732 - (Diana Millay) - Collinwood in the year 1897, where a woman has just appeared from far away. She is Laura Collins, Edward's wife, and the sight of her fills one person at Collinwood with a chilling fear, for far away, in another country, Quentin Collins saw Laura die.
Quentin continues to strangle Laura, then abruptly releases her when he's filled with pain, his body enveloped in light. He accuses her of doing something to him, but she says she's not--anger, she says, heats the blood and puts strain on the heart. He clutches his stomach, accusing her of doing something terrible to him. She denies it, and fears coming moving closer to him in case he tries to kill her again. "You're dead already," he moans, writhing in agony. Laura half-humorously suggests the pressures on his brain must be very great. Help me! he beg. Repeat that, Laura asks. I promise to stop you, he vows, whatever you're doing to me. Laura maintains, I'm doing nothing except enjoying your reaping the rewards of a rich and well spent life. When he begs for her help, she laughs. How does it feel to beg? she demands--to suffer? I don't want to die, he says, walking around the room in a pain-filled shuffle. Do you think I wanted to die in Alexandria? she asks shrilly, when the fire priests dragged me, screaming, to the sacrificial altar?-- "Quentin!" I cried, Laura reminds him, "Help me, Quentin!" She notes that he seems to be unconscious, and callously checks to make sure he can still hear her. He can, so she continues--I remembers the priest dragging me to the flames, asking why I was crying to Quentin for help--when he's the one who betrayed me? I had to, groans Quentin, or they would have killed me. I finally figured that out, she says bitterly, and now the death you evaded then has caught up with you, right here at Collinwood!
She laughs--well, goodbye, she says, enjoy your rendezvous. He tries to grab her before she exits. Laura airily assures him, "Dying is not so bad, Quentin, once you get used to the idea!" She leaves him alone. Quentin sinks to the floor, unconscious.
At Collinwood, Barnabas comes downstairs and hears Rachel saying, on the phone, "You know that's not true, no, Reverend Trask, please, I don't want you to talk to Mrs. Collins or to anyone else--I just need a little more time to work it out in my own mind--yes, I remember what you taught me. . ." Barnabas grabs the phone out of her hand and hangs up on Trask. Don't talk to him, if he makes you so unhappy, says Barn. Rachel explains that Trask thinks her a thief--I was sent to the school while still very young--to repay their "goodness," I promised to work for five years as a teacher--their goodness consists of torturing little children, of twisting their minds with fear and torturing their bodies with discipline--they assure the children it hurts the adults more than it hurts the child. Barnabas sympathizes--how horrible it must have been! Once I became a teacher, continues Rachel, if I showed them kindness, Trask would scream at me about my leniency, and he would, if he had to, destroy their bodies to save their souls--I ran away, but before I did, I took my wages, which they were saving for me--that's what they call theft. Not, says Barn, your own money. Rachel says, I can't prove it--do you think I have any chance with Trask? Barnabas is distracted suddenly, looking around oddly. I don't wants to be scared of them, says Rachel. Don't be, ever again, says Barn. When she asks what she should do, however, he seems far away--we'll discuss it all later, he assures her, but I've got to go. He races off, leaving her confused and perturbed.
Cottage - Quentin lies on the floor, Angelique standing over him. She's got one hand up to her forehead, as if trying to concentrate. Barnabas enters. You certainly took your time, she complains. He starts to say he knew she was up to something, but. . .then he spies Quentin on the floor and asks if he's dead. Very close, she replies--but the world will be much better off without him--but you won't be. He isn't supposed to die this way, protests Barnabas. He'll die any way I choose, insists the witch. Barnabas rises and looks at her--"unless you come to your senses," she finishes. He asks what she means. Stop fighting me, she orders--we were meant to be together, you and I, and no other woman is ever going to have you, including Rachel. Their faces are inches apart. Do you understand? She asks. I have to, when you threaten me with Quentin's death, sighs Barnabas. It's just that I care for you so much, Ang says, so very much, that I would kill anyone to have you (oh, baby, that's some sick way to love another person)!
Barnabas surveys Quentin and asks Angelique, is killing and hurting your only way of proving your power over people? I don't want that, she says. So, you've changed? he asks.
I'll be sweet, gentle and tender if that's the kind of woman you want your wife to be, promises Ang--I've got a deal for you--Quentin will not die now, as he so easily could, he'll go on with his rather sordid life until the right moment--if you will allow me to assume my rightful position as Mrs. Barnabas Collins. Barnabas repeats the name; Ang remarks how nice it sounds. I won't force you to introduce me as your wife immediately, she assures him, just your fiancee, for now, the woman you love. Barn asks, will you let Quentin rise? Yes, I will, she replies--I did it before. "You!" he ejaculates, stunned. I used Trask and his fervent, frantic prayers, says Ang, but he never would have gotten far without me. I should have known, says Barn. My way of getting you to notice me, says Ang. "The idea of a life with you..." begins Barnabas. Is it so bad? she asks, so bad that you would allow yourself to fail, to let young David Collins die--the possessor and possessed are one, which you know, if one dies, the other dies--right now, she says, David is as close to death in his room as Quentin is--when Quentin leaves. . . If, amends Barnabas. . . She senses a change in his attitude--are you ready to accept my terms? She asks. All right, agrees Barn, so be it, but make Quentin rise--now. Oh, no, says Ang, linking her arm in his, it will be much more impressive if it were done by Barnabas' fiancee, I'll be much more concerned about the health of my own family. . .they exit the cottage together; Angelique gives a triumphant giggle.
Laura, in Collinwood's drawing room, walks, thinking. Rachel enters and introduces herself--I've been looking forward to meeting you, she says, but sorry about the circumstances. Laura is under the impression the children are upstairs. Rachel informs her they aren't--they were sent to Trask's school an hour ago, and you must get them out of there. "EDWARD!" calls Laura--if he thinks he can take my children away from me. . . Laura falters and starts to fall, as if losing strength. Rachel asks what's wrong. Leave me alone, orders Laura, I need help, but not from you. Laura seems to pass out, a fly buzzing over her face. She calls to the sun God, Ra, asking that her veins be filled with fire--without you, I cannot live. We see an urn with fire burning inside it appear, then fade away into her chest.
11:30 - Rachel comes downstairs and answers the knock at the door. It's Barnabas, followed by a grinning Angelique. Rachel starts to say, I really wanted to speak to you. . . Angelique asks for an introduction. "This is Miss Rachel Drummond," says Barnabas, dropping silent. Angelique greets her, and says, a setting as elegant as this one demands all the formalities be fulfilled. "Barnabas," she says, "would you introduce me, please." (Let's twist that knife, Ang, you are enjoying yourself far too much!) Angry and depressed, Barnabas says, "This is Angelique." Ang won't let it rest at that, she tells Barn that Rachel is wondering who I AM.
Caught between the two women, Barnabas miserably finishes, "Angelique is my fiancee." Rachel's mouth drops open in dismay.
Angelique admires the house, wondering if Rachel would show her around. Not possible, says Rachel, clearly in distress. Angelique apologizes--I just had the feeling that you and I would have a great deal in common (here she slyly gazes at Barnabas, who gives her a withering look). Rachel excuses herself and leaves the house. Angelique comments, Rachel doesn't have the best manners. "Do you?" asks Barnabas--"Pretending to be her friend?" I only said that she and I have a great deal in common, says Ang, and we do. WE have something in common, too, Barn reminds her, Quentin Collins--"Make Quentin rise." I will, promises Ang, giggling. "I will."
Outside, terrace. The fountain gurgles. Rachel sits on a bench, miserable. When Barnabas comes out, she turns with a start. You're full of surprises, she says--I feel foolish, assuming we were friends. We will always be friends, he assures her, but perhaps soon, I can offer you more. (what?--a threesome with his fiancee?) A man with a newly-arrived fiancee shouldn't be talking that way, says Rachel. I agree, says Barn, but these are special circumstances--she's here for a reason. The reason is obvious, she says--you want to marry her. It seems that way, he says, but in the same way as Trask talks about goodness and practices the opposite, so sometimes things aren't what they seem--sometimes the truth only comes with time and trust--do you still trust me? (that's asking a lot, Barn!) I don't know, she says forlornly. The camera pans on the cupid in the fountain.
Cottage - Angelique touches Quentin's face and tells him to return from death's dark borderline--"to the land of the living, return, return." He opens his big baby blues and sits up, blinking, then asks what happened. Your health is rather shaky these days, says Ang. Laura did this to me, insists Quentin. Ang says no, I did it, I was forced to, by my feelings for Barnabas. What do you have to do with me? asks Q. A great deal, reveals Ang--Barnabas and I are engaged. This is a shocker to Quentin, who asks, aren't you a rather odd choice for Barnabas' bride to be? Congratulate me and let it go at that, she says. Quentin refuses--I think there's more to it. "Goodbye, Quentin," she says. He stops her, grabbing her arm. Furious, she tells him never to do that to her again, or you'll find yourself beyond the borderline of death! I only wanted to ask a small favor, he says--I want you to get rid of Laura, the last thing I'll ask--surely someone of your talents could kill her? asks Q. Yes, if that's all there was to it, answers Ang. I'm not quite sure what more there is, he says, but maybe you can tell me. The fire in Alexandria, comments, Ang, could she have survived that? No, says Q, yet she's here--please, help me find the answer. She looks into the fire, hand held pensively to her mouth, and spies the urn. There's a flame inside, says Ang--it's her life--when the flame is extinguished, her life is over--nothing is left but the darkness of death--if you find the urn. . . He demands Angelique tell him where it is.
Find it yourself, orders Ang, put out the flame and be rid of her, forever. Quentin grins, a very happy (and oddly vampirelike) smile.
NOTES: So, we thought Laura made Quentin hurt, but it was merely another ploy of Angelique's to get Barnabas into her clutches. Poor guy, he was really making headway in his relationship with Rachel, and Ang goes out of her way to force him to introduce her as his fiancee, totally breaking Rachel's heart. And the governess thought she could trust Barn to help her against Trask! Those Ang/Barn scenes are always wonderful, and I love watching them go at it. She's forever blackmailing him, putting a price on her help, just as she did in 1796 with Sarah--marry me and I'll cure your little sister. So when Laura told Quentin she wasn't putting him in pain, she was telling the truth! Good stuff, and you can already smell catfight in the air vis a vis Laura and Angelique.
733 - (Grayson Hall) - Collinwood in the year 1897, where Quentin Collins has once more met the woman he saw die on a flaming altar in Alexandria. Dark forces have told him there is an urn that controls the heat and fire of her life. And now he must find it to be rid of her forever.
Quentin returns to Collinwood intent on finding Laura's urn, ridding himself of her forever. Laura sits in the drawing room, listening to weird voices coming from the fireplace. They sound like voices spoken in foreign tongues.
In Laura's room, Quentin diligently searches, but she catches him and demands to know what he's doing here. (The light goes on before she actually touches it.) You were just in the drawing room! says Quentin. How is that possible when I'm here? She asks--what are you doing in my room? I want the letters, he says.
What letters? Asks Laura. Don't play innocent, he commands, the way you did when you used to kiss Edward good night, then sneak off to see me! I don't want to discuss old times, she says. I want to get the letters I sent to you in a post office box in Collinsport, he insists. She's hysterical to think he really thought she kept them, and laughs at him. Judith is knocking, and lets herself in just in time to see Quentin about to shake the giggles out of Laura. Judith apologizes--no one heard me, so I just walked in, she says--I want to know how Laura is--Rachel told me she was ill, but now, observes Judith, you're well enough to "entertain." Quentin isn't here on a social call, says Laura. Quentin hastens to tell his sister "it" involved family business. Judith feels "it" should be taking place in the drawing room. Quentin, furious, leaves, slamming the door behind him. "Poor, plain Judith," says Laura, "Grandmother's handmaiden." (Nasty!)--I can hardly believe Judith is ordering people around.
Judith insists she does it for the good of her family. They begin to argue about Judith sending the children to school; Judith feels they should be with other children, Laura believes they should be with their mother--and they will be. Each woman agrees that she shall see about that. Laura accuses Judith of wallowing in her new position, being so jealous of the pretty wives her brothers brought home. Laura preens. I came to ask about your health, Judith says angrily. Laura asks her about Jenny, "since there's so much family concern in this house." Judith remarks that Jenny is the last person Laura would inquire about. Laura agrees, but still wants to know how she is. I don't know how she is or where she is, says Judith, she had no reason to stay here after you ran off with her husband. Judith leaves with that parting shot. Laura opens a desk and finds her precious urn. She holds it up and rubs it, looking relieved and happy.
Terrace - Quentin paces. Magda comes to him; he tells her to help Laura move to the cottage--she will pay you for it--I want a small, Egyptian urn in her possession. What will you pay me? asks Magda. It's valuable only to Laura, says Q, no one else, so you are to bring it to me and not sell it for a better price. Magda agrees to do it, even if she doesn't understand why.
Quentin returns to the house, where Judith sharply calls his name. "Oui, mon capitaine," he says humorously--how can I help you--black your boots, polish your brass? Judith, not amued, warns him to keep away from Laura. I was in her room on family business, after some letters I wrote her that Laura will use to blackmail Edward, says Quentin--I assure you that you don't want to know the content of the letters. Judith says, I can't see you as reputation of the family rep--or David--Edward's honor, considering you and your elder brother don't "admire" each other. You're too ladylike, complains Quentin, you mean Edward and I hate each other's guts. You really do, observes Judith. Yes, agrees Quentin--I hate Edward, but, dear sister, I hate Laura even more...
Laura's room - She stares into the fire. Rachel enters and asks how she is. Much better, says Laura. Rachel wants to talk to her--speak to Edward about bringing the children back from the school, begs the governess. "*I* convince them of anything?" laughs Laura. You must try, urges Rachel, I lived there, first as a student, then a teacher--kids are punished physically and mentally abused, and there's nothing the Trasks won't do to impose their will--on everyone--I ran away. With a man, says Laura. How did you know? wonders Rachel. Because I know how hard it is for a woman to make her way in this world alone, says Laura. There was nothing improper, says Rachel. Laura doesn't care about that--I have much to do before I move into the cottage. I believe the kids could die at the school, says Rachel. Laura tells the young woman, you have an interesting imagination. After Rachel leaves, Laura drops the dress she took from the closet and looks into the fire again.
A dark haired, sour-faced woman knocks at the door of Collinwood. Rachel answers, and isn't pleased. "Are you ready, Rachel, to come back with me?" asks Minerva Trask--Mr. himself wasn't feeling well, so he sent me to get you. I'm not going back with you, says Rachel. Minerva comments, you were a pretty child and a pretty girl--quite a burden for you, wasn't it? Your trip is wasted if you came to get me, says Rachel. Minerva says, my husband used to say pretty people are the devil's playthings, and he was right in your case. Tilting her head, Rachel asks what she means by that. The devil made you into a thief, insists Minerva--and then a murderess, too! Rachel is stunned by this accusation. Minerva insists they find a place to talk about this further.
Laura is caressing her urn when someone knocks. It's Magda, who offers to help her move to the cottage. Laura agrees. Magda admires a dress and asks if Laura will give it to her when she gets tired of it. Perhaps, says Laura, if I decide to go away, suddenly. (ah ha!)
Drawing room - Minerva tells Rachel the day she and Tim left was the most tragic day of Rev. Trask's life. Why did you call me a murderess? demands Rachel. Minerva prefers to let her stew. It's not easy to tell of it, says Minerva, but the Reverend, that poor, fine man, has never been the same. Rachel insists. Minerva says Trask will take you to court for stealing if you don't return to the school and fulfill your contract. Rachel asks again about the murderess accusation --why? My brother died that night, says Minerva--Simon, the best man the world has known--he was killed by thieves. I never even saw the man, insists Rachel. This causes Minerva to cry "thief, murderer and liar" at her. Rachel denies all. Minerva insists, you surprised Simon in the kitchen and hit him with a fireplace poker and left him for dead. I didn't go there, cries Rachel, Tim went there for food, but...uh oh!--Tim didn't say anything about that, that anything happened in the kitchen--and he wouldn't do such a thing. Well, Minerva informs her, Tim already confessed to doing it. Rachel is horrified. Tim returned to Worthington Hall, where he belongs--where Rachel belongs, says Minerva. Poor Tim, laments Rachel. If you miss him, you can see him soon, says Minerva, let me guide you as I have before--come back with me--don't be foolish--aren't a few years with people who love you better than many years with strangers in prison? They wouldn't send me to prison, says Rachel--I'm not a murderess. Minerva tells her that the innocent must suffer, Providence sometimes tests them by putting them in jail--or the gallows-- much as the Reverend would regret it, he'd have to tell the authorities about the thieving and murdering that took place that night--it would break his heart, just as it would break Rachel's neck, but he'd have to! Judith interrupts. Minerva says they really want Rachel back at the school, especially since she isn't needed here. Judith says it might work out very well--Nora and Jamison would be delighted to see her. . . Rachel begs her to stop, but insists nothing is wrong. Start packing, orders Minerva--I want to be back to fix the Reverend's custards, which he loves when he isn't feeling well. Judith murmurs how lucky he is to have her for a wife. Minerva smiles and says, I'm fortunate, too--I'm glad Rachel is coming back in time for the wedding between Tim and Charity. Judith congratulates her; Rachel looks dumbfounded. Get packing, urges Minerva, before long, you'll be back at Worthington Hall, where you belong. Rachel races upstairs, clearly miserable and confused.
As Magda exits Laura's room, Rachel races past her. I must get away, cries Rachel. Are the police after you? asks Magda, grinning. They will be, says Rachel, when I go back to the school--they claim I stole money, and I didn't! Don't be so sensitive, says Magda, money is supposed to go from pocket to pocket. I'm innocent, says Rachel, of the thievery and the murdering--I had nothing to do with the man's death, but at trial, anything can happen. Magda says it's better not to wait and find out. Rachel thinks she can go to Boston and find a job. Magda says, you aren't the kind of person who can get a job and tell fortunes. I have no family, no one to help me, says Rachel--Tim is marrying Charity, and Barnabas is marrying Angelique. Magda looks at Rachel's palm. Oh, no! she says--when I read it before, I told you you had an enemy--the enemy is still here, but closer, like a shadow of death behind you--you must go, fast, says Magda, I have an idea, but you must be brave, or you will die.
7:30 - Minerva wonders what is taking Rachel so long, it's been an hour. Judith goes up to get her, but first asks, why doesn't Rachel seem happy about going with you? We are Rachel's family (Addams?) says Minerva, and in every family, along with a deep, abiding love, there are often conflicts and differences, even in the Collins family. Laura joins them; Judith introduces Minerva to her, then leaves to get Rachel. Minerva compliments Laura on her children, and tells her about her own daughter, Charity, who is to be married to one of their teachers. Laura feigns interest, and not very convincingly. Minerva thinks matrimony is the bomb, people going down the path of good works through life. Laura admits her marriage isn't like that, but. . . Minerva blathers on about giving a daughter in marriage is a marvelous moment in a woman's life, as Nora will someday be grown and married.
No, says Laura, my dreams for my daughter are somewhat...different. Judith comes to the landing and reports that Rachel is gone.
Magda leads Rachel to the mausoleum. Why here? asks Rachel. You won't go to the Old House, says Magda, and you need to leave town by carriage. Trask could easily find me, protests Rachel. I know a man who has a carriage, says Magda, but much money is needed--are the garnets in your brooch real? Poor Rachel says, it was was mother's and all I have. I can take them to town, says Magda, get you 20-30 dollars and get you to Boston, anyway. Rachel sadly hands over the brooch. Magda takes her into the mausoleum. Rachel is horrified to learn she has to spend the night in the secret room.
You'll be safe there, one night, that's all, encourages Magda--if Trask finds you, you will have many nights worse than this. She opens the secret panel. Rachel looks inside, hand to her mouth, horrified, gasping.
NOTES: Love Minerva. She's exactly the right woman for old Trask, a hypocrite and a bitch. Poor Rachel seems to be jumping from the frying pan into the fire, making rash, unwise decisions in her haste to get away from a life of forced servitude (and God knows what else) with Trask. Can you picture Charity married to Tim?
Wonder what plans Laura does have for her daughter, if not marriage?
Love, Robin
