Here is the opening voice over, which we will be hearing, with some variations, for some time to come, in this ep. by Joan Bennett: The Great House at Collinwood stands deserted. The living have sought refuge elsewhere, leaving an evil spirit to roam the cold empty corridors alone. For some, this night will seem an eternity. Barnabas Collins remains in a deep trance. He has employed the mysterious powers of the I Ching and gone through the door to the infinite, hoping to find and defeat the spirit that haunts Collinwood. But beyond the door he has been transported back in time to the year 1897--a time of intrigue and terror for all who live at Collinwood.
Magda has a lifetime's experience at bargaining, but she's no match for Barnabas and succumbs to the lure of a ring with an egg-size ruby. Barnabas has to pretend ignorance about Quentin and quizzes Magda about “that young gentleman who was just here”: Why is he so anxious to find out the family secret? Everyone is, Magda replies. Quentin thought I could help him. I am Mrs. Collins’s spiritual adviser, she announces grandly, then has to admit she doesn’t know the family secret either. How does Quentin stand with Mrs. Collins? Barnabas asks. She knows he is bad, but he is able to charm her, Magda replies as she gazes into her crystal ball. Is Quentin a dangerous man? Barnabas asks. Yes, very dangerous, Magda answers. Why are you so curious about him? Barnabas says, I want to find out everything I can about Quentin before tomorrow night--when I will be at Collinwood and the family will see a strange visitor, a distant cousin from England, he adds with a triumphant smile. But not even a vampire could be prepared for the nest of vipers in which Barnabas wants to move.
We get to see a nice spat between Judith and Quentin. Magda arrives (after receiving off-screen instructions from Barnabas), and Judith gets up to leave. Magda says she has a warning for the entire family, and Quentin prevails on Judith to stay. Meanwhile, Beth eavesdrops outside the closed drawing-room doors. Magda looks into her crystal ball, then solemnly declares, It was the arrangement of the cards that gave me the warning about the stranger who will arrive tonight, after sunset. Who is it? Judith asks. I don’t know his name, but he will pretend to be a friend or perhaps a relative. Then she dares to go beyond her instructions and warns them, You must not trust him, because he is mysterious and malicious. His motives are not pure. What does he look like? Quentin asks. I can tell you neither his name nor what he looks like, because he is a creature of darkness, but you will all have something to lose by his presence. But you, Quentin, you will have the most to lose.
We can see that out in the foyer, the portrait of the "original" Barnabas hangs in its accustomed spot.
Beth's tiny garret room is hardly big enough for both her and Quentin. We (at least I) get the feeling that he has visited it many, many times. Beth is getting ready to go the village on an errand that involves (1) a bundle of something; and (1) three hundred dollars in CASH--a small fortune in 1897. She is every bit his match in wits as she avoids answering his questions, and we are led to understand that her unknown, unnamed mistress has long since left Collinwood. Quentin thinks Beth has stayed on because she and Edward have something going. Insulted, she slaps Quentin, hard. Did you do that out of anger or guilt? Quentin asks, grabbing her by the shoulders. Anger! she replies promptly, her voice shaking. Don’t ever do it again, he warns her. Don’t give me reason to, and I won’t have to, she retorts. Now leave me alone! I can’t do that, he replies, for the simple reason that you don’t want me to. Don’t I? she asks harshly. Though well within kissing range, she adds scornfully, Next, you’ll be telling me that I stayed because I was waiting for you to come back! Did you? Quentin asks. Beth retorts, Why don’t you ask a friend of mine in Collinsport? I am sure you would like to meet him. You might even learn something from him. He is a gentleman! She steps around him and escapes at last. Quentin doesn’t stop her, but looks thoughtful.
Promptly at sunset, the "cousin from England" arrives, now appropriately dressed for 1897. As always, he carries his silver wolf’s-head cane, which has somehow traveled through time with him. Judith is charmed and invites him into the drawing room while she goes to get Quentin, the temporary head of the family. As soon as Judith leaves, Barnabas looks around the drawing room, noting the changes from 1967 (and no doubt from 1796 as well).
Judith actually admits to Quentin that she's disturbed--Magda's prophecy seems to be coming true. Judith introduces Barnabas to Quentin. Apparently hostile already, the two men don’t shake hands. An _unexpected_ pleasure, _Cousin_, Quentin says, showing his teeth, but not in a smile. Barnabas apologizes for not announcing his arrival in advance. Quentin replies, We’re always delighted to welcome family members--no matter how _distantly_ related.
The wonderful triple S-curved loveseat gets its moment of glory as the three seat themselves while the conversation continues. Barnabas says, I arrived late this afternoon. I enjoy traveling. Quentin remarks to Judith on Barnabas’s amazing resemblance to the portrait in the foyer. Ah, yes, the “original” Barnabas Collins, our Barnabas agrees. Yes, Judith says, he lived a hundred years ago, in this house. Yes, Barnabas says, I'm quite familiar with his life, being a direct descendant. The “original” Barnabas left Collinwood in 1798 (what he says!), went to England and established that branch of the family. Quentin says, I’m afraid I’m not familiar with the Collins family history. Barnabas says deprecatingly, I'm not a historian. Quentin walks over to the liquor caddy and offers Barnabas some spiritous refreshment; when Barnabas declines, he suggests Judith get some tea. Instead of simply reaching for the bell pull, she leaves--apparently the servant problem obtains in 1897 as well.
I'm impressed with Collinwood, Barnabas says. It’s a beautiful house. I understand Edward is away, but Judith said something curious--that Edward is the acting head of the family. Yes, Quentin says. He is still on his feet and walks over to the swords on the wall as he continues, Edward fancies himself the head of the family. Our grandmother Edith is the real head, but she is over ninety and unable to function; in fact, I don’t think she has much longer. Edward is the oldest grandson and naturally has assumed he is next in line. That’s a logical assumption, Barnabas remarks. If there were anything logical about Edith, says Quentin, but there isn't. Now turning to face the swords, he asks, What boat did you arrive on, Cousin? The _Pride of Jamestown_, Barnabas replies smoothly. It arrived at four-thirty this afternoon. Yes, so it did, Quentin agrees blandly as he draws one of the swords from its scabbard. With his back to Quentin, Barnabas steps over to the french windows and says, I’m curious about the portraits in this room--is the one of Joshua here? Quentin says, No, it’s somewhere in the West Wing. Privately displeased that his father has been relegated to such a distant region of the house, Barnabas comments quietly, I see. I understand he built Collinwood, and it seems to me that-- As he looks at a portrait, we can see the business end of a sword come into the shot. When Barnabas turns around in mid-sentence, Quentin holds the sword to his throat. I advise you not to make a move, Quentin says. Is this a practical joke, Cousin? Barnabas asks in surprise. Quentin answers with increasing heat, No! No, it certainly is not. You see, it just so happens that I recently returned from England myself. I spent the better part of six months there. I had ample time to discover that there is no English branch of our family. There never has been! His eyes glittering dangerously, he tells the dismayed Barnabas, Now, I give you exactly five minutes to tell me who you are and what you want here, or so help me, I will run you through!...
[Bonus in the closing credits--Jonathan Frid walks through the foyer, then hastily out of camera range, carrying his street clothes!]
