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« on: February 15, 2015, 07:00:35 AM »
Joan Bennett VO. Barnabas searches through the ashes of Tate's house for signs of Petofi. (Guess it wasn't going to become the Evans house after all.)
Gregory, in a well written moment, thinks about the children he locked in the dark, and about how it will be dark for him, soon. The realistic touch is the catharsis that happens the instant he remembers the students' crying out "Let me out!!", making him yell out the very same thing. Judith is then thoughtful enough to call. She leads him to the first of two presents, or Easter Eggs embedded in his slow death scenario: Amanda's portrait.
Then, Amanda and Quentin in NYC, the Enfield Hotel? Can't tell but it seems lobby-like, because I think there's some hint of a frond of a plant. It's in close-up. I don't understand Quentin's intent. He checks in with Amanda, makes it sound like a rejection, sort of (and after all, why not leave such unimportant matters hanging in mid-air?), and says he has to devote himself SO completely to portrait-searching that it's going to be the next worse thing to a total separation. So his plan is...? To go right back to Collinsport, where he just escaped from?! Tate and Petofi were his only possibilities, or someone in Collinwood. I suppose he might hope for Petofi to have been dealt with by Barnalique while he's away. I guess Petofi IS gone, Quentin could come back. Does he? Why not stay in touch with Amanda? Why separate?
Judith to Tim: I think she's writing a letter to him about what must be done tomorrow. Fast mail delivery. She actually refers to Quentin's "anteroom".
Kitty and Josette's portrait... who's Kitty talking to? She's Josette's reincarnation. So she's talking to herself. Barnabas to the "rescue"... He's actually making himself the Jerimiah, in a new replay of the 1795 jilting, with Edward in the Barnabas role. I'm sort of surprised that Barnabas isn't managing to drive Kitty to an immediate replay of the Widows Hill jump, with all his contradictory talk about (on the one hand) "Just let yourself be Josette" and (on the other hand) "I'm your friend, I'll help you fight this". It ends up far too similar to Greg Trask's isolation/disempowerment tactic of "I'm your only friend" to Rachel.
Tate skips town, after having promised Barnabas he'd paint Quentin unwerewolfy (and immortal, no one talks about that part, do they even suspect?). Does Barnabas search through the whole place thoroughly for the portrait?
Kitty pops into Josette's dress, then into her portrait, end. By Violet Welles.