1018 - May 19, 1970

[bunniefuu]

[eerie orchestral music]

NARRATOR:The great house at Collinwood

as it appears in the strange and terrifying world

of parallel time.

By way of a warp in time, Barnabas Collins

found himself in this mysterious world

in which people who look familiar

are actually strangers following different

and sometimes frightening destinies.

But Barnabas's own life remains unchanged.

He still carries with him the curse

that has haunted him for almost years,

and on this night, the lust for blood is upon him

and he is unable to resist it.

[wind blowing]

In the master bedroom of the great house,

the mistress of Collinwood sleeps peacefully

unaware of the terrible danger she is in.

[daunting, suspenseful orchestral music]

[bat squeaking]

[daunting orchestral music] [bat squeaking]

[dramatic, daunting orchestral music and chiming]

[dramatic musical burst]

[waves splashing] [eerie orchestral music]

[daunting orchestral music]

[doorknob clanking]

[bat squeaking] [suspenseful orchestral music]

[wind blowing]

[suspenseful orchestral music]

Hoffman.

What are you doing here?

JULIA: I'm sorry, Mrs. Collins.

I didn't meant to upset you.

But you have upset me,

and you haven't answered my question.

[chiming music]

I knew you were retired for the night,

and yet when I passed your door a few moments ago,

I heard someone moving around in here.

I thought it might be a prowler.

Well, as you can see, there's no one here.

Yes, I can see that now,

but I distinctly heard a sound before.

Well I think if there had been someone in here,

I would've heard them too, don't you?

That depends on how soundly you sleep.

I heard you, Hoffman.

Yes you did.

I'm sorry if this intrusion has upset you, Mrs. Collins.

I'm only concerned for your safety.

My safety?

JULIA: You don't believe that?

I can't think of any reason not to believe it.

It's unfortunate that Mr. Collins

had to go to the hospital

and leave you alone.

My husband doesn't plan to be in the hospital

for more than one night.

Do you think it's possible that I won't be safe here

while he's gone?

Perhaps it's just that everyone in the house

has been on edge recently, including me.

MAGGIE: Why?

So many frightening things have happened.

Things we haven't been able to understand.

What are you trying to tell me, Hoffman?

Nothing, Mrs. Collins.

Except that I came here out of concern for you, that's all.

[soft, eerie music]

Well I appreciate your concern for me, Hoffman.

I can assure you that I'll come to no harm.

Goodnight, Hoffman.

Goodnight, Mrs. Collins.

[soft, daunting orchestral music]

[dramatic, daunting orchestral music]

[soft, daunting orchestral music]

Oh, I'm sure she felt that I was in the room

for some other reason.

Yes.

Yes, I think she was frightened.

Just as we planned.

Are you going to stay in town?

Yes.

Yes, I think so, too.

Now don't worry, I'll take care of everything here.

Bye.

[soft, eerie music]

QUENTIN: What's the bad news, Cyrus?

The tests have proved most fascinating.

QUENTIN: You mean I have to go through more?

No, no, no, no.

We've completed all of that.

Well then, what is it?

Don't tell me I have some hitherto

undiscovered tropical disease.

Well if you had, maybe I would've known what to do.

What are you talking about?

Quentin, there's nothing wrong with you.

What?

You must've made a mistake.

Oh no, no mistake has been made.

No, you are in perfect physical condition.

Cyrus?

Now you saw me last night.

I was in extreme pain.

I was barely able to breathe.

I'm aware of that, I'm aware of that.

But these tests don't lie.

You are in perfect physical condition.

You are in sound health.

Did the report say anything about my mental condition?

Well mentally you're just fine.

You're as well balanced as anyone I know.

Now Cyrus, a man does not have an attack

for no reason at all.

Now there's got to be a cause.

Either it's got to be mental or physical.

CYRUS: Yes, there is also a third possibility.

What?

Now the symptoms appear to me,

the way the attack came on you so suddenly,

the way it appeared without any reason whatsoever,

without any warning,

that this must've been caused by something supernatural.

[dramatic musical burst]

Cyrus, I've heard some surprising explanations,

but that beats them all.

Well after all the things that have been happening

at Collinwood, that surprises you?

Now wait a minute.

What do you mean by supernatural?

It's hard to be specific.

Well you've got to be.

Now, do you mean a ghost?

Some... Well, some unseen force, what?

No, no, no, no.

What happened to you wasn't the work

of any form or of a spirit.

QUENTIN: Well, what was it?

These symptoms are very similar to those resulting

from the practice of black magic and witchcraft.

Witchcraft?

CYRUS: Well now, you believe in the existence of ghosts,

why not witches?

All right, all right.

Now you just tell me how this attack occurred.

Yes, well there are any number of methods used

to practice black magic.

A crude doll figure representing the likeness of the victim

is probably the most common.

[dramatic, daunting music]

Pins can be stuck in the doll,

and the victim feels intense pain.

I saw a man die like that in a village in Africa.

They use other methods too.

Potions and other things.

A casting of spells--

Cyrus?

Now what you're telling me

is that my attack was not caused by a supernatural being,

but was caused by a real person?

A real person using supernatural methods.

I find it all very hard to believe.

Who could it be?

I have no idea.

Cyrus...

Cyrus, do you think that it could be somebody close to me?

Somebody who lives at Collinwood, perhaps?

CYRUS: It could be anyone,

but there's no point in speculating about who it is.

It's late now and I think you'd better get some rest.

Do I have to stay here tonight?

No, no, no, no, of course not.

You just get your clothes on and go right on home.

[daunting orchestral music]

[screaming]

MAGGIE: Mr. Collins, I--

I'm sorry if I startled you.

Oh that's all right.

If you'll excuse me.

BARNABAS: You were leaving the house at this hour?

I was going to go to the hospital and see my husband.

Has something else happened to him?

MAGGIE: No, I just wanted to be with him.

You're frightened about something, aren't you?

If you'll excuse me, Mr. Collins, I--

[phone ringing]

It may be for you.

[phone ringing]

Hello?

QUENTIN:Maggie.

-Quentin, hello. -QUENTIN:Yes.

Where are you?

I'm at the hospital.

Cyrus has given me a complete, clean bill of health.

Then you won't be staying at the hospital tonight?

QUENTIN:No, that's why I'm calling.

I'm coming home right away.

Please hurry, darling, I...

Something wrong?

MAGGIE:No, I...

Well, I'll talk to you

when you get back.

[daunting orchestral music]

I take it Quentin's coming home?

Yes.

What was the doctor's verdict?

Apparently he's going to be all right.

Then you should look happier than you do.

Something is troubling you.

Really, Mr. Collins,

it's nothing that you should be concerned about.

BARNABAS: Oh, but I am concerned.

Why?

Well, because Quentin's my friend,

and you're his wife.

It would make me very sad

if either of you were unhappy.

You're very kind.

If you'd rather not discuss what's troubling you,

I'll understand.

[low, daunting music]

But I do have a feeling that you'd rather not be alone

until Quentin returns.

May I keep you company?

[eerie music]

Thank you, I would appreciate that very much.

[daunting orchestral music]

[door shutting]

[eerie chiming music]

[daunting orchestral music]

You must be able to read minds.

BARNABAS: Why?

Because you knew exactly what I was thinking.

You were right.

I didn't want to wait for my husband alone.

Supposing I hadn't been here,

somebody else in the house would've kept you company.

Yes, but I don't think that I would've felt

as comfortable with them.

I find that hard to believe.

After all, you've known me for such a short time.

Actually, I've spent a little more time in this house

than you have, and strangely enough,

I feel I know you better than anyone else

except Quentin of course.

Why is that?

Well when I first came to this house,

I couldn't seem to adjust.

I didn't feel welcome.

I felt that everybody here still felt terribly loyal

and dedicated to the first Mrs. Collins.

Angelique.

Yes.

It seemed that everyone was constantly

reminding me of how much Quentin loved her.

I felt unwanted.

BARNABAS: Did Quentin really love Josette?

Josette?

I think he loved Angelique.

She was very beautiful.

And so are you.

-Oh, thank you. -If I may say so.

You know, I-- I think that if everyone else

had been as kind to me when I first arrived here

as you've been tonight, I don't think I would've left.

[bell ringing]

[door thudding]

[orchestral music]

Oh Quentin.

So good to have you back.

Yes, and you sounded troubled on the phone.

Well, fortunately, Mr. Collins has been kind enough

to stay with me while I was waiting for you.

Obviously you two want to be alone.

I'm very happy to see that you recovered, Quentin.

Thank you, Barnabas.

Good night.

BARNABAS: Good night.

Goodnight, Mr. Collins.

[slow orchestral music]

QUENTIN: What's the problem?

The problem is your housekeeper.

QUENTIN: Hoffman?

What about her?

Quentin, I want you to get rid of her as soon as possible.

[dramatic musical burst]

You want me to dismiss Hoffman?

-MAGGIE: Yes. -Why?

What happened while I was at the hospital?

MAGGIE: Well I was sleeping, and when I woke up,

I found her in my room.

What was she doing there?

I don't know.

Well now, she must've had some explanation.

Quentin, she said that she thought she heard

someone in our room, and that she was afraid

it was a prowler.

That doesn't sound too implausible.

Well, I just don't believe it.

I'm sure she was there for some other reason.

QUENTIN: What other reason?

I don't know.

I just know that there's something

very frightening about that woman,

and she's tried to get me out of this house

ever since the day I arrived--

Maggie, you've got to stop letting Hoffman disturb you.

You've got to be firm with her.

I've tried that, Quentin. It doesn't work.

Well, then I don't know what to say,

because I simply cannot fire somebody

for walking into a room.

MAGGIE: But I'm sure she was there for some other reason.

Now listen to me.

Now I know that Hoffman is a little hard to know.

But she's been a family fixture here for years--

I beg your pardon, Mr. Collins,

but the door was open and I couldn't help

overhearing my name.

[dramatic musical burst]

Well, did you want something?

QUENTIN: No, that's all right.

Hoffman, you might as well know

that I was telling Mr. Collins

about finding you in our room tonight.

Frankly I was saying that I didn't believe

the reason you gave for being there.

I see.

I'm sorry about that.

QUENTIN: Do you have anything to say

about the matter, Hoffman?

Nothing that I haven't said before.

I thought that there was a prowler there

and I was concerned for Mrs. Collins' safety.

I still don't believe that--

-QUENTIN: Maggie. -Well, I'm sorry, Quentin,

but I trust my instincts, and my instincts

tell me that this woman would do nothing

to keep from getting rid of me, and...

If I may say so, sir,

I realize that Mrs. Collins and I

have not gotten on ideally.

I thought it was more of a personality problem

that time would take care of.

But I must say

that I feel that Mrs. Collins

would like me to leave the house.

That's absurd.

The only thing that I've truly resented about you

is your stubborn loyalty to someone who's dead.

It's true.

I've never made a secret

of my devotion to Mrs. Collins.

It's very difficult for one to change one's feelings.

MAGGIE: Hoffman, I've never asked you

to change your feelings, and--

Now listen to me, both of you.

Now I want you both to drop this incident right now.

And we'll go to bed.

And tomorrow you both shall have a fresh start.

You understand that?

JULIA: Whatever you say, Mr. Collins.

Now come on, Maggie.

I'll take you upstairs.

Turn out the lights, Hoffman.

[eerie, chiming orchestral music]

[daunting music]

I just don't know what it is

that frightens me so much about her.

Are you frightened with me?

Oh, Quentin, I feel so safe with you here.

Well, if you didn't feel safe,

then we are both in a lot of bad trouble.

Now, why don't we get ready for bed, hmm?

[orchestral music]

[dramatic, suspenseful musical burst]

[eerie chiming music]

CYRUS VOICEOVER: There are any number of methods

and weapons used to practice black magic.

The crude doll figure representing

a likeness of the victim

is probably the most common.

Pins can be stuck in the doll,

and the victim will feel intense pain.

I once saw a man die that way.

[dramatic, daunting orchestral music]

I once saw a man die that way.

[dramatic orchestral bursts]

[eerie orchestral music]