807 - Jonathan Frid does the intro, a rarity, and his wonderful, resonant voice washes over my senses.
Charity screams shrilly, covering her mouth, sobbing. What's the matter? asks Tate. Look at the portrait, says Charity, voice trembling. He does. When she looks again, she says, I don't understand. (The portrait looks like Quentin again, not the wolf.) I was admiring the painting, explains Charity--I saw the face begin to change--Quentin's face turned into that of an animal, a wolf, I think. Tate, thinking her crazy, offers her a drink. You don't believe me, says Charity. You THOUGHT you saw something, he says. I KNOW I did! she cries. That is a canvas, says Tate--there's an image on it, that of a man, and the only way it can change is if I do it with my brush and oils. He hands her a drink. I know you think me crazy, says Charity. A wolf howls. Charity looks suddenly terrified. Tate hears it, too. No, I don't think you're crazy, he says, I think you've been the victim of the power of suggestion--you heard the howling of that animal and thought you saw the portrait change. She objects--I didn't hear the howling before I saw the portrait change! Tears are running down her face, and Tate is holding her. I know you had a bad scare, he says, and I'm trying to find a way to ease your mind (he touches her shoulder). Perhaps I did imagine it, she says, but it seemed so real. I'm sorry I left you alone in the room, he says. I'm sorry for my behavior, says Charity--it isn't a pleasant way for us to become acquainted. She puts on her shawl. You needn't apologize, he assures her. I'll leave, says Charity--I'm sure you have plans for the evening. He insists on escorting her back to Collinwood. She accepts, grateful for this thoughtfulness. They leave.
Jamison looks around outside his cell. He sits on the bed, blowing out his cheeks, looks at the red candle, then smiles. He calls for Magda. What do you want? she asks. I needs some matches, he says--I want to light another candle. You can light one candle from the one that is burning, points out Magda. Oh, how stupid of me, he says. He does as she suggested. She starts to leave. I don't stay here, she says. Why not? he asks--are you troubled by what I said earlier? No, she says. Then stay and talk to me, he says. We have nothing to talk about, says Magda. You're a heartless creature, he accuses. I'M heartless? she demands. Well I'M only a little child, afraid of being in here alone, he says forlornly. I wish you were a little child again, she retorts. Magda, he asks, do I detect some warmth in your voice?--perhaps you aren't that heartless--perhaps we even have something in common. He takes the two candles in his gloved hands and says, excitedly, "A fascination with fire? Is that true, Magda?" She turns away. He asks her why. Look into the fire, he commands. "Count Petofi, I ain't stupid," she says, keeping her back turned--"You won't trick me!" And she walks away. "Oh, but Magda, I'm sorry," says Jamison, "because you're wrong--I'm going to get out of this cell, and you're gonna help me."
Aristede sits in Petofi's lair, reading a book. We can't see who it is at first, but Charles Tate comes downstairs. You shouldn't have come here, says Aristede--has something gone wrong? Whatever Count Petofi is involved in, things go wrong, says Tate, especially for me. You learned that a long time ago, says Aristede, why so upset now? Tate asks, is there a werewolf loose somewhere around? Why do you want to know? asks Aristede.
Tate explains, I'm doing a portrait in my studio--a young girl saw the portrait and noticed the face changed--I want no part of this--I don't even know why Petofi brought me here. "Yours is not to reason why, yours is but to do or die!" chants Aristede--"When your time comes!" At least tell me what I'm doing here, says Tate. A portrait of Quentin Collins, replies Aristede. I know that much, says Tate, I don't know why, what the point is. At times, says Aristede, you're a very ungrateful sort. Tate is annoyed--grateful? He asks. What were you? demands Aristede, before you had the great fortune to meet Count Petofi?--a miserable, struggling artist, without money, connections or very much talent--your future was a bit bleak, but now, you have all the money you want, travel in the highest social circles, you're in great demand--why?--because you have a great gift, given to you by Petofi. Yes, agrees Tate, but I've paid dearly for that gift. You haven't paid the price yet, asserts Aristede. I've paid prices you can't even imagine, says Tate. Whatever emotional suffering you've endured, says Aristede, is of absolutely no consequence--the only thing that matters is your soul! Tate chuckles over that. Believe me, says Aristede, you won't even miss it--how could you when you're gone? When am I going to be able to speak to Petofi himself? asks Tate. You spoke to him when you came to Collinwood the previous night, says Aristede. No, I spoke to a kid, corrects Tate. Aristede shouts, "A child possessed!" I know that, says Tate, but how long will Petofi keep up this possession?--when can I speak to him? What good would it do you now? demands Aristede--you entered into a contract with him, and can't worm your way out of it now. Tate accuses him of evading his question. I'm only telling you the facts, says Aristede. There's something you're keeping from me, accuses Tate--when can I speak to Petofi himself? I don't know, says Aristede--perhaps tomorrow, perhaps next week. Aristede smiles and adds, "Perhaps never!" Tate asks, what are you saying? You know how he gets when he possesses someone, Aristede reminds him--he goes into a state of suspended animation--he's done it often before, but this could be the last time. Why? asks Tate. When the hand was taken from him in 1797, he was given exactly 100 years to get it back, says Aristede, and if he did, he'd live forever. And if he didn't? asks Tate. He dies, replies Aristede--he only has a few weeks, and he's come so close so many times--he can't fail this time! Tate, smug, delighted, says, I hope he does fail, he's lived too long already, he's the embodiment of evil and thrives off the pain and sorrow of others, and I hope he dies a violent, violent death. Your sentiments come as no surprise to me, says Aristede, and can't even rouse me to anger, because I know something you don't--when Count Petofi's time is up, yours is up as well--think about that, advises Aristede, and maybe you'll pray for him to succeed--goodnight. I might surprise you, says Tate. "I said GOOD NIGHT, Charles!" repeats Aristede, needing to have the last word. He watches Tate go upstairs, shaking his head.
Jamison gazes at the two candles. "Let my voice be carried by the wind," he says, "through the forest, the one who's waited to hear its sound, hear me oh, Aristede, hear my voice and obey my command. Hear me, Aristede, you must!" Magda listens. Aristede, smoking a cheroot, lying down, sits up and listens, his face twisted with concern. He drops the cigar on the floor and looks upstairs, hesitant. He sits back down on the sofa, ill at ease, then hears Jamison's voice calling him, loud and clear. Yes, says Aristede, standing, yes, Excellency, I can hear your voice--tell me where you are and I will come to you."
Barnabas looks out the window at the Old House. Magda joins him and reveals that Jamison, in a trance, has summoned Aristede. Don't be upset, says Barnabas, what Petofi is doing now may be just what we want! What do you mean? asks Magda. If we are lucky, says Barnabas, Aristede will come and try to take the boy from us, but we will be waiting for him, and will lock him up with Jamison when he comes. What good would it do? asks Magda. It will force Petofi himself out into the open, says Barnabas--with no one to help him, he'll have to come here. That makes sense, agrees Magda, but I don't like it! You need all the courage you can muster for this task, says Barnabas.
I will, asks Magda, what does that mean--what about you? Look at the clock he says, it will be dawn within the hour, and I can't stay with you. Aristede is dangerous, she reminds him. Yes, says Barn, but you will have adequate protection. He hands her a gun. (Obviously forgetting the last time he gave one of the ladies a gun.)--Aristede has no supernatural powers, he's as human as you--when he comes, there will be no problem, and if it becomes necessary, you must kill him--keep him in the house, no matter what happens--it's the only way to get Petofi to come here, and only by confronting him will we be able to free Jamison. "Don't fail, Magda," says Barnabas, "his life will depend on it." I will do my best, she vows. He takes cloak and cane and leaves. She looks out the window, holding the gun in her hand, and hears Jamison calling urgently for help. She runs down into the basement.
Magda finds Jamison asking, is anyone out there?--can anyone hear me? She looks into the cell. Magda, he cries, how did you know I was here?--what am I doing here?--why am I being punished?--I don't like being locked up in here, he says plaintively--I didn't do anything wrong! He sees the gun and, backing away, asks, what are you going to do with me? I'm not going to hurt you, Magda assures him. He sits down on the bed and says, I think you are--I thought it was a bad dream, but now I know it isn't. He covers his face with his hands and sobs, "I want to go back to Collinwood, see my father, Aunt Judith and Quentin!"--I'm sorry for doing something wrong, I promise I won't do it again. "Poor child! croons Magda--the spirit is lifted and you are frightened and confused!" She retrieves the key and unlocks the cell, then puts down the gun and kneels, holding him, telling him, don't be afraid--everything will be all right, come into my arms, yes, yes, you will stop crying and I will tell you what happened and you will understand everything." She brushes a tear from his face, asking, are you still afraid? He lifts his head, which he had burrowed into her shoulder, and gives her a kiss. She looks at him. He says, "No, Magda, I'm not afraid anymore." She realizes she's been tricked. Very practical device, he says--and I'm sure an award-winning performance, wouldn't you say? What did you do to me? she asks fearfully. You should be feeling the effects now, he says. What did you do? she asks. Kissed you on the cheek, he says. I feel different, she says. You should feel VERY different, he promises. She sits down, caressing the cheek he kissed. Aristede enters the cell. "You're a little bit late," says Jamison, chuckling, but I have the situation firmly under control--Magda and Barnabas kept me prisoner. Aristede wants to dispose of Magda, who sits on the bed, staring straight ahead, right now. No, orders Jamison--don't be so crude, he cautions, we need her--she can be trusted now--she's seen the light--fascinating what a little kiss will do, isn't it? asks Jamison. Oh, I see, says Aristede, patting Magda's head, "Our gypsy friend is about to have her moment of truth." "I warned you that your time would come, Magda," says Jamison-- "It's coming now, you should see the horrible true self." Vacantly, Magda says, "I don't want to." "But you do," says Jamison, "and you're going to tell me all about it--I'm waiting, Magda." She says, "I am the cause of all the tragedy at Collinwood, all the pain and suffering and death, the unchaining of Barnabas, the death of Jenny, the curse on Quentin, the murder of my poor Sandor, and Julianka, I was the cause of it all. I must be punished for it, I must be punished!" No, says Jamison, nothing at all would come out of your being punished--"We're going to help you end this tragedy, you must do that, you know, don't you?" I do, she says, but what can I do?
You can begin by taking us to our most formidable enemy, Mr. Barnabas Collins--we know what he is, how he lives at night and sleeps during the day in his coffin. He moves her face, forcing her to look at him. "You were his ally, and he told you where his coffin is, didn't he?" Yes, she says. You must begin by taking us there, says Jamison, in the light of day. Aristede listens eagerly. Yes, I will take you, says Magda. Jamison orders Aristede, help the lady up. The three of them leave the cell.
NOTES: Another exceptional performance by Henesy. It's a pity this young man didn't love acting, his talent was amazing. I got the impression that Roger Davis was really struggling with his lines when he was speaking to Aristede, but perhaps I was mistaken.
I remember being really nervous about Barnabas at the end of this episode; he's so vulnerable, and chance were that Angelique wouldn't be there this time to save him. That Jamison was able to fool Magda was a neat ploy on his part, one Barnabas didn't anticipate. Besides, if Petofi exchanged bodies back with Jamison, the boy would be locked in the cell and Petofi would be completely free. Poor Magda, she wasn't responsible for ALL the tragedy at Collinwood, but like a domino effect, her cursing Quentin has had long-reaching repercussions. Now we know Tate and Petofi are linked, but why, and why would Petofi want a portrait done of Quentin? Stay tuned. This unravels in a fascinating manner.
807 - Old House - Aristede warns Magda--don't lead us to a place Barnabas is not. She won't, Jamison assures him. You're more trusting than I am, says Aristede--she's very clever. Not so, insists Jamison--if she were, she wouldn't have gotten herself into such a situation. You make me feel so bad, telling me everything is my fault, says Magda--IF Sandor hadn't gone to look for the jewels, if I hadn't sent him, Barnabas Collins would still be in his coffin. That's true, says Jamison. If you hadn't put on the curse, or stolen the hand, adds Aristede. But we must thank her for that, says Jamison, for it has given us a chance to get the hand, and we will give her a chance to atone for all her sins and end this horror--you'll be very grateful to me, won't you, Magda? "Jamison," says Magda sadly. This angers the boy--don't call me that, he commands--I don't call you by your wrong name, do I? Don't make me take you to Barnabas, please, begs Magda. She won't do it, Aristede comments. She knows she will, says Jamison--the will of Count Petofi is stronger than any man. Magda agrees to go now. Jamison takes her arm and warns--when we go to Barnabas' coffin, there will be no tricks at all. She agrees--it's too late for tricks. Aristede and Jamison exchange looks of satisfaction.
They trio enters Barnabas' lair, where his coffin sits. There it is, says Magda. She turns, intending to leave right away. You haven't been dismissed, says Aristede. Are you going to make me wait around to see what's going to happen? asks Magda. "A sensitive gypsy? A gypsy with a heart?" taunts Aristede. Barnabas is my friend, she says. As well as your enemy, says Aristede. Yes, but he doesn't deserve to die this way, she says. Aristede finds a wonderful stake (why would Barnabas leave such a thing lying around?) and already has a hammer ready. We will need some protection, says Aristede. (yes, I chuckled, I'm a naughty girl with bad thoughts.) Jamison assures him it's day now--Barnabas can't hurt you. Aristede reminds him, the vampire disappeared while I was looking at him--all I could hear was the sound of a bat flying around. That was in the night time, says Jamison, he is powerless in the day. How can we be sure? asks Aristede. Keep your stake, if you're so afraid, orders Jamison, but open the coffin. Magda starts to go. Jamison stops her--we aren't done with you yet, and we haven't seen what we came to see as of yet. Aristede opens the coffin--empty! Aristede swings Magda around to face him and demands, where is Barnabas Collins? He threatens her with the hammer. She looks inside the empty coffin. You had me fooled, says Jamison--I thought you were telling the truth. He left just before dawn to come here, protests Magda, I WAS telling the truth. Perhaps he stopped off on the way here, says Aristede sarcastically, but we know better than that, don't we, gypsy? I have no idea where he is, says Magda. He holds up the hammer, offering to refresh her memory, but she insists it will do no good. Perhaps you'll be surprised what you remember after I'm through with you, says Aristede. You won't do anything because I don't know anything, says Magda--I ain't lying. I'm sorry I didn't kill you tonight, says Aristede. "But I am not," says Jamison, closing the coffin--"She is telling the truth." Gypsies never do, insists Aristede. She doesn't know where he is, says Jamison. I'm sure it's a trap for us, says Aristede. I think Barnabas had a premonition of danger and followed his instincts, says Jamison--as we must now do. We must find him now, during the day, says Aristede. Not possible, says Jamison, asking Magda--no, our only chance is at night. They can't do anything to him then, points out Aristede. Yes, he will come to the gypsy, says Jamison, and tell her where his new hiding place is, and tomorrow, she can take us there--and she will, he says--I've become very interested in Barnabas, who has found a way to defeat death, which interests me very much--should interest all of us--somewhere, in his house, there's information about him that we can use.
Later - Old House - Aristede carries downstairs carrying papers and diaries, dropping a few along the way, complaining--what do we care what he lived like as a man, what good does it do us to know facts about him? You forget, Aristede, says Jamison, closing the secret book case, that my body lies useless to me. I haven't forgotten, says Aristede. And what will your life be like without me? demands Jamison--I will die soon, or perhaps...perhaps that isn't necessary!--somewhere in this house, there is something that can help me, I know that. We've looked everywhere, says Aristede. His books! cries Jamison. Aristede, pointing to the complete works of Shakespeare, counters: are we so vitally interested in his taste--does that tell you what you want to know? Aristede then points out the family history. Jamison eagerly grabs it. What a fantastic idea, if whoever told it said the truth, exults Jamison (strike one)--look at the date!--1965!
That's impossible, says Aristede, how can it be? Nearly 70 years away, muses Jamison--Aristede, he says, this is exactly what they were meant to find!
They sit on the purple thing, perusing the family history. How could a book be published in 1965 when it's 1897? asks Aristede. We'll have to find out, says Jamison. Look at the clothes the people are wearing, remarks Aristede. Jamison, smiling, says, you WOULD notice that. No one would go through all this trouble just for a joke, says Aristede. Jamison agrees. Books can't fly back through the year, anymore than people can, says Aristede. Obviously, someone has, says Jamison, and we'll have to learn who, and quickly--go get Magda--I, Petofi, could escape, be in another century!--I would live forever!--get Magda quickly, we have much to this morning--I must see Quentin and see where the wolf led him--be quick about it, Aristede. Jamison looks through the book.
Charity lies in bed, dreaming. "Quentin," she calls. Charity, he calls back. She rises from bed, hearing him repeat her name over and over. A wolf howls, scaring her. She calls Quentin again--where are you? She hears his music and begins to sway, smiling. We see Quentin's portrait and find Jamison standing in front of it, waving an artist's brush at it. He holds a palette in the other hand. "Jamison Collins, what are you doing?" asks Charity. The likeness is not yet perfect, says Jamison, there's an animal quality I can't quite catch. Animal quality? she repeats--have you seen it? she asks. Oh, yes, he says. Did the picture change for you, too? She asks, I was looking at the portrait and suddenly saw the face of a wolf. Jamison bursts into hysterical peals of laughter. Have you seen it, too? she asks. His laughter stops abruptly. He's lost, he tells Charity, he's a poor, lost soul. No, he simply needs. . . she begins. What does he need? he asks her. I won't tell you, she says--you'll laugh at me. I won't, he says, I know what he needs--love!--but he's hiding from you. He isn't hiding, says Charity, I hear his music. She calls to him. "He's hiding from you because he needs you so!" says Jamison. She looks at the portrait. Yes, says Jamison, perhaps you can save him. From what? she asks. Jamison simply cackles with laughter. The wolf howls. It's very close, frets Charity--the wolf if so close!--Jamison, I'm so afraid. She turns. Jamison is gone, replaced by Quentin. I've been looking for you, she says. You've found me, he says, grinning. Yes, she agrees. Here I am, he says, looking at his portrait, for all to see--sometimes I think that face is more real than my own. That isn't true, she says. Do you know the truth? he asks. I want to, very much, she assures him. No, you don't, he says, you must not ever know--why must you always insist on talking about it--can't you be happy, gay?--don't you want to make me feel good? Yes, I do! she says eagerly. Sing, and make me stop thinking, please, he begs. Oh yes, she cries, then stands onstage in front of sparkling curtains and sings "I'm Gonna Dance For You," to a fast version of the song. The music stops, Quentin disappears and Charity hears laughter. She finds Quentin in the woods, holding in his arms a brunette woman in a blue dress. You made me feel better, says Quentin--now you may go back to the house.
Who is she? demands Charity. What does it matter, he asks. It DOES! she says petulantly. Why? he asks. Because it just does, she insists. The woman is suddenly gone. Quentin accuses Charity of making it happen and, angry, walks into darkness. Forget him, Magda advises Charity. "I can't," she says. You've got to, says Magda, because you know his secret, why he acts like he does. Tell me, begs Charity. Magda laughs and refuses. "If I'm so important to him, why won't you tell me?" demands Charity. Magda doesn't respond, she just goes off, laughing. Charity, upset, sees the woman Quentin was holding in his arms, laughing. Stay away from Quentin, warns Charity--do you understand? The woman won't answer, and continues to laugh. Quentin stands, also laughing at her. She asks why he's treating me this way, says Charity, but he walks past her and takes the other woman in his arms and kisses her. "I hate you!" says Charity, over and over, and awakens in her bed. Magda will know what it means, she says, she'll tell me.
Aristede hustles Magda back into the Old House drawing room. We need you again, gypsy, says Jamison--oh, so she knows of the book. Don't bother lying, advises Aristede.
Simply tell us two things, says Jamison--who brought this book to our time--and why. I never saw the book before, says Magda. When you lie to him, you lie to Count Petofi, warns Aristede--you heard of his powers--hasn't anyone in your tribe told you about the mysterious shadow he can cast, the shadow that isn't your own that follows you?--you've heard of that, haven't you, gypsy? Yes, she says. Then answer his questions! Commands Aristede. Barnabas knew about the book, explains Magda--a girl named Vicki brought it from his own time. From 1969,says Jamison. Both men are stunned. I don't understand it, either, says Magda, but that's what Barnabas claims--and when he gets everything done that he came here to do, he'll go back there, she adds. He will? asks Jamison--why did he come here? I don't exactly know, says Magda--it had to do with a sick child dying in 1969--that's all I know. How did he do it? asks Jamison. I don't know, never asked, she says, crossing herself--some things are better not to ask or know. I think she's lying to us, says Aristede--she knows! She doesn't, says Jamison, but we will find out from Barnabas himself. Magda tries to excuse herself. Jamison insists, I have more questions for you before I get down to reading what I'm sure will be a very interesting book--have no fear, he says, they are simple questions--who else knows this about Barnabas? No one, she says. He came alone, with no help? asks Jamison. Yes, says Magda. I know exactly what we must do, says Jamison--convince Barnabas it's much more pleasant to travel with a companion. He smiles slightly.
In the woods, Quentin lies on the ground, moaning, chest exposed (yowsah!) Charity finds him. "Quentin!" she cries. She kneels beside him--what happened? she begs, then stands--I must get help. She spots the woman from her dream, lying close by, her face and dress covered with blood.
The woman, too, calls out, "Quentin!", horrifying Charity.
NOTES: The woman from Charity's dream, and from real life, is one of Quentin's victims. How did Charity happen to have that odd dream about her--was it sent by a higher power, or even by Petofi? Charity has decided she wants Quentin, but given all the evidence she's finding (she knows Q is a womanizer, at best), why would she want someone with all that baggage?
What is Jamison/Petofi planning for Barnabas---to ride his coattails to the future? Does Petofi feel he can escape his fate that way? Doesn't he still need his magical hand back?
Poor Magda--what's in store for her? She's lost so much, and stands to lose even more, perhaps her very own life. I always feel sorry for her, as much because she is so ill-used as because fate is so unkind to her.
Aristede is a fun character, isn't he? All he wants is to maim and torture, stake and threaten.
Love, Robin
