932 - Amanda screams and runs from the room. Julia follows her. Grant steps forward to stares at the portrait, which now reveals an unrecognizable face, completely distorted, covered with boils and scabs, reflecting a man who has lived too long and without hope for redemption.
No, moans Quentin--that face! Surely you know why that face looks as it does, says Julia--do you remember? I remember nothing, insists Grant, clinging to a wall. Look at it again, she insists, you must! No! cries Grant. Julia turns to look at it herself. The hair is so scraggly!
That face, Amanda muses to herself, is that the way it would look if not for the portrait? And I--would I look like that, too, if not for Mr. Best? What difference does it make, why did Ie run--he'll remember me now, he must, he'll remember he's Quentin--I must go back. Instead, she finds herself face to face with Mr. Best. It's storming. No, she cries, you can't come for me now. Did you forget your appointment with me? he asks--am I early?--it would be most unlikely. He checks his watch. I have five more minutes, says--you must give them to me. I wouldn't cheat you, he says, not if you were right. There's something I must do, she says.
There always is, sighs Best, ah yes, even when we should perhaps be composing ourselves, we worry about the everyday things. He might have remembered, says Amanda. Wishful thinking, says Best. I left him before I knew, she admits. Really? asks Best, I find mortals most difficult to understand. Let me go back to him, she begs. I promised myself never to be moved by you again, he says. You were once very kind to me, she reminds him. Don't make me regret it, he says. All I ask is to walk in that room and see him, see if he knows, she begs. Best considers her plea. You must, she says, let me find out--you must!
Does it mean nothing to you? prompts Julia--look at the portrait--are you that afraid? All right, he agrees, turning slowly to look at the hideous visage in the portrait. One eye droops, half closed. The teeth are grotesque. You know, says Julia, watching Grant's face.
"Aren't you afraid to be alone with Quentin Collins?" he asks her. Quentin! she cries. Yes, he says, I remember the day that portrait was painted, oh yes, every minute of it--oh, God! he moans, returning to cling to the wall, murmuring, "Good God!"
Yes, I may have forgotten my life, says Q, but that portrait hasn't--there I am as I truly am, every slight, act of cruelty I ever committed is written into that face--every cheat, lie, sin, trick--and yet you can still look at me? She nods. Julia, he says, I remember you, too--that's what I called you when we first met, when I brought Amanda...Olivia... She's Amanda Harris, reveals Julia. Where did she go? demands Quentin. I don't know, says Julia.
Best checks his watch and tells Amanda, I'm truly sorry--but you've asked me to break the rules too often, I'm afraid--come. Not yet, she pleads, not yet. It won't be unpleasant, he assures her. I'll never see him again, she wails. Perhaps you will, he comforts her. She looks at him--you're only saying that so I will come with him, she accuses. Don't try to understand everything I say, he says, my mind is much more complex than yours, or anyone's--I pride myself on that. Just one moment with him, please, she cries, one moment.
She saw this? asks Quentin, horrified. Do you still love Amanda? asks Julia. I have always loved her, insists Quentin. Find her and tell her, says Julia, or... I can't explain, but a stranger will come and take her away forever, unless you find her and tells her you love her, she will die--tonight.
Quentin goes outside, but the only thing left of Amanda is a handkerchief monogrammed "Olivia Corey." She was here, realizes Quentin, I'm going to search for her.
Best leads Amanda into the "stopping off" place She hesitates, but goes in. He starts to close the door. Please, don't, she says. One last look, my dear? asks Best. Let me go outside once more, she begs. One can never leave by this door, only enter, says Best. Amanda looks around--it's over, she laments. Not quite, he says--isn't it pleasant?--how I'm maligned. This is what death is? she asks. Only the first stage, he says, this is a passing through place. He goes to a desk and rings, as if it's a hotel lobby. My little hotel, says Best. When will I leave this place? Asks Amanda. It depends on my whim, he says--you will be most comfortable, I'll see to it--you must excuse me, I have others to meet. Don't leave me, she begs. Are you so afraid, you think Death a good companion? he asks--I'm flattered--it's been so long since anyone begged me to stay--but I must not give in to human emotions. He leaves. She stands at the closed door, then looks around at her multi-colored surroundings. She tries the door knob. Let me out! she cries, pounding on the door.
A bellboy, dressed all in white, laughs at her, and in a British accent, asks, do you want to be let out? Can you? she asks. Sure, he says, holding up a key. Why are you doing this? she asks. Why not? he responds. Go on, try it, he urges, handing the key to her. She does, but it doesn't work. The bellboy laughs. Stop it! she screams. I've gotten a lot of them with that one, he says, but there's no getting out of here, by that door, anyway. Is there another way? She asks. Would you believe me if I said yes? He asks. I don't know, says Amanda. She offers him a bracelet--it's very valuable, she promises. “What good is that to me?" he asks--say, I remember you!--you were here 70-80 years ago!
Yes, she says. He brought you here from the river, then let you go--you're one of the lucky ones, you are, I never had your luck, he says nastily, adding, as she leans her head miserably on the desk, that I'm here to show you to your room. She cries. Don't, he says--I don't even like to remember crying--funny, the things you remember, the things you can't even do anymore--are you ready now? She nods. I'll give you a nice room, he promises, holding up a bunch of keys, and leads her away.
She's gone, Julia, says Quentin--I'll never see her again. She sympathizes. I found her and didn't even know it--why didn't you tell me who she was!? Would it have helped, my telling you? asks Julia, considering you didn't know who YOU were? Quentin is forced to agree. You know, he says, she asked me if I could love her, just today, if I could say I loved her--if I'd have said it, it would that have saved her. Julia, unable to answer, advises, don't think about it. How can I think about anything else? he asks sadly. There are many things you have to think about, says Julia--I don't mean to sound callous, but you must start thinking about... Stop telling me what to do, will you? he shouts--get out of here and leave me alone!--there's only one person I want to see, now get out! I'll leave, says Julia, but I will be back. She goes. Quentin says, helplessly, "Amanda!" He picks up a letter opener and contemplates suicide--yes, I will be with her yet. He prepares to cut his throat. Mr. Best enters. Give me the letter opener, he demands. Who are you? asks Quentin. My name is Best, says Mr. Death, and it's not your time to die. (CAN Quentin ever die?) It was hers, yes, Amanda's, says Best--so you're Quentin? You took her from me, says Quentin, lunging at Mr. Best with the letter opener. The latter simply holds out his hand and Quentin drops the intended weapon. Don't, says Mr. Best. I am impervious to attack--you are not, he warns. Give her back to me, commands Quentin. So you do love her--how interesting, comments Mr. Best. Bring her back, let me tell her, cries Quentin. And lose her myself? asks Best--she's had her chance! All right, says Q desperately, give me my chance--make a wager with me. You will wager with me? asks Best. Yes, says Q. You live by courtesy of Count Petofi, says Best--I know that, but even in my realm, there are arrangements that can be made. Make one for me, begs Q, I was ready to join her, you know that. And you would stay with her? Best inquires. If I had to, to be with Amanda, says Quentin--please, bring her to me, let me take her away--I love her like no other woman's ever been loved. I wonder, says Best--I like experiments, you know, you two, lovers lost, separated by half a century, and yet both still young...interesting, most interesting. Will you do it? asks Quentin passionately--will you?
The bellboy writes Amanda's name in the register on the desk. When Quentin and Mr. Best enter, the bellboy leaves. Do you like the place? asks Best--charming, isn't it? I have only one thing on my mind, insists Quentin--"Where is she?"--will I have to stay here forever? he asks Mr. Best, who is blathering about the place not being what Quentin expected--charming. You have to stay here forever unless you can get out, explains Mr. Best. Quentin tries the door. No dragons, no guards, the door simply won't open for anyone but me, says Best. You said that you'd bring her here so I could take her away, Quentin reminds him. "You don't think of yourself, do you?" asks Best--I like that--look, over there. Another door lights up. Quentin finds that one unlocked. There is thunder, lightning. That is the way out, says Best--seldom used, but my life is dull sometimes, and now and then I sometimes amuse myself by giving someone who impresses me a chance to escape--it takes courage--you have that--and cunning--but that remains to be seen. What's out there? asks Q. You will have to find that out, if you want to leave with Miss Harris, says Best. It's a trap, accuses Q.
It's many traps, says Mr. Best, many!--you want to try? With Amanda, says Q. Yes, agrees Best, good. He closes the door. Before she comes, says Best, ringing for the bellboy, I want to give you one word of advice--if you touch her, or she touches you, she is lost to you forever--if both of you reach the outside world, and you can, though you think not, but if you do, you will be together for eternity, whatever that means--but if you touch her, is lost, and if you lose your way, you will be, too--do you understand? Quentin does. Here are two candles, says Best, your only weapons--sometimes I think I'm too compassionate, but that's the way I am. "Good luck, Mr. Collins," bids Mr. Best. Quentin takes the two red candles from the desk and carries them to the Door to Hell. "We must not touch," he says aloud. Amanda enters, spots him, says his name, and reaches out to touch him...
NOTES: Now the lovers must fight their way out of Hades--if Amanda doesn't touch Quentin, that is. Why wasn't she given the same game rules as he was? Poor woman, Quentin finally realizing his true identity--and his love for her--just as her time has run out. Odd that Best considers two candles weapons in such a hellhole.
Barnabas reminded me of a man trying to train an unruly pet when he was forcing the Leviathan creature back into its room. It almost turned on its master!
Julia once again is saving the day, running from Grant/Quentin to Amanda to Stokes to Paul. She is undeniably the heroine of this storyline!
933 - How awful to be reunited and unable to touch! What a cruel thing to do to lovers!
Stop! Quentin orders Amanda, who is about to touch him--I nearly lost you! I don't understand, she says--I was told you were here, and to come to you. Weren't you told not to touch me? he asks. No, she says. That means the test has already begun, says Q grimly. Test? she asks, confused--I thought we could be together! And we will be, Quentin promises--in the land of the living--we are not allowed to touch, he warns, no matter how much we want to, because if we do, can't take you with me--every minute we're here, we're in danger--I thought it wouldn't start until the journey out; I didn't expect it quite so soon. Amanda is frightened, uncomprehending. Of course you are, he says soothingly, but I'll be here, as close as I can, and when it's all over, I'm going to hold you so tight--"I love you!" he says. We must not forget, she says. Quentin lights the two candles and hands one to her. She takes it carefully, avoiding his touch. Let's begin, he says, there's no point in holding back now.
Antique shop - Megan, on the phone, says, in that shape, you really can't count on anything. Philip, still in a suit, stands beside her. Did the sheriff seem suspicious about your call? he asks. No, says Megan. I hope you're right, says Philip. I had to call, she says, to find out what was happening. You found out nothing, says Philip angrily, and heads upstairs. That's not true, says Megan to herself--if he was just wandering around town, the police would have picked him up by now--that means he's run for it, it may even mean he's dead, she adds, smiling--then we wouldn't have to worry about his talking to anyone! Megan! yells Philip frantically. She runs to the steps, asking what's wrong.
Stokes' house - Paul sits on the sofa, staring blankly ahead. You must stop hiding from whatever it was, advises Stokes--you must try to talk to me, realize that you're safe now--safe. Paul says nothing.
Philip, stands before a wrecked wall in the Leviathan room--I went by the room, he explains to Megan--it seemed too quiet, somehow--and it was empty--why did he do it, he knows how worried we are about Paul Stoddard being gone, now with him gone, too, who knows what's going to happen?
In Hades, which seems to be little more than a large cave, Quentin and Amanda drop down into an area containing a skeleton. I'm anxious to keep going, she declares. The question is, he says, which way? He chooses one way--stay here, Amanda. He tries another path. Amanda drops her candle, throwing the area into darkness; she backs into a huge spider's web. Caught, she screams, unable to free herself.
Quentin comes running to help Amanda. In what I consider to be pretty decent special effects for the time, we see shadows of Amanda, struggling to free herself from the clutches of a gigantic spider. (I hate them!) I can't get out of the web! Wails Amanda--Quentin, help me! Hold on, he urges, try not to move around, you'll be all right. When Quentin comes upon the actual scene, the spider very close to Amanda, he cries, "Oh my God!" The spider, an ugly black thing that looks like it's constructed of pipe cleaners, makes an nasty noise, like a rattler, and pulsates in the web, as though sensing prey nearby and hungry for it.
Quentin stares in horror at the spider. What is it? asks Amanda. (she doesn't know?) The spider moves closer to Amanda. Don't struggles, says Q tells, stay still. He picks up a rock and tosses it at the spider, which drops from the web. Quentin crushes the downed creature, which makes a few sad noises before it dies. "That takes care of him," says Q. Amanda, still trapped in the web, calls to him. He goes over and chops at the web to free Amanda (and does accidentally touch her, although they don't acknowledge it). Freed from the web, she says, I never saw anything like that web, that THING! (No spider webs in her world, I guess.) Try not to think about it, he says. I wish you could put your arms around me, murmurs Amanda, it would be worth anything. Not an eternity without you, he says softly--hey, he says, not daring to touch her--stay close behind me, especially now that we don't have any candles. How will we keep from being separated? she asks. He takes off his coat and hands her one sleeve. We must keep hold of the coat--we'll never be separated, he assures her.
Antique shop - There's only one thing to do, says Philip--go for Barnabas. No, protests Megan, Barnabas will go looking for him. And find him and bring him back here, where he belongs, insists Philip HE doesn't want it that way, says Megan--he doesn't want to come back here, not until he does what he has to do. What are you talking about? asks Philip. Don't you know, understand? asks Megan--don't you understand him at all?--he's gone to find Paul--he hates him, always has. He can't just do away with him! says Philip. He can do anything he wants to, she says. That will only make matters worse, points out Philip. And it's so good with Paul Stoddard free? demands Megan--ready to talk to the first person he sees--now you said it would be best if he were dead! I didn't say that, YOU did, says Philip. It doesn't matter--it's true, says Megan, but none of us is smart enough to find and take care of him--HE can! I still think we have to tell Barnabas, says Philip. You will tell him nothing, says Megan, her voice filled with cold, commanding cruelty
--you will do nothing, you will just wait--just wait! And she gives her husband one of those bitchy warning glances.
Hades, Quentin and Amanda work their way over rocks. She twists her ankle, but insists, I can go on. That's a good girl, he praises--oh, God, do I want to hold you! She grins and works her hands through her hair, then laughs ruefully. They each take their part of the jacket. When I had to drop the jacket, says Amanda, I was so afraid I'd lose you. Gazing at her with love, he says, we didn't come all this way to lose each other. And they go on, linked only by his coat.
Stokes' house - Rid yourself of the shock of your experience, Mr. Stoddard, urges Stokes--think of it as something that happened to someone else--tell me what happened to him--to someone else? Paul is silent. Stokes is frustrated. He exits the living room, leaving Paul alone. Paul rises from the sofa, still wearing his Leviathan-destroyed suit. He goes to the phone, picks it up and begs the operator for the police. So, says Stokes, standing at his elbow, you CAN talk. Paul runs from him, closing and locking himself in the same room into which Adam disappeared (aka Bermuda Triangle Room). Open the door, please, coaxes Stokes, I won't harm you, now that you can speak, I might be able to help you. Stokes, unable to get in, he picks up the phone Paul dropped and dials Julia.
Quentin and Amanda arrive at a bridge. He spies a light at the end of it--beyond that passageway, there's safety--if they can just get across that bridge. We can't cross that bridge, wails Amanda, it's the final trap!--we're caught! I know you're tired and frightened, says Quentin, but we've made it this far and can make it the rest of the way. How can we? she asks. I'll test the bridge, offers Q--if it can hold me, it can hold you. I feel there's so little time left! cries Amanda. (OK she was getting on my nerves by this point) You can't feel that way, he cautions, come on. He starts to step on the bridge. Amanda begs, stay here with me, just one moment longer. If I do, he says, I'll take you in my arms. If you go, she says, I'll lose you. No you won't, he says, I promise you that. The wind blows as he takes the first step on the bridge. Thunder rolls. He slowly walks across the bridge, holding onto ropes looping across. Amanda watches fearfully.
Stokes awaits Julia's arrival. Thank heavens--maybe you can do something with him, says Stokes. Are you sure he can talk? she asks. Well enough to phone the police, he says--and he can move fast enough to have locked himself in there. Mr. Stoddard! Julia calls through the door. LEAVE ME ALONE! demands Paul. Stokes and I want to help you, says Julia, more than anything, but you must help us by telling us. I WILL TELL YOU NOTHING, yells Paul, "I WILL TALK TO THE POLICE!" All right, says Julia, I'll call the police. Do you think that wise? asks Stokes. Julia puts a shushing finger to her mouth. Mr. Stoddard, we'll do whatever you want us to do--call the police--now, you can hear me if you listen very closely. She dials operator and asks for the police. Connected to the sheriff, she identifies herself and tells him it's urgent--come here immediately. We see she had her finger on the cut-off button for the entire call. She hangs up. Stokes and Julia look at each other. There's a loud, rumbling, terrible noise erupting from the room in which Paul has locked himself; he begins to scream. The creature is snarling, and Let us in! Julia begs Paul. The door opens.
Paul, covered with a slimy substance, lurches out.
Quentin has reached the end of the bridge--I made it! I feel so far away from you, says Amanda mournfully. Only till you cross, he says. I'm frightened to cross alone, she says. You'll never have to do another thing alone as long as you lives, Quentin assures her--please, to me--cross the bridge, come on. She takes a first faltering step, then another. Quentin encourages her every step of the way. She looks down, scared, noting, it's so deep...
Julia pronounces Paul Stoddard dead, then stands, wiping slime from her hands. Stokes comes out and reports, the room is a shambles, completely destroyed--wood broken, furniture torn apart. Who else was in the room? asks Julia. No one, answers Stokes, just a strange smell and some sort of slime substance.
Paul is dead, says Julia--this time we had better call the police.
Don't look down, Quentin urges Amanda--keep walking forward. No! she cries, I want to go back. She turns. Come to me, begs Quentin, come on, you can do it! She turns back toward him. He continues to cajole her to keep moving forward, toward him. She walks, her eye on the prize, but loses her footing and abruptly falls through a broken board, disappearing from his sight.
"AMANDA!" screams Quentin.
NOTES: More choppy editing, and I suspect much was cut out.
RIP, Paul Stoddard. There is a better place than Collinsport, or at least we must hope so.
Has Quentin lost Amanda for good? Did her whining make you glad she fell? What did you think of their trip through hell? Does it fit your concept?
Love, Robin
