872 - In his room, Quentin lifts a box of glittering jewels into his hands, against his mouth, as if for a kiss. Beth knocks, and asks him why he didn't come to see her. He's been busy, he says, but she suggests, coldly, that he tell that to Angelique-she knows what he does. Perhaps he's changed, got tired of sitting around Collinwood, that this house is a trap. She notes that he's packing, and asks if she'd come an hour later, would he just have been gone? Of course not, he says, he was coming into town to get a check cashed, to see her, and tell her of his plans. Not to ask me to go along, she says icily. She isn't going to let him go! He takes her into his arms, assuring her she's going to follow him, he has it all planned. If only she could believe him, she laments, but he's capable of saying that to Angelique, too. She's away, says Q, and he doesn't know or care where. He caresses her arms. She seems about to give in when she spots the jewels, and accuses him of stealing them. They're Petofi's, he says. That's why he's leaving, she realizes, warning him he'll never get away with it. He's too powerful. He'll never find him, says Q, he'll be years away from him-and he laughs. Beth, he has found the 49th hexagram the one that can lead to another time! No, she says. It's his only way to escape Petofi-to go to another time! You're mad, she says. He tells her Petofi isn't his only reason why he-they-must go-they can leave Angelique forever, safe in 1969! She's tearful, asking if he's really planning to take her.
Of course, he assures her, he wouldn't be telling her all this if he weren't. She asks when they will try. He says he'll try first, and her face grows dark. His body will be in a trance, he says, and after it disappears, she will know it's time to join him-he'll be waiting there, it's the only way! He isn't trying to trick her! She can't do it alone, she objects, but he says of course she can-trust him. She does, she says, she's with him! He's fanatically delighted, and plants a big, wet kiss on her mouth. He tells her to remember they'll have a good time where they are going. He sends her into town to cash a check for him, then takes his portrait, which looks like a poster, from the easel. "You're taking that?" she asks. He must, he can't take the chance of someone finding and destroying it. He doesn't want to start his new life with the threat of a full moon hanging over him each time-he'll never become that animal again. She asks how he will get it there, and he says he'll bury the suitcase a hundred yards from the cornerstone of the west wing, by the grove of trees-he'll dig it up when he gets there. He shows her a map he drew so he won't forget the spot, and he's taking it with him. Hurry into town, he says, by the back way, making it clear to her that she can't change his mind. Don't let anyone see her or ask questions-no one must know. He locks the door behind her, laughing.
Tate enters Collinwood, thinking how different it looks from the Collinwood he saw when he caught a glimpse of the future-the lights, furniture, it was the same house, but different. He opens the drawing room doors and spots Charity, who greets him with a smile. He doesn't answer, and she asks if she's that much of a shock-same old Pansy! He looks around, saying how different it all was. She asks him what's wrong with him, and he tells her he's seen the future!
Her eyes grow huge.
If he's seen the future, he doesn't have to be so balmy about it, she says, she's got second sight and sees things all the time, but she doesn't let them faze her, not at all! Quentin is going there, says Tate, unless he stops him. Charity says they're all going to the future, as long as they last-if you know what I mean. The future is tomorrow! No, he says, he's going there and leaving him, Tate-but he isn't going to let him! He won't! And he rushes upstairs, past Barnabas, who is standing by the front doors. Barnabas asks he what'' wrong with Tate. She says she doesn't'' know. He seems most disturbed, as she does, says Barnabas. He can't take the blame for Tate's nervousness, but believes he is the cause of hers. He knows he looks like the vampire she destroyed, but she must believe that he was a vampire victim just as her fiance was, but he was luckier; he managed to somehow save his life. So much happens in this house that you can't understand, says Charity hoarsely. Like me and Mr. Tate? He asks. He offers to go after him, but she says don't bother, he went up to see Quentin. Imagine him saying Quentin's going to the future? Asks Charity.
She can't imagine what he meant-can you? No, says Barn, but he'd like to hear more.
Quentin is rolling up his portrait/poster. Tate knocks at his door, demanding to be let in. He bangs on the door, swearing to break it down. How crude you're becoming, Charles, says Q, opening the door and letting him in. Tate enters and tells him he isn't going to go. Lower your voice, commands Q. Tate threatens to bring the whole house up here, scream as loud as he wants, but Q warns him it would be a mistake. "You found your way to the future because of ME, do you understand?" yells Charles, grabbing Q. Give me my talent back, please! No, says Quentin, he said perhaps he'd reconsider (he touches Tate's nose, smiling?. You can't just leave me here, objects Tate. Quentin laughs at him, saying he should develop other interests-you are a very interesting experiment in survival, fascinating, you refuse to see your choices-but you do have them-you could become a whole new man, successful in something else. Tate says he can't start over again-he grabs the painting from the suitcase, then says, "And you aren't going to go!" Give it back, says Q, but Tate says he doesn't care what is done to him, he won't do it! Tate runs for the door, but Quentin blocks him. Get out my way, shouts Tate, and Quentin lifts up The Hand and tells him he can't fight it-or has he forgotten. Please, begs Charles, as the hand comes closer to him...
Drawing room - Charity tells Barnabas he takes Quentin going to the future seriously, but pretends not to. Barnabas replies that he's simply worried about what's happening upstairs-Charity could easily distract them, and would be doing everyone in the family a great favor. "That Quentin can be mean," she agrees. Judith worries about him; she likes some peace and quiet in the house, too, but Quentin wouldn't listen to her. Barnabas says he thinks he would-does she like secrets? She says she adores them, luv. He has one that might help them-would she like to hear it?--and he whispers in her ear.
Charles sits in a chair, looking as if in a trance. Quentin tells him that "you must agree, my little boy, that you were wrong to come here." Tate agrees. He would have restored his talent, but now it's out of the question. He can't do favors for enemies. Go back to your studio, he tells Charles, and stare at your empty canvases and you just hate me all you want to, because I'm going to be far, far away from here-now go, Charles. Tate passes by Charity, who has entered Quentin's room, without a word. She asks what he did to him. Put sense into his head, says Q, grinning, gave him a lot to think about. It's pretty odd, her coming up here to see him, huh? She asks. Yes, it is, he agrees, but she says she knows his secret-he is the one. Scared, he smiles and asks her how she knows. A little birdie told her, she says, but she won't say who. You had better say, my dear, he warns, making her look oddly at him. "All this fuss over your birthday?" she asks. Birthday? he says, puzzled. It is, she looked it up in the family bible, she says-he forgot! He says she's right. He's in luck she's here to remind him-they must have a glass of champagne! They can't, he says, but she says she won't take no for an answer. He deserves a glass of champagne, he agrees, but he gets to propose the toast. She was never any good at it. He has an urgent appointment, so they must hurry, he says. Just one glass, she says, it wouldn't even get tickly, would it?
Beth returns to Collinwood, wondering why she worries so-he says it will work. She wishes this night were over. Will it be worse, alone, with his body in that trance? She enters the house and finds Quentin in the foyer with Charity. He wants to speak with Beth alone, so Charity volunteers to open the champagne. She asks what he's doing. He says he found out it was his birthday, and he had to go through with it so she wouldn't suspect. She gives him the money from the check she cashed, and he asks her to go upstairs, get the suitcase, put the money in the suitcase, and bury it-he gives her the map. Make sure she buries it on the marked spot; afterwards, come back to where he is, guard the body until it disappears, remember, he says, it's the 49th hexagram, everything else is in the book-do what he says, for their sake. He sends her upstairs, and smiles at his genius.
Barnabas enters Quentin's room, finds the easel empty and searches the closet. He hears footsteps and hides behind the drape. Beth enters and finds the suitcase, then leaves with it. Barnabas follows her. Charity pours two glasses of champagne and says she does love it. When she was an artiste, she got to drink lots of it; people sent her bottles of it. Carl did. Quentin says he misses Carl. "You do, what about me?" she asks. She reminds him he said he would make the toast. So he did, he says, let me see, shall I be clever, or merely realistic? "To the future!" he toasts, and she says it after him. They clink glasses. Quentin spots Beth leaving with his suitcase. Barnabas is following her, and Quentin calls him. Charity tells him he's just in time to help celebrate Quentin's birthday. Barnabas, in a rush, tells him he's sorry, but he can't stay, he's late. And off he goes. Charity tells her not to worry, he acts like that all the time. She asks him to be a gentleman and pour her a bit more champagne. He seems annoyed, but he does it, and Charity is grinning like she put a big on over on him.
Outside, in the woods, Barnabas wonders where Beth has gone-he must find her!
Back at Collinwood, it's 10:15, and Charity and Quentin have finished the bottle. Barnabas returns to find Charity alone, upset because the champagne is all gone. Where is Quentin? he asks. How should she know, she asks, drunk and irritated, he didn't tell her she'd have to keep him here all night! He's got things to do. Did Beth come back? asks Barnabas. No one went in or out, she tells him. He must be here in the house, says Barn. Didn't it work out, what you were trying to do? she asks. She was so hoping it would...
Quentin sits in front of the 49th hexagram, saying, "The future, at last!" He concentrates, sees the hexagram in place on the door. He goes through the door and finds himself at Collinwood.
"Edward? Judith?" he calls. He walks through the foyer and into the drawing room, where he sees a newspaper that says it's Tuesday, October 28, 1969. He says, "I made it! I'm here! 1969!" He closes his eyes, ecstatic.
NOTES: Wonder why Charity went along with Barnabas' little plot? Did she know it really wasn't Quentin's birthday, or was the pretending that too, and if so, why help Barnabas, of whom she still seems afraid?
So sad how Beth ran around doing Q's errands like a faithful puppy. He always manages to convince her he cares, whether he's Quentin or PIQB! Poor woman!
Quentin has made it to the future! His body isn't supposed to disappear, is it (as he told Beth), since he has a host body there? I thought Barnabas' only disappeared because Edward scattered the wands?
Was Barnabas courting Kitty all this time, sending her the flowers, book, music box, or was Josette responsible? Was Barnabas well enough to be up and around during the treatments, even if just in the dark? Lucky for him he didn't need that last injection. I always thought the scheme with the doppelganger was so clever. Somehow, it never seemed right that Kitty was Josette's reincarnation, she always seemed to be a much shallower, less kind person that Josette. Loved the two kisses, one at the end of ep one, one at the beginning of ep 2.
Poor Tate, even though I'm not a fan of his, I do feel sorry for the way Petofi used and abused him-and now had completely robbed him of his talent and income. Charles has truly lost it all.
873 - Quentin looks at the COLLINSPORT STAR a few moments. Maggie hears someone downstairs and comes down to check. She's wearing a miniskirt. She opens the double doors, but Quentin is gone.
He's writhing on the floor in the adjoining room to Petofi's lair and Beth kneels beside him, telling him desperately that she had to do it. The I-Ching wands are scattered on the floor. She shakes him begging to know if he's all right. He asks where he is, and she tells him, back here with her. He gives her a look of death, saying, "You brought me back!" The portrait is gone, she says, it's not in the suitcase-does he understand, she found the painting gone when she went to put the money inside. He was in the drawing room of Collinwood in 1969, and heard a girl ask who was there-and SHE brought him back! Didn't he hear her, the portrait is gone! How could it be? She shows him his suitcase. Who could have taken it, he demands, he only left his room a few minutes, with Charity Trask. He orders her to get Charity. She couldn't have taken it, says Beth. How incredibly bright, my dear, he says sarcastically. The question is, why did she come to his room feeling about him the way she does, and how did she know it was his birthday-someone must have told her, who wants that portrait-Petofi does. Beth points out he wasn't in the house, but Barnabas was, says Quentin. Barnabas has always been your friend, protests Beth. Get me Charity, now! says Q. They have to get back the portrait-he's seen the future and he must return there to stay-go, my dear, quickly! And exits.
Beth forces Charity toward Quentin's room. Charity wants to know why he wants to see her, but Beth says she doesn't know. Charity has nothing to say to him. You had plenty to say earlier, says Beth nastily, grabbing Charity's arm and hurting her. She was just trying to be nice, says Charity, what's wrong with that. Quentin greets her and says he so enjoyed their champagne toast, he wanted to have a little chat. She thought they'd said everything then, she says. He wants to talk more, and asks Beth to excuse them. Don't leave me, Charity begs, then amends it to, "She can stay..." But Q orders Beth to leave, and she does. Quentin tells her she's quite charming, and exquisitely dangerous. She tires to leave, but he grabs her and chokes her, insisting she admit that Barnabas told her it was his birthday. Admit it! She looked it up in the family bible, she cries. You aren't given to bible reading, says Q, Barnabas sent you to keep me busy so he could steal my portrait-admit it! He chokes her, and she protests he's hurting her. He promises to do far more than that, unless she tells him everything he wants to know. And he tightens his chokehold...
Charity tells him to let go of her, and he finally does, accusing her of knowing all about Barnabas Collins. He makes her so mad, she complains, she doesn't know why she's nice to her. Because HE wanted you to be-admit it, says Q. What kind of person does he think she is, no one orders her around. Don't fight me, he says, you know better. She says she was just trying to know when you leave, so to speak. Barnabas was with her when she decided to come up and see Quentin, she admits that. Where was he while they were having their drinks, he asks. She doesn't keep track of the comings and goings of everyone in the house, she says, getting shrill. In this case, she knows! Don't tell me what I do and don't know, she cries. Quentin grabs her into his arms roughly and says he will tell HER. No you won't, Mr. Whoever you are, she says, and leaves his room.
Kitty gazes at Barnabas' portrait. Barnabas comes up behind her and says he hopes she isn't still not bothered about his resemblance to the portrait. Coldly, she tells him she must speak to him, and when he says he has something to do, she says he must hear her about before doing anything else. Puzzled, he follows her into the drawing room. She'll be direct-leave Collinwood today-now! He's horrified that he's offended her. Kitty says he must know why she wants him to leave, but he says he doesn't, really. You aren't stupid, she says, he must know the effect he's having on her. He hoped to have some effect, yes, he says. She's trying to say he's responsible for everything happening to her-he seems determined to drive her insane. That's not true, insists Barnabas. Her attacks started...before he ever arrived here, he finished. She says she had some premonition he would arrive, the first night in the house, she asked about his portrait. Not his, his ancestor's, corrects Barn. He can explain what's happening to her-he knows, will she listen. He watched her very closely-don't take offense
-at first he didn't understand why she had the empathy for the hall portrait, but now he realizes that she is the reincarnation of Josette duPres, and the latter's mind is trying to enter Kitty's consciousness-Josette is determined to live again. "You're mad!" says Kitty, how can he be so cruel as to even suggest that? Because she will be happier if she lets Josette live, insists Barnabas. He sits beside her, telling her she knows things only Josette knew. Ho do you know THAT? she demands. Why is he such an authority on Josette duPres? Barnabas looks nervous. He can't answer. Kitty says he talks about her as if he saw her yesterday-she's been dead over 100 years! How does he know so much about her, what she knew. Because he is in love with her, he says, he first saw a copy of her portrait as a young boy in England, he thought she was the most beautiful woman he could imagine, there was no girl who could match her-until her saw Kitty. "Please, Mr. Collins!" says Kitty. He became so fascinated with her, he was determined to learn everything he could-he went to the family history, read diaries and letters, until he knew her better than the people he saw every day. Kitty wonders why she bothered to listen to him-she should have known he couldn't help her. But I can, if you will listen, he says gently. If she will believe him. Sharply, Kitty tells him she believes he's quite insane-"Please leave me, Mr. Collins!" Chastened, he does so. Kitty hears Josette's music. No! she cries, don't let that happen!
The sleeping Charity dreams. She hears herself and Quentin laughing. Pansy! he calls, what are you hiding for-I'm going to find you, come on, we had such a great evening tonight, where you hiding? I'm going to find you, he sings. He does, in the drawing room. He tells her he's found her, and he's going to hold onto he forever. Lips not moving, she tells him she'd be delighted, and he tells her, also without speaking, how lovely she is tonight. It's very romantic. She thanks him. He takes her into his arms and they begin to waltz as a man's voice sings, I Wanna Dance With You. We see a couple of statues dancing, too, and blue lights swirl away from Charity and Quentin as they dance. "I love you," she tells him. (This scene is miserably cut.) Hold me, she begs. He calls her my darling, and they kiss, a nice, big smooch that goes on a long time. When they separate, she is very happy, and they gaze into each other's eyes.
Then she sees Petofi laughing at her, and is horrified. She awakens with a scream.
Midnight, Collinwood foyer - Quentin enters to find Barnabas staring into the fire. Back from your appointment, he asks Barn. Took no time at all, says Barnabas, he hoped to come back and accept his invitation for a birthday drink, but he wasn't there. So now they meet, says Q. A moment after midnight, says Barn-they'll have to wait until next year. He wonders if they will be playing this same game next year, says Q. Barnabas doesn't know what game he's talking about. How strange it must be to see the sunlight, live an ordinary life, says Q. I always have, says Barn. "To know that when night falls, you will not be at the mercy of your ailment," says Q. Barnabas thinks he has him confused with someone else. Quit denying the truth and admit we are enemies. "If you wish-Count Petofi," says Barnabas, with a rare smile. I didn't expect you to find out so soon, very clever, says Q, you must be extraordinarily clever man, or you wouldn't be here talking to me-sometime you must explain to me how you have accomplished all you have. I shall wonder about it until you do. Barnabas says he'll wonder how HE accomplished all he has. There's one power he has that Barn doesn't, says Q, this rather innocent looking hand-he wants his portrait back! I'm sure you do, says Barn, with another small grin. And you'll get it back for me, threatens Q. I don't know where it is, insists Barnabas. Quentin asks if he's going to force him to use this hand. You have two minutes to tell me where that portrait is. Barnabas just looks at him, unsure.
Kitty, at the mill, begs Petofi to use his powers to help her-and don't deny he has powers! When she thinks of the things she saw him do, in England, remember the game they played that night-when whoever he touched had to tell the truth? (He didn't have his hand back yet!) She saw her husband Gerald say things she'd never known, she must know the truth about herself, she begs, that's all she asks. What will it cost him-nothing, but she will give him the last of her jewelry-she won't leave until he does!
Quentin tells Barnabas his time is up. Barn insists he doesn't know where it is. What a silly man you are, says Q, surely you can't be without fear-you know too much about life-or should, you've lived for so long and must know the prices men are forced to pay. Quentin raises his hand-what will it be, death? No, much too simple, he should become what he was, yes, that is far more interesting-you shall become the bat again, hiding from the day, unable to speak, cringing at the darkness-you feel yourself beginning to change, Barnabas? You should, because it's going to happen very soon, your arms will begin to feel heavy, you body filled with excruciating pain-you will become what you were, that loathsome bird of the night-now! He touches Barnabas' head, but nothing happens.
"Your power-what has happened to your power, Count Petofi?" Barnabas asks smugly. Q stares at his useless hand.
Petofi tells Kitty to see how she really is, do not spare her, let her see. He touches her face. "No, she says, he was right, I am Josette duPres, I remember everything now, I am Josette duPres, but I'm also Kitty Soames. And Petofi grins, realizing the power of the hand is now with him!
Love, Robin
