850 - Quentin tells Amanda we're leaving in an hour and 15 minutes--I haven't even packed, have you? I have, she says, and turns away.
Don't do that, he urges, dropping gentle hands on her shoulders. Don't touch me, she says. Of course I'm going to touch you, he promises. Well, she says, I have something to say to you that I can't with your arms around me--I've spent so much time wondering how you can feel about me the way you do, not knowing about myself, fearing Charles is right. It was coincidence that he painted the portrait two years ago, insists Quentin. You don't know what will happen, how different your life will be, Amanda reminds him--one day you might blame me for the change, and think Charles was right--maybe I'm not human. Never, Q assures her. Easy for you to say, please think, for both our sakes, she begs. I have! He says. Go to Collinwood, think carefully, examine everything, she pleads. I'll be at the train station, don't worry, he says. If you aren't, says Amanda, I'll get on the train and part of me will understand why you couldn't come--it will mean the end for us, but perhaps that would be easiest. I love you, he assures her--nothing will keep me from the train station--nothing! He makes her smile, then kisses her smiling mouth.
Trask comes downstairs as Quentin, whistling, enters the house. Trask immediately accuses him of "knowing something about this." Quentin says, I take pride in knowing something about everything. What did you do with Amanda? Trask demands--I knew you'd try something like this!--her clothes are gone, there's no sign of her! So I'm the villain, muses Quentin--have you considered she went to Tate? You are trying to confuse the issue, says Trask. Merely offering a suggestion, says Q. I'm no fool, says Trask--I can see through your arrogance and deviousness--where is Amanda? When you find me, says Quentin, you'll tell me--I'm going to my room--am I allowed? Trask isn't satisfied with his answers. Too bad, says Q. When I have proof of your perfidy, warns Trask, I'll make your life miserable. "You make my life miserable just by existing," shoots back Quentin through gritted teeth. I see through you! shouts Trask, and don't forget it!--I know you're the source of evil in this house, and I will find Amanda Harris and rescue her from your evil--you will see, Quentin! The latter walks upstairs, laughing at Trask.
In his studio, Tate gazes at Quentin's portrait, thrilled that he now controls Quentin--if I burn this portrait, Quentin would become the animal at the next full moon! This idea fills him with glee. Tate hides the painting on his easel, wondering what Q will do when he finds it missing.
Quentin has returned to his room and is packing his clothing. Nora comes in and asks, why is Jamison mad at you?--I told him our uncle would take us to the fair in Collinsport tonight. Quentin looks uncomfortable. Jamison said he wouldn't go even if you did take us, says Nora--are you going away? Yes, he says, but not for very long, I hope. Kneeling, he says--promise not to tell anyone here I'm going to leave--there are certain people in this house I don't want to know I'm leaving. Nora promises not to tell a soul. Quentin thanks her. I'll miss you, she says sadly. I'll miss you, too, he says, and asks for another favor--tell Jamison that I love him very much, and try to make him understand. It will be very hard, says Nora--he's really angry at you for marrying Angelique--he doesn't even want to hear your name--you don't fold your socks the right way, adds Nora--you aren't a neat packer. He ruefully admits to having a lot of faults. You can close my bag, he says, and goes over to uncover the painting--I'm taking it, he says, because it's something I must do. All he finds is an empty frame. I don't know what happened to it, he says, dismayed. Nora wonders who would take his painting. I must get it back, insists Quentin, anxious--I can't leave without it. I don't understand grownups, says Nora. Quentin gets paper and a pen, and asks Nora to be quiet for a few moments. He quickly writes to Amanda, explaining something has happened--I might not be able to leave on the six o'clock train--wait for me--I love you. Take my letter to the rectory, he instructs Nora--you know where it is--give it to Amanda and no one else--she'll be there until quarter to six--you aren't to stop on the way--go straight there and don't show it to anyone else. I can handle it, she assures her uncle--will you be here? No, he says, I must do something else--go on, hurry! He gazes at the empty frame and figures it's either Petofi or Tate.
5:25 - Nora creeps downstairs only to be stopped by Trask. He demands to know where she's going in the storm--and insists on the truth. I'm going to find Jamison, she says. I thought he was in his room, says Trask--I told him to wait there all evening. He had to go out, says Nora--he left something in the garden and I must go get it for him. You told me Jamison was already out there, Trask says. She raises her arms in a gesture of annoyance--you've got me so confused! She complains. Are you lying? He asks--you act as if you are. I'm not, she insists, and leaves the house, Trask calling after her.
Quentin barges into Tate's studio--I want my picture! I don't know what you want, says Tate. You stole the one you painted, accuses Quentin. I can't imagine why you'd think I stole that, says Tate--I don't even like it, personally. That portrait has strange powers, you've seen it change, says Q, and you stole it because you hate me. You shouldn't flatter yourself, advises Tate.
I checked with Petofi; says Q, he doesn't have it, so you must. Do you trust Petofi? Asks Tate. I do, answers Quentin. You're naive, says Tate. No, says Q, you took it--and because of Amanda--if you have that portrait, you can control me--give it back! Tate denies knowing which portrait. Quentin starts to look for himself. Stop, Tate orders. Stop me, counters Quentin. They get into a fight, grappling, and it goes along pretty violently, the two men battling all over the room. Finally, Quentin cracks a bottle over Tate's head, leaving him unconscious on the floor. Ignoring him, Quentin continues to look for his portrait.
Just as Nora arrives at the rectory, Trask catches up to her, dropping his hand to her shoulder. I knew you were lying about going to the garden, he says--you have lied to me, and that grieves me very much--Jamison is in his room, I went to see him. Who lives in that house? he demands. I don't know, says Nora. Then what are you doing here? he asks--what's that in your hand? Please, Reverend Trask, she begs. You lie so easily, he says--we will correct that in time. He demands the envelope. Nora refuses to give it up. You're an evil child, says Trask, we both know it, and you will pay for it. He grabs the note from her. She tries to run, but he warns, you are to stay here while I read what is in the letter! He opens it and reads...
5:40 PM - Amanda looks at the clock and starts to put on her jacket. She answers a knock at the door--Trask. Don't bother coming in, she says. I do my duty as I see fit, he insists. He notices her suitcase and realizes she is leaving. You cannot allow your life to end like this, he says. My life here has already ended, says Amanda--I'm sorry. . .no, I'm not--I promised to be honest with myself from now on. You've always been honest with me, he says. No, I haven't, she says. Don't tell me that I do not recognize honesty when I hear it, he says--you were lost and you saw the light. Yes, I was lost, but not the way you thought, she says. Now you are tempted again, he says. No, she says, and don't call me your dear child. You cannot commit this sin, says Trask. It's not a sin, she insists. You don't know, he says. YOU do not, she throws back. You are running away with Quentin, he says. She turns, surprised. Do not deny it, says Trask. I won't, says Amanda. When you first came to me, he says, you were in the depths of despondency because of a man--surely you can see Quentin is no better?--I have seen what effect Q has on women. Understand me, she says, I came to you with a lie, a trick, I wanted you to fall in love with me--it was cheap, contemptible, and I hated myself--but I saw the way you looked at me and thought, he deserves it! (Go, girl!)--whatever he gets, he deserves! I looked at you with acceptance, forgiveness! he insists. She laughs--you're a hypocrite, and I haven't time to listen to your lies! MY LIES?! he cries. You live them! she says. I live to help others! he yells--I want to save you from misery and sin!--don't you realize the path down which Quentin will lead you--do you believe what he's told you? Yes, she says, I do. Do you know where he is? asks Trask. Yes, he's leaving Collinwood to meet me, she replies. Oh, indeed, says Trask, is he bringing Angelique with him?--when I left Collinwood, they were together in the drawing room--laughing!--were they laughing about you? he asks. I don't believe it, she says. I overheard them making their plans for the evening, says Trask. Not true, says Amanda. The carriage was waiting outside, says Trask. "To pick him up at the station," says Amanda. No, says Trask, no, to take them to the Inn, where they are having dinner tonight!--I'm not telling you this because I enjoy it (yeah, right!)--you have hurt me, but I won't be guilty of trying to repay in kind--surely you must face the fact that Quentin is incapable of compassion or morality! He forces her to face him and says, you must never speak to Quentin again. "Get out!" she orders. My dear, he says, you must control yourself, I am your only friend.
I never want to see you again! she screams at him--"Get out!" Trask looks stunned.
Quentin has failed to find his portrait. Tate lies, still unconscious, on the floor. Quentin nervously checks the clock. Time is running out!
Quentin arrives at the rectory, but Amanda is no longer there. Nora is, and fearfully says, Trask took your note from me.
Both Nora and Quentin are miserable. I must get to the station, says Quentin, departing hastily. He leaves Nora alone there, looking as if she's going to cry.
At the train station, Amanda waits. The conductor tells her that her train is about to leave--if she's going, she had better go. Amanda looks from him to the train, not knowing what to do. Has Quentin changed his mind?
NOTES: Trask is such a total sleaze, the man should be shot, hung and dismembered, in no particular order. Amanda doesn't have much self-confidence, even if Tate, Tim, Quentin and Trask are all in love with her, so she's willing to believe Trask's lies. Trask treated Nora horribly, but the little girl is brave for sticking around to tell her uncle what happened to his note. Everyone wants to throw roadblocks into Amanda and Quentin's path to happiness, which is what Tate did by stealing the painting. If he can't have Amanda, no one will, especially Quentin. Fight scene was pretty cool, although it looked like some things didn't go quite the way they were supposed to. Frankly, the Tate/Amanda/Quentin/Trask quadrangle kind of bores me.
851 - Train station - Quentin sees Amanda has waited for him, and is thrilled. He turns the woman around to face him, only to find it isn't Amanda, but a woman who resembles her, from behind at least. The train for NY has left, she tells him, I just got off it. I made a mistake, he says, stricken, clearly disappointed--a terrible mistake.
Tate is lying on the floor amidst the shambles of his studio when someone knocks, but he returns to consciousness. It's Petofi, who wants to speak to him. Charles rights a chair, then opens the door. Quentin didn't lose much time, says Petofi--the portrait--did he get it? Tate pretends ignorance. Where is Quentin's portrait? Petofi demands--the one you stole from his room. Why do you say I stole it? asks Tate.
I don't know or care why, says Petofi, I just want it back--your action was incredibly rash and idiotic--Intend to punish you for stealing it--don't make it worse. Tate hands the portrait over to Petofi. None the worse for its adventures, remarks Petofi--it would have been unfortunate if it had sustained damage--I don't mind theft, but I do mind stupidity--I have plans for Quentin, and I won't allow them to be ruined. You didn't mind interfering with my plans, complains Tate. What do you mean? asks Petofi. I asked Amanda to marry me, says Tate. And what did she say? asks the Count. She might have said yes if he'd given her a little time, complains Charles--he just stole her away. Very romantic, says Petofi. It won't be, insists Tate, not after she spends a little time with him. So the fair Amanda is planning to run away with Quentin? says Petofi. Yes, on the six o'clock train, says Charles. How did you think stealing the portrait would prevent that romantic adventure? asks Petofi. I'm not sure, says Charles. You're being evasive, accuses Petofi. I was confused, Tate admits. The portrait is mine and I intend to keep it, says Petofi. You found your ideal in Amanda, youe lost her, but you have a stable mind (?), and I understand and almost forgive you this aberration--this was the only time you ever deceived me, right? asks Petofi. Yes, Charles assures him. Then we know where we stand, asserts Petofi--Quentin has Amanda, I have the portrait, and you have all the pictures you painted of her--I want to confess something I've never told anyone--I have an ideal, a face I see as I drift off to sleep, a beautiful woman who haunts my dreams--tall, with raven hair and eyes like a cat--could you draw this woman for a lonely friend? It's something you see in your mind, says Tate, I can't put it on paper. Try, demands Petofi, do try, just a quick sketch will do--draw a woman with black hair and eyes like a cat--Is there some reason you don't want to do it? asks Petofi, noticing his hesitation. I don't want to disappoint you, says Tate. I'd only be disappointed that you're hesitating to do as I ask, says Petofi. It's hard to look into another person's mind, says Tate. Look into your own, then, suggests Petofi, create someone from your own imagination--do as I say and let's see what happens. Tate refuses--I'm afraid. Of disappointing me, or something else? asks Petofi. No, nothing, says Tate, I'll try. He quickly draws on the sketch pad. Excellent, says Petofi, one more stroke and she'll be finished (dirty mind central?) "She's so beautiful, and so real, I can't believe she isn't in the room," says Petofi. Charles turns to him--NO, she's not here! he insists. What's the matter? Asks Petofi. Charles, seeing nothing, smiles, relieved. I'm sorry I forced you to draw my ideal woman, says Petofi. I thought you might be disappointed, that's all, says Charles. Smiling, Petofi reminds him, I ALMOST forgave you for stealing Quentin's portrait, and I almost did--but not quite--because you were arrogant, and must learn painful humility...goodbye, Charles--I am sorry for your loss. Wait, says Tate--but Petofi is gone. Tate looks at the drawing he just did, and begins to sketch another. The pencil slips from his hand. No, he couldn't have...it's true!--I can't sketch at all, not a single line!
Quentin answers a knock at the door--Tim, bearing a note from Amanda. Everything in my life has been unreal until now, she writes--I've found reality and it changed completely. Reality, hell, she found a new man, says Tim. Be quiet, orders Q. I returned you brooch, continues Amanda--give it to your next companion, I have no use for it. What does she think she'll gain with you? asks Tim, it won't be diamonds. He closes his hand over the brooch. She doesn't want diamonds, says Q. Doesn't she? asks Tim, you have much to learn about Amanda. Teach me, says Q. What does that mean? asks Tim. Tell me everything you know about her, says Q, where you met her, who she knows in NY and where she might go if she left here. I'm not talking to you, insists Tim, I'm here to see Amanda. You can't, she's gone! Says Q. Without you, Quentin? asks Tim nastily--oh, she up and left without her Quentin, that's the best news I've heard in a long time! She left without me, says Q, but I'm going to find her, and you will help me. The only future she has with you is death! spits Tim. He tries to leave, but Q grabs him around the throat--you're going to tell me all about Amanda, or you won't get out of this house alive, threatens Quentin, applying a little pressure to Tim's throat.
Start talking, Quentin commands Tim, who, under such duress, agrees to speak. Quentin tosses him across the room, nearly causing Tim to take the wobbly banister with him. We met in New York, Tim explains--I don't know much about her, she stayed at the Hotel Holbrook, never received messages or mail, or visitors--no outstanding habits or generalities--you will have a difficult time finding her--if you love her, leave her alone, demands Tim, I won't let you destroy her.
The two of them get into it, fighting, which ends when Quentin literally tosses Tim out on his ass. From the top of the steps, Angelique asks, why were you so rough on Tim Shaw? He was interfering with some of my plans, replies Q. What plans? asks Ang. They wouldn't interest you, he says. All your plans interest me, says Angie, smiling--especially your marriage plans. I have none, he says. I know, she says, isn't it time you did? No rush, he says. Sensing his reluctance, she asks--when are we to be married--you can choose the date. When I return from Boston, he says, I have business there. That's why I was arguing with Tim--he gave me some info I don't trust--I want to go check it out. That's not like you, says Ang, to be so interested in business. I've seen Tim's success and am sorry I haven't made more of my life, says Q. Oh, she says, I don't know if I like the new, serious Quentin, but will marry you anyway--when? Complications may keep me in Boston longer than I expect, he says--I don't want to choose a date and miss the wedding. I wouldn't like that, either, agrees Ang. Well, I've gotta pack now, he says. She offers to help. I can do without you, he unwisely replies. Perhaps you can, but don't decide to try, she advises. He runs upstairs. She's disturbed. She answers the door to Petofi, who wants to see Quentin--I'm glad he's still here. Did you know he was going away? asks Ang. Did YOU? counters Petofi.
He just told me, she says. Where is he going? asks Petofi. To Boston, she says. Do I detect distrust in your voice? asks Petofi--you're very beautiful, and I've admired you a long time--it's unbelievable to me any man should prefer another woman over you. Ang is startled--what are you talking about? I think my conversation tonight should be with you, not Quentin, says Petofi. I'm not sure I'm interested, says Ang. I think you will be, says Petofi--you see, we have a common cause, at last!
Quentin comes downstairs, suitcase in hand. Petofi meets him in the foyer--I heard you were going to New York with Amanda Harris. I'm going, insists Q, and you can't stop me. Why should I? asks Petofi, she's a very lovely girl--you think my plans for you depend on your staying here, but distance is no impediment to me--wherever you are, I will be with you, says Petofi--come, catch your train, find your fair lady, wherever she may be. And he ushers Quentin out, laughing wildly.
Tim keeps staring at Amanda's note and brooch. Petofi comes to see him--I saw Tate, he says, and found out quite a few things--I learned that your pretty companion has fallen in love with Quentin, he says, putting a comforting hand on Tim's shoulder--they plan to go away together. Petofi reads Amanda's farewell note. What happened at Tate's studio? Asks Tim. Curious how Amanda seeks a reality, comments Tate. Did Charles draw a person for you? asks Tim. Yes, he did, says Petofi, admiring the brooch. Amanda likes surprises, says Tim--one day Quentin will give Amanda the last surprise of her life. You're really concerned, observes Petofi, so I'll put the situation to rights, do what must be done. "I want her back," says Tim. I said I would do what must be done, says Petofi--that will have to content you for now--since you've been so patient, I'll tell you what happened at my meeting with Charles--nothing--I tested him and he failed miserably--he drew a lovely woman but she failed to meet the "dimension" of Amanda Harris, he laughs. Tim, stunned, insists, I saw a man come to life! You saw what you wanted to see, says Petofi--a curious phenomenon--hungry men dream of food, when a man has been hungry long enough, he imagines he sees food even when awake--you have dreamt of wealth and power for a long, long time. Do you think I just imagined this? asks Tim, frustrated and pissed. Petofi comforts him--what else am I to think?--don't be bitter, there are still ways we can be of use to one another. He bids Tim good night. Shaw sits down, Amanda's note in front of him--but the brooch is gone!
Quentin stands at the station, holding his cape together at his throat against the cold. The train pulls in. He suddenly feels Angelique grab his shoulder. That's the train to New York, she says--you told me you were going to Boston. I changed my mind, says Quentin. You're going to New York to find Amanda, she says. What do you know about her? asks Quentin. That you think you're in love with her, says Ang. I know I am, insists Quentin. It's a bit inconvenient, considering we are getting married, points out Angelique. I tried to care, he says, and would have gone through with our bargain, if I hadn't met Amanda, but the way I feel now. . .it only happens to a man once in a lifetime. Don't bore me with this nonsense, orders Angelique--there isn't time! You're right, he says, I have a train to catch. I warn you not to, she says. Are you threatening me? he asks--what will you do, kill me?--go right ahead--at least I'll die walking away from you! (ooh, Barnabas never came up with a diss that good!) I won't hurt you, she promises, but... He realizes what she's implying and his grow large when he notices she has Amanda's brooch.
"But Miss Harris will not be quite so fortunate," says Angelique, taking out a clay doll. She holds the pin of the brooch over the clay figure-- wherever Amanda is, when I pierce the doll with my brooch, she will die, horribly, and painfully. You wouldn't do that, says Quentin, licking his lips nervously. Angelique looks up at him--you'll make me do it if you get on that train--you decide, Quentin, will Amanda Harris live...or die?
NOTES: Ang up to her old tricks--this time she's threatening a Collins male's beloved girlfriend instead of his sister, but it's still typical Angelique, having to force a man to say "I do."
Petofi is a nasty bastard, taking away poor Tate's painting power completely. He really doesn't believe in minor punishment, does he? Brrr, that man is cold, reminds me of Goldfinger. And what's even scarier, it appears Petofi and Angelique are in cohoots, since he must have given her Amanda's brooch in the first place. That's one pairing that bodes ill for everyone, especially the Collins family!
Petofi has a new plan in mind. I wonder what it is?
Love, Robin
