882 - Quentin begins to drift off...
Charity comes downstairs hurriedly, enters the drawing room and finds Q sprawled out in a chair. She calls to him, praying God it isn't too late. He awakens and looks at her--what's the matter, Charity? I'm glad that it isn't over yet, she says--Petofi is trying to exchange bodies with you again! Quentin's eyes spring open--when, where is he?
I don't know that, she says, or what he's planning to do, but I do know when it will happen--the minute you fall asleep. The minute I lose conscious control of my mind, Q realizes. Right, she says, that's when he'll take it over. That means I can't fall asleep for a second, says Q. Charity puts the drink back in his hand and says, not until you're safely away from here. He drinks, then hands the glass back to her. It's four hours until my train leaves, he says--ordinarily, it wouldn't be any trouble staying awake that long, but I've been awake so many days and nights... Desperately, Charity says, Luv, you've just got to--I'll stay with you, help you stay up, but you're already falling asleep. She shakes him awake. I'm all right, he assures her. You frightened her to death, she chastises--I've got to keep you walking, talking, or I will go out of my skin. She helps him out of the chair; they walk. Barnabas enters Collinwood, spots them, and wonders what's going on. "I'm in trouble," Q. Not yet, says Charity, but he will be if he closes his eyes. Petofi, realizes Barnabas--he began his attack again. Yes, says Q, that's what Charity says. I saw it, says Charity, and it was "horrible." I'm dead tired, says Quentin--my train doesn't leave for four hours. Barnabas sends Charity upstairs to get Quentin's bags--I'll stay with him, says Barnabas. Charity agrees, but orders, keep him awake--he has a way of drifting off. Barnabas takes over walking the floor with Q, supporting the exhausted man.
Petofi continues his concentration.
Collinwood - it's nearly 7 PM. Quentin falls down onto the sofa. I'm all right, he says, I just need some rest. Barnabas is concerned. Charity comes in--I brought the bags into the foyer. He isn't doing well, says Barn, and four hours of this just won't work. What else can we do? wonders Charity. I have another idea for help, says Barnabas--Charity, stay with Quentin until I get back. Barn leaves. Charity takes over the task of walking Quentin around.
Rectory - "So, Barnabas," says Angelique, "you want me to help you--at least you want me to frustrate Petofi until you can put Quentin on a train to New York." Yes, says Barn. I remember well when he was planning to take another train to New York, very well indeed, she says--Quentin is going to New York to find Amanda, I know it--my answer is NO. Barnabas looks upset--and ready to argue.
If you care anything at all about Quentin...says Barnabas. I do care, she says, too much, and I need him to care about me just as much--if he leaves, goes off searching for another girl, he never will. He can't stay here, argues Barnabas--Petofi won't rest until he steals Quentin's body and goes off to the future--if Quentin's life was EVER in danger... "You want me to dispel that danger and deliver him into the waiting arms of Amanda Harris," says Ang mournfully--"I'm sorry, Barnabas, I can't do that--I'm too human, too jealous." People like the two of us have lived long, troubled lives, Barnabas reminds her--we have both seen a great deal of unhappiness and despair, and if Quentin can he happy with Amanda, you have no right to deny him that happiness. (hey, she did it to you with Josette, what's another round with an eligible Collins male?) She looks at him, wounded--what are you trying to say? she asks--that I don't deserve love or know how to love? (some might say so.) I haven't said that at all, he says, surely there is someone else... No, she says, I've already found Quentin, and he's the only one I want. Why Quentin? demands Barnabas--if he's that important to you, why would you destroy him rather than give him up? I will tell you him something that Quentin must never know, confesses Angelique--before I came here this time, I was in the everlasting pits of hell, where other creatures of my kind live--only my stay on earth made me dissatisfied with my life there--I longed to come back to earth, to become a human being, and begged my master for the chance--he finally gave it to me, on one condition only--that I make one man fall in love with me, without use of supernatural spells or powers--one man, one chance, that's what I was granted. And he is the one? asks Barnabas. (jealous, Barn?) Yes, says Ang, and you can see why Quentin Collins is the only man on earth for me, if I want to remain here on earth as a human being--"And I do, I do." If you try to keep him here, you'll lose him anyway, points out Barnabas--either way you will lose him. Yes, agrees Ang, but at least it will be my choice HOW I lose him. (She looks so sad, so human.)
Charity, growing as weary as Quentin, continues to walk him around, relating tales of her life in "the theater." The manager, if ever a man was going to explode, it was he, only thing what matters to you is that I'm here when I'm supposed to be, Pansy Faye ain't never missed a show in her life." Quentin sinks down on the fireplace seat. Charity warns him, if you drift away, you'll drift back sadly changed--let's sing! I'm not in the mood, he says. Charity insists--the show must go on--that's the only rule there is--so here's a chorus from the new team of Pansy Faye and Quentin Collins! She begins to sing, "I Wanna Dance For You." She claps him on the chest, encouraging him, and he joins in. She holds up his head; they both sing. She has to slap him a bit, wake him up, ordering, "Open your eyes!"
Petofi continues to concentrate, looking like a Buddha.
Charity and Quentin sing together, chorus after chorus. Barnabas and Angelique enters. He can't last much longer, frets Charity. There may be another way to handle this, suggests Barnabas. Whatever it is concerns me and Quentin, insists Angelique--please leave us alone for a moment--we have some decisions to make before we can even think about handling this problem. "Angelique," says Barn warningly, "there's no time for that now." I disagree, says Ang, I think there's time for what Quentin and I have to discuss--there must be, because this concerns the rest of our lives. Quentin, swaying, looks at Angelique as if he's drunk.
Angelique closes the double doors and says, Quentin, when Barnabas came to ask my help, I had to decide whether or not I would give it--I've decided to do help you get to New York--on one condition--that you take me with you. Angelique...he says. Is the idea so abhorrent to you? she asks. I was willing to marry you and live here at Collinwood--"What choice did I have, after you threatened to kill Amanda?" he asks, eyes half closed. Amanda! she rants, there's a new life waiting for you in New York, a new life with HER, that's what you keep thinking, her, not me! You answered your own questions, says Q--her, not you. She sits beside him and presses her hand to his face. "Look at me," she says--there's so much I can do for you, if you'll only let me--at least let me try to make you happy--I can, I promise you I can--please take me to New York with you. I can't, he says, and even if I told you I'd promise not to look for Amanda, I couldn't keep that promise--every night I went to bed, I'd be thinking tomorrow might be the day I'd find her. Then you aren't willing to pay my price for helping you? she asks. I can't, he says, yawning. I see, she says softly, very disappointed. My eyes are burning, he says, I swear I'd do anything just to get some sleep, close them for a while. But you can't, she says, grabbing his arm. "It must be quite wonderful to be loved the way you love Amanda Harris," says Ang wistfully. It only happens once in a lifetime, he says (and should have been Beth!).
With ordinary people, yes, says Ang, teary. I imagine you'll fall in love again, says Q--"We have a very long life ahead of us, you and I." You won't have any lifetime unless I help you, she says. What if I don't ask you to pay the price now, agree to wait--someday, somewhere, long after Amanda has ceased to exist, we would meet again, and you can pay your debt to me then. (she didn't offer Barnabas that deferred payment plan!) Quentin's head lolls on his neck. Ang throws open the doors. Charity and Barnabas are deep in conversation. Angelique calls Barnabas in--I've decided to do whatever I can to help Quentin. Barnabas, grateful, thanks her twice. What are you going to do? asks Charity. Angelique can perform certain psychic things, says Barn. I'll attempt to intercept Petofi's thoughts, says Ang, divert them from Quentin. Can you really do that? asks Charity. I've done it before, says Ang, and I had better get started right away. She orders Charity to the foyer. Can't I watch? asks Charity. No, says Ang abruptly. Charity is annoyed. Ang closes the doors. Barnabas stays inside. Keep Quentin awake while I concentrate on Petofi, says Angelique. She sits by the fire--be my eyes, she says--go where I cannot go, see what I cannot see, show me the man I seek at this moment, the image of Andrea Petofi. The latter's face appears. Charity, about to go upstairs, listens at the door. I see him, says Ang--he isn't at the mill, but Tate's studio. Ang beholds the image of Petofi, sitting and concentrating. I must reach him, Barnabas, she says, try and stop him...he who I see at this moment, turn your thoughts from the one who occupies them now, as the foam breaks on the wave, let your thoughts break, let your thoughts scatter, turn them from Quentin Collins! Barnabas listens carefully, then asks, what's the matter? "I don't know," she says, "my powers don't seem to be affecting him at all!" This distresses Barnabas. He's in so deep a trance, says Ang, I can't get through to his mind! Charity hears this through the door. What are we going to do? asks Barn--it will be a long time before that train leaves! Quentin has fallen asleep, points out Angelique. Barnabas hastily awakens him, shouting at him. The poor man mutters, I'd do anything to get some sleep. You must stay awake, insists Barnabas--is there any way at all to reach Petofi? I think there is, says Angelique--when Petofi captured me at the mill, he did so by forcing me to fight two enemies at once--if only I could do the same to him, continue to divert his thoughts while doing him some personal harm, I could break his powers of concentration. Don't you need something to do that? asks Barn. Yes, she says, with a man like Petofi, it would have to be something he's wearing at this moment, containing the warmth of his blood, the heat of his breath--something impossible to get! Outside the door, Charity tells herself nothing is impossible, if you want it bad enough. We must get a carriage, Angelique tells Barnabas, put Quentin in it and drive him to Bangor--there must be an earlier train to Boston there, and from there, he can go to New York. I'll get the carriage, says Barnabas--I'll send Charity in to help keep Quentin awake. Angelique shakes Quentin. I'm never going to make it, he moans--I know it. Barnabas returns. Charity isn't in the foyer, he says, she must be upstairs--I'll go get her. No, says Angelique, there isn't time--stay with Quentin, I'll get the carriage. Barnabas sits beside Quentin, propping him up, reassuming him everything is going to be all right--you will be free of Petofi! We must stop deluding ourselves, insists Q, I'm not going to make it to New York, or be safe. Don't despair, says Barnabas, you must go to New York and look for Amanda--I'll stay here and search for the portrait, come to you where you are--where will you be? Quentin says the Enfield Hotel, where Amanda used to live, perhaps they know something about her there.
That's where I'll come to you, promises Barnabas, and you ARE going to be all right, I swear, all of us will do everything we can to make it all right.
Charity stands outside the studio, revving herself up for what she must do--I'll look the fool if I return with nothing, she chides herself--I said I'd do it, I'd better just do it!--Pansy Faye never missed a show in her life--he'll kill me if he comes to--go on, you dummy, Quentin ain't got all the time in the world! She enters the studio, thinking, his tie should do it, if I could just undo it. She creeps forward, reaching out for the tie. Petofi grabs her hands--why are you? he demands. Let go of me, she cries. I won't let you go, he insists--you've interfered in my plans once too often, Miss Trask, this time you will be sorry for it.
Charity gazes into his angry eyes, terrified.
NOTES: Fabulous episodes! I love the way Angelique, Barnabas and Charity banded together, a loving and powerful triumvirate, to keep Quentin awake and allow him to retain his own mind. Selby as the exhausted Quentin was excellent. They all were.
I have to say that I always pay closer attention when Barnabas and Angelique have a scene together. Their chemistry, IMHO, is just mesmerizing. That she made a deal with her master to become human, to find a man to fall in love with her--but then she blackmails him into marrying her--again? She's so beautiful, why can't she just find a man to love her for who she is? There must be a million, why always seek the unattainable? Anyway, I loved her scene with Barn at the rectory, the sadness in her eyes, the indecision. She made the right decision, even if she did defer payment. After all, she assumes Amanda will die, eventually, and she and the immortal Quentin can get together then. Little does she know that Amanda is as immortal as the two of them are. And when Barnabas speaks of "people like us," I just want to embrace the two of them. Powerful stuff!
Charity was wonderful. She was so murderous towards Barnabas and Beth, when she thought she was losing Quentin to her, but now she's taking her life in her hands to help save Quentin--will she lose hers as a result?
Farewell, Aristede, you were a fascinating, fun character, and will be missed--for a while. The actor will return in other roles. Didn't you all get a chill when we heard Aristede's death scream and then Garth declaring, "The prisoner is executed?" Brrr.
Wonderful, riveting shows, and this is 1897 DS at its finest.
883 - Petofi rises to his feet, threatening Charity. Defiantly, she says, I know you're going to kill me, but I don't care--Quentin will be safe now, able to get away from you. What do you know about this? asks Petofi. Mine to know and yours to find out, says Charity bravely. And I CAN find out, he assures her, everything I want to know. He touches her face. I saw you in a vision, she says, in Quentin's body--I figured out the dreadful thing you were going to do to him, and warned Quentin not to sleep. What else did you do? he asks in a soft, dangerous voice. I worked like a trouper to keep him awake, she brags, along with Barnabas and Angelique. No wonder it was such a long vigil for me, he says. Charity backs away from his touch and says, we saved him, and Quentin is out of your grasp forever. No, simply a delay, corrects Petofi, not a defeat, I will make Quentin walk into my trap anytime I want to, now that I have you as bait. None of them know I'm here, says Charity triumphantly. Then we must tell them, smiles Petofi. You ain't gonna use me as a trap for Quentin, insists Charity. Petofi removes his glasses and pinches his nose between his eyes. Yes, he says, I must think how I must do just that. Charity snatches his glasses off the table; he orders her to give them back. Just try and make me, Guv, she tells the squinting Petofi. He approaches her; she runs behind him, heading for the door--but runs into Tate as she tries to make her escape. Charity struggles vainly in Tate's grasp. He wrests the glasses from her hands. This impetuous young lady interrupted my trance, says Petofi--she knew exactly what I was going to do, and who my victim was going to be. She gazes at him defiantly. Then Quentin is still himself, asks Charles. Obviously, says Petofi, but not for much longer--he has just one hour more to enjoy his youthful strength--tie her up, Charles. Petofi takes a cigar. Charity argues with Tate--you shouldn't listen to Petofi. Go to Collinwood, Petofi orders Charles--bring a message to Quentin--if he doesn't arrive in half an hour, this lovely young lady will die. Charity begs Charles not to go, but he leaves anyway. Petofi smokes his cigar and remarks, you are lovely; he touches her face, suggesting, perhaps Charles will paint you someday. She squirms away from his touch.
Woods - Tate walks. He hears the sounds of Garth's chain over the noise of the storm--he DID survive, realizes Charles--he's out there somewhere, tracking somebody, perhaps even me! He hurries on.
Barnabas answers the door at Collinwood. It's Tate. I'm glad to see you, says Barn--we have something to talk about. Not now, says Tate. I still believe the portrait of Quentin is in your possession, says Barnabas. Charles tells him, again--I don't have it. I don't believe you, says Barnabas. Charity doesn't have a moment to spare, says Tate--she's being held hostage by Petofi. Barnabas is all set to go to her. No, says Tate, I have a message for Quentin that I must get to him--if Quentin isn't there within the hour, Charity Trask will die.
Barnabas stares in horror.
Listen, once and for all, warns Tate--unless you get this message to Quentin, Charity will die. Quentin isn't available, answers Barnabas. He'd better make himself available, says Tate, or the blood of Charity Trask will be on his shoulders. Quentin isn't here now, says Barn. Get him back, orders Charles. I couldn't if I wanted to, Barnabas, not at this short notice--he's left Collinsport. Quentin did get away from Petofi, says Tate. Yes, says Barnabas--and I'M going to see him instead of Quentin. Tate follows him from the house.
Petofi checks his watch. Not much time is left, he tells Charity. Quentin isn't here, she boasts--he's outsmarted you. Has he? asks Petofi, or is it you I've outsmarted--he doesn't care enough for you to risk his safety, a pleasant thought to take to your grave, isn't it?--I assure you you are going to your grave if Quentin doesn't arrive. I don't care, says Charity, as long as he gets away from you! I have a hundred ways to track him, says Petofi, and you are the bait for only one. She gulps, looking scared. Your sacrifice was meaningless gloats Petofi. There's a knock at the door. Petofi covers Charity's mouth with his hand. It's Barnabas and Charles. Charity looks relieved to see them. Why did you bring him here? Petofi asks Tate. I didn't have any choice, replies Charles. I'm here with Quentin's regrets, says Barnabas--he's left Collinsport. He got away! exults Charity, I'm so glad for him! Left Collinsport? asks Petofi. Yes, he's finally escaped you, says Barnabas, but no matter how angry you are, you can't make this girl pay for it--let her go and deal with me, nothing will be accomplished by killing her. Petofi exhales smoke, chuckles, and agrees--you are right--it is you I must keep--Charity has an excellent chance of surviving the present situation if things go as I expect. Untie Charity, he orders Tate--I've been figuring on using Quentin's body because I know he exists in the future, but now Quentin is gone and I must resign myself to not seeing him until I get to 1969. You don't exist in 1969, protests Barnabas. But I will, exults Petofi--"In your body." Barnabas' mouth drops open--No!
The solution has been under my nose all the time, and I haven't seen it until now, says Petofi, but my eyes aren't what they used to be. Charity listens carefully. Petofi fears Barnabas will find (the bad eyesight) tiresome, but will get used to it--you'll have to. "You can't do this!" cries Barnabas. There's another advantage in going to the future in your body, says Petofi--you are already here, and I don't have to wait for you to fall asleep or lose consciousness--I won't take the risk of failure--first, I'm going to put you to sleep. Charity rushes over, protesting, "No, no!" Hold her, orders Petofi, I don't want any delay--I'm looking forward to going to the future as Barnabas, who has so many friends there--Dr. Hoffman, David, Elizabeth, Roger, all waiting to welcome--me with open arms. You can't do this! Barnabas protests. Don't try to resist me, says Petofi, there's no hope left at all. He touches Barnabas' face, sending him tumbling into unconsciousness.
Barnabas lies sleeping on the sofa. With this body in its present condition, says Petofi, I should be able to make the mind transference quickly. You're wicked! Accuses Charity--I will make you pay for it. "Barnabas Collins' body is mine now," says Petofi, "completely mine."--all I need do is claim it. Petofi sits down and closes his eyes, concentrating. Barnabas, helplessly asleep, lies there. Charity begs Charles, do something, don't let him get away with this! Garth Blackwood enters the studio, slamming his chain down. Two prisoners, he proclaims, in this cell block, both awaiting justice, and I am here to bring it to them. Tate runs out the door. Stop! Garth demands. Are you some kind of policeman? asks Charity. I am Garth Blackwood, master of Dartmoor, he replies. Then do something about that one, she insists, pointing to Petofi--stop him, and hurry! Garth gazes at Petofi, hefts a length of chain, and says, "The stone of justice grinds slowly, but steadily, and crushes all its enemies beneath it." He chains Petofi's hands together and adds, "I arrest you for all your crimes, past and present." He slaps Petofi across the face, over and over, ordering him, "Wake up!" YOU! bellows Petofi, furious, then raises his hands, only to find them bound together by the chain. I waited for the proper moment to seize you, says Garth--this moment has come. Barnabas wakes up--what happened? he asks. This is the trial of Andreas Petofi, says Blackwood--how do you testify, for or against? Barnabas gazes in shock at the odd-looking man, but recovers quickly, asking, who are you? Answer the question, demands Garth. He's the master of Dartmoor, Charity tells Barnabas. Answer, how do you testify? asks Garth. Guilty, pronounces Barnabas with great glee. Good, says Garth--aiding and abetting the prisoner is punishable by death. To Petofi, Garth says, you aided the prisoner years ago, you aided my murderer--now you must die! I gave you the chance to bring Aristede to justice, says Petofi, and made it possible to execute your murderer--if you care for justice, you must set me free. No! says Charity, you must not. Do you have anything to say? Garth asks Charity. Plenty, she replies--that man is a fiend! Kill him now, advises Barnabas. Opinions aren't allowed, only facts, says Garth--in the matter of Aristede, what does he have to do with the prisoner? They traveled the world together, says Barn--plotting, stealing, murdering--they did every conceivable crime together.
That's enough for me to carry out the sentence, agrees Garth, then orders Barnabas and Charity--"Go far away--what happens now is between myself and the prisoner." Barnabas and Charity obediently go, taking one final glance backward. Garth locks the door after them, then shuffles down and searches the studio, finding flammable liquid. Petofi rises from the chair and asks, what are you going to do? Carry out the sentence, says Garth, closing the drapes. I haven't been sentenced, protests Petofi. But you have, says Garth, throwing the liquid all over the room, soaking furniture and draperies--and this room will be your execution chamber. What are you going to do to me? asks Petofi--please, listen! There is nothing for you to say, you are going to die, says Garth, tossing the stuff everywhere--and this room will be your funeral pyre. No! cries Petofi, but Garth tosses a match, setting everything aflame.
Charity and Barnabas have drinks. I just can't believe it, says Charity--Quentin's away and we are safe--Petofi was locked in that room with that strange creature who gave me the creeps--he was something straight out of hell. Yes, agrees Barn with a grim smile, he was something evil and ugly, and I'm afraid that after Garth has dealt with Petofi, we will have to deal with Garth. Do you think Garth will finish off Petofi? she asks. Yes, I do, says Barnabas with satisfaction--a more appropriate executioner would be hard to find. Charity envisions something burning somewhere-- yes, something's on fire! We see Petofi trying to escape, but Garth keeps him at bay, thrashing him with the chain. Petofi tries to defend himself, but to no avail. I see the studio! Charity tells Barnabas--Garth and Petofi are fighting, and everything's burning, burning! Charity screams. Quentin's in there! she cries--the portrait of Quentin is in there!
The whitewashed portrait is on the easel, revealed beneath the coat of paint. "Burning, burning!" screams Charity. Will the portrait be consumed in the flames, consigning Quentin to a life of being a werewolf?
NOTES: What an exciting pair of episodes! Whew! Is Petofi dead? What about Garth? Will Quentin's portrait burn and turn him into a werewolf in the heart of New York?
Imagine how awful it would have been if Petofi traded bodies with Barnabas and went to the future! Wouldn't Julia have realized her good friend was behaving somewhat differently?
Charity was so brave, I was very proud of her. There's a gal who must really love Quentin, so much she's willing to sacrifice her life for him. You can't help but wish he'd gone for her instead of Amanda.
Love, Robin
