817 - Jamison continues to call Quentin in a lost little voice. He's calling to you from the 20th century, says Petofi, so there must be a Quentin in that time. Quentin doesn't know whether there is or not, he did seem to recognize me. Petofi wants to know more about that other Quentin Collins--ask him. I can't, says Q--he's sleeping again; he looks so weak and far away. There must be a way to make you save him, says Q desperately; surely you want something from us. (AH HA!) Yes, there is, says Petofi, but only your Cousin Barnabas can give it to me. Barnabas will give you whatever you want, Quentin assures him; he won't allow the boy to die.
Are you sure of that? asks Petofi. As sure as I am of anything in this world, says Q. I am going to give you a chance to test your unwavering faith in your cousin--you can ask him yourself if he's willing to save Jamison's life--convince him it's the only way. Quentin looks puzzled--where is Barnabas? he asks. In his coffin, says Petofi. It's after dark, points out Q. So it is, says Petofi, come with me, I assure you, Jamison will be quite all right alone--he will live--at least until our business is finished. He leads Quentin into the room where the chained coffin rests. "Behold the elusive Barnabas Collins!" says Petofi. "What have you done to him?" demands Q, turning around to grab Petofi, balling his fist. "WHAT HAVE YOU DONE TO HIM?" Quentin shouts, eyes blazing with fury. Chained him up and brought him here, says Petofi--it wasn't difficult, once I put my mind to it. The difficulty now, says Petofi, is waiting for anger to turn to desperation, desperation to despair, despair to hopelessness, then I will let him out--if he gives me what I want. What do you want? asks Quentin. Barnabas will tell you that, says Petofi, he's quite able to speak (which surprises Quentin). Oh, sure, Barnabas is fine, says Petofi--he can do anything--except get out of that coffin. (Poor Barnabas!!!) "Because you have him locked in chains," says Quentin. When you remove the chains, says Petofi, you'll find he's still unable to move. "When *I* remove the chains?" asks Quentin. Yes, says Petofi, I want the two of you to have a good talk, and you to be at your most convincing when you tell Barnabas Jamison is dying. He hands Quentin a key--start removing the chains, says Petofi. Quentin opens the first of the padlocks. When he finishes with the others, he opens the coffin as Petofi stares at him. Quentin finds it hard to do this. When he beholds Barnabas lying in the coffin, a cross sitting on his chest, eyes filled with helplessness, all he can mutter is a sympathetic, "Barnabas..." What a touching reunion, taunts Petofi--I feel like an intruder on this touching little scene--why don't I leave the room? This offer surprises Quentin. Petofi warns him-- unconventional as it looks, this IS a prison--abide by existing rules--you may talk to your cousin, but not touch him, especially the cross on his breast if you wish him to remain "healthy." Tell him about Jamison, advises Petofi, and I'll be in the next room if you have good news for me--Barnabas will be able to speak as soon as I leave. Petofi closes the door behind him. Barnabas instantly calls to Quentin, asking if Jamison is alive. Yes, says Quentin. Thank heavens, says Barnabas. Don't give thanks yet, advises Q, he's worse off now than before--he's been possessed by David Collins. Barnabas raises his head, stunned, perplexed.
Petofi holds his right hand over Jamison's head, commanding, David, open your eyes. The boy awakens and asks, who are you? A friend, replies Petofi. Where's Quentin? asks the boy. I'll find him for you, Petofi offers, if you tell me what he's like... Jamison says, he's got dark hair, blue eyes, and he's tall, very tall--I'm so sleepy, I'm going to sleep until Quentin comes. Sleep, urges Petofi, you've earned your sleep.
When it was apparent that Jamison was possessed by David Collins, says Quentin, I tried to find you; when I couldn't, I brought him here--Petofi said he'd cure him--for a price, a price only you could give--I told Petofi you would give him anything if he'd save Jamison. But you're wrong, says Barnabas, I can't give him what he wants. Quentin leans down. Perhaps I'm not making myself clear enough, says Quentin--Jamison is dying in the next room--what could be more important than that? "He wants me to take him to the future," reveals Barnabas, "to my own time, immediately." And won't you do that, even to save Jamison's life? begs Quentin. In his time, says Barnabas, there are many terrible questions--I came here because somewhere here there are answers; I haven't been able to find any of them, not yet. "But you do know that they are more important than Jamison's life?" asks Quentin. Nothing is more important than that, says Barnabas, if he dies, the Collins line in the future will never have existed--I know that and so does Petofi, so in spite of his threats, he's going to try to keep Jamison alive. "Then David Collins does exist in your time," says Quentin. "Yes," says Barnabas. "How very odd," says Q, "your David Collins seems to know me. How could that be possible?" Evading that loaded question, Barnabas reminds him, it won't be long before Petofi returns, and when he does, take the cross from my chest. Can I, without hurting you? asks Q. You must try, says Barnabas. I'm afraid for you, protests Quentin. Do it, orders Barn, immediately, quickly. Quentin reaches for the cross, but is unable to move his hand close enough. Petofi, in the other room, is clearly causing this to happen. Barnabas asks what's the matter. I don't know, says Quentin--I can't move my hand any further. Of course you can't, says Barnabas--he wouldn't have let you stay here if there was any chance you'd help me escape. Quentin balls the hand into a fist, frustrated, in pain. Barnabas says, it isn't going to be easy to get rid of him, not at all. Quentin asks, suppose it's impossible?--suppose you can't get out of here unless you give him what he wants?--that's a possibility you must face. When I told Petofi I can't take him to the future, I was being more precise than I realized--I cannot take him, the truth is, I don't know the way back--I can't even take MYSELF! There has to be a way to get you out of here, Petofi or no Petofi, says Quentin. "There just may be," says Barnabas, "come closer." Quentin kneels and listens carefully. Petofi touches his ear and apparently listens in, too. Barnabas tells Q, they must go to sleep sometime; go now, take Jamison with you, come back later tonight. Petofi touches his left ear with his right hand;
suddenly, Quentin can't hear Barnabas any longer. I can't hear you, Quentin tells Barnabas. Petofi comes in--"Quentin, right or wrong--you said he'd do anything to save the boy." He claims he can't take you back to the future with him, says Q. He came here, insists Petofi, he could take us both back. I believe Barnabas is lying, says Petofi, and am no longer interested in either Quentin or the boy--get him out of here, demands Petofi, get out, and don't try to come back, or you will regret it very, very much! He opens the door. Quentin leaves. Petofi is laughing as he closes Barnabas' coffin, imprisoning him once more.
Collinwood - Beth closes the window in Jamison's room. He lies in bed. She straightens his covers. He stirs, asking for Quentin. He'll be back in a minute, she says. "Beth," he murmurs. "You know me," she says. Of course, says Jamison. You aren't delirious anymore, notes Beth-- Quentin will be so happy. Does it hurt when you die? Jamison asks. This upsets Beth, who urges, don't go on about that--you'll get well. You promised to answer anything, he reminds her. I can't answer your question, she says, how could I--I never died. Yes you have, he says, Quentin says you killed yourself.
This unnerves Beth--he couldn't have said that, you must have dreamed it. Quentin told me you killed yourself--why did you do it? asks Jamison--why? Her forehead furrowed, Beth doesn't know how to answer him.
Petofi stands over Barnabas' closed coffin, reminding him, you're still locked in there--and there's no way to get out unless you take me to the future with you--I mean it, no other way! Inside the coffin, Barnabas lies in darkness, silently telling Petofi there is another way--and I shall soon find out what it is! "Beth!" he calls. "Beth Chavez. I need you. Come to me!"
Beth, standing in Jamison's room, hears the summons. Quentin enters the room and touches her shoulder. She turns to look at him. He asks what's happening to her. How could you have told Jamison such terrible things about me? she asks--you told him I committed suicide. Quentin denies saying it. He says you told him, she insists. Jamison's been so sick, he reminds her. He knew me, she says shakily--he called me Beth, and then he said I died! Quentin looks suddenly Uncomfortable. What's wrong? she asks. He looks as if he saw something terrible in her face. She puts her hands on his chest and says, I'm frightened, I feel as if something terrible is closing in on us--hold me close, she begs, never let me go!
Barnabas continues to call to Beth to come to him--I'm in danger from my enemy, he says.
Beth raises her head from Quentin's shoulder. We should just hold each other very quietly, he says. "Quentin, I must go," she insists, starting to walk away. Where? he asks, stopping her. I must go, now, she repeats. Wait! he calls. Jamison says his name; Quentin sits on his bed. Why is it so dark? asks Jamison. Quentin turns on the lights. Jamison continues to ask why it's so dark, it frightens me! It's all right, Quentin assures him, covering him up--go back to sleep. "The way you look frightens me," says Q to himself, "Barnabas says Petofi won't let you die, I wish I were so sure. Barnabas summoned her," realizes Quentin.
Barnabas lies in the coffin, still calling to Beth, who is working on the chains holding him prisoner. Remove the chains, orders Barnabas--open the coffin, remove the cross--save me from Petofi! She's trying, working diligently, but Petofi catches her. "Such frantic activity," he says, "what a pity it is all to no purpose!" "You chained him!" she accuses. "As he shall remain chained," proclaims Petofi. She pulls out a gun and says, "I'm getting him out of here!" He warns her--you will regret it if you do, as you will regret nothing else in your life--would you like to know why? Yes, she says, tell me. I'll do better, I'll show you, he promises--come along. She drops the gun to her side, but says, I'm not going with you, you're Barnabas' enemy. No, says Petofi, Barnabas is your enemy and executioner (he easily take the gun from her hand), "Aren't you curious to see your own death?" My own death? she asks. A privilege offered to very few people, he reminds her, but I'm offering it to you. She precedes him into the other room, leaving only one chain undone. Don't go with him, don't listen to him, don't watch what he shows you, commands Barnabas' voice--it's lies, all lies! Petofi shows her what will happen if she sets Barnabas free. He opens the magic cupboard and reveals a bat hovering outside a window, red candles, and Beth standing and watching as Barnabas turns into a man. He comes toward her, brushes her hair away from her neck, and bites into her throat. She falls to the floor, unconscious.
What happened? asks Beth. Because of your devotion to Barnabas, says Petofi, you have just died! In the vision, Barnabas stands looking at Beth's corpse, fangs bared. Died? asks Beth--I don't believe it--it's some kind of trick. There is more, says Petofi. Beth rises from the floor and stands, looking at Barnabas. Her neck drips blood; she opens her mouth to reveal two very sharp fangs!
Beth screams at this vision, sobbing, it can't happen that way! Yes, agrees Petofi, It will unless you do exactly as I say--go to him. She walks slowly toward the adjoining room. This is the very last time that you will go to him, promises Petofi. But I must go to him whenever he calls me, protests Beth--he is my master! He WAS your master, says Petofi, but no longer--turn your back on him, or you will die and spend eternity as a vampire. Miserably, Beth turns her back and leaves the room. Petofi touches Barnabas' coffin and says, "She came to you because you were strong, she left you because I was stronger--surely you must realize now you have no choice, Mr. Collins, there is no one left to help you. You must take me with you into the future!"
NOTES: Back then, it hurt me to see Barnabas lying there, all squooshed up, impotent in all the ways that counted, and to see Quentin's own impotence at being unable to help him. Petofi lied to Beth, because Barnabas would not have turned her into a vampire. Quentin so obviously loves Jamison, it's hard to watch him trying so desperately to save him--and I hate Petofi for so many reasons, I don't have time to list all of them! I wish him death, slowly, painfully, and soon! That's great acting on the part of Thayer David!
818 - Petofi opens Barnabas' coffin and triumphantly informs him--because there is no one left to help you, you must take me to the future.
Cottage - Tate works on Quentin's portrait, painting away, thinking--this portrait has captured Quentin's heart, mind and soul--it IS Quentin Collins, and once it's finished....suppose it was never finished, what if I destroy it now, take my palette knife and rip it to . . . He takes the knife and is about to destroy the painting when Petofi lets himself in and stops him. Why so startled, he asks Tate, I've always been interested in your work? Aristede told me that you were sick, says Tate. That's a pallid way to describe my recent state of health, says Petofi; I was dying, but I have recovered, more than my health, but every power I once possessed. He holds out his bare, beringed, restored hand to Charles, who calls it amazing. More than that, says Petofi--would you like a demonstration? No, says Tate. You'll get one anyway, Petofi assures him, if you go on thinking what you were thinking when I came in--you won't destroy the picture--both you and Quentin would suffer if you destroyed it. Tate mutters, I have a feeling Quentin will begin to suffer the moment that painting is finished. Inaccurate feeling, Petofi says, annoyed--I find it remarkable that one with your lack of perception should have become so successful in such a sensitive profession. He hits his head on the lamp, then picks up and begins to examine some brushes. Tate tells Petofi, someone came here and saw the face in the portrait change and an animal's face take it's place. Petofi takes one of the brushes in his hand, commenting on how dirty they are--I wonder how you manage to paint them at all. Seeing that Petofi is about to add to the painting, Tate demands, what are you going to do? "Help you," says Petofi, applying some brush strokes, or have you become so sure of yourself that you refuse help, your head turned by too much praise from too many critics?--history records stories of artists who talent came suddenly--and disappeared just as quickly. (Sounds like a warning to me.) Tate looks uncomfortable. They ended badly, continues Tate, bemoaning the fate that brought them from success to failure--you wouldn't like that, would you?--you wouldn't want it known that you are a third-rate hack, would you? He grabs Tate around the throat
--give me an answer to my question. Take away the hand, Tate begs. Petofi asks again--do you want that to happen? No, Charles says hastily. Petofi releases him. Then keep on behaving like a good chap, advises Petofi, giving him a couple of friendly pats on the cheek. He pushes a brush into Tate's hand, reminding him, your job is to paint, as long and as well as you can. He looks at the painting and Charles looks back at him...
Beth returns home, clearly upset and exhausted. She gazes at the portrait of Barnabas on the wall and grows even more upset. Quentin exits the double doors of the drawing room and demands she come in. She looks as if she's about to be executed. Quentin closes the doors. She asks how Jamison is. Sleeping since you left, says Q. She sits down, dejected. He asks, did you go see Barnabas--don't lie, I know you did, but you couldn't help him--I know all about the chained coffin, he says--I couldn't do anything more against Petofi than you could, but there has to be a way to free Barnabas. Harshly, Beth says, I WANT Barnabas to stay chained there forever, and he will if he waits for me to come to him again--I'll never go again. Quentin sits down with her--you never could have made this decision by yourself, he says--Petofi must have helped you make it--how? He showed me the future, says Beth, MY future, and when I saw what would eventually happened to me, saw myself rising from the dead, with those fangs, I knew I'd never listen to Barnabas again. How do you know that Petofi showed you the real future? asks Quentin.
It will all happen if I don't get away from Barnabas, says Beth--let's leave Collinwood, with all its evil, anguish and sorrow--the two of us, and your little daughter--we should get away from this place. She's already away from here, says Q evasively, and adds darkly, she's going to remain with Mrs. Fillmore. Collinwood casts a long shadow, warns Beth, it will get her if we don't take her away from here! And become what? asks Quentin, a pretty little family? We can try, she says. And what will we do? he asks sarcastically. Anything we want, says Beth. I know you like to travel, he says, smiling, all right, all three of them will try it, Paris, Berlin, Rome, would she like that?--"And when the night comes, we can all look up at the sky and watch the moon!--you can see the moon all over the earth, you know." Her gleeful smile fades. Here at least, he says, there's a hope for ending the curse. Beth disagrees--there is nothing here for us but despair, and death, and I'm afraid of death. She runs from the room. He tries to follow her, touch her, but she turns away from him, sobbing. "All right, dry your own tears!" he says, annoyed, I've got other things to do. "Quentin!" Beth cries. Charity stands up on the landing, watching. Beth bursts into tears and starts climbing the stairs. Don't go, says Charity, I must speak to you. What about? asks Beth. You and Quentin, replies Charity, and you must listen--her life might depend on it.
Charity closes the double doors, telling Beth her quarrel with Quentin is a blessing in disguise--I heard the two of you. Just what did you hear? asks Beth. You're a clever girl, says Charity, you'll find someone else--Quentin Collins isn't for you--I knows so, and not because you work here and he's a Collins--most would say you aren't good enough for Quentin, but I know better--he isn't good enough for you. He's wild and irresponsible, selfish, and even cruel sometimes, says Beth, but I know all that about him. You don't know the really terrible thing about him, do you? asks Charity--just stay away from him! What terrible thing? asks Beth. You'll pay with your life if you don't keep away from him, says Charity--maybe I'm saying he's a murderer, maybe I'm saying much worse, at least a murderer is a human being, but... What? Demands Beth. Just stay away from Quentin, cries Charity. Why, demands Beth?--because you're implying terrible things about him--or because you're in love with him yourself? Charity denies it. I've seen the way you peek behind closed doors at him, accuses Beth, staring across rooms with that wide-eyed lovesick little girl look.
Charity admits, I did find him handsome, once. And maybe you still do, suggests Beth. No, says Charity, when I see him now, I see another face, ugly, cruel animal. Too many things have happened here at Collinwood, says Beth--don't spread malicious rumors you will regret. Perhaps they aren't just rumors, says Charity softly. Of course they are, says Beth, I know Quentin very well. Not as well as you think you do, says Charity--"Leave Quentin alone!"
Tate paints while Petofi glances through a small booklet--I always admire your work, says the Count--these are superb--you have an embarrassing amount of talent. Petofi looks at the painting--he thinks it's finished. Tate objects--I have more work to do on it. No need, says Petofi. Charles is insistent. Very well, work, says Petofi, quickly, work! There's a knock at the door. Tate isn't expecting anyone--I won't answer if you don't want me to. Of course you must answer, says Petofi--I'll wait in the next room. Tate answers the door. It's Charity. He invites her in. You took a while answering, she says, staring at Quentin's painting. I was just absorbed in my work, he says--look at that, it's almost finished. So I see, says Charity. How do you like it, considering I'll soon be painting a portrait of you? he asks. Looking a trifle ill, she says, I don't want you to paint my portrait--I changed my mind. Why? he asks. She walks away from him. What do you think of Quentin's portrait? He asks again--I guess you don't think me much of a painter, do you? She turns to face him and says, I think you paint TOO well, and I fear when you paint me, I will find some horrible secret, just as I did in Quentin. Is there really a horrible secret there? he asks. Not now, but there was, she says, when the face of Quentin turned into that of a wolf! Taking her face between his hands, he says, I thought I convinced you that had been your imagination. Yes, then, she says, but I didn't know then what I do now--the reason the portrait changed. What is that? asks Tate. She turns again to face him--if I thought I could convince you to believe me...perhaps I should tell you--I must tell someone or go mad! she cries hysterically. Petofi listens in the other room. Not right now, Father is expecting me at home, she tells Tate--stay away from Quentin Collins, he isn't good for you, or for anyone else--on nights when the moon is full, stay inside, warns Charity, and keep your doors locked. Tate doesn't understand. Just do it! she begs, and leaves Tate standing there, puzzled. Petofi comes out of the room. "So that's it," says Tate--"I knew the moment that portrait changed that Quentin had some vile secret--that portrait actually did change." "And now you think you know what his secret is, says Petofi. Yes, says Tate, he's a werewolf, isn't he? Yes, admits Petofi, the unfortunate young man is afflicted with that terrible curse. What does his portrait have to do with this? demands Tate. My plans for Quentin are peculiarly my own, says Petofi, and none of your business. You forgot I'm the one painting that portrait, Tate reminds him. And YOU forgot I'm the one who allowed you to, says Petofi--you must always remember that, my dear Charles--that young lady was very agitated, she could think of nothing else, talk of nothing else, fortunately, she talked only to you, but I must deal with her immediately. What do you mean? asks Tate. Do you remember the story of Echo, a nymph that talked too much? asks Petofi--she made the gods angry and they were forced to deal with her--much to her eternal sorrow...
Charles puts the finishing touches on Quentin's portrait while Quentin, deep in though, listens to his music in the Collinwood drawing room. He answers a knock at the door, walking slowly, reluctantly, to find Petofi there. Quentin isn't glad to see him, but Petofi humorously says, I'm sure Edward would warmly greet me, seeing as how I have such a good recommendation from the Earl of Hampshire and all. "My brother Edward is a madman," says Quentin nastily, "thanks to you--Jamison is possessed and perhaps dying." Stop worrying about your family, urges Petofi (what a bastard!)--they may all still recover at the proper time. And Barnabas, asks Q--will he recover his freedom? Petofi gazes at Barnabas' portrait and says, Barnabas and I have a matter between us that only we can settle--and settle it we will--as to my reason for coming, I have come to save you. Why should I believe that, along with your other lies? demands Q--"Mr. Fenn-Gibbons." Petofi admits, I often lie, true, but tonight I'm telling the truth--like you. "But not enough to end my curse--if you can," says Quentin. I can, Petofi assures him, walking into the drawing room and standing next to the gramophone--your taste in music is so melancholy, for a young man with the whole world before him, but perhaps you were brooding about the fact that your cousin Barnabas can no longer help you.
Why? asks Quentin. I can, and will, Petofi swears--again at the proper time. What god do you swear on? Asks Quentin. Petofi responds, "I have but one, and his name is Petofi!"--you're in grave danger from Charity Trask, showing her her father's confession didn't silence her. I know, says Quentin--she talked to Beth. She also talked to Charles Tate, reveals Petofi. "WHAT?" asks Quentin. I will deal with Charity, Petofi assures him. Who will deal with Charles Tate? asks Q. There's no reason to worry about him, says Petofi--because I say so--if there is any danger, I will deal with it; I'm determined nothing will happen to you. Why? asks Q. Because there is no longer any question in his mind, says Petofi, you are a part of the future, the ghost of David Collins knows you well--something impossible has happened--perhaps together, we will find out why. Charity comes in and launches an immediate verbal attack on Petofi--"You! I knew I heard your voice!" I'm delighted to see you, says Petofi. Don't be polite to me, she orders--get out immediately or I will summon my father. I don't think you will summon your father or anyone else, he says, amused. "How dare you?" she cries. Are you enjoying your stay at Collinwood, asks Petofi, or do you find the responsibilities too heavy for your fragile shoulders--have I guessed right?--"Oh dear, you can't tell me, you've lost your voice," he says--I can help you--I'm said to have a very healing touch. He touches her throat with his hideously deformed hand as she silently cries out...
NOTES: Is it time for Charity's moment of truth? Will she turn back into Pansy?
Why, I wonder, does Petofi like Quentin so much? Is it because he's the only one to face his own truths, or because Quentin seems like a young Petofi to him?
What do you think of this Tate role for Roger Davis? Kind of bland, huh? Weird to see him playing another role in the same storyline--and no mention of his resembling Dirk!
Interesting little cat fight between Beth and Charity. They both love him, and both know the truth about him--but Beth can forgive and stand by him, while Charity cannot--even though her own father is a deliberate murderer!
Wouldn't today's shrink have a grand time with these ladies on the couch?
Love, Robin
