The count orders Quentin out and apparently uses Charity to show himself--not her--a vision of the future in which Aristede is killed. Charity tells the count that an unknown person--she could see only a shadow--had a scimitar, which he set down to strangle Aristede, then picked it up again and left. The writers don’t explain how a sheltered young lady knows what a scimitar is--maybe she’s read more than her Bible after all.
Things don't get any better for the count when Charity sees him about to lose his hand to the scimitar of the same stranger. But Petofi apparently found this knowledge useful and decides to kill two birds with one stone, both silencing Charity and showing her perhaps her true self. Badly shaken, he passes his hand before Charity’s face and tells her, Thank you, my dear. Now you will begin a new life--one that many people will not understand [and we hear Pansy Faye’s song played softly on a violin] but will be unable to do anything about. Enjoy it, my dear, enjoy it while it lasts. Pansy Faye’s song fills the whole room.
Outside, Quentin demands to know what the count did to Charity. But the count practically runs out the door. In the drawing room, Charity is nowhere to be seen--until in full Pansy Faye mode forever, she bursts out from behind the drapes, grabs a hideous orange shawl that just happens to be in the room, and offers to entertain Quentin with her unique talents--that is, in singing and/or dancing. Quentin is completely taken aback. He put it right out of your head, Quentin murmurs with unwilling admiration. Shortly after, he hurries out. Not the least bit bothered, Pansy/Charity goes into her song and dance without an audience.
Petofi is alarmed enough to make Aristede leave Barnabas unguarded while they go to the cemetery. Finding Abraham Howell a suitably strong name, Petofi orders Aristede to start digging up his grave.
Quentin comes back downstairs--what was he doing upstairs anyhow?--and finds P/F again. She tries to make him stay with her until he says he's going to see a woman. Teasing him about his supposed amorous rendezvous, she assures him that he'll come back to her. (NB's singing voice is really very nice.)
Hatless and down to his rolled-up shirtsleeves, Aristede opens the coffin. No doubt he is annoyed that his nice clothes are dirty, but Petofi's attention is all for the apprently extremely decomposed Mr. Howell. He apologizes to him nicely and says they have work to do.
Quentin has gone to see a woman--his sister-in-law at the Old House. He tries to get her to help him rescue Barnabas. Are you crazy? Magda exclaims. No, Quentin replies, I think there’s a chance for us to succeed. Magda argues, You tried to save him once before. You’re lucky you got away with your life! If you try a second time and I help you, both of us will be killed! I believe the situation has changed, Quentin says. Oh? she says skeptically. Has Petofi lost his powers? I don’t know about that, Quentin tells her, but I think something happened earlier, when Petofi was at Collinwood. When he left there, I could swear he was very frightened, and he isn’t a man who frightens easily. Whatever caused his fear may be enough to distract him while we get Barnabas. You’re a fool, Magda says bluntly. Petofi is too strong, too smart, his powers are too great. Quentin tries one more time: Barnabas holds the key to the future. Now, for some reason, I’m part of that future, of his time. I have to find out how it will affect me. I’m going to free Barnabas one way or another--are you with me or not? Pressing her lips together, Magda thinks for a moment. What do you say? Quentin asks impatiently. Grudgingly she admits, You’ll need somebody to distract Aristede, so I’ll go--but I want to hear your plan. We’ll make a plan on the way, Quentin answers, but stops and stares out the window. I thought I saw a face, he explains. I saw no one, Magda says dismissively. Quentin looks again, but the face is gone. The next moment, they hear a single thud at the door. Quentin opens the door to look and sees no one--but finds a note pinned to the door with a dagger. The note is brief and to the point: Between life and death, there is not room for a flea to jump. What does it mean? he asks. Magda knows all too well. Horrified, she wails, It’s from the gypsies, from King Johnny of the Romana tribe! They’ve come for the hand--and for me!........
