734 - (Don Briscoe) - The year is 1897, a time of intrigue and terror for all who live in the great house. For the head of the family has fallen under the influence of an evil man, a man determined to reclaim an innocent girl who escaped him once, and now must again.
Rachel enters the tomb, looking around the dank, gray room. Magda promises her food and water--you will be safe, if not comfortable, she assures the young woman. When Magda turns to leave, Rachel requests a lamp. I'll bring one, says Magda. Rachel wonders who built a room like this--I don't understand the Collinses, and I wish I could escape now. Magda realizes the young woman is afraid. I will be when you leave, says Rachel. Magda suggests asking Barnabas, but Rachel says no way.
Ah, so you've seen his fiancee, says Magda, grinning. Yes, says Rachel, and I don't trust her. You're well rid of Barnabas, Magda says. It isn't for me to say, says Rachel. If you knew everything about him, says Magda, you would understand--Angelique and Barnabas deserve each other (how many people agree with that?). Don't say a word to Barnabas, insists Rachel--he has other concerns now, and I'm not one of them--that's the way it is (poor kid)--when I think how different everything was, just a week ago, before Trask came--poor Jamison and Nora, I can run away, they can't, it's worse for them than anyone, and no one is doing anything!
Worthington Hall, schoolroom - Tim asks Jamison why he handed in a blank sheet of paper instead of doing his spelling and math tests--I know you knew the work!--if Trask knew about this--I'm not sure I'll tell him or not. Tell him, begs Jamison--I won't learn from him because I hate him--I want to go back to Rachel. Tim takes off his glasses and notes, you miss Rachel. Not as much as Nora does, says Jamison, but some. Tim understands--she must have been very happy at Collinwood. Trask enters and asks "Collins" why he's being kept after class. Jamison is silent. Trask warns him, I give my boys one chance only, and you'll have to learn it--what did he do wrong? he asks Tim, who crumples up Jamison's paper. Nothing, says the latter, we were just talking. Trask orders Jamison to go to his room and study. Left alone, Trask tells Tim, that boy needs discipline--he shall have it!--you aren't being lenient, are you? No, says Tim. Guard against that tendency, warns Trask--children are animals, they can be taught, but not by talking, but through fear. (Sweet guy--who's really an animal here?!) Trask observes, you weren't at dinner tonight--Charity was upset. I haven't been feeling well, says Tim, give her my apologies. One must not give in to these weaknesses, advises Trask--I trust you feel strong enough to go to Collinwood--Mrs. Trask has come back with unsettling news. Do they want to send the children back? asks Tim eagerly. No, says Trask, Rachel has decided not to return. Tim looks pleased. Are you proud of her for her defiance? demands Trask--wouldn't she learn that this house is full of love (profane!), as you have? The young man refuses to get Rachel and bring her back. There is a Mr. Barnabas Collins on the estate who has been helping Rachel, and he knows you are her friend--he will tell you where she is. No! cries Tim.
Think before you speak, warns Trask. Why must you have Rachel back? asks Tim--isn't it enough you have me, and that I'm going to marry your daughter? Charity has seen fit to love you, points out Trask. Then leave Rachel alone, says Tim. SHE MUST LEARN, insists Trask--remember, you could be in some cell somewhere waiting to take that last walk to the gallows--have you no guilt at all? Don't you remember Simon lying on the floor, dying because of you and Rachel? "I didn't kill him!" yells Tim. Did Rachel? demands Trask--I discovered the two of you stealing the money. Rachel wasn't there, insists Tim, and knew nothing about it. That's what you say, fumes Trask--shall we put the two of you to a test by jury? Cowed, beaten, Tim is silent. Mr. Collins is difficult and worldly, says Trask, and he must be sincere in his desire to help Rachel--tell him you have money for her--don't try to fail at this--remember, warns Trask, you are still on probation in my mind. Trask walks out and finds Jamison eavesdropping. He's furious at the boy, who denies listening. Do you know what we do to eavesdroppers around here?" asks Trask, grinning.
Trask forces Jamison back into the schoolroom. I didn't listen! Insists Jamison, I forgot my pen! You were spying, accuses Trask. Tim points out that the boy's pen is on the desk. Trask orders him to go about his own business. Tim leaves, reluctantly. Trask closes the doors. He orders "Collins" to sit. He does. Trask puts his hands in a prayer formation and tells Jamison, I've been beseeching our maker for help to deal with you wisely and well--you have much to learn, but that's what I am here for--to teach--you never had to learn by rules, and I know it isn't your fault--you must learn now, rather than later, and I want you to understand what will happen to you. What, sir? asks Jamison. Have you heard stories of punishment from the other children? Asks Trask. Yes, admits Jamison. What did you hear? asks Trask--who told you? Jamison prefers not to rat anyone out--he was locked in a closet, says Jamison. Because he needed to be alone to contemplate the error of his ways, to learn--come here, orders Trask--men make decisions when alone, and a child must learn to do that, and one can't change until one makes the decision to try to change. Jamison says he understands. Trask opens the closet door--is this the closet the boy told you about?--"Get in there!" commands Trask. Jamison protests that he doesn't want to be locked in there, and begs Trask not to do it. You must learn, insists the Reverend. Jamison asks to be punished some other way. Start walking, says Trask--there are worse punishments--would you prefer one of those? Jamison asks how long he'll be in there. Until you learn that rules are meant to be obeyed, says Trask--"Now get in there!" He thrusts Jamison inside and locks the door. As Trask exits, Jamison tells him, I know there are rules, sir, and I'll try to live by them, but I didn't know all the rules, I haven't been here long enough, it isn't fair to punish me for something I didn't know. . .sir? Sir? Jamison surveys his prison and begs for help, from someone.
Magda examines Rachel's garnet brooch. Tim is knocking at the Old House door, asking for Barnabas. He isn't in, says Magda. I must wait, Tim says--when is he expected? Come back tomorrow night, advises Magda. Could he be at Collinwood? asks Tim, I must speak to him about Miss Drummond--I'm a friend of hers. Magda lets him in. He explains, we used to teach at the school together. Magda says I know Trask sent you. Tim knows about Rachel's disappearance, but denies Trask sent him--I want to help Rachel and figure since Barnabas is a friend of hers, he must know where she is. No, he isn't her friend anymore, says Magda, and I don't know where Rachel is. Tim doesn't believe she's telling him everything--you let me in the moment I said Rachel's name. He spots Rachel's brooch on the table and reaches for it. I know it's her brooch, says Tim, i recognize it--you do know where she is! No, insists the gypsy. He grabs Magda, demanding to know where Rachel is--did you steal her brooch? Magda shakes her head and he threatens to call the police. He demands she take him to Rachel. She gave me the brooch because she needs money, Magda explains. I've got plenty of money, says Tim, I'll go to the school and get the money, it's enough for her to run away with--just tell Rachel I want to see her. Go get the money, urges Magda--I will pass on your message. Tim races off.
In the closet, Jamison wishes he could find a way to open the door without Trask hearing--he isn't in the room. I can't stay here any longer, I can't! He rattles the doorknob, then hits the door fruitlessly with a chair. He tosses it aside. Jamison spies a key hanging on a desk, and wonders why it's there--perhaps it's not for the door, but why would it be here?. . .he unlocks the door and lets himself out. He tiptoes a few steps, but Trask catches and grabs the terrified child.
Now you will learn an lesson in honor, threatens Trask--I put the key there myself. I saw no reason not to use it says Jamison. Because a boy being punished would have resisted taking the key, says Trask. I don't understand, says Jamison. I'll make you understand, says Trask. Tim comes in and suggests Trask let Jamison go to bed. Trask asks, do YOU give the orders here? I have news, says Tim significantly. Trask tells Jamison, you will be punished tomorrow, and you are to report to my study after breakfast--you and I will spend the day together, declares the reverend, and I shall meditate over the form your punishment will take, you should pray for understanding that you can get along here--will you? Jamison promises to try. Your punishment has just begun, says Trask, watching the boy leave the room--you didn't say goodnight. Jamison complies, looking miserable. Tim tells Trask that Rachel and Barnabas are no longer friends, according to the gypsy woman. Trask doesn't believe it. I failed, that's all, says Tim. Trask demands Tim start over--and tell me the truth of what happened! (This guy is uncanny!)
Magda asks Rachel, can you trust Tim? There was a time I trusted him over anyone I've ever known, says Rachel, but he seems changed--what should I do? Your decision, says Magda. He wouldn't have offered money if he didn't mean to help me escape, decides Rachel--tell Tim yes. "You're sure?" asks Magda, skeptical. For over a year, we met everyday, making plans to escape, says Rachel, nobody could change that much--somewhere deep inside him, he decided he must work and wait for his chance to escape--he won't betray me--tell him, Magda!
Magda leads Tim to the mausoleum. I can't believe she's hiding in such a grotesque place, comments Tim. It's true, Magda swears--did you bring the money? He offers it to Magda, but she advises him to give it to Rachel--I'm getting the carriage--just remember to turn the ring in the lion's mouth--and give her back her brooch, putting it in his hand. (Awww!) Rachel, pacing the room, hears the door opening. Tim comes in. She runs into his arms and hugs him. She's been betrayed, however, as Trask, in his tall, black hat, stands inside the gate. "Good evening, Miss Drummond," he greets her, smiling.
NOTES: Tim has betrayed his friend, and she trusted him so completely, too. Trask really has these two under his thumb, and it's hard to see him blackmailing Tim into doing such a terrible thing to Rachel. Interesting how she doesn't want anything further to do with Barnabas, now that he can't possibly hold romantic feelings for her, being engaged and all. Can't he be her friend--she must know he still feels a great deal for her? It was nice of Magda to return the brooch. She could have kept it, but she seems to have a soft spot for Rachel. Nice performances by all. I think Trask is truly a sadist, and his punishment is just terrible. I can only imagine the kind of degradation he put Rachel through as she was growing up at his school. The way he twisted Jamison's escape attempt, tempting him with the key, was both sick and ingenious.
735 - (Jerry Lacy) - Collinwood in the year 1897, a year of desperation for many who live on the great estate. No one seems untouched by the tragedies happening around them. And this night, a frightened governess hides in the secret room of a mausoleum, hides from a man determined to drag her back to a past she hates. And now she waits for an old friend to bring her the money she needs to escape.
Rachel is upset with Tim for betraying her. He wants to explain, but Rachel turns her back and goes back into the mausoleum to cry. Trask tells Tim to return to the school; they have many responsibilities to the young people in their care, and he doesn't want both of them gone at the same time. It's my own fault, states Tim, going back into the tomb to talk to Rachel. Trask orders him to leave the girl to him. You won't touch her, Tim tells Trask. Rachel sobs. Trask says, I act in accordance with my own conscience. Tim wants all three of them to leave together, but Trask insists he and Rachel must come to a "firm understanding." (Double entendre there?) Rachel, meanwhile tries to escape, but Trask grabs her, forcing her back into the tomb, and screams "The devil is still driving you on, and I won't allow you to destroy yourself! Tim pulls on Trask's arm and yanks him off Rachel. Trask assures him, your efforts to play the hero are for naught--she won't be fooled into that mistake, because she knows you delivered her unto me--now, go! Tim starts to speak to Rachel, falters, gives Trask a determined, angry look, and leaves. Rachel dabs her eyes with a handkerchief. Reason, not tears, will move me--he says--calm reason. He touches her arm; she pulls away. Trask prays. What will you do with me? she asks. I have asked divine providence for help, he says--I see my way clearly--"Oh, Rachel, such hatred you feel, such needless hatred--I feel only compassion for you," he says, crawling his hand over her throat. Repulsed, she tells him, I want to be sent back to Collinwood. What is there for you? he asks, since the children are with me? You don't know how sorry I am about that, she says. Trask suggests she help with the Collins children. You won't really allow me to show kindness to them, says Rachel. They miss you, coaxes Trask--perhaps our maker has chosen you as some strange instrument of change for him. You don't believe that anymore than I do, says Rachel. Perhaps we were meant to change...each other, says Trask, again attempting to touch her--I always believed you belonged at the Hall, along with Charity and Minerva, who will welcome you back. Yes, and for the same reason you want me back, retorts Rachel--because nobody escapes Rev. Trask!--when I think of what you've done to Tim, who has changed for YOUR better, not his own! It's useless to talk more with you, he says, you're still too emotionally upset, and the devils inside you won't allow you to be rational. Where are you taking me? she asks. Wherever you want to go, he assures her--Worthington Hall or the police, as would be my duty--every night I hear Mrs. Trask sobbing over her dead brother. Rachel insists she and Tim had nothing to do with the man's death--I'm incapable of confession now, says Rachel, and knew nothing about it until Tim. . . Admitted it, finishes Trask--what the Good Book says about thieves and liars is true--he told me he had no knowledge of the affair, but that you did it! I don't believe that, says Rachel.
I find your trust of Tim astounding, says Trask, and wishes you had that loyalty to me--I hope we both have the chance to make that happen, unless you're martyr enough to choose the police--which will it be?--Worthington Hall or murder charge?
Laura's room - she magically lights 3 candles with just her fingers alone. Nora, she calls, come to me. I need you, Nora, I'm so alone without you and Jamison--you're the reason I came back. Can you hear my voice? Find the flame and you will hear my voice clearly. You don't know what it's like without you, Nora! You're there, I can feel it!
At Worthington Hall, Nora, in night clothes, stands on the stairs. She wanders down slowly, entranced, opens the doors to the schoolroom and goes to the fireplace.
In the fire, murmurs Laura, come to the fire, look into the fire, you will see my face in the flames.
Nora does as she's told, but she doesn't see her mother at first. Nora wants to know why she's calling her--yet I can't see you! Come closer, begs Laura. You'll leave again! accuses Nora, like you always do! When you're grownup, you will understand, Laura promises. Where are you, cries Nora, why can't I see you? Laura encourages her to look into the fire if she loves her--closer. No, I'm afraid, cries Nora. Trust me, says Laura. Come here and take me away, begs Nora. I must do it this way, her mother insists--I didn't want to leave you, that night in Collinwood, I went to your room, saw you there, sleeping, but they wouldn't let me take my children--they had taken them away.
Nora promises "mummy", I'll come to you. Come closer, urges Laura, look into the fire, where I'll be smiling--do you see my face now? No, says Nora. Come closer, says Laura, come to me! Finally, Nora spots her mother's face. Laura tells her daughter, come closer. . .
Nora now stands dangerously close to the fire. Trust me, forever, pleads Laura. Tim interrupts Nora and calls her name, breaking the spell.
The candles before Laura flicker out at once. Nora tells Tim, I want my mummy! Look at me, orders Tim. Laura begs Nora, don't turn away from me. Tim forces Nora's gaze away from the fire; she recognizes him. She remembers coming in, but not what she was doing. He figures she was sleepwalking. I thought I saw my mother, says Nora. You were asleep, insists Tim. Nora cries, I want to go home. Tim promises to make everything all right. I want my father, she cries--you can't make it all right! Trask and Rachel enter. Nora catapults herself into Rachel's arms, sure her governess has come for her. Miss Drummond! says Trask sternly. Nora notices that Rachel is crying, and assures her, I want to go home. Rachel denies crying, but Nora sees she is. Just happy to see you, Trask tells the little girl. He sends Tim out, not very nicely. Trask tells Nora that Rachel is pleased I'm not going to punish you for being awake when you shouldn't be. Nora thinks her mother sent Rachel to get her. Trask advises Rachel to tell the girl the truth--and there are times people need to be left alone to tend to certain things. Before leaving, Trask smiles and tells Rachel, "I told you you might change me, my dear." He leaves. Rachel tells Nora, your mother did send me, in a way--Laura knew I was returning to the school to teach. Nora is delighted. Rachel hugs her, telling her, that's terribly important to me. Determinedly, Rachel says Nora's mother sent me to watch over you--and I will!--I swear I will. You always do, says Nora. I promise I won't forget you said that, says Rachel. Trask comes back in, telling Rachel, you've had quite enough time. Rachel, arm around Nora, says she will take her upstairs to bed. "Sir," Trask reminds her--always call me sir. Rachel says, I will take her upstairs--sir. No, says Trask, that shows favoritism--I will take her upstairs--for a long, long prayer. Rachel demands to know if it's wise to make prayer a punishment. That will come later, vows Trask. Nora doesn't want Trask to take her upstairs. The good reverend tells Rachel, you forget your place so easily--besides, Timothy is here to offer you an apology, since he will be filled with shame, I am sure. He drags Nora off to bed. Rachel makes sure to kiss the child before they leave. Tim says Trask has succeeded in coming between us. Rachel orders him never to speak to her again. He explains, both of us are implicated in Simon's death, so it's worse than we thought--you could have gotten away, but Trask would have found you, no matter what--he's determined we share the guilt, both of us.
Their faces are very close together. . .
Trask's study. He's sitting in a chair, reading a book. He takes another from a shelf and sits at a desk with it. Taped onto the book is the title, "Punishment Book." (self-published, I bet) Someone knocks. No one answers. He closes his book and answers the door. It's Laura, who asks if there are no servants at the school--she isn't accustomed to letting anyone in. I'm Laura Collins, she says grandly, and I have come for my children. He tells her, I am Reverend Trask. Anyone can call themselves anything, she says. (LOL!)--I knew a Brooklyn woman who thought herself a Countess. Trask doesn't believe who she claims to be, and takes the punishment book away from her. I have too much respect for the defenseless souls in my charge, he says. How dreary you are, she remarks--have my children brought down, if there's anyone to bring them. How do I know you're their mother? asks Trask--the children aren't leaving. Nora will leave tonight, Jamison later, says Laura, I can take them one at a time.
I thought their mother was away, he tells her. You should keep more in touch, she says reproachfully. Minerva made no mention of Laura's return when she came back from Collinwood this afternoon, he says. How odd, says Laura, I thought Minerva a great gossip. Trask, scandalized, tells her he won't release Nora without permission from Edward or Judith. He lifts the phone to call Collinwood, but it burns his hand. You think the phone an instrument of the devil, says Trask, but I do not! He takes the phone, which is cool now, and hangs up. Forget the phone call, he says--we have RULES. Made to be broken, counters Laura. Trask says no, they are sleeping and that is where they will stay--we don't encourage visits even from the immediate family, unless it's an emergency. You won't reconsider? She asks. No, he says firmly. Not wise, she advises, at all. Are you threatening me? he asks. My children won't spend one more night in this school, she vows, leaving.
Rachel sits at a desk in the schoolroom. Nora comes in. "She's come for me," says the child. "My mother is here." Rachel is upset, but Nora insists she felt it--please find her!--Trask won't allow me to see my mother, but you're my friend. Rachel agrees, but orders Nora to stay in the schoolroom. Nora looks into the flames and wonders, why is my mother is always hiding from me?--if she's come for me, let me see her!
Trask wonders about Rachel's insolence, asking about Mrs. Collins this way!--must I tell you everyone I speak to each day? I simply wondered if she had been here, says Rachel. Why? asks Trask--is there a reason? No, says Rachel, no reason. You're lying, he accuses--have you learned that, too?--must we teach you everything again? Rachel sees smoke coming from under the door--there's a fire. The children! cries Rachel. Nora, trapped in flames and smoke, calls for her mother to help her. She coughs as the flames go higher.
NOTES: No Barnabas, Quentin or Angelique! Rather dull, at least to me. I do enjoy some of Laura's exploits, especially against Trask. She's a fun villainess. And Trask is a fun, ever more complex villain, too. God knows what the man has done in the name of the lord, but we sense he's worse than his father, who at least believed in what he was doing. Both men were subject to lusty thoughts, I am sure, and not always for their wives.
Love, Robin
