840 - At the mill, Julia faces an enemy she has never seen before this night. Petofi holds out his ugly hand, telling Julia, who is seated in a chair--this is the source of my power. He introduces himself, and we learn that Aristede "so kindly" brought her to the mill. I know who you are, says Julia. My fame has preceded me, Dr. Hoffman, says Petofi. What do you want? she asks. I find you direct, remarks Petofi--are all women in your time are like that?--I'm fascinated by the future, but find it forbidding, considering everyone who's been there seems so reluctant to talk about it--why?--I can force you to tell me, he warns--I dislike using force on such short acquaintance, but will if I must--before this night is over, I intend to see what you so recently have seen--the glories of Collinwood in another time--I intend to leave this lamentable year tonight, and you will help him! Julia's forehead creases.
I don't know why you think I can tell you how to get anywhere, says Julia. Must I go through all this? he asks. I'm a stranger here, she says. You've memorized your story very well, he says--why is your hair is so short?--is it the fashion in 1969, or did you recently have a fever and get it cut off? I don't need to tell you any of my story, she insists. I already know it, says Petofi--you were found on the steps at Collinwood wearing a ridiculously short skirt, taken in a state of shock to the old rectory, where you were assisted by Barnabas and Quentin Collins. Quentin told you, Julia realizes. Quentin is a graceless liar, says Petofi--no, Dr. Hoffman, I don't rely on humans for information, which is why you will find it impossible to lie to me--you will help me! I can't, she says. We shall see, he promises, holding his hand close to her face, then retreating--I'm afraid we can't finish our conversation, someone is coming. She rises anxiously from the chair. "Not Barnabas Collins," says Petofi--don't be frightened, he tells her, putting his hand on her throat, when you find yourself unable to speak; I'll let you again when I want you to. Julia struggles, grunting, but when he removes his hand, she can't speak. He puts her in the same room that was Barnabas' prison for a while, saying he'll make sure she's comfortable. Tate comes in, calling to Petofi--do you know that when I draw something that doesn't exist, it comes into being?--I've got to find out if you know! Petofi joins him--you must stop your impromptu visits, he insists. Why are you locking the door behind you? asks Tate. It's none of your business, says Petofi. I came to talk about myself, says Tate--what I was before we met each other. You were a decidedly mediocre painter, answers Petofi. You said the first time I met you, all he had to do was be loyal. I never allowed you to be disloyal, says Petofi. You let me discover the talent I had, somehow, says Tate. I somehow supplied the talent that was lacking, counters Petofi. (ouch!) Did you give me any other talents? asks Tate. No, I thought one was enough, laughs Petofi--what is all this? You don't know? Charles asks--about Amanda Harris? We aren't discussing romantic nonsense, says Petofi--whatever mad, coincidental relationship there might be between your portrait and this girl, I am not interested--amused, perhaps, but your romantic life doesn't interest me. Don't you want to KNOW? demands Tate. What could be new about falling in love? asks Petofi--go home, Charles, please, go home and dream about Amanda Harris! He laughs at Tate.
In Collinwood's drawing room, Quentin and Amanda are kissing passionately. Catching her breath, she draws back as if someone has come into the room. Why do you stay here? he demands--what's this game you're playing--the fallen woman in search of truth? I didn't say it was that, says Amanda. I wouldn't believe you if you had, says Q--you are here for a reason. No, she protests. Look at me, he commands. She does. I think you're quite capable of taking care of yourself, he says, strong enough without Trask's prayers. Do you want me to leave this house? she asks. No, of course not, he says gently--I just doesn't want you to get mixed up with Trask--perhaps you aren't aware of the way he looks at you, but I do. He moves in closer and asks, what are you doing here? I can't explain it to you, she says, because it started before I knew you--it made sense to me then, but I'm not sure it does now--please let me figure it out in my own way. All right, he agrees, if you meet me tomorrow night after dinner, away from Trask's prying--in the garden? I'll try, she promises. He takes her hand in both of his and says, "No, none of that." He kisses her fingers, asking, "Do you want to come?" (No, I won't touch that line with a 10-foot pole!)
She smiles, big, then says, "Yes, I want to come." Then you will, says Quentin. There's a knock at the door, interrupting them. "That's what I mean," he says--"I'm not going to hide the fact that we're together!" He answers the door. It's Tate. Quentin greets him, remarking, it's an odd hour to call. I was near the house, says Tate. And curious to see who was up? asks Q. No, I saw a light, says Tate nervously, and thought Miss Harris might be--I must speak to her, it's very important. I didn't even know you knew each other well enough for anything to be important, says Quentin. Trask has asked me to paint Amanda's portrait, says Charles. It's an ideal time to discuss it, says Q jealously--what's so important, the color of her gown? Leave us, Amanda asks Quentin. I don't have any other choice, says Q. He kisses her hand, bids her good night, and leaves. I must talk to her, insists Charles--I know EVERYTHING--because I know why you can't remember anything before March 11, 1895!
Amanda pays close attention--you know about me?--tell me, please! It won't be easy, he warns--last time I was here, you told me about your memory gap--the date meant something to me, too, so I went back to my studio and found a painting I did March 11, 1895--the date was right on the painting... What has that to do with me? she asks. That painting was of you, he says. You didn't know me, says Amanda--perhaps just someone who resembled me. No, he says, it was a face of a woman I wanted to create. He touches her face. The face I wanted to see--your face. She doesn't get it. When I painted you, says Tate, you came into being. "You're mad!" she cries. Look at me, he says--do I look mad? If you're not, it's the most romantic bit of nonsense I've ever heard in my life! She cries.
I can prove it, insists Tate--that night, I returned to the studio, unable to get you out of my mind--there's something I do when I want to forget something--I did a still life--when it was almost finished, I felt it was missing something to balance it, and I dreamed up a vase and sketched it--when I sketched it, that vase appeared on the table! Tate's become very excited as he explains this. You were hallucinating, says Amanda. He pushes some books off a table--there's nothing on it, he says--I'm going to sketch a glass on that table. He takes out a writing tablet and begins to scribble. You need help, she says, you're obviously overworked. Look at the table, he says, feverishly drawing a glass--describe the glass that's on the table! There is no glass, she says. He looks up--she's right. NO! he yells, banging a fist on the table, showing Amanda the sketch--I DID sketch it! She tries to leave. I don't want to hear anymore about this, says Amanda. Tate grabs her--come to my studio, he insists, you must see the portrait I painted--and the brooch! Tate has noticed the brooch she's wearing and grown even more crazed. She refuses to go to his studio. Tate tries to forcibly take her. She pulls away and runs upstairs, running into Quentin, who tries to stop her. "Let go of me!" she wails, and dashes upstairs. Quentin runs to Tate. What did you do to her? he demands. What I did to her started the day I met Count Petofi, says Charles, calmer but still very upset. You're talking in circles, says Quentin. No I'm not, says Tate--you'll understand, soon enough. I don't think so, opines Quentin. Yes, you will, predicts Charles, you've dealt with Petofi before--soon you're going to be doing things you won't understand yourself! Quentin looks back at the artist, his face solemn, as if saying, believe me, I already know!
Abandoned mill - Petofi restores Julia's voice--you can speak now, he says. She shakes her head, remaining silent. "A woman who won't talk?" asks Petofi--perhaps you would like a further demonstration of my powers?--I knows how difficult it is to convince a stranger of my determination, but I have a sentence upon me, enemies I cannot fight, that I must escape--how did you transcend time?--how did Barnabas Collins?--what is the method you used?--I must know it now! Julia remains tight-lipped and silent. Do you want me to pass my hand over your face? he asks--Julia? Her face twitches. Then bring you a mirror? Adds Petofi--would you like not to recognize yourself?--I can cast a spell on you. . . No, she mutters, no, as his hand comes closer. She backs off, finally pushing his hand away and confessing, "I-Ching!"--that's how we came here, she admits. Petofi smiles.
Quentin, in his room, drink in hand, looks at himself in the mirror, then at his portrait. Petofi enters, asking, are you admiring yourself?--I want a small favor. I don't really want to oblige you, says Quentin. I want your I-Ching wands, says Petofi--I suspect you know Barnabas used them to get here--did you lie to me about it?--I'll mind it very much if you did. I guessed last night, says Quentin--they're in the Old House basement, where Barnabas was when Edward locked him up--there you are, says Q through clenched teeth, you have your favor. For the moment, at least, says Petofi. It's the last favor, swears Quentin, we are finished, through, done!--you can take this portrait and get out, and I don't care what you do with it--I don't want to see you ever again! You're a petulant little boy, accuses Petofi. I'm a man who has betrayed a friend, cries Quentin, and allowed you to kidnap a woman who did nothing to you! A conscience can be a very troublesome thing, says Petofi--shall I rid you of yours? Get out or kill me! shouts Quentin, because I don't want to spend the rest of my days doing you favors. "My dear boy," says Petofi, "you haven't even started."
Quentin looks at him, aghast, and asks, is there nothing I can do to get rid of you? No, says Petofi. Then I'll have to kill you, says Q. You could try, says Petofi, there would be punishment for that, too, an unexpected relapse when you least expected it--no, Quentin, the full moon isn't necessary--it could happen anytime--I have many powers. You won't control me, retorts Quentin. I DO control you, says Petofi--we shall meet again, whatever happens tonight, we will meet again--"You are a slave, Quentin,"--you didn't used to be, but you are now--I, on the other hand, am always a master. Petofi leaves, laughing uproariously. As Quentin drinks, he remembers what Charles told him about Petofi--you'll soon be doing things you can't explain, even to yourself. The words repeat, over and over, in his mind. No, no! cries Quentin, covering his ears to blot it out.
Mill - Petofi holds the I-Ching wands. Have you told me everything? he asks Julia. Yes, she says, everything I know. I shall feel quite at home in the unknown, he says, a man who has lived as long as I have doesn't have very much fear--I throw the wands on the table? Yes, she says. He does. Now place them parallel, she says. How like the Chinese, he remarks, to make something so complex on a simple set of wands. They will form one of 64 hexagrams, she says. Which is this one? he asks. She checks the book--the third, the kune (?) hexagram. What does it signify? he asks. Great progress and success, she reads. Petofi is pleased. She reads--the kune shows how a plant struggles with difficulty out of the earth, gradually rising above the surface. Quite perfect, says Petofi. But the top line is divided, adds Julia--the horses of the chariot are obliged to retreat, there are weeping tears of blood. Infuriated, Petofi grabs the book from her hand--I will hear no more, I want to begin! He insists--if there is any bloodshed tonight, it will be yours; Aristede stands guard outside the door, and one move from you, and he'll kill you. Julia understands. Sit down, she instructs--begin to concentrate on the hexagram--look for the door with the hexagram on it--the door will open and your astral body will journey through it.
Yes, into another time, says Petofi, I will make it happen! Julia leans down--what's happening? she asks. I can hear you, he says, sounding as if in a trance. He sees the wands on the door, the image spins round and round. I see the hexagram, he says, and the door, and beyond it lies the future. He goes to the door, which opens. He walks through; it closes behind him. He sees a hand clasping the Golden Scimitar--it's hacking down threateningly, as if to take back his hand! Petofi leans against the door, terrified.
NOTES: Ha, ha, Petofi, you didn't get the 64th hexagram, so who could say for sure if you would end up in the future? Serves you right for messing with Julia. It's so good to see you don't have control over everything! Nyah, nyah!
Excellent acting by Selby. Watching his conscience kick in because he had to betray Barnabas was really something special, and his scenes with Petofi a delight to watch.
I don't care about Tate and Amanda, although his power to create things and people would be great to have. Why didn't the glass appear when he drew it? Does it have to be done in his studio to work?
Seems like Quentin and Amanda have already gotten their romance off the ground. Poor Beth, discarded that way. Can't really blame her for trying to kill him; he took her virginity, got engaged to Angelique and is now dallying with another. Beth knew what Quentin was, so her assumption that they would marry was foolhardy. Even if Angelique weren't in the picture, Beth had already been drawn out once he began his affair with Amanda.
Great seeing Julia again, and how easily Barnabas talked her into his scheme--he knows she will be able to cure him with substitutes, and be-damned the side effects of ancient medicine! LOL! The woman's in love, she knows what Barnabas wants to do is crazy, but she goes along. You've got to love her loyalty in the face of the headstrong Barnabas' insistence that she do the impossible.
Why does Tate feel obligated to tell Amanda she was "born" from his paintbrush? What does he expect to accomplish, except to upset her? Even if she bought his wild story, does she really want to believe she has no life, was never born before he dreamed her up?
841 - Petofi looks at the sword, terrified--whoever you are, he says, you aren't empowered to destroy me--you're aiming for my throat when you should be going for my hand! Begone and take that wretched thing with you! he orders. It retreats. We see the wands swirling around. Gypsy swine, calls Petofi--scum of the earth, I must find a way, dark, everything dark! His head falls to his chest. Julia takes this opportunity to sneak away, but runs into Aristede on the stairs. Is everyone in your time so foolish? He asks--you knew I was outside. She backs away from him. How did you expect to get past the door? He asks. I don't want to be here, she says. Sure, but neither does the Count, nor do I himself, says Aristede, but we have no choice until we master your secret, do we, Doctor? Julia looks away, unnerved. Do we? he repeats. There is no secret, insists Julia. Petofi and I don't believe you, says Aristede, who checks his master and is alarmed to find him barely breathing. I have done nothing to him, says Julia, he's in the deepest part of the trance. You aren't a doctor, accuses Aristede--I think you're trying to kill him. Why are you so frightened? asks Julia--are you afraid Petofi isn't as immortal as you believed? Angry, Aristede lifts her up--answer my question, he demands--who or what are you? I told you the truth, she says--Petofi is beyond the door, which he knew when he started. If something tragic should occur, DOCTOR, warns Aristede, you might as well expect to be as good as dead! He shoves her away from him and returns to Petofi, who seems to be in a coma-like sleep. The wands swirl...around again; we see the metal door swing open once more. Petofi stands before a curtain; we hear the sound of religious chanting. He's in a vast place, candles all over. He looks at items on a table, and one is the box that contained his hand. He opens it and closes it. A gypsy tribunal, he realizes, and it's me they are coming for!
He opens double doors and faces down a huge image of Barnabas, fangs bared at him. Quickly, he closes the door and opens another to find flames. (shades of the Dream Curse!) He sees the wands on the far wall and hurries from them, lifting his hand, then wrapping it around his own throat--he's strangling himself! Julia and Aristede hear Petofi choking. He seems to be having a stroke! cries Aristede--do something, Doctor! he begs Julia. Petofi comes out of it on his own. Can you hear me? asks Aristede. Petofi breathes heavily, reaching for his own throat with his hand. He begins strangling himself, choking, and falls to the sofa, his hand clutched fast in a death grip to his own throat!
Aristede tries to pull Petofi's hand from his throat and finally succeeds. Check him, Aristede orders Julia. He's alive, Julia assures him. Revive him at once, says Aristede. Julia nervously suggests, let him stay this way for a while. Revive him, Aristede insists--I want to know what happened and who is responsible!
Barnabas stands in the woods. We hear the susurrus of ocean waves. Beth leaves the house with some clothing. He watches, hides as she passes by, then calls out to her. She turns, startled, and asks what he wants. I was on my way to the Old House to look for you, he explains, I need your help. What for? she asks--have to go to the village to see Mrs. Fillmore, I have some things to bring to the child. It's extremely important, he pleads, someone's life is involved. I'm very tired of being involved in other people's lives, says Beth. Barnabas gently apologizes--I'm sorry for what happened between you and Quentin. It's over now, she says, tight-lipped, proud--I don't want to speak of it. Help me this one time, begs Barnabas. Why ask? she says, force me, you've imposed your will on me before. I never meant to hurt you, he says. No, neither did Quentin, she says bitterly. You may go if you wish, says Barnabas, I won't stop you. Get Magda or Quentin to help you, she says. I can't find Magda, says Barnabas (ask Grayson Hall!), and I have reason to believe Quentin can't be trusted right now. Beth thinks it over--what do you want me to do? she asks. I'm almost certain my friend has been abducted by Petofi, says Barnabas. This shocks Beth. Go there, asks Barnabas--find out if Julia's all right, where she is being kept-- then come back and tell me. I'm terrified of that man! objects Beth. This friend is very important to me, pleads Barnabas (go, Julia!) and I can't go to Petofi because he has me marked for death--confirm my suspicions--you can do that without being seen--will you, Beth?
She looks like she's going to cry, but agrees--I'll try.
Aristede hands Petofi his glasses--are you all right? the servant asks his master. Petofi sits down and brushes the wands off the table. Incensed, he turns to Julia. Are you a player of games? He asks accuses. I don't understand, says Julia. You tried to trick me, says Petofi, have been lying from the beginning--perhaps this isn't the way you transcended time. It IS the way, she assures him. You could hardly use it without a thorough knowledge of it, could you? he asks. No, she says. Tell Aristede what happened when I opened the door, demands Petofi. I have no way of knowing that! says Julia. What was it, Excellency? asks Aristede. You don't know what I encountered beyond the door? Petofi asks Julia. It was your experience, not mine! She cries. I did it under your supervision, you were in control! He says. No, YOU were, corrects Julia--you threw the wands! Why didn't I go to the future? Petofi shouts, and instead found myself at a Natotsy tribunal? I don't know who they are, she replies. Aristede knows, and is shocked. They are the most ferocious band of gypsies the world has ever known, explains Petofi--their name means men of the woods, but wild beast would be more like it--no, Doctor, he says, you can stop pretending--we can play games, too, and you'll find them most unpleasant. I am aware of your power and how dangerous you can be, she says--I'm not tricking you. My patience is waning, he says--I'll give you one last chance to tell me everything you know about the I-Ching and how it can take me to the future, but before you answer, look at Aristede--why do you think I employ him? I don't understand what that has to do with me, says Julia. Fair question, agrees Petofi--in point of fact, I need no servant, nor is he an intellectual giant; he abhors all forms of culture, why do I keep him on?--because I shun all forms of violence--can't stand the sight of blood--Aristede has no such scruples. Julia realizes where this is leading.
He revels in every form of torture and bloodshed known to the mind of man, continues Petofi--I think he's even invented a few himself--he kills without the slightest feeling for his victim. Aristede smiles proudly. He will kill you, Dr. Hoffman, says Petofi, if you don't tell me what I want to know. Julia shakes her head--I've told you everything I know! Dispose of her as you like, Petofi tells Aristede--"Goodbye, Doctor," says the Count, and leaves. Aristede smiles in eager anticipation.
In the room that once housed Barnabas' coffin, Aristede ties Julia to a chair. "I thought your kind had gone out with the Middle Ages," says Julia, her voice trembling. Petofi wasn't bluffing, Aristede assures her. I'd have given him the information he wanted, says Julia--if I had it to give. Aristede checks her bonds. What are you going to do to me? she asks. I was thinking that over while securing the ropes, he says. I'm sure you haven't run out of creative ideas, says Julia bitterly. No, I have several in mind, he admits, but haven't chosen which I'll use. Julia's terrified, lips trembling. Beth sneaks downstairs in Petofi's lair as Julia says, how foolish a young man you are, so devoted to Petofi, you're too blind to realize how much he despises you. Beth listens at the closed door.
Aristede chastises Julia for the old trick of trying to turn friends against each other--I know everything I am to him. "What are you?--not a man, certainly," says Julia (what does THAT mean?) Aristede, angry, says, I'll enjoy killing you--the pleasure may be unbearable! "Where are you going?" asks Julia. Beth hurries away from her eavesdropping posture, back toward the steps. Don't sound so worried! says Aristede, I won't leave you alone. Beth hides. I've settled on the method I'll use, says Aristede, but I must gather some materials--I'll leave the door open, in case you get. . .lonely? And he leaves, laughing, heading to the cupboard to get some items. As he returns to Julia, Beth races out. Aristede, unraveling some rope from a spool, suggests, you're going to die of curiosity before I even get to you!--and seems pleased by the prospect. Julia gasps in dismay.
Woods - Beth returns to tell Barnabas--Julia IS at the mill, she reveals, about to be killed--you must go there right away!--Petofi isn't there. I'm very grateful to you, says Barnabas, and rushes off. Aristede, having completed his Rube Goldberg set-up, offers to tell Julia how it works. He cocks a gun that is pointed directly at Julia and hooked up to a simple device. "I can see how anxious you are," says Julia, near tears in her terror. The device is simple, explains Aristede--one end of the string is attached to the trigger, the other to the door--when the door is open, it pulls the string, which fires the pistol--and you die. Her voice shaking, Julia disses, I thought Petofi said your imagination was great for this sort of thing. The creative part comes along later, brags Aristede, after I'm gone--we believe someone will try to rescue you--we're hoping it's Barnabas-- it would only be fitting for him to be your executioner. He takes a handkerchief from his pocket and stuffs it in Julia's protesting mouth. "Goodbye, Dr. Hoffman," he chortles and affixes the string to the outside of the door. Barnabas comes downstairs. "Where is she?" he demands. My dear Mr. Collins, greets Aristede. Tell me where she is or I'll kill you! warns Barnabas. I don't know who you're talking about, says Aristede. Julia listens from the other room, despair on her face (SPIT OUT THE GAG!) Julia Hoffman, says Barnabas--you have her here. You're mistaken, says Aristede, I've been alone. What about that room? asks Barnabas. There's no one in there, says Aristede. You won't mind if I look, says Barnabas. No reason to, says Aristede innocently. Barnabas goes to the door. Aristede bears a hasty retreat. Barnabas opens the door; we hear a shot! He enters to find the rope between doorknob and gun broken. Julia is slumped in the chair. Has he killed her?
NOTES: You've got to love Aristede's idea, not only is he killing his victim, he's forcing her friend to be the executioner. It was nice that Beth agreed to help Barnabas without coercion (I thought she was leaving town when I saw the bag she was carrying). She really is sweet, and perhaps too good for Quentin. Petofi is an impatient SOB. He can't conceive of the idea that he could have made a mistake with the I-Ching, or that he is actually responsible for where he goes once he throws the wands, only that Julia must have lied to him. Can you imagine how Barnabas feels right now, believing he's killed Julia?
Love, Robin
