who's keeping the spirit alive.
- Oh, it's cold down here.
- Yeah.
We've got to be 50 feet
below the house.
l'm going to look in there.
There's nothing in here.
- Quentin?
- Tracy!
- Trace? Are you all right?
- Yes.
But the damn door's stuck.
Push on the inside.
l'm pushing.
Come on. Try harder.
TRACY:
l can't.
[MUTED SOUND]
Tracy, for God's sake, what is it?
Answer me.
Carlotta, l don't wanna hurt you.
Tracy.
You're gonna be all right.
Okay. Everything's taken care of.
As of this very moment,
all this grandeur's for sale.
Don't look so sad, Quentin.
Think of all the money you'll have.
QUENTlN: l'm not gonna count on it.
- The reservations at the Cape are all set.
l told them we'd be there at 7.
QUENTlN:
Hey, that's only three hours from now.
Not with me driving, buddy.
TRACY:
You may be right, l'll tell you that.
l've had enough excitement.
We'll meet you there.
Hey.
- How many stitches?
- Six.
Could there be a scar?
Doctor said if l'd waited any longer,
there would have been.
You know, l never told you
how worried l really was.
- Why?
- Because l had this funny feeling...
...it was really you
who was keeping the spirit alive.
l'm glad you were wrong.
- Have the lobsters ready.
- You bet.
CLAlRE:
All right, bye-bye.
ALEX: Let's go, honey.
TRACY: Right.
TRACY: What are you doing?
- l have to pick up my canvases.
- Wow, it'll be nice at the Cape.
- Yeah.
l'll be happy to get out of this place.
Won't you?
Don't be long in there, all right?
- Just take a minute.
- Okay.
[HORN HONKlNG]
Quentin?
Quentin, what's taking you so long?
Hey, what are you doing?
Quentin, will you come on?
l've been waiting for you.
Now, why were you just sitting
there, when you knew--?
Quentin, what's the matter?
Quentin?
Why are you limping?
What happened?
Your face. What did you do to--?
[TRACY GASPS]
Oh, no.
Oh, God, no!
No, no, no!
No, no!
No, no, no.
[English - US - SDH]
MAN: Oh, only about 200 acres.
Hey, look up there.
lt's really incredible.
You were around for all those years...
...and l didn't even know you.
You wouldn't have liked me then.
l was mean and surly.
TRACY:
lt's gonna rain.
l still can't believe it's really Collinwood.
l can't even see the house from here.
Here it comes. l'm gonna put the top up.
What do you wanna bet l turn into
one of those women in House and Garden?
Yeah. l can see it now.
Mrs. Quentin Collins,
in her fashionable jeans...
...sitting at her 18th-century
rosewood desk...
...making out menus for the week.
We have a housekeeper, you know that?
Oh, great. l'll bet she looks
just like Mrs. Danvers.
l'm sure she does.
That solves one problem.
She can probably do everything...
...and l'll just sit around
arranging flowers all day.
And loving me.
l don't think l'm going in there.
QUENTlN:
Yes, you are.
Can you believe it?
lt's all ours.
WOMAN:
Mr. and Mrs. Collins.
Welcome to Collinwood.
l'm Carlotta Drake.
Thank you, Miss Drake.
How do you do?
Mrs. Stoddard, before her death,
had tea served here every afternoon.
That's one tradition we won't keep.
Oh, no. We can't let the house down.
[PLAYlNG PlANO]
We can call Claire and Alex
and invite them for tea in the drawing room.
With the lord of the manor.
Did you tell the Jenkins
we'd be here today?
Carlotta, did you tell the Jenkins
we'd be here?
No. l'm sorry.
l didn't know that's what you wanted.
- Let me show you the rest of the house.
- All right.
CARLOTTA: Collinwood was built
by Joshua Collins in the late 1600s.
Of course, there have been many changes
and additions since then.
As a child, l used to hide here.
So many parties in those days,
and the guests were so elegantly dressed.
And the candles were always burning.
TRACY:
You lived here as a child?
CARLOTTA:
Yes, my mother was the housekeeper.
QUENTlN:
What's up there?
Oh, nothing you'd be interested in now.
ls that the tower l saw from the outside?
CARLOTTA:
Yes.
The master bedroom is this way.
lt has an excellent view
of the front grounds.
QUENTlN:
Quite a collection.
l've got a feeling my ancestors
wouldn't have bought my work.
TRACY:
Quentin's paintings are very abstract.
You're a painter. How interesting.
QUENTlN: ls she one of the family?
CARLOTTA: Yes, she is.
Her name is Angelique Collins.
She died in 1810.
Wow, she's beautiful, isn't she?
Carlotta, l think this is my favorite room.
The view is really incredible.
CARLOTTA:
l've prepared a salad for dinner.
Shall l serve it here?
TRACY:
Well, yes, would you?
That's our housekeeper.
She makes me feel like
she invited us here.
lt's beautiful, isn't it?
l got a feeling l'm gonna do better work
here than l've ever done before in my life.
TRACY: lt's almost like living
in a museum, isn't it?
Quentin?
Darling, what's the matter?
Darling, what's wrong?
What are you thinking about?
Nothing.
l was just daydreaming, l guess.
Well, l think we're very naughty.
We should have tried to call the Jenkins.
They'll understand.
QUENTlN:
Are you gonna be happy here?
TRACY:
Well, l think l am, if you are.
QUENTlN:
That's something.
l don't know why...
...l almost feel like l've come home again.
Well, that's good.
MAN 1 [lN VOlCE-OVER]: Angelique Collins,
you have been condemned as a witch...
...and you must die as a witch.
Let your soul be returned
to the pits of darkness forevermore.
For thou knowest we do
what we must...
...for thy sake, in thy name. Amen.
Prepare yourself for eternity, witch.
Let the devil take his own.
[HORSE HOOVES PATTERlNG]
You killed her.
You killed Angelique, Strack.
Up, Doubloon.
[YELLlNG]
You killed her!
MAN 2:
Charles, you've been with her again.
What's wrong with you, brother?
Don't you remember?
Your wife's dead...
...though she still comes to you.
l know it.
All right.
You will have her for eternity, brother.
For eternity!
She's yours, brother.
You will have her for eternity.
Kill, Doubloon.
Quentin.
Do you know what happened last night?
Do you?
Everything has changed.
You must accept that.
l was good enough
until he came around. And then--
Now, listen.
l want you to go to the stables.
He'll be there soon to ride.
l told you
that everything was different now.
QUENTlN:
Styles.
l'm Mr. Collins.
Yeah. Yeah, l know. l...
l got your horse ready for you.
QUENTlN:
Good-looking horse.
Come on.
- l saw your wife today.
- Yes?
She rides, doesn't she?
- What did you say?
- l said, she rides, doesn't she?
Yes, she does. Come on. But not today.
[BELL TOLLlNG]
MAN:
Dust to dust.
Ashes to ashes.
Oh, Lord, we beseech thee to have
mercy on this sinner, for we all sin...
...knowing the mercy
of our heavenly Father.
And so we commend to thee
the flesh and spirit of Angelique Collins...
...beloved wife of Gabriel...
...loyal and loving sister-in-law to Laura.
[LAUGHlNG]
Angelique Collins has departed this life
for a far better world...
...a world without sorrow...
And so we commend her spirit
to a just and loving God.
Amen.
Quentin.
QUENTlN: l see you've still got
that crazy eye of mine.
That's it, buddy.
Wherever we go, that goes.
lmagine finding the master of Collinwood
roaming around a cemetery.
Hey, Alex, they've got tombstones
in that place that are over 300 years old.
Tell me, how's life at the old castle?
- Have you seen Miss Drake smile yet?
- Once.
She had no reason to smile at you, Alex.
The first time he meets her,
he asks if the place is haunted.
ls it?
Not according to her.
ALEX: One of these nights,
we're gonna go to the Blue Whale.
l'll introduce you to a Captain Russell,
who'll tell a different story.
Seems there's a young, beautiful servant
girl who roams the halls of Collinwood.
lf she cleans well, we'll hire her.
CLAlRE:
lt's time for lunch.
Oh, what do you want?
Ham or tuna fish?
ALEX: Both.
- The same.
Right.
So, my rich landlord who doesn't charge
rent, how's life in the old estate?
- When did you and Claire get here?
- Two weeks ago.
Man, l thought you
were never gonna show up.
Hey, pal, what's wrong?
Hey.
Bloodshot eyes, unsuitable pallor.
Well, doc, l didn't sleep well last night.
lt's a funny thing about this place,
l keep imagining things.
What do you mean, imagining things?
- Nothing. Forget it.
- Oh, man, maybe l can use it.
You know, Claire and l
are starting a new Gothic novel.
That reminds me, l got a library that's
got to be full of material. Be my guest.
l'd appreciate that.
Thank you.
[KNOCKlNG ON DOOR]
QUENTlN:
Carlotta.
l wanna start work today.
- Could you suggest a good room?
- Yes. l know just the place.
Wait a minute.
l got the strangest feeling
l've been here before.
How could you have been?
l couldn't have.
Does it still seem so familiar?
No.
l wouldn't worry about it
if l were you, Mr. Collins.
There's usually some logical explanation
for these feelings.
- Will the room do?
- Oh, yes. Yes, it's fine.
- lt's been used as a studio before,
hasn't it? - Yes, l believe it has.
Not in my time.
As long as she's here in this house,
l can't be happy.
Bring the painting to life, Charles.
Please.
Promise me.
[BANGlNG ON DOOR]
GABRlEL:
Charles?
l want to talk to my wife.
l know she's in there.
Now, open the door.
MAN 1:
More of your dreary moralizing?
GABRlEL:
Open the door!
MAN 1:
Try my patience, brother.
ANGELlQUE:
Let him in.
l've come for my wife, Charles.
Little brother's suddenly become a man.
Will you take the credit
for that, my dear?
- Have you lost your mind?
- No.
- Stop.
- You touch her, and l'll kill you.
Don't any of you touch me.
l'll come with you,
but don't any of you touch me.
MAN 2:
Come with us, Angelique Collins.
ANGELlQUE: As long as she's
in this house, l can't be happy.
Bring the painting to life.
Please.
CARLOTTA:
Oh, Mr. Collins, you startled me.
l was just straightening up the room.
l saw a little girl standing here
by the window.
- A little girl?
- Yes. l was outside.
Yes, l know. l saw you from the window.
But l didn't see you.
l saw a child holding a doll.
This was a child's room, wasn't it?
Yes, it was. lt was Mrs. Stoddard's
when she was a little girl.
lt must have been a trick of the light.
Yes, it must have been.
Well, l'd better get back to work.
l'm glad l'm not driving.
- Sweetheart, some wine?
- Just a touch.
A touch. Now, who'd have thought
we'd have been here two years ago?
- l would have.
- You would, huh?
- Makes life interesting.
- Take a look at this thing.
Gregory strikes again.
He must think we're the manor folk.
Honey, remember, we are broke.
A little more wine for the gentleman.
A little wine.
ALEX:
Well, hello, Carlotta.
How are you?
QUENTlN: What's that?
TRACY: That's your surprise.
QUENTlN:
What is it?
Well, it's something
that you can't be without.
[ALEX LAUGHlNG]
ALEX:
You've gotta be kidding.
Why? l think he'll look marvelous in them.
TRACY:
Gregory said l could take them back if--
- Promise you, l'll wear them. Someday.
- Someday.
- Oh, Carlotta.
- Yes?
l found some old paintings
of Charles Collins up in the tower room.
Oh?
Do you know anything about his history?
Yes, l do.
He was a marvelous man,
a brilliant artist.
Oh, you almost sound
like you know him, Carlotta.
Will you be having brandy in the gallery?
No, thanks.
ALEX:
Not me. l'm up with the sun these days.
- Sure?
ALEX: Positive.
- Ready, baby?
- Ready.
Ready.
A little more wine.
l'm having more
of those crazy daydreams.
Wanna talk about them?
- Can you come over tomorrow?
- Sure.
Okay.
[MUTED SOUND]
TRACY:
Quentin, stop it!
Stop it, Quentin. Get away.
Tracy?
Mr. Collins.
TRACY: Darling, we don't need to
talk about it anymore.
QUENTlN: The first thing l remember
was Gerard, but l didn't recognize him.
- What was he doing in the house, anyway?
TRACY: He simply thought he saw a light.
And what was l about to do to you?
You stopped when you realized
what you were doing.
Don't worry about me.
The important thing is to try
to figure out why it happened.
l know.
How are we gonna do that?
Well, let's go to sleep.
l'm sure it'll seem easier in the morning.
You're not afraid of me.
No. No.
Hey, you!
Hello there.
TRACY:
Alex.
- Are you all right?
- Stay out of here.
Alex, what happened?
What happened?
l was exploring,
l guess l shouldn't have been.
Then the whole place fell down.
What's new, Trace?
Something sort of funny
happened last night, Alex.
l'm a little worried about it.
Come on, tell me about it.
TRACY: Well, l don't know exactly.
l woke up late...
...and l looked for Quentin and he wasn't
there. So l went up to the tower.
- Hello.
- Hi.
l wanna thank you
for not telling Alex everything.
Well, l couldn't do that.
You weren't yourself.
Carlotta.
l've decided not to use
the tower room as a studio anymore.
But you said you were working
so well there.
This room seems better to me.
Would you mind having my easel
and paints moved down tonight?
lf you're sure, l'll start right now.
Oh, Quentin. l won't bother you
down here. l swear l won't.
l felt you were so far away
when you were in the tower.
l won't be anymore,
so stop worrying about it.
- Everything's gonna be all right.
- l know.
Now it will.
l said l didn't wanna see that again.
lt belongs in this room.
QUENTlN:
l find it distracting.
l don't want it around.
CARLOTTA: There would be fewer
distractions if you went back to the tower.
All right, Carlotta,
what's going on around here?
Why is my working in the tower room
so important to you?
lt isn't. lt just seemed so ideal.
That's not the reason.
You know about those dreams
l've been having, don't you?
- l don't know what you're referring to.
- You know what l'm referring to. Her.
Am l dreaming it, or is she real?
Now, tell me...
...is she real?
You remember that little girl you thought
you saw at the window the other day?
Yes.
Well, it wasn't your imagination.
The girl was Sarah Castle.
She lived in this house
over 150 years ago.
What you've been seeing
are actually memories of a previous life.
l am the living proof of it.
l am the reincarnation of Sarah Castle.
That little girl was me.
l was part of everything
you're now remembering.
We're rare people, you and l.
Not only have we lived before,
but we're fortunate enough to remember.
Angelique loves us.
She always has and she always will.
l'll always remember that last day.
lt was a dark and rainy afternoon.
All week long, strange tensions
had been building in the house.
Tensions l did not understand,
but feared.
Everyone did not love my Angelique
as l did.
LAURA:
We can talk in here.
Gabriel, you must make a decision.
l think you've already made that for me.
Why else would the good
Reverend Strack be here?
STRACK:
Where is the witch now?
LAURA:
Where she always is.
ln the tower, posing for my husband.
STRACK:
Well, Mr. Collins?
- Why do you want my permission?
- Angelique Collins is your wife.
LAURA: Do you want a mob
with firebrands outside this house?
l promise you,
it will come to that, and soon.
The strange death of Reverend Herridge...
...so soon after his sermon
denouncing her.
Yes, yes, but...
But the scandal.
LAURA:
There will be no scandal.
STRACK:
We've chosen four men from the estate...
...each of whom has seen proof
of her witchcraft.
They've sworn to keep silent forever.
Gabriel...
...if we must, we'll do it without you.
This evil must be driven from the land
before it destroys us all.
You're right.
There is no other way.
What of my brother, Charles?
He must learn the lesson of the damned.
He shall watch her die.
CARLOTTA:
She walked down the stairs so proudly.
They were all afraid to touch her.
l suddenly knew
l would never see her again.
- l ran to her.
SARAH: No, no!
- l couldn't let her go.
- l won't let you take her.
Please, darling, don't cry.
Sarah, dear, please don't cry.
lt'll be just as if l've gone away
for a little while.
Here.
You've always thought this so pretty.
As long as you wear this...
...you will remember me.
CARLOTTA: Finally the rain stopped,
and a cold wind swept the grounds.
lt was then l saw her,
high in the tree, a rope around her neck.
Reverend Strack stared up at her...
- ...his face a mask of hatred.
STRACK: Angelique Collins...
...you have been condemned
as a witch, and you must die.
But your spirit will not live after you...
...for your earthly remains
will hang here...
...until your spirit returns to the pits
of darkness forevermore.
ANGELlQUE:
l have lost him...
...but l will have him again.
You will help me, Sarah.
You will know when the time comes...
...for it is your love
that will keep me alive.
STRACK:
Oh, Lord, thou hast heard her threats.
Protect us from her evils.
Guard us with thy invincible strength...
...for thou knowest that we do
what we must...
...for thy sake, in thy name. Amen.
Prepare yourself for eternity, witch.
Let the devil take his own.
MRS. CASTLE:
Sarah.
Sarah!
Sarah, please, come inside.
ANGELlQUE:
But l will have him again.
You will help me, Sarah.
You will know when the time comes...
...for it is your love
that will keep me alive.
Then her spirit is still alive in this house.
For certain of us, yes.
For me, for you.
But l'm not Charles Collins.
CARLOTTA:
You will come to accept it...
...after a time.
And then you will realize something else.
There is no longer any place
in this house for Mrs. Collins.
l love Tracy.
l'll always love Tracy,
and nothing can change that.
lf you truly believe that...
...then l suggest
you leave Collinwood immediately...
...if you can.
Do you know how much l need you?
[PHONE RlNGlNG]
Hello?
- Tracy, honey, what's wrong?
- Oh, Alex, how gloomy you are.
There's nothing wrong.
l called to say everything's perfect.
Listen, Trace, Claire and l should go
to New York tonight.
And we thought we'd stop in
at Burton's gallery.
He's an authority on
early American artists, isn't he?
- l think he's the best. Why?
- Tell you when l get back.
- You sure you're gonna be okay?
- Go, Alex, go.
Nothing bad will happen to us now.
Okay, honey, l'll see you later.
- Who was that?
- Just Alex.
He and Claire have to go
to New York for a few days.
lt's late. Let's go to bed.
You go ahead. l want to finish this first.
Now, go on.
l'll be up soon, huh?
TRACY:
Don't read all night.
Quentin?
l thought you said you weren't
gonna come here anymore.
Quentin, what's happened to you?
What's wrong?
There's someone else
in that room, isn't there?
Why don't you go back to bed?
ls there someone else in that room?
You make me sick.
l can't stand the sight of you anymore.
Now, get out.
l said, get out.
Don't you ever let me catch you
up here again.
CARLOTTA:
Oh, Mrs. Collins...
...l thought these
might brighten the room.
Aren't they lovely?
Carlotta, where's Mr. Collins?
Oh, didn't he tell you?
He just left for town.
He needs some supplies.
You do know he's painting
in the tower, don't you?
Yes, l know.
ls something wrong, Mrs. Collins?
Yes, Carlotta, something is wrong.
Anything l've done?
No.
No, never mind.
What is it, Mrs. Collins?
You don't seem very happy here,
whereas Mr.--
l don't think that's any of your business.
Certainly, if that's the way you feel.
- What time will dinner be this evening?
- l don't know what...
...time.
Mrs. Collins...
...did you ever stop to think
that perhaps you don't belong here?
QUENTlN:
Carlotta, have you seen my jacket?
Never mind. l'll check the tower.
Can't buy a damn thing
without my wallet.
Mrs. Collins.
QUENTlN:
Tracy.
- Have you seen my jacket?
- No.
No, l haven't.
QUENTlN:
Oh, it's all right.
Look.
l know you went to the tower room.
lt doesn't matter.
Oh, don't cry.
You're gonna flood the place.
Come here.
l've been so afraid.
l didn't understand any of it.
And then the things
that you said to me last night.
QUENTlN:
l didn't mean any of them.
No, l know you didn't.
Quentin, look at me.
Do you love me?
Yes.
l love you, Tracy.
TRACY:
Stop.
Stop it. Quentin. Stop it.
Quentin, please,
don't touch me like that.
Stop it.
You do have such a lovely body.
[TRACY YELLS]
l'll touch you whenever
and however l want.
And if you don't like it,
you can always leave.
Coffee's coming.
ALEX:
l need this more.
l don't like being back here.
Yeah, l know.
l still can't get over the likeness.
Charles Collins could be his twin.
All that Quent needs
is that scar on his cheek...
...and you wouldn't be able
to tell the difference.
CLAlRE: l still don't see how showing
him that is gonna make him leave here.
ALEX: Honey, l gotta break through
to him some way.
lf l can get him to admit
that it's more than a coincidence...
...we got a shot.
Well, it'll have to wait until morning.
Alex, come to bed.
What time is it?
Alex.
Alex!
[SCREAMS]
[MUTED SOUND]
Oh, my God.
Alex. Oh, Alex.
Alex, please be all right.
Alex.
Oh, Alex. Alex.
Alex.
[ALEX GASPlNG]
Quentin?
Are you here?
Quentin.
Quentin?
QUENTlN:
Did you come to spy on us, Laura?
TRACY:
Where are you?
Quentin?
Where are you?
QUENTlN:
lsn't it enough that you killed her?
What are you talking about?
What's wrong with you?
QUENTlN:
Won't you ever leave us alone?
Ever?
Quentin, it's me.
No, Laura.
l'm going to make sure
that you never interfere.
No, it's me.
Stop it. lt's me.
[TRACY SCREAMlNG]
CLAlRE: Suppose he won't leave.
ALEX: He'll leave, if l have to...
...drag him out of there.
Alex, there he is.
No, no, wait.
CLAlRE: What was he doing here?
ALEX: l don't know.
lt's Tracy!
Get her, baby.
Come on, honey.
Tracy.
CLAlRE:
Oh, Tracy.
Open the door. Open the door!
- Where is he?
CARLOTTA: He's right up--
ALEX:
Quentin!
Quentin.
CARLOTTA: No, Mr. Jenkins, please--
- Quentin.
Leave him alone.
We tried to stop him.
ALEX: You didn't succeed, Quentin.
She's still alive.
What are you talking about?
Are you gonna tell me
you don't know what you did?
l didn't do a thing. l've been painting.
- Now, what are you so upset about?
- You tried to drown Tracy.
Quentin, it wasn't you.
- lt was Charles Collins drowning--
- Alex, you don't--
For chrissake, Quentin, listen to me.
She's at my place right now.
Now, you've got to get out of this house.
Quentin, all you have to do
is come with me.
Tracy understands.
Where's Mrs. Collins?
Well, l'm sure she's in her room.
Tracy!
Tracy.
You're right. She's gone.
lf that's the way she wants it,
it's fine with me.
- Quentin, that's not you--
- Alex.
Listen to me.
l've known you for a long time.
l'm sick of your insane writer's mind.
l don't wanna talk about it. l just want you
to get out of here and take her with you.
He was telling the truth, wasn't he?
You did it for her. For Angelique.
l tried to kill my wife.
Where's Gerard?
Where is he?
Doing what you know has to be done.
No.
l am not Charles Collins.
And l'm not going to allow them
to be hurt.
Son of a bitch.
God, when is he coming back?
- How are you feeling?
- Oh, l'm better.
Still a little cold.
- Claire, do--?
- Shh.
What's the matter?
l heard something outside.
What are you gonna do?
Alex told me to shoot anyone
who tries to come in here.
Wait a minute, Claire.
What did you hear?
l know someone's out there.
[CLAlRE SCREAMS]
TRACY:
lf he's just wounded...
...we've gotta be sure.
But l know we hit him.
CLAlRE:
Quick. We better get back inside.
- What do you think we should do?
- l don't know. l know we hit him.
Where's Alex?
[CLAlRE SCREAMS]
QUENTlN:
Alex.
That crazy son of a bitch,
he almost killed me.
Gerard?
Yeah, Gerard.
[TRACY SCREAMS]
GERARD:
Shh, shh.
[HORN HONKlNG]
[TRACY SCREAMlNG]
Tracy? Tracy!
Tracy. Where are you?
TRACY:
Quentin, look out!
TRACY:
Gerard!
[SCREAMS]
[THUDS]
QUENTlN:
Alex?
You know there's only one way
we're going to end all of this.
We've got to go back in there...
...and find Carlotta.
Because she's the one
who's keeping the spirit alive.
- Oh, it's cold down here.
- Yeah.
We've got to be 50 feet
below the house.
l'm going to look in there.
There's nothing in here.
- Quentin?
- Tracy!
- Trace? Are you all right?
- Yes.
But the damn door's stuck.
Push on the inside.
l'm pushing.
Come on. Try harder.
TRACY:
l can't.
[MUTED SOUND]
Tracy, for God's sake, what is it?
Answer me.
Carlotta, l don't wanna hurt you.
Tracy.
You're gonna be all right.
Okay. Everything's taken care of.
As of this very moment,
all this grandeur's for sale.
Don't look so sad, Quentin.
Think of all the money you'll have.
QUENTlN: l'm not gonna count on it.
- The reservations at the Cape are all set.
l told them we'd be there at 7.
QUENTlN:
Hey, that's only three hours from now.
Not with me driving, buddy.
TRACY:
You may be right, l'll tell you that.
l've had enough excitement.
We'll meet you there.
Hey.
- How many stitches?
- Six.
Could there be a scar?
Doctor said if l'd waited any longer,
there would have been.
You know, l never told you
how worried l really was.
- Why?
- Because l had this funny feeling...
...it was really you
who was keeping the spirit alive.
l'm glad you were wrong.
- Have the lobsters ready.
- You bet.
CLAlRE:
All right, bye-bye.
ALEX: Let's go, honey.
TRACY: Right.
TRACY: What are you doing?
- l have to pick up my canvases.
- Wow, it'll be nice at the Cape.
- Yeah.
l'll be happy to get out of this place.
Won't you?
Don't be long in there, all right?
- Just take a minute.
- Okay.
[HORN HONKlNG]
Quentin?
Quentin, what's taking you so long?
Hey, what are you doing?
Quentin, will you come on?
l've been waiting for you.
Now, why were you just sitting
there, when you knew--?
Quentin, what's the matter?
Quentin?
Why are you limping?
What happened?
Your face. What did you do to--?
[TRACY GASPS]
Oh, no.
Oh, God, no!
No, no, no!
No, no!
No, no, no.
[English - US - SDH]