916 - Julia takes a stiff quaff of her drink and tells Liz, I don't believe all those kids at the antique shop come from Philip and Megan's relatives--it's just all so...bizarre. What's bizarre about it? asks Liz.  There is definitely a connection between the three children, says Julia--I'm sure because of the birthmark I saw on all three kids, right above the wrist--if it didn't completely defy logic, I'd say all three children were one and the same. Liz gazes at her oddly, suspiciously.

I find this hard to believe, says Liz--it's an unusual coincidence. Not coincidence, says Julia, I'm sure of that. What else could it be? asks Liz. I don't know, admits Julia but will find out. How? asks Liz. I intend to talk to Paul, who was the first to express fears about the antique shop, says Julia--is he in his room? Yes, says Liz, but you can't see him now--since you last spoke with Paul, his condition has worsened--I called in Dr. Reed, Paul's under sedation. I see, says Julia. I'd hate to see you make an embarrassing mistake, says Liz, your suspicions are no more than that. I'm sure there's something strange about the people in the antique shop, says Julia. You have no proof, insists Liz. I plan to investigate it further, says Julia--if there is a conspiracy, as Paul claims, I will find out. Very well, says Liz, but be careful, VERY careful--and she turns on her heel and hastily leaves, giving Julia a glance before doing so.

11 o'clock - Julia sits by the fire. She hears a knock at the door and finds Chris waiting there. He rushes past her and asks, did you go to the address Stokes found?There is no such person as Harrison Monroe, says Julia but Charles Delaware Tate does live there and he's very much alive. Chris, smiling hopefully, asks, can he help me?  I don't know, says Julia, I think he could if he wanted to. Disappointed, Chris asks, did you ask him and he refused?  There are two things you must know, says Julia--Tate is mad, and oddly, looks as young as he did in 1897.  Chris urgently says, you must go back there today, immediately, I don't care if he's crazy or not. I'm not sure it would do any good, says Julia.  Chris insists we've got to do something--there's a full moon again tonight! Julia offers to drive him back to Windcliff, but Chris says that's not the answer. I know, says Julia but there are no answers; we've run out of time. Why do we go on kidding ourselves? laments Chris--there's no way out for me. (This was sad.) There was a way out for Quentin, Julia reminds him--there's a way out for you, too--Tate told me that Quentin's portrait burned, there's a way to find out if that's true.  What good does it do me? asks Chris. If the painting was destroyed, says Julia and if Grant really is Quentin, he, too, will go through the transformation--if it doesn't happen, it means Quentin's portrait is intact somewhere. I still don't see how it can help me, says Chris.  I have no control over time, says Julia, I can only do what I can--I will make all the necessary arrangements to send you to Windcliff; you should be back at 3. Chris asks her where she's going now.  I will arrange to be with Grant at dusk this evening, says Julia.

Old House - Liz tells Barnabas Julia's suspicions about the children at the antique shop. It was wise of you to come to me at once, he says. I tried to dissuade her from her investigation, to no avail, says Liz, she's determined to go on with it. There's only one course of action, says Barnabas--Julia Hoffman must become one of us. Liz agrees. I will meet you at Collinwood, says Barn, and give you the necessary instructions. What is our goal? asks Liz--can you tell me? What makes you ask that now? queries Barnabas.  Something Julia said, reveals Liz--what is our goal?--what are we trying to do?--and what does Paul have to do with it? You will know when the time comes, promises Barnabas--but this I can tell you--we will bestow on a particular person a very great honor. He smiles. Who is this person? she asks.  Someone we will all be very proud of, says Barnabas, and that's all I can tell you.

Barnabas arrives at Collinwood and hangs up his cane and cape. He enters the drawing room, where Julia is reading a book. I want to talk to you, he says--I was wondering what arrangements you made for Chris--tonight is a full moon, I was getting concerned about him. I don't believe that, says Julia--when you came back, you said there was nothing you could do about him--you wrote him off. Barnabas accuses her of misunderstanding his feelings and motives. Julia disagrees.  I never wrote Chris off, insists Barnabas--I felt there was nothing I could do for him, but I still feel compassion for what he must go through tonight. Is that REALLY why you're here? demands Julia--or is there some other reason? I am sorry you feel as you do, says Barnabas. So am I, says Julia shortly--Chris will be going to Windcliff, so he'll be safe through this transformation. I'm glad to hear that, says Barnabas--you really are determined to solve his problem. Through clenched teeth, Julia says, "I'm determined to not give up as you have."  She sits down on the sofa, her back to him, deliberately rude. What are you reading? Barnabas asks. Another book on lycanthropy, she replies. Barnabas begins to concentrate on Julia with his eyes. She turns and asks, what are you doing?--what do you want of me? You've been working very hard, Julia, and it's beginning to show--have you been resting enough? He leans in close. Yes, she answers, sounding as if she's falling under a spell. Are you sure? he asks hypnotically--doctors are often very careless about the rudimentary rules of health. Julia says, in a weird voice, I don't know what prompted this sudden concern from you, but for some reason, I don't believe you. Barnabas draws back, and says, you will in time--I hope you find what you're looking for. He caresses her face with his hand, twice.  Julia gazes up at him lovingly. He bids her good night.  The spell is broken.  Julia blinks her eyes and supports her head on her hand for a moment. She rises as if exhausted and heads upstairs, the book in her hand.

Collinsport Inn - A drunken Grant pours himself another drink. When Olivia enters, he yells, "There she is, folks, our own little Jenny Lind!" She gazes at him.  He giggles--sing me a song! he cries.  Why are you in my suite? she asks angrily.  My room depresses me, he complains--"It doesn't have a bar!" He points to his drink and says, at this very moment, you depress me, too--so go on a farewell tour. What's the matter with you? she demands--why are you behaving this way?  Oh, if we're going to talk about behavior, says Grant, let's start with yours--I admit mine might be a bit on the tacky side, but at least it's open and honest! And you think mine is not? she asks. I hate to think how successful you could have been during the French Revolution, spits Grant, chuckling unhappily.There's no point in talking to you, she says, you're in no condition to make any sense. There's nothing wrong with my condition, says Grant, balancing himself unsteadily--I can stand on my own two feet!  He trips and nearly falls, laughing as he walks a wobbly straight line. He gazes into her eyes and says, I can look at you, talk to you, and I know what I'm saying, but there's only one thing wrong--I don't know who I am.  Their faces are close enough to touch.  We'll work on my memory--won't we? He asks.  Olivia looks miserable--you seemed so calm and sensible about your problem until now, she says--why is today different? That's the first perceptive thing you've said since you walked through the door, says Grant--I don't know, but it is. Go to sleep, Olivia suggests--you'll feel better, then we can find out why it is. It's not ME you're trying to help at all, accuses Grant, but yourself, and you're quite right--at least  there's some hope for me, I once knew who I was--I don't think you ever knew who you were! He leaves. Olivia picks up one of her many photos and stares at it.

Julia, the book on her chest, dreams of a storm-filled sky. You will believe, Julia, someday soon, says Barnabas' voice, then you and I shall be close once more, as we were long ago, we need you, Julia, need the resources of your mind--come to us...come to us! Julia goes downstairs.  The front door blows open; Barnabas, bearing the Leviathan box, enters. Julia waits on the stairs. The double drawing room doors open of their own accord, then close. Julia continues walking downstairs.  The double drawing room doors open for her, too. Come, Julia, says Barnabas, don't be frightened. She walks toward him and asks, what do you want? You were fascinated with this box the first time you saw it, he says--I want you to have it. Breathing emanates from the box.Julia looks at it, eyes wide. What's inside? She asks. That's what you wanted to know when I stopped you from opening it that night, says Barnabas, but I have no reason to stop you now--go on, Julia, open it and look inside--turn the key and open it! Julia reaches to do so, but withdraws her hand and says, I don't want to. You have no choice, insists Barnabas--you want to know what's in that box. NO, cries Julia, I don't want to see it! She runs away. It's too late to run, says Barnabas, you will be unable to resist this when you see this box next--you will be compelled to open it!  He laughs, cruelly, and sets the box down on a table. Julia awakens, sits up, clutches her throat in fear.

Collinwood drawing room - The Leviathan box lies on the same as in Julia's dream. Liz is looking at it.  Barnabas tells her, with immense satisfaction, Julia has had her dream. So now she believes, says Liz. One more step, says Barn--she will come downstairs, you will show her the box, then stay with her until she opens it. Liz understands. Barnabas grins and leaves, smiling up at the landing before exiting via the kitchen. Julia, still dressed in the same hideous brown dress, enters the drawing room. Liz smiles at her and says, I had no idea you were in the house. Yes, I was reading, says Julia, then I fell asleep and had a dream. Are you feeling all right? asks Liz. Julia rubs her face--I don't know. By the way, somebody left something for you, says Liz, holding up the Leviathan box--it's here. Who left it for me? asks Julia.  I don't know, answers Liz, but it's an interesting looking box, isn't it? Julia gazes at it, afraid. Open it, Liz encourages, and find out--go on, Julia, open it. Julia moves to do so, but a knock at the door breaks the spell. I'm curious, says Liz--open the box, Julia (said in a less than friendly tone). Distracted by the door, Julia goes to answer it rather than open the box. It's Chris. Julia is upset and distracted. You asked me to meet you at 3, Chris reminds her.  I remember, says Julia--I'm very happy I did. Chris asks her what's happened. I'll tell you later, she says, then calls to Liz, I forgot to do something--I'll be back later. She and Chris leave.

Barnabas joins Liz in the foyer--Julia never will open the box, he says--the interruption shouldn't have stopped her; the spell shouldn't have been that easily broken--there are certain people who we can't absorb; it has to do with their genetic structure--Julia is one of them--so we must find another way to deal with her--"And you will have to find it!"Liz is less than pleased with this assignment.

Julia, a covered painting in hand, arrives at the Inn. The moon will be full, she tells herself--if Quentin is still here, I must speak to him before it happens--I'll know what I have to know by his behavior. She knocks at the door. Olivia answers. Julia asks to see Grant before they talk. Olivia asks to see the painting--you do intend to loan it to me again, right?  Julia unties the string and removes the covering--you won't be interested in it anymore, she predicts--I did to it what you were going to do--she shows her the painting of Amanda under the landscape--you knew it was there, didn't you? I didn't, insists Olivia. You had the landscape x-rayed, says Julia, so you knew there was a portrait underneath it, but you didn't know whose it was. The portrait has no value to me; I have several of my grandmother's paintings. It has no value for you because it's not a portrait of Quentin, says Julia. YOU seem to be the one preoccupied with Quentin, not me, says Olivia. I want to show the painting to Quentin because of his relationship with your grandmother, says Julia--do you object? No, says Olivia, but this isn't the right time to see him. Why not? asks Julia.  He was disturbed by something, says Olivia, took to drinking, and is sleeping it off. Then this is definitely the right time to see him, exults Julia, and hauls the painting to Grant's suite. Olivia follows. Julia knocks at Grant's door.  They find the entire room in disarray, furniture tossed everywhere!

NOTES: Did Grant destroy the room in his drunken state, or did his werewolf self do it? Now that Julia can't be "Leviathanized", what will Liz to do her? Is Olivia really Amanda? Is Grant really Quentin? Why can't Barnabas caress Julia's cheek with love instead of evil intent?

I've heard it said that these episodes were filmed out of sequence, which might explain why Barnabas was calling Julia his dear friend in today's first episode, yet seemed so calculating and icy toward her in the second, after he had had his revelation/punishment.

Selby drunk was always fun, and he was a rip-roaring riot here. Our own Jenny Lind! LOL!


917 - Carolyn walks downstairs, throwing a look of concern towards her father's room. Liz exits the drawing room.  Carolyn asks, are you sure keeping my father sedated all the time is the best thing? Dr. Reed says it is, answers Liz--we must accept his judgment. I wish Julia was still treating him, says Carolyn.  You know why she isn't, says Liz. I want to speak to Paul, convince him that his fear of Julia is unfounded, says Carolyn. I'm going to the Historical Society meeting, says Liz, bringing some old pieces of silver--you should be taking interest in it, too. I'm interested in my father now, she says curtly--it kills me to walk into his room and see him unable to move or speak--he's almost not human anymore. Liz (who today is wearing a gold serpent pin), assures her daughter, everything that can be done is being done--and she leaves with her silver tea service.

Carolyn, distraught, enters the drawing room and closes the doors.  Upstairs, the door opens; Paul, hair a mess, clings to the railing like a kid learning to walk, stops and gazes down, obviously stoned.  Clutching the banister, he totters downstairs. Walking unsteadily, he tries to open the front door. Hearing a sound, Carolyn runs to him, grabbing him before he tries to leave. They're after me, he insists, I've got to get away!  She struggles with him--where are you going? she asks.  Anywhere away from here, he babbles. Come into the drawing room to talk, she urges.  I must get out of here, he says, there's no time for that. No one else is here, she assures him, no one's going to come--please, she begs.  Paul relents. She helps him into the drawing room. He wipes his eyes and says, I can't stay, you must understand. I don't, she cries--this is where you wanted to be, and should be, especially now that you're sick. If I stay, I'll be dead, he says--you don't know what it was like, lying up there, knowing it was to become my tomb. Stop imagining things, says Carolyn--there's no reason to think it will become your tomb. They're trying to kill me, he cries, teeth clenched--they've somehow gotten into this house.Who? she asks. The ones who are after me! he cries. You've got to get over this notion that people are trying to harm you, insists Carolyn. It's the truth, says Paul, you saw me when I came into this house--look at me and tell me no one is trying to do something to me!--go on, look at me!  She does. He's disheveled, but more, too. Now for heaven's sake, let me out of here before it's too late, pleads Paul.  Wait here, says Carolyn, I'll go get your coat. (Just one look was all it took, yeah.) Paul leans back in relief, then stands, turns and spots Liz standing there. Oh, no, he wails, collapsing into a chair.  He passes out. Carolyn runs in, his coat in her arms, and drops it to the floor.  What's wrong with him, Mother? She asks. "Nothing now," says Liz--"Were you really going to take him away?" demands Liz--"Where?"  I don't know, admits Carolyn. If I hadn't come back for your great grand-mother's sugar bowl, says Liz, you...oh, Carolyn, I'm worried about YOU. I'm all right, says Carolyn, near tears--"What about Father?"  He'll sleep, says Liz, then I'll have Mrs. Johnson take him to his room. She leads Carolyn away. They walk into the foyer.  You must accept the situation and believe how ill Paul really is, says Liz. I don't want to believe it, says Carolyn. None of us does, insists Liz, but we must. She walks away.  Carolyn looks as if she's about to burst into sobs.

Paul lies in bed, sprawled across the sheets. Did I make it downstairs? he asks himself, or did I dream it? No, I didn't dream it. He notices Liz standing there. You gave us quite a scare, she says, holding medicine that looks like water and a spoon. I don't want it, he insists.  You must take it, says Liz--it will make you feel better.  It's making me sick, he says. Pouring the medicine into the spoon, she says, don't act like a child, Paul, it was prescribed for you. The doctor is one of them, says Paul. I humored you about Dr. Hoffman, since you kept screaming she was one of them, whoever "they" are, sighs Liz--now I won't get rid of Dr. Reed, and you must take your medicine.  Paul rolls away, forcing her to spill the medicine. Fine, she snaps, go on hurting Carolyn--and you ARE hurting her very much. Liz recaps the medicine and leaves the room. Paul lies there, thinking over what he's done to Carolyn--but I'll make it up to her--as soon as I get out of this house--and I WILL get out!  I will get back my strength if I don't take the medicine, which makes me very weak. Mrs. Johnson knocks and brings in a glass of milk and cookies. Mrs. Stoddard told me you didn't take your medicine, she says. Yes, and I'm not going to, insists Paul--and you can't make me take it, either. Oh, I won't do that, says Mrs. J--I brought you some warm milk to let you get some rest, and some fresh cookies to help you get back your strength--the cookies are Carolyn's favorite. Paul asks, is there anything in that milk--medicine? Of course not, says Mrs. Johnson, people take too much medicine as it is; to my way of thinking, they'd be better off without it. Spotting an empty vase on his night table, she cheerfully suggests, I'll get you some fresh flowers to cheer up the room. She leaves the milk and cookies on the night table, wishes him a good rest and leaves. Paul takes the glass of milk and looks at it.  Mrs. Johnson stands outside the door, watching him.  Liz watches Mrs. Johnson watch Paul, her expression malevolent.

Paul grows sleepy. The empty glass of milk is on the tray. Liz and Mrs. Johnson enter the room.  It didn't take long, says Liz. No wonder, says Mrs. J., with all that medicine in his milk. It had to be this dosage, says Liz, we needed for him to take that much before moving him. Are we doing the right thing by him? asks Mrs. Johnson.  My doubts were erased by Mr. Barnabas, says Liz. It still seems a little drastic, says Mrs. J.  I can't take a chance on Paul getting away, upsetting Carolyn again, says Liz. No, we must not have that, agrees Ms. Johnson. Go up to the tower room and be sure everything is ready, orders Liz--I will wait for Barnabas--when he gets here, we'll move him. One more thing, adds Liz--don't say anything to anyone about this--I'll handle it, with Barnabas' help. Of course, says Mrs. J, and leaves. Liz stands by the bed and cruelly says, "What made you think, for even one moment, that I'd wanted you back?" She leaves the room.Paul opens his eyes and glances over at the vase sitting on his night stand--where he apparently poured the medicine-laced milk. Liz is one of them, too, Paul tells himself. He slowly crawls out of bed and takes off his robe (under which he's wearing pants and a shirt). He goes to get his jacket and passes out on the floor. There's a knock at the door; Carolyn comes in and finds him. She tries to help him up and hugs him. He gives a start when he realizes someone is holding him, but comes to more fully.  Thank heavens it's you, he says--I had to get out of bed, get out of here, before it's too late. Get back to bed, she urges, I'll help you.  No, he says, it's worse than I thought--I've just discovered something terrible, and I must get out of here before they get to me. I'll sit with you, offers Carolyn--no one will get to you!  No, you can't protect me like that, says Paul, I need to get out of here.  Why is it worse now? she asks.  I can't tell you here, says Paul--I'll tell you when we are safely away from here. What do you want me to do? she asks.  Check the hallway, he says--make sure the coast is clear--I'll wait until you get back--you'll do that for me, won't you, to save my life? Yes, she assures him, of course. She goes into the hallway, closing his door behind her. She walks down the hall, then comes back, bringing Liz with her. They find Paul gone. Carolyn begins to cry--he was so sick, he promised he'd wait for me! she wails--what will we do? Look for him, says Liz, he can't go far in his condition. Carolyn races off, slamming the door behind her. Liz finds the empty glass, then looks inside the vase--ah, so that's what he did.

Paul exits by a back door, walking drunkenly.

Mrs. Johnson, help Carolyn search the grounds, orders Liz--you know how important it is that Paul be found. Flashlight in hand, Mrs. J says of course. I must call the doctor and make arrangements for after we find him, says Liz. Yes, agrees Mrs. J, leaving the house. She calls out to Paul. Paul, in the woods, clings to a tree. He hears Carolyn and Mrs. Johnson calling to him, but Paul falls to the ground, unconscious. Someone stops beside him (a man wearing blue socks).

Paul opens his eyes and looks up to see Eliot Stokes, who kneels beside him and asks, what's wrong?  Nothing, says Paul, I just have to get away--help me!  However, Paul is unable to tell Stokes what he needs to get away from--my name is Stoddard, he says.  Eliot immediately realizes he's Carolyn's father.Carolyn? asks Paul--oh, no, they sent you after me, didn't they? No, says Stokes, no one sent me, I just happened by, lucky for you--you could catch your death of cold. I seem to be marked for death no matter where I turn, don't I? asks Paul, supporting himself with both hands on each of Stokes' shoulders. Stokes introduces himself.  Take me to the police, begs Paul--I'm in terrible danger. From whom? asks Stokes. I can't tell you that, says Paul, but I will tell the police. I want to take you back to Collinwood, says Stokes--we can call the police from there.  Paul becomes upset--no, not there, please, he says, you've got to take me to the police, if you don't, I'll be dead!--I'm not being hysterical or melodramatic!  Stokes agrees--we'll go to my car, and I'll take you to the police. (Gotta love Eliot, he's so practical.)

Stokes leads Paul into the police station. Eliot introduces Paul to the young officer behind the desk, explaining that Mr. Stoddard--has a story he wants to tell the police--I don't know what it is, he wouldn't tell me. The cop offers Paul a chair and some coffee. Paul sits down, sighing, I never thought I'd get here. Well, you did, says the cop--everything will be all right. He hands Paul a cup of coffee.  It will never be all right until they stop chasing me, says Paul--they've been after me ever since I got here. "What do these people doing to you?" asks the cop. Eliot listens carefully. First, little hints--phone calls, things like that, explains Paul--veiled threats, their way of putting me under their control--and I was, too, because when I got away, they tried to take me back to Collinwood. "I see," says the cop. No, says Paul, desperate--you think I'm mad! No, says the cop, you're frightened. You would be, too, says Paul, if they were after you. Tell us everything, says Stokes--who are THEY? There are a great many of them, says Paul--people you'd least suspect. Name one of them, says the cop. Yes, says Paul, my wife, Elizabeth Stoddard. Hard to believe, says the cop. Impossible to believe, amends Paul--and yet you tell me why she took me back into Collinwood after 20 years of open hatred--unless THEY wanted me there!--you know how they gossip in this town--why would she risk all of that unless they wanted her to do so?  Still a little hard to believe, says the cop. Because it's Liz Stoddard who's involved, says Paul--you'll do nothing.  I'll talk to Mrs. Stoddard, the cop assures him--her and the doctor and whoever else is involved. (How does he know about the doctor?) If you still feel you're being held captive, we'll have to do something about it, right Prof. Stokes? Stokes agrees. I want to be kept locked up, under guard, begs Paul, until the investigations are completed--then I'll tell the whole story. There will be time for that later, says the officer. Yes, I guess so, says Paul--may I have a phone, I want to assure Carolyn I'm all right. I'll do that for you, says Stokes.  That's good, says the cop--Mr. Stoddard needs rest until she comes.

9 o'clock. Paul awakens.  I feel much better, he says. You got a good nap, says the cop--that's good, because someone is here to see you.  Carolyn, says Paul--but it's Liz. Don't let her near me! begs Paul. Liz enters, along with Stokes, who tells the cop, Paul is terrified of Mrs. Stoddard. I've got to get out of here, insists Paul, and tries to, but the sheriff restrains him. Go back with you wife, insists the officer.  Liz, spoon and bottle in hand, says, he won't go back with me unless I give him a sedative.She pours the medication onto the spoon; the sheriff subdues him, insisting, we're here to help you.  Liz comes relentlessly at him, aiming the sedative for his mouth. "TRAITORS!" screams Paul. "MURDERERS!"

NOTES: Paul is in deep doo-doo now! I was so sure Eliot believed him, but he keeps being returned to Liz' hands--and he now knows for sure she's one of THEM. Liz' high position in the community cancels him out every time, with Carolyn, Stokes and the police department! Even Mrs. Johnson obeys her without question, and while we know she isn't one of THEM, for Paul, she might as well be, since she listens implicitly to Liz. Once again, Dennis Patrick turns in a first-rate performance as the seemingly-insane Paul; he sounds nuts, even though we know he's telling the truth. They want to keep him sedated and quiet, but why don't they just kill him? He seems to be a major pain, unless he plays a further role in their despicable plans. I feel so sorry for Carolyn, too; she clearly loves her father and wants to help him, but I wish she'd get it through her head that bringing her mother in on everything in regards to Paul is a big, big mistake!

Love, Robin

911 - Grant, listening to Quentin's theme play through the gramophone, abruptly bursts out laughing.  This is insane, he says--what am I doing here listening to an old song? You're lying, accuses Julia--why are you lying, you are Quentin Collins, why won't you admit it? Do I look 99? He asks.  Of course not, she replies.  Why do you insist I'm Quentin, then, why? She can't answer that one.

David, asleep, stirs, and awakens to the strains of the music nearby. It's Quentin! he says, he's back!  He starts to climb out of bed.

David follows the sound of the music through the hallways of the West Wing, arriving, as thunder booms, in the outer room. He knocks something over.  Julia hastily switches off the music and tells Grant, you must hide. Annoyed, he asks why.  Never mind, she says, just hide. I thought you had permission to bring me here, he teases, but hides behind the drapes willingly. Just be quiet, orders Julia. David enters.  Why are you up? She asks.  Why are you here? counters David.  I came to find something, claims Julia. Quentin's back, isn't he? asks David. Julia assures him, not convincingly, of course not. I sensed it in my room, he, says--then I heard the music. I saw the phonograph and just turned it on; says Julia, I came to look at the paintings in this room. "He told you to do it, didn't he?" asks David spookily. Of course not, says Julia. He tells you to do something and you have to do it, says David--I remember--you're hiding him. Don't be ridiculous, orders Julia.   Forlornly, he says, I don't want it all to happen again (since Quentin never died, and therefore never haunted Collinwood, how can he remember, anyway)? She apologizes for scaring him--I shouldn't have played the music, it was stupid of me. David spots Grant's shoes at the bottom of the draperies behind which he's hiding.  This terrifies the child, who insists, I'm not going to stay in this room--I don't have to! Julia offers to take him back to his own room.  I'll be all right, he assures her--I just can't be in this room--please don't play the music again.  I won't, she says--go back to bed. She locks the door behind him. Grant comes out and remarks, you and Barnabas aren't the only ones who know Quentin. No, she says. That requires an explanation, too, he says--does everyone in the house know Quentin?  No, says Julia, the children do. How's that possible? asks Grant. He came back from the dead, says Julia. Grant laughs--is that what you think I'VE done?--no wonder you're interested--a ghost with amnesia, that could be fascinating--I might forget that I'm dead! he says sarcastically. Julia reminds him, I treated you in the hospital, I know you're alive. And the kid saw a ghost, how do you explain that? asks Grant. I want you to explain it to me, says Julia.  I have no answers, says Grant--you know that, (he grabs her arm in a painful grip) and you'd better start giving me some if you expect to see me here again.Hurting in his grip, Julia says, I know I have to explain, but please let me choose the time. He releases her.  She cradles her sore arm and unlocks the door.  Stay here, she tells Grant.  She checks to make sure the coast is clear, returns to Grant and orders, stay behind me--if I motion with my hand, you're to stay still until the danger is past--now come. He follows her to the door. We see Quentin's gramophone and lightning flashing.

David comes downstairs in the darkness and goes into the drawing room.  Julia leads Grant downstairs shortly thereafter; they leave the house. David, peering through the doors and sees the face of the ghost who once terrorized him. At the door, Grant sternly tells Julia, I want a full explanation tomorrow. I will give it to you, she promises.  I'll be waiting, says Grant. I'm sorry I wasn't more helpful, says Julia, as David gazes at the man in mute fear.So am I, says Grant, smiling.  She closes the door after him, then starts upstairs. David watches her go and wanders into the foyer, thinking to himself, Mr. Douglas is the man Carolyn met in the antique shop, the one in the auto accident. Why does he look so much like Quentin--how can he be without being Quentin?

Alex, in the antique shop, draws a snake with his crayons. When Julia enters, he hastily closes the drawing pad. She greets him.  There's no one here to help you, he says rudely. Will Megan and Philip be back soon? she asks. Alex nods.  I'll wait, she says.  He looks at her with cold hatred. Feeling uncomfortable, she asks, did you have fun playing at Collinwood the other day? He smiles--I like that house, he says--so many places to hide. Do you like to hide? She asks.   He just grins, his eyes little slits. I've been wanting to talk to you, she says--you can tell me the truth about your visit to Collinwood--Mr. Stoddard was very upset. He's a grownup, says Alex. And all grownups are always upset? asks Julia--what about Megan and Philip, they're not.  They're different, says Alex. How? asks Julia--perhaps they don't have the worries Mr. Stoddard has--did you see a little girl at Collinwood?  I saw Amy, says Alex. No, the girl Mr. Stoddard thought he saw, says Julia, with long blond pigtails. Oh, no, says Alex. Are you sure? asks Julia, because Mr. Stoddard shut her up in that room, and when the door was opened, you came out--you must have noticed something about it. The kid just looks at her. You do, don't you? asks Julia, but she's interrupted as Liz, David and Amy enter the shop. This is quite a surprise, says Liz--I brought David and Amy into town to play with him. Alex jumps down from his chair.  When Amy cheerfully greets him, "Hi, Alex!" he curtly says, "My name is Alexander!"  (the Great?)  David tells Amy, you must call him that, he doesn't like to be called anything else--now say "Alexander." Amy repeats the proper name.  Alex smiles. Julia, says Liz, today is the perfect day to check the storage room for those paintings you were interested in. I want to wait and see Megan, says Julia. She's shopping at Brewster's, says Liz, I just ran into her there--why don't we go now? Can we leave the children? asks Julia.  The kids are fighting over a doll, Alex is insisting Amy can't play with it.  He reaches out his arm to take it away from her. There's a crimson, crescent-shaped birthmark on his wrist. Why can't I play with it? asks Amy.  Put it down, says David--it's not yours, it's for sale. Amy hold the doll out of Alex's reach.  Do as David says! Liz orders.  (Three Leviathans ganging up on the non-Leviathan.) Julia has noticed the mark. Alex wrests the doll away from Amy, who wanders to another part of the store. Come along, Liz encourages Julia--they'll be perfectly all right. OK, agrees Julia, if you think they can just be left alone in the store. If I didn't think so, I wouldn't do it, says Liz. I suppose not, agrees Julia.  and The two women leave the shop after Liz reminds David not to let Alex get into any trouble. Don't worry, says David.  Julia looks back at Alex, who smiles creepily at her. Julia can't get out of the shop fast enough.

Alex thanks David for coming. David volunteers that Dr. Hoffman is nosy, but then, all doctors are; they have to ask all kinds of questions. David notices Amy looking at a picture of Carolyn when she was Alex' age. Give me the picture, demands Alex.  Put it down, Amy, says David.  He stole it, accuses Amy, it was in the book you found to show Mr. Stoddard. It's none of our business, insists David. It IS, says Amy--he's got a crush on her, but she isn't like this anymore, she's grown up!  "Get it!" Alex commands David--"NOW!"  You're being silly about this, David tells Amy--come on, put it down. It isn't his, says Amy.  It doesn't matter, says David. It does to me, insists Amy, what's the matter with you, it should matter to you, too--he took it, don't you understand, without asking or anything!  Alex is about to attack Amy.  Wait, begs David, I'll get it from her, you know I will.  Amy is perplexed--you're bigger than Alex, David, yet you're afraid of him--what's wrong, David, what is it? Helpless, David doesn't answer.  Alex stares at Amy with contempt.

Liz and Julia enter the storage room.  I don't like coming to this part of the house, says Liz--the pictures are stacked against the wall--you're going to get very dusty; I should have had Mrs. Johnson come up and clean them. Julia is lost in thought.  Liz asks, is something wrong?  I was thinking about that boy, Alexander, says Julia, he looked at me, and somehow knew he had won. Won what? asks Liz. I don't know, admits Julia, but somehow, he outsmarted me.You haven't been around children enough to understand them, says Liz, you're thinking of Alex as an adult. Would you think it rude of me to give you some unasked advice? Queries Julia. Of course not, says Liz. Please don't let Amy and David play with that child again, advises Julia.  Liz' eyebrow lifts quizzically.

Why do you feel that David shouldn't be a friend of Alex'? asks Liz.  I don't think that child HAS any friends, says Julia--I don't know why I feel so strongly about it, but I do, really, and the day Alex was here, he really upset Paul. Are you taking Paul seriously? Asks Liz--you aren't listening and believing his wild stories? I don't know what to believe right now, says Julia, which is very unusual for me--let's look at the paintings. Liz shoots Julia a strange look.

Antique shop - Amy picks up the photo of the 8 year old Carolyn and refuses to give it back. She tucks it into her pocket.  Alex turns a warning glance on David, who reluctantly goes over to Amy and says, if you don't do as Alex says, something terrible will happen to you. I don't believe it, says Amy. I'm sure it will be something you don't like, says David--he'll send Quentin after you. Terrified, Amy turns around--Quentin? she says--Quentin's gone! No, says David, he isn't. He is so, insists Amy. I heard his music playing last night, didn't you? asks David--and guess what, I saw him (he leans in very close to her)--would you like to see him again?? Her face filled with fear, Amy says, I don't believe you, no, and don't threaten me, I'll tell on you!  She runs from the room, into an adjoining one.  Follow her, David tells Alex--make sure she doesn't come back for a few minutes. Alex grins and nods, disappearing in pursuit of Amy. David picks up a book, sets it down on the table and picks up the phone.

Julia holds a landscape that she and Liz found.  It's incredible, remarks Julia--it looks almost exactly like the Tate I found last week--the sky is painted exactly the same way--Harrison Monroe, 1968.  I bought it at a charity auction last year, says Liz--thank goodness it was a worthwhile charity, when I got home with it, Roger told me to come right up here with it, and I did. They chuckle. I wish I knew more about paintings and artists' techniques, says Julia--it seems inconceivable that two artists could paint so much alike. You're asking the wrong person, says Liz. Julia asks, may I take the painting to Stokes? Why the interest in Tate? inquires Liz. Professor Osmond said he died 10 years ago, says Julia, but this says 1968, must be some solution!

Antique shop - Amy stands on the stairway, refusing to speak to either of the boys. Alex checks a book that has a note on it--"Return to Grant Douglas." David takes it from him, and both boys are smiling. David goes over and warns Amy, if you don't play the games that Alex wants to play, he won't be nice to you. Annoyed, Amy says, I'm too old for hide and seek. Alex wants to play, says David, so we will--or else. Angry, Amy orders, don't threaten me with Quentin again. I won't, promises David, if you close your eyes and start counting. Amy thinks it over and, resigned, finally closes her eyes and begins to count. The boys pick hiding places. Done counting to 10, she opens her eyes.  Into the shop at that very moment walks Grant Douglas. To Amy, he looks exactly like Quentin.  She calls to David, desperation in her voice.He doesn't respond.  Grant comes closer to her.  Amy begs, "Don't let him get me, David!--David, please!" She runs upstairs, terrified. David comes out, laughing.  Grant asks, what's going on here?  We were just playing a game, says David. I suggest you go after her, says Grant--I seem to have frightened her. She's afraid of strangers, says David. Are you David Collins? Asks Grant. Yes, responds David, I called you about the book.  He hands the book he'd left behind at the shop to Grant, who thanks him, then asks, is that little girl a Collins, too?  No, she's Amy Jennings, says David, she just lives at Collinwood. Grant tells David, you're a most unusual young man, and leaves the shop. David grins, satisfied.

Upstairs, Amy begs David not to hide anymore--he's downstairs, make him go away! she cries Please! David, where are you, you've won, come out, come out, wherever you are. Then Amy hears the sound of breathing, THE breathing.  Don't try to frighten me again, begs Amy--I won't let you frighten me! She enters the Leviathan child's room and lets loose with a shrill, piercing scream, fists covering her mouth.

NOTES: Oh, Amy, not a good place to go! What will happen to you now that you KNOW? She really shouldn't have teased Alex about having a crush on Carolyn, should she?

Watch it, Julia, don't let on that you believe Paul, even a little bit. Liz won't like it, and might be forced to take Leviathan action against you!

David's kow-towing to Alex is disgusting, isn't it? Yuk. But he's the leader, so I guess it's required.

Don't worry, for those who can't stand Alex, we won't have David Jay around too much longer.  Alex is due for another growth spurt.


912 - (Thought Amy's eyes were going to pop from her head when she hears the breathing, and that scream she uttered when she saw IT...decibels that would shatter glass!)

Barnabas enters the antique shop and calls to Megan and Philip.  Alex appears on the stairs and Barnabas, furious, orders, "Come here." Alex doesn't move.  Did you hear me? demands Barnabas.  Yes, the little brat petulantly. Obviously, you didn't, says Barn, or you would have obeyed me. If you want Megan or Philip, says Alex, gone. I'm here to see you, says Barnabas.   He and the boy stare at each other malevolently, but Alex finally goes to him. "Why did you let Amy into your room?" demands Barnabas. "WHO TOLD YOU?" booms the child--"Did SHE? It was David, wasn't it?" He takes an antique and throws it to the floor. Pick that up! Barn orders. YOU pick it up, retorts Alex. When you're grown, says Barn, I'll do as you say, but you're still a child--pick it up! Alex does so, but insists, David still shouldn't have tattled on me. Don't try to get even with David, warns Barnabas, it's not permitted!--David is your friend, Alexander--I hope you realize the seriousness of the situation you have caused, and are looking for Amy now--you still haven't told me why you did it. "I hate her!" spits Alex.Hate is no reason, says Barnabas, especially when it endangers our plans. She won't say anything, boasts Alex, she's too scared. How long will she stay that way? asks Barnabas. I'll scare her again, says Alex. You will NOT, warns Barnabas. You aren't in charge of me, says Alex. I am, says Barn, and don't you forget it--Haza and Oberon entrusted Alex to me, and you can be kept completely secret, you know, kept locked in your room until the time comes--would you like that? Megan and Philip wouldn't let you, says the boy. I tell THEM what to do, Barnabas reminds him. Alex, pouting, doesn't answer, he just walks away. Do we understand each other? asks Barnabas--answer me! Yes, says Alex.  Look at me when you say that! Barnabas insists. Alex turns and says, I understand! You will not let it happen again, says Barn.  Alex repeats his worlds. This is for your own good, says Barn, leaning on his cane, I must do what is destined for me to do, let me do it. Alex nods. You will be kept locked in your room as long as you're here, says Barn--is that quite clear? Alex nods, his back to Barnabas, who adds--Megan and Philip will be informed--I can't stay here any longer. Where are you going? asks Alex. To undo what you have done, says Barnabas angrily--and he picks up the Leviathan box.

Amy knocks at the cottage door, then, receiving no answer, walks in.

Collinwood - Stokes brings Julia the portrait of Amanda Harris that Osmond found under her Tate landscape. How do you know who she is? asks Stokes.  Tate painted several portraits of her, says Julia. Osmond did you a service, says Stokes--it looks far better as a portrait. Wait until you see the new landscape I found, says Julia. Another Tate? Asks Stokes. You tell me, says Julia. She leads him into the drawing room and shows him what she and Liz found. It's a shame a man with his talent for portraiture should waste his time painting Indian Hill, remarks Stokes. This is a Tate? asks Julia. A late one, says Stokes.  She shows him the Harrison Monroe signature in the corner. Osmond told me Tate died 10 years ago, says Stokes. He could be wrong, suggests Julia.  Why, asks Stokes, are you obsessing with Tate? I can't explain it now, says Julia, but I'd like you to take it to Osmond, since he is a Tate expert, and see if it is, indeed, a Tate.Stokes says he will. Immediately, says Julia--see if he knows anything about Harrison Monroe, and where we can find him--if I'm not here when you get back, stop at the cottage--I'll be there, filling Chris in.  Can I sandwich in one question? Asks Stokes--how did you get Chris Jennings so interested in late Victorian art?--that would seem almost an impossibility. He's doing it for me, says Julia. Why? asks Stokes--I've always been too curious and impatient--I'll find out what you want to know, then try to satisfy my own curiosity. Stokes leaves with the portrait. (Stokes really seems to want to do whatever Julia asks, without question; doesn't he seem kind of smitten with her?)

Cottage - Amy is sitting in a chair when she hears the key turn on the lock. She covers her face, terrified. It's Chris.  Amy runs into her brother's arms, trembling. Amy, what's wrong? demands Chris. Tell me!  Amy shakes her head, unable to speak. Chris promises, I'll make it all right, why can't you tell me? Amy begins to sob, again covering her face.  Is it David? he asks--did you two have a fight? She nods. It can't be too serious, says Chris--what was the fight about? Amy looks around and finds paper and pen. She writes "SHOP". What shop? asks Chris--write some more. Amy grabs the piece of paper and tosses it into the fire. What are you doing? Chris asks.  Someone knocks at the door.  Amy leaps into his arms, shaking her head violently when he says, I want to answer it. Julia, knocking, calls to Chris. It's only Dr. Hoffman, he assures Amy, and goes to answer the door. I'm glad you're here, says Chris--something has happened to Amy--she can't talk.

What can cause something like that? asks Chris--she wrote one word: shop. Julia sends him to Collinwood to find David, explaining, Amy and David were playing at the antique shop with that little boy today, make David tell you what happened. Do you mind staying with Julia? Chris asks his sister.  Amy shakes her head. Chris leaves. Julia kneels and tells Amy, try and relax, then you'll be able to speak, to tell me what happened. Amy shakes her head. Please, begs Julia, you're frightened, we may be able to help you--did it have anything at all to do with Alexander? Amy turns away. What did he do? asks Julia--turn around and answer me, would you write down what Alex did? Amy again shakes her head.  Julia continues, speaking softly, telling Amy, you'd be helping us all, honestly, if you told me, if you really would, I don't like Alex--"I think he's a very strange little boy, and if you know something about him that I don't know"... She stops speaking; Barnabas has entered the cottage without knocking. "What a charming picture," he comments--"Did I frighten you?" Julia rises to her feet and answers no.  I thought I had, says Barnabas--Amy, are you all right?  When she won't speak, he asks, "Cat got your tongue?"  She isn't feeling well, says Julia brusquely--nothing serious, I was just getting ready to examine her. Chris isn't here? asks Barnabas. No, says Julia. Would you mind if I waited? asks Barnabas, who sits down without waiting for a response.  Venomously, Julia says, "Don't tell me you've become interested in Chris again."  I've been thinking a lot about him lately, says Barn--perhaps I was disturbed when I came back from the past and realized I could do nothing for him. Julia, lip curled in disdain, asks, "What game are you playing now?" He stands, getting right in her face, and asks, are you suspicious of me?  Their faces are inches apart, within kissing distance. I suggest we don't talk about it now, she advises, and if you want to see Chris, come back later. I'm busy later, says Barnabas.  Looking at Amy, he says, Julia, you've been neglecting your duties.  Chris has gone to get my medical bag, snaps Julia. Then he won't be gone long, says Barn. He turns to Amy and asks, what seems to be troubling you? Amy tries to speak, finally eking out, "Water." Get her some, Julia, says Barnabas.  Julia shakes her head. Why in heavens not? demands Barnabas--a little water won't hurt her. Julia agrees with that. "But *I* will, is that it?" Barn asks. She closes her eyes, purses her lips and doesn't respond. "Julia, be sensible!" he insists.I AM being sensible, retorts Julia coldly, YOU get the water for her. All right, I will, says Barn, and leaves the room. Julia softly asks Amy, can you speak now?  Amy nods. Well, DON'T, warns Julia, not until Barnabas leaves--do you understand?--don't talk until Barnabas leaves, don't tell us anything until afterward. Barnabas appears with a glass of water. "Exchanging confidences?" he asks shrewdly. Just asking how she feels, says Julia. Barn hands Amy the water.  She drinks the whole glass. You were thirsty, observes Barn--are you feeling any better?  Amy doesn't answer.  Barnabas feels her forehead--she doesn't seem to have a fever, he observes. No, just the opposite, says Julia. Barnabas places his HUGE hand on Amy's cheek. "A cold, probably, he says in a hypnotic tone, rubbing her face gently while gazing into Amy's eyes. There, he says, I'm sure you're going to feel better. She turns away.  Let Chris know I was here, Barnabas tells Julia--we must get together to have a long talk about him soon. You aren't going to wait for him? asks Julia.  I'd like to, Barnabas says, but I have things to do. "I'm sure you do," says Julia sarcastically. "Let her sleep, Julia," advises Barnabas, "look at her sleeping so peacefully."  Yes, agrees Julia, gazing at Amy, who is has fallen asleep in a chair.  She feels her forehead. "Let her sleep," Barnabas says again, "children sleeping, how beautiful, child's dreams--she'll be much better when she wakes, I'm sure." We see Julia's skeptical face, then the sleeping Amy.

Chris returns to the cottage, Julia's medical bag in hand. Amy's sleeping, says Julia, she started to speak, but Barnabas was here, and I didn't want her to talk while he was here, then she fell asleep--did you see David?  I had to wait, says Chris, Alexander came down. You didn't talk to David in front of him, did you? asks Julia. No, says Chris, David told me they were playing hide and seek, Amy was It--a stranger walked in the shop--Grant Douglas!  And Amy thought he was Quentin, realizes Julia. She ran out screaming--could that have done it, Julia? Chris asks. I'm sure the sight of Quentin frightened her, says Julia, but not enough to make her lose her speech. Amy stirs, moaning. How are you feeling? Chris asks his sister. Better, she answers.  What happened? he asks--if someone hurt you, I want to go deal with them. I saw Quentin, says Amy. No, it wasn't Quentin, says Julia, but Grant Douglas. Amy insists--it was Quentin, I know and remember him better than you do. What did you do after you saw the man who looked like Quentin? asks Julia. Amy says, I...I...Tell us, says Chris. I don't remember, says Amy, but there was something else!  What? asks Julia. I can't remember now, says Amy, but I will. Stokes knocks and enters the cottage--exciting news, he reports, like being in the middle of a mystery novel and not knowing what the end will be--hope I'm not disturbing you--Osmond is almost certain the second landscape was painted by Tate--and he gives Julia Harrison Monroe's address. What's this all about? asks Stokes.  I will tell you later, says Julia. Monroe lives in a fishing village on the outskirts of Rockport, says Stokes--Osmond has head of Monroe, but never met him, he's a complete recluse. I want to go tonight, insists Julia.  Wait, requests Stokes--I have to lecture tonight. I'll go by myself, says Julia. Where? asks Chris. To see Charles Delaware Tate, says Julia. You're being unrealistic, opines Stokes--Osmond himself went to Tate's funeral, 10 years ago. How does he explain the painting you brought him? asks Julia. Osmond's trying to figure out how that's possible, says Stokes--perhaps Harrison Monroe is a ghost. I believe Tate and Monroe are one and the same, says Julia--Chris, take Amy back to Collinwood--I think it best I go myself, for the first time, anyway. Amy, her face screwed up in horror, shakes her head.

Collinwood - Alex holds up the Leviathan box and asks Barnabas, how do you know it will work? Are you doubting me, Alexander? asks Barn, pissed. I would have made sure, says the boy. Amy is in the intermediary stage, explains Barnabas, she could have great difficulty remembering exactly what happened. They're going to question her, says Alex. Yes, they are, agrees Barn, she will not know what has happened until she walks into this room. "And if she is with us, she will open the box," says Alex, grinning.

Chris drops off Amy, who assures him, I'll be all right. I'm so glad you came to me, says Chris, I'm the one who has to take care of you. I know that, says Amy, and I love you.  She throws her arms around him and hugs him. He laves.  Amy approaches the double drawing room doors, which swing open. Alex greets her cheerily, "Hello, Amy!" She freezes a moment, then walks into the drawing room and straight to the Leviathan box. She unlocks and opens it, looks inside, then hands him the photo of Carolyn and says, I'm sorry I took it. "YOU SHOULD HAVE GIVEN IT BACK TO ME WHEN I ASKED FOR IT!" he thunders. She apologizes and assures him it will never happen again. YOU WILL FOLLOW ORDERS NOW, I BET, he says.  Yes, she agrees, I will.  Barnabas nods at Alex, smiling approvingly.

Julia knocks at Harrison Monroe's door and hears a recording--GO AWAY. I've come to see Harrison Monroe, says Julia.  You aren't welcome here, says the mechanical voice. A dog howls. I have a message from Mr. Delaware Tate, says Julia. She starts to walk away, but the door, creaking, swings open. Julia goes inside...

NOTE: Brrr, that scene with Barnabas and Amy was creepy as hell. His verbal tennis game with Julia was fascinating to watch, too, she is so angry and frustrated at these changes in the man she knows and loves! How is it that Jonathan Frid can say such nice words about sleeping children and make them sound as if they've emanated from the depths of hell?  Again, brrrr!

Loved Harrison Monroe's message. Unlike Julia, I doubt I'd stick around a house that ordered me to go away. That was really unnerving.

It was nice seeing a lovey moment between Chris and Amy, wasn't it?

Alex haters, hang in there, it won't be long now!

Love, Robin

907 - Deceit and treachery are becoming a way of life, says Julia in the intro.

"Excellent!" Barnabas praises Liz--"You have done well." He hangs up.

The train waits as a disbelieving Carolyn listens as her father explains, we don't have to go anywhere--Liz has asked me back to Collinwood! Carolyn walks away from him, unsure, and says--I don't understand it--my mother has been so firm and bitter. Yes, but she can't stand the thought of losing her daughter, Paul reminds her--and Liz is going to help us fight, she believes me! Carolyn, uncertain, says, I don't know what I believe. I feel like such a fool, says Paul--your mother always said I did everything so melodramatically, and here we are, and the train is waiting...  I have a feeling we should get on the train, says Carolyn, leave here!  With Liz on our side, there's nothing to worry about, says Paul.  Carolyn doesn't seem to believe it. The train pulls out.  "Come on, dear," says Paul, picking up their bags, "let's go home."

Grant lies asleep in his hospital bed.  Barnabas stands at the foot of the bed, staring malevolently at Grant. Barn is thinking to himself--*I* drove that car, determined to kill the man Carolyn was going to meet, and that man was you, Quentin. . .I must kill you now, he says, reaching out his hands to wrap them around Quentin's throat. No, he admonishes himself--you saved me once when dawn was coming; I owe YOU one chance at life, the same chance you gave me--but only one, after that, I will have paid my debt and can do whatever I must.

The Stoddards and their daughter return to Collinwood.  Liz tells Paul, who is happy at first, I'll put you in the blue room. Paul has spotted the portrait of Barnabas on the wall and moves closer to look at it. Carolyn and Liz both speak words of warning.  Paul says, sarcastically, how nice it is to be greeted by such a friendly face. He walks away from the portrait.  Liz opens the drawing room doors and says, you won't find much has changed. It's good to be back exults Paul, hugging Carolyn as Liz looks on, eyes blazing with anger. It was a long, hard fight, says Paul, but I won, and I'd like to take this opportunity to thank those who helped make this moment possible. Paul and Carolyn laugh with delight; Liz smiles insincerely. Paul promises things will be different--I will be different. I know, Father, says Carolyn.  Perhaps I keep telling myself to make sure I really understand, suggests Paul--let's all have a drink, like normal, ordinary people on a festive occasion. We should have champagne, says Carolyn.  Paul opts for whiskey. Carolyn goes to prepare the drink and asks her mother what she wants. Sherry, requests Liz. It's really very quiet out here, isn't it? asks Paul. You used to complain a lot about that, Liz reminds him. Carolyn brings over the drinks on a tray.  I need this, says Paul--but first a toast:  "To us."  Carolyn adds, "To all of us--and each of us." They clink glasses over the toasts and a camera swings into view as Liz tells Paul I'll have Mrs. Johnson bring your bags up to your room. Carolyn volunteers to do it, and leaves them alone. Paul closes the doors and turns to Liz, who has been looking him over speculatively. "Well?" he asks. Well, what? asks Liz. What do we do first to fight them? asks Paul--when I saw his picture out there...  That's the original Barnabas, says Liz. Same face, same eyes, says Paul, but I'll find out--no one is going to treat Paul Stoddard that way!--he'll see!--if only I could...think of a way to start! You must have some idea, says Liz. If I had, I'd have acted on it, says Paul. Perhaps it would be better if we simply did nothing for the moment, suggests Liz. DID NOTHING? he asks--you don't know how fast they are, what they're liable to do next--could be almost anything!--we can't wait, I didn't come here to wait--you promised you'd help me fight Barnabas. You're here, Liz assures him--can't you be content with that? You didn't believe me, he accuses, then why am I here?--WHY?  She looks at him and says--you're here because everything Carolyn told me is true--you aren't well. You know very well what's wrong with me, he insists. I do, yes, says Liz, but do you? Yes, I do, he says. I want to help you, Paul, for your sake and Carolyn's--I meant it when I said we would fight it together--and I intend to fight this belief that everyone is against you, this madness about a plot. MADNESS! shouts Paul--I'll show you the note, the note that said "payment due"--surely you don't think I'd write that to myself!  I'm sure there are many payments due, says Liz, you've never been conscientious about money. It's not about money, says Paul. What is it, then? she asks, answer me that. Paul doesn't reply. "You don't know," says Liz. I know one thing, says Paul--Barnabas Collins is an evil man, yes, evil. Julia, entering the foyer, overhears these words, and listens closely. "And he's not alone," rants Paul, "those people in that antique shop, they're in it with him, I know it, they have an organization, you can't tell who's one of them, Elizabeth--they're going to kill us all!" Julia listens at the door. If you aren't going to help me, says Paul, I'm going to the police. I can't do much to stop you, says Liz, if that's what you want to do. I'm going to call them right now, he says.  Exactly what are you going to say? wonders Liz--you'd better decide before you call, because if you tell them what you told me, don't you think they'll find it a little improbable--what crime has been committed? Paul drops the phone.  Liz, turned away from him, grins in relief and satisfaction. You're right, admits Paul, they'd never believe me, either--I can't even tell them! Paul senses a presence on the other side of the door and swings them open abruptly. Catching Julia, he grabs her arms and accuses her of listening--you are one of them, I know it, I know it--admit it! Julia struggles to free herself from his grip.

Liz intervenes in the struggle as Paul yells at Julia--you will us what you heard, I know it--you're one of them, he insists.  She is not, says Liz--I trust Julia implicitly--apologize, Paul! He releases Julia--I'm sorry, he says and walks away, ashamed.  I should apologize, says Julia-- it seemed like I was eavesdropping--I just came in. Then you admit it, says Paul, you were listening. Anyone who came in couldn't help overhearing, points out Julia. Have you met before? Asks Julia. Several times, says Julia--Carolyn wanted me to see her father. Carolyn comes in to report--Mrs. Johnson is as full of complaints as ever--Julia, can't you give her something to improve her disposition?  I stopped by to pick up my bag, says Julia, I'm on my way to see Grant at the hospital--would you like to join me?  Carolyn asks Paul, would you mind?  Liz answers--of course not--it would be good for Paul to rest. No one is going to convince me I'm sick, insists Paul--none of you, so stop trying!!!  He marches out, the three woman staring at him.

Barnabas still hovers near Quentin's bed. "Quentin?" he asks. The man stirs.  Barnabas keeps calling him--"Quentin!" The man focuses bleary eyes around the room, finally resting on Barnabas, his face is puzzled. "Hello, Quentin," says Barn, "I knew we'd see each other again, but I didn't expect it would be here." The patient's blue eyes are filled with puzzlement and fear.

Collinwood - Paul walks downstairs, goes over to Barn's portrait and glares at it. Liz comes in and asks, would you like it taken down?  No, answers Paul, I won't let it disturb me. I'm glad that's your attitude, says Liz. I'm going to make it work for me, claims Paul--every time I pass it, it will remind me I need evidence--I didn't imagine this, Liz, I'm not mad, I'm in the curious position of knowing the criminals, but not the crime--but I'll find out...

Carolyn waits outside Grant's room.  There's no change in his temperature, which is good, says Julia. How long can he remain unconscious? asks Carolyn. A long time, unfortunately, says Julia. (I thought Grant awakened a few times.) Julia is furious when Barnabas exits the room and bids them a cordial good evening. "What are YOU doing here?" demands Julia--"I gave instructions that there were no visitors allowed!"  I was working out some of my guilt, says Barnabas, since I am the one responsible for this poor man's condition--there has been a change.  The women hurry into the room to find Grant awake and talking. Hello! he says. Carolyn is thrilled, saying, "Oh, Grant!" Why do you call me that? he asks--and who are you?  Shocked, Carolyn stares at him. He demands to know the answers to his questions. Julia looks furious. (Did Barnabas do something to Grant?)
Julia asks, "You don't recognize me?" Why would he? asks Carolyn. Yes, why would I? echoes Grant. I've been attending you, says Julia--I've seen him many times and two or three of them, his eyes were open. I'm pretty confused, says Grant, and wouldn't even know where I was, except for this gentleman here (Barnabas). What am I doing in Collinsport, ME? asks Grant. None of them respond, and he says, "Look, stranger things have happened to me in my life." What else has happened in your life? asks Julia.  I don't have a clue, says Grant--what HAS happened to me--don't any of you know? Barnabas looks. . .devious, as though willing Grant to know nothing. Grant says, "Come on, if you do, tell me!--you sir," he asks Barnabas, "you thought I looked like someone you knew." He knew you through me, explains Carolyn--your name is Grant Douglas. Yes, says Grant. They met in an antique shop, adds Carolyn.  What was I doing there? asks Grant. I don't know, says Carolyn--browsing--you didn't buy anything, but you did ask me for a date.  "Grant Douglas is a genius," says Grant, smiling, "whoever he is, his heart's in the right place, and his mind and eyes--I think I like him."  Are you always like this? laughs Carolyn (pretty thoughtlessly, too).  You tell me, says Grant, his light mood now dark. He looks at them.

Julia leaves Grant's room, followed by Barnabas. It was really stupid of you to ask him if he recognized you, hisses Barnabas--you could have given the whole thing away to Carolyn!  Julia stares at him.  Given what away? she demands, lower lip trembling. The fact that he's Quentin Collins and nearly a hundred years old, answers Barnabas. Julia smirks at him.  That's why you did it, she accuses--took his memory away--I knew you had something to do with it. Be rational! insists Barnabas--the man was hit by an automobile--he lost his memory because of that.Perhaps, retorts Julia, but I think you had something to do with that loss. She walks away, back into the hospital room. Carolyn is explaining to Grant--Julia checked your ID and found you live at...  1115 Elm Street, Portland, Maine, Apt 3A, finishes Julia. Why can't *I* remember? asks Grant, frustrated--I don't know anything about myself--surely someone here must have known me. Your landlady says he had no wife or immediate relatives, says Julia. "She must have told you something," says Grant. Very little, says Julia. Can she be brought here, asks Grant--I must find out--I may be some clinical case to both of you, but...  No, objects Carolyn. "Well then tell me!" cries Grant--"Who am I? The man who left here said I was someone named Quentin Collins, whoever he is..." He said what? asks Carolyn, turning to Julia--why would Barnabas say that?  I suggest you ask Barnabas, says Julia.  Grant asks--hat's wrong with this Quentin Collins? Why do you seem so surprised? Because Quentin Collins lived 100 years ago, reveals Carolyn, confused. Grant laughs--well, then, I can't very well be him, can I?

Collinwood - I want something from you, Julia tells Paul. You're the only one in this house who does, says Paul ruefully. Perhaps you are disturbed without reason, she says, but I think there is one--what story was it that you couldn't tell the police--if you know why Barnabas is acting in this bizarre manner, you must tell me!  You don't waste time, notes Paul--you come right to the point. I hope you will, too, she says.  You are the answer, says Paul, when I think of what a terrible judge of character I am...I thought you were...anyway, this Barnabas, he's connected with some group, an organization, and they are going to...  Paul looks up to see Barnabas has entered the room. Barnabas bids Julia good evening--I've come to welcome Paul back to Collinwood, he says--how nice it must be for you to be home again. Paul gazes at him with hatred, then just walks past him and leaves the room.  Julia says, "You have quite an effect on him, Barnabas." She starts to walk past him, too, but stops when he calls her name.  Julia asks, "Do we really have anything to say to each other, Barnabas?" She continues walking, gloves in her hands, and upstairs.

Liz exits the kitchen, watches Julia walk across the landing, and joins Barnabas in the drawing room. Something must be done, Liz tells Barnabas--bringing him here was not the answer--he's been talking, someone will listen, believe him--something must be done.No, says Barnabas, Paul Stoddard will be taken care of by someone else--and he smiles.

NOTES: Julia, you GO, girl! Get Bad Barnabas! Paul, watch your step, you're heading for deep trouble. Grant, you look so cute with that bandage on your head, and that lost little boy thang is adorable.  Whoever you are, it's good to have you back. Barnabas, you get badder by the moment; and calling Julia stupid was not nice at all! Liz, you Leviathan convert, hope you can throw it off. Having you under their power is not good for the rest of the town. Great, chilling performances from everyone today!


908 - Paul paces the drawing room. Alex, in the foyer with Liz, asks if "he" (meaning Paul, I suppose) is here for sure. Yes, says Liz, I am sure. What will you do first? she asks.  There's no need for your questions, says Alex nastily.She apologizes for asking (so much power in one little squirt of a kid). Paul exits the drawing room.  Liz tells him Alex is here to spend the day with David. Mr. Stoddard and I know each other, don't we? asks Alex slyly. Yes, says Paul unhappily.  You used to come to the shop--very interested in antiques, adds Alex. "Where's David?" the kid asks Liz. Upstairs, she responds, I'll show you the way. I'll find it, says Alex--thank you--"See you later, Mr. Stoddard," Alex calls down to Paul, who tosses an uneasy look at Liz.

Paul hoarsely tells Liz--get Alex out of the house, for all our sakes. He's only here to spend the day with David, she says--David needs to spend more time with children, and it's very refreshing the way he looks after Alex. But he's one of them! objects Paul. Be rational, says Liz.  I am, says Paul, that kid is...  "Staying with very respectable people," finishes Liz. Respectable? demands Paul. If you keep going on like this, you'll wind up in an institution, insists Liz--you  don't know what's real and what's not, and I refuse to discuss it. Paul gazes hatefully at Barnabas' portrait.

David's room - Maggie meets Alex; the newcomer and David are all set to play with racing cars on David's desk. I don't use them anymore, says David--I'm setting them up for Alexander. He produces the cars for the track and gets them going. You two should be OK, decides Maggie--I'll see about lunch--Alex, is a hamburger OK with you? Yes, answers the boy. Once Maggie leaves, Alex closes the door and David removes the cars from the track. What are you going to do? asks David.  Did Carolyn grow up in this house? asks Alex. (David himself looks so grown-up now!) Yes, replies David. But her father wasn't here, was he? asks Alex. No, answers David, but what does Carolyn have to do with this? Alex doesn't answer.  Can't you answer a simple question? asks David.  No questions, insists Alex. David apologizes--can't I do something to help? Go find an album with pictures of Carolyn when she was growing up, orders Alex--bring it to me. David exits, Liz enters and asks Alex, is David treating you well?  Alex starts a car going on the track.  Liz is pleased to see her nephew got out his old cars. I like cars, says Alex. Most boys do, says Liz. Alex watches two cars on the track. "He suspects you," Liz says abruptly. Don't worry, Mrs. Stoddard, says Alex. I do worry, says Liz. I'll be all right, Alex assures her.

Drawing room - Paul paces. Maggie comes downstairs and heads for the kitchen. Paul intercepts her. She welcomes him to Collinwood.  I owe it all to you, he says, arranging for me and Carolyn to meet--may I speak to you?  He ushers her into the drawing room and closes the doors. Have you been upstairs with Alex? he asks--what do you make of him? He seems nice, she says. Well, he's not, and you'll have to be careful of him, warns Paul. Maggie, puzzled, says, he was just playing upstairs. He shouldn't be in this house, frets Paul--I tried to tell her that. What are you talking about? Maggie asks. You helped me once before, Paul says--believed me, someone, anyone, to believe me--you must help me again--will you??

Maggie looks concerned.  I think you believe me mad, says Paul--think that way if you want, he rants, you'll only be joining an ever-increasing mob. Maggie goes to him, asks, what is wrong? Pleased that she's willing to listen, Paul decides, I must make sense this time--there's a plot against all of us, everyone in this house, and that child upstairs--Maggie gives a start--those two people in the antique shop know, they're part of it, and Barnabas, he's their leader, I think, has come out into the open with me, and I have proof that he's involved. Involved in what? Maggie demands. I feel you can get more out of them than I can, they suspect me, but you can get the evidence I need. I don't understand, says Maggie--what evidence? That the plots exist, says Paul--you can talk to them, find out what they're doing, we've got to stop this before it goes too far--you can talk to the boy, find out how long he intends to stay here, which might be important, then find out what you can about Megan and Philip--and Barnabas, if you see him do anything at all that seems strange, no matter how trivial, come to me, no one else--can you do that?Maggie promises she will (looking at him like she thinks he's starkers). No one must know, continues Paul, we must not appear to be friends, so if I seem cold to you, you must trust me. Alex listens outside the doors, as Maggie assures Paul, I will trust you, even though it doesn't make any sense, but...  Paul pulls open the double doors and catches Alex eavesdropping. He grabs the boy, pulls him roughly into the room--it's true! cries Paul.  I was just looking for David! squawks Alex. Paul says, "You were listening, admit it!"  Maggie calls out to Paul, who is furiously shaking Alex, demanding, "What are you doing in this house?"  Liz rushes in--what do you think you're doing? she demands. She draws Alex into her arms--this is unforgivable! She says. She closes the doors, leaving Paul (who shouts, "You'll find out! It will be too late, but you'll find out!") with Maggie, who tries to calm him down.  You go with them, if you wish, shouts, Paul, help them mollycoddle that. . .that monster! No, says Maggie--calm down, Mr. Stoddard. You don't believe me either, he accuses.  I didn't say that, insists Maggie--I think you should tell me again what you want me to do--if Alex was listening at the door, and I know he was, it won't do any good to question him--now, she says softly, why don't you tell me again what you want me to do?  Calmed, Paul says, I can't fly off the handle like this, I can't.  (such a wonderful performance from Patrick)

Seated together on the foyer bench, Alex cries in Liz' arms. She apologizes to him for what Paul did.  I wouldn't have had this happen for the world, she assures him. It's all right, he says, sniffling. David, upset, worried, dashes downstairs, asking what's the matter--is he all right? He will be, Liz assures him. Are you sure? asks David--you shouldn't have let anything happen to him. I didn't know, David, Liz says. Alex, pleased that David found the photos, goes to check out the family album.

Paul paces.  Maggie assures him--I'll try to do anything I can. Someone knocks--David--I want to come in, he says. Maggie, looking at Paul, opens the door. I want to show Mr. Stoddard something, says David. Maggie, promising to speak to Paul later, says, I have to return to the kitchen to see about lunch for the boys. Paul thanks her. She nods. David closes the doors and Paul impatiently asks, what do you want? I have a photo album, says David--since you weren't around then, perhaps you'd like to see it. (I had the same album!) It's some pictures of Carolyn growing up, says David.  The paranoid Paul says, that's thoughtful of you. Aren't you going to look at any of them? asks David.  The two of them sit on the sofa to go through the pictures. One photo shows a girl in blond pigtails.  David points out, that must have been taken of Carolyn just before you left (the girl in the picture looks much older than two)!No, says Paul, it isn't. David grins at him and asks, are you going to look at any more?  Of course, says Paul.

Maggie describes to Liz how upset Paul is.  I don't know what to do, sighs Liz--you didn't believe him, did you? Of course not, says Maggie, but I shouldn't let him know that--he seemed to depend on me so much--I don't know what I'm going to do. There's nothing to do, opines Liz. After Maggie goes to the kitchen, Liz exchanges a satisfied glance with Alex.

The photo album lies on the hall table. Roger comes in and takes off his coat and hat. He calls out--is anyone home? David runs into his arms for a big hug (still calls him "Father," rather than Dad).  David introduces Alex. How do you do, sir? asks Alex. (little suckup)  Roger says being in Bangor two days is like being away forever, and asks how everything has been--has David been keeping things ship shape? As well as I could, sir, says David, standing "at ease." Roger pulls a gift for David from his pocket--a transistor radio David had dragged him to look at, (high tech in those days). I got the best one I could find, says Roger.  David holds the radio in his hands, eagerly saying how neat it is.  He excitedly shows it to Alex, then turns it on (it's playing music from the Blue Whale). Roger asks him to turn it off; take it up to your room--is there any mail for me in the study? As Roger heads that way, David, thrilled with the gift, thanks him. Alone with Alex, David says, it's the best radio I've ever seen. Sounding like a little emperor, Alex says, "I want it, and I'm going to keep it--you're going to give it to me." David protests.  Alex makes it clear who is in charge, and essentially forces David to give him the radio. "You're good, David," praises Alex--"I'm glad they sent me you." (Rotten kid!) Maggie, standing on the landing, has overheard this exchange, and thinks to herself, that's not like David at all--I know how much he wanted that--Alex, there is something strange about you--could Paul Stoddard be right?--there's something very strange happening here. Roger, mail in hand, exits the study and asks Maggie, who welcomes him home, if Liz is around. This can't be all of the mail, is it? he asks, and spots Paul on the landing. "What are you doing in this house? he demands with a sneer--Maggie, excuse us. "Well, well, well, my DEAR Roger," mocks Paul. Don't call me that, orders Roger, it isn't nice to see you. I'm living here, reveals Paul--your dear sister was kind enough to insist I come back. Yes, I did, agrees Liz, entering the foyer.If I remember the two of you well, says Paul, I know you like to quarrel alone, so have a pleasant battle, I'll be in my room, waiting to congratulate the winner--and if history repeats itself, I know which one that will be. Roger looks at him, furious, as he and Liz go into the drawing room. He's changed, insists Liz. You're mad! Roger accuses. Paul tore up the check you gave Carolyn, says Liz. Only for effect, insists Roger, I knew somehow she would take him back--have you forgotten...  I've forgotten nothing, says Liz, this is for Carolyn's happiness. That's your rationalization, says Roger, he will make her as unhappy as he made you. Paul is a different man, maintains Liz.  I refuse to believe it, says Roger, and I don't think you do, either--there's nothing I can do about it, but I intend to learn why he came back, because I feel it has nothing to do with what you said this afternoon. He leaves in a huff.

Paul enters his bedroom and closes the door. He takes off his black sweater and hears a sound. Who's here? he asks. Hearing giggling, he finds Alex, who says, I'm playing hide and go seek with David. He leaps to his feet and begins to flee--I'm going to find a new place to hide! No you don't, says Paul, grabbing Alex by the arms, you're going to stay here and answer a few questions. Let me go, Alex begs--I don't want David to hear me--I want to win!  We will talk quietly, Paul assures him--how long will you be staying? Just for the day, responds Alex. I mean in town? asks Paul. I don't know, says the boy. Is Philip Todd really your uncle? demands Paul.  You're hurting me! complains Alex.  Wresting free from his grasp, he runs from the room. Paul pursues him into the hall, where Alex has hidden behind some draperies. Paul calls to Alex, but the kid doesn't come out. Paul walks past the drapes where Alex is hiding, then hears heavy Leviathan breathing as he starts to return to his room.  Paul follows the sound to the draperies, listening. Gulping, he draws them apart, and looks startled at what he sees.

NOTES: Why isn't Paul working on Julia, who seemed so willing to hear him out yesterday? Why is he trying to convince Maggie to listen to him? You could tell she didn't believe him, but seeing the scene between Alex and David must have convinced her that something is not right at Collinwood, and hopefully, she will keep her ears and eyes open on Paul's behalf.

Has Paul seen something really terrifying? His face doesn't register that, but who knows?

Alex is SO icky, I can't stand him, but for the first time ever, I actually think his performance isn't half bad. If he can make me scrunch up my face at his ickiness, he can't be that poor an actor.

Love, Robin

903 - Liz pauses in front of the door and asks, what's that terrible sound? David tries to make the creature lower the volume while Megan tells Liz, I can't hear the breathing. The sound stops. You really had me worried, says Megan--it's the radiator, we have one that makes incredible sounds--you just heard it. Liz listens, puzzled--that couldn't be a radiator, she says.Yes, I'm sure there's a rumor going around that the Todds keep a pet rhino, jokes Megan. Liz wants to check that room, but Megan insists it's not necessary--I was in there at the same time you said David came in. He could have come in, hidden, then gone into that room when you went downstairs, says Liz. I don't understand why your nephew would behave so oddly in my house, remarks Megan as David listens on the other side of the door. Neither can I, says Liz, it's one of the reasons I want to find him. You won't find him here, says Megan. I have the distinct feeling you're trying to keep me out of that room--you are, aren't you? Yes, says Megan, Joseph is hard to put to sleep and a light sleeper, certainly you can understand. I'm sorry, says Liz, the baby won't even know I'm in the room, I'll be so quiet. Liz reaches for the doorknob and starts opening the door, but before she opens it fully, they hear a loud sound downstairs.  Both women run to find its source. David smiles at the creature, who begins to breathe loudly again. Everything will be all right now, says David soothingly.

Megan and Liz find the desk overturned, the phone on the floor. He was hiding behind that desk when I came in. says Liz. And knocked this over when he left, adds Megan--apparently he was here. Why? wonders Liz--I can assure you, Mrs. Todd, I will find out. When you do, let me know, won't you? asks Megan.  I will, Liz promises--I'm sorry to have bothered you. I understand, says Megan, one has to look after one's children very carefully. She closes the door after Liz. David, standing on the stairs, says, that was close. When she began to open that door, admits Megan, I was terrified--I didn't know how to stop her. Neither did I, says David, but someone did.  Neither knows who it was.  What matters is, something had to be done, says David, and one of us was here to do it. Megan looks confused.

Julia has drinks with Olivia in her room at the Inn.  The actress is surrounded by her own headshots.  I didn't know you were that interested in Tate, says Julia. Oh, yes, says Olivia. A very ambitious project, having a showing of his paintings, says Julia. All I have to do is the preliminary scouting, says Olivia, I have a dear friend in NY who owns a gallery--he does the real work.Strange project for someone like you, says Julia. Not really, says Olivia, he painted a portrait of my grandmother--I'd like to see him rediscovered, for her sake--I was very devoted to my grandmother, a fascinating woman--someday, I must tell you all about her. I would like that very much, says Julia. Do you find Tate's tragedy very moving? asks Olivia. Tragedy? asks Julia. Yes, says Olivia, a handsome young man, very talented, admired, adored, then suddenly out of style, forgotten--no one knows if he's dead or alive--I guess because I'm an actress, my imagination supplies the missing pieces, makes a whole person out of Tate, a person who grows more bitter as years pass and his gifts fade away--I fancy myself as his last admirer, and am surprised there are two of us. If your plans work out, says Julia, there will be many more. Yes, there will be, agrees Olivia, and now that you understand my plans, perhaps you'll allow me to photograph your Tate painting for my friends in NY. Julia agrees to help her--you can come to Collinwood for the picture whenever you like. Julia pulls on her gloves--I have a better idea, she says--I'll send it to you with Mrs. Stoddard's chauffeur. Olivia thanks her.  It's nice to see you, says Julia says, and leaves. Olivia fixes her hair in front of the mirror.  An Oriental man enters her suite. Mr. Nakamura, she says--things are going exactly as I planned--you may now make the necessary arrangements. He picks up the phone.

Collinwood -  Julia instructs Chris to pretend to be Mrs. Stoddard's chauffeur when he brings the painting to Olivia--who may be playing the performance of her career, offstage--she says she's Amanda's granddaughter, and I have no reason not to believe her, except...for some reason, I feel she isn't the person she says she is. How can you find out? asks Chris. Perhaps this will help, says Julia, indicating something she found in the West Wing, containing a lot of papers. Chris looks at it. "And no matter what the passing world may think, I will love you forever--A.H." he reads aloud. Amanda Harris!  Yes, agrees Julia, written to Quentin Collins, summer, 1897. What does this have to do with Olivia Corey? Asks Chris.  I want you to get a sample of Olivia's handwriting, says Julia. Do you think Olivia and Amanda are the same person? asks Chris--impossible! You should know that it's possible to have a secret no one will believe or understand, points out Julia shrewdly--I think that Olivia has a secret. How can you, the life she leads? demands Chris--everyone knows her and all about her. Really, do we know everything about her? asks Julia--perhaps there's ONE thing we don't know, and it's the one thing we have GOT to find out. Chris takes the painting and goes.

Julia looks over Amanda's letter to Quentin. Liz enters. Julia asks, do you have any family portraits that might have been stored, forgotten in a closed wing of the house? Probably, says Liz--many. I want to search through them, says Julia.  Do you have a particular one in mind? asks Liz. A painter named Tate lived in Collinsport around the turn of the century, says Julia--I bought a painting of his recently at the antique shop. Antique shop? asks Liz. Yes, why? asks Julia. Nothing, says Liz. I thought there might be others around, perhaps stored right at Collinwood, says Julia. Look as much as you like, says Liz, but I'm really not in the mood to discuss specific places for you to start looking--we'll talk about it tomorrow. She goes upstairs. We get a shot of Barnabas' portrait.

Inn - Olivia, holding the painting, comments to Chris, Dr. Hoffman is as good as her word--thank you.  My name is Jennings, says Chris.  Tell Julia I will return the picture as soon as I'm finished with it, promises Olivia. She gave me instructions to wait for it, says Chris. Oh, did she? asks Olivia. Mr. Nakamura comes out.  Olivia says, "She's on to us, it's all over." She introduces him to Chris--Mr. Nakamura is to photograph the painting, she explains. He takes the painting and goes; Where is he going? asks Chris.  Mr. Nakamura is an artist, and photographs all my paintings, she says--he's taking it to photograph it--why are you so nervous?  I just don't want anything to happen to the picture, he says.It won't, she assures him. He apologizes--I don't know much about paintings, he admits. It isn't priceless, says Olivia--unless you have a special interest in Mr. Tate's works (which I obviously do). She offers him a cup of tea, forgetting his name again. She leaves the room. Chris goes into search mode, trying to find something with her handwriting on it. She returns.  He stands there, hands behind his back. She brings in the tea tray; he offers to help her with it.

Liz enters David's room, turns on the light. His bed is empty.  He enters the room, in night clothes. What were you doing in town tonight? she asks.  I wasn't in town, says David, I was in bed. You weren't in bed when I came in, she says. I was getting a glass of milk, insists David. No use lying, says Liz--I know you were at the antique shop.  Why there, of all places? he asks. I don't know, says Liz, but I am sure you were there, I saw you, heard you knocking over the desk. Why do you think it was me? he asks. I KNOW it was, she says, and leaves the room.

Chris drinks his tea. Olivia offers him more; he refuses. How do you like working for the Collinses? she asks.  It's a job, he says. Dr. Hoffman isn't a family member, is she? asks Olivia. No, he says. How long has she been there? She asks.  For some time, responds Chris. It's 9:30. Chris asks about the picture--isn't the photographing taking a long time? I told you--Mr. Nakamura is an artist, she says. I'm sure, says Chris, but I want to check...he goes toward the other room, opens the door. I'm sure Mr. Nakamura would mind, protests Olivia. We see a camera, but no Mr. Nakamura.  There's nobody here, he accuses Olivia, who looks guilty.

Tell me where the picture is, Chris demands. She stalls--I don't know. You had him steal it, didn't you? accuses Chris Why would I do a thing like that? asks Olivia--I told you it wasn't valuable! Except to some people, and you're one of those people, aren't you? demands Chris. Mr. Nakamura enters the room.  Where were you? asks Olivia.  My camera was out of order, he explains, speaking for the first time in the episode. He hands Olivia some photographs and says, another photographer made these. She hands Chris the pictures of the landscape.  Nakamura remarks, they aren't as good as I would have done. They're fine, says Olivia, taking the photos back from Chris--give him back the painting before he calls the police, she orders Nakamura. Chris apologizes--it's not my painting. She smiles at him, calling him a good watchdog--I like that. Uncomfortable, Chris says, photographing it doesn't seem to have hurt it at all--I must get back to Collinwood--I feel like a fool. I'm sure Julia will be happy to get the painting back, says Olivia.  Chris agrees. He doesn't leave immediately.  I feel an even bigger fool, says Chris, asking this, but could I have your autograph? She smiles--sure, she says.  He asks her to write "To Chris Jennings, in memory of our meeting at the Collinwood (?) Inn?" It sounds like an inscription on a plaque, she teases.  I think you're still sore at me for the way I acted, says Chris. No, she assures him, and writes what he asked for. He grins, very cutely, bids her good night and leaves, paper in hand. That young man might be very useful to us, Olivia tells Mr. Nakamura--how long will it take you to get what you went for? One hour, he tells her. Good, she says.

Julia looks over the painting in Collinwood's drawing room--it doesn't seem to be damaged, she says--but what was going on? I don't know, says Chris, but something was. Tomorrow, says Julia, we will check and see if Mr. Nakamura really did go to a photographer. I don't know about that, Chris says, reaching into his breast pocket, but I did get Olivia's autograph. He shows it to Julia, who immediately compares it to the sample of Amanda's handwriting--very similar, but are they the same? Who can answer that question? asks Chris. Professor Stokes, says Julia, an expert at handwriting analysis. Amanda Corey, says Chris, is certainly attractive. Men found Amanda Harris attractive, too, says Julia significantly.

Olivia's suite - 10:35 -  Mr. Nakamura returns. Olivia asks, did everything go as we planned--you secured the services of the best technician in Collinsport--his services and his silence? Yes, says Nakamura, who hands Olivia a large envelope containing, of all things, an x-ray. Did you see it? she asks. Yes, he says. What did you think? She asks.  There is definitely another painting underneath, he says. She holds it up the light and gazes at it, then says, "And part of it is a portrait.The question is, whose portrait?--we must find out, and we will."  He nods. You know what to do next? she asks. He nods again.  A small smile crinkles his mouth.

NOTES: Collinsport was as white bread as the high school I attended at the time, and I believe we have one black person and one Oriental person, and DS had about the same number--Mr. Nakamura and the black nurse who appeared in another storyline. It was odd to see Mr. Nakamura, but good, too, because at least we had a soupcon of something other than whites (yeah, two episodes in 1225). I don't fault DS for this, it is indicative of the times. When ONE LIFE TO LIVE featured an entire black family and one black woman posing for white, it caused quite a stir.  DS wasn't into this kind of controversy

Wonderful scenes between Paul and Liz. You did sense she was beginning to believe him during their argument, but that phone call broke the spell--and we're sure the Leviathans planned it that way.

I think we all know what Olivia is searching for--but why? Is she what she seems?

Julia is so good with Chris now, and he really needs her. He broke off his relationship with Carolyn and Barnabas has other interests, so it must be a huge relief to him that she's still willing to help him. His posing as Liz' chauffeur (what would she think of that?) was amusing, and founds Olivia attractive. He got her autograph so easily, but she wanted to soothe his ruffled feathers after the length of time she kept him waiting. Nakamura was having it x-rayed as well as photographed! Why?  Is she looking for Quentin's portrait underneath?

Not for nothing, but I think the Leviathan's should have chosen someone other than a kid David's age to be the keeper of the book--poor planning. An adult wouldn't have had to sneak from the house to go get the clothing at Brewsters. Why couldn't Megan go buy it?

Can't ask too many questions, can you? I missed Barnabas, but I always do.


904 - Oh, Barnabas does the intro! How I love that voice!

Antique Shop - Liz enters and finds only Carolyn, who greets her cheerfully. I want to see Megan, says Liz.  Carolyn informs her that the Todds have gone away for the day--so you will have to deal with the hired help--she giggles. Liz looks morose.  Carolyn asks, is something wrong?  Very, says Liz--I have a strong feeling--I don't want you coming here anymore.Carolyn looks perturbed.

I can't just make a request like that with no reason, protests Carolyn.  I have a strange feeling that whatever is wrong with David involves this shop, says Liz. What's wrong with David? asks Carolyn. Liz describes what happened the previous night, and about David lying about having come to the shop. Carolyn bursts out laughing--is that all? You're dismissing it too casually, says Liz. Megan told me about the incident before she left, says Carolyn. Tell me, says Liz. David did steal the missing book reveals Carolyn--he'd torn a page and got scared; last night he sneaked back in here and returned it. Then why did David lie? asks Liz. He's a small boy, says Carolyn, and figured that was the safest course to take--but Megan found the book this morning, so now everything's been explained (she hands the book to Liz, who begins perusing it). No, it hasn't, says Liz--when David came in, he was carrying a box from Brewster's; when I followed him, he was no where to be seen, but the box was plainly on the counter. Perhaps David carried the book in the box, suggests Carolyn. No, Megan said the box was hers, says Liz. It was a different box from Brewster's on the counter, suggests Carolyn. Isn't that a bit coincidental? asks Liz.  Carolyn chides her mother for getting as bad as David--you think there's something sinister in a box from Brewster's--hundreds of people buy things there every day--everyone has one! Liz doesn't look convinced, but she agrees with her daughter anyway, and abruptly leaves. Carolyn shakes her head--mothers!

The stranger with the watch and trench coat enters the shop. His back is to us, but Carolyn, smiling, looks at him as if he's a choice piece of eye candy. We can't see his face. He lays his hand on a clock.  Beaming, Carolyn asks, do you like it?--I do, it's one of my favorites.

David, in his room, studies the book and reads that the "enemies shall be overcome, one by one." Liz enters and gazes at him seriously--I've been making inquiries, she says, and I know more than I did last night, including the fact that he did steal that book from the shop, so don't deny it. He admits it, apologizes for the lie, and says, I took it back. Yes, Megan told Carolyn, says Liz, but I think she's lying, too--why?  I don't know, he says. There was something about the way you were reading just now, she says, the way you looked--what is that book?  Just a book, he says. She asks to have it, twice.  He hands it reluctantly into her arms.

What is this? Liz asks.  Just a book, he replies--I like the colors in it. Well enough to steal it? she asks. It isn't the book from the antique shop, he says, I found it somewhere in the house, but doesn't remember where. Remember your visit to Brewster's last night, suggests Liz--I checked at the store and learned you purchased a pair of pants and a shirt from a saleswoman I know. No, David insists, I wasn't there. The woman showed me the sales slip, says Liz--you were there!  I'm not denying it, says David--I was there, only in the afternoon--Miss Templeton just has the time mixed up, she always does that. You have an answer for everything, says Liz disapprovingly, taking the book with her--I will have to accept your explanation for now, until I show Mrs. THIS (the book). You can't take that, insists David. I already have, says Liz.  I know what's really wrong, accuses David--you're as bad as my father--you don't want Carolyn working in the shop, so you're taking it out on Megan and Philip (astute statement, David). No I'm not, says Liz, I will give them a chance to give me an explanation, and an explanation is due--in the meantime, you are not to leave the grounds until told you may, is that clear? Yes, he replies, pissed. I'm sorry things have to be this way, says Liz. Why do they? asks David, why can't we have any fun anymore? (When have they?) We will, promises Liz. She leaves.  David looks very upset.

Antique shop - Barnabas enters. It looks like a cat is sleeping on the desk. Carolyn reads from a book, "I did but see him passing by, and yet I love him, and I die." Barnabas is perplexed by her romantic recitation. I just met the most fascinating, fantastic man, she gushes, right here in the shop, two hours ago--we talked for 10, 15 minutes and is seemed as if we'd known each other all our lives. Unusual, says Barn, not looking at all pleased.That's not the word for it, says Carolyn, when you told me I would meet someone unexpectedly, and really learn what love was, I thought it a pleasant, but improbable prediction--you do remember telling me that, don't you? I do, he says, and meant it. Why are you surprised? she asks. I didn't expect it to happen so quickly, he says.  But something real and tangible did happen when that bell tinkled and I looked up into the face of a man I'd never seen before, she says. "You mean he was as taken with you as you were with him?" asks Barn. I don't know, she says, but he was interested enough to ask if he could come back this evening. When? asks Barnabas. Ten tonight, answers Carolyn. I hope the young man doesn't disappoint you on his second visit, says Barnabas. Eyes dreamy, face alight with a smile, Carolyn agrees: I hope not.

David's in the drawing room, tossing coins into what looks like an empty cup. Barnabas comes in--how is the game is going? he asks.  Aunt Liz is all hung up (remember that expression, hang-up?) on the idea that I stole the book, complains David, even though Megan told her I returned it--she doesn't believe it. What she does believe? Asks Barnabas.  David explains--she thinks the book she saw in my room is the one from the antique shop. What does she intend to do with it? Barn asks.  Take it to Mrs.Todd, and ask a whole bunch of questions, says David--she thinks I'm a liar, and Mrs. Todd is, too.  Your Aunt Liz has a way of taking things very seriously, says Barnabas. She has a way of making trouble, amends David. I don't like to see you this unhappy, says Barnabas--we will go for a walk--you can tell me all your troubles--would you like that? Yes, says David, meeting Barnabas' intense gaze.  Barnabas puts his arm around David's shoulders and leads him out.

Collinwood drawing room - Barnabas enters and finds Liz studying the book. I find this very puzzling, she says--I'm glad for the interruption--David took it from the shop, I don't understand why. A scholar of lost and ancient language might find this interesting, but David's hardly that, remarks Barnabas. I'm sure he can't read one word of it, says Liz, but it's making him tell me one lie after another (David was pretty much always a liar, especially in the early days, and a murderer attemptee, too). Barn asks, what language is it?  I have no idea, says Liz, but there are repetitions of certain symbols, refrains, throughout. What do you suppose that means? he asks. It's the sort of thing one could find in a religious book, says Liz--I swear this is some sort of devotional book. Your talent for detection is impressive, praises Barnabas.  I'm trying to find out why David is attracted to it, and will, says Liz firmly. It's very curious, agrees Barnabas, but there's one thing about this book--it's valuable--may I return it to the antique shop?  Thank you, says Liz--would you like some brandy or sherry before you go? He refuses the drink, but she asks, keep me company while I have a sherry? Does the sherry really relax you? he asks. (thinking about Naomi, perhaps?)  I keep hoping it will, sighs Liz, and sometimes it does, for a time, anyway. Why don't she try relaxing without the sherry, he asks--I have a suggestion. He takes the sherry and puts it on the sideboard, then tells her, do exactly as I say--when I leave, go upstairs and lie down--think of all that is troubling you, and one by one, force them from your mind, so it's clear and empty as you can make it--think pleasant thoughts, relax, and you will be surprised at how good a sleep you will have--think of yourself only. I'll do as you suggest, she promises.  Pleasant dreams, he wishes her.  She leaves.  Barnabas, pleased, takes the book into his arms, hugging it to his chest. He gazes upstairs, thinking to himself, "and the enemy shall be overcome, one by one..." He grins, clasping the book.

Liz, asleep in bed, dreams that she is at a carnival. David, laughing, says, step this way into the fun house, come on! Everything seems to be reflected through a prism or kaleidoscope. Why did you bring me here? Liz asks him.  To have fun like everyone else, David says, laughing.  We see a batch of laughing, creepy-looking dolls. Did you and my father ever came to places like this when you were young? asks David. I don't remember, she replies, looking sad, her face reflected in kaleidoscope. You should remember, he says.  I can't, insists Liz.  Well, that isn't important, he says, but that you're here, now. A doll turns its head, laughing; discordant carnival music fills the air.   What am I supposed to do here? she asks. Look at yourself in the mirrors, advises, and laughs. Will they show me all the people I could have been? Asks Liz.  No, he says, they'll show you all the people you really are! No, says Liz, I don't want to look at them. You have to, he says, that's why I brought you here--relax, you don't relax enough, laugh enough--and he laughs. We see the doll. Go on and look, he urges.  She does, staring into the fun house mirror (where we also see the reflection of an ABC camera). David laughs in the background.  Liz stares at herself, then screams. The dolls turn and stare.  Don't you have anything better to do than watch me? asks Liz, irritated. They're only doing what they're supposed to, he says--look at the next one, Aunt Liz, it will make you laugh. She gazes into another mirror.  I don't like this one, either, she says. David laughs and says, I know something you will like.  Wearing a coat with padding under it, making him look fat, he recites:  Fat and Skinny had a race, all around the steeplechase, Fat fell down and broke his face, Skinny said I won the race."David bursts out laughing.  Liz smiles. You're beginning to smile, praises David, leaning how to laugh.  We see everything dissolving in kaleidoscope colors again. Liz asks him, are there anymore mirrors?  Just one, he says. Liz looks, but says, I don't see anything. Keep looking, he says. There's nothing there, she says.  Barnabas appears. She cries out--is it a trick or is he really there? She asks.  What do you think? poses David.  I don't know, says Liz, but I like it--yes, I like it! She begins to laugh, as does David, and Barnabas, and all the scary carnival dolls.

Liz awakens from her dream and sits up in bed, her face filled with fear, and she's not laughing.

Carolyn finishes up her day in the antique shop. The man checks his watch, looking in the window at her, but her back us turned. A car comes barreling along, crashing into the man, knocking him down.  He falls unconscious. Carolyn runs from the shop. Oh, no! she cries, kneeling beside him. Barnabas hurries over. "The man walked in front of me, I had no warning!" he cries--"I couldn't see him until it was too late!" (On the sidewalk? He had to have been aiming for him!) Carolyn covers her face.  In a sick voice, she says, "See if he's still alive."  She wipes a tear from her eye. Barnabas kneels and turns him over (isn't that very bad, medically speaking?). "Oh my God!" wails--"Barnabas, that was the man who was coming to meet me!" He looks at her, eyes wide, then turns his attention back to the unconscious man he just ran down.

NOTES: Ending credits show us words superimposed over those creepy carnival dolls, and I knew before seeing it that this was another Violet Welles creation. No one does dreams like Violet. This is one of my favorite dreams on DS, with the seemingly acid-induced reflections splintered amidst color, carnival music and endless, unendurable laughter. Creepy!!

Of course, Barnabas is upset at this new man who has come into Carolyn's life, smitten her quickly with attraction, since he has his own plans for her love life--so does he run him down on purpose? That seems so awful, and makes us realize how deeply buried the "good" Barnabas must be. Who taught him to drive, anyway? Read LEAPFROG WITH A UNICORN, a wonderful, hilarious book about Barnabas' dealings with the 20th century, and find out one hysterically funny, plausible theory.

Love, Robin

899 - It's 9:30 - Carolyn reads the message from her father, which says it's important that I hear from you--I can't lose a daughter I've just found (Carolyn smiles), I must see you, tonight--call me, please.

Paul, using the sink located conveniently in the middle of his hotel room, tries in vain to remove the tattoo. The phone rings.  When he picks it up, he's relieved it's Carolyn, who apologizes--David forgot to give me the note. Can you come down now? he asks--I might have to go out of town. No, she says.  Please, he begs--have you spoken to your mother?--I MUST see you. Carolyn is interrupted by Liz, who says, we have to go. Carolyn whispers to Paul, I have to go; I'll try to see you later. When Liz asks who's on the phone, Carolyn lies--Megan, she says. Move along, urges Liz, Mrs. Twining won't start the committee meeting without us (so very domestic).  I can't go, says Carolyn, there was something I was supposed to do--for Megan. We've known about this meeting for weeks, Liz reminds her--what about the hospital? Carolyn insists the hospital can take care of itself--I've got something to do.  She leaves immediately. Liz, puzzled, lifts the phone from its cradle.

Paul is ecstatic when Carolyn arrives at his hotel room. He apologizes for messing up her plans.  I wanted to come, she assures him. To see your new/old father, eh? he asks. She chuckles and says yes. He tucks his tattooed hand in his pocket--I was lonely, he explains, I like people, action; I suppose that's why I left this town in the first place.  I've been wondering about that, she says. I was wondering, too, if I'd been right, he says. Paul starts to take out a cigarette and lighter, but, spotting the tattoo, he immediately shoves his hands in his pockets. What's wrong with your hand? she asks.  I've just been trying to cut down on my smoking, he says. What's wrong, she asks, I'm not clairvoyant, but I know something is. I can't fool you, he realizes. She asks, why did you say you were leaving town?  I must get out of this room, he says, back to Collinwood--I remember how peaceful it was there, how the sunshine came through the windows of the breakfast room--a man misses family, even if they don't want him around--I feel he'll be all right if I could just return to Collinwood--maybe I am and always have been a man who needs help, but now it's worse--I know it will sound crazy, as it does to me, and you won't believe it, but someone is trying to do something to me--I don't know who, or what they're trying to do--I've thought over all my sins, and there were many, but I don't have enemies like this who are making me do the things I've been doing. Tell me exactly what's been happening, orders Carolyn, sounding spunky again--if getting him back to Collinwood solve it, I will take you back there with me, tonight. You'd do that? asks Paul.  She nods. Maybe you'd be making a big mistake, he suggests.  No, says Carolyn.  I want to say something to you, he says, the biggest truth of my life--"I love you very much." Her eyes close for a moment, as if savoring the words, then she runs into her father's arms, a huge smile on her face. When I think of all the years I didn't even know I had a daughter (? Yes he did, Carolyn was two when he left), I thought about you now and again, but after a while, couldn't picture you growing up...I thought I'd forgotten, and am so glad I found you. We will make everything all right, she promises. Someone tries the door, enters the room--Liz. "Paul!" she says, stunned.

Liz, infuriated, coldly asks Carolyn, WHAT will you make all right?  Paul walks forward and calls Liz "Mrs. Paul Stoddard." Elizabeth Collins Stoddard, she corrects him, then walks past him and tells Carolyn, leave us alone. No, answers Carolyn. I can think of no argument that will convince me to let you stay, insists Liz. Carolyn refuses to go--I want the three of us...  Paul tells Carolyn, Liz and I should speak alone--we were able to deal with one another very well, once.  Carolyn agrees, upsetting Liz that she's listening to her father and not her mother.  I didn't want you to find out this way, says Carolyn, but I didn't know you would follow me here--you used to trust me more. Carolyn storms out, sans her coat. Liz looks after her, unhappy. Paul bows and says, you're still beautiful, Liz. I doubt that, she says, but I can see YOU'RE still the same, sneaking back into town, forcing yourself on Carolyn behind my back, convincing her there's something between you. There is, says Paul simply. When I asked her to leave the room, she refused, says Liz bitterly, when you did, she listened--oh how well I remember your charm, how it used to move me, just as it does Carolyn now, but I'm aware of how false it is, and it doesn't affect me anymore. Paul holds up a staying hand--let's discuss this calmly, he urges--I didn't come back just because of Carolyn. I don't care why, says Liz. Don't say that, says Paul, I came back because of you, too, and I have changed, I'm not the same man forced to leave here years ago--and I WAS forced to leave. I am sure you were forced to come back, too, says Liz, whether or not you admit it. You think I'm s after your money? He asks.  That would come as no shock, she retorts. My reasons will shock you, predicts Paul--you're right--I was forced to return to Collinsport, by you, my memory of you.  Outrageous! she scoffs. Is it so outrageous for a man to want to start his life again? asks Paul--I've done very well for 20 years, I'm respected, and learned my responsibilities. Do you expect me to believe that? she asks.  Carolyn does, Paul assures her, so you must.  Blackmail again, says Liz, emotional instead of financial--you haven't changed a bit, you're still the same sly, dishonest man...  Paul insists, I never loved any other woman. You never loved anyone, says Liz--what do you want from me now? Nothing, he says. Good, she responds, because that's exactly what you're going to get, from me or any Collins. If you still call yourself a Collins; why did you keep my name? He asks. For Carolyn, she says. I'm glad you admit that, he says, because if Carolyn has MY name, she is partly mine. Did you think of that when she was a child? demands Liz--when she was growing up? No, and it was a terrible mistake, he says. You're always willing to admit to your mistakes, she says, then make them all over again--I have made a new life for myself!  You've simply returned to being a Collins! Shouts Paul--a lifetime occupation for you. There was a time you weren't ashamed of the Collins,' she cries, or did you want to be connected with them so you could steal? What did you expect? He asks--I never got love from any of you. You must give love to get it, says Liz. Carolyn loves me, I know that, he says--so I can love!  Carolyn made a mistake, says Liz--get out of town, Paul, I mean it. Where shall I go? he asks, where can I find anything--answer me, where can I find anything? Go back to that successful life you were boasting about, she suggests.It's true, he says, but lately, things haven't been going so well--it could happen in any man's life and will straighten itself out. I don't care if it does or not, says Liz, but if you stay in Collinsport, I will make sure it's a visit you won't forget. "You...you've been doing it," he accuses--"Somehow you've been making these things happen to me."  Calming down, he adds it couldn't be you, you didn't even know I was here until tonight--I'm sorry--someone is after me.  I don't doubt it, says Liz sarcastically. Not someone, someTHING, he says, I don't know what. So that's how you did it, cries Liz--got Carolyn, made her feel sorry for you, told her a lie, that you were in trouble, to make her feel sorry for you. I am in trouble, says Paul, please believe me. I haven't believed you in 20 years, she says--there's a train leaving at 11 o'clock, and if you aren't on it, she threatens, I will make a few phone calls to my lawyer and a private detective, because I know whatever it's been, it hasn't been honest--I imagine that the manager at the inn will find you an unwelcome guest--"Get out of town, Paul, it will be much easier," she says, and leaves.

Blue Whale - We see a sailor's face, dirty, reflected through Paul's brandy glass. Just one more train I didn't take, is all, Paul muses, taking a big swig--why didn't I leave, give up before it happens? Stop believing anything will happen, he tells himself--payment due, tonight. The music abruptly stops.  The sailor sitting beside him at the bar looks away. Paul wonders, is he one of them? Why does he keep looking at me? But then, of WHO? The man looks uneasily at Paul, who asks, what do you want from me?  I was going to offer to buy you a drink, says the sailor.  I can buy my own drinks, says Paul nastily. OK, buddy, sorry, says the sailor, who sips his beer, looking uncomfortably at Paul. He could be one of them, says Paul, I've got to find out! The sailor rises from his seat--you've got it bad, says the sailor, I want to talk, but won't. I owe you an apology, says Paul--my name is Stoddard.  He shows off his snake tattoo and asks the man, do you know what it is?  I've seen it before, in the East, says the nervous sailor--I shipped out on the Orient Prince. Do you know what it means? demands Paul, grabbing the man's lapels. You can get any tattoo you want! cries the sailor, struggling to get away. Tell me! screams Paul.  It's a creature without a soul, reveals the sailor, and has to find one to be real. Paul stares at him, sits down at the bar, looking like he's about to throw up. The sailor asks, are you all right?  I got THIS, says Paul (he points to the tattoo with a shaking hand) following you, now this, but connected with this. You're in trouble, says the sailor.  Don't tell me that! orders Paul--are you one of them?  No, just a sailor, says the man, I came in to waste some time. Paul apologizes--I don't know what I'm fighting or how to make it stop.Don't you? asks the man--I was once on a ship out of Manila, haunted. Tell me what to do, begs Paul, please!  OK, the man says, I'll try.

Carolyn comes out of the kitchen and starts in when Liz returns home--were you brilliant, Mother, cold as only you can be, did you listen to him at all, Mother?   I listened, Liz insists.  Why didn't you bring him back here? demands Carolyn--that was what he wanted!  You don't know your father, says Liz, I do. I KNOW him, says Carolyn, you KNEW him, that's the difference. You're being very difficult, says Liz--I was always grateful you never had to see your father while you were growing up. Well I wasn't! cries Carolyn. He was a very complex man, says Liz, not to be trusted. I do trust him, insists Carolyn. I order you not to see him again, says Liz.  Carolyn won't hear of it.You must not, says Liz says--I forbid it. "He is my father," says Carolyn, as if that explains all.

In his hotel room, Paul has drawn a pentagram on the carpeting.  He sets down five candles, one on each point. TONIGHT! says a disembodied voice.  Paul asks--who's there? Is someone in this room? TONIGHT, PAYMENT DUE, TONIGHT! says the voice, and laughs. Oh, no, says Paul, you won't get me. WE WILL, TONIGHT! the voice tells him. Paul finishes lighting the candles as the voice repeats TONIGHT! He sits in a chair in the center, and we catch a glimpse of Mike R. Phone. I'm safe here, says Paul. Hearing a slow knocking at the door, Paul's eyes widen. Someone tries the doorknob; Paul screams as it begins to open. Who is it?

NOTES: Chris is a Collins! Who'd have thunk that he was Quentin's great grandson? Why did he try to kill him before the 1897 trip? This was an unexpected turn of events when I first saw this show.

Poor Paul! He already seems a mite loony, and he's surely created friction between Carolyn and her mother. You can understand Carolyn's desire to have her father in her life, but Liz does know him better, so this is one of those difficult situations.

Paul and the sailor, what a creepy scene. The sailor was creepy, Paul's behavior was creepy. Brrr.

How easily Megan and Philip returned to being lovey-dovey after he almost choked her to death! I wish their true selves would overpower their Leviathan controlled selves, and they'd dump that Joseph in the nearest trash can!

There will be another scene at the Blue Whale shortly, wherein Paul's drinking companion will scare the crap out of us! I have never forgotten it after over 30 years!


900 - Paul sits in the pentagram, candles at every point, assuring himself, I'm safe here--safe! He hears a slow, creepy knock at the door, gulps, then screams, as the door swings open...

It's only Carolyn, who walks in to find her father terrified, begging her, go away, stay out of it. He doesn't know what--I thought you were THEM, that they'd come for me. Let me take you back to Collinwood, urges Carolyn. No! he shouts. You can't just sit here in this...she lifts and looks at the pentagram around her neck, realizing she's wearing the same sign--Barnabas gave it to me. He asks who Barnabas is.  The first time I saw you, she explains, you were outside Barnabas' house--Barnabas was still away then.I don't know why I was at the Old House, he says, but you must leave--I have to stay where I am.  Carolyn removes the pentagram from her own throat and puts it around her father's--if it will protect me, it will do the same for you, she says and you must believe it. He leaves the circle, and says, I don't hear the voice that kept saying TONIGHT. I know a doctor who can help you, says Carolyn.  Frantically, eh says, I don't want you to bring anyone here--she might be ONE OF THEM! Carolyn asks, do you trust me?  You're the only one I do trust, he says, and puts an arm around her. He fingers the necklace and says whatever it is, it seems to be working--your father is beginning to feel like a new man.  They smile at each other.

Old House - Barnabas, looking rather gaunt, stands by the mantle.  Julia, annoyed, accuses, you aren't listening to me--if Olivia is connected with Amanda, it's obvious she's come for Quentin's portrait. She won't find it, will she? demands Barnabas impatiently, nastily. I'm sure Olivia is acting for him, says Julia--Quentin is still alive.  Barnabas calls her "a bad detective" (ouch!)--you're wasting your time as well as mine. I contacted Jamison and asked for Quentin, says Julia--he told me Quentin's spirit is gone--that can only mean Quentin is alive!  You sound like a hysterical woman novelist, says Barnabas--it doesn't matter whether Quentin is alive or dead, or if Amanda is here, I'm simply not interested in them. What ARE you interested in? demands Julia--and don't tell me nothing, because I won't believe it--I know you must care about something, but WHAT, Barnabas, what? Carolyn runs in.  Barnabas is immediately concerned. I must speak with you, Julia, says Carolyn.  Barnabas asks, exactly what is wrong? sounding anxious.Julia, tight lipped, says, you just gave me a clue as to what you DO care about. Barnabas looks at her.   "See how bad a detective I am," she retorts.  Barnabas tells Carolyn, "I'll leave you alone."  She rushes to Julia. Help me, she begs, it's my father. This stuns Julia. "Your father?" she asks.

Inn - Paul's phone rings. He picks it up, and hears: THE TIME IS AT HAND, MR. STODDARD. Paul demands to know who this is. YOU KNOW, MR. STODDARD, replies the voice, but Paul says, I don't--who are you, who? THINK, says the voice, YOU GOT OUR NOTIFICATION, PAYMENT DUE, DIDN'T YOU? Paul asks again who it is, but the connection is broken. He says hello a few times, then leaves the phone off the hook--but it rings again anyway. Terrified, Paul runs from the room as the phone relentlessly rings.

Carolyn returns to the room to find Paul gone. She picks up the phone and calls the desk. She tells them who she is--did Mr. Prescott leave me any messages?  The answer is no, which upsets Carolyn.

Collinwood - Julia answers the door to a frenzied Paul. She says his name.  He demands Carolyn. No, she went to you, explains Julia--I was just getting my bag, I'm a doctor, and going to join Carolyn--I met you before, at the Old House--do you want to wait for Carolyn?  How long ago did she leave? cries Paul. About half an hour ago, says Julia, you just missed each other. Something's happened to her! declares Paul. No, she assures him, nothing has--you look as if you need attention, I can help you. You may be one of them, he says.  I'm not, she assures him--let me help you.  Paul pulls away, showing her the pentagram--I have all the help I need, right here, he says. He finds the pentagram is gone--"Oh, my God, it's gone, how did they get it, I stopped no where, saw no one!"--what can I do now, why can't I think straight, what will I do now? The phone rings.  Gazing at him with concern, Julia answers it. It's for you, she says, handing him the phone. Carolyn, he says, smiling, but when he takes the phone, he hears the voice--WE ARE WATCHING YOU, MR. STODDARD, AND WE ARE WAITING... How did you find me? screams Paul. YOUR PAYMENT IS DUE NOW, MR. STODDARD, YOU MUST REALIZE THAT! "WHAT payment?" shouts Paul--"WHAT? Hearing breathing, he hangs up the phone. They know where I am, he bleats.  You should call the police if someone is after you, advises Julia. He closes his eyes and begins to cry. "The police," he says. The phone rings.  He orders, don't answer it.  I must, says Julia.  Don't answer it, he yells, and runs from the house. The phone rings on.

At Paul's hotel suite, the phone is ringing when he gets home. He picks it up and says to the caller, there's no use calling me--I don't know what you want, I don't owe anything to anybody--now stop! YOU CAME BACK TO PAY, YOU KNOW THAT, DON'T YOU, WE'RE WAITING, MR. STODDARD, says the voice.  Paul miserably closes his eyes. Hearing more breathing, Paul puts down the phone, which immediately rings again. He returns to his pentagram, the phone stops, and he decides they won't come here, they're waiting--I'll be all right if I stay. The phone begins to ring again. He looks at it and says, it's not going to stop ringing!!!  Agitated, he finally gets up and leaves the room--and the ringing phone.

Collinwood - Carolyn is trying to reach her father. I let it ring forever, she tells Julia, who suggests, perhaps he didn't go back to the hotel. Where could he have gone? wonders Carolyn. Julia apologizes for letting him leave here--but I couldn't stop him, he just ran out. I've got to find him, says Carolyn. I don't think Paul wants help, opines Julia. But he needs it so, says Carolyn, beginning to cry.

Paul nearly falls into the Blue Whale. He rubs his forehead, then sees the Naga tattoo is gone--why? Maybe I'll be safe here...then he looks at the bar's only other occupant--Barnabas, who eyes him coldly. Paul stares back. Barnabas smiles, then moves his forefinger to Paul in a  "come here" gesture.

Paul doesn't want to go, but Barnabas keeps beckoning him.  Paul finally goes over to him. I've been expecting you--Mr. Stoddard. You're one of them, accuses Paul, and turns to go.  Don't, warns Barnabas--we have much to discuss. Would you care for a drink, or do you prefer to keep your mind clear?--that would be better, Barnabas decides--"I'm Barnabas Collins."  Paul looks at him--I don't know you--what do you want from me?  Only what is due, answers Barnabas. Paul screams, I don't owe you anything!  Sit down, Barnabas orders, staring into his eyes. Paul does. So, you owe us nothing, says Barnabas--do you remember the night you left Collinsport? You mean 20 years ago? asks Paul. Yes, I should think you'd remember, says Barnabas, such an important night in your life--what did you do that night?  I don't remember, says Paul. Think, advises Barnabas, because if you do, everything will become quite clear. I'd just had it up here, says Paul--turning into stone like the rest of the Collinses, and I got out. Think more carefully, says Barnabas, begin in the afternoon. Things were going on as usual, says Paul--Roger was pouting, the baby was crying...  Yes, she did cry a lot, didn't she? asks Barnabas, because you paid no attention to her.  How did you know that? asks Paul. Oh, I heard, says Barnabas. I don't know how she turned out such a nice person, says Paul, Jason and I were having a few drinks, sitting around, shooting the breeze. The truth, says Barn. Jason knew how unhappy I was, relates Paul, living up there in that big house, and we talked about all the money there, and how I was unable to get any of it. And after that little talk? asks Barnabas. I got out of there, says Paul, and came to the Blue Whale to think things over. How to get the money? asks Barnabas. What's wrong with that? asks Paul . Nothing, Barn replies--were you alone at the bar? Yes, says Paul. Are you sure? asks Barnabas. Of course, says Paul. You stood at the bar and had a drink by yourself? asks Barn.  Yes, says Paul. You didn't meet anyone there--a man? prompts Barnabas.  Wait, says Paul, there was a man there, standing at the bar, funny sort of a guy--all of a sudden, he began to sing.

We retreat to 1949.  A man in a striped suit, holding a drink, begins to sing "For He's A Jolly good Fellow." He takes a sip of his drink and turns to Paul, who, with his dark hair and mustache, looks much like Jason McGuire. You aren't a very jolly fellow, says the singing man. Paul agrees with this assessment. The man introduces himself as Strack and shakes Paul's hand. I like to make friends wherever I go, says Strack. Paul introduces himself as Stoddard and says, you're in the wrong town for that. I knew you weren't from around here! says Strack. I know every face in this town by heart, says Paul. I'm a traveler, says Strack.  I'd like to be one of those right now, sighs Paul. Do you have problems? Queries Strack. Yes, you might say that, says Paul. Solve them, urges Strack. Tell me how, asks Paul.  The advice of strangers is often best, says Strack, but I don't think you're as unhappy as you say you are.  Taking bets on that? asks Paul.  I'm an inveterate gambler, says Strack, and will bet on anything. They chuckle together. So am I, says Paul, but I always lose--"I'd give anything to change my luck." Anything? Asks Strack, with a big smile. You said it, says Paul. We're drinking and getting philosophical, says Strack, putting an arm around Paul--but I don't think you'd do anything. Yes I would, says Paul.  All right, says Strack, let's assume I have the power to give you whatever you want--what would you take? Money, success, no limits, says Paul. There has to be some limits to this game, says Strack.  Everything I can collect in 20 years, suggests Paul. What do I get in return? asks Strack. The object of this game is to outwit my opponent? Asks Paul. Yes, says Strack, outwit the buyer if you can. Paul says, in return, I will give you anything I have of value, even my most precious possession, collectible in 20 years. Done, says Strack, let's shake hands on it and have another drink. Sure, says Paul.  Strack offers to buy him a drink. I'll buy, says Paul, because, my friend, you just lost. How do you figure? asks Strack. Well, says Paul, I said you can have anything I've got, of value, and my friend, not what I may have in the future, because right now, I have nothing. You're pretty clever, says Strack.  Too bad it's only a game, remarks Paul. The man grins-- especially when you outsmarted me so beautifully, says Strack, and begins to laugh uproariously.
We fade back to 1969.  Barnabas is the one laughing (and how often do we see that)? How curious, says Barnabas, to forget that night. It was a drunken conversation says Paul. Barnabas asks him the date. December 4, 1949, says Paul.  Twenty years ago to the minute, says Barnabas--how have things gone for you over 20 years? Very well, says Paul--oil, stock market. We upheld our end of the bargain, says Barnabas, but lately? Not so good, admits Paul. Yes, we know, you lost everything, says Barnabas--we planned it that way so you'd be here for the meeting tonight. What do you want of me? demands Paul--I have nothing now, had nothing then. You did have something, says Barnabas, except you never realized it. Paul laughs.  Barnabas joins him. What are you laughing at? asks Barnabas. I just realized what my most precious possession is, chortles Paul--my soul--and you can have it!--take it!!!  Barnabas continues to laugh, then says, your soul isn't your precious possession--obviously. Carolyn runs in and, relieved, throws her arms around Paul--I'm so you and Barnabas found each other. Paul hugs her back--everything will be all right, he assures her. "Indeed it is," Barnabas tells Carolyn, "now that you're here--you're your father's most precious possession, you know." It hits Paul, precisely what Barnabas means, and horror fills his face.

NOTES: This portion of this storyline is SO good. The scene between Paul and Strack, and Paul and Barnabas, is so mesmerizing, with fabulous performances all around. Barnabas smiling is a rarity, and laughing even more so. He's probably one of the most morose soap opera character ever.  Here, with all this smiling and laughing, he's like a clown out of a Stephen King novel, and twice as terrifying. He made goosebumps dance up and down my spine.

Love, Robin

894/895 - Collinwood - David carries the damaged Naga book upstairs. Philip and Megan search the shop, to no avail, and agree that they serve "him", and whoever has taken the book will be tracked down--and killed!

Philip and Megan speculate on who took the book, and for what purpose. Megan senses the baby calling her, and Philip urges her to go check on him. After she leaves, he lifts up the Leviathan box. Megan screams for Philip, then dashes downstairs with the baby (aka Blanket Boy). Feel his head, he's warm, she says, frantic--I don't know when it started, but he was fine this afternoon--who can tell us what to do for him--a doctor? No, insists Philip, we must find the book!

Collinwood - David has placed the book into a big box. He brings it into the drawing room and closes and locks the door behind him. He's dressed in a suit, odd attire for a kid his age. He takes the book from the box and opens it. Carolyn comes out of the kitchen area and tries to open the door, but finds it locked. She's distracted by the ringing phone. It's Megan--sorry to bother you at home, she says, but something terrible has happened--did you happen to see a very old book? Philip is holding the baby. Not in English? questions Carolyn. Yes, that's it, says Megan--it's gone, and you were in the shop all afternoon--can you remember who else was here? Carolyn, biting her lip, asks, was the book valuable?  The nearly-hysterical Megan says yes, very! You'd have to be an expert in something to know it was valuable, muses Carolyn, not just anyone would pick it up. CAROLYN, WE'VE GOT TO FIND THAT BOOK! cries Megan. Don't get upset, says Carolyn, give me a chance to ask around about it. Calming herself with difficulty, Megan says it's not just the book, but the baby--he isn't feeling well. What did the doctor say? asks Carolyn.  I haven't called him, answers Megan.  Hang up and do so, right now, orders Carolyn--let me worry about the book--I might be able to get my hands on it very soon. Carolyn hangs up and gazes at the locked door, then says. "David! I know you're in there, and if you don't unlock this door, you're going to be in a great deal of trouble!" He lets her in.  Why was it locked? demands Carolyn. It wasn't, says David.  I heard you unlocking it, insists Carolyn. No, he says, I was just jiggling it, sometimes it gets stuck and seems like it's locked. I have some questions for you, says his cousin--this afternoon, when you and Amy were in the antique shop, did you take anything? Acting wounded, David asks, do you think I'd steal?  Forget "steal," says Carolyn, but a very valuable book is missing.Why do you think I took it, he asks--there were lots of other people in the store! I didn't say you took it, says Carolyn, I'm just asking--there's something about your behavior I doesn't like; you're hiding something. David denies it. Barnabas enters the room--what's wrong? he asks.  David's lying to me, claims Carolyn. David denies it again. Carolyn stands by the fireplace and turns around to catch David looking guilty, as if he's hiding something behind the drape. She pushes him aside and finds the box.  That's Amy's picture puzzle, he claims.  Amy's been looking for it since this morning, says Carolyn. I snitched it, admits David, because Amy is a pest. (nice!)  Carolyn takes the box and sets it on the table.  I'll never understand boys that age, sighs Carolyn. Barnabas lifts off the cover and remarks, it's going to be a difficult puzzle to put together. (There are puzzle pieces inside.)  I don't know why Amy wants it, says David, considering hardly any pieces are left. I see that, says Barnabas.  Carolyn asks David, is this why you were so evasive when I was asking you questions? Barnabas listens carefully as he pours a drink. David admits--I was afraid you'd be angry with him. Do you know anything about the book? she asks.  I didn't, says David who petulantly adds--some old book, not even in English, is missing from some dumb antique store, that doesn't mean I took it--why should I, it wasn't even in English! This catches Barnabas' attention. He has just taken a sip of his drink and tunes his ear to the conversation, concerned.  I know you're lying, accuses Carolyn sternly.  Barnabas swivels around to look at David, too.

I never said that book wasn't in English, says Carolyn.  And I never said I didn't look at it in the shop, retorts David--I didn't take it, honest!  I suppose maybe you didn't, says Carolyn--Megan was so upset when she found it gone, she says it's very valuable, and I promised to get it back for  her. David looked very pleased to have gotten away with his lie.  Barnabas asks, who else was in the shop this afternoon? Carolyn thinks--four or five people who bought things--Amy, Julia, Barbara Pope, and Fred Dawson, and people who looked at lamps, but none who would have reason to take the book. "What about Mr. Prescott?" demands David.  Who's he? asks Barn. Forget him, says Carolyn, because he didn't take the book. "You're just saying that because you think he's so wonderful!" accuses David. "David!" cries Carolyn. "Now I am curious, says Barnabas, turning to her, who is Mr. Prescott? Her new boyfriend, that's who, tattles David, getting right in his cousin's face. It's very dangerous to talk of things you don't understand, warns Carolyn--you can get into trouble that way, and you're in trouble enough. Just because I took Amy's puzzle? asks David--she takes things from me all the time!  I hope that's all the trouble you're in, says Carolyn.  Barnabas, says David plaintively--tell Carolyn to stop picking on me--just because her friends lose a silly old book, they act like it's the end of the world!

Megan arranges a blanket on the baby. Barnabas enters the shop--I happened to be passing by, he says. This is Joseph, says Megan, my sister's baby, we were supposed to look after him a while, but we haven't been doing too well--he started running a fever a while ago, feels like he's on fire (perhaps he has some Phoenix in him?). That's not unusual, says Barnabas, children often get high, sudden fevers. I don't know, frets Megan--ask me about antiques, not babies. You need to find someone to help you look after a child properly, wouldn't you say? says Barnabas.  Philip comes downstairs with a cold cloth--perhaps this will help to bring his fever down, he says. He's a beautiful baby, Barnabas tells Philip. And a very sick one, I'm afraid, says Philip--if we could only find a way to help him. Find out why he's sick, advises Barnabas--perhaps you must find out what is happening. Philip and Megan exchange glances. Barnabas tells Philip, I have decided to sell you the Hitchcock chair--you can come with me RIGHT NOW to pick it up. If it were any other time, I'd be at your door before you could change your mind, says Philip, but I can't go tonight. Yes you can go, insists Barn, and you will. Puzzled, Megan says, you can't expect Philip to leave on a night like this. I expect you to do what must be done, exactly as it must be done, says Barnabas firmly--you speak of time, my children, there is only one time for us--the time of the Leviathan people.Megan and Philip listen raptly.  The latter repeats the last words Barnabas said. "And that time is now," says Barnabas.  I'll be back as soon as I can, Philip tells his wife, Hitchcock chair in hand. Seeming more like herself, Megan says, "One more dream come true." Shall we go? Philip asks Barnabas. Megan tends to the baby as the door bell chimes behind the departing Barnabas and Philip.

Once again, David closes the drawing room doors. He's about to open a cabinet in the desk when Liz enters and asks, what are you doing?  Looking for paper, he says, I want to draw something. Carolyn told me something about you, reports Liz. I know, says David angrily, she says I stole that book. No, only that you didn't tell everything you knew, corrects Liz, and if you think very hard, you might remember something else. David says, I DO remember something now--last night, I was in the foyer and saw Carolyn outside kissing a man. That has nothing to do with what they are discussing, says Liz. Yes, it does, insists David, because that man came into the store, and she acted like she hardly knew him. Perhaps you only thought it was the same man, says Liz.No, says David, because the man was tall, and had all-gray hair, much older than Carolyn's other boyfriends--and she seemed to like him very much. (tattletale!)  Carolyn enters at this moment--Maggie's re-doing the cottage, she says, and we seem to have a whole boxful of curtains in the attic. Tell her to take whatever she wants, instructs Liz,--wait, Carolyn...David, it's time for you to go to bed.  David smirks at Carolyn, pleased with himself for having switched his aunt's gears, as he exits the drawing room. Carolyn knows something is up--did you learn anything from David? she asks. Yes, I did, says Liz--who's the man? What man? asks Carolyn.  The one who brought you home, came to see you in the antique shop, says Liz. No, one, says Carolyn--I'd like to go tell Maggie she can have the curtains. I very seldom interfere in your life, says Liz but is this man right for you?--from David's description, it doesn't sound like you two have much in common. You're wrong, answers Carolyn, smiling, we have a great deal in common.  (just a few genes)

Philip carries the Hitchcock chair (not terribly impressive, IMHO) downstairs at the Old House.  It's a very beautiful chair, he tells Barnabas, something I've always wanted. Now you have it--but for how long? asks Barnabas. Philip doesn't understand. Sometimes, says Barnabas, we have things we don't take very good care of, and we lose them...much to our everlasting regret--has that ever happened to you? Yes, of course, replies Philip. I'm sure you're anxious to get back to Megan and the baby, says Barnabas, but you oughtn't to go until you take something more to them than you are taking now--before you go back, there's something else I want you to see. Philip doesn't look terribly comfortable to hear this.

Leviathan altar in the woods - Barnabas and Philip stand there. I wonder why I've never seen it before? Wonders Philip.  No one can who isn't one of us, explains Barn (how did Carolyn see it?) It exists only for us and our people--it's our sacred altar, and where we will perform the ceremonies and make the sacrifices. Barnabas walks to one of the burning torches. He places two black candles into it, lights them, and sets them down on top of the altar. Come here, orders Barnabas. Philip steps to the altar. "You know why you are here," says Barnabas. Yes, Master, says Philip, because I failed at what I was to do. "Do you know what must happen now?" asks Barnabas. "I must be punished," answers Philip--"but how, Master?" In time, says Barnabas, you will find that out. (This creeps me out so intensely--I'd rather know NOW!)

Megan is falling asleep in her chair at the shop. She rouses herself and checks the baby. Carolyn enters and inquires into Joseph's health.  No better, answers Megan worriedly.  Did you call the doctor? Asks Carolyn.  No, says Megan, I haven't called him. Ridiculous, says Carolyn, did you stay up all night with the baby?--no wonder you're in the shape you're in!  There's something you've got to do, insists Megan--stay with the baby. Of course, says Carolyn, reaching in to lift the baby from the cradle. Where are you taking him, demands Megan, upset. It's drafty down here, Carolyn points out, and he's so hot, I'll take him to his room. NO! shrieks Megan, forward, you mustn't take him up there--promise me you won't take him to his room while I'm gone. Carolyn promises. Megan leaves. Carolyn sits with the baby.

Barnabas gazes through the Old House window and spots Megan hurrying up the walk. He meets her outside and asks how the baby is. No better, she says--what happened to Philip, after he left with you last night, he hasn't been home since?  Strange, says Barn, he stayed with me only 15 minutes.It is strange, agrees Megan--I'm beginning to feel very frightened. You mustn't be, says Barnabas--perhaps he's only gone for some other merchandise--he will be back when it's time for him to get back. Megan's forehead wrinkles, and she walks away. Barnabas enters his house, an icy smile on his face, and closes the door. Philip sits in the drawing room.  , Are you beginning to understand what must happen now? asks Barnabas. Philip's eyes grow wide; he doesn't respond.

Carolyn is sitting by the baby when Megan returns. Where were you? asks Carolyn--did you find anything out?  Looking almost as crazed as Jenny, Megan says yes, someone's coming to kill me! She runs past Carolyn, adding, I've got to hide!  Carolyn grabs her--no one is going to kill you, she says reassuringly.  I don't know who, says Megan wild-eyed, but someone is!  You must listen, insists Carolyn--you've got a very sick baby here!  Let me go! Megan screams--"My killer's on his way!!!" She runs upstairs, hysterical, even as Carolyn protests--no one is coming to hurt you, or anyone. The front door opens and Carolyn stares, horrified, at who appears.

NOTES: I always wondered what happened to Philip at the altar, and if Barnabas did anything to "discipline" him. It was such a cold, awful scene, and Megan's paranoia is so different from the happy woman she started out in this storyline.

Who has entered the shop? Is it an intended murderer or has Megan just gone a little crazy?

Loved David here, he was so crafty about turning his aunt's attention from himself to his cousin. This reminds me of the David who played around with Roger's car and nearly killed his father by tampering with his brakes. That wicked smile he displayed when he left the room--priceless!

Barnabas continues to enthrall and repulse with his soulless demeanor.  The actor is a master in these episodes, and I love it.


896 - The antique shop door opens, and Carolyn, wondering if Megan's hysteria is legitimate, turns in horror to see who it is. She heaves a sigh of relief when she sees it's only Julia, who is puzzled by the intensity of Carolyn's relief. Carolyn explains that Philip's been gone all night and Megan returned in a terrible state, convinced someone is trying to kill her. It isn't true, says Carolyn, but for one moment, when the bell tinkled...Julia wants to speak to Megan, but, spotting the Naga box, she asks, where did it come from?  I neither know nor care, answers Carolyn, but that isn't the worst of what's been happening here--the baby is sick and Megan hasn't gotten medical attention for him. Julia offers to examine the baby, and comments on his peculiar birthmark. Megan races downstairs, screaming "No, don't touch him!" He's running a very high temperature, objects Julia, let me examine him.  Megan grabs Blanket Baby from the cradle and holds him protectively in her arms. No need to, she says--babies often run suddenly high temps. Julia agrees--but the cause can sometimes be serious, she adds. Crazed, Megan says, I have to take my chances with that, and begins to head upstairs--I'm going to dress the baby because we're going away--we have to!  No one is after you, Carolyn insists--you can't go until Philip comes home--can you? No, agrees Megan, suddenly calm. Where is Philip? asks Julia--that's what you're worried about, right? Megan smiles--there's no reason to worry about Philip, she says, he's out picking up merchandise and will come back when he's ready.Julia is confused by this abrupt change in Megan.  Carolyn asks, why didn't you tell me that before?  I'm taking the baby upstairs, says Mega--saying there's no need for you to look the baby, Dr. Hoffman.  Give him aspirin, please, says Julia (No Tylenol then.)  What's the matter with her? asks Carolyn. Her--or the baby? asks Julia. Both, says Carolyn. I don't know about the baby, says Julia, but Megan is terrified of something--I don't know why, but perhaps she and Philip have been working too hard in the shop; the strain of caring for the baby, triggering some hidden fear, who knows? I think it's criminal the way her sister left the baby and just waltzed off on vacation, opines Carolyn. Julia has taken the Naga box into her hands and is trying to open it. I have a good mind to find out where the sister is and call her, says Carolyn.  She notices Julia isn't paying much attention and asks, what fascinates you about this box? I saw it at Barnabas' house, replies Julia.  He sold it to the Todds, says Carolyn (gave it to them, but I guess Carolyn just assumes that). I didn't think it was something he'd sell, says Julia. Perhaps he changed his mind, says Carolyn--you don't think there's truth that someone is trying to kill Megan? No, says Julia, I don't believe it, nor do I buy Megan's claim that she isn't afraid for Philip.  I wish he'd come home, says Carolyn--Megan needs him.

David enters the drawing room at Collinwood and closes and locks the door. Amy's already in there, playing with her doll.  How did you come in here? he asks.  I came in when you went to the study, answers Amy--why did you lie to Carolyn about that book? I had to, says David--I was going to give it back, but then my cousin said how valuable it was, and now I can't return it. You can't keep it, either, says Amy, no matter where you hide it, someone will find it. I plan to burn the dumb old thing, scoffs David. Amy's eyes widen--you can't do that!  Yes, I can, he insists, and when it's a big pile of ashes, no one will know I ever took it. You'll only be making it worse for yourself, insists Amy, I know it. MYOB, orders David, taking the book from the desk cabinet. Amy tries to wrestle it away from him--give it to me and I'll tell Carolyn I took it! she cries.  (Pretty self-sacrificing of her.) No, says David, yanking back the book. It falls open on the desk.  David opens the book to a page of the coiled snakes--the Naga.

David stares down at the page, riveted. Amy speaks to him--give me the book, she pleads--I'll tell! You'll tell nothing, he says curtly, not sounding like a little boy anymore.I'm not going to burn it, he assures Amy, not now... What ARE you going to do? she asks. What I must, says--stand outside the door and make sure no one comes in while I'm reading the book. This startles her--you don't know how. Yes I do, he says. Read some of it for me, she demands. You're forbidden to hear it, he says. "I don't believe a word you're saying, David Collins!" she retorts. It doesn't matter whether you believe me or not, he says--stand guard!  I don't like this game, she complains, voice shaking, let's play another. This isn't a game, says David--now do as I told you. Without another word, she turns to do as ordered.  Don't say anything about this--to anyone, warns David. But you'll be caught, she says, Carolyn and her friends will know you have the book, you'll see. Yes, they will, agrees David, but says no more. Amy unlocks the doors, then closes them behind her. David sits down to study the book, reading, "And then those who have been hidden so long shall rise and show themselves, and the others will know their time has ended, and the time of the people of the Leviathan will begin..."

Antique shop - When Megan comes down, Carolyn asks, how are you feeling?  I took a nap, says Megan. Carolyn brings her a cup of coffee and explains, Dr. Hoffman thinks you and Philip are much more tired than you realize--it's the reason for your tension. Megan, toying with her cup, asks, where's Julia?  She returned to Collinwood, answers Carolyn.  I'm probably more concerned about the baby's condition than I realized, says Megan, but I did give him some aspirin, and I believe he's better. It might not be my place to say anything, says Carolyn, but I think your sister ought to come for her baby. "No!" says Megan sharply, the baby is my responsibility.Call her and tells her he's sick, suggests Carolyn, then she can make up her own mind what to do. No, says Megan, I can't call her. Why not? asks Carolyn.  She's...traveling, answers Megan. She must have left an address where she can be reached, insists Carolyn.  The phone interrupts them. Carolyn tells the caller, we did receive the telegram, and of course he can see the painting, but it's been purchased by Julia Hoffman--come to Collinwood at five--I'm sure she'll show you the painting--I don't know if Julia is interested in selling it. The caller does know where Collinwood is. That was Mr. Corey, Carolyn tells Megan--he's interested in seeing the Tate painting Julia bought from the shop--I apologize for taking over that way, but I feel you needs to take it easy the rest of the day. Megan looks lost. Carolyn asks, do you still think someone is after you, or considering running away?  Of course not, says Megan, smiling, but she doesn't sound convincing. I'm very grateful to you, says Megan.  I wish I could do more, says Carolyn, like find the book--it's as if someone were deliberately concealing something...

Collinwood - David comes downstairs. Julia exits the drawing room and asks, could you take a note to Barnabas for me?  He refuses--I have something.  It's important, says Julia--I have someone coming in a few minutes, and...  David reaches for his coat, explaining firmly, I have something else to do, and it can't wait until I drop off the note. David, she says, annoyed, but he leaves. Julia takes out her letter and reads, "A person who calls himself Corey will be here at 5 o'clock, that person could be Quentin Collins..." She leaves the house herself, frustrated. It's a quarter to five.

5:15 PM - Collinwood - Julia returns home and overhears Carolyn in the drawing room--I wonder why Dr. Hoffman is so late--"She was so anxious to see you!" She listens outside the drawing room door, eavesdropping on Carolyn discussing Julia's interest in Tate--and ever since she bought that painting...  Julia enters the drawing room and is stunned to see a woman who looks exactly like Amanda Harris!The woman smiles at Julia and greets her warmly. I had no idea the visitor would turn out to be Miss Olivia Corey, says Carolyn. Olivia apologizes--I did have the hotel clerk call for me, I find that if I identify myself too early in a business transaction, the price always goes up--but in this case, I really don't mind, as long as I get what I want. Smiling, Julia asks, just what is it you want, Miss Corey? Your Tate, says Olivia.  You probably don't want it, says Julia--it's not a PORTRAIT. Olivia looks wary, then smiles again and says, you are very perceptive, Dr. Hoffman. Handing Julia a cup of something, Carolyn asks, what is this all about?  Tate did a great number of portraits of a woman who looks extraordinarily like Miss Corey, explains Julia. That's how I started collecting his paintings, says Olivia--those lovely portraits of me, vain, but we actresses ARE vain--we wouldn't be on stage if we didn't admire ourselves so much, would we? She rises and asks, may I see the painting?  It's a landscape, says Julia.  Olivia assures her, I've broadened my interests to include ALL of Tate's work. OK, says Julia, and takes the painting from its place beside the desk. She hands it to Olivia and says, it's not for sale. Everything is, says Olivia, sooner or later. Perhaps it will be later, but not now, insists Julia. Carolyn apologizes to the actress.  Olivia admits--I'm terribly disappointed--Miss Stoddard, can you call a cab for me?  Carolyn leaves the room to do so. It's curious, remarks Julia--I've seen you onstage, and seen photographs of you in newspapers and magazines, but never noticed your extraordinary resemblance to Amanda Harris--quite unique. Olivia looks at her and says--not really--Amanda Harris was my grandmother. Who was your grandfather? queries Julia. Olivia laughs and asks, are you interested in genealogy as well?  I really want to know, says Julia. His name was Langley, reveals Olivia (shades of Edmonds' role on AMC?) Oh, says Julia. Olivia notes, you seem almost disappointed. No, responds Julia, of course not. I find it strange that you knew my name was Amanda Harris, says Olivia, it was never mentioned in conjunction with any of Tate's works, I knew her name, of course, but how did you? You must be mistaken, says Julia, I must have read it somewhere, I'm sure. I suppose so, says Olivia, who turns to admire the paintings above the mantle, commenting on how interesting they are. Are you interested in those, too? asks Julia. Mostly turn of the century portraits, says Olivia, I'd love to see any family portraits done at that time. I'm afraid you'll be disappointed, says Julia, there are no portraits of Quentin Collins. (ZING!) Am I supposed to know who that is? asks Olivia--sorry, I've never heard of him. Carolyn returns--Olivia, your cab is here.  I think we could learn a great deal about art from each other, Olivia says significantly to Julia. She leaves, Julia looking after her speculatively.

Leviathan altar - David approaches it, staring at it in wonder. "I am one of you now," he says. Thunder and lightning fill the sky. The altar parts, revealing a hole at the base. David kneels and crawls inside it. The two halves of the altar rejoin, seeming to swallow the boy...

NOTES:  Where has David gone?  What will befall him there?  How did he become "one of them" so easily?

Who is Olivia?  Is she Quentin's offspring?  Amanda Harris herself, posing as her own granddaughter?  Why is she so interested in Tate's paintings?  Is it Amanda's--or Quentin's--that truly interest her?

Megan is behaving weirder and weirder.  What is this responsibility doing to her?  And why was only Philip made to pay for whatever happened to the book and not Megan?

Love, Robin

890 - Julia works to open the box, but Barnabas appears.  "JULIA!" he yells. He advances on her, ordering her to get her hands off that and get out of this house. She says she was just trying to understand, but he cruelly says he doesn't care if she understands or not--is that clear? Gazing hard at him, she says something is wrong with him; they've been friends too long... Only because he didn't know what she was capable of, he says. She was trying to find out what's in the box, that's all, says Julia, what IS in the box? Stop interfering, orders Barnabas, give up your curious belief that you have the right to know everything about me. "Now go!" Julia refuses, saying that perhaps she was wrong to find out what was in the box... Barnabas doesn't care to talk to her about it. She says he will, he owes her that much. "I owe you nothing!" he says. Julia says she wants to help him, she knows something is terribly wrong--he's changed. Barnabas curtly says he's lost his patience with her, and doesn't care to have anyone around who's going to betray him. Stung, Julia says he'd never have spoken to her that way before he left. He would know if she were doing something he disapproved of, he'd understand why. He's tired of understanding, he says. "What's changed you, Barnabas?" asks a clearly heartbroken Julia, "I can't forget how close we've been, even if you can, Barnabas--you can't blame me for wondering what's happening. I'll go now."  Wait, he says. For what? she asks.He realizes she understands so much, it would be foolish of him not to understand more--"Forgive me." Traveling through time has taken its toll--has she forgotten what it felt like when she traveled back to 1897? Looking at him sharply, she says she was very ill, remembered nothing. Perhaps this mood of his is his reaction, he can think of no other reason why he'd quarrel with an old friend. Relieved, she says, "Barnabas, we are friends, aren't we?" Of course, he says. The box frightened her, she says. Because he hasn't explained what's in it, he says. No, because when she saw it before, it sounded as if breathing were coming from it. Smiling, he tells her she has an overactive imagination, she sees something sinister in everything she looks at. Julia grins, but then Carolyn runs in, calling for Julia. Seeing her cousin, Carolyn hugs him, and he responds with far more  warmth than he did with Julia. I've missed you, he tells her, and he's all right. They were very upset when he disappeared, says Carolyn.  When he came out of his trance, he was as shocked as he was to find himself out of this house, but now he's back and himself again. Oh, Barnabas, says Carolyn, hugging him again. He asks what she's been doing since he was away, and she gets a weird, furtive look on her face, almost as if she's scared. Julia asks her what's wrong. Carolyn says she won't bother her about it now. Julia reminds her she came here looking for her. I've seen Sabrina Stuart, says Carolyn--she sent for her. How, she can hardly speak? says Julia. She can say more than you think, says Carolyn, she warned her about Chris. Julia exchanges a look with Barnabas, and says she should tell her what she said. That Chris Jennings would kill me, replies Carolyn. Julia asks if she said WHY he would. Julia! Cries Carolyn, surprised at her question. Grinning, Julia says, Sabrina is in love with Chris, just jealous, that's all. Is she, asks Carolyn, somehow, she found herself believing her. Follow your instincts, my dear, Barnabas advises. Why do you say that? asks Carolyn. Because I believe in instincts, he tells her, there are far too many tragedies here--nothing must happen to you, not now, and we must make quite sure nothing ever does.

Antique store - Philip comes downstairs, asking Megan if she's coming up. Megan wants to call Dr. Hoffman, but Philip says they decided it was too late. Megan thinks she's be interested, it's a telegram. And that's always a matter of life and death, teases Philip, putting his arms around her waist (I love how affectionate these two are, the Collinses tend to be a cold bunch). Always, she agrees. How did he ever marry her, given that they are living in the 20th century (!), the most exciting century the world has ever known (he kisses her cheek), they're sending men to the moon--and she's so old-fashioned, her hands tremble when she opens a telegram. True, she says, how can you love me? That's easy, he says, very easy and very nice, too. He smooches her neck, and she stares at the telegram. Call Dr. Hoffman, he says, then let's go to bed! she looks up the phone number and dials. (black phone with a dial, how weird). Julia answers, and Megan tells her she wishes to speak to her in reference to the Tate painting--could she drop by the shop tomorrow? She just wants to discuss it with her. Julia agrees.

At the Old House, Barnabas holds the Leviathan box, thinking to himself that Julia is too curious, and if she is, others will be, too--when will the time come? Will I simply know it? Will I? He walks away from the box, looking at it from the other end of the room.

Antique Shop - Megan opens the store for the day. Philip, kneeling next to a beautiful wooden cradle), tells Megan that, much as he hates to admit to making a mistake, the day he paid $30 for it...I tried to stop you, teases Megan, kneeling beside him, putting her hand on his shoulder. Philip says he had visions of newly married women knocking each other to get to it. Most women want new things for their babies, says Megan, smiling at him.He supposes she's right--and he marks the cradle down to $32.50. Who could resist it, he asks, it will be sold before the day is out. No doubt about it, Megan says, with sarcasm, and he says he hates sarcastic women. "Darling, I meant it, I swear I did," she says, putting he hands into a praying posture. All right, he says, he believes her. Julia comes in, probably catching them in mid smooch, and says she hopes Megan didn't call to tell her the portrait was a forgery. No, says Megan, it's a Tate, but she received a telegram about it--someone else is interested in the picture, willing to spend any amount of money for it. Megan rushes to get the telegram, and shows Julia that price is no object. From New York, says Julia, how fascinating, that this Mr. Corey is making a special trip to see it.  Megan asks if she's willing to sell it, and Julia says she doesn't know--no, she doesn't think she is.  Megan tells Philip they should call Mr. Corey, tell him not to come, but Julia says not to, she wants to meet this man, and she suspects others would be interested in meeting Mr. Corey as well.

Carolyn sits by the fire in the drawing room. Barnabas enters, looking pale and up to no good. He regards her speculatively, then greets her.  He was worried about her after she left last night, he says, she was so upset. Carolyn doesn't know if she's being silly or not, but Chris called her this morning, and she had Mrs. Johnson tells him she was out. Perhaps that was best, suggests Barnabas--Ned Stuart blames Chris for what happened to his sister; when she was seeing Chris, she was still young, as vital as Carolyn. What could Chris have done? wails Carolyn (sounding like a radio voice suddenly), she just doesn't understand, and it makes her wonder--he's so guarded, as if he were hiding something. "I think you should assume that," says Barnabas. Does he mean that, she asks. Yes, says Barn. What could it be, asks Carolyn. He's been behaving so peculiarly since her arrival here, points out Barnabas, they all had great difficulty in getting Chris to see his own sister. there are so many unexplainable things about Chris, agrees Carolyn, and yet... You like him, finishes Barnabas. She nods, saying once or twice, she even thought she was falling in love with him. I hope you're not, says Barnabas. Why, she asks. It would be a mistake, he says. How can he know that, she asks. He simply feels it, he says. No, you know more, don't you? she asks. "I know there will be a love for you in your time," says Barnabas gently, "a love that will be much much more meaningful than any romance you could have with Chris." You sound so definite, says Carolyn, how can you know the future? About your future, I'm very certain, says Barnabas. Carolyn doesn't remember his always having been. Aren't I allowed to change? He asks. Yes, she says, grinning, of course he is. She pours herself a drink. Barnabas is holding a jewelry box in his hand, saying he has a gift for her--he found it at the Old House. Her morale could use it, she says. She opens the box and finds a five-pointed star. It's a pentagram, says Barnabas, wear it--always--will you? Always? she asks. Yes, as a favor to him, he asks. Yes, thank you, she says. He tells her it's a good luck charm, really, it will perhaps bring her the love she so well deserves. In a serious tone, she asks him if he really thinks she shouldn't see Chris. He tells her she shouldn't do anything that would cause her harm--and he does believe Sabrina--she isn't jealous, and Carolyn is far too important to have anything happen to her--wear that charm, and he will feel much better, he tells her.

Julia, having just bought a brooch, tells Philip his shop has so many interesting things. They scrounge the neighborhood for them, he tells her. He promises to let her know when Mr. Corey comes. Carolyn enters the shop, saying she's here to buy something. If it wasn't for Carolyn, they'd be out of business, remarks Philip--what do you need? Carolyn examines the brooch Julia has brought, then shows him the star Barnabas gave her--she needs a silver chain for it. Julia, taken aback, asks Carolyn where she got that. Barnabas, says Carolyn. It's charming, says Julia. Carolyn explains that she's always to wear it, and it will bring her luck, which she sorely needs. Carolyn asks her to wait for her, but Julia suddenly rushes from the store--there's something she must do right away. She leaves. Philip brings over a bunch of chains and tells her if she picks out the most expensive one, she can stay to dinner--Megan is making her famous clam chowder, they'll open a bottle of wine, and celebrate a little Carolyn asks if it will improve her mood, and Philip assures her it will. She agrees, choosing a long silver chain, holding it up over the star--that will be fine, says Carolyn.

Old House - Julia asks Barnabas why he gave Carolyn the pentagram. To protect her from Chris, says Barnabas. She knows Chris is a problem, says Julia, but she thinks she can handle him. How, he demands, he may change at any moment--the full moon notwithstanding. They can take him to Windcliff, she says, and the moment he changes, they can confine him there. Do what you want, I'm busy with something else says Barnabas. Too busy to hear about Quentin Collins? asks Julia. This catches his attention. She thought that might interest him--that Tate painting she bought, the antique store got a telegram about it. Well? asks Barn. Could be from Quentin, says Julia--it's signed by someone named Corey   came from New York, but whoever this Corey is, he wants that Tate badly. Barnabas calls her irrational. Julia says they know the significance of the Tate portrait of Quentin, and that the latter is alive somehow. Do we? Demands Barnabas. Beth saw him in 1969, Julia reminds him, that's why Petofi wanted his body, so he could be here. That was before the portrait was destroyed in the fire, says Barnabas, Tate himself said he saw it burn. Julia says he could have been lying; Quentin could be alive and looking for the portrait, buying up ever Tate he can find, to find that one. Barnabas insists she's putting far too much importance in that telegram, odds are that the fire destroyed the portrait and Quentin dead years ago. He brings over her coat, helps her into it and tells her to please leave--he has things to do. You don't really care whether Quentin is alive, do you? she asks. Barnabas, what has happened to you? She seems near tears, and angrily leaves the house. Barnabas waits a few seconds, then goes over to the box. It is time, he tells himself. He sits in his favorite chair. We hear breathing emanating from the Leviathan box, and see flames, then the altar in the woods. Barnabas is there, making hands gestures, calling to Oberon, who appears, calling him Master. Barnabas is in need of his guidance, tell him, man of earth, how he will know the chosen ones--tell him so he will make no mistake in this most important moment in time. One will wear the sign of the Naga, says Oberon, and they will come to you--you will hear a knocking at your door, will wake you from your sleep, when you open the door, they will be strangers, but you will know them.And I will know to trust them, to lead them through the mysteries that will make them respond, and do what they must do if all is to go as it must. Oberon tells him he will know the sign of the Naga, the sudden knocking at the door.

The vision fades, and Barnabas is awakened by a knock at the door. The chosen ones! He tells himself, and walks to the door to open it.

NOTES: Could Barnabas have been any colder to Julia? It breaks one's heart! And how foolish of the Leviathans not to make him assume the same friendly role he had in her life before! Julia was suspicious immediately, and the Leviathan powers that be would have been much smarter to make everything appear closer to normal.

I love Megan and Philip. They're so obviously happily married, and the way they tease each other so natural and fun. They were the most normal people on the show, but not for long, unfortunately.

Who are the chosen ones? I'm sure you already have figured it out.

Barnabas' sudden interest in Carolyn is very creepy.

I don't like Sabrina, never did, never will. Her mouth is bizarre and whether she's got gray hair or brunette, she's one of those characters I simply never liked. Comparing her to Carolyn is like a moth and a butterfly.

Now you know why Dennis Patrick called what's in the Leviathan box the giant lung, LOL.

Who is Mr. Corey? Is it Quentin?

Stay tuned for all the answers!


891 - Someone knocks at Barnabas' door, and he thinks, "The chosen ones!" He rises and goes to the door (he looks great in that red smoking jacket). It's Philip and Megan Todd who've come visiting, and they look around Barnabas' home with glee--all these antiques!

Barnabas, looking nasty and spooky, offers to take their coats.  They introduce themselves, and he immediately notices that Megan is wearing a necklace with the sign of the Naga on it. He tells them he's heard of their antique store in town. Carolyn told them to come see him, says Megan, and they would have called first, but he has no phone.  And they're naturally impulsive, adds Philip. Barnabas is very charmed they've come, and admires Megan's locket. Philip explains that he found it in an odd lot he bid on at an auction. Barnabas asks if he knows the meaning of the symbol--it's the sign of the Naga, the creature without a soul. Megan says she isn't sure she likes that. don't worry, says Barnabas--the same sign is carved on that box over there. Megan goes to check it out, as does Philip, who says he's never seen one like it. It must be incredibly old, comments Megan, and Philip can't guess what country it's from. Megan asks Barn if he knows where it's from, but he says he knows little about it--it was given to him. Surely whoever gave it to you must have told you, says Philip, but Barn says noHe's never looked inside, and asks them if they think that strange. Megan smiles and says they're very curious people. Philip asks if he'd consider selling it, but Megan tells her hubby they could never afford it. Barnabas doesn't want it in a shop, but they assure him they would never do that with it. He tells them he can see they are true collectors, and that they will discuss it another time. He says he has some things upstairs that he might give away. Philip follows him to the stairs, but Megan lingers by the box, fascinated. Philip wants to see the potential freebies, but has to remind Megan to come along. They are just simple American pieces, says Barn, about to follow them upstairs, but there's another knock at his door, and he tells them to go look for themselves, he'll be with them in a moment. You're very kind, says Megan. Barnabas' visitor is Elizabeth, who hugs him and tells him he's been very naughty, not coming to see her, making her come to the Old House to welcome him back. He apologizes, saying he's been wanting to talk to her. How does he feel after his ghastly experience? she asks. Barn doesn't want to talk about it. The ghosts are gone now, says Liz, and if he had anything to do with it, she's most grateful--he can't imagine how happy she is that he's back--she came to ask him to dinner tomorrow night, just family. Will Carolyn be there? asks Barnabas. Of course, says Liz. With Chris Jennings? probes Barnabas. She hasn't asked him, says Liz, but will if Barnabas wants her to. Oh, no, says Barnabas, he knows it isn't his place to discuss Carolyn with her, but he thinks she's seeing too much of Chris. Liz explains that she's always allowed Carolyn to make her own decisions in such matters. Barn thinks in this case, Liz shouldn't be so lenient--there's far too much mystery to Chris, and his instincts tell him that Liz should find out where he goes during his mysterious disappearances--it happens at least once a month. Concerned, Liz says she feels as he does. Barnabas excuses himself, saying he has company--Carolyn's friends from the antique store. Liz says they are a charming couple. Barnabas says they will be a great asset to the town. Liz promises to think about what he said about Carolyn. As Liz leaves the house, the gray-haired man that Julia and Carolyn saw hides behind one of the columns. He watches Liz go.

Megan and Philip come downstairs and the latter tells Barnabas he has many things they can use. Barnabas asks him to make a list and he'll come up with a price. Megan, standing by the Naga box, eyes it longingly. Philip tells Megan they shouldn't keep Mr. Collins any longer. I know, says Megan, not moving away from the box. Barnabas comes over to her and says he thinks that's her favorite amongst all his pieces. Megan agrees, but doesn't know why. They must get back to the shop, says Philip, and Megan agrees. Barnabas assures them they will hear from him very soon--very soon indeed. Megan thanks him and he sees them out the door. He's smiling evilly as he goes back to the box and touches it.

6 PM - Maggie, wearing a pretty mini-jumper, comes downstairs and greets Liz, who has just come home. Maggie reports that David is doing his homework, Amy's finished hers, and she doesn't know when she'll be back. Liz wishes she'd let her send Mrs. Johnson with her, but Maggie assures her the other tenants were very good, she's sure the house only needs straightening up. With the new people moving in tomorrow, she just wants to check things out. Liz asks Maggie if going back to her old home will bother her, but Maggie, buttoning her coat, doesn't answer. Liz tells her she's been such a great help to them, she barely remembers her living with her father. Maggie says she won't be gone long. The phone rings and Maggie answers. The mustachioed, mysterious man, calling from a phone booth, asks for Mrs. Stoddard, and Maggie hands Liz the phone. Liz says hello, but he doesn't answer.She tries a few more hellos, but the man just hangs up the phone.

Liz is perturbed; that was strange--whoever it was hung up. It was a man, says Maggie, but she didn't recognize the voice...odd.

Antique shop - Philip tells Megan they need less merchandise and more customers. Megan is thoughtful, and Philip observes that she's thinking of something very important--he can tell. Megan, polishing a silver candelabra, says not at all, but he insists she tell him. She wants that box. He chuckles, saying she already has it on a table in their bedroom. She denies this, laughing, saying she knows they will never own it. We see the Naga necklace hanging on her bosom as she puts her arm around Philip. It's silly, she says, holding the Naga sign between her fingers, "Count your blessings, Megan Todd." Include me as one? he asks. I have almost as high an opinion of you as you do, teases Megan. They smooch and she looks at him lovingly. Barnabas enters the store, box in hand--he told them he'd be back soon. He tells Megan he has a present for her. Philip insists they couldn't accept it, and Barnabas asks if he's in the habit of depriving his wife of something she clearly wants. Megan looks hopefully at Philip, saying she does adore it, but it's much too grand a present. Barnabas says there's a legend to it, and she must take it. What's the legend, she asks. That whoever gives it will get what he wants in return, says Barnabas, so she's doing him a favor. Megan thinks he just made up the legend.  Please take it, urges Barnabas. Please say yes, Megan begs her hubby, dubbing him the proud one. They'd be delighted to have it, says Philip, and Megan takes it from Barnabas and walks away from them. Philip says they must pay him something, but Barnabas says out of the question--he wouldn't know what to ask, anyway. Megan thanks him, saying she will always treasure it, and will be more selfish than him--she'll never give it away. Barnabas says he hopes she never changes her mind, and the tone of his voice causes Philip's forehead to wrinkle.

At the cottage, Maggie's cleaning up. Someone knocks at the door, and she trips heading to answer it. It's the mysterious man, who asks to see Sam Evans. My father? asks Maggie sadly, and introduces herself. "I'm sorry, my father is dead," she says. He just came back from New York, he says, he didn't know. It's been more than a year now, says Maggie, inviting him in. He is sorry, truly, he says, he and Sam were old friends. She doesn't remember him, does she? He remembers her as a pretty little girl, and that hasn't changed. He surveys the cottage--it's so funny being back in Collinsport, everything is the same, but different. He asks if she lives here with her husband, and she says she isn't married--she lives at Collinwood (so forthcoming with a stranger, our Maggie). He looks at her--Collinwood? She's David's tutor, she explains. He repeats Collinwood, and she asks if something is wrong. He and Sam were good friends, and he'd like Maggie to be, too--he needs a friend, desperately. She looks at him, unsure.

Maggie goes over to the window, assuring him that if he's a friend of her father, she'll be glad to help him in any way she can (was that drawing on the window sill before?) He has questions--who's living at Collinwood right now? Mrs. Stoddard, David, Carolyn, Roger, she tells him. What is Carolyn like? he asks. She doesn't want to answer more questions, these people are friends of hers, Mr.¢â‚¬¦ Just tell me, he asks, not filling in the blank for her--what is Carolyn like? I love Carolyn, says Maggie flippantly, she's nice, kind, generous, charitable. You aren't describing a true Collins, he says. She says she doesn't know what he wants to know or why. She can help him, he says, but she doesn't see how. He'll tell her--if she can keep a secret. Perhaps it's a secret she shouldn't know, she says. Perhaps, he agrees, but she seems to be the one he should tell. She doesn't know why, but he says she's the only one there is--that's the first reason.All he must consider is can he trust her, as he would her father. She looks at him.

Barnabas leaves the antique shop, telling the Todds to call him Barnabas. Megan again thanks him for the box, promising they will find out all about it. Barnabas is sure they will--quite sure. He won't keep them any longer--if there's anything on that list you want from the Old House (Philip is holding an envelope), please let him know, and they will arrive at a price. Barnabas predicts they will see a lot of each other, he has an unusual feeling about that. I hope so, says Megan fervently, stepping on his line. Such a lonely man, says Megan after Barnabas leaves. Philip is examining the box. I like him, don't you, asks Megan. He's miles away, and she asks him what is it. Just wondering why Barnabas gave them the box, says Philip. Because he wanted them to have it, says Megan. If an old friend or relative gives you something, says Philip, that's one thing, but a total stranger... He wanted them to be friends, says Megan. WHY? asks Philip. Darling, darling, what's the difference, asks Megan, it's just a box! They both wanted it and Barnabas saw that, and it meant nothing to him, and he knows they will treasure it. She loops her arms around his neck, asking if he's going to be suspicious about a gift. He guesses not, if it will make her happy. They kiss, standing with their arms around each other.

Maggie returns to Collinwood, telling Liz the house is in good shape. She asks for Carolyn, but she's in town, says Liz. Maggie says she'll talk to her in the morning. That man never called back, says Liz, and it's silly to feel nervous about such a thing. Maggie says she doesn't think she should let it, and bids Liz good night.

The Todds close up the antique shop, and Megan tells her husband she wants to open the box. Philip agrees they should discover its secrets, but they find it locked--and no key. Force it, says Megan (possibly break an invaluable antique? What kind of collector is she--hasn't she heard of mint)? Philip tries, but can't open it. Megan lifts it up, listens, then calls Philip over--she heard something in the box, and it sounded alive. There can't be anything alive in there, says Philip, but Megan definitely heard something. It must have been the warping wood, the box is very old, says Philip. She wants it open, but he says he tried and they couldn't. He wants to check Barnabas' list, hoping he's willing to sell that Hitchcock chair he saw. In the envelops, Philip finds the key to the box. He holds it up. Megan is thrilled, but Philip has a feeling that if they open it, things will never be the same. Megan doesn't understand him, and he doesn't understand himself, but that's the way he feels. What could be in the box, demands Megan--they have to open it. Philip agrees--they do--and when he unlocks and opens the box, it sounds as if someone or something flies out--there's a whoosh. Philip says it sounded like something came out.Spooked, Megan says she didn't see anything. She tells Philip to open it, once and for all, they must find out what's in there. He opens it, and a strange, unearthly humming issues from inside...

NOTES: At different times, Philip and Megan have doubts or premonitions about what's happening to them. Too bad they don't listen to them. When that thing whooshed as it left the box, it was creepy as hell.

The mysterious man (Paul Stoddard) has now enlisted Maggie's help, but for what? He's connected somehow to the Leviathans, we know that, but in what way? Maggie seems to have decided to trust him, but he was asking so many questions without even wanting to give her his name, no wonder she was suspicious. She should have remained so.

Love, Robin

886 - 1796 - Thinking Barnabas is coming, Josette screams, I won't become what you are!  Instead, it's Natalie who shows up, not Barnabas. Josette, terrified, beyond reason, threatens, I'm going to jump if you come closer. Natalie calls to her niece above the din of the ocean--Stop, please, Josette, don't jump!

Come away from the edge, orders Natalie, physically pulling Josette away--I'll help you! "You don't know!" bleats Josette.  I will help you as I did when you were small, promises Natalie. You can't this time, insists Josette.  Tell me, Natalie urges. "I know, know," sobs Josette, "there's nothing to do and I love him!" Natalie hugs her--the carriage is waiting, she says, you must rest. He will come for me, Josette wails, he will come to me! No, Natalie assures her, I know more than you think, and one we thought dead is not; I know the mysteries of that house are not explainable--come, she urges her niece, and they move away from the cliff.

Natalie knocks at Millicent's door--may Josette stay with you a few moments? Of course, says Millicent, looking in concern at the crying Josette. Is she ill? Asks Millicent.  No, not ill, she's had a shock, says Natalie. "My poor Josette," croons Millicent. Are you going to him? Josette asks her aunt.  Natalie nods. I don't know what to think, says Josette--do you want to chance it? I must, says Natalie, "he" was the one who told me where you were, and I must assure him you're safe.  Millicent kneels and asks Josette, was your shock a romantic one?  No, sobs Josette.  Of course, says Millicent, you have no such interests now, since Cousin Barnabas...Josette wails, "Barnabas!"   Is it still his death that upsets you so? asks Millicent.Would he really want me to be that way? wonders Josette--I can't and won't believe it--he loves me!

Josette's room at Collinwood - Natalie enters and assures Barnabas Josette is safe--I found her at Widows' Hill--if you had gone to her, says Natalie, she'd have run from you, and died.  I know, says Barnabas. The witch showed Josette a vision of herself as she would be if she went with you, reveals Natalie. "How she must loathe me," laments Barnabas.  You are dead, Barnabas Collins, she says, I saw your lifeless body carried from your room--you must let her live. Barnabas reminds her--I kept her alive. You must not see her again, insists Natalie. I will, says Barnabas.  Natalie is adamant--I don't know what you are or what pact you made with some devil, but you should return to your grave.  (didn't Joshua tell her about Barnabas when he sought her help to find the white witch?)  I don't even have that privilege, says Barnabas sadly.You must have, says Natalie--I know about these legends, they are in my country, there are others like you. Are there? Madame, he asks, eyebrows raised. Yes, others not allowed to rest, says Natalie. "You don't know what kind of creature I am, do you?" Barnabas gently asks. "You think I'm a ghost." What are you? she asks. Are you afraid of me? he asks.  She nods--I don't know why. You are wise to be, says Barn darkly--bring Josette to me. No, she says. Don't make me force you, he warns. You cannot, she says firmly. I will see Josette, bring her here to me, I will not let you stop what must happen! He reaches for her.  Don't touch me, warns Natalie.  Josette and I belong together, he says, turning her around to face him, you will bring her here--look at me--you will do as I tell you! Forced to meet his eyes, Natalie gasps in fear as she sees Barnabas with his fangs bared. He sinks them into her throat...

(Didn't Natalie already know Barnabas was a vampire? Didn't Joshua tell her and seek her help? The continuity here is really messed up.)

Millicent is bewildered--you speak of Cousin Barnabas as if he's still alive, Josette. He is, says Josette.  That's a delusion, says Millicent, and should not be encouraged. Why do I still want to be with him, see him? says Josette aloud. His death has not stopped your love for him, says Millicent. No, it hasn't, agrees Josette, I'm so afraid.  Millicent reveals a secret--I have always been afraid to love, I've always known that when I do, some tragedy will occur, as it did to you.  Josette covers her face and cries harder. Don't cry, says Millicent, hugging her, don't think of Barnabas--when something upsets me, I simply don't think about it, I force it from my mind. Millicent, rummaging through Josette's reticule for a handkerchief, drops a pretty crystal vial on the floor--what is this, Josette?  Give that to me, demands Josette. Millicent does so, but asks if you're thinking of "doing something," given how unhappy you've been. Millicent! sobs Josette, I can think of no one but Barnabas!  Poor darling, sympathizes Millicent, hugging her. The door opens; a breathless Natalie enters and says, Josette, it's safe to go to your room. You'll go with me? asks Josette.  no, says Natalie, I must stay and thank Millicent--you will be all right. You should not leave her alone! chastises Millicent. It does not matter, says Natalie weakly. Millicent says, I'm very concerned about Josette's well-being--why does she think Cousin Barnabas is still alive?  Natalie begins to cry.  Millicent asks why, but the older woman cannot answer.

Josette returns to her room and falls upon her bed, crying. Barnabas enters through the secret panel--I'm here, he says. She cries out and attempts to escape, but he stops her, saying, "No, my darling, I know what you think, but you must hear me out..."  He advances on the terrified woman, who clings to the bedpost.

Do not fear me, begs Barnabas.  I know what you want me to become, cries Josette--a creature of the night. No, he assures her--that isn't true, not now. He sits beside her on the bed. I saw a vision, says Josette.  That's what she wanted you to see, says Barnabas, to ruin our love and stop me from having the one person I've ever wanted. That's what I would have become, wouldn't I? Josette asks. Not as she showed you, says Barnabas--we could have been together, but that is over now. How can you say that? she asks--what's over?--when you summoned me before, I came because I loved and trusted you! That WAS the way we could have been together, he admits. WAS?--it IS, you mean, she says, isn't it?  Not anymore, he says--there is another...you must believe me--there is another time 100 years from now.  What does that have to do with you and me? she asks. I am alive then, he explains--you must simply accept that. Do you think I can accept MORE? she demands. I am different in that time, he pleads, I am free of this curse. How can you be? she asks. Don't ask, just trust me, he replies. She walks to the other side of the room. Can't I ask you this? Laments Barnabas--has Angelique ruined any trust you might have? I don't know, says Josette. Try, please, he begs, we can be in another century tonight! How can you say that so casually? she asks, what kind of a fool do you think I am--how can we travel in time--what kind of witchcraft...??  Josette! he says, stopping her diatribe--I was in that time, in 1896 (he means 1897) not four hours ago--do you not remember Kitty Soames? Josette repeats the name--I don't know anyone by that name.  Or of being in the Old House, waiting for me? he probes.I remember staring at a portrait, she says, but thought it was in a dream. No, it happened, says Barnabas. Josette thinks it over. Darling, do not try to understand, he urges, when you come to the other century, your memory will return. I can't believe this, she says, you're scaring me I'm only trying to tell you there is more to our lives than you know--I've discovered that, and will show you what I learned--give me one last chance, he begs, that's all I'll ever ask, and we will be in another century, marry, be human. She smiles wanly and says, you're spinning a dream I find difficult to believe. It would be difficult, except that I DO know, he says. What must I do? she asks.  Go to the Old House, he says, the secret is in the portrait--I can't explain--you have loved me, and still do, don't you? She turns to him, hope alight in her face, and says, "I will always love you." They kiss. I will join you at the Old House at midnight, he promises. I don't want to go alone, she protests.  I must go to Ben at the shack, says Barn--someone must stand guard for us--I will let him know what is going to happen, he will keep anyone from interfering. Josette wants to tell her Aunt Natalie.  Tell no one, insists Barnabas. I'm simply to disappear? asks Josette. Just write her a note, he advises, tell her that we have run off together and that you are happy--"You ARE happy, aren't you?" he asks. I will be, she promises, if you come, but if you don't come, I will believe that...  That this is all a lie I told you to distract you, he finishes--to make you forget--no, I swear, it isn't a lie. Let it not be, she cries. I promise to make you forget tonight, he says, and kisses her again. Help me forget, she pleads. I will, he vows, and leaves after giving her one final glance. Josette takes out paper and a feather quill, and begins to write.

In the woods, Barnabas finds himself enshrouded in fog. I should be at the road, he says to himself. What is that? He spies a strange stone altar with coiled snakes on the background. Fire burns in two standing torches. I've never seen it before, Barnabas murmurs to himself. He moves closer to the altar, wondering how it's possible--I took this path earlier tonight--this wasn't here. Where am I? What's happened to me--how could I be lost...at Collinwood? I can't be, yet I am. I am!  I must get back to the path--where is it?  A caped couple approaches him. Who are you? he asks, where am I?--who are you? The woman makes some odd, wavy gestures with her hands in front of him.  Barnabas turns and finds himself sandwiched--trapped--between them. "You! Who are you?" he shouts.

The two peculiar people kneel and bow to Barnabas, raising their hands to him as if in salute. Who are you? he asks--what are you doing? They rise to their feet and approach him. Don't come any closer, warns Barnabas--what do you want of me? The woman waves her hand again.  What kind of sign is that? demands Barnabas--you expect me to understand?--let go of me!  The man holds him tightly, preventing his escape. Disappear, Barnabas tells himself, but he can't--I can't! Who are these people? What strange powers do they have? He struggles in the man's grip, unable to free himself.

At the Old House, Josette, growing scared, stands in her room. She lifts a candle and gazes up at the portrait, wondering how it can be the key...where is he?  It's nearing midnight.

Millicent reads Josette's note to Natalie, which says, "I have gone away with Barnabas." Natalie looks ill.  She can't have, protests Millicent. She loves him, says Natalie. "But she would have to die," protests Millicent. (how does she know that?)  Many have died for love, says Natalie sadly. We must find out where she has gone, says Millicent, go after her. No, insists Natalie, we cannot fight him, I learned that.  I refuse to give up on her, says Millicent, even if you do.

12:30 -  He was to be here at 12, frets Josette--he swore he wouldn't be late, nothing could keep him from being here, except...don't think of that, I must trust him. What if Angelique is right, and everything he told me in my room is a lie? How can anyone go to another time, and what could that portrait have to do with time? He made it all up, and I was a fool to believe him. Why doesn't he come? He's afraid to come, she decides, he will have to admit he means me to become a creature of the night, as he is. No! cries Josette, growing more upset. Can I leave here? For what? He's lied to me, there is nothing left, nothing. We will never have each other! She takes the vial of poison from her reticule, pulls out the stopper, and drinks it. Immediately, she falls to the floor, uttering one final word: "Barnabas."

Woods - The odd people kiss Barnabas' hand. He is ill at ease, sickened. I can't move, he realizes, he's free, but cannot move! What's happening to me--what? The creatures make more graceful hand gestures.  The man says, "Earth--Mother Earth." No, cries Barnabas. He moves to the altar and presses himself against it, looking like a giant bat.

Josette sobs out a final goodbye to Barnabas, then dies. The camera pans to Josette's portrait.
Barnabas now lies upon the altar. The female creature hands the male something.  They both stand by the altar. She places leaves at Barnabas' head and says, "Everything it ready--we can begin now."  He will know us when he rises from this sleep, says the man, and he shall show us the way to a new and everlasting life! Barnabas lies there, seemingly unconscious, the twined serpents on the altar gazing balefully down on him.

NOTES: The male is called Oberon, the woman Haza in the credits. This is the official beginning of the Leviathan storyline.

Poor Josette, doomed to die no matter what. Barnabas did everything right by having Natalie go to Widows' Hill instead of himself, but he didn't count on being waylaid by two creatures more powerful than he. While Julia never got bitten by Barnabas, at least Natalie did, so Grayson got a chance to be attacked in this version of history. And when you think about it, two women died, because Kitty essentially became one with Josette.

Angelique was NOT alive here, and to present her as a living being really was messing with history. I'm sure Barnabas killed his witch-wife in ALL versions of history because he hated her so much at the time. It really bugs me.

Great seeing Ben again, always one of my favorite characters, and Thayer David plays him superbly.


887 - Old House - We see Julia's coat hanging up near the door.

Haza and Oberon look at Barnabas, who lies unconscious on the altar.  Oberon takes the chalice, lifts Barnabas' head, and pours some of the fluid into his mouth. Haza stands beside Oberon, then walks away.  Oberon intones, "The past is but the beginning of the beginning, and all that is and has been is but the twilight of the dawn. A day will come when beings which are now linked in our thoughts and hidden in our loins shall stand upon this earth as one stands upon a footstool, and shall laugh, and shall reach out their hands amid the stars." He passes his hand over Barnabas in a series of graceful twists and turns. Thunder rolls. Barnabas opens his eyes and sits up. Oberon and Haza gaze at him hopefully as he stands, sliding down off the altar. His face looks cruel, cold. He moves his hand in the same gesture as Oberon, reciting a poem we will be hearing a lot in the months to come: "The waters shall nourish each grain of sand, wedged between ancient, sacred stones, and guide us to the threshold of a time to be and restore our flesh and bones (brrrr!) Oberon and Haza introduce themselves to Barnabas. We bid you welcome, Master, says Oberon. You have performed your tasks well, praises Barnabas. Thank you, says Haza. There is one thing that must be done before I leave, says Barnabas--do you have the ancient book? Yes, says Oberon. I will do what must be done, says Barnabas--have you made the necessary preparations? Yes, responds, Oberon, everything is ready for you. They hand him a carved wooden box, topped with the same snakes as those on the altar.  This is the Leviathan box, says Haza.Oberon passes it into Barnabas' hands. It is written that only this box shall accompany me, Barnabas says, but you shall be with me, in spirit--do you understand? We do, they assure him. When the time is come, how shall I know the chosen ones? asks Barnabas.   It is written, in the ancient book, says Haza, that when you seek guidance, you will find it in your dreams. It is for that reason, adds Oberon, that we must go on in spirit. Before I leave, says Barnabas, is there anything else that I must know? Our task here is done, says Haza, there is nothing more we can do. Soon, says Oberon, we shall herald the arrival of a new and all powerful leader. This box, says Barnabas, must not be opened until that time. Yes, agrees Oberon. I shall not fail, vows Barnabas, the power and wisdom of 200 years will protect and guide me and that which has been prophesied will one day become reality. We see the twined serpents on the altar.  Thunder booms.

The camera homes in on the lion's head doorknocker on the door of the Old House. Inside, Julia paces the room, reading from a journal--Tuesday, November 18th, 1969 - It's now been over a month since I returned from my strange and terrifying journey to another time. I've waited here every night at the Old House, hoping Barnabas would give me a sign, but there's been nothing. I had been hearing faint voices from the past that frightened me, for I didn't know if they inhabited the same world as I, or the darkened corridors of my mind, for I haven't heard the voices for several days and fear that Barnabas is trapped in the past and lost to me forever. Julia rises from her chair. A man whose face we cannot see looks in the window. His hair is gray.  He wears gloves and a hat.

Julia sits at the desk, writing in her journal--I must not give up hope, although there seems so little left now! She closes the journal, recaps the pen, blows out candles and doesn't see the man looking in at her. Julia leaves the Old House, her expression sad and hopeless. The man passes by the front door, seemingly following her. Julia walks through the woods, carrying her gloves and journal. She hears a sound, stops a moment, and continues on. The man is following her, feet crunching on the leaves.

Julia enters the drawing room at Collinwood and finds Carolyn wrapping a present on the piano. Starting your Christmas shopping early? (holiday mention!)  Julia asks her. No, it's a gift for my mother, says Carolyn--I saw something I thought she'd like, a piece of colonial jewelry at a new antique shop in the village--the shop is divine--you'll enjoy browsing through it. Is something  troubling you? asks Julia--you don't really sound as if the shop is DIVINE.  I meant it, says Carolyn, but it's been a strange day--I've become suddenly depressed, but nothing happened--everyone I met was nice to me, but I have the feeling that something frightening is going to happen. This makes Julia fearful, scared.  Why don't you join me at the antique shop tomorrow? Suggests Carolyn. I'm going to the Old House in the morning, says Julia. And spend the day there again? questions Carolyn.Yes, says Julia, walking away as if she doesn't want to discuss it further. You've been doing that every day for over a month, says Carolyn--you'll worry yourself to death down there. I'm convinced Barnabas will return, says Julia. You don't sound convinced, remarks Carolyn. I know, says Julia--I fear something terrible might have happened to him. You have no way of knowing that, points out Carolyn--why torture yourself?--I don't understand why you must BE at the Old House. Because that's where Barnabas will come back, says Julia. But if you aren't there, he'll certainly know where to look for you, says Carolyn. Maybe you're right, says Julia, perhaps I'll get a good night's sleep and go to the antique shop with you--I haven't been myself since he's been gone. Carolyn grins, and asks gently, "You're very fond of him, aren't you?" Yes, admits Julia, staring at her journal. I'm sure wherever he is, he's safe and will be coming back, says Carolyn--sit down, rest, I'll bring you some tea.  Thinking, Carolyn closes the double doors and goes into the kitchen area. Julia broods, picks up Carolyn's gift, puts it down, looks out the window, opens it, closes it. She shivers. Julia hears a door open, then Magda's voice, which says, I don't understand this, I did nothing wrong. Charity's voice answers--who said you did? Why did you drag me out of bed and bring me here? asks Magda.  Mr. Edward wants to ask you some questions, says Charity.. About what, I know nothing! insists Magda.  Julia realizes--I'm hearing a conversation between Charity and Magda.  Charity says, you gypsies always know more than you pretend to know--Edward wants to know about Barnabas and that Lady 'ampshire--what might you know about that? Nothing, says Magda. Julia begins to see flashes of Josette's and Barnabas' portraits.  Lady Hampshire turned out to not be so much of a lady, reveals Charity--she and Barnabas skipped off to the Old House together and ain't been seen since. What has that has to do with me? asks Magda. You live at the Old House, says Charity, you must have seen them tonight, know where they disappeared TO. Why should I know that? demands Magda. You and he were good friends, Charity reminds her. Sure, but I ain't seen him in two weeks, says Magda. Doesn't it seem strange, asks Charity, that a man and woman could just walk into a house and then vanish into thin air? Mr. Edward got word of the little rendezvous, followed them, but when he went in after them, they were no where to be found! Julia listens, horrified. A bit weird, don't you think? asks Charity. Julia exits the drawing room and dashes out into the foyer, calling, "Charity!"  Carolyn joins Julia, asking what's wrong. "Barnabas is dead!" wails Julia. "He's dead, I'm sure of it, now, I'm sure of it!"

We see a pair of black, shiny shoes walking slowly, over dirt. Suddenly, thunder booms; the altar appears out of nowhere in the woods.
The camera focuses on one of the snakes, its tongue flicking greedily from its mouth. The gray-haired man in the hat looks at it, then walks away.

Old House - The man goes to the Old House and lets himself in (no key necessary). He closes the door behind him and, still faceless to us, enters the drawing room. He lights a candle.

Back at Collinwood, Carolyn pours tea from a silver service, telling Julia, it will calm you down. Julia still clutches her journal. You need rest, insists Carolyn. She hands Julia a cup of tea--exactly what happened? she asks. For the past few weeks, explains Julia, I've been hearing voices that seemed to come from the past--I think I heard them tonight. And they told you Barnabas is dead? asks Carolyn. No, says Julia, they said he disappeared from the Old House. You already knew that, says Carolyn. I was wrong to think that meant he was dead, admits Julia--I should have known--if he did disappear, then he must be on his way back here! You aren't making sense, says Carolyn.  Julia, however, is already half out the door--I've got to go! Carolyn chases after her to stop her exit--you're in no condition! She protests.  He might be back now, says Julia.  You're in no condition, says Carolyn--come back!  Julia is already gone. Carolyn is deep in thought.

The mysterious man takes the lit candle and begins looking around, searching the Old House. He stares up at Barnabas' portrait. Julia looks through the window of the Old House,spotting the man. We see his face, but it doesn't look familiar. He snuffs out the candle and leaves the house. Julia is waiting outside, and shines the flashlight at him. "Who are you?" she demands.

NOTES:  Lots to ponder here.  Julia's obvious, and no longer hidden, feelings for Barnabas are on display for Carolyn.  She's been going daily to the Old House to wait for his return, rarely sleeping, worrying about the guy she loves.  She and Carolyn have become friends.

As far as the 1897 crowd is concerned, Kitty and Barnabas eloped somewhere and will never return.  Too bad that didn't really happen.  The truth is far less happy.

Who are Haza and Oberon?  What new caper is Barnabas becoming involved in?  Will he be human when he returns, or not quite?  Will he lose his vampirism?  What will happen when he and Julia meet again?  Can we perhaps expect a kiss, or at least a big hug?

Who is the man Julia has met in the woods, and what is his connection to Julia and the Collins family?

Love, Robin