836 - Julia stands nervously in Collinwood's foyer, begging, appear to me, Quentin--I must speak to you. She calls up the stairs, but when she receive no response, she slowly ascends the stairs.
Candle in hand, Julia goes up to the tower, still begging Quentin, speak to me! She hears a door opening, and goes in. She asks, "Are you in this room? Is it you I feel?" The door closes, locking Julia in. She starts going to the door, but stops when she hears a woman's voice telling her to wait. We see a silhouette against the lightning outside. The woman tells Julia, you must go away--he will not show himself to you. Who are you? asks Julia. Beth drifts out of the darkness and says, my name would mean nothing to you. Julia holds up the candle--I know you, she says, you were a servant in this house. Listen, Beth begs--you must not stay here. You have helped us before, says Julia, given us your guidance--she you have GOT to get Quentin to speak to me now. No, answers Beth. It's more important now than ever that you help us, pleads Julia. There's nothing more I can do, wails Beth, he cannot be reasoned with! Why? asks Julia, what is he doing, why does he want to destroy David? "He loved the child," says Beth, and sees David as Jamison's reincarnation--Jamison was one person on earth Quentin truly loved, and before he died, Jamison rejected him, the worst blow Quentin ever suffered
---in death, his spirit could not rest, and he'd settle for nothing less than Jamison's forgiveness and love. We might be able to help him get what he wants, says Julia. No one can do that, insists Beth. Yes, there may be a way of me going back to the past to right the wrongs, says Julia, but I must know one thing--who killed Quentin? It's very difficult for me, says Beth. Help us! cries Julia, if you care anything for David Collins!
It happened in Collinwood on the 10th day of September, 1897, begins Beth, and we flash back to that day. . .Quentin comes downstairs. Beth hurries out and asks, where have you been--I've been looking for you all day. Evasively, Quentin says I was in my room, doing some work--I've been busy, concerned with family affairs that have been taking up all my time, he adds brusquely. That never happened before, she says, this concern with family affairs. "WELL, IT'S HAPPENING NOW!" shouts Quentin, and I don't see why you can't understand, I am a Collins. She tries to apologize--I didn't mean it--but he won't let her. I don't care what you mean, he says cruelly, I can't talk about it now. He runs upstairs,d away from her. Beth begins to cry. Angelique asks Beth into the drawing room for a "frank conversation." Beth joins Angelique, who closes the doors. He didn't mean to hurt you, says Angelique, it's just his way--I'm sure he's quite fond of you. More than fond, insists Beth, puzzled--Quentin and I are going to be married. Will the family allow that? asks Ang. The family has nothing to say about it, says Beth haughtily, it's up to me and Quentin to decide--and we've decided, which is none of your business. Beth starts to leave the room in a huff. I wanted to break the news gently, says Ang but you aren't making it easy on me. What news? asks Beth. Since Quentin hasn't told you, I must--the reason he's been avoiding you lately is because "he's become quite involved with me--and he is going to marry me." Beth is stunned. I'm sorry to have to tell you this way, says Angelique--if there's anything I can do... Beth's face crumples, she screams out, "NO!" and runs off. As Angelique closes the doors, she says, "You'll get over it in time, my dear, everyone does." (Like you ever did!)
Julia asks Beth's ghost, what did you do and where did you go after the confrontation with Angelique? I cried in my room for what seemed like days, says Beth, and when I stopped crying, I knew someone would die that night...
Go on, encourages Julia, WHO was going to die? I was, says Beth--I had been in love with Quentin from the first time I saw him--I was afraid to admit it to myself, he was a member of the family and I a servant--once I admitted it, and knew he loved me, too, he became my whole reason for being. We flash back to Beth, sitting on her bed in her room. Now that he had turned me away, I felt I had no reason to live any longer. On a table, Beth has a bottle labeled poison and beside it, a glass of water. She takes the bottle into her hand and unstops it, but before she can add it to the water, she has a visitor, Jamison, who wants to see her. She tries to send him away, claiming she's tired, but he petulantly tells her he has something to show her--and it will make you proud of me. Agony in her eyes, Beth puts the cork back in the bottle and hides it in her hand. Jamison has a puzzle she gave him to figure out. She was sure he wouldn't be able to find all the figures in it, but he has, and shows it to her--I took a pencil and outlined each of them. Beth, beginning to cry, says, I'm very proud, it's wonderful. Jamison, alarmed, asks what's the matter--why are you crying? I can't talk about it, she sobs. She has exposed the bottle in her hand, and Jamison spots it. She grabs it into her hand. It's nothing, she says, just a bottle. He pries it from her hand. "Beth, this is poison!" he cries--"What were you going to do with it?" Oh, Jamison! she sobs. You're going to kill yourself, he realizes--why? You're so young, Beth says. you can't know how I feel. About what? asks the boy. "Quentin...and me," she responds. What about you? asks Jamison. "Quentin and I were going to be married," she explains, "and now he's marrying Angelique." It can't be true, insists Jamison, Quentin wouldn't do a thing like that. He is, says Beth venomously, he's going to marry HER! Don't cry, says Jamison---you've always been good and kind to me--I love you. (That's such a sweet thing to say.) "Oh, Jamison," she wails. I'm not going to leave you alone until you promise not to do anything to hurt yourself, he says--will you? She turns to look at him and promises. I have something I must do now, he says, but will come back to talk with you later on. Yes, later, she says. Jamison leaves. Beth opens her drawer and takes out a gun (does everyone have one?) She contemplates something for a moment, then quickly returns it to her dresser and sits down on her bed.
Angelique holds Quentin in her arms. It was something that had to be done, she says. He looks angry. The girl had a right to know where she stood with you, says Ang, and I felt it my duty to spare her anymore humiliation. She's caressing his shoulder, but he doesn't react to her touch. I'm sure you think I did the right thing, she says, and she turns his face to hers for a kiss. Jamison catches them. I want to speak to you, he sternly says to his uncle. Angelique tells Jamison, your uncle doesn't have time to talk to you right now. "I'd like to speak to you alone," says Jamison, addressing his gaze to Quentin only. (He sounds like a little adult.) Leave us alone, Quentin tells Ang. When she does so, reluctantly, Jamison jumps right in and demands, are you going to "marry that woman?" Who told you? asks Quentin. Beth, just now, says Jamison--how could you do that to her?--I thought you loved Beth. I do, says Q, and, ashamed, turns away. Then why are you marrying someone else? Jamison asks--breaking your word to her?--how could you drive her to almost kill herself? This grabs Quentin's immediate attention. Kill herself?--is she all right? he demands. Yes, says Jamison, but if I hadn't walked into her room when I did. . . I must go see her, says Quentin--is she still in her room? Yes, answers Jamison, but she doesn't want to see you--you've got to tell me why you did this! You're too young to understand some things, says Quentin. I must know, says Jamison earnestly, it's terribly important to me. You've got to try and understand that the grownup world is different from your own, says Q. "All I understand is that you've hurt someone, someone you love very much, I can't understand why you'd do that, Quentin
--I don't want to see you anymore--I don't want to talk to you or have anything to do with you! I HATE YOU, QUENTIN! I HATE YOU!!" And he runs from the room, Quentin trying fruitlessly to stop him.
1969 - Then the prophecy was true, says Julia, the third event did happen--Jamison's rejection of Quentin.
1897 - Beth leaves her room, looking self-satisfied. She goes to the drawing room. I'm sorry, says Quentin, truly very sorry--I wanted to tell you, tried, but couldn't find the courage--I didn't want to hurt you. He takes her into his arms. I know you can't understand this, but. . .he hugs her close--I really do love you--please forgive me, he begs. There's a gunshot. Quentin's mouth drops open.
He grabs his stomach, where Beth has shot him, and wobbles toward the door. Beth smiles. "I wasn't the one to die," she says, "not me, I was going to die because I loved you!" Quentin staggers across the foyer, holding onto the table for support. Beth continues, "Until I realized I was wrong. It was you, Quentin, you who had to die, not me!" Quentin lurches upstairs, holding his wound. "And you're going to die," she adds, pursuing him upstairs. "You will die! You'll never get away, I'll get you, Quentin!" And she comes after him, aiming the gun for another shot...
Quentin reaches the tower room, his shirt and cost covered with red. There are bloodstains along the banister. Beth, smiling madly, pushes open the door and confronts Quentin, laughing. She shoots him again, and again. He falls to the floor. Beth's smile disappears; she begins to cry. She turns and walks from the tower room, leaving Quentin lying there, mouth and eyes open wide.
"After he was dead," Beth tells Julia, "I went back downstairs. I saw the other woman when she returned to the house, saw the look of shock on her face when she began to realize what had happened."
Angelique returns to Collinwood, calling for Quentin. She spies the bloodstains on the floor, which look like rose petals at first, then follows them upstairs, rushing her steps.
Thunder rumbles. Beth tells Julia "They found his body later that night, here in this room, and they found mine here the following morning. I thought killing him would help release me from loving him, but it didn't." Julia doesn't understand--if Quentin died in this room, why was his own sealed up? Beth doesn't know. Thank you for all you told me, says Julia--I hope there's time for what I must do. Julia leaves. I'm sorry, Quentin, says Beth--I had to tell her!--it was time someone knew the truth--"Please don't be angry with me, Quentin!" She retreats into the shadows.
Julia goes downstairs into the foyer. David is in the drawing room, breathing heavily. What are you doing here? she asks. Quentin appears, his face malevolent. "Quentin!" cries Julia. "You're the reason he's here!--David, come away from him--he wants you to die!" Julia stares at Quentin, who smiles evilly back at her. "I don't want to die," protests David. Then come away from him, demands Julia. Stay away from him. "I don't want to die!" repeats David. He walks into Julia's arms. It's all right, she assures him. He collapses on the sofa. "It is too late!" says Quentin as Julia takes the boy's pulse. "He is mine!" "It's not too late!" retorts Julia--"He is still breathing!--he is still alive!"
Professor Stokes enters, calling to David. Quentin fades away. Julia calls to Stokes, who joins her in the drawing room. I found Quentin here with the boy, says Julia--I found out everything I need to know now, and must go back to the past--it's more important than ever that I go back now. Stokes asks, is David all right? Yes, says Julia. She returns to David and takes his pulse, then stares at Stokes, horrified. "David is dead!" she cries. And Quentin's hysterical laughter pulsates through the room.
NOTES: Another pulse-pounding finish! How interesting--we had that dead body in Quentin's room, but it wasn't Quentin, and Beth didn't know who it was!
Is the Collins heir dead? Have all of Barnabas' efforts been for naught? Will he die in 1897, fried when the sun comes up? The vampires on the WB don't need coffins, in BUFFY or ANGEL!
Speak of changing the past! If Angelique hadn't become involved with Quentin, Beth wouldn't have become angry enough to kill him, so does this mean Angelique, or another woman, caused this to happen in 1897 originally? That time stuff boggles the mind!
837 - Julia, still in her coat, sits before the "I-Ching" wands, puts her hands on the table as if at a seance, tells herself to concentrate only on the door that will take her to the past--to Barnabas...concentrate. She closes her eyes, thinking hard, then rises and goes to the door. It must open, she tells herself, willing it to do so. It does. There's another door, one that appears to have a presidential seal on it. She opens that door, and finds another door, the same, and opens that, too. The next door is different from the previous two, and she opens that one, feeling cold. We hear the weird science fiction music as Julia looks down the corridor of doors through which she just passed, and the first, with the wands on it, closes. "Barnabas!" Julia calls, her voice echoing. Barnabas, in his cell, hears her. Who are you and what do you want? He asks--"WHO IS IT!" demands Barnabas. He hears a hideous, prolonged scream.
Julia hears Barnabas asking, who's calling me--who needs help? Barnabas! she cries, then collapses outside the front doors of Collinwood.
Charity, dressed as Pansy, sits in the drawing room, shaking her foot. She takes a drink, hears footsteps. Edward appears. I was hoping it was Quentin, she says. He looks at her disapprovingly. I needed the brandy to warm me, she says. On a night like this? he asks. When you're bearing the kind of news I've got, it puts a chill on the night, she says. I'm sure what you must tell Quentin can wait until tomorrow, says Edward--there's no telling when he'll come home--I haven't been too successful as my brother's keeper. He's got to come home sooner or later, insists Charity. He's been known to stay away from home more than one night, says Edward, his business--I'm going to sleep now. She takes another drink, bidding him good night. What I really mean, says Edward, is that I want you to go. I want to wait for Quentin! insists Charity. You've been waiting for hours, protests Edward, it's past midnight! I know, she says, it's the day...it's the 10th of September, the day Quentin's going to die. Edward scoffs. You know that as well as I, she says--you were here when I had my vision!--oh, she laments, it was grim, gruesome, and it's going to happen unless I get to Quentin to tell him to take care. Is that what you're waiting to tell him? asks Edward. Yes, what did you think it was? asks Charity. I didn't know, says Edward, I find your thought patterns difficult to follow. Now you know how important it is for me to just keep waiting, he says. He hustles her from the room. Tell Quentin to come to the Blue Whale, where I'm working now, says Charity--tell him I must talk to him. Edward promises to leave him a note. She smiles--come to the Blue Whale and catch my act, says Charity--do you some good to get out of the house sometime--"keeps ya snappy, if ya know what I mean," she says lewdly--I'm glad you finally got around to listening to me. When Charity opens the front doors, however, she finds Julia, and screams, shouting for Edward to come--there's somebody here. Edward comes out and takes her pulse. Is she dead? asks Charity. No, says Edward, patting Julia's face.
Why is she dressed like that, Charity asks. Edward doesn't know. Charity remarks, I've never seen anyone dressed like that before, ain't hardly decent! Edward says, "Miss, miss!"--we've got to get her inside. I know who she is, says Charity--the one who's going to kill Quentin, she's got doom and disaster written all over her face--can't you see it?
Julia opens her eyes. Edward helps her to stand. He brushes the leaves off her coat. Charity is alarmed. We can't leave her outside, insists Edward. Then you must call the "coppers," says Charity. Not until I've spoken to her first, says Edward. Julia looks around Collinwood as if she doesn't recognize it. Edward tells Charity, you shouldn't keep your Blue What admirers waiting any longer; I'm going to look after this lady--good night. Charity goes into a rant--I saw doom in this woman's face, she's going to kill Quentin! Edward closes the door on the raving woman. Julia sits on the sofa, staring straight ahead. Why did you come here? Edward asks--who are you, where are you from?--but Julia looks at him blankly, as if she has no idea at all.
Miss, says Edward, do you know where you are? You're at Collinwood--did you intend coming here, or was it an accident that brought her to our door? Do you understand me? Speak if you can. "I speak," says Julia carefully. Good, he says, now who are you? Shapes, whirling faster and faster, she says. What shapes? he asks--did you meet with some accident?. Quentin enters. He apologizes for interrupting Edward's company--and at this hour of the night, he smirks. Come in here, orders Edward, as Quentin starts to go. Who is she? asks Quentin, now serious--I've never seen anyone like her in my life. Edward asks, in your travels, have you ever seen anyone like this? Not even remotely, says Quentin. She collapsed at the door, Edward explains--she's in shock. Did you get anything out of her? asks Q. Only nonsense, says Edward, I'm calling Dr. Brooks, wait here with her. Quentin circles the sofa, looking at Julia. Hello, he says, so you're not in the mood to tell me anything about you--perhaps I can find something to talk for her. He begins to rifle through her coat, checking the pockets. He finds a letter in her pocket, but when he removes it, she tries to take it back. I'm trying to help you, he assures her, not hurt you--I know it isn't polite to look at other peoples' letters, but I'll return it after I look at it. "My dear Julia," he reads, and asks if she's Julia. She stares at him, puzzled.
He reads Barnabas' letter to himself, wondering why the paper is so old if the date is today. He reads that Barnabas is in a cell at the Old House and will die in another 8 hours. It's written by Barnabas. Why are you carrying a letter written by Barnabas? demands Quentin. He reads about 1969, and Barnabas' hope the letter would reach her, and why his mission in the past was a failure--Quentin Collins will die on September 10th. He then reads the part about Quentin being rejected by Jamison. Edward comes in and tells Quentin that Dr. Brooks is on the way. Quentin hides the letter behind his back. You're very kind to help a stranger this way, says Q--I have to go. Where? asks Edward. I have an engagement in town, says Quentin confidentially. I want you to stay until the doctor arrives, insists Edward. Tell me about it in the morning, says Q cheerily, and leaves. Edward returns to Julia, who has uttered one word--"afraid." Afraid of what, of whom? he asks. She doesn't answer, but looks at him oddly.
In the cell, Barnabas walks over to the desk, wondering if Julia will ever see the letter he put there. He hears footsteps. Barnabas asks, "Is that you, Edward?--have you come for the kill?" It's Quentin, not Edward. How did you find me? asks Barnabas. I'll tell you in a minute, says Q. That's right, we haven't much time, says Barnabas, at least get me away from Edward. My brother is busy, says Quentin, tied up completely, which I'll also tell you in a minute--as soon as you tell me the meaning of this letter! Barnabas looks nervous.
Barnabas looks over the letter. He asks Quentin, where did you get it. From a woman now at Collinwood, says Quentin--a very strange woman--oddly dressed, and her behavior is quite peculiar. "So hers was the voice I heard calling me," says Barnabas--what did she say about herself? Not much, says Q, she's in some sort of shock--Edward's with her, waiting for the doctor. This horrifies Barnabas.
Who is she? asks Q. Her name is Julia Hoffman, replies Barnabas, she's come from my own time. This intrigues Quentin--that does explain some things--how did she come here, and have a letter written by you? "I'm not sure," says Barn, but you must get Julia and bring her here at once. Quentin sharply says, I'll bring her--just as soon as you answer a question about that letter! I will if I can, says Barnabas. "You wrote that I'm supposed to die on September 10th," says Quentin, "today. Just how did you arrive at that day?" Barnabas explains to Quentin that Charity Trask had a vision, which she told to Magda, and Magda told me. Quentin laughs. Barnabas, that girl is completely mad, and I'm surprised you believed anything she said, says Q--I suppose the prophecy about Jamison rejecting me is hers, too. A few months ago, Jamison had a dream, reveals Barnabas, explaining about the finding of a silver bullet at Collinwood. Q remembers--someone who could help me would die--Julianka--the third thing won't happen, insists Q, Jamison would never reject me (but he already has!) So, you have a long life ahead of you, Quentin, says Barn, but predictions somehow have a way of coming true. This one won't, says Quentin--"Barnabas, how soon after the third event happens am I supposed to die?" Very soon, warns Barnabas. Quentin smirks--I see, he says. Quentin unlocks the cell. where will you be? He asks--I'll bring Julia to you. The old rectory on Pine Road, says Barnabas, I'll wait for you there; make sure Edward doesn't see you taking her from Collinwood--I don't want him to know there's any connection between me and Julia. Trust me, he won't know, says Quentin. Barnabas leaves. "It's going to be a generally disappointing evening for Edward, isn't it?" muses Quentin.
Julia sits in another chair. Do you feel better? asks Edward--the doctor didn't find anything wrong with you. Quentin enters. I'm glad you're here, says Edward. That's a sentiment you rarely express, says Quentin humorously. I have an engagement myself, says Edward--I'll tell you about it later--keep an eye on her--I had one of the servants round up suitable clothing. You think of everything, says Quentin. I wonder why she's dressed that way? Asks Edward--most peculiar. Enjoy your "rendezvous," encourages Quentin. Edward leaves. Quentin tells Julia, you've got to come with me--I'll help you get up--I'm taking you to a friend--Barnabas. "Barnabas is at the Old House," says Julia slowly. No, says Quentin, he's at the rectory, and waiting for us. He helps her up.
Edward, gun in hand, takes the key off the wall and unlocks the cell. It's empty. ."My God, he's gone, he can't have gotten away--not by himself!" gasps Edward.
At the old rectory, with lots of stained glass all around, Barnabas paces. Quentin comes in with Julia in tow. She doesn't recognize you, notes Quentin. Perhaps the journey through time was too much for her, suggests Barnabas. Julia looks at him. We must question her, says Barnabas, we have so little time to find out. Find out what? asks Q. Why, when and who kills you, replies Barnabas--I have a feeling that Julia, when she saw the letter, learned something about your death that was so important, she risked coming through time to tell me. Yes, but what? asks Quentin.
I'm not sure, says Barnabas--somewhere locked in her mind she knows something we must know before it's too late. You're really sure something is going to happen to me, aren't you? asks Q. Yes, replies Barnabas. He goes to Julia and gently asks, "What is it, Julia? Try to tell us, try to remember, think where you came from, what you knew there, what you MUST remember." I'm sleepy, complains Julia--I need some sleep--and she drifts off in the chair. I can't force the knowledge from her, says Barnabas, even if I had the time, which I don't--I must go now, it's almost dawn. Dawn, of September 10th, 1897, adds Quentin. Stay with her, says Barnabas, perhaps she will remember. And if she doesn't? asks Quentin bitterly--if Charity is right, this could be the last time we two will see each other!
NOTES: Why does Charity think Julia is the one who is going to kill Quentin? Is this just an irrational fear she has? We know that isn't so, unless history is about to be altered. I remember how fear was building up (and doesn't time seem terribly compressed all of a sudden?) as the day of Quentin's demise came closer. Now we have David dead, and Quentin's death closing in fast. What will the outcome of all this be? How interesting that Julia, with no host body to receive her in the past that Barnabas had, endured such a rocky ride. He just re-entered his body from 1795/6 with nary a dizzy spell. Every moment Julia's memory and mind are disjointed is one more moment closer to Quentin's death. Edward was so nice to Julia, too, really behaving unlike himself--and now he's going to find her gone, as well! How frustrating to lose his vampire prisoner and the odd woman so close together. Nancy Barrett turns in another splendid performance as Charity/Pansy, especially in her hysteria at Julia's odd arrival. Imagine Pansy/Charity having the nerve to call someone else's attire "indecent"! I guess it's all a matter of viewpoint!
Love, Robin
