842 - Barnabas is horrified to see what has happened. Hearing quickly retreating footsteps, he yells up the stairs, his face a mixture of guilt and misery, "Aristede, you're a dead man, do you hear me? I will kill you for this!"
Barnabas returns to Julia, removes the gag from her mouth and takes her pulse. He listens to her heart, then gently slaps her face. She's alive! Can you talk? He asks, but she's already said his name aloud. Do you feel any pain? He asks. No, she answers. The bullet couldn't have missed you, he says. I felt it hit me, she says. There's no blood or wound, says Barnabas--how is this possible? I don't understand, she says. We must go, insists Barnabas, Petofi will return.
Barnabas notices a bullet hole in the back of the chair, leaving both of them in disbelief.
At Collinwood, Petofi comes downstairs and runs into Angelique, who is just getting in. I'm looking for Quentin, says Petofi, where is he? I don't know, she replies. You're his fiancee, Petofi reminds her. But I don't own him, says Ang. But it has occurred to you, smiles Petofi. It was nice seeing you again, she says sarcastically, and starts to go upstairs. He stops her--since Quentin isn't here, I'd like to speak to you, especially the utter absurdity of your marriage to Quentin. I find nothing absurd about it, she says. Does he know everything about your? Asks Petofi. Yes, she says. Does he know you aren't an ordinary being? In the first place, it's none of your concern, says Ang. You'll learn that it is, says Petofi--Quentin and I have just made an agreement, and under those terms, Quentin has no choice but to do as I say, and if I tell him to call off the marriage, he must do so. Quentin isn't a piece of property, says Ang, he doesn't belong to you. In fact, my dear, laughs Petofi, he does. I don't believe it! insists Angelique. Ask him next time you see him, advises P--in the meantime, I have no objection to this marriage taking place. How magnanimous of you! she says. As long as you understand you must not interfere with my plans, he adds. I'll do whatever I need to, she says--you don't control me. He moves in close and says, it's a pity that isn't the case--that we've been at odds for so long--has it ever occurred to you what power we could wield together? Are you making me an offer? she asks. Consider the possibility, he suggests, of such an alliance. I'm not interested, she says. Your ulterior motives still elude me, remarks Petofi. I have none, she says. Surely you aren't marrying Quentin merely for the sake of becoming his wife? asks Petofi. She turns away--we have nothing further to discuss, she says. He bursts out laughing--at her, and himself, for misjudging her so completely--I never suspected your motives might be so human, feminine--"You're in love with him, I see it in your eyes, you of all creatures are completely in love!--tell me, my dear, what human emotion will you aspire to next--compassion?"
And he laughs uproariously at her, pissing her off.
Rectory - Julia sips a cup of tea. I still feel a little weak, Barnabas, she says. By all rule of logic, she should be dead, he says. I know, agrees Julia. The bullet must have passed through you, he says, we saw what it did to the chair. I have only one explanation that makes sense, says Julia--when you came back to the past, your physical body remained in the future; the same thing must have happened to me. That doesn't account for the fact you went unharmed tonight--I'm still vulnerable, why aren't you? he asks. Because YOU existed in this time before, she explains--you had a host body here to receive your essence, I didn't. Meaning you're here only in essence, he says. (This was cool.) My physical being is still in the present, she says. Incredible, comments Barnabas. Delighted, Julia says, this means I'm not in any danger at all from Petofi, there's no way he can harm me while I'm here. But you did feel the impact of the bullet, Barnabas reminds her, and it did leave you weak. All psychological, says Julia--I expected to be killed when the gun went off, and I simply reacted accordingly. Let's hope you're right, says Barn. I know I am, she says, and I must give you a second injection before dawn. Are you sure you aren't too weak? He asks. I've worked out a strict schedule for these things, she says, and it's important we follow it. Even if the injection does work, says Barn, we need someone else to help with our plans--the only one capable of doing it--Angelique. Julia is startled--Angelique?--she's here? Yes, she put in an appearance about a week ago, says Barnabas (?), a week after I arrived from the present. "She's the perennial bad penny, isn't she?" asks Julia bitterly. Yes, and it pains me to have to go to her for help, admits Barnabas, but I have a feeling this is one time she'll be more than willing to help--she's planning to marry Quentin Collins. Does he have any idea what she is? asks Julia. Yes, says Barnabas, but she's managed to maneuver him into it--now that Petofi is on the scene, he's a threat to her--they've already fought twice, and she'll be more than willing to take our offer--we must get to her immediately. I'll get a message to Angelique in the morning and have an answer for you when you awaken that night, promises Julia--take off your jacket, we have to get this done (LOL, no comment from me!) She remoes items from her doctor's bag.
The Mill - Tate paces. Petofi comes downstairs--did you receive my note? He asks the artist. Yes, I did, rages Charles, you said you'd be here, but I've been waiting two hours! I had a pressing matter to attend to, says Petofi--hasn't Aristede been attending to you? Aristede isn't here, says Tate. How odd, remarks Petofi, I left him with a job to do, he should have finished and been back by now. Petofi checks the back room, sees the ropes, gag, etc., and says, "So, Barnabas Collins was willing to risk his own neck to save his lady friend--she must be very important to him indeed. They will both pay for this--with their lives."
Rectory - Julia sips tea and answers the door--Angelique, whose is stunned at the sight of Julia. "Your eyes are not deceiving you, I am who you think I am," says Julia matter-of-factly. Angelique, smiling, asks, how can you be? You're here, Barnabas is here, why not me? asks Julia. But you're not like Barnabas and me, you're... "Human?" finishes Julia. I don't understand, says Ang. I'm here, what is there to understand? asks Julia. How you came, and why, says Ang. Barnabas needed me, says Julia. "I see you haven't changed--always ready to help Barnabas whenever he NEEDS you," says Angelique bitchily. Let's get directly to the reason I sent for you, suggests Julia. Ang says, "The pursuit of Barnabas Collins can lead to nothing but misery--he is a cold, harsh, unresponsive man." In a voice throaty and angry enough to cut flesh, Julia retorts, "Who made him that way?" Angelique relents--why did you send for me? Barnabas needs your help, says Julia. That comes as no surprise, says Ang--"I hope he didn't bring me all the way here to tell me that, he could have told me himself." I'm here for another reason, Julia explains--I'll tell you what that is after I hear your response. I told Barnabas, many times, what a fool he is not to return to his own time, says Ang. He couldn't go back before, he hadn't finished his work here, says Julia. His work will NEVER be finished here, insists Angelique--he's changed history too much. Please help him, pleads Julia. Why should I? Ang asks. You have everything to gain, says Julia--Barnabas told me about your relationship with Quentin. That has nothing to do with Barnabas, says Ang. If you don't help Barnabas, you might never get Quentin, warns Julia--something has happened that has placed him under great obligation to Petofi. Petofi won't prevent my marriage to Quentin, insists Angelique.
What good is it to be married to someone who's loyalty lies elsewhere, not really yours? queries Julia--do you want to defeat Count Petofi? If I couldn't accomplish that, asks Ang, how does Barnabas expect to defeat him? He can't, not alone, anymore than you can, says Julia, but Barnabas is convinced that, with your help, he has part of a plan, and you can help him realize it. What is the plan? she asks. What is your answer, demands Julia. I insists on knowing what Barnabas has in mind before I commit myself, says Angelique.
Petofi reports to Tate--it's most disturbing--Aristede is no where to be found. Stop worrying about Aristede, says Tate--he always comes back. I think Aristede is afraid to face me after bungling the job (how does he know for sure he bungled it?), and he should be afraid, I'm most displeased. Just tell me what you want, demands Tate, you're trying my patience. We must not interfere with your proper rest, says Petofi--look at the I-Ching wands and book. I know nothing about them, says Tate. This surprises Petofi. Think back to the days before I made you so respectable, to the acquaintances you had then, says Petofi--rather curious people, some even dabbled in the black arts, if memory serves me. Yes, admits Charles. Which of them practiced this form of divination? asks Petofi. Tate thinks it over. Petofi can see he is recalling something, and that it pains him. You shouldn't be toying with these things, says Tate. Why not? asks Petofi. Because if you haven't mastered them, they can be very dangerous--I saw them used once, says Tate, in an artist's apartment in New York--a woman went into a trance and started to scream that someone was trying to kill her--and after she got out of the trance, her hair was white and she was completely mad. So, Dr. Hoffman was telling me the truth, realizes Petofi--thank you, Charles--I still will go the future, but will use greater caution--I must find a way to use the I-Ching without placing my own life in jeopardy.
A smiling Angelique tells Julia, "It's a very clever plan, Julia, one that won't be easy to execute, but that doesn't bother me."--since it may dispose of Count Petofi, I'll help. Julia smiles back at her--how do you plan to do it? she asks. Angelique expresses curiosity about Julia's role in all this--these injections she's giving Barnabas, what guarantee do you have that they will work? There's no guarantee, says Julia, but I think the chances are very good. Then I'm convinced he's a fool! cries Angelique--if he really can be cured, he'll have what he's wanted for almost 200 years--go back to the future and live a normal, happy life. (She looks wistful and pleased at this prospect.) What are you going to use to provide us with what we need? asks Julia. Ang smiles. This is no time to be mysterious, insists Julia--tell me the answer! Angelique glances at herself in the mirror, promising Julia, you will know soon enough. The witch exits, leaving Julia frustrated and annoyed. Julia looks at the mirror, where Angelique's smiling reflection suddenly appears, then disappears. "Yes! Yes it WILL work!" exults Julia.
Rectory - Barnabas tells Julia, we must get another message to Angelique, letting her know it must be done sooner than we thought. Why? asks Julia. We can't give Petofi too much time to maneuver, asserts Barn--by now he knows you aren't dead, and will make another move against you. He can't harm me, says Julia. I know, says Barnabas, and I also know Petofi will realize that, sooner than we think, and he'll change his tactics and harass you to the point that you won't be able to help me. Then I must stay in hiding, says Julia. Yes, says Barn, but it won't keep you out of Petofi's thoughts--we must get this thing going before Petofi make another major move.
In Tate's studio, Amanda gazes at his portrait of her. He returns to find her there. Are you having second thoughts? He asks. I had to see the painting for myself, she says, but I don't know what to think. You still doesn't believe what I told you? he asks. If you were me, would you believe it? she asks. I guess I wouldn't want to believe it, agrees Tate. At least you understand how I feel, she says. I never saw you before doing that portrait on March 11, 1895, he says--that's the first day you remember anything. We've already been all over that, she says--I didn't come to rehash it. Then why are you here? he asks. Just to look at it, she says. No, he insists, you came here to find out if I told you the truth. It if were the truth, she says, I wouldn't want to know about it--to know I could be some kind of unnatural creature, a figment of someone's imagination, is frightening! Don't you think it's frightening to me? he asks, that I have some kind of strange power?--I've seen it!--I'll show you! He takes his sketch pad, intending to give her a little demonstration. You already did that before and nothing happened! she reminds him. I can't explain that, he says, I have no more idea about this power than you do. There is no power! she cries, it's just coincidence. Let me prove it to you, he asks, drawing away--it's almost finished. She walks over--he's drawing a picture of a man with no name and no previous physical existence. He finishes the sketch and says, this is a man totally created by Charles W. Tate.
Amanda screams, covering her face. "I don't believe it!" she cries, and runs from the studio. Standing there is a flesh and blood man who has stepped right from the sketchpad of Charles Delaware Tate!
NOTES: Pretty nifty talent you've got there, Chuck! I have a long list of people and things you can draw for me, but start with the gorgeous house overlooking the ocean with lots of windows and brightness!
I always love the antagonism between Julia and Angelique over Barnabas, and even more, I enjoy their uneasy alliance over a man with whom they both share a past. When Julia asks WHO MADE HIM THAT WAY?, Angelique is forced to back down because she knows Julia is right. It's one of my favorite DS scenes. I still don't know how Petofi figured out that Aristede's plan to kill Julia went awry, unless it's because there was no blood anywhere. Aristede would have mopped it up, though, since Petofi hates the sight of it, right?
The Tate/Amanda stuff could have been left out, but otherwise, this and the previous ep were two of my favorite DS eps within the framework of 1897.
843 - Tate is horrified to realize he created a man just by drawing him. Who are you? he asks the man--how did you come to be here? When the man approaches him, Charles grows terrified--don't come any closer! he orders. Tate holds up his sketch pad above his head, then removes that page from the pad and threatens, I can destroy you as I created you! The poor guy gazes up at the sketch, which Charles tears in half. The man is still here--Tate can't believe it. He grabs him, shakes him, demanding, "Who are you?" The poor, stricken creation just stands there, staring, silent and terrified.
Collinsport Inn - What do you mean? Tim asks Amanda. Tate created me, she explains, and now, somehow, my life makes a crazy kind of senses. What you has told me makes no sense at all, insists Tim. Then why can't I remember anything before March 11, 1895, before Tate sketched me? she asks. The reasons your past is lost have nothing to do with Tate, says Tim--the man's conceit must be incredible to imagine this.
He isn't imagining this, says Amanda, I saw him create someone else--Tate sketched a man and that man appeared--came to life in the room. This gives Tim something to think about--toy and I are going to visit Tate, he says, taking a gun into his hand--right now!
Tate is grabbing and shaking his creation, demanding, tell me what you feel--tell me! He threatens him, only stopping when he hears a knock at the door. He wrestles the poor guy into a closet and locks him in, then takes the crumpled sketch and drops it into a garbage can. It's Tim and Amanda. You know why we are here, says Tim--nothing will happen to you. Tate finds a rather curious thing to say--why would it? Last time she was here, says Tim, she saw you create a man--saw your sketch come to life. Take her to a doctor, advises Tate, if you believe that. Tim asks, what have you done with the creation? Nothing, Tate says nothing--the three of us are alone. I want to check that out for myself, says Tim. Tate's objects--I don't like people poking around in my studio--however, since your accusation is so bizarre... There WAS a man, insists Amanda. Your state of mind is so extraordinary, says Tate, and agrees to allow Tim to search. Tim checks one room, finds it empty. Amanda tells him to look in the sketch pad, but he only finds a sketch of Amanda. For Trask's portrait of Miss Harris, says Charles. Amanda tells Tate, you must not paint me! You've looked through my studio and didn't find either sketch or man, says Tate, so how long will you believe the unbelievable?--take Amanda to get the help she needs. Amanda, upset, insists, I saw the sketch and the man! Tim wants to go. You must believe me! says Amanda, and shows Tim that someone is trying the doorknob across the room. Tim finds the door locked and takes the gun from his pocket--I'll see what's behind the door--"Shall we?"
I only have a few clothes and supplies in that closet, says Tate. Tim wants to check for himself, and asks for the key. I don't have it, says Tate. I have a gun, says Tim, surely you have a key. He points the gun at Tate, who relinquishes the key. Tim unlocks the closet and opens it. He pulls out the man Tate sketched. Amanda screams and identifies him--this is the man he created, just as he created me. She's crying. I didn't mean to hurt you, says Tate. Leave me alone, demands Amanda, falling to the sofa, sobbing. The creation looks totally flabbergasted. Tim is delighted--you created Amanda and this man--how? It just happens, says Tate. Have you made these creatures often? asks Tim. Perhaps, answers Charles, I don't know. Draw me one right now, orders Tim. Tate refuses--I won't do anymore. Think of the possibilities, suggests Tim. I have, and it terrifies me, says Tate. Not me, says Tim, I'm fascinated--in fact, if you don't draw me one, Ill take this one with me. You can't, insists Charles, darting forward. Yes I can, says Tim, dragging the creation away with him--take care of Amanda, says Shaw--but I'm sure you'll do that. Amanda sobs heartbrokenly.
Petofi adjusts his glasses and tells Beth, I've been expecting you--the other night, you came to the end of one road, now you must find another. I thought a great deal about myself and my life, since. . . "you tried to kill Quentin?" asks Petofi. I don't want to talk about it, she says. Accept things for what they truly are, he advises--you tried and failed to murder Quentin--what happens now? I'd like to come and work for you, she says. Why? he asks. Things go so well for you--I think I can learn from you, how to make my life over in your image. It's a touching tribute you've painted, he says--I might need you, considering my last aide-de-camp decamped under enemy fire--what can you do? Look after things, and people, she says, do what you want me to do. My needs are quite different from ordinary ones, he says--however, I can assure you you'll find the rewards far more enduring than a room in the servants' quarters or a smile from Quentin. I don't care about Quentin anymore, she says bitterly. Good, he says, if I employ you, your devotion must be to me, even if it costs you your life. My life is worth little to me, says Beth. I have decided to employ you, he says, but before you decide yes, know and know well that there is no turning back, changing your mind, because if you do, I assure you your life will be worth nothing--and no further nonsense about Quentin--will you accept that situation?--think carefully. Smiling, she says, there's no need to think--I've found what I'm looking for.
Amanda looks at the sketch of herself and asks Tate, what do I do now? He turns her face around to his and says, let me take care of you--marry me, please. How can you propose to something unreal? she asks. You aren't unreal, Charles insists--we can touch, feel, love. Love? she asks--I can never love anyone--no one can love me. Give me a chance, he begs. I've already seen, says Amanda--I used to wonder what I was like in the time before I could remember--I saw that man unable to speak, trembling with fear, finding himself in a world in which he doesn't belong--I saw that creature and saw myself. It's nonsense, says Charles, look at me, you can love. He tries to kiss her, but she pushes him away. No, but I can hate, she assures him, and I hate you, for finding me and proving what I am--Charles,
I hate you--I wish you'd left me alone! She exits the studio, leaving Charles devastated.
Petofi asks Beth if she knows anything about I-Ching. Quentin explained them to me, says Beth--they frightened me. Petofi advises her, lose that fear, because I'm sending you through one of the 64 doors of change. Beth looks scared. I want you to describe your journey, says Petofi. Is it' dangerous? She asks. It could be, he says, no one knows what lies beyond the door, but dangerous or not, you do it because I tell you to. It's clear, says Beth. Cast the wands, now! he orders. She takes them nervously in her hand and throws them onto the table. Petofi arranges the hexagram--#23--Po, the hexagram of falling.
This scares Beth. Words mean nothing until you see what's beyond the door, says Petofi--concentrate, and tell me exactly what you see. She starts to leave the room, but Petofi raises his hand--for the very last time that there is no turning back, he reminds her. She returns to her seat. This hexagram fascinates me, says Petofi--the top wand undivided would mean a chariot waiting to take the superior man wherever he wants to go. Yes, that could be the one, the hexagram that will take me to the future! Hurry, he says, concentrate on the door, on opening the door, until your astral body passes through the door. Beth concentrates. The wands twirl around, then appear on the door. I can see the door, se says--it's opened. Pass through it, he orders. She does; it closes behind her. What do you see? He asks. She screams. What is happening! He demands anxiously. She takes a knife and stands, her face murderous, holding it as if to stab him. "I'm going to kill you!" she cries. No, he says, forcing her to drop it--you must tell me what lies beyond the door. Shadows, she says, only shadows! I'm puzzled by the meaning of shadows, he says, brushing the wands off the table, but feels it's best you recover yourself for the moment. You've done well despite your fears, he praises, you will have other chances to serve me. He locks her in his other room.
At the hotel, Tim talks to the creation--I know you understand me, he says and you can also speak if you want--still afraid, he realizes, but for the 100th time, you shouldn't be, I can keep you out of harm's way as long as it's necessary! The creation sits, silent. I promise you, says Tim, gazing out the window. The creation, looking very sad, stands and looks at the door, then goes over and touches Tim on the shoulder. Tim turns around, delighted--yes, you can trust me, I'll protect you, no harm will come to you--but tell me everything you can--everything! The creation opens his mouth, about to spill all.
Tate enters and asks, "Are you sure about that, Mr. Shaw?" How did you get in? demands Tim. I was quiet, replies Tate, and you were occupied. Just in time, says Tim--I've persuaded him to talk--he will talk. Charles raises a gun and shoots the creation, who falls to the floor.
NOTES: Poor creation, no name, no dialogue! Life can be tough for a DARK SHADOWS bullseye!
The angst of Charles D. Tate holds little interest for me. Neither does Amanda, really. Where she came from, who she is, I just haven't seen enough of the character to feel much of anything for her.
Right now, I feel sorriest for the cute-looking nameless fella who was shot by Tate.
Love, Robin
