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
