911 - Grant, listening to Quentin's theme play through the gramophone, abruptly bursts out laughing. This is insane, he says--what am I doing here listening to an old song? You're lying, accuses Julia--why are you lying, you are Quentin Collins, why won't you admit it? Do I look 99? He asks. Of course not, she replies. Why do you insist I'm Quentin, then, why? She can't answer that one.
David, asleep, stirs, and awakens to the strains of the music nearby. It's Quentin! he says, he's back! He starts to climb out of bed.
David follows the sound of the music through the hallways of the West Wing, arriving, as thunder booms, in the outer room. He knocks something over. Julia hastily switches off the music and tells Grant, you must hide. Annoyed, he asks why. Never mind, she says, just hide. I thought you had permission to bring me here, he teases, but hides behind the drapes willingly. Just be quiet, orders Julia. David enters. Why are you up? She asks. Why are you here? counters David. I came to find something, claims Julia. Quentin's back, isn't he? asks David. Julia assures him, not convincingly, of course not. I sensed it in my room, he, says--then I heard the music. I saw the phonograph and just turned it on; says Julia, I came to look at the paintings in this room. "He told you to do it, didn't he?" asks David spookily. Of course not, says Julia. He tells you to do something and you have to do it, says David--I remember--you're hiding him. Don't be ridiculous, orders Julia. Forlornly, he says, I don't want it all to happen again (since Quentin never died, and therefore never haunted Collinwood, how can he remember, anyway)? She apologizes for scaring him--I shouldn't have played the music, it was stupid of me. David spots Grant's shoes at the bottom of the draperies behind which he's hiding. This terrifies the child, who insists, I'm not going to stay in this room--I don't have to! Julia offers to take him back to his own room. I'll be all right, he assures her--I just can't be in this room--please don't play the music again. I won't, she says--go back to bed. She locks the door behind him. Grant comes out and remarks, you and Barnabas aren't the only ones who know Quentin. No, she says. That requires an explanation, too, he says--does everyone in the house know Quentin? No, says Julia, the children do. How's that possible? asks Grant. He came back from the dead, says Julia. Grant laughs--is that what you think I'VE done?--no wonder you're interested--a ghost with amnesia, that could be fascinating--I might forget that I'm dead! he says sarcastically. Julia reminds him, I treated you in the hospital, I know you're alive. And the kid saw a ghost, how do you explain that? asks Grant. I want you to explain it to me, says Julia. I have no answers, says Grant--you know that, (he grabs her arm in a painful grip) and you'd better start giving me some if you expect to see me here again.
Hurting in his grip, Julia says, I know I have to explain, but please let me choose the time. He releases her. She cradles her sore arm and unlocks the door. Stay here, she tells Grant. She checks to make sure the coast is clear, returns to Grant and orders, stay behind me--if I motion with my hand, you're to stay still until the danger is past--now come. He follows her to the door. We see Quentin's gramophone and lightning flashing.
David comes downstairs in the darkness and goes into the drawing room. Julia leads Grant downstairs shortly thereafter; they leave the house. David, peering through the doors and sees the face of the ghost who once terrorized him. At the door, Grant sternly tells Julia, I want a full explanation tomorrow. I will give it to you, she promises. I'll be waiting, says Grant. I'm sorry I wasn't more helpful, says Julia, as David gazes at the man in mute fear.
So am I, says Grant, smiling. She closes the door after him, then starts upstairs. David watches her go and wanders into the foyer, thinking to himself, Mr. Douglas is the man Carolyn met in the antique shop, the one in the auto accident. Why does he look so much like Quentin--how can he be without being Quentin?
Alex, in the antique shop, draws a snake with his crayons. When Julia enters, he hastily closes the drawing pad. She greets him. There's no one here to help you, he says rudely. Will Megan and Philip be back soon? she asks. Alex nods. I'll wait, she says. He looks at her with cold hatred. Feeling uncomfortable, she asks, did you have fun playing at Collinwood the other day? He smiles--I like that house, he says--so many places to hide. Do you like to hide? She asks. He just grins, his eyes little slits. I've been wanting to talk to you, she says--you can tell me the truth about your visit to Collinwood--Mr. Stoddard was very upset. He's a grownup, says Alex. And all grownups are always upset? asks Julia--what about Megan and Philip, they're not. They're different, says Alex. How? asks Julia--perhaps they don't have the worries Mr. Stoddard has--did you see a little girl at Collinwood? I saw Amy, says Alex. No, the girl Mr. Stoddard thought he saw, says Julia, with long blond pigtails. Oh, no, says Alex. Are you sure? asks Julia, because Mr. Stoddard shut her up in that room, and when the door was opened, you came out--you must have noticed something about it. The kid just looks at her. You do, don't you? asks Julia, but she's interrupted as Liz, David and Amy enter the shop. This is quite a surprise, says Liz--I brought David and Amy into town to play with him. Alex jumps down from his chair. When Amy cheerfully greets him, "Hi, Alex!" he curtly says, "My name is Alexander!" (the Great?) David tells Amy, you must call him that, he doesn't like to be called anything else--now say "Alexander." Amy repeats the proper name. Alex smiles. Julia, says Liz, today is the perfect day to check the storage room for those paintings you were interested in. I want to wait and see Megan, says Julia. She's shopping at Brewster's, says Liz, I just ran into her there--why don't we go now? Can we leave the children? asks Julia. The kids are fighting over a doll, Alex is insisting Amy can't play with it. He reaches out his arm to take it away from her. There's a crimson, crescent-shaped birthmark on his wrist. Why can't I play with it? asks Amy. Put it down, says David--it's not yours, it's for sale. Amy hold the doll out of Alex's reach. Do as David says! Liz orders. (Three Leviathans ganging up on the non-Leviathan.) Julia has noticed the mark. Alex wrests the doll away from Amy, who wanders to another part of the store. Come along, Liz encourages Julia--they'll be perfectly all right. OK, agrees Julia, if you think they can just be left alone in the store. If I didn't think so, I wouldn't do it, says Liz. I suppose not, agrees Julia. and The two women leave the shop after Liz reminds David not to let Alex get into any trouble. Don't worry, says David. Julia looks back at Alex, who smiles creepily at her. Julia can't get out of the shop fast enough.
Alex thanks David for coming. David volunteers that Dr. Hoffman is nosy, but then, all doctors are; they have to ask all kinds of questions. David notices Amy looking at a picture of Carolyn when she was Alex' age. Give me the picture, demands Alex. Put it down, Amy, says David. He stole it, accuses Amy, it was in the book you found to show Mr. Stoddard. It's none of our business, insists David. It IS, says Amy--he's got a crush on her, but she isn't like this anymore, she's grown up! "Get it!" Alex commands David--"NOW!" You're being silly about this, David tells Amy--come on, put it down. It isn't his, says Amy. It doesn't matter, says David. It does to me, insists Amy, what's the matter with you, it should matter to you, too--he took it, don't you understand, without asking or anything! Alex is about to attack Amy. Wait, begs David, I'll get it from her, you know I will. Amy is perplexed--you're bigger than Alex, David, yet you're afraid of him--what's wrong, David, what is it? Helpless, David doesn't answer. Alex stares at Amy with contempt.
Liz and Julia enter the storage room. I don't like coming to this part of the house, says Liz--the pictures are stacked against the wall--you're going to get very dusty; I should have had Mrs. Johnson come up and clean them. Julia is lost in thought. Liz asks, is something wrong? I was thinking about that boy, Alexander, says Julia, he looked at me, and somehow knew he had won. Won what? asks Liz. I don't know, admits Julia, but somehow, he outsmarted me.
You haven't been around children enough to understand them, says Liz, you're thinking of Alex as an adult. Would you think it rude of me to give you some unasked advice? Queries Julia. Of course not, says Liz. Please don't let Amy and David play with that child again, advises Julia. Liz' eyebrow lifts quizzically.
Why do you feel that David shouldn't be a friend of Alex'? asks Liz. I don't think that child HAS any friends, says Julia--I don't know why I feel so strongly about it, but I do, really, and the day Alex was here, he really upset Paul. Are you taking Paul seriously? Asks Liz--you aren't listening and believing his wild stories? I don't know what to believe right now, says Julia, which is very unusual for me--let's look at the paintings. Liz shoots Julia a strange look.
Antique shop - Amy picks up the photo of the 8 year old Carolyn and refuses to give it back. She tucks it into her pocket. Alex turns a warning glance on David, who reluctantly goes over to Amy and says, if you don't do as Alex says, something terrible will happen to you. I don't believe it, says Amy. I'm sure it will be something you don't like, says David--he'll send Quentin after you. Terrified, Amy turns around--Quentin? she says--Quentin's gone! No, says David, he isn't. He is so, insists Amy. I heard his music playing last night, didn't you? asks David--and guess what, I saw him (he leans in very close to her)--would you like to see him again?? Her face filled with fear, Amy says, I don't believe you, no, and don't threaten me, I'll tell on you! She runs from the room, into an adjoining one. Follow her, David tells Alex--make sure she doesn't come back for a few minutes. Alex grins and nods, disappearing in pursuit of Amy. David picks up a book, sets it down on the table and picks up the phone.
Julia holds a landscape that she and Liz found. It's incredible, remarks Julia--it looks almost exactly like the Tate I found last week--the sky is painted exactly the same way--Harrison Monroe, 1968. I bought it at a charity auction last year, says Liz--thank goodness it was a worthwhile charity, when I got home with it, Roger told me to come right up here with it, and I did. They chuckle. I wish I knew more about paintings and artists' techniques, says Julia--it seems inconceivable that two artists could paint so much alike. You're asking the wrong person, says Liz. Julia asks, may I take the painting to Stokes? Why the interest in Tate? inquires Liz. Professor Osmond said he died 10 years ago, says Julia, but this says 1968, must be some solution!
Antique shop - Amy stands on the stairway, refusing to speak to either of the boys. Alex checks a book that has a note on it--"Return to Grant Douglas." David takes it from him, and both boys are smiling. David goes over and warns Amy, if you don't play the games that Alex wants to play, he won't be nice to you. Annoyed, Amy says, I'm too old for hide and seek. Alex wants to play, says David, so we will--or else. Angry, Amy orders, don't threaten me with Quentin again. I won't, promises David, if you close your eyes and start counting. Amy thinks it over and, resigned, finally closes her eyes and begins to count. The boys pick hiding places. Done counting to 10, she opens her eyes. Into the shop at that very moment walks Grant Douglas. To Amy, he looks exactly like Quentin. She calls to David, desperation in her voice.
He doesn't respond. Grant comes closer to her. Amy begs, "Don't let him get me, David!--David, please!" She runs upstairs, terrified. David comes out, laughing. Grant asks, what's going on here? We were just playing a game, says David. I suggest you go after her, says Grant--I seem to have frightened her. She's afraid of strangers, says David. Are you David Collins? Asks Grant. Yes, responds David, I called you about the book. He hands the book he'd left behind at the shop to Grant, who thanks him, then asks, is that little girl a Collins, too? No, she's Amy Jennings, says David, she just lives at Collinwood. Grant tells David, you're a most unusual young man, and leaves the shop. David grins, satisfied.
Upstairs, Amy begs David not to hide anymore--he's downstairs, make him go away! she cries Please! David, where are you, you've won, come out, come out, wherever you are. Then Amy hears the sound of breathing, THE breathing. Don't try to frighten me again, begs Amy--I won't let you frighten me! She enters the Leviathan child's room and lets loose with a shrill, piercing scream, fists covering her mouth.
NOTES: Oh, Amy, not a good place to go! What will happen to you now that you KNOW? She really shouldn't have teased Alex about having a crush on Carolyn, should she?
Watch it, Julia, don't let on that you believe Paul, even a little bit. Liz won't like it, and might be forced to take Leviathan action against you!
David's kow-towing to Alex is disgusting, isn't it? Yuk. But he's the leader, so I guess it's required.
Don't worry, for those who can't stand Alex, we won't have David Jay around too much longer. Alex is due for another growth spurt.
912 - (Thought Amy's eyes were going to pop from her head when she hears the breathing, and that scream she uttered when she saw IT...decibels that would shatter glass!)
Barnabas enters the antique shop and calls to Megan and Philip. Alex appears on the stairs and Barnabas, furious, orders, "Come here." Alex doesn't move. Did you hear me? demands Barnabas. Yes, the little brat petulantly. Obviously, you didn't, says Barn, or you would have obeyed me. If you want Megan or Philip, says Alex, gone. I'm here to see you, says Barnabas. He and the boy stare at each other malevolently, but Alex finally goes to him. "Why did you let Amy into your room?" demands Barnabas. "WHO TOLD YOU?" booms the child--"Did SHE? It was David, wasn't it?" He takes an antique and throws it to the floor. Pick that up! Barn orders. YOU pick it up, retorts Alex. When you're grown, says Barn, I'll do as you say, but you're still a child--pick it up! Alex does so, but insists, David still shouldn't have tattled on me. Don't try to get even with David, warns Barnabas, it's not permitted!--David is your friend, Alexander--I hope you realize the seriousness of the situation you have caused, and are looking for Amy now--you still haven't told me why you did it. "I hate her!" spits Alex.
Hate is no reason, says Barnabas, especially when it endangers our plans. She won't say anything, boasts Alex, she's too scared. How long will she stay that way? asks Barnabas. I'll scare her again, says Alex. You will NOT, warns Barnabas. You aren't in charge of me, says Alex. I am, says Barn, and don't you forget it--Haza and Oberon entrusted Alex to me, and you can be kept completely secret, you know, kept locked in your room until the time comes--would you like that? Megan and Philip wouldn't let you, says the boy. I tell THEM what to do, Barnabas reminds him. Alex, pouting, doesn't answer, he just walks away. Do we understand each other? asks Barnabas--answer me! Yes, says Alex. Look at me when you say that! Barnabas insists. Alex turns and says, I understand! You will not let it happen again, says Barn. Alex repeats his worlds. This is for your own good, says Barn, leaning on his cane, I must do what is destined for me to do, let me do it. Alex nods. You will be kept locked in your room as long as you're here, says Barn--is that quite clear? Alex nods, his back to Barnabas, who adds--Megan and Philip will be informed--I can't stay here any longer. Where are you going? asks Alex. To undo what you have done, says Barnabas angrily--and he picks up the Leviathan box.
Amy knocks at the cottage door, then, receiving no answer, walks in.
Collinwood - Stokes brings Julia the portrait of Amanda Harris that Osmond found under her Tate landscape. How do you know who she is? asks Stokes. Tate painted several portraits of her, says Julia. Osmond did you a service, says Stokes--it looks far better as a portrait. Wait until you see the new landscape I found, says Julia. Another Tate? Asks Stokes. You tell me, says Julia. She leads him into the drawing room and shows him what she and Liz found. It's a shame a man with his talent for portraiture should waste his time painting Indian Hill, remarks Stokes. This is a Tate? asks Julia. A late one, says Stokes. She shows him the Harrison Monroe signature in the corner. Osmond told me Tate died 10 years ago, says Stokes. He could be wrong, suggests Julia. Why, asks Stokes, are you obsessing with Tate? I can't explain it now, says Julia, but I'd like you to take it to Osmond, since he is a Tate expert, and see if it is, indeed, a Tate.
Stokes says he will. Immediately, says Julia--see if he knows anything about Harrison Monroe, and where we can find him--if I'm not here when you get back, stop at the cottage--I'll be there, filling Chris in. Can I sandwich in one question? Asks Stokes--how did you get Chris Jennings so interested in late Victorian art?--that would seem almost an impossibility. He's doing it for me, says Julia. Why? asks Stokes--I've always been too curious and impatient--I'll find out what you want to know, then try to satisfy my own curiosity. Stokes leaves with the portrait. (Stokes really seems to want to do whatever Julia asks, without question; doesn't he seem kind of smitten with her?)
Cottage - Amy is sitting in a chair when she hears the key turn on the lock. She covers her face, terrified. It's Chris. Amy runs into her brother's arms, trembling. Amy, what's wrong? demands Chris. Tell me! Amy shakes her head, unable to speak. Chris promises, I'll make it all right, why can't you tell me? Amy begins to sob, again covering her face. Is it David? he asks--did you two have a fight? She nods. It can't be too serious, says Chris--what was the fight about? Amy looks around and finds paper and pen. She writes "SHOP". What shop? asks Chris--write some more. Amy grabs the piece of paper and tosses it into the fire. What are you doing? Chris asks. Someone knocks at the door. Amy leaps into his arms, shaking her head violently when he says, I want to answer it. Julia, knocking, calls to Chris. It's only Dr. Hoffman, he assures Amy, and goes to answer the door. I'm glad you're here, says Chris--something has happened to Amy--she can't talk.
What can cause something like that? asks Chris--she wrote one word: shop. Julia sends him to Collinwood to find David, explaining, Amy and David were playing at the antique shop with that little boy today, make David tell you what happened. Do you mind staying with Julia? Chris asks his sister. Amy shakes her head. Chris leaves. Julia kneels and tells Amy, try and relax, then you'll be able to speak, to tell me what happened. Amy shakes her head. Please, begs Julia, you're frightened, we may be able to help you--did it have anything at all to do with Alexander? Amy turns away. What did he do? asks Julia--turn around and answer me, would you write down what Alex did? Amy again shakes her head. Julia continues, speaking softly, telling Amy, you'd be helping us all, honestly, if you told me, if you really would, I don't like Alex--"I think he's a very strange little boy, and if you know something about him that I don't know"... She stops speaking; Barnabas has entered the cottage without knocking. "What a charming picture," he comments--"Did I frighten you?" Julia rises to her feet and answers no. I thought I had, says Barnabas--Amy, are you all right? When she won't speak, he asks, "Cat got your tongue?" She isn't feeling well, says Julia brusquely--nothing serious, I was just getting ready to examine her. Chris isn't here? asks Barnabas. No, says Julia. Would you mind if I waited? asks Barnabas, who sits down without waiting for a response. Venomously, Julia says, "Don't tell me you've become interested in Chris again." I've been thinking a lot about him lately, says Barn--perhaps I was disturbed when I came back from the past and realized I could do nothing for him. Julia, lip curled in disdain, asks, "What game are you playing now?" He stands, getting right in her face, and asks, are you suspicious of me? Their faces are inches apart, within kissing distance. I suggest we don't talk about it now, she advises, and if you want to see Chris, come back later. I'm busy later, says Barnabas. Looking at Amy, he says, Julia, you've been neglecting your duties. Chris has gone to get my medical bag, snaps Julia. Then he won't be gone long, says Barn. He turns to Amy and asks, what seems to be troubling you? Amy tries to speak, finally eking out, "Water." Get her some, Julia, says Barnabas. Julia shakes her head. Why in heavens not? demands Barnabas--a little water won't hurt her. Julia agrees with that. "But *I* will, is that it?" Barn asks. She closes her eyes, purses her lips and doesn't respond. "Julia, be sensible!" he insists.
I AM being sensible, retorts Julia coldly, YOU get the water for her. All right, I will, says Barn, and leaves the room. Julia softly asks Amy, can you speak now? Amy nods. Well, DON'T, warns Julia, not until Barnabas leaves--do you understand?--don't talk until Barnabas leaves, don't tell us anything until afterward. Barnabas appears with a glass of water. "Exchanging confidences?" he asks shrewdly. Just asking how she feels, says Julia. Barn hands Amy the water. She drinks the whole glass. You were thirsty, observes Barn--are you feeling any better? Amy doesn't answer. Barnabas feels her forehead--she doesn't seem to have a fever, he observes. No, just the opposite, says Julia. Barnabas places his HUGE hand on Amy's cheek. "A cold, probably, he says in a hypnotic tone, rubbing her face gently while gazing into Amy's eyes. There, he says, I'm sure you're going to feel better. She turns away. Let Chris know I was here, Barnabas tells Julia--we must get together to have a long talk about him soon. You aren't going to wait for him? asks Julia. I'd like to, Barnabas says, but I have things to do. "I'm sure you do," says Julia sarcastically. "Let her sleep, Julia," advises Barnabas, "look at her sleeping so peacefully." Yes, agrees Julia, gazing at Amy, who is has fallen asleep in a chair. She feels her forehead. "Let her sleep," Barnabas says again, "children sleeping, how beautiful, child's dreams--she'll be much better when she wakes, I'm sure." We see Julia's skeptical face, then the sleeping Amy.
Chris returns to the cottage, Julia's medical bag in hand. Amy's sleeping, says Julia, she started to speak, but Barnabas was here, and I didn't want her to talk while he was here, then she fell asleep--did you see David? I had to wait, says Chris, Alexander came down. You didn't talk to David in front of him, did you? asks Julia. No, says Chris, David told me they were playing hide and seek, Amy was It--a stranger walked in the shop--Grant Douglas! And Amy thought he was Quentin, realizes Julia. She ran out screaming--could that have done it, Julia? Chris asks. I'm sure the sight of Quentin frightened her, says Julia, but not enough to make her lose her speech. Amy stirs, moaning. How are you feeling? Chris asks his sister. Better, she answers. What happened? he asks--if someone hurt you, I want to go deal with them. I saw Quentin, says Amy. No, it wasn't Quentin, says Julia, but Grant Douglas. Amy insists--it was Quentin, I know and remember him better than you do. What did you do after you saw the man who looked like Quentin? asks Julia. Amy says, I...I...
Tell us, says Chris. I don't remember, says Amy, but there was something else! What? asks Julia. I can't remember now, says Amy, but I will. Stokes knocks and enters the cottage--exciting news, he reports, like being in the middle of a mystery novel and not knowing what the end will be--hope I'm not disturbing you--Osmond is almost certain the second landscape was painted by Tate--and he gives Julia Harrison Monroe's address. What's this all about? asks Stokes. I will tell you later, says Julia. Monroe lives in a fishing village on the outskirts of Rockport, says Stokes--Osmond has head of Monroe, but never met him, he's a complete recluse. I want to go tonight, insists Julia. Wait, requests Stokes--I have to lecture tonight. I'll go by myself, says Julia. Where? asks Chris. To see Charles Delaware Tate, says Julia. You're being unrealistic, opines Stokes--Osmond himself went to Tate's funeral, 10 years ago. How does he explain the painting you brought him? asks Julia. Osmond's trying to figure out how that's possible, says Stokes--perhaps Harrison Monroe is a ghost. I believe Tate and Monroe are one and the same, says Julia--Chris, take Amy back to Collinwood--I think it best I go myself, for the first time, anyway. Amy, her face screwed up in horror, shakes her head.
Collinwood - Alex holds up the Leviathan box and asks Barnabas, how do you know it will work? Are you doubting me, Alexander? asks Barn, pissed. I would have made sure, says the boy. Amy is in the intermediary stage, explains Barnabas, she could have great difficulty remembering exactly what happened. They're going to question her, says Alex. Yes, they are, agrees Barn, she will not know what has happened until she walks into this room. "And if she is with us, she will open the box," says Alex, grinning.
Chris drops off Amy, who assures him, I'll be all right. I'm so glad you came to me, says Chris, I'm the one who has to take care of you. I know that, says Amy, and I love you. She throws her arms around him and hugs him. He laves. Amy approaches the double drawing room doors, which swing open. Alex greets her cheerily, "Hello, Amy!" She freezes a moment, then walks into the drawing room and straight to the Leviathan box. She unlocks and opens it, looks inside, then hands him the photo of Carolyn and says, I'm sorry I took it. "YOU SHOULD HAVE GIVEN IT BACK TO ME WHEN I ASKED FOR IT!" he thunders. She apologizes and assures him it will never happen again. YOU WILL FOLLOW ORDERS NOW, I BET, he says. Yes, she agrees, I will. Barnabas nods at Alex, smiling approvingly.
Julia knocks at Harrison Monroe's door and hears a recording--GO AWAY. I've come to see Harrison Monroe, says Julia. You aren't welcome here, says the mechanical voice. A dog howls. I have a message from Mr. Delaware Tate, says Julia. She starts to walk away, but the door, creaking, swings open. Julia goes inside...
NOTE: Brrr, that scene with Barnabas and Amy was creepy as hell. His verbal tennis game with Julia was fascinating to watch, too, she is so angry and frustrated at these changes in the man she knows and loves! How is it that Jonathan Frid can say such nice words about sleeping children and make them sound as if they've emanated from the depths of hell? Again, brrrr!
Loved Harrison Monroe's message. Unlike Julia, I doubt I'd stick around a house that ordered me to go away. That was really unnerving.
It was nice seeing a lovey moment between Chris and Amy, wasn't it?
Alex haters, hang in there, it won't be long now!
Love, Robin
