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
