909 - Paul opens the draperies to find a little girl with blond pigtails; she looks exactly like the photo of Carolyn in the album David showed him. "What are you doing here?" he asks--"Playing games with the other children, a friend of David and Amy's?
She doesn't respond. Answer me! orders Paul. "Why did you do it, Daddy?" she asks accusingly--"WHY?" Daddy? repeats Paul-- what do you mean? She runs off, Paul in pursuit, still demanding she answer.
Paul runs downstairs. Julia is standing in the foyer. Did you see the little girl who just came downstairs? He asks. I saw no one, answers Julia. She had long, blond hair, insists Paul--you must have seen her! The only child I saw was David, she says. Did you see Alexander? Paul asks. I don't know who that is, she says--however, I know David was playing hide and seek with someone. Paul brushes past her and looks into the drawing room--she isn't here, he mumbles, you saw no little girl--who is she, where did she go, how did she get here in the first place? Julia asks, why is she so important? He starts to say something, then stops. Perhaps it was Amy? suggests Julia. No, says Paul impatiently, not her--I must find her! He races off toward the study, Julia gazing after him with concern. She leaves the house. Paul exits the study and returns to the foyer, searching desperately. He finds the photo album in the drawing room and flips through it, coming across the photo of Carolyn, 8 years old--what is she, wonders Paul, a ghost?--but you have to be dead to have a ghost!--a memory? Impossible--I wasn't here when Carolyn was eight--or is she something they conjured up to torment me? Perhaps Liz is right and I'm going out of my mind...no, I must find that child and make her tell me the truth! He leaves the photo album open on the table.
We see a head shot of Olivia Corey, then the actress herself, complaining, I've been trying to get in touch with Dr. Hoffman forever, it's impossible, she's never at Collinwood. Chris lights the cigarette she's popped into her mouth. Is Julia is involved with some man? asks Olivia. (if only)! She is, says Chris, but not in the way you think--she's been seeing quite a lot of a patient at the hospital. What's so fascinating about him? asks Olivia--is he hovering between life and death? There's nothing wrong with him physically, explains Chris--he has total amnesia. How dreadful, remarks Olivia, for his family, having him there, but not having him there at all. He has no family anyone can find, says Chris, he just came to town. For what, to work here? she asks. No one knows, says Chris, but Julia is working to find out. Olivia puffs her cigarette--does this prize patient have a name? she asks. Grant Douglas is what his ID says, says Chris. I want to call Julia in the patient's hotel room, insists Olivia
--I have important news to impart. I'll be seeing Julia, says Chris--you can pass a message along with me. All right, says Olivia, tell her Montene is coming. Who's that? asks Chris. Of the Montene Gallery, where I'm having my showing--he's in Quebec now, but he promised to be here to see Julia's Tate painting for himself--it's a perfect landscape. She bites her nails. Do you want the painting back? Asks Chris. Yes, until Montene sees it, says Olivia. I'll be glad to tell her that, says Chris. Flirtatiously, Olivia says, I'm depending on you. I'll let you know what Julia says, he promises. Olivia bites her lip.
Hospital - Julia suggests to Grant--its a little early for you to be so depressed. Why ask me? says Grant, I'm the last person to know what kind of guy I am--usually depressed, usually cheerful, what future is there for a Mr. Nobody? You aren't that, she protests. What am I? he asks. Your ID says you're Grant Douglas, she reminds him. And who is he? presses Grant. That's what we will try to find out, says Julia. She displays the items he had with him at the time of the accident on the hospital tray table--perhaps something can give us a clue, she says. Not much to go on, says Grant. He picks up a check--my rent is $55 a month, so we can safely assume I'm not a member of the jet set. He picks up a matchbook and observes, I spend a lot of time at the High Hat Lounge, which promises that if you go there, you'll forget all your troubles-- but brother, that's nothing compared to what you can forget in Collinsport. Julia hands him a key and asks what it belongs to. Locker 194, reads Grant from the tag--I don't recall putting anything in a locker, so whatever it is, it will just have to stay there, won't it? He picks up what looks like a wooden puzzle and takes it apart. Julia watches him carefully, then asks--do you often do that when upset? Oh, ho, the sneaky approach, trying to catch my subconscious off-guard? he says teasingly--I don't know if I do this often or not, I still think I'm Mr. Nobody. What happened to you is horrifying, agrees Julia, but if you cooperate with me, I can awaken the part of your mind that's asleep. Why? he asks, so I can go back to my cheap apartment and rollicking nights at the High Hat Lounge?--I'm not so sure it would be worth it all. You're future might be fascinating, once we learn about your past, encourages Julia. He puts the puzzle back together. OK, he says--how can we find out? I want to try hypnosis, says Julia.
Paul stands on the landing, musing--I've been over every inch of this house and can't find her--perhaps I didn't really see her? I did! I even spoke to her! Carolyn, when she was eight years old? He shakes his head. Am I sure I'm not crazy? The little girl comes into the house, bright green hat on her head. Paul goes to her--I've been looking all over for you, he says. No, don't come near me, I hate you for what you did! she cries, and goes into the drawing room and closes the double doors. He comes after her--I can explain if you just give me a chance! He says--but when he pushes the doors open, the little girl is gone--again. Paul looks behind window drapes, but she isn't there, and he leans over a chair, utterly exhausted and baffled.
Hospital - Grant sits in a chair near the window. Julia closes the blinds, holds up her medallion, and says, keep looking at it until I snap my fingers. She twirls it, urging--look at it deeply, deeper and deeper, until you see the center of the stone. I can see it, he says. Look for another center, orders Julia, and another--can you see it? Yes, he answers, I can see beyond what I saw before. Deeper and deeper, to the center of the stone, she whispers. He stares. As far as you can go, she encourages. I can go no further, he says. Look inside yourself, she says--who are you? "I am...I...am..." he falters. What's the matter? Asks Julia. I don't know, he says. "Who are you?" she asks again. His face twists; he utters a sound between a scream and a sob: "I DON'T KNOW!" I am waiting, says Julia severely. So am I, says Grant. Why are you waiting? She asks. I'm waiting to leave, I must go away from here, right now... No, says, pushing him back in the chair, you cannot go. I must, insists Grant. Why? she asks--did you do something wrong? "I must leave here, I must," says Grant. Why?--try to remember why you must leave, says Julia. Because of HIM, says Grant. Who is he? she asks--who are you? I can't answer that, he says desperately, licking his lips. You must try, says Julia. Frederick Thorn, says Grant. Who is he? she asks.
Upset, he says, it's all away, all done, all over. Yes, agrees Julia, it is all over. She snaps her fingers, bringing him out of it, then opens the blinds. He stands. Are you all right? she asks. Yes, he says, then asks sarcastically, was it a full success--do you have a brilliant biography? Who is Frederick Thorn? she asks--you mentioned his name in your hypnotic state. The name means nothing to me, says Grant--I've never heard of the guy--what else did you learn? These things take time, admits Julia. In other words, you learned nothing, he says. That isn't true, insists Julia--we are at the beginning of a long, long road, many things to do--I want you to completely cooperate. He chuckles--it's a nice thought, he says, but what will I eat while we travel this road, and pay my rent? I will take care of everything, Julia assures him. Oh, he says, grinning naughtily--tell me, are you this generous with all your patients? "Will you put yourself in my hands for as long as is necessary and stay in Collinsport?" she asks, ignoring his banter. (put himself in your hands, Julia? Interesting...) Sure, he says, why not?--as long as the drinks are on the house. They smile at each other. I'll make the necessary arrangements and come back for you, promises Julia. Thank you, he says--do you really think you can learn the truth about me? I hope so, she says, smiling, and leaves. Chris is waiting for her outside the room. I think I'm finally on to something, he says--I heard a couple of guys talking in the hospital cafeteria, one was telling the other that something strange happened in the x-ray department--a man came in to have a painting x-rayed! It could only have been Mr. Nakamura, says Julia. And only your painting, says Chris--this man seemed to think it was a strange request and spent a lot of money to have it done quietly and quickly. I wonder what Olivia suspects, says Julia, is looking for? A friend of Olivia's is coming to town, says Chris--she wants to borrow the painting again. Whatever she's looking for, says Julia, she may have found it. Both look serious.
Collinwood - Paul comes downstairs and stands before Barnabas' portrait. He backs away from it and goes into the drawing room to pour a stiff drink. He downs it and pours another. He hears something fall and sees the book BLACK BEAUTY has dropped to the floor. Eight year old Carolyn picks it up. Sweetheart, he says, approaching her slowly. Don't come near me! she orders again, not after what you did! He tries to reach for her, but she runs off and into the study. He decides not to open the door--she can't get out of that room, and I've got her cornered--I must find someone else to see her, ask her how she got here, who she is, she wants from me. Julia walks in. Paul calls to her and asks, do you remember the little girl I asked you about? I do, says Julia. I've seen her twice since then, says Paul--first in the drawing room, but now I have her trapped behind this door--she can't get away from me this time. Mr. Stoddard, says Julia gently , as if speaking to a mental patient. No, I know she's in here, he insists, and you can see her, if you just look--she's in here now. The door opens. Alex, BLACK BEAUTY in hand, walks out and greets Paul, who demands, where is she? Where is who? asks the boy innocently. "The little girl who went in there," says Paul, pushing past him into the room. He looks around, but no one is in there. She isn't there, he tells Julia. "There's nobody else in that room," agrees Alex. She was, says Paul, so don't bother to lie to me!
--Carolyn was there, I saw her go in there, I did, I saw her go in there--she's gone, you must have done something to her, she's gone, it's your fault, and I'm going to... Paul moves to attack Alex. Julia stops him, and says, first you said you saw a little girl in that room, then you said Carolyn was there. She was, insists Paul--she was, Carolyn when she was eight years old! Julia, obviously thinking him insane, suggests, go upstairs and rest a while. Rest? cries Paul--I would like to rest, but what about HIM? He points viciously at Alex. I'll take care of him, assures Julia. Alex gazes at him, unblinking. Why was he in that room? asks Paul. I promise to find out, says Julia, if you go up and rest. Will you find out? Paul asks. She nods--I will, she says. He backs away from Alex, then turns and heads for the stairs. Alex and Julia watch him go. Paul walks slowly, like an old man who can barely navigate the steps. "Why is he so upset?" asks Alex. Julia, looking sad, says I don't know. "Why does he want to know what I was doing in there?" asks Alex--"What does he think I was doing in there?" Julia asks, what WERE you doing in there? "Something I like to do," says Alex, holding up the copy of BLACK BEAUTY for Julia to see--"I was reading."
Grant, dressed in what was then called the leisure suit and turtleneck, continues to fiddle with the puzzle. You look very handsome, praises Julia. He thanks her. I found you a place to live, which I hope you'll find pleasant, she says, but hopefully you won't have to be there very long. I won't be staying there at all, says Grant--I've decided not to go with you. That's impossible, protests Julia, what can you do, where can you go? "With me, Doctor Hoffman," chimes a voice from the--Olivia Corey--"He can go with me."
NOTES: Poor, poor Paul! Did they ever do a great job of discrediting him, and in a way that probably makes him feel as if he's nearing insanity for real.
Poor Grant, too, who is he really? He reminds us so much of someone else, and that remark about drinking was so reminiscent of someone we know. What does Olivia want with him, besides the obvious?
There were a lot of sexual overtones (or undertones) in some of these scenes. Did anything strike you as odd, or do I just have a very dirty mind?
What does Olivia want with the painting? What did the X-ray reveal?
Pretty good eps. Leviathan isn't entirely bad, is it?
910 - Julia sits by the fireplace in the drawing room, paces to the window, gazes out.
Olivia leads Grant to her hotel suite and turns on the light. He asks, is this where I'm going to stay? It's my suite, she explains--I'll call down to the desk and make arrangements for one for you (unless his memory comes back, I suppose, then another suite won't be necessary). Why are you staring at me? he asks, smiling. I'm trying to convince myself it isn't a dream, she says--haven't you any memory at all? I don't even know if I'm right or left-handed, he says, and you ask if your face isn't familiar to me--should it be?
--have we met before tonight? She looks stricken, disappointed. If we have met, says Grant, you've got to tell me where and when. She looks at him, disappointed, and says, it was a very long time ago (I guess this answers the question of whether she's actually Amanda or not, at least for me).
Is that all you're going to tell me? asks Grant, amused, it was a long time ago? Upset, she says perhaps I shouldn't have told you that, I might be mistaken. About what? he demands. You, she says, I think it would be the cruelest thing that ever happened to me--waiting so long, then thinking I finally succeeded...and then learning that "you aren't really you at all--I couldn't bear that!" She's close to tears. Grant goes over to her and says, you aren't making any sense--why did you bring me to this room--what do you want from me? She looks stricken again. Did I say something wrong? he asks. You deserve more than I'm telling you, agrees Olivia--I wish I could make everything easier... I appreciate your help, Grant says, it's just that I'm in no condition to be bothered with guessing games. "We're not playing a game!" cries Olivia angrily. Then what ARE we playing? he asks, you brought me here for a reason--what is it? This may sound strange, says Olivia, but maybe when the time comes, you won't have to ask me that question--you'll know. She smiles hopefully. Softly, he says, I really don't think I like this--my life itself is a mystery, I don't think it would be good to confuse things even more by adding more mystery. He turns to leave and says, I don't know where I'm going, but I can't stay here, I'm sorry. "Please don't leave me now!" she begs. He looks at her. Olivia calms herself down and promises, I'll do everything I can to help you--I want you to regain your memory more than anything--please believe that and please stay. Realizing she really means it, he asks, why won't you tell me why you feel as you do. I have a good reason, she says--when you know what it is, you'll understand. Grant reminds her, you don't seem to realize the impossible task you're undertaking--I have no identity, I'm a nobody, and it will take a lot more than your good intentions to change that. That isn't true, she says, not quite--the ID you carry says you're Grant Douglas, but on the other hand, there are at least two people who think you're Quentin Collins. HE lived over a hundred years ago, says Grant sharply, it hardly seems likely that... Please trust me, she begs, you won't regret it--stay and let me do what I can. He thinks it over and agrees, "Since I have nothing further to lose, I'll stay." She smiles, relieved.
Collinwood - Liz walks slowly downstairs (she and Olivia are becomingly dressed in black today). She eyes Barnabas' portrait somberly, then goes into the drawing room and greets Julia, explaining, I need your help--I'm worried about Paul--his behavior has been illogical, to say the least. I know, says Julia--where is he now? On his bed upstairs, says Liz--he keeps muttering Carolyn's name over and over--I can't get him to make any sense--he insists he saw Carolyn at the age of eight today--he must be having hallucinations. He told me about the little girl, too, says Julia. Can you think of anything that might be causing his behavior? asks Liz. Paul hasn't been in this house in 20 years, says Julia--he must be feeling guilt for abandoning Carolyn all this time, and there's no telling how it might manifest itself. I was hoping you would have a talk with him, says Liz--you're a doctor, and it's clear he's disturbed. He is, agrees Julia, but... But what? asks Liz. Do you remembers the night I came in and you and Paul were having a conversation? Asks Julia--he was very upset, feeling there was some great conspiracy, something about Barnabas and the antique shop in town--you told him not to go to the police because they wouldn't believe his story. He was talking so much, says Liz, I didn't remember what he said. What story wouldn't the police believe? asks Julia.
I don't remember, says Liz--he's been carrying on like this since he came back, insisting someone or something is after him, I'm sure something from his past must be haunting him. But Barnabas has nothing to do with his past, points out Julia. Neither do you, says Liz, yet he insists you're part of the conspiracy. Yes, that's true, agrees Julia, pondering. Everything you heard the other evening is fantasy, says Liz. Julia looks at her doubtfully. Someone knocks at the door, interrupting them. It's Chris, here to see Julia. If you and Chris have business to discuss, says Liz, I'll go upstairs. I want to finish our conversation later, says Julia. Yes, at your convenience, agrees Liz.
Chris has brought with him Julia's painting and an X-ray. The lab tech at the hospital thought it a little odd, says Chris, but he must be used to it by now. It's even more important now, says Julia; when I went to the hospital to get Grant, he said he didn't want me to treat him anymore, refused to come with me. Why, asks Chris, if he has amnesia, would he turn you down? He left with Olivia, reveals Julia. i don't get it, says Chris--why is she so interested in him? She either knows or suspects he's really Quentin, says Julia--let me see the x-ray. She holds it up to the lamp and says, now I know why she's so interested in the painting--there's another painting under it--a portrait!
Chris examines the x-ray--yes, I can see the outline--whose portrait do you suppose it is-- Quentin's? No, says Julia, the canvas his was on was much larger (continuity rules!) A canvas can be cut down, says Chris. You might be right, says Julia--Olivia went to a great deal of trouble to get to this other painting, and now she wants my canvas back. She's certainly determined to learn whose portrait is under the landscape, says Chris. She can't do that without damaging my painting, says Julia. Nakamura took a color photo of the painting, says Chris--I bet she had a duplicate made of the canvas. And is planning to switch her picture with mine, says Julia. We have to discover whose portrait is under the landscape, insists Chris. There's only one man to ask, says Julia. As Chris examines the painting, she calls Stokes, who is examining/ comparing Olivia and Amanda's handwriting. Eliot, do you recall the Tate painting I bought last week? She asks. I do, he says. I have discovered another painting under it, she says, a portrait. Extraordinary, he says. Julia asks, is there any way to remove the top layer without damaging the bottom layer? Quite possible, says Stokes--Henry Osmond, someone I know from the university, is an expert on that sort of restoration. Can you call and ask him if he can help? asks Julia. This evening? asks Stokes. Yes, says Julia, I'm sorry to say so, but it's terribly important. Stokes promises to try. I'll have Chris bring you the painting right away, says Julia. They hang up. Julia orders Chris to bring the painting and X-ray to Stokes--if Stokes' associate is willing to do anything this evening, you are to stay there until he finishes. Do you think all this detective work will do any good? asks Chris. I think it already has, says Julia--you'd better get going, Stokes is waiting.
Grant sits on the sofa with Olivia and suggests, since my life is a complete blank, we should discuss yours. She grins--my public life is a matter of the record, she says, my private life--I never discuss it. I see, he says, smiling--what kind of actress are you? I began as a dancer and singer, she begins. This seems to trigger something--for a moment, he says, I thought I remembered a song. Try to bring it back, she urges. I can't, he says. Please keep trying, pleads Olivia. It's a tune, he says. Hum it, she suggests. No, he says, it's gone. Disappointed. she answers a knock at the door--Julia. Grant greets her. I must speak to Olivia alone, says Julia, if you don't mind. Olivia doesn't mind, and neither does Grant. He goes into the other room, leaving the women alone. Julia, ill at ease, asks Olivia, why did you bring Grant here? I have a good reason, says Olivia, but don't wish to reveal it at this time. Is it because you know who he is? asks Julia. As far as I'm concerned, says Olivia, he's Grant Douglas, but you don't believe that, do you
--you think he's someone called Quentin Collins? Perhaps, admits Julia. Wasn't he born before the turn of the century? asks Olivia. 1870, says Julia. The man we're talking about doesn't look 99, does he? asks Olivia. Let's stop fencing, advises Julia--you want this man to regain his memory, don't you? Yes, says Olivia, but I don't want to tell you why. All right, says Julia, since we both have the same goal, it would be advantageous to cooperate with each other--I'm a doctor, more qualified to take care of and treat him than you are. Olivia can't disagree on that point--all right, Dr. Hoffman, we will cooperate with each other, at least for now.
Stokes' home - Stokes examines the x-ray as Chris stands by. Professor Osmond knocks. Stokes thanks the old, balding man for coming at such short notice. Osmond, carrying what looks like a doctor's bag, examines the painting. The painting belongs to a friend of mine, explains Chris, someone who's very interested in Tate's work. Tate's portraits are still very valuable and rare, says Osmond, and his landscapes are quite inferior; however, the old boy deserves credit for turning them out till the end--Charles Delaware Tate died 10 years ago. This news makes Chris very unhappy.
Hotel - Grant comes out of his room and asks Julia and Olivia, have you decided on my fate? Julia and I work together to help you regain your memory, says Olivia. How will you go about this? he asks. Julia's the professional, says Olivia--she will tell you. She bids Grants good night, and tells Julia, "Remember, doctor, bring him back." I'm bringing you to Collinwood to try the association method, says Julia, a way of inducing sleeping memory. I'm not someone who lived 100 years ago, he insists. I must prove that, either way, says Julia--this is a way of starting. All right, he agrees, but I'm doing this because I have no other choice. They leave, Julia smiling at him.
Osmond works on the painting, carefully removing the top layer. Chris asks Stokes about the handwriting samples. The similarity is astounding, says Stokes--it's almost impossible to believe they weren't written by the same person. That is interesting, says Chris--is that what you want me to tell Julia? No, I want to be absolutely sure before I make my decision, says Stokes--ask her if I can keep them a day or two longer. Stokes watches Osmond work.
Collinwood - Julia brings Grant in. He looks around, shaking his head, grinning. I must say, I'm impressed, says Grant--I really wouldn't mind being a Collins, but nothing rings a bell. I'll take you upstairs, she says. He glances around and spots Barnabas' portrait. Are you beginning to remember something? she asks. I recognize him as the man who visited me in the hospital, says Grant--why is he dressed like this in the portrait? It's not the same man, says Julia, it's one of his ancestors--come upstairs. We pan in closely on Barnabas' portrait for a few moments.
Osmond shows Stokes and Chris the portrait. Julia will never believe this, says Chris. Why shouldn't she? asks Stokes, she knew there was a portrait there. Yes, but seeing who the portrait is of is going to be the shock, predicts Chris. Who is it? asks Stokes. "That," says Chris, "is Olivia Corey herself."
And as we get our first glimpse, we see the smiling face of Amanda Harris.
Julia leads Grant up to Quentin's old room in the west wing. I don't recognize anything in here, he tells her, and if I did, I'd say so. Keep looking around, she advises, after lighting a candle. He does. It's no use, he finally says, I don't remember anything about this room, this house--we might as well go back to town and start from scratch. I have one more idea for making your memory come back, she says--sit down and listen. He seats himself in a chair. We will know whether or not you're Quentin in a moment, says Julia, and begins to play Quentin's music. He leans in close and listens as the pretty sound fills the room. Will he remember?
NOTES: Selby is such a handsome guy, I'm finding myself appreciating him far more at my present age than I did at 16. I guess age does bring wisdom.
It's good that Julia and Olivia chose to cooperate with each other, although a tug of war with Grant between them sure would have been fun to watch.
Liz is working to ensure Julia thinks Paul a total nut job, but she still seems to feel there is validity in his fears. Thank God she does, for his sake.
Chris is having fun playing Julia's detective sidekick.
That's Amanda's portrait, huh? Is that what Olivia suspected was under that, or was she looking for Quentin's portrait? This was an interesting twist, and everyone who said Q's portrait was much bigger was right! Will the music Quentin loved so much jog Grant's buried memories?
Love, Robin
