858 - Love the skeleton with the neat little feather in its hair.
In the woods, Quentin forces Petofi to bury Wanda. I'd have buried her even if you hadn't forced me to, says Petofi--I felt sorry for the poor girl; she died for you and your mad scheme. Of course, says Quentin, unconcerned--you're altered in form, but still embarrassingly sentimental-what would people think of Petofi? You can't go on killing until you find the right hexagram, insists Petofi. Furious, Quentin says, try and stop me!--I don't care how many people die along the way, how many leaves are on this tree?--all I care about is reaching the future, "and believe me, I WILL reach it!"
You can go, Quentin tells Petofi. I'm not going anywhere, insists Petofi--I'm going to stay with you, watch you-you aren't going anywhere, either. I am, says Quentin, to 1969. Not in my body! objects Petofi. It's my body now, retorts Quentin viciously, laughing, you should have had these second thoughts before accepting my offer of help--now it's too late, you can't stop me. I won't give up, insists Petofi. Watch for my enemies, advises Quentin, a full time activity-watch for the gypsies-a word I can say easily now, he says smugly, without fear, even--watch for the gypsies, because they are looking for Petofi, will find him, and you will know what fear really is. "You are Petofi and they will know that," says Petofi. Quentin laughs--I don't think so--cheer up-they might not be here for a little while--I'll let you know if I need anymore graves dug-you could use the exercise! He leaves Petofi standing sadly alone. Petofi takes the shovel. We get one look at Wanda's sad, lonely little grave.
Angelique takes a dress out of a box, holds it against herself, and admires her reflection in the mirror in the drawing room. Do you like it? she asks Quentin. Very much, he says. It's my traveling dress, she explains. Are you going somewhere? He asks. Yes, she says, furious--we're going on a trip Friday, right after our wedding. "Friday?" he repeats. Yes, she says, hand on hip, Friday--and don't try to renege-I don't care if we go through life together like two balky horses pulling in opposite directions-you are going to marry me, Quentin! He smiles at her, takes her into his grasp and assures, "My dear, you are the most beautiful balky horse I've ever seen"-and kisses her, deeply and lengthily. Taken aback at the thorough kiss, she asks, softly, hopefully, "Quentin...romance? From you?" Not romance, realism, he tells her, I've taken a long, hard cold look at both of us and decided we deserve each other-come Friday, you'll get exactly what you deserve. The phone rings. Angelique smiles uncertainly at him and answers it. It's for me, she says-why are you calling, what's the matter? On the other end, Julia reports, I've been feeling terribly strange since morning. Describe it, says Angelique. It's nothing I've ever felt before, says Julia-just come immediately. Angelique agrees-I'll come and see for myself. Quentin, listening, asks, is this a secret admirer on the eve of our wedding? She giggles-you are becoming a romantic, she teases--it was my milliner, with a terrible problem-she can't decide if she should put a red or blue ribbon on my hat, so I'm going there to straighten it out. Ang throws a shawl around her shoulders. Quentin stops her, trying to kiss her again, holding her close. She pulls away--I can't keep the poor lady waiting, she says. Quentin gazes suspiciously at the phone.
Beth unpacks her suitcase, putting things back into drawers. Petofi, at her door, says I must see you. I have no time to speak to you, she says curtly. I'm Quentin, he says, not Petofi, don't you know me?--you love me. I love Quentin, she says. I know that, he says--that's why you're the only person in the world who must know, despite all appearances, that I am Quentin Collins. He tries to take her in his arms. This is my room, she insists-don't touch me--I want you to go. I won't leave, he says, until you go to "your" Quentin and make him prove he's what he claims to be. His face is his proof, she says. That isn't enough, insists Petofi--I can unmask him--I want you to go your Quentin and ask why Jamison rejected him. Beth refuses. You must, says Petofi-"Jamison rejected me when you tried to kill yourself," he reminds her, "he rejected me for my hurting you--you helped me many times before, Beth, you must help me again or I'm lost--go to your Quentin, ask him about Jamison-please, ask him!"
Beth looks unsure. (better yet, ask about something Quentin did to her in bed that she especially liked. That would tell more!)
Rectory - Julia rummages through her doctor's bag and hears the weird, spacey sound that fills the room. Angelique enters-I came as quickly as I could, she says. Do you hear a sound like the wind wailing? Asks Julia. Ang can't hear it. It stops--but it will start again, it's all part of everything else, says Julia-it has to do with the way I came to this time; when I arrived from my own time-- only my astral body came, Count Petofi tried to have me killed because I'm not alive in this time. If you can't die, asks Angie, then what can happen to you? I don't know, says Julia, but you must be ready to do everything necessary to complete our plan, no matter what happens to me--"Are you willing?" asks Julia. "Yes, yes I am," Ang assures her. Good, says Julia, in obvious pain. Angelique anxiously asks, are you all right?--Barnabas never had these problems when he came-perhaps this has nothing to do with your displacement in time. No, says Julia, when Barnabas came here, he had a body to inhabit because he lived in 1897 as well as 1967-he was flesh and blood, not an essence--come, we must hurry, says Julia. We watch in disbelief as Angelique helps Julia from her chair. Julia hears the wind again, then Stokes' voice, saying, I cannot tell how long it will be until Do you hear that? Julia asks Angelique. The latter hears nothing. Stokes says, the vital life signs are... Julia hears someone, somewhere, speaking...
"Change, I'll let you know," says Stokes. And Julia realizes who it is-Eliot Stokes!-and she's thrilled to know it's him.
Beth is looking at Angelique's pretty blue velvet dress in the drawing room when she finds a wrapped box. Is it wise, your coming here? asks Quentin. You were coming to see me today, she reminds him, displeased. I intended to, later, he says. But you were busy, says Beth sarcastically--advising Angelique on what to wear for her wedding? Oh, is Angelique getting married? asks Quentin. He caresses her shoulders and throat
--I'll take care of her, he promises--I just need time. He speaks into her ear, caressing her, asking, do you believe it-everything will be exactly as it was between us. "Exactly?" she asks. Well, better-believe me, he says--you do believe me? Yes, I do, she replies. Then everything will be perfectly all right, he says. She turns and looks at him-what about Jamison? What about the boy? he asks, on shaky ground. He isn't acting like a boy, says Beth, he's as angry and determined as any grown man not to speak to you again-I've never seen him like that. Neither have I, he says, and I feel terrible about it. What did you do to make him so angry? I would rather not talk of it, says Quentin. Surely, she says, he must have misunderstood what you said, your motives? It was a very personal thing, he says evasively. What? she asks. Too personal and painful to talk about, he insists--I prefer not to think of it. Perhaps if you talked about it, she suggests. (get him, Beth!) Growing angry, he says, I already said I don't want to talk about it! I only want to help you, she says. Help me? he asks, by picking and pulling at me, nagging? She repeats, I only want to help. He mocks her, repeating the words. I'm sorry, she says, I thought talking of Jamison would help you-I was wrong. Yes, he agrees, you were wrong-and so was Count Petofi! Now Beth looks scared.
What do you mean? asks Beth. I know he came here to see you, says Q. Yes, he did, she admits. It's a pattern he's been following, says Q-he begged you to come here and test me, didn't he? I knew he was talking nonsense...she says. "And yet you couldn't stop yourself from coming here and testing me," he accuses. She apologizes. He asks, are you finally rid of Petofi, are we both finally rid of him? Yes, she says. Good, he says, and I'll be rid of Angelique and her wardrobe, very soon, and you won't have anything else to worry about again-just as long as you never doubt me again, he warns. She looks frightened.
Julia enters the main rectory room, making notes in a ledger. She hears the wind sounds again, then Stokes' voice, talking to Roger. "Roger!" cries Julia. Stokes asks Roger, do you hear someone calling my name. "Roger! Stokes!" Julia cries. Stokes recognizes her voice. They can hear me! Julia realizes, and calls to them again. "It's Julia!" she cries. Where are you? asks Stokes. "In the past! Oh, Stokes, I'm in the past and I'm frightened!" she wails, beginning to sob. Stokes calls to Julia-speak to me, he pleads. She keeps telling him I'm frightened and alone, all alone! Stokes keeps asking, where are you? then the wind fades. Someone knocks at the door. Petofi enters. I can't talk to you now, she insists--no time. Take time to hear me, he implores--hear me out.
Angelique enters the darkened drawing room to collect her dress. She holds it, sniffs it. Quentin, standing in a corner, turns on a light and asks, how was your visit with your milliner? She's startled--I didn't see you standing there. I saw you, he says, you didn't go into town, you went to the rectory-don't deny it! You followed me, she accuses. Yes, I did, my dear bride, he says, what were you doing there? Aren't you living a little dangerously, following me? she asks--if you make that mistake again, you'll be sorry, and if you use that tone of voice with me again... He grabs her cruelly into his arms, getting right into her face, warning, YOU'RE the one who'll be making the mistake if you think you can act this way once we're married. Do you know to whom you're talking? demands Angelique. Yes, the future Mrs. Quentin Collins, he says, and you'd better understand what that means-I'm giving you my name, and you're giving me your obedience. (Has he got the wrong lady!!)
Petofi explains to Julia--Petofi can't go to 1969 unless he has a host body there to receive him-- that's why he needs Quentin's body-do you understand why this makes sense? he desperately asks-you're the only one who knows that this incredible exchange makes sense--"I am Quentin Collins, you are the one person who can help me prove myself, ask me questions only Quentin can answer and Petofi can't-ask me anything." Julia listens carefully, then asks what did we speak about when I came out of my trance? David, he answers easily--David was dead and you saw he was still alive, and you told me I would not be a ghost in the future-see, I do know, you can believe me now. Can I? she asks. Whatever I say, you'll think it some kind of trick, he says dejectedly. Julia hears the wailing wind again, and so does Petofi. She's astonished that he hears it, too, and that he also hears Stokes' voice saying, "her presence can be felt if..." He repeats it for Julia, not understanding.
Julia can't believe this-you couldn't have heard it unless...you say Petofi saw Quentin in the future and he wanted your body? Yes, says Petofi. I have a body in the future, she explains --that's why I can hear-if you can hear, then you must have a body there, too, and that body must be Quentin's. "You believe," he says, exultant, relieved. Yes, she assures him, I believe, there's no other possible explanation for it-you must be Quentin. Thank God, at last someone, he says. She winces in pain. What's wrong? he asks. I felt a strange feeling, she says, nothing like I ever felt before--Quentin, she says, I want to help you and will try, but I don't know how much time I have left-but someone is coming who will and can help you--Petofi won't get away with what he's done to you. "Who?" he asks--tell me, you must tell me, I must, I can't be satisfied with just that. All right, she agrees, but you look and sound so much like him, it frightens me--if I'm making a mistake--if this is a trick cleverer than I can imagine... It's no trick, he assures her--you must help me, not only for myself, but the whole Collins family-- believe me, he says, it's what Barnabas would want you to do! Julia agrees, but she's fading away before his eyes. She starts to say, "Quentin, when I came here, I discovered..." but she evaporates at that moment, completely gone. Petofi, his voice hoarse, calls to her desperately-"Where are you? JULIA! JULIA!" But Julia, his only hope for salvation, is gone.
NOTES: How sad is that? Petofi finally gets someone to believe him, and she disappears back into her own time! How miserable and unfair for him. Petofi in Quentin's body is having a blast, kissing Angelique, cozying up to Beth (but doesn't he have a violent streak and nasty temper?)
How odd to see Angelique showing such concern for Julia! Quite different from the way they first started out, and now Quentin is threatening Angelique. Can you imagine her being an obedient, BEWITCHED-type wife? She's probably already measuring Quentin for punishment for this insubordination, I'm sure. Even as Petofi, he should already know she isn't the kind of woman to be pushed around!
I think Beth realizes now that something is amiss, but Quentin did a fine job of convincing her that he's who he says he is-or did he? He was more threatening than seductive with her, and that has to give her pause and, at the very least, make her wonder.
859 - Petofi wanders the rectory, calling Julia. He realizes she must have returned to 1969, but how and why-and, just his luck, as she was about tell him what help was coming for him! She can't come back, he realizes, I'm alone, and no one knows I'm Quentin. "I am alone," he thinks to himself sadly --alone. Lady Kitty enters and curtly demands, what are you doing here?
Petofi asks Kitty what SHE wants-surely you know why I'm here? You can be honest with me, she says-you caused me to come here the other night, right? You were in a trance, he says. And you deny causing it? she asks--what have you done with the woman who lived here? She returned to her own time, he says, called back to her own body in 1969. You're talking nonsense, says Kitty. I'm not Count Petofi, he says-I can explain, please let me. Ah, yes, I heard you've gone mad, she says bitterly. It's not true, he says. Again, she asks, what happened to the woman who was here? She's gone, he reveals--I wanted her to stay, she believed me, believed I'm Quentin. I know you well enough to know you're up to something, she accuses. "You know me...well enough?" he asks. Her face filled with indignation, Kitty says, I can't forget what you did to me in England as conveniently as you can. I know nothing of England, he says, frustrated, or of you, or Petofi-how can I make you understand? Why are you doing this, she demands, who are you plotting against-me?--the Collins?--or only that poor woman who lived here-"tell me!" He realizes that while he can't convince her, perhaps he can use her?--if she thinks I'm Petofi, and if she knew him before, then she must have known his powers, and been afraid of him...he looks at her, then tells her, in a very Petofi- like manner (great acting gig here), how wise you are for someone so beautiful. You're incredible! she says nastily-- but I have always known that--not always, she says, I was fooled, at first--now tell me what you did with that woman who lived here! I told you, she's gone, says Petofi. Were you afraid she would tell you why I was drawn here? asks Kitty--was she ally or enemy? Still acting like Petofi, he says, I'll leave that for you to decide. Ahh, she says, you want me to continue to wonder what's happening to me, why I'm not myself, so you can accomplish what you set out to do? Do you really think I'm the one responsible for your strange behavior? he asks. Who else? she says. I'll let you think about that, too, he promises--meantime, there's something I want you to get for me. I refuse to do anything for you, vows Kitty. You will, he warns, or you will disappear as poor Julia did. No, she says, panicked, find someone else, leave me alone! There is no one else, he says.
There must be-I won't help you--I saw what helping you did to Gerald! He holds out his hand-remember it? he asks. She turns away in fear. It has certain powers, he says, and if I pass it over your face, you will disappear. She's squeaking in terror as he holds his hand close to her. Shall I use it on you? he asks. No, she begs. Then you will get me what I want, he insists. She nods, eagerly. Get the portrait of Quentin, painted by Charles Tate, he commands-it's in Quentin's room. I can't steal a portrait, she protests, if I'm caught, I'll be ruined! Then you'll have to be very clever, he advises; it's now 7:30, I want the picture by nine--hide it in your room, I'll tell you where to bring it to me. You're inhuman! she cries. No, he says, I'm far more human than you imagine. There's a sound; he wonders where it came from, the house is empty. There's someone here, he says. The front doors blow open and the lights go out, to Kitty's horror. Petofi demands to know--who's in the house? Josette's music begins to play. In her "Josette" voice, Kitty says, I know who it is-and he want us to go. Who? demands Petofi. He follows the departing Lady's Hampshire out of the house. The doors begin to close by themselves.
We see Barnabas' portrait in the foyer. Edward tells Quentin it would upset Kitty if he took down the portrait, so perhaps it would be best to forget what Barnabas Collins was--he's merely an ancestor now. No better or worse than some of the others, pronounces Quentin. How can you say that? Edward. I'm a realist, says Q, I believe in honesty. Considering your life, sniffs Edward, you've managed to hide THAT fact very well. I've changed, says Quentin. I hope so, for your sake, says Edward, since you're starting a new life with Angelique-the old rules are the proper ones, his big brother says. Quentin grins sarcastically. What time is the ceremony tomorrow? queries Edward. Two o'clock, I believe, says Quentin (he doesn't know the time of his own wedding??) Kitty bursts in, hysterical, exclaiming, "That house! The rectory is haunted, and that woman is gone!" What do you mean, gone? demands Quentin, already heading for the door. She disappeared, sobs Kitty. Edward calls to Quentin, who is already long gone. What am I going to do, Edward? Kitty asks--that curse, he's following me, she cries--help me! He takes her into his arms and comforts her.
Edward gives Kitty a cute little drink to calm her nerves. I don't understand why you felt compelled to go to that house, he says. I don't know, either, please don't press me, she begs. He apologizes for trying to make sense of what doesn't make sense--there was no one living in the rectory. But she was, says Kitty, I saw her. How do you know she disappeared? he asks. The house was deserted, Kitty explains. Was there sign of a struggle? asks Edward. Kitty wipes her eyes--I can't explain. What was the woman's name? he asks--what did she look like? Tall, very thin, says Kitty, with short hair. Red hair? he asks--did she have an angular face? Kitty responds yes to both questions. I've met her, then, right here in this room, says Edward-- Charity Trask found her lying unconscious outside, in an indescribable dress-she didn't know who she was or where she was--when I went to call the doctor, she escaped--and to think she's been living in the rectory all this time-but why? Edward, says Kitty in a weird voice, we must find her, somehow she's involved in what's happening to me--you've been so kind and understanding, you know how all this has affected me, and I'm becoming so afraid! Don't be, he urges. I don't know when they will occur, says Kitty, and I fear I'll become someone else entirely. "Katie, you can't go on like this!" he tells her. (That's KLS' real nickname.) Please, she begs, if not for you, your sympathy... I haven't been able to do enough, he protests, taking her into his arms, I want to do much more! She sees Nora standing there, staring unhappily at them. Jamison won't play with her, she pouts--he thinks checkers are for girls and sissies! Nonsense, says Edward. Will you play with me? asks Nora, glancing at Kitty, who is gazing distastefully back--I guess you don't want to now. I'd like to, says Edward, but there's something I must do. He softly tells Kitty, I'm going to the rectory right now, see what's going on--I insist. Kitty doesn't want him to do that just for little old her! Edward insists--I'll be perfectly all right, he says. Nora looks with disfavor at Kitty. Kitty can play checkers with you! says Edward enthusiastically. Of course I can, agrees Kitty. You'll be doing me a favor until I return, he tells his daughter. Can you even play checkers? Nora doubtfully asks Kitty. The latter, anxious about Edward, hears the clock strike eight, checks her watch and says, it's been a long time since I played--set up the checkerboard and I'll remember. Nora accuses her of not really wanting to play checkers with her. Of course I do, insists Kitty. Then why were you frowning? asks Nora. I didn't realize how late it was, answers Kitty. Eight o'clock isn't late, for a grownup, points out Nora. Shall we play? asks Kitty impatiently. I haven't finished setting up the checkers yet, says Nora. Oh, says Kitty--in England, before my husband died, I wished I'd have a little girl like you. Why didn't you? asks Nora. We can't always have what we want, when we want it, replies Kitty--now we're both here, and will become very good friends, won't we? Kitty slips an arm around Nora, who seems to sense the truth about her. "The board's ready--do you know how to start?" Nora asks. Kitty sits down at the table--stay, she urges--I'll remember--did you play checkers often with your mother? Yes, says Nora. You must miss her a great deal, says Kitty. Nora gives her a look and says, she was very pretty. Yes, agrees Kitty; I've seen her picture. Kitty makes a move on the board and Nora jumps her, twice. Are you just letting me win? asks Nora--grownups do things like that. Not this grownup, says Kitty--I like to win. She concedes the game to Nora, but wants to know all about her--what you like, whom you admire--with so many men in the Collins family, "We women have to band together," says Kitty, "don't you think?" "Are you going to marry my father?" demands Nora, looking Kitty right in the eye.
Why? asks Kitty. Is that why you want to be friends, queries Nora. Edward and I are just fond of each other, says Kitty. I see, says Nora, staring at Lady H. Surely you want your father to be happy? asks Kitty. Yes, yes I do, says Nora--I want that (but clearly doesn't think Kitty is the one who will do it for him). Realizing she has an enemy, Kitty stares back at Nora intently.
Edward enters the rectory. Lights are on and Quentin is there, investigating, he claims, just as Edward is. No, says Edward, not as I am, not at all--you're involved in this--who is this woman, where is she, how do you know her?--I want answers! You'll never change, Edward, accuses Quentin, anything you don't understand, you blame on me! Usually with reason, retorts Edward--you were with that woman when she disappeared from Collinwood, I think you might have let her go. My brother has a vivid imagination, remarks Q--ever thought of becoming a novelist?
--now, are we going to stand and fight each other, or search the house to see what's happening here?--which do you choose, Edward?
8:30 PM - Kitty looks at the foyer clock as it chimes the half hour. Edward reports, the house has been lived in, that's obvious--I don't know what to do; Quentin, with all his instincts for scavenging, is still looking--what I don't understand is, he says he's sorry for reminding you of all that. I'd forgotten, playing checkers with that dear child, says Kitty. I'm glad you feel that way, says Edward. I'm sure Nora and I will become very good friends, says Kitty. Nora needs someone like you, he says, and I'm glad you were able to forget, for a little while--having learned some of our secrets and scandals, has it turned you against us? Nothing could, she assures him, absolutely nothing. She holds her open watch fob.
So you have come back, says Quentin to Petofi. The latter retorts I wouldn't have come back if I'd known YOU were here. Quentin chuckles--I figured you'd want to see me, most people want to see themselves as others see them!
I could kill you, threatens Petofi. And what a strange suicide that would be, says Quentin, laughing--the man who killed himself remained alive in another body--no, you won't do that--I know why you're here--you were counting on her help, but won't get it, because you know she's gone--yes, I'd say it's safe to assume that her time was up here, and she's gone back to her own era, quite happily so, too, and whatever she was doing here these past weeks, when Barnabas was destroyed, is unfinished--do you know what that was?-- no, he says, answering his own questions, of course you don't-you were looking for it, too. Well, I'm afraid, Quentin, that I do not choose to let you know--am I going to have to force you to leave-the power of the hand is here (he holds it up). You won't get away with this, says Petofi. Go tell your sad story to someone else, advises Quentin--there's nothing you can do, no one will believe you-"you're nothing but a senile old man raving mad!--now run along, my boy!" Petofi leaves, hurriedly, fearful of the hand.
Nora puts away her checkers. Edward asks, did you enjoy your game with Kitty? We never finished it, says Nora. She's very nice, isn't she? he asks. If you say so, she answers. Kitty offers to finish their game. Go to bed by nine, Edward tells his daughter. The clock strikes 8:45. Edward kisses Nora goodnight--say goodnight to Lady Hampshire, he says. Kitty, please, Lady H corrects. Nora says, "Good night, Lady Hampshire." (ZING!) Edward suggests a nightcap. Kitty begs off--I'm exhausted. She leaves the room.
Quentin finds Julia's 1969 dress at the rectory. He leaves after looking around a few more moments.
Kitty knocks at Quentin's door and enters his room. She finds the portrait, lifts off the cover-it's gone! Taken aback, she goes into the closet to search for it. Someone grabs her shoulder. Kitty turns in horror--caught!
NOTES: Loved the scenes between Nora and Kitty---the little girl sees right through Lady Hampshire, knows exactly what she's all about, and that she's phony.
Love, Robin
