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
