716 - (Joan Bennett) - Barnabas Collins finds himself unexpectedly back in time in the year 1897, when Collinwood is filled with intrigue and terror--a terror that the new governess in the great house will discover if she finally encounters the secret kept in the locked tower room.
Rachel holds her amulet in her hand as she lets herself into the tower room and demands to know who's in there. She looks around in the darkness, hearing a woman's laughter. As Rachel turns and screams, lightning illuminates where the woman's figure was--but it's gone now!
Again, Rachel asks who's there, walking through the darkness and searching. Suddenly, she's attacked by a woman with a knife. They struggle; Rachel falls to the ground. The woman, wearing a dark dress, leaves the tower room and locks Rachel in, then takes the key and throws it over the staircase, where it clatters to the floor below.
Judith is working on her needlepoint when she spies Dirk in the foyer. She asks him to come in--aren't you supposed to be checking the grounds? she asks. Dirk explains he came to see if Mr. Edward had any special orders for him. Not tonight or any other night, Judith crisply informs him. He might be expecting someone, says Dirk, and I'd need to leave the gate open. In future come to me about that, advises Judith. Dirk is flustered--shouldn't I ask Edward?
Judith orders him not to pretend he doesn't know about Edith's will--I know how the servants gossip about the family--Collinwood is mine now, be wise to remember that. Dirk agrees and asks if she has any orders. I want you to stick close to the house; she says, I have a feeling something is going to happen--watch carefully. I always do, says Dirk. Tonight is different, she says--I want you to let me know exactly how you make your rounds so I can send for you if I need you. He begins to give her his itinerary.
We see only the feet of the escaped woman walking the corridor, and hear Dirk's voice telling Judith what she needs to know. The woman opens a door as Dirk explains that he winds up in this wing of the house about 2 o'clock. Judith gives him permission to start his rounds, and wonders what's wrong with her. Upstairs we hear a door close. The slippered feet of the woman walk along the corridor. Dirk, outside, hears rustling and catches Nora hiding. They struggle. He drags her toward the house, and literally has to pick her up as she screams she won't go into the house. Judith orders Dirk to bring Nora in. Kicking and screaming in Dirk's grasp, Nora insists she wants to see "her" when she gets back. No one is coming to the house tonight, insists Judith--behave or I will lock you in your room--go, Dirk--I'll take care of this. Nora doesn't want to tell her aunt who is coming back--because I don't want her to come back! Who? asks Judith. My mother, says Nora--"I had a dream, last night and the night before--she came, she did, and she looked just as pretty as she did before, and she woke me with hugs and kisses. . ." "Now Nora," cautions Judith. "Don't tell me dreams don't come true," commands Nora, "because they do--Jamison dreamed about her, too." Judith tells her that her mother is away for treatment. People get better, insists Nora. She hasn't, says Judith. "Did you get a letter from her?" asks Nora eagerly--if that's true, why didn't she write her and Jamison? She didn't write, says Judith, the doctor did. Nora wants to go see her.
You can't, says Judith--she isn't strong enough. Edward and I listened to what the doctor said, explains Judith. Daddy didn't hear from the doctor, says Nora. (oops, caught, Judy!) Gently, Judith tells her, you and Jamison must try to forget your mother. We both tried writing our mother, says Nora, but we know the letters never mailed, because we found them in Daddy's desk--you won't let us write to her, or answer any of our questions, wails Nora. When you're older, says Judith, you'll realize there are questions for which there is no answer--now go upstairs to bed; you get cranky when you don't get enough sleep. Reluctantly, Nora goes upstairs, Judith right behind her. We see the woman's slippers and black hem of her dress as Nora complains that she won't be able to get to sleep. Judith assures her, you're more tired than you realize. Nora asks if she can stay in Rachel's room tonight, but Judith pronounces that a bad idea. The woman enters a room--Edward's, and we see a wild-haired redhead retreating behind the curtains. You never let me do anything I want to do, Nora complains to her aunt. They arrive at Nora's room, and she's surprised to see the door is open. Judith figures that's how she left it. No, I didn't, says Nora, I closed it. Nora is nervous about this, and Judith basically tells her not to let an open door scare her--a draft probably blew it open--there's no one on the house that shouldn't be here. Judith follows Nora into her bedroom and asks the child if she said her prayers. Yes, says Nora, who climbs into bed and pulls the covers over herself. Judith kisses her goodnight. Nora asks her not to leave--I'm frightened--she asks Judith to stay just a little while; if you leave, I'm sure I won't get to sleep. Judith sits beside her and tells her to close her eyes. Behind the drapes, the wild-haired, wild-eyed woman in a black dress caresses what looks like a Raggedy Andy doll that is very out of place in 1897. Lightning flashes over her face.
I don't want to go to sleep, Nora tells Judith, I'll dream about my mother coming back, I know I will. Judith encourages her not to think about it, and the rest of her dialogue is blotted out by thunder--forget about your mother, advises Judith--that sounds cruel, I realize, but I explained why downstairs--it's necessary. Nora doesn't understand. Then nothing I say will make any sense to you, conclude Judith. Nora is upset when her aunt leaves her, but Judith promises to come back. The wild-haired redhead hugs her Raggedy doll tightly, looking upset.
Rachel comes back to consciousness in the tower room, holding her aching head. She finds herself locked in and immediately begins to call to be let out--help!
Nora, sleeping, tosses and turns. The wild-haired woman tries to leave her hiding place, but the restless little girl sends her scurrying back behind the drapes. "Nora!" she murmurs, smiling, hugging the doll.
Judith traipses downstairs. The front doors blow open and she asks, "Who is it?" twice before closing them. Nervous, she backs toward the stairs.
Rachel wanders the tower room, calling out the window for help as lightning illuminates her face. Dirk, at the front door, hears her cries. He stares up at the tower room. Rachel, growing more upset, hears someone coming upstairs. She begs for someone to let her out. Dirk asks who it is, and she tells him. There's no key, he says, and orders her to back away from the door. He throws his body against it and rescues her. Rachel catapults into his arms, sobbing, "Dirk, thank God!" He tells her she isn't supposed to be up there. She asks what's wrong. He tells her to speak to Miss Judith about that--I don't want to know, so don't tell me. (great caretaker!) He helps her out of the tower room. We see a bed tucked into a corner there.
Nora sleeps as the red-haired woman slips from her hiding place, doll in hand. She puts down the doll and spots a picture of Edward on the dresser.
Her face contorts with misery and fury. "Your father!" she whispers twice, venomously.
Down in the drawing room, Rachel describes to Judith how kept seeing lights in the tower and went to investigate. Judith nastily says, you imagine a lot of things.
When Rachel tries to continue explaining, Judith stops her. She orders Dirk to wait outside until she sends for him. He isn't thrilled having her ordering him around, but complies. Judith returns to Rachel, who insists that what happened to her was quite real. "How do you know?" asks Judith. Rachel is sure of that, and has to admit to stealing the key from the pantry to get into the tower room--and while they're sitting here, a maniac is running loose in the house. Nonsense, says Judith. Someone did attack me, insists Rachel. Did you see the person who attacked you? asks Judith--the gypsy--that man, Sandor--he was looking for something to steal, as gypsies do. I spoke to Magda just before, admits Rachel Did the gypsy know you were going to the tower? asks Judith. Yes, says Rachel, but Magda would have stopped me if she had known Sandor would be there. The gypsy woman never knows where he is, snaps Judith, it's not the first time Sandor was caught lurking around Collinwood--mystery solved, insists Judith, unless Rachel intends to keep bringing it up. Rachel apologizes, turning away from Judith, but she doesn't understand why Sandor. . . "Are you doubting me?" demands Judith. No, says Rachel, holding her head, I'm just not feeling well. Go to your room, commands Judith, upset--tomorrow I'll decide how serious these infractions are--go straight to your room.
The red-haired woman returns Edward's photo to the mantle. She goes over to Nora, and from under the cover slips the doll the little girl had brought to bed with her (the one Beth purchased). The woman rocks the doll, seeming to sing a silent lullaby to it. She rocks the doll, walks with it, then listens at the door as she's about to leave Nora's room.
Rachel, about to enter her own room, decides to be really foolhardy--heck, she's gone this far, she has to see this through--Miss Collins thinks I'm wrong for the job now, at least now she'll learn what really happened. She hurries away from her own door, and as soon as she's out of sight, the redhead returns Nora's doll to her, then wanders toward the door.
Rachel goes outside and finds Dirk there. You heard Mrs. Collins, he says, I was told to go outside and wait. In the storm? asks Rachel. It's going to blow over, out to sea, predicts Dirk. Did you see Sandor? she asks. Yes, about half an hour ago, he says, when I checked the Old House--I think he was there all evening. "Thank you, Dirk," she says, and starts to hurry away. Why? asks Dirk, did Judith say Sandor locked you in the tower? Yes, she says, trying to pull away from his grasp. I'll explain tomorrow, she says, rushing away.
Judith goes into Nora's room, asking, "Are you in here? Are you?" She goes back into the hall, and there's the redhead, laughing wildly, pointing to her. "YOU!" cries Judith, and the woman disappears down the hall.
Nora awakens and leaves her bed. She opens her door and finds Rachel outside--were you in my room? asks Nora--did you close my door? No, says Rachel. Someone did, says the little girl. Rachel turns on the light. Nora gets back into bed. Rachel glances around; Nora asks her who she's looking for. Nothing, no one, says Rachel. Nora asks if she's expecting someone, too. Rachel ask, who are YOU expecting? Someone who's not going to come, says Nora sadly, then climbs out of bed, hugs Rachel and asks, "Why do people disappear? Why do people die? No one else here will, will they? Promise me you won't disappear, promise me!" (Because this is Collinwood, honey, and that's SOP.) Nora hugs Rachel.
Judith figures the mysterious woman might have returned to her home, so she walks the corridor outside the tower room and goes in. "You are in this room, aren't you?" she asks. The door slams shut. Judith whirls around. The redhead, laughing insanely, is armed with a huge pair of scissors, and she lunges at Judith, holding it aloft.
NOTES: OK, they give us the definite impression this redhead hates Edward--is she the missing Mrs. Collins? Was that Nora's mother giving her kisses and comfort? Why is Rachel so dense and insistent on getting herself into serious trouble? Whoever this wild-haired woman is, she doesn't like Judith much, either. Is this who tried to burn Edward alive in his bed?
Getting to be a fascinating mystery, and I really do envy you first-time watchers, for whom it is all as brand-new as it was for me decades ago.
717 - (KLS) - Collinwood in the year 1897. In the tower room of the great house, a tragic secret has been locked behind a door. But a newcomer to Collinwood, spurred on by her own fears, has inadvertently opened the door, and now a woman mad with grief roams the halls, knowing only that she has been hurt, and that she must hurt in return.
Interesting, for those of us who have already seen this storyline, how they have led us to believe that this red-haired woman is Edward's wife, isn't it?
The redhead holds up the scissors and tells her, "My name is Jenny Collins. I am your sister."--that's what you said, when HE brought me home--you kissed my cheek and you told me we would be sisters--did he tell you I was a singer, or did he keep it from you? Judith reminds her, you used to sing for us, songs like "My Love is Like a Red, Red, Rose." Jenny sings the first line, then says there's one person, when I came, always wore dark dresses and hated me. No one hated you, protests Judith. You did, accuses Jenny, you were jealous--and I remember now who it was--you!--you!! Jenny's face turns from a smile to a snarl; she hisses at Judith, insisting, you keep me here because of jealousy. Judith assures her, I didn't do it--we are keeping you here for your own good. Jenny brandishes the scissors at Judith threateningly. When I came, says Jenny, you just kept staring. I stared because you were so pretty, says a trembling Judith, and wore a pale green dress. Because you were jealous, says Jenny, and you whispered, and you waited, and locked me in here! It wasn't that way at all, cries Judith, but Jenny says it was. I have been waiting too, says Jenny, chasing Judith with the upraised scissors. Judith is terrified.
If we are sisters, says Jenny, why must I stay here when you can go anywhere in the house?--I've seen you in the garden, and sometimes you wear MY green dress--it doesn't do you any good, you still look cold and dead--like winter! shouts Jenny. Judith opens an armoire to show Jenny that her clothing is here. Jenny doesn't believe that--or anything you say--forget the dresses, I'll buy you more dresses. Do you still think me pretty? Jenny asks Judith--as pretty as when I first came? Judith, very close in stabbing distance says YES. Jenny accuses her of lying--"but you won't lie anymore--no more!" She attacks Judith with the scissors. Beth rushes in. Jenny tells Beth, Judith lied to me--locked me up and lied to me! Listen! Beth tells Jenny--your babies are crying. Yes, says Jenny, I hear it. Beth carefully slips the scissors from Jenny's hand. Jenny goes to the cradle and rocks her "babies," crooning to them not to cry. Judith, relieved, gasping, into the hallway. Beth goes to Jenny, who cradles her new doll in her arms and tells her, I'm a good mother. The best in the world agrees Beth. No one thought I would be, says Jenny, given where I came from, what I was--when my babies came, suddenly it was all different. Yes, Jenny dear, says Beth, I know. Jenny begins to croon "My Live is Like a Red, Red Rose" to her babies.
Rachel rushes from the servants' quarters. Judith comes downstairs, stopping her. I'm going out--for a walk, Rachel says--Nora's fallen asleep--I couldn't sleep, and taking a walk gives me a chance to sort out my problems. What's worrying you? asks Judith. I'm nervous about my lessons with the children, says Rachel, and confesses--I'm not good at math. "You're very quick about other things," says Judith ironically. Rachel wishes her good night--I hope you feel better. That's a strange thing to say, opines Judith. Why? asks Rachel--I think you looks a bit upset, perhaps a little pale. Judith denies being either, and sternly suggests to Rachel, you hear and imagine things that don't exist at all. Rachel merely says goodnight and heads out. Beth comes downstairs. She tells Judith Jenny put the "babies" back to sleep. Judith calls Beth a fool--we are all turning as mad as she is--those aren't babies, but breakable dolls--she's had dozens of them, and can't tell the difference between them. She can't tell the difference between anything anymore, rants Judith, including life and death--and I won't have it, not now that all this is mine. I said nothing against you, insists Beth, she just happened to find you there--all Jenny is afraid of is that you'll take her babies away. Beth, she must go, insists Judith. She has no where to go, says Beth, and you know that. Rachel is beginning to suspect more than she should, says Judith, and mustn't know about Jenny--nobody must. Beth heads back upstairs. We see Barnabas' portrait.
Old House - Rachel knocks at the door, somewhat frantically. Barnabas answers. She's glad he's there--someone tried to kill me last night. She relates to him her attack in the tower room--someone in that room was determined to destroy me--I don't know who, but I do know that Beth and Judith claim it didn't happen--they're lying--Beth's lied to me before, like the time she claimed she wasn't in the tower room, and I had seen her there myself--she's lied about other things, too, strange, silly things. Barnabas is upset about the attempted murder, and assures her, I do believe you. I was afraid I was losing my mind, says Rachel. These ladies are apparently hiding something, says Barn--tonight, we will find out what--I'm returning to Collinwood with you--I have a plan--I wish you had come to me earlier; you could have been badly hurt going to the tower alone. Rachel explains she had to after what Magda read in her palm. What did she see? asks Barnabas. A powerful enemy, says Rachel--and I knew it was that person in the tower room--I knew I'd have to face that person and learn why I'm hated--but there must be a mistake--who could hate me?--I've only been here a short time.
Barnabas explains to her that here at Collinwood, old hurts don't die, they lie in wait for the innocent and unsuspecting--when we return to Collinwood, I want you to give me the tower room key--when everyone is asleep, I'll go find the secret that seems worth killing for. She's concerned for his safety, but he assures her he's lived through danger before (hell, yeah, he was married to Angelique!) No one must know we are working together, he says--you really can't trust anyone there, no one is quite what they seem. Except you, Barnabas, she says. He turns away and says, "Except me, of course," hiding the biggest secret of all. He admires her lovely hand, wondering why anyone would want to harm her--Judith is asleep, he figures, so off they go.
Beth asks Jenny why she attacked Judith with the scissors--you shouldn't have done it. She lied to me, says Jenny, inspecting her tangled hair--they all lie to me--what color is a lie, wonders Jenny?--blue? Green? Red, like fire:? Annoyed, Beth says she doesn't know--nobody knows. Jenny rises, musing, Blue? Green? Green like the dress I had? Yellow? The sun is yellow. Beth orders her to stop rambling, and takes Jenny's face in her hands--if you do what you did today, Miss Judith will send you away, warns Beth. Jenny insists Judith can't do anything; she's nobody. Beth says that's not true anymore--she owns the house now, everything, gives all the orders, even to her brothers-- everyone! says Beth bitterly--and you must, too--you have got to be good, and quiet and try to understand or she'll send you far away.
This upsets Jenny, who asks, Will she let me take my babies with me? Yes, Beth assures her. Jenny calms again--that's all that matters. No, says Beth, try to understand--you must be good!--will you be good? Yes, says Jenny, covering her "babies"--the climate I used to live in was warmer than here--do you think my babies will get a chill? Resigned to the madwoman's inattention, Beth assures her they will be fine. Jenny demands to know if Beth is lying to her. No, says Beth, I'm not lying. Light dawns on Jenny--Beth, she says, I know what color a lie is--red, like blood! Jenny lies down and stares upward, her eyes filled with madness.
Barnabas and Rachel return to Collinwood. She promises to get the key and come right back. He calls her brave. She assures him she's a coward--but it's much easier with you here. She kisses his cheek, then says she didn't mean to do it. . .yes, I did, she amends. He gazes into her eyes and tells her to go get the key. Yes, she says, seemingly dazed--"You can't get into the tower room with it." Rachel runs upstairs and is surprised to discover Judith is still up--and wants to discuss the children--how are they doing with their studies? Very well, says Rachel--they're bright, and I enjoy teaching them. Rachel is distracted; Judith suggests she's upset. I walked toward the cottage, says Rachel, might have caught a chill--I'll go right to bed. Judith orders her to come have some sherry--you can't go to bed with a chill. Judith pours some sherry, explaining that her grandfather had quite a collection, and she's beginning to enjoy the delicacies more and more--when my grandmother was alive, she always knew to the drop what was left, but now, of course. . .she hands Rachel a glass--now it's different--everything is different. She suggests they drink a toast to the differences. Barnabas paces outside the front door. He looks up at the tower and sees a light up there. Judith pours more sherry; after that, I'll go to Grandmother's room--her room--grandmother is in her grave, she doesn't need her room or bed anymore--although sometimes, on nights like this, it seems she's not willing to give them up. Rachel sits on the sofa, listening to Judith's ramblings. The governess says, I want to go to bed. No, insists Judith, I still wants to talk to you, and goes on to explain that her grandmother enjoyed all kinds of music, especially singing--I was a disappointment, because I couldn't sing--do Jamison and Nora sing well? Rachel says both are good--I'm teaching them songs. Judith asks for specifics, and just as Rachel is about to tell her, Beth comes in. Judith rudely dismisses Rachel, bidding her good night. Rachel leaves the room. Judith looks disturbed.
Barnabas notes that the tower light is gone and wonders why it went out--I must know!--I don't need a key to open the tower door, but must do it Rachel's way and use a key--where is she?
The door opens and Rachel comes out with the key, explaining how Judith detained her Barnabas tells her to go to bed and stay there--let me handle it. She tells him to take care of himself--I've never had many friends. Neither have I, confesses Barn. They hold hands and look into each other's eyes.
3 AM - Fire still in the fireplace, lights all on. Barnabas enters the unlocked Collinwood. He walks upstairs. Judith exits the tower room and paces. Beth comes out and locks the door. It's all OK, Beth assures her--no slip-ups. Beth is sure, Judith pleased--remember, Beth, no one must know. Beth assures her she never would. Barnabas lets himself into the tower room and closes the door. The room appears deserted. He looks in the now-empty cabinet that had held Jenny's dresses. He picks up a grisly object--a doll's head that looks burnt and scarred. He replaces it on the floor of the cabinet and closes it. The doorknob turns and whoever comes in brings a stunned, horrified expression to Barnabas Collins' face.
NOTES: Love Crazy Jenny. What a sad, poignant and pathetic person she is, and how wonderfully Marie Wallace portrays her. Why is she mad? What was Judith's real relationship to her? Why has made Barnabas look to frightened? Judith seems fearful of her new role as mistress of Collinwood, and why was she detaining Rachel that way--or was it just to pass the time until Beth returned from her "errand?" Subterfuge, keep her busy until Beth could finish her job of emptying the tower room? Barn sure does seem enamored of Rachel, and the feeling is mutual. How about that lie about being what he seems? It's tough being a vampire again, especially with this sweet, delicious, vulnerable Josette clone available to him.
Love, Robin
