876 - Quentin tries to grab Beth away from the edge of the cliff, but, the terrified woman, still thinking he's Petofi, screams, "Get away from me!" She draws back and ends up tumbling over the edge.
Quentin covers his face, cries out her name, and blindly stumbles away from the scene of the tragedy.
Collinwood - Barnabas closes the window and wonders why didn't I hear anything?--if anything went wrong--if the switch were successful, he'd have been back here by now--I should have stayed closer to the mill...Quentin enters, dragging his feet, and joins his cousin in the drawing room. "Good evening...Quentin," greets Barnabas hesitantly. "You have no idea which one I am, have you?" asks Quentin. Barn says "I don't know what you mean." It's all right, says Q softly, Petofi and I are back in our rightful bodies--it worked, just as you said it would, it's no trick, I'm telling the truth. Quentin pours himself a drink. You aren't very ecstatic about it, Barnabas observes. Beth is dead, says Quentin. This stuns Barnabas--"Oh, no!--How?" When the exchange of minds was complete, I was in the woods, explains Q, and heard something moving behind me--I found Beth on Widows' Hill--she thought I was Petofi--I tried to tell her I wasn't, but she feared me, and kept moving away from me, lost her footing and went over the edge. "I'm sorry, Quentin," says Barnabas (and sincerely, because he's been there himself). "Does every life I touch end in tragedy?" demands Quentin bitterly. You aren't responsible for Beth's death, says Barn--Petofi is. Quentin drinks, agreeing, and says, "Poor Beth." You shouldn't think about it anymore; urges Barnabas there's no way to change what's happened (callous, Barn!), you must think of your own safety. I have what I always wanted, says Q--my own identity. How long will you keep it if you stay here? asks Barn--Petofi is certain to make another move soon, and you will be as defenseless as you were before--unless you leave Collinwood now. Where am I going? asks Q. I don't know, says Barnabas, but you must get as far away from Petofi as possible. They haven't found my portrait, says Quentin, and I can't leave without it. "You have no time to look for your portrait!" insists Barnabas. That portrait is my only security, says Q, if something happens to it, the werewolf curse will be back on me, and I won't go anywhere dreading any full moons! We'll make one last attempt to find the portrait, agrees Barn, but tomorrow you must leave--I remember the night it was taken--Tate was in the house, perhaps he took it.
If he's got it, he won't admit it, says Q. Nevertheless, Barn says, it's worth a visit to his studio.
Quentin's portrait sits on an easel in Tate's studio. He wonders how and why it changed, as if it had a life of its own. Why? What powers did Petofi give it? Makes no difference now, as long as I have it, the body of Quentin Collins is in my power, and I bargain with Petofi! Hearing a knock, he hides the painting, then answers. It's Aristede, covered with filth, asking for food and rest--just for a little while! He sinks down into a chair. You don't have much of a memory, Tate reminds him. Tiredly, Aristede begs, don't be cruel; you wouldn't want to be living as I have for the past week. I haven't been living a life of luxury this past week, either, to Petofi, says Tate. At least you haven't had to live in constant fear, Aristede, of the vampire. What vampire? asks Charles. I know he's dead, says Aristede, I saw him with a stake through his heart, but he came to life somehow--I saw him, and he was going to kill me! Tate is confused. I remembered the vow Barnabas made that he'd kill me, babbles Aristede, and I ran away, out in the woods for a week without food, afraid to sleep at night, knowing he was after me. Tate, amused, says, you're like a little child afraid of the dark, and he laughs--you're such an idiot, Aristede--if you really were roaming the woods, you did so for nothing--because the Barnabas you saw is not a vampire! Aristede is stunned. Tate laughs at him some more.
You're lying! Aristede accuses. I've seen Barnabas during the day, says Tate. This news further shocks Aristede. You can go see for yourelf, says Tate--Barnabas is living at Collinwood. I don't understand, says Aristede. Neither do I, says Charles--I only know what I've been told--according to witnesses, Barnabas that's staying at Collinwood isn't the same man as the one staked in the coffin. Incredible, says Aristede, how could two men look so much alike? You needn't be fearful anymore, says Tate--you can go back to Petofi, or Quentin. Have you seen His Excellency? asks Aristede--he must be angry about the way I ran away, isn't he? You're wasting your time, says Tate--you can go grovel at the feet of your master--maybe he'll take you back--then again, maybe he won't! Afraid, Aristede asks--you go see Petofi and tell him I'm back, explain why I ran away--once you explain why, I'm sure he'll understand. Then why not explain yourself? asks Tate. I can't face him, protests Aristede--please do me this favor, you won't regret it. I have my own problems, says Tate--I'll see to it you're fed and get some nice clothes--and you do need all that--but as far as getting you together with Petofi and making things up, I draw the line. Tate opens his door--good night, Aristede.
Quentin goes to Widows' Hill. The ocean beats against the shore noisily, the wind blows. He stands looking down, hearing again his last terrible conversation with Beth, when she accused him of being Petofi, telling him. I hate uoi!", ordering him, don't touch me!--hearing her final scream as she went over. Quentin cries out miserably and covers his face, then says, "I don't know what to say--forgive me, Beth, wherever you are." (who thinks this is too little, too late?)
Tate paints over Quentin's portrait with white paint. Hearing another knock, he hastily finishes covering the portrait. It's Barnabas. This is an unusual surprise, says Tate. I want to buy a painting, offers Barnabas. It's a strange hour to be doing that, opines Charles. It's a strange painting I'm after, says Barn. Which one? asks Charles.
The portrait of Quentin, answers Barnabas. That's at Collinwood, says Charles. No, it's not, says Barn--it was stolen from Quentin's room the other evening. "Are you suggesting that I stole it?" asks Tate. Do you have it? asks Barn. No, says Tate, I don't (and he gets right into Barnabas' face as if having a staring contest)--what would I want with a portrait of Quentin? You haven't answered my question, says Barn. Tate drops his eyes first and says, I told you--I don't have it--now let me ask you a question--what is your interest in this painting? I have no interest, says Barn, I'm here on behalf of Quentin. I see, says Tate, Quentin thinks I stole it, doesn't he? You were at the house the other evening, when it was stolen, says Barnabas--Quentin thinks you have good reason for taking it. He may think that, but I don't, says Tate, no good reason at all--search my studio--if you do find the portrait, you're welcome to it.
Collinwood - Quentin returns home. Aristede appears from the bushes and announces to "his Excellency", I'm back. Yes, I see, go on back from wherever you came from, says Q, I don't want anything to do with you. Aristede begs--please let me explain, I was sure the vampire was back. Get out! orders Q. Please don't send me away, pleads Aristede, pathetic--give me one more chance, I know what a fool I've been, I should have known you'd protect me, but I was terrified--please, I swear it will never happen again, I'll be loyal and obedient, me something to do, anything, please, don't send me away. Quentin thinks it over, realizing Aristede still thinks he's Petofi. He suggests, there is something you might do for me--and he invites him inside.
Drawing room - Quentin says (calling him "my boy"), I'm not sure you're the man for this task, but I'm willing to take a chance. Grateful, Aristede says it's all I ask--you won't regret it. I hope I don't, says Quentin, I'm very tired of your blunders, Aristede--let me give you fair warning--if you fail this time, it will be your last failure. I won't fail, promises Aristede. There have been some changes while you were away, says Quentin--my plans are somewhat altered--I've decided I no longer have any use for my old body. I though you wanted to fool the gypsies with your old body, says Aristede. I still do, says Q--I intend for the gypsies to find a dead body--that way will be convinced they found the real Count Petofi, and matters will be closed. Aristede smiles and says, dead men tell no tales. Precisely, says Q--find the so-called Count Petofi and kill him tonight. It will be done, vows Aristede. And quickly, adds Q, and if it isn't, don't bother coming back here, Aristede--"I'll find you!" Aristede bows and leaves. Quentin grins. (what a GREAT idea!)
Petofi shows up at Tate's studio. Charles, drinking, says I'd appreciate you knocking before you come in. Is that any way to greet an important visitor? asks Petofi. You're neither invited nor welcome, says Charles. That will change, says Petofi, when you learn what has happened and going to happen--I've been considering your request that I restore your talent, since you cooperated with me by showing me the way to the future, I've decided you redeemed yourself completely, and shall be a great painter again. Tate, furious, says, I'm in no mood for your nonsense; I know who you are and that you don't have the power to restore my talent. Petofi says, there are times you are almost as imperceptive as Aristede--you're quite unable to distinguish between what is real and what is not--but two minds have reverted back to their original bodies--I am Petofi and Quentin is Quentin, an unfortunate but I assure you, temporary setback for me. You're trying to trick me, accuses Tate. You don't even understand when I'm trying to help you, chides Petofi--this will make you believe me--and he takes Tate's hand in his and says, you're beginning to feel different, like THE Charles Delaware Tate again, right--and so you are, my boy, so you are. Tate feels the power coming back to his hand and is thrilled--I have the gift again! Do you believe me now? asks Petofi. Yes, says Charles, exultant. This time, says Petofi, there will be no deviation from your loyalty, I demand your total allegiance and the rendering of your services upon request--is that understood? Yes, says Charles, smiling. We should drink on it, says Petofi--I prefer brandy. Tate hurries to the back room to get him the booze he requested. Petofi examines a painting. Aristede gazes through the window and, knife in hand, enters the unlocked studio. He creeps up behind Petofi, knife raised.
Petofi sees him, but too late--Aristede has already stabbed him. Petofi falls heavily to the floor, dropping the painting he was examining.
NOTES: Bravo, Quentin, turning the mind/body switch against your enemy so smoothly, and despite your grief. There are those who argue that Beth was Quentin's true love, but he treated her shabbily, and she ended up dying even though he survived this time period. She killed herself for him in the original timeline, after killing him, so she was apparently doomed to die either way. She never would have been happy with him, unless he changed, and one suspects it took decades for that to happen.
Barnabas expected Quentin to get over his sorrow over Beth's death rather quickly (given how long his for Josette lingered!), but then again, he's worried for Quentin's safety and figures he should get the hell out of Dodge (Collinsport) and nurse his grief in a safer place than where Petofi is. Barnabas could have been more understanding, but he's panicking, and when Barn panics, everything else gets thrown out the window. The scene on Widows' Hill where Quentin asks for Beth's forgiveness was very touching, but I still feel it was too little, too late.
Poor Aristede, afraid of a vampire that didn't even exist all this time! And now he's been sent to kill his real master, and has succeeded in stabbing Petofi. What will happen to the latter, and his fearful lackey, once he learns what he did? And Charles, who went to get the brandy, knows the truth.
877 - Aristede does the intro.
Quentin drinks, and smiles, joyously considering the plot he set in motion by sending Aristede, who still thinks the personalities are reversed, to kill Petofi.
Aristede laughs as Petofi rolls on the floor, a knife sticking from his chest.
"Aristede, you will pay for this!" grunts Petofi. Charles comes in. You idiot! he calls Aristede--don't you see what you've done? Charles kneels down to check Petofi. I merely carried out orders, insists Aristede--His Excellency has no further use for that body. HE'S Petofi! Charles informs him, and you could have killed him! Is he dead? Aristede. There's still a pulse, says Charles. Obviously, you don't know what happened between Petofi and Quentin, says Aristede. No, says Tate, YOU are the one who doesn't know--their minds were switched back earlier this evening--"You stabbed the real Petofi." This isn't a very funny joke, says Aristede, going pale. No joke, says Tate--Petofi came here to restore my power. Impossible, gulps Aristede. If he dies, my talent dies with him, says Charles, upset. Aristede, panicking, says, Quentin tricked me--I didn't know about the switch, I swear I didn't! You better hope he dies, says Tate, because if he doesn't, your life isn't worth anything. I didn't realize Quentin tricked me, says Aristede--I thought he was following orders, believe that--and if he lives, make HIM believe that--I'm going to find and kill Quentin for what he's done. He leaves the studio. Petofi comes to. Aristede is gone, says Charles--don't worry about him, take it easy--I'm going for a doctor. Forget a doctor, says Petofi, where did Aristede go?--I must find out why he did it. Don't move, urges Tate--Aristedesaid he was tricked by Quentin. Petofi gasps, I can't believe that! He's going to kill Quentin, reveals Tate. No, he must be stopped! yells Petofi, trying to get up. Don't move, says Charles. No harm must come to Quentin, says Petofi, I have my reasons--go, find Aristede and stop him!
Aristede stands at the drawing room window, looking in at Quentin, who's having a drink. Q puts back an empty decanter and takes a fuller one, then goes to answer the door. It's Aristede, who tells "His Excellency", you seem surprised to see me--you didn't think I'd fail, did you? I didn't expect to see him back so soon, says Q. Just a matter of finding the victim, boasts Aristede, the rest was easy--I found and stabbed Petofi--he'll be dead very soon. You should have stayed until he was dead, says Q, affecting a Petofi attitude. Believe me, he won't survive this, Aristede assures him--shall we have a drink to celebrate our victory? Quentin pours the drinks, his back to Aristede. The latter observes the swords hanging on the wall. Quentin babbles about "a suitable reward" for you. I already know what I want, says Aristede. He pulls out a sword from the display on the wall and points it at Quentin: "Your life, Quentin Collins!" shouts Aristede. Just what do you think you're going to do? demands Q, backing away from the sword point. I know what happened this evening, says Aristede--I know you're Quentin again, and tried to trick me, but you're going to pay--Aristede--laughs--"Yes, you'll pay."
Charles, gun in hand, enters the drawing room. Put down the sword! he orders. Are you crazy, Tate? asks Aristede--get out of here and let me do what has to be done. The tip of the sword wavers near Quentin's throat. Put down the sword, orders Tate--if you don't, I'm going to blow your head off.
Aristede finally drops the sword to his side. Quentin is relieved. Quentin can't be allowed to live after what he did, insists Aristede--you don't know what you're doing, Tate. Following orders, replies Charles. Is His Excellency going to live? asks Aristede. Go find out for yourself, suggests Tate. I can't, says Aristede, I'm afraid. And with good reason, says Charles--"Go, get out!" Aristede drops the sword to the floor and flees. Quentin asks, "So, Petofi isn't dead?" You made a mistake sending Aristede to kill Petofi," says Tate. Q, returning the sword to the wall, says, I thought one of them would die, I didn't especially care which. You're really lucky to be alive, says Tate. I know why Petofi sent you here to save me, says Quentin, and I don't consider myself so lucky at all.
Petofi, lying on the sofa in the studio with the infamous traveling afghan thrown over him, has a dream: We see the woods, hear dogs barking. Aristede, clothing torn, is crawling away from someone pursuing him. It's foggy; he's leaping from rock to rock, to finally fall, exhausted, to the ground. Petofi comes upon him. Aristede takes out a knife, orders--don't come near--I'll kill you! Will you? asks Petofi--put away the ridiculous knife, I have no intention of harming you, or turning you in--I've been watching you a long time, says Petofi (Aristede looks so young!) Watching me? asks Aristede. You're running about in circles, says Petofi. I don't know this area, admits Aristede, or what I'm doing or where I'm going. Under the circumstances, won't last much longer, will you? asks Petofi. Aristede puts the knife in his pants--I need food and a place to sleep, he says. Petofi offers him both, plus a decent suit of clothes, too. He introduces himself as Count Petofi--that's all you need to know about me for the moment. Aristede gives his name. It has a ring of nobility about it, remarks Petofi--what was your crime? I killed a man in Liverpool, over a disagreement, confesses Aristede. Do you usually kill people you disagree with? asks Petofi. Aristede, irritated, asks, how many questions are you going to ask me? I have reasons for being interested in your background, says Petofi--how did you escape Dartmoor? Did you ever know Garth Blackwood? asks Aristede. Yes, I well know the Master of Dartmoor, answers Petofi. Former master, amends Aristede--he's dead. How did you kill him? asks Petofi. How did you know I killed him? counters Aristede. By the way you said, "He's dead," says Petofi, smiling. I wasn't the only one happy to see him dead, says Aristede, he was cruel and sadistic--he had a chain and enjoyed beating us with it--last month three prisoners died from Blackwood's beatings, and about a week ago, we all got together, drew lots, and I won the task of killing him--I heard him coming--he had a wooden leg that dragged when he walked, and always the sound of rattling chains, says Aristede, getting a little crazy at the recollection--I waited until he reached my cell--he intended to flog me with the chain--but when he raised his arm, I took out my knife, hidden in my shirt, and stabbed him right through the heart! And made good your escape, finishes Petofi--how fortunate for you. No, says Aristede, every night since I escaped, Blackwood's gotten closer to me. How, if he's dead? asks Petofi. I don't know, but I hear the sound of that foot dragging and those chains rattling, getting louder, closer every night--I can't escape Blackwood. Hook up with me, suggests Petofi, for respectability, security, and a certain amount of adventure. Aristede hears the chains--he's coming! he cries, and turns to run. Petofi grabs him--don't run away! Aristede protests--he's getting closer! The sounds you hear are in your own mind! Says Petofi--look into my eyes. Aristede does. Blackwood is dead, except in your mind, you're being haunted by your own fear and conscience, explains Petofi. Aristede stares at him. Petofi continues--dispel those sounds from your mind, cast them away, forever. He touches Aristede's face. The sounds have stopped, says Aristede--Garth Blackwood is really dead. And he'll stay dead, promises Petofi, as long as you remain my faithful servant. Aristede drops to his knees like a man about to propose, takes Petofi's hand in his, and pledges his undying loyalty
--I'm your most obedient servant!
Charles hands Petofi a drink just as he awakens muttering, "My most obedient servant." What about Aristede, Petofi asks--did you stop him? Yes, and told him to come here, says Tate--why do you want to be so lenient, why didn't you just let him kill him? Lenient, not at all, says Petofi,I shan't be that--Aristede's far too precious to die an ordinary death--he'll be haunted and tormented to his grave, and we will do that together--you will supply the talent and I the information--get your sketch pad and pencil--we are going to recreate the face of a man Aristede fears above all others--Garth Blackwood. I don't know who he is, says Charles. Look into my eyes, bids Petofi, and you will see his face. Tate opens his sketchpad and begins to draw. Who is this man? asks Charles. Aristede's executioner, says Petofi. Does he really exist? asks Tate. He did once, says Petofi. He's dead? asks Charles. Yes, says Petofi, but we will bring him to life again.
Aristede looks through the window into the studio, then reluctantly enters the cottage. Yes, Charles, says Petofi, it's coming splendidly. Aristede, contrite, enters the studio. Do you want me to get rid of him? asks Tate. No, Charles, says Petofi, I think I know why Aristede has come--bring your work into the next room, and bring it back to me when it's finished. Charles does as ordered. "So, Aristede, you've come back to face me." says Petofi, grinning. To beg forgiveness, says Aristede. Close the door, dear boy, says Petofi, and come in. Aristede complies. You must understand, pleads Aristede, it was a natural mistake, I had no way of knowing what happened. Aristede, poor, conscience-stricken Aristede, croons Petofi--you must not indulge in this orgy of recrimination, I do understand what happened. Aristede is grateful. One must admire Quentin's courage and ingenuity, says Petofi--of course you believed his story, why shouldn't you? Aristede, relieved, kneels beside Petofi and asks, are you going to be all right? Of course, Petofi assures him, quite all right--and I'm anxious to forgive you. Charles brings out the sketchpad with the finished drawing. Leave me alone with Aristede a few moments, says Petofi. Tate exits. Charles has a wonderful talent, says Petofi--imagine sketching a person you never laid eyes upon in his life. You're forgiving me, right? asks Aristede. I think it wrong to dispatch a man with a heavy conscience, says Petofi. Dispatch? asks Aristede, not understanding (or not wanting to). Petofi turns the sketch around and shows it to Aristede--do you recognize it? Garth Blackwood, says Aristede, terrified--what are you going to do with that? There's something you don't know about Charles, says Petofi--even I discovered it only by accident--he has the curious ability to draw portraits that come to life. Impossible, cries Aristede. I think it only fitting that you be reclaimed by the most relentless pursuer you've ever known, chortles Petofi--Garth Blackwood, and he shall take you with my blessings, my boy, he finishes coldly. You said you were willing to forgive me! protests Aristede
--you can't do this, you don't mean it, it's not possible, a picture can't come to life, it's a trick to scare me, and I'm scared--I said it, please stop it! Aristede hears the sound of a dragging wooden leg and chains. Stop him! he screams. "Goodbye, Aristede," grins Petofi. "I shall miss you!"
NOTES: So now we know how Aristede met Count Petofi--pretty interesting, huh? Does it surprise anyone that Aristede was in jail for murder? Petofi really is one cold SOB, bringing back Aristede's torturing jailer to get rid of him. I guess Petofi doesn't forgive any mistakes, at least not a big one like this. Aristede is a coward, really, and Petofi knows it. Will Blackwood kill Aristede? Or will the former prisoner defeat him and beat Petofi?
Love, Robin
