830 - Charity wanders the woods, bewailing what she and Quentin are going to do with so little time--we must do something. A hand drops on her shoulder; it's Magda, who gently asks, what are you doing here alone? Help me, she begs Magda, it's Quentin! What about him? asks Magda anxiously. It's only 12 days until the day of his death--the 12th day of September, sobs Charity.
Charity cries into her hands. How dod you find out about Quentin? Magda asks. She saw it in a vision, says Charity--I wish it would be me instead of Quentin--I wish I didn't have this awful power; it's made me so miserable!--I always have bad visions of death and destruction. What else did you see? asks Magda. Nothing, only Quentin lying on the floor in the tower room, all bloody---oh, it was awful! cries Charity. Magda leads her back to Collinwood, Charity crying all the way.
3:40 - Quentin drinks in Collinwood's drawing room. Trask returns home. Quentin asks how things are with Judith. She's improved considerably, says Trask. Put some arsenic in her tea next time you go to visit her, suggests Quentin. (Nah, he poisoned the other wife, might look too suspicious.) Trask accuses him of drinking. Just one, says Q, want some? No, I don't approve of intoxicating beverages, says Trask; I would prefer they are forbidden in this house. (as IF!) I thought you'd want to help me celebrate the return of Edward and Jamison, says Q. Trask isn't happy to hear this. They have both recovered? he asks. Completely, says Quentin. I'm glad to hear it, says Trask. "So glad you could cry," says Quentin, laughter in his eyes. I prayed for their recovery everyday, insists Trask. You prayed for them to drop dead, and they disappointed you, says Quentin--you aren't going to be master of Collinwood, Trask, and I think that calls for a second drink. Trask asks where Edward is. He went out late this afternoon, answers Q. And Jamison? queries Trask. Stay away from him, warns Quentin. I merely wants to talk to the boy, says Trask. "But he doesn't want to talk to you," says Quentin menacingly. Charity and Magda enters. What happened to my daughter? asks Trask. Charity races into Quentin's arms--Quentin, darling! Quentin unwraps her from around his person. I must speak to you, Magda tells Trask. Control yourself! Trask orders his daughter. Take your filthy hands off me! she orders--and stop calling me by that stupid name. She runs into the servants' quarters. Quentin advises Trask, take Charity with you next time you go to the sanitarium--and leave her there. He runs upstairs. Magda tells Trask, Charity was wandering alone in the woods. Twisting his hands together, Trask wonders why Charity hasn't recovered as Edward and Jamison did. Perhaps Quentin is right, says Magda--you should take her to the sanitarium. My daughter isn't mad, insists Trask angrily, just possessed by an evil spirit! What will you do about it? queries Magida. I'll be guided by what the Almighty decides, answers Trask--when it's time for her to recover, the demon will leave her, and she'll be herself again. And what if she kills somebody in the meantime? asks Magda--she tried before. There's no proof she tried to kill Beth, says Trask-- Charity is incapable of killing anyone. No, Charity isn't, says Magda, but this one is, she's crazy, do you know what she told me when we were returning to the house?--that Quentin is in love with her!--ain't that crazy? No, says Charity, re-entering the room, Quentin DOES love me, and neither of you is going to keep me away from him--or that harpy he thinks he's gonna marry--I lost one love in this house when Carl died, I ain't going to lose another one. She gets in Trask's face, warning, I'll kill the next person who tries to get between me and Quentin--"You just think about that, guv'nor," she warns her father. Magda confidentially tells Trask, I don't know about you, but I believe her. I do, too, admits Trask--what will I do?--I don't know--perhaps I should place her temporarily in the sanitarium. "Ohhh, and who's gonna take me there?" demands Charity from the top of the stairs--"you, maybe?--over my dead body, Luv! OVER MY DEAD BODY!" Trask eyes her warily. Magda looks helpless--and hopeless.
7:55 - We hear Charity's music, sweetly playing from the gramophone. She lies in bed, listening to it. Do you like it? she asks Magda. I only likes gypsy music, answers magda. You've got to listen whether you like it or not, says Charity. All right, concedes Magda. Charity asks, how much longer is he going to have you keep watch over me? Magda denies she's doing this--he wants to be sure you stay calm, answers the gypsy. I will, says Charity, as long as no one interferes with me.
Trask sits down in the drawing room, from which he can clearly hear Pansy's music upstairs. Quentin comes in--where is Magda? Upstairs with Charity, says Trask--I asked Magda to stay with her. You could have told me that before I left the house, complains Q. I didn't know you were looking for her, says Trask--I want to talk to you. I don't have time, insists Q. Make time! orders Trask--I want to settle the matter between you and my daughter--this disgusting infatuation she has for you. Talk to her about that, suggests Q. I want to know your intentions regarding my daughter, says Trask. "My intentions? I don't have any!" says Q. You have led her to believe you have, says Trask. "That's a lie!" says Q.
I'm not a fool, says Trask, I saw the way she threw herself at you, and a young lady doesn't behave that way unless she's been encouraged, somehow, by the man. Listen to me, says Q, Charity isn't MY problem, she's YOURS!--I'm not responsible for what happened to Charity and don't want to be blamed for it! Now if you'll excuse me. Magda stands at the top of the steps and tells "Mr. Trask"--Charity wants to see you, asked to speak to you right away. Trask heads upstairs immediately. Magda asks Q, what's wrong with you? Come into the drawing room, he urges, closing the doors when she joins him. We have to think of something to do--there's going to be another full moon tonight, and I can't live through it again, I just can't, insists Q. We have tried everything, nothing worked, she reminds him--there's only one person who might be able to help you--Petofi. I hate talking to that man, protests Quentin. You "ain't" in no position to make choices, says Magda. I had a dream last night, he says--saw Tessie Kincaid, what she looked like after she'd been attacked. Stop torturing yourself, she begs, go to Petofi now. It's no use, insists Quentin--I already know his answer. You are the one person in the family he doesn't hate, points out Magda, and you know why! Yes, I do, says Q, because I was a victim of the curse myself, and we have something in common. He has sympathy for you, says Magda, and you're the only one in the family he didn't hurt. He hasn't hurt me, but hasn't helped me, either, says Q, and has no intentions of doing so. How can you say that? asks Magda. There may be only one way to prevent tonight from happening, he says--you'll see. He pulls open the doors. Trask is there. Quentin demands, how long have you been listening? I wasn't, says Trask--I was about to enter the room. Quentin chuckles and heads upstairs. What's wrong with him? asks Trask--you usually makes it your business to know everyone's secrets. I know nothing, she says, and you say you can't afford to concern yourself with Quentin, anyway. Go stay with Charity, says Trask. I have better things to do, protests the gypsy. I'll make it well worth your while to keep Charity in the room, by force, if necessary, he says. I promise you nothing, says Magda, but I will try. She heads upstairs. He sits down at the desk, puzzled. Lightning flashes. The windows blow open. Trask looks around nervously. The double doors close before he can leave the room. "I have come back to warn you," says a female voice. "Minerva, I beg you to leave me alone!" he cries. (Sounds much younger than Minerva.) He stands there, head darting, eyes staring, terrified.
Thunder and lightning blast and blare, winds closing and opening the windows. Trask, frightened, assures Minerva, "I will do anything you ask!" Leave this house, the ghostly woman's voice warns him, he's in this house, he will kill again! I don't understand, says Trask. The beast that walks like a man, she clarifies. "You're not Minerva?" he asks. BEWARE OF THE FULL MOON AND THE BEAST, says the voice. YOU MUST STOP HIM! Trask looks around, asking who? He is in this house, now, says the woman. Show yourself to me, who are you? he asks--who are you talking about, where in this house is he? The double doors open by themselves. "In this house--the beast who walks like a man!" says Trask. "Somewhere in this house!"
Quentin goes into his room, breathing heavily. The storm rages. The spectral form of a woman appears by the window. Who are you? he asks--speak to me. I will be with you tonight, she tells him, lightning illuminating her body.
Please, have mercy on me, have mercy! cries Q, covering his face with his hands, crying. Abruptly, all sounds stop. He looks, the figure is gone. I won't let that happen again, he promises himself. He takes paper and ink and starts to write. Magda enters. I heard you yelling, she says. It's all over, says Q, the curse is about to end. What are you doing? she asks--it isn't possible. I'm making it possible, he says, writing a farewell note to Beth, something I should have done a long time ago, the only way to end this misery. Magda watches him write--what are you talking about? she asks. There's not going to be a change tonight, he says, because there won't be a Quentin. I won't let you do it, she insists, grabbing the piece of paper, crumpling it up. You can't stop me, he says--and give me that note! No, says Magda, listen, if we can get you through tonight, we have a whole month to try to find a way to help you! Magda, he says, I can't get through this night without committing another bloody murder, and I won't let it happen again. And I won't let you take your life! insists Magda Don't you understand? He asks--there's no other answer, I'll be gone and no one will ever know. "You don't want to die, do you?" she asks. No, I don't he admits. Then we've got to find a way to get you through tonight, she says urgently--we've got to try!
Trask sits in the drawing room. It's 6 PM. He rises, looks at the clock, and heads upstairs.
Magda is chaining Quentin to a sturdy wooden post in his room, locking everything up. I will stay with you, watch over you, she promises--and I have my pentagram. All right, says Q, I said he'd go through with this, on one condition--go to my desk, in the top right hand drawer. She hesitates. Do it! he orders. In the drawer, she finds a gun. Don't just stare at it, pick it up, he says. What do you want me to do with this? she asks. It contains six silver bullets, says Q. I can't escape this room, but if I get away, you are to shoot me through the heart--promise me, he says. She shakes her head, but finally agrees to his terms. Trask bursts in--I must speak to Quentin! He beholds his brother in law all chained up. "GET OUT OF HERE, TRASK!" screams Quentin. Trask stares at him, stupefied, and refuses--I'm going to stay! Get him out of here! Quentin commands Magda. Trask wrests the gun away from Magda and examines the bullets.
I won't ask him why the gun is filled with silver bullets, says Trask, or why you manacled yourself--I think I'll just stay--and see the answers for myself--when the moon rises!
NOTES: This is seriously bad for Quentin, of course, to have his enemy pointing a silver-bullet loaded gun at him while he's vulnerable, mere moments from turning into the wolf. What will happen? Will Quentin break free after the transformation and kill Trask, or will Trask shoot him full of silver bullets and destroy Quentin? How is it all going to end? A very exciting cliffhanger here, of course, one I remember well from 1969. I know what is going to happen, but I'm not telling.
Cool that Angelique cured Jamison and Edward, guess her powers are greater than Petofi's. Love it! Now Quentin is betrothed, but notice he hasn't told a soul, and Magda didn't flinch when Charity mentioned "that harpy," which could only have meant Angelique (or perhaps Beth)?
One wonders--if Edward hadn't changed back to his old self, would Charity have given him some fun favors? Did Trask think, just for a moment, that Magda and Quentin were playing some "M&M" games in his room?
Interesting how Trask kept thinking it was Minerva haunting him, when it was either Tessie or Dorcas or one of Quentin's other victims. Wonder why she, whoever she was, came to Trask? I guess that's why I figured it had to be Dorcas, with her crush on the Rev and all.
Pretty good eps, love Nancy Barrett, but miss Barnabas!
831 - (Did Magda chain Quentin with the same chains used to keep Barnabas imprisoned in his coffin? How ironic, if so.)
Fashion blast from the past - Magda is wearing the same color of lip gloss I used to, I noticed--nice stuff.
Trask has a cruel gleam in his eye as he threatens to see the answers for himself when the moon rises. Quentin looks lost, helpless and trapped.
Magda and Quentin exchange frightened looks as Trask boasts, the two most loquacious people I know are utterly speechless. Magda says, we both must leave. Only you will go, insists Trask-- and get used to doing what I tell you--your involvement with this man-beast, has placed you completely at my mercy--I will deal with you after I deal with Quentin. What are you going to do to us? she demands. I am going to dispose of Quentin altogether, he says, but I haven't decided your fate yet--go to Charity's room. Quentin agrees that Magda should do as told. Before she leaves, Trask pries the keys to the shackles from her hand, hurting her in the process. "Go!" he barks. He smiles at Q--imagine what this will look like in the newspapers, one of the staid and proper Collins (Quentin staid and proper?) a creature of the supernatural, a maniacal murderer--I can hardly wait to see the look on Edward's face! If you don't get out of here, warns Quentin, you won't EVER get to break your story to the newspapers; if you stay here after the transformation takes place, I'll kill you. Thanks for the warning, says Trask, and releases him from the shackles--there's an hour before the moon rises, so I'm taking you to the police; since they will know the whole story anyway, might as well let them watch it happen. He holds the gun on the freed Quentin, who smiles and says, I know you're enjoying this, but you know, you've forgotten one important detail--if you take me to the police, there will be a double scandal, and you will be in it up to your neck--ah, says Q, seeing Trask's dismayed face, I see I don't need to dust off your memory--I do indeed still have the incriminating confession in my possession. It's a fake, insists Trask. We know it's a fake, says Q, but the police...you don't know about them, they tend to believe everything in writing. Trask asks, where is the confession?--I want it. Quentin giggles--you want it, go look for it. Trask holds the gun to his head--tell me where the confession is, he orders, or I'll kill you. Oh, no you won't, says Q, if I die, the curse ends, and the transformation won't take place. I don't believe that, says Trask. Shoot me and find out, advises Q. Turn around, orders Trask. What for? Q asks. "Just turn around!" repeats Trask. Quentin turns away from Trask, who slams him over the head with the gun. With Quentin unconscious, Trask begins frantically searching Quentin's desk, pushing papers and books onto the floor. He kneels beside Quentin and looks through his pockets, finding the confession in his breast pocket.
Magda paces downstairs in the drawing room. Angelique enters. Trask knows about Quentin, reveals the gypsy--you must do something before he takes him to the police--he's with Quentin and has a gun with the silver bullets.
Keep calm, says Angelique, not terribly calm herself. It's going to be dark soon, bleats Magda. Angelique assures her, I will take care of Trask, don't worry--come with me, she tells Magda. They head upstairs together.
Trask leads Quentin, who is holding his aching head, to the same cell in which Jamison was imprisoned, and locks him in. The stalemate has ended, says Trask, I have the paper now. Why did you bring me down here rather than taking me to the police? asks Q. I may not have time now before the moon rises to get you into Collinsport, says Trask, so I will witness the transformation myself, then bring the police to see you in your "other" form. "You're as good as dead right now, Quentin," gloats Trask.
Angelique finds Quentin's room empty. Magda joins her. Perhaps Trask took him to the police, says Magda. Go to Trask's room and get me something of his, commands Angelique, a close personal possession--and hurry! Angelique kneels by the fire and takes a necklace from around her neck and into her hands. Jewel of antiquity, dispatch your powers on reflection, she says, through these flames, bring me an image of those I seek--show me where they are this moment. The blue jewel in the center turns into a mini TV--we see Quentin in the cell. She holds the necklace lovingly. Magda returns with Trask's reading glasses, which Ang says will do well. Trask has him in the basement cell, says Angelique--Magda, leave the room. The gypsy goes, not at all pleased. Angelique takes the glasses in one hand and the necklace in the other. She holds the glasses over the necklace, swaying them back and forth, then in a circle. Mr. Trask, you will hear my voice, but only in your mind, she says--I will enter your mind and your willpower will crumble before my commands--and your mind and your thoughts will be under my control. You will do what I tell you to do.
Quentin sits in the cell, head in hands. You have another half an hour, says Trask, only 30 more minutes. (Trask is so pleased, one wishes to slap him.) Trask begins to touch his head, hearing Angelique's voice inside it. "Now, Mr. Trask," she says, I am taking control, now! Your mind belongs to ME, you must accept that, there are no other choices open to you. You will lift up the pistol, Mr. Trask. He does. And you will take the pistol to the drawing room. Quentin asks Trask what he's doing, but the latter has fallen into a complete trance. Angelique continues--when you get to the drawing room, you will know what to do. Quentin demands, Trask, tell me where you're going. The Reverend simply leaves.
7:30 PM - Trask comes in from the servants' entrance, gun in hand. He opens the double doors and enters, then sits before the desk and puts the gun down. He takes the inkwell and pen, and writes, "Tonight, there will be another full moon. I can no longer bear the thought of changing into the animal and spilling more blood. I must take my own life, it is the only escape for me." The front door opens. Trask takes the gun and puts it into the desk. He rises. Petofi enters carrying something large and bewrapped. He cordially greets Trask, who is standing there like an automaton. I'm looking for Quentin, says Petofi. I haven't seen him, says Trask. Curious, says Petofi, I was sure you'd know where he was. No, says Trask, slowly and carefully. Charles Tate finished Quentin's portrait, says Petofi--I consider it an extraordinary likeness. Petofi notices Trask is ignoring him, and says, "Someone has decided to prevent you from pursuing your duties--I won't have that, Mr. Trask, you must come within reach of your triumph, but only within reach." (Ah, so he set all this up! Probably gave Charity the visions.) The ultimate triumph for tonight will be Petofi's, but I shall have it! Petofi puts the portrait in the foyer, leaning it against the table. Magda comes in, sees him, and tries to flee. Petofi stops her, demanding to know where Angelique is. I ain't seen her, says Magda. Stop lying, orders Petofi, you know where she is and what's she's doing. Magda denies this. Petofi grabs her around the throat, threatening to tear her gypsy heart out before he asks again. She chokes out, she's upstairs in Quentin's room. He throws her to the ground and takes the portrait upstairs.
In the drawing room, Angelique speaks to Trask: "The pistol. Take the pistol in your hand." He does so. "And raise it to your temple." Trask does so...
Angelique tells Trask, at the count of three, you'll pull the trigger. She begins to count, but before she can reach three, Petofi bursts in. "You live dangerously for one so lovely, my dear," he says--"I tolerated your interference once before, I cannot tolerate it again." He puts down the portrait. Tonight is far too important to me. And to me, retorts Angelique--do you know what will happen to Quentin if Trask isn't stopped? I do, says Petofi. And you want it to happen? she asks. Yes, says Petofi. Well I do not, she asserts--I will not allow Quentin to be sacrificed. "You will do just what I tell you to do," says Petofi, taking the necklace from her hand. She cries out when he does this.
He crushes her necklace in his magic hand (actually, we hear the sound, but not much happens to the necklace.) "So much for your petty black magic," says Petofi, "now Mr. Trask can resume his duties. She moves to smack him across the face, but he easily stops her and says, I admire your spirit and temper, I like you, and find you most appealing. He takes both her hands in both of his and says, while Trask recovers his wits, I want to show you something--and he slips the cover off Quentin's portrait.
Trask sits there, dazed, and reads the note he had previously written. He crumbles it up and tosses it into the fireplace. He checks his watch, takes the gun, and heads out of the room.
Petofi shows Angelique Quentin's portrait--don't you find it magnificent? He asks--don't be too angry with me, I do assure you everything will turn out for the best--what is meant to be, must be--come with me, I don't want you out of my sight until the moon has risen. "It will be my night," cackles Petofi. "My night!" She leaves, Petofi following.
Magda comes hurriedly downstairs, explaining, Angelique is trying to help you, but Petofi learned about it and stopped her--we must get him out. She takes the key from the wall and starts to open the door. "Gypsy!" cries Trask, holding the gun on her--get away from the door, unless you want to be locked in with your friend and get a really good view of what's going to happen. No, says Magda. Get out and stay out, orders Trask. Moaning, she leaves. It almost worked, Quentin, says Trask, but whatever was happening could not stand up to one who has the Almighty on his side! Trask grins. "There is no help for you now, Quentin, and there never will be. In exactly one minute, the moon will begin to rise, and I will be witness to the fact that the transformation took place in my presence--then the whole world will know what your secret is!"
Quentin's eyes show abject terror.
NOTES: Quentin's in big trouble now! Will he transform in front of Trask, revealing that he is the werewolf responsible for all the killings? Will Trask shoot him with the silver bullets? Will Petofi be able to save Quentin from what seems to be an inevitable fate? What does the portrait Tate painted of Quentin have to do with anything? Portraits on this show often possess powers of their own--is that the case here? Poor Quentin--what will his fate be? He's turning into a decent guy, does this mean he's going to end up with cruel fate abusing him?
Love, Robin
