An ever present evil lurks at the great house of Collinwood. It is evil incarnate. The spirit of Judah Zachary inhabits the body of Carolyn's new husband. She is unaware that she has brought into the midst of the family, the greatest enemy the family has ever known. Indeed, he is the very cause of every evil the family has known. He will seek to destroy the family from within. There are those who are aware of his presence, but they dare not allow him to know of their discovery for fear he secretly possess another whom they are not aware of. But a danger exists that he himself is unaware of.
Trevor Halliburton entered the lobby to his office and looked at the desk of Selena Parker. She had not arrived yet. He proceeds into his office and places his briefcase on the desk. He then removes the suit jacket and hangs it on a hall tree near the door. He continues on over to the desk and sits down in the chair behind it. He takes a stack of manila folders Selena had left on the desk for him containing his upcoming case loads and opens the top one and begins perusing the documents inside. The long floor length curtain directly behind him moves. An instant later, an arm snakes around Trevor's throat. The arm is tightening seeking to strangle the life from him. Trevor's eyes grew wide as he gasps desperately for breath. (Long dramatic crawl of music builds to a fever pitch. As screen goes black, three dramatic notes sound.
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Judah, inhabiting Trevor struggles for breath as the arm continues to strangle him. The camera pulls back to reveal Adam as he maintains his stranglehold on Trevor. Suddenly, Halliburton's eyes glow bright green and he holds his hands before him with his fingers spread. Adam's arm begins to tremble and ache. He can no longer maintain his hold on Halliburton. Trevor rises from the chair, his eyes still glowing as he glares at Adam. Adam stares first at Trevor, then at his arm. He looks back and forth at each with a look of total confusion. Though he says nothing, his expression clearly conveys he cannot understand what is happening to him. "What do you want here, Dead man?" Judah growls. Adam's look changes now from confusion to anger as he shouts "Don't call me that!" He advances to attack Halliburton again. Trevor's hand extends toward Adam's arm. Adam grabs his arm as he almost doubles over from the pain that is being inflicted. "You will learn that I am not one to be trifled with, Dead man!" Judah growls back at him. "Now, I want you to sit! Over there!" He points at the chair on the client side of the desk. Looking at Trevor with fear, he does as he is told. Trevor then sits in his chair and demands, "You will tell me why you tried to kill me!" Adam looks at him and replies, "Carolyn. I want you to leave Carolyn alone! I see you with her all the time. I will not let anybody hurt Carolyn." Trevor then takes on a completely different disposition. "Is that what you think? That I mean to hurt Carolyn?" Adam replies, "Carolyn is my friend." Trevor then rises and paces about the room and says, "You see. Carolyn is my friend too. Do you make a habit of going around killing all of Carolyn's friends?" Adam looks at him and replies, "You are not her friend. You are evil. You hurt me!" Trevor turns and says, "Well now what do you expect? You came here to kill me. Let me get this straight. I wouldn't have been evil if I had just sat there and let you do it?" Adam replied, "You are not a normal man. You're a... you're a... warlock!" Trevor then pouted a bit and chided, "A warlock? Oh come now, you strike me as having more intelligence than to believe in fables!" Adam stood and glared at him and declared, "I know who you are! You're Judah Zachary!" A stunned look came over Trevor's face as if he were exposed to the world. "Where did you hear that name?" he demanded. Adam then replied, "From Barnabas!" Trevor then asked, "Barnabas Collins thinks my name is Judah Zachary?" he asked, fishing to learn as much as he could. "No. He only knows that Judah Zachary is here and that he is inside somebody!" Trevor then coolly strides back to his chair. "So he thinks this Judah, is inside somebody, and he doesn't know who?" Adam leans over the desk and complains, "You're talking to me like I was a child. I'm not a child!" Trevor interlocks his fingers on the desk and replies, "No, I can see that." Adam then stands towering over the desk menacingly. "I am growing old, and you are doing it!" Judah now fully emerges and replies. "You are correct. I am Judah Zachary! I can remove this affliction from you. But it will cost you a great deal." Adam then falls into the chair resigned and says, "Then you may as well go ahead and kill me because I have no money." Judah sneers and replies, "I never said the payment would be with money. Do you want to be free of this affliction?" Adam looks across the desk at Trevor for a long moment and then says, "Yes!" (Music stings out) Judah sneers as camera goes to black.
The camera is on the outside of Collinwood's entrance. Joe Haskell arrives
at the door and raps the door knocker three times and waits. A moment later
the door opens to reveal Maggie Evans. "Joe! What brings you out to
Collinwood?" she asks motioning him inside.
Joe uncomfortably looks at her and replies, "I came out to pick up Roger
Collins. He is returning today isn't he? At least that's what Mrs. Stoddard
said when I talked to her on the phone last night." Maggie clumsily replies,
"I knew there was talk about him returning, but I haven't heard when." Joe
fumbled his hands around in his back pockets a moment then brushes one hand
through his hair and turns looking around taking in the old familiar house
he had remembered and said, "Well, Liz Stoddard called me last night and
asked if I'd mind giving Roger a ride into the cannery. She said he would be
taking his old duties back. I told her it'd be my pleasure. Roger Collins
helped me get back on my feet when I came back to Collinsport. I owe him a
lot more than a lift to work." Maggie then said, "Well you did also save his
life at the Blue Whale when that maniac tried to kill him." Joe raked his
fingers through his hair again and said, "I didn't act quickly enough, or
Mr. Collins might not be in the shape he is now." Maggie then said, "I'm
sure he doesn't blame you for that. You did everything you could." Joe
looked at the floor and replied, "Maybe. I'll always wonder if I could have
gotten to Fenton sooner." He then looked at his watch and started to speak
when Maggie said, "I'll be happy to go see if he's ready, Joe." Joe nodded
and Maggie headed for the door under the landing when suddenly, Roger
wheeled out with a briefcase across his lap. "Ah Haskell, Liz said you were
coming. My apologies if I've delayed you. I'll see to it that your
supervisor doesn't treat you too harshly for being late." Joe grinned and
said, "You ARE my supervisor, Mr. Collins." Roger chuckled and said, "So I
am. Well, we'd best hurry along before we're both inexcusably tardy from our
duties." Maggie then smiled and said, "It's good to see you're doing so
well, Joe." He managed a half smile and said, "Thanks." He then turns and
pushes Roger out the doors. Maggie closed the door and the camera lingers on
her expression as music tinkles out and camera fades.
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Scene opens on Trevor Halliburton's office. Adam stands across the desk and says, "You said you can help me. How can you help me?" Trevor sat up straight in his chair and said, "Patience, my friend. I assure I can, and will help you, but now is not the time." Adam looked at him impatiently and asks, "Why? I'm getting older every minute. Why do we have to wait?" Trevor then replies, "There is a woman who has no idea of the gifts I possess that will be coming in that outer door any time now. I cannot risk her overhearing. We must find a place that offers a bit more seclusion to do what has to be done." Adam then said, "I know a place we can use. But we will have to be careful." Trevor replies, "Then the place is entirely unsuitable. We need a place free of interruption." Adam then declares. "We will not be interrupted once we get in. The problem is getting in without being seen. No one will disturb us once we get inside." Trevor looked at him quite puzzled and said, "Where is this place that we have to be so careful to get into?" Adam then looks directly at him and says, "The West wing of Collinwood." Trevor replied, "Ah, I think I know the place. You were there before, weren't you?" Adam looked at him incredously wondering how he could know that. Trevor, reading his expression said, "I know all about you, Adam. I told you I am a friend of Carolyn's. She told me of the time she harbored a friend in the West wing when he was being sought by the police. I also know everything there is to know about you. You see, Nicholas Blair was my aide, and he told me all there was to your unique origin." Adam looked surprised and said, "You knew Nicholas Blair?" Trevor stood and paced around the desk and said, "Yes, it was I who summoned him back here from the netherworld to be my aide. That is, until you killed him." Adam looked fearful that this man knew so much about him and that he even knew of his involvement in Nicholas death. "I needed the talents and the knowledge Nicholas possessed, and you took that away from me, Adam. How do you suppose I should respond to that?" Trevor chided him. Adam now paces the floor and turns defensively toward Halliburton and says, "Nicholas tried to kill me. I hated him. He pretended to be my friend, and then he tried to kill me. I had to kill him." Judah, through Trevor, then said, "But in doing so you deprived me of a most valuable ally. You said you wanted a cure to your rapid aging. I told you that cure would come with a price." He then turns and looks Adam squarely in the eye and says, "YOU will now be my aide, Adam! That is the price of your cure!" (Three dramatic notes sound.)
Willie Loomis straightens the blind on the window in the East wing drawing room. He makes an adjustment, and then walks across the room to see the result. Not satisfied, he returns and maneuvers the louver a bit more then again crosses the room to see the results. A slight smile crosses his face as he seems satisfied he has it just right now. He then picks up a book from the table and starts to shelve it, then thinks better of the notion. (Thoughts heard aloud.) "Barnabas might not be through with this yet. I betta just leave it heah so I don't lose his place. I'll ask 'im latah if he's done with it." He then turns to exit the room when he sees the hooded woman standing in the doorway. He stands paralyzed for a moment gaping at the figure, and then says, "Whadda ya want? You must want somethin to be hangin' around heah." The figure only raises one hand and beckons him to follow as she turns down the corridor outside the room. Perplexed and curious, Willie slowly follows her at a distance, unsure if he should follow her at all. She walks to a door about halfway down the corridor on the right and she moves her hand in the direction of the doorknob. Without touching it, it opens by itself. Willie's eyes grew wide and he hesitated to go any further, but the woman again motioned for him to follow. He eases down the hall and pokes his head in first to see what awaited him. She opened yet another door inside the secondary corridor. He had not made any changes to this particular section of the wing. The room was dark and cobwebs hung about. The room only contained some old furnishings which had gone out of style years before. Dust covered everything in the room. The woman motioned to one corner of the room. Willie looked at the area she indicated and in confusion said, "I don't see nothin' theah. Whadda ya wantin' me to see?" He looked at her intently then trying to see the face inside the hood. While he looked at her, she suddenly vanished. At that moment, a rolled up paper fell to floor, stirring up decades of dust which had settled. He looked stunned, first that she had so suddenly disappeared, then curiously looked at the scrolled paper on the floor. He walked over and picked it up. He looked about the room briefly, then slid the ribbon off the end of the scroll and unrolled it. He looked intently at it. Then he looks just offside the camera and says, "It looks like some kinda old fashioned blue print." He then looks at the corner the figure had pointed at, then back at the paper. He then looks up in the direction of the camera and scratches his head. He says nothing more, but his expression clearly says, "I don't get it." (Music rolls out)
Roger Collins sits behind a desk at the Collins cannery. He is carefully looking over the ledgers. He turns a page, and his eyes are seen trailing down the page from top to bottom. This occurs for about three page turns, and then a knock is heard. Roger looks up from the book and says, "Come in." The door opens and Joe Haskell enters. "Oh, it's you Haskell." Joe smiles slightly and says, "I just wanted to see if you were getting on ok. Do you need anything?" Roger pushed the ledger away and said, "No, I'm fine." He then points at the chair across the desk and says, "Sit down; I'd like to talk to you for a moment." Joe walks over and sits in the chair and looks at Roger. Folding his hands and placing them on the desk, Roger then says, "I hated Liz, when she told me I was going to return here or else. But now that I'm here, I realize it was exactly what the doctor ordered. I wasted weeks sitting in my room feeling sorry for myself. I was sure I had nothing more to give to business matters." Joe smiled and said, "It's good to hear you say that." Roger paused a moment, and then said, "Do you mind if I call you Joe?" Joe cocked his head curiously. Roger had always referred to him as "Haskell." It was a pleasant surprise. He looked at Roger and said, ""Well I've hoped you would for a long time." Roger sighed for a moment, and then looked a t Joe and said, "I never properly thanked you for saving my life, Joe. It all happened so quickly. The gunshots, then everything went dark, and then I awoke in the hospital wishing Fenton had finished me. You put your own life at great risk, charging at Fenton the way you did. I won't forget that." Joe paused a moment and replied, "I owe you my life every bit as much, Mr. Collins. When I came back to Collinsport, I was broker than broke. You helped me get established again, and I won't forget that either. Well, I better be getting back to the men. I'll see you at quittin' time." With that, he turned and left the room. The camera holds on Roger still looking at the closed door for a moment, then fades as music stings out.
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Scene opens on the inside of the Blue Whale. A couple of sailors are seen from the back only, tossing down drinks and putting more money down for another round. The jukebox blares as young people dance in the middle of the floor. Camera moves to the door as it opens and Roger Collins wheels in, followed by Joe Haskell. As they locate a table to sit at, Joe says, "I think it's a courageous thing. Coming back here to where the whole thing happened again." Situating himself under the table he looks at Joe who is now taking a seat across the table from him and replies, "Pshaw, I have to confess, that courage has little to do with it, Joe. Liz has deprived me of anything to drink for days. She even forbad Mrs. Johnson from bringing any to me." Joe looks a bit concerned and says, "Uhm, Mr. Collins, I'm really not looking to cause any hard feelings with Mrs. Stoddard. Maybe we shouldn't have come." Roger then countered with: "Nonsense. It was her leveraging tool to force me back to the cannery. I've complied with her requirement; she can't very well now deprive me of a few leisurely drinks with friends." Joe smiled that Roger referred to him as a friend. "Well, I hope your right. I'd like to keep my good standing with your sister." Bob Rooney approached the table. "Well, always a delight to see you here, Mr. Collins. After your last visit I was afraid it was your last. Good to see you pulled through alright. What'll it be?" Roger then replied, "Brandy, my good man!" Joe nodded that he would have the same. Bob turned and returned to the bar to retrieve their drinks. Roger then looked puzzled as if he was struggling to remember something. "Now, what were we discussing the last time we were here?" Joe's eyes dropped momentarily, then looking back at Roger, he replies, "You were telling me how Maggie and your cousin were seeing a lot of each other and how I'd best find another nice girl." Roger's eyes registered that he indeed remembered it and said, "Well I hope you took me up on that advice. I can assure you they are still quite close." Joe sighed and replied, "Actually, I've just thrown myself into my work. I can't expect to find another Maggie, and I figure if somebody else is in the cards in the future, well, she'll show up without my looking." Bob now appears and places their drinks before them. Roger reaches into his breast pocket for his wallet when Bob holds up one hand and says, "Your money is no good here, tonight Mr. Collins. Enjoy!" Roger shrugged and returned the wallet to his pocket. He picks up the drink and takes a swallow and acts as if he were having his first swallow of water after a parching trip through the desert. Bob is still standing there and fills his glass once again. Joe nods for another as well. The bartender fills his glass again as well and then says, "I'll just leave the bottle, how's that?" Roger beamed and replied, "Outstanding idea!" (Jukebox music increases then fades.)
Willie Loomis paces the East wing drawing room holding the drawing left by the woman in white. He scratches his head and looks at it some more. He sits down at the table and places the drawing in front of him. He looks at it and then looks in the direction of the camera. (Thoughts heard aloud) "Why did she take me to that room? Why did she leave this? Why me? Barnabas and Julia undahstand all this supahnatural stuff betta than me; I don't undahstand what she wants!" A phone rings by the big arm chair. He picks it up. "Collins House" he says waiting for a reply. "Oh, Hi Julia; You and Barnabas gonna be at Professah Stokes house a while?" He then listens for her reply and says, "Somethin' wid happened heah tonight. That woman showed up again." He again listens for her response. "Yeah, I'll be up when ya get heah. Ok, Bye Julia." He returns to the drawing again and studies it carefully. His eyes then light up. "She wants me to build this! It the only thing that makes any sense; She wants me to build it!" (Camera tightens in for an extreme close up of Willie's struggling questioning expression.
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Adam paces about the abandoned room he once inhabited. He hears footsteps outside the door and turns to look. The door opens and Trevor enters. "Well Adam, I see you made it in without being seen. Good." Adam then looks at him and says, "You're sure you can take away this aging?" Trevor chuckles and says, "Well now, would I be here if I couldn't? Oh yes, you will see the years melt away in mere moments. Did you bring the things I asked for?" Adam looked at him and replied, "Yes. It's on the table." Trevor walked over to the table and opened a small paper bag. He pulled out a handkerchief and looked at it and grinned. He then reached in again and removed a small apothecary bottle. He smiled and nodded, then said, "We have everything we need. Help me pull this table over against that wall." Adam lifted one side of the table while Trevor grabbed the other. They carried it over to the empty wall and slid it the edge of it up against the wall. Trevor then walked to an adjacent wall and removed a dusty old mirror from the wall. He carries it over to the table and leans it against the wall on top of the table. He then drags a chair over to the table and motions for Adam to sit down. Adam looks at the chair, then at Trevor. "Well, go ahead. Sit down!" Trevor chided him. Adam cautiously sat down at the table. His aged reflection now shows in the mirror. "We're ready to begin!" Trevor says removing the top from the apothecary bottle. A hideous grin crosses his face as three dramatic notes sound.
Roger Collins.
LOUIS EDMONDS
Maggie Evans.
KATHRYN LEIGH SCOTT
Willie Loomis.
JOHN KARLEN
Joe Haskell.
CHRISTOPHER BERNAU
Trevor Halliburton/Judah Zachary.
KEITH PRENTICE
Bob Rooney.
BOB O'CONNELL
Written and Directed by RUSS WILLIAMS
Story Developed and Created by ART WALLACE
Produced By PETER MINER
Associate Producer GEORGE DiCENZO
Miss Scott's Fashions by JUNIOR SOPHISTICATES
Fashions courtesy of ORBACH'S
Music composed by ROBERT COBERT
Scenic Design SY TOMASHOFF
Music Supervisor SYBIL WEINBERGER
Costume Design MOSTOLLER
Make up VINCENT LOSCALZO
Associate Producer KEN McEWEN
Assistant to the producer HARRIET ROHR
Unit Manager PATRICK PLEVEN
Technical Director J.J. LUPATKIN
Lighting Director MEL HANDELSMAN
Audio FRANK BAILEY HENRY PLIMACK
Sound Effects ED BLAINEY
Video RUDY PICCIRILLO ROSS SKIPPER
Series created by DAN CURTIS Executive Producer