427 - (Alexandra Moltke) - A seance has been held in the great house at Collinwood, a seance which has suspended time and space and sent one girl on an uncertain and frightening journey into the past, back to the year 1795. There, each of the Collins ancestors resembles a present-day member of the Collins family, but the names and relationships have changed, and Victoria Winters finds herself a stranger in a sea of familiar faces--not friendly now--forced almost out of recognition by the hatred they feel f or her.
In a series of rapid cuts, the faces of Abigail and Trask are shown against a stark black background, accusing Vicki of witchcraft, detailing every attack in town. Trask declares that Vicki will be brought to trial without warning, before she can enlist the services of her master.
Vicki's cell - When Peter joins her, Vicki senses something is very wrong, and he tells her the trial begins today. She's glad to hear it--the judges will believe her innocence and she wants to get it over with, anyway. He informs her of Josette's death.
She gasps "the Countess couldn't prevent it? I told her everything I knew!" That prophecy isn't going to help you one bit, says Peter, and Naomi isn't going to testify--Ben delivered a letter from Joshua to him this morning--he isn't even going to let her come to the trial. The guards arrives. Peter and Vicki embrace quickly, and they all leave the cell.
Courtroom - Three judges sit on an elevated bench. The chief judge tells Vicki she's been charged with witchcraft, and asks her plea. Innocent, says Vicki. The trial begins. You have one last chance to denounce your master and relinquish your powers, Trask says. Vicki possesses no powers, says Peter. Possession is the proper word, insists Trask, because that's what this trial is about--the possession of innocent souls by a witch! He talks as though Miss Winters' guilt has already been decided, complains Peter to the judges. Limit the editorializing, orders the judge. Trask calls Abigail first. She takes the oath and stands in the witness box, then describes Vicki's strange arrival--she was responsible for Jeremiah's death! Trask and Peter get into an argument over that, and the judge forces them to stop. Abigail explains how she made arrangements with their solicitor in Boston for a governess, but that woman, Phyllis Wick, never arrived--
it's witchcraft, says Abigail, and she hasn't been seen to this day! Abigail discusses how scandalous Vicki's clothing was, and that Barnabas first invited Vicki inside, "and with that gesture, sealed his fate and that of so many of my beloved family!" She tells of Joshua's disappearance, and the cat--clearly witchcraft had taken hold of our home! Abigail testifies that Barnabas finally agreed to permit Trask to exorcise the house. Peter insists on questioning Trask. The reverend does so after Abigail is dismissed. Trask goes into great detail about the ceremony, sounding fanatical. Trask and Peter get into it again as the latter says that Vicki ran from the house because of a fire--and Vicki agrees.
There was no evidence of a fire in your room, says Abigail. The judge restores order to the courtroom.
Later: Gently, Trask questions Natalie, grateful to her for testifying in her hour of grief. She tells of Vicki's prophecy and the events that led to her niece's death.
Questioned, she describes the Collins family history book and how she saw Vicki in her room while still in her jail cell--only a witch could be in two places at once, says Trask triumphantly--what further testimony do we need to prove her guilt? Peter protests indignantly. Trask suggests that the misguided Peter is under some sort of spell himself, "and if you continue the way you are gong, sir, your turn in this court will come, I promise it." Yes, sir, it may! Shouts Peter. He admits it! Says Trask. Vicki protests as Peter admits he allowed Vicki out of her cell to retrieve the book. This man should be relieved of his position at the jail! Declares Trask. Vicki admits Peter did take her to Collinwood but shouldn't be punished for it--"I've done enough without hurting anyon e else!" cries Vicki. "An admission!" exults Trask--"at last!"
Jail cell - Peter and Vicki dissect the trial thus far. She's concerned he might get into trouble because of what he did for her. Perhaps we should turn the book over to the court, suggests Vicki. No, says Peter. What about Ben Stokes--he believes me innocent, says Vicki--he looked at me very seriously and said, "I know you're not the witch." Peter decides they're going to get Ben to testify.
NOTES: I love Jerry Lacy's Trask in this trial. Bombastic, dramatic, he really knows how to hold a courtroom in thrall. I give him a 10. Peter gets a five, and that's only because I'm feeling generous today. Based on the trial thus far, I'd say Trask is way ahead.
Will Angelique allow Ben to testify on Vicki's behalf? Somehow, we doubt it.
428 - (Nancy Barrett) - A seance has been held in the great house at Collinwood, a seance which has suspended time and space and sent one girl on an uncertain and frightening journey into the past, back to the year 1795. In that troubled time, Vcitoria Winters will learn that none who live or work at Collinwood wil remain unaffected by the evil which has plagued the hreat house.
Outside Collinwood's front door - Peter knocks, and Millicent answers. Peter asks to speak to Ben. You should have gone to the servants' quarters, says Millicent petulantly. I apologize, he says, I'm not familiar with the house. Ben is digging Josette's grave, she informs him--and if you see Barnabas, please tell him I want to see him. Unnerved by her odd manner, he tells her Barnabas is dead. Millicent says that's absurd, and starts giggling. Peter quickly closes the font door, her encroaching insanity frightening him. Millicent gazes at Barnabas' portrait, then hears someone else at the door. It's Nathan, and she struggles to close the door in his face, but he pushes it open and insists he speak to her. You think I'm still the innocent, gullible creature you lied to and deceived! She accuses. Nathan assures her he never saw her that way, and his love for her is genuine--I was going to tell you about Suki when I was free.
I once believed in the fundamental goodness of people, blathers Millicent, but no longer--now I know my money made me considerably more attractive than I really am. I wouldn't care if you gave up your fortune, says Nathan (yeah, right). I must find someone to defend my honor, she says--you cannot tarnish a person's good name and expect to avoid the consequences! Barnabas will defend my honor, she declares, by challenging you to a duel. Barnabas is in England, says Nathan, shocked. He's here, she insists, I've seen him, and so has Ben. He asks for more information as she begins playing with a letter opening. I cannot allow you to be free to hurt others, and since there is no one else, I will have to do it myself! she wails, and attacks him with the letter opener. Nathan fights her off. Joshua enters, slips his arm around the crying young woman, then tells Nathan to stick around and leads her away.
Joshua returns to Nathan and, furious, tells him if Millicent, who told him the whole story, had succedded in her murder efforts, Nathan wouldn't have been missed by one member of this family. Nathan insists that Suki came to Collinsport to finalize their divorce. How convenient, says Joshua sarcastically--you no longer have a wife to deny it!--Suki's death was opportune for Nathan. I had nothing to do with her death! Says Nathan hotly. Why did she pose as your sister? Demands Joshua. I told Suki I was in love with Millicent, says Nathan, and they had agreed to handle it this way. Why was Suki at the Old House? Asks Joshua. I was meeting her there so we could discuss this matter in privacy, says Nathan. I think that your wife discovered that you were going to marry into a fortune. She was dying when I arrived at the Old House! Shouts Nathan. I believe you, says Joshua harshly--I believe you lack even the coarse type of courage required to murder someone--that does not absolve you of the way you treated Millicent! I love her! Says Nathan.
Forbes, you are too much of a swine to love anyone but yourself! Declares Joshua, and I'm going to report your outrageous conduct to the Navy--you are no longer welcome on any of my property, including the shipyards. My work requires me to be at the yards! Protests Nathan. If you are caught on Collins property, warns Joshua, you will be shot on sight--now leave!
Cemetery - Ben is digging Josette's grave. Peter joins him and introduces himself, but Ben avoids all his questions about the witch. What did Ben mean when he said Vicki wasn't the witch? Persists Peter--why did he say a witch had sent him to steal Abigail's hair ribbon? Vicki is not guilty, admits Ben, but he won't name the real witch. I want you to testify, says Peter.
Joshua Collins will punish me if I do, says Ben. Joshua joins the two men, and upon learning of Peter's mission, orders him to leave. With Peter gone, Joshua brings Ben to the mausoleum. Some people have seen Barnabas in the woods, says Joshua. Impossible! Says Ben. I agree, says Joshua, but there must be some explanation, especially for what I witnessed--several nights ago, I found Barnabas' coffin empty. Ben pretends astonishment. I've heard reports from Millicent and others that you've been seen lurking around the mausoleum.
People are imagining things, says Ben, I can't believe the coffin was empty. I'm going to prove it so, insists Joshua, and despite Ben's protests, they enter the secret room, where Joshua lifts the coffin lid and gazes down, horror-stricken, at the sight of his son's body in the coffin.
NOTES: Poor Joshua, first he has to run off Nathan, then Peter, and now he goes with Ben to the tomb and sees Barnabas IS there! He has to worry about the fragile Millicent, too, and his wife, who wants to testify on Vicki's behalf. This is a strong man, with a hard shell, but it's going to crack under all this pressure.
Love Nathan here, Joel Crothers really got a chance to shine. He got to play a villain; too bad Alexandra Moltke wasn't given the same shot.
Love, Robin
