897 - David finds himself in an underground cavern beneath the ground, constructed of rock and wood, where he reaches into a vat of bubbling liquid and finds a bunch of leaves. He holds them and recites the Leviathan Cheer, "The waters shall nourish..." The final words, "flesh and bones," reverberate, making David nervous. He covers his ears as it grows louder, eerier; he finally passes out altogether on the floor.
At his cottage, Chris, morose, ignores a knock at his door at first. Finally, seeming almost drugged, he goes to answer it, having trouble opening it to see Carolyn. He invites her in, unenthusiastically, and asks about Sabrina--is she fully recovered from her loss of speech? Not completely, says Carolyn--not everything she says makes sense, but I want to know about you and Sabrina--did you MEAN something to each other at one time? Didn't she tell you? he asks. Carolyn gently says, I'm asking you. Yes, he confesses, we did, at one time. What? she asks. It doesn't matter now, he insists, Sabrina doesn't mean anything to me now. Sabrina still feels something for you, reveals Carolyn--she's trying to protect you from something. Tell me what she said, demands Chris, irritated.
First, says Carolyn, I want to know why you tried to keep me from seeing Sabrina. She's a sick girl, says Chris evasively. Obviously, says Carolyn, how did she get that way? Again, Chris asks, what did she say? Something I found difficult to believe, says Carolyn--I want to know why Sabrina is the way she is! Chris grabs her arms--are you afraid to tell me what she said, Carolyn? No, she assures him, she sent for me to warn me that you would try to kill me. Chris says nothing at first, then asks, "And you refused to believe her?" I saw no reason why I should, answers Carolyn--I know you well enough to know you'd never kill anyone. What if he had no choice? asks Chris--uncontrollable. What are you saying? she asks. Sabrina was right! he shouts, you should have listened to her and believed her--the worst thing you could have done was to come here and see me--you've been wondering about me for a long time--I couldn't tell you anything myself--believe Sabrina--it's the truth--I'm a monster with no choice but to kill, no control over it! Stop it! orders Carolyn, upset--you can't hate yourself that much. What do I have to do make you understand? cries Chris--I'm rotten, do you have to be shown the other side of me to be convinced?? I couldn't have been so wrong about you, protests Carolyn. Do yourself a big favor, says Chris--get out of my life--leave me alone! Near tears, Carolyn leaves the cottage without another word. Chris, alone, miserable, takes a gun from the a top drawer.
Carolyn goes to the Old House, and calls to Barnabas. She hears Barnabas' voice: "There is no margin for error--punishment is necessary." Carolyn calls him again, and once again hears the same two sentences spoken by her cousin. Realizing it's coming from behind the secret bookcase, she presses her ear to it. Barnabas calls to her from the area near the stairs, greeting her cheerfully. I don't understand, she says--I was sure I heard your voice coming from somewhere in this room. You did, says Barnabas--nothing mysterious, I'm conducting an experiment in electronics to keep myself occupied (the 18th century man + electronics?--does not compute!) Oh, says Carolyn, near tears. Why are you so upset? she asks. I had to see you, she says--it's all over between Chris and me--I'm not sure I want it to be--the other evening, you advised me against seeing Chris anymore. Not only are you related to me, but I'm very fond of you as well, says Barnabas.
Why did you tell me to stop seeing Chris? she asks, what do you know about Chris that I don't? Nothing, he says. You must have had some reason, she insists. I believe that emotionally, Chris isn't stable--possibly dangerous, replies Barnabas. Chris agrees with you, says Carolyn. Then my advice was sound, says Barnabas. Why? cries Carolyn, what's wrong with him? That shouldn't concern you anymore, my dear, says Barn. I can't just shut him out of her mind, she protests. Barnabas takes her in his arms and asks, do you trust me? Of course, she says. You are going to find a truer love than you ever knew with Chris, promises Barnabas--a love that will make your present feeling for him seem like the merest infatuation. Are you only saying this to make me feel better? She asks. No, he gently assures her, I feel that it's written somewhere, your destiny. I don't understand, she says--how can you be so sure? I feel it, therefore believe it, he says, leading her to the door with his arm around her. I wish I could feel the same way, she says. You will, he says, it will take time, and when it does, you will know it. She thanks him for listening, and for being so concerned. Return to Collinwood and get some rest, he urges--turn your mind to the future. They bid each other good night and she leaves. Barnabas, pleased with himself, opens the secret bookcase, turns off a tape recorder, rewinds the tape and plays it back: "There is no margin for error. Punishment is necessary", it says over and over. He turns to someone and asks, "Do you understand what must be done?" He's speaking to Philip, telling him to go and see that it is done. Philip, walking like an automaton, leaves the secret room and the Old House. We continue to hear the tape, and Barnabas smiles.
Cottage - Chris, having written a letter to Carolyn, slips it into an envelope and leaves it on the mantel above the fireplace. He takes the gun into his hand. Hearing a woman sobbing, he demands, who's in this room? It's crazy Jenny, hair a total mess. You must not do it, she insists. What are you talking about? asks Chris. You must not die while there is hope, she says. Who are you? he demands. I cannot help you, she says in a hoarse whisper, but HE can!--you must find him! Find who? asks Chris.
Quentin Collins, she says, and disappears. Wait! Chris calls, but all he hears is her voice, repeating over and over, "Quentin Collins!"
David comes to consciousness in the Leviathan underground room. Candles are everywhere. (It's a pretty cool set, actually.) He reaches into the vat for the leaves and exits, walking unsteadily.
At the antique shop, Megan comes downstairs, looking nervous, rubbing herself as if cold. It's 10 minutes to nine. She picks up the phone and dials the operator, asking for the police. At that moment, Philip enters. "Hello, darling!" he says. Overjoyed, she races to him, runs into his arms--I'm so glad you're all right! she croons. What's wrong with you? he asks. I've been worried sick, she says--you've been gone all night! I know, he says, I'm sorry, I met a man who wanted to show me a house full of antiques who said he wanted a quick appraisal, so I just went too take care of it--once I got started, I lost track of time. So unlike you, says Megan. Do you think I'm lying? he asks. Of course not, she says, it's just that I don't understand, and I've been so terrified--ever since late yesterday, I've had this terrible feeling someone was coming to kill me! Why would you think such a thing? he asks. I don't know, it just came over me, suddenly, she says. Another of your strange premonitions, he teases. Please don't joke, she begs, I was so frightened, and so glad you're back. He hugs her--I'm home now, everything will be all right. She hugs him back, asking, will you let anything happen to me? No, I won't, he assures her--is that coffee I smell? She nods--I made some a little while ago. We should have some--it will help calm your nerves, he suggests. She pours. How's the baby? He asks. No better, says Megan, handing him a cup of coffee--still running a high fever--I don't know what we're going to do. It's a shame about the book, he says, sipping his coffee--you should have been more careful. His face is stony, odd. She looks at him and says, "*I* should have?"
It was your fault it was stolen, he says. Philip, she chastises, we were both responsible. Yes, but you were the last one to have it, he says--I'm not angry at you, just stating a fact. Growing hysterical, Megan asks, don't I feel bad enough already?--I've just been through the most terrifying day of my life! Calmly, he says, I didn't mean to upset you. I can't help it, says Megan. Finish your coffee, he suggests--try to relax. She takes a sip of coffee. He feels his pocket--I'll be right back, he says. Megan loses her cool again--where are you going? For cigarettes, he says. Please don't leave me, she begs, chasing him to the door. I'm only going to the drugstore, he promises--I'll be back in a few minutes. She pursues him outside the store, begging, don't leave me! Get hold of yourself, he says, there's no menacing stranger lurking out here in the dark who'll come attack you! How do you know that? asks Megan. Because I know it, he says--I'll only be gone a few minutes. She returns to the shop, slams the door, and stares out after her departing husband. She closes the blind over the door and covers the window as well. She sits down in a rocking chair and begins to rock, taking her knitting in her hand. The rocker is very creaky, but when she rises from the chair, she can still hear creaking. The clock strikes 9 PM. She gazes up at it, trying to calm herself. She picks up her wool, which gives her some trouble, and throws it into the rocker with frustration. She sits down and attempts some paperwork, but her nerves won't let her concentrate. The blind suddenly flies up, making a loud noise that makes her jump. She closes it again, then locks the door. Clearly near hysteria, she returns to working on the store receipts, checking them against her ledger. She hears another loud bang and once again climbs off the stool. A picture has fallen to the floor; she returns it to the spot where it was hanging. She chews her nails a few moments, turns, sees the back door to the shop, which she quickly opens, looks into, then closes. Growing more and more agitated, she takes a sip of coffee and hears a door closing upstairs. "WHO'S UP THERE!" she screams--Philip?!. She rifles through the phone book and dials the Lowell apothecary. Is my husband still there? she asks--what?--you haven't seen him?--but he just went there a few minutes ago to buy some cigarettes--thank you, she says, terrified. Hearing another noise, she screams. We see a deer head on the wall, then a beaver. Someone turns the doorknob on her front door...
NOTES: To me, that last scene with Megan is one of DS' scariest; I recall being really nervous the first time I saw it, much as Megan was. They were really doing a head number on her. Wonder if Philip was doling out HER punishment, as Barnabas had doled out his? Did poor Philip have to listen to that tape over and over? No wonder he was bleary-eyed. Barnabas was damn creepy, too, and you wondered if he didn't give him some physical discipline, too, along with the tape. In any case, brrrr. I'm glad Jenny saved her great-grandson and prevented him from killing himself.
Olivia Corey! Is the related to Amanda, or IS she Amanda? I liked when Julia baited her about the portrait. What does Olivia want?
I HATE what has happened to Megan and Philip, I really do.
Two great performances by Marie Wallace today, one as Jenny, the other as crazy Megan. : )
898 - Megan screams, "Who are you? What do you want from me?" The person trying to get in turns out to be Philip. Thank God! gasps Megan, immediately opening the door. When she does, however, Philip, face twisted like that of a snarling animal, attacks her, his hands reaching for her throat.
Philip pursues Megan around the store, trying to grab her. Why are you doing this to me? she pleads. Because you let the book be stolen! he shouts. I didn't mean to! wails Megan. There is no margin for error, punishment is necessary, insists Philip, choking his wife. She begs him to stop, but he continues to throttle her. From the stairs, David's voice rings out--punishment is no longer necessary. He holds Joseph in his arms. The baby is sick, says David, I've come to make it better--such a beautiful baby... Give me the baby, asks Megan. David hands the baby to her, then gives her a pouch--after you give it to him, the fever will go down, he promises--it's a kind of medicine, just what he needs--I know. Philip begins, "What you just saw..." You don't have to explain it to me, says David, I understand exactly what was happening. You stole the book, didn't you? accuses Philip. Yes, says David. Give it back, orders Philip. It isn't possible, says David--I am the keeper of the book and protector of the baby
--we all have our duties; you've found yours and now I have found mine. How do I know I'm not being lied to? asks Philip. You aren't, says Megan--I know he's speaking the truth. Megan, take the baby upstairs and give him his medicine David instructs Megan. I will, she says--thank you very much--we're both very grateful. She leaves with Joseph. David and Philip stare at each other, and the latter says, I believe you now. The door opens--Paul walks in, asking for Carolyn. I haven't seen her all evening, says Philip. Paul, anxious, asks, will you be seeing her later this evening? David looks thoughtful. I don't know, says Philip. I must get her a message, insists Paul. Call Collinwood, suggests Philip. David greets "Mr. Prescott." Oh, you're David Collins, says Paul, we met the other day. Yes, agrees David, I must go home--would you like me to bring her your message? Mr. Prescott? Yes, says Paul, handing him an envelope, but you must promise not to give it to anyone but Carolyn. David promises. Tell her I'll be back in my hotel room within the hour, says Paul. OK, says David. Paul leaves after thanking Philip. Did you get the feeling he was frightened of something? David asks Philip. Yes, I did, answers the latter. Megan comes down and reports that the baby has taken his medicine. It should take affect in a little while, says David--and if you ever need my help, I will come to you, but no one is to know. We understand, says Megan. David bids them good night and leaves. We focus on the lamp hanging outside.
Leviathan altar - Paul approaches it (what is his connection?) and looks it over. I wonder why I keep coming back to this place? he muses--what is it, and why is it here? Why can't I resist coming here?--I have to find the answer! Paul walks past the altar, then walks away.
Collinwood - Chris and Julia sit side by side, glancing through a family album. Chris asks what Quentin looked like. Strangely, she says, there are no pictures of him at all--I don't know why. How many women lived in the house during Quentin's time? he asks. Perhaps the woman who visited you didn't live in the house, suggests Julia. Why would she appear to me? wonders Chris. Perhaps if we locate her picture, we can find out, says Julia, pointing out Beth's photo--it wasn't her, was it? No, says Chris. That's Beth Chavez, reveals Julia, a servant in the house who was going to marry Quentin. (says who?) Chris points out the woman he saw--but her hair was quite different, he says. Ohhh, says Julia, yes, of course, it makes complete sense--it's Jenny Collins, she was married to Quentin. Why should this woman's spirit come to me, then? asks Chris. It's time you knew, says Julia--Jenny Collins is your great-grandmother.
This shocks Chris--are you serious?--I'm really a Collins--how? Jenny and Quentin had two children--twins, says Julia, Quentin abandoned Jenny and she went mad. Edward Collins locked her in the tower room, and the two children were sent to board with a Mrs. Fillmore. Chris remembers her--my grandmother Lenore's last name. I wonder why Jenny told you to find Quentin? says Julia. And why, speculates Chris, should Quentin Collins be able to help me? Because the curse started with Quentin, says Julia, and was intended to go on to the oldest son in each succeeding generation. Then that's why I'm the way I am, says Chris. Yes, says Julia. David enters the drawing room. We could use your help, Julia tells the boy. What do you have in mind? asks Chris. We're holding a seance, says Julia--I want David to participate with us. (Damn, no one ever invited me to do that when I was a kid!) Would you? she asks. If you really want me to, says David. We are going to try to reach Quentin's spirit, she warns. (now how does he even know Quentin, if Barnabas successfully saved the past?) David looks nervous. You really don't have anything to fear from Quentin, says Julia, when you got well, Quentin's spirit left the house forever--this is terribly important to Chris, who's in desperate need of help. It could be a big help to me, adds Chris. Not looking happy about it, David finally agrees to help--if I can. Julia leaves to get what they need. David looks terribly uncomfortable.
In his hotel room, a pacing Paul says to himself, the boy should have gotten to Collinwood by now--why doesn't Carolyn call me? Now I'm talking to myself; that's fine, just fine. He sits at the desk, head bowed, and looks up to gaze at a calendar on the wall over the desk--December, 1969. He reaches for a pen, not of his own volition, and males a circle around December 4th. He puts the pen down, wondering, what made me do it? Unnerved, he reaches for his coat and leaves the hotel room.
Antique shop - Megan comes down--the baby is better, Philip, she says--I gave him the medicine and his fever is gone. David was right, they agree. He works on receipts. I want you to know something, she says--I understand now why you tried to punish me--you were just doing what you had to do. He apologizes. You mustn't, says Megan--it was my fault about the book being missing--I'm so happy it's safe now with David. So am I, he agrees. They caress each other. Philip says, we must be very careful now--we can't make anymore mistakes. They kiss as they did in the days of old, a long, wet one. Are you going to work much longer? she asks. (nookie in mind?) I'll finish now and we can close up the shop, he says. Paul is at the door--have you heard from Carolyn? he asks. Philip is surprised--David left a few minutes after you did, and should have been at Collinwood half an hour ago. Megan reminds Philip they have a message for Mr. Prescott. Paul rushes forward--someone left an envelope for you. Give it to me, begs Paul. He opens the envelope and reads the brief message: PAYMENT DUE, 4 DECEMBER 1969.
Upset, Paul asks, who gave this to you? A man brought it, I never saw him before, replies Philip, didn't pay attention to him. Paul asks Megan, do you know what the man looked like? I was upstairs with the baby, she explains. Paul gives them both dirty looks and leaves the shop. Philip and Megan exchange glances.
Chris, Julia and David sit at a round table. I seek the spirit of Quentin Collins, intones Julia--it is your spirit we seek--come to us, for there is one here who needs your help. Thunder, lightning. David looks scared. Respond to us, bids Julia, if we are reaching you, give us a sign. David goes into a trance. Julia asks, can you tell us who you are? Jamison Collins, says David. I wonder why HE responded to us? asks Julia--we want Quentin Collins. He cannot hear you, says Jamison. Why? asks Julia. His spirit is gone, there can be no communication anymore, says Jamison;
his spirit will not come to you, this is all I know. Can't you tell us why? she asks. That's all I know, repeats Jamison. David's head drops to the table. Julia turns on the lights and joins Chris, both checking David over. The boy regains consciousness. Julia fixes his hair. Did Quentin's spirit come? he asks. No, she says, it didn't--thank you for your help--you should go upstairs now. What did happen? he asks. I'll tell you later, she promises. He leaves the drawing room. We don't know anything more now than we did before, says Chris. Not true, says Julia, Jamison told us Quentin's spirit couldn't communicate with us--it could possibly mean Quentin is still alive!
Paul looks at the note, wondering what it means. Payment due? Whoever left it at the antique shop knew I was waiting to hear from Carolyn--who is following me, knows we meet in that shop? (weird to have a sink in the middle of the room, isn't it?) Paul senses someone is outside the door, but tells himself, it's my imagination. Is it? Make sure! Find out who's after you, you must know! He opens the door and spots the mark from the cairn tattooed on his wrist
--coiled snakes. He tries to wipe it off, screaming NO!
NOTES: Philip scared me to death when he leaped at Megan that way. Lucky David saved her.
Paul is only experiencing the early stages of his terror. It gets much worse.
Why would David still remember Quentin with fear, considering that Quentin did NOT die and haunt him and the rest of the family? Isn't this a time travel conundrum?
Love, Robin
