916 - Julia takes a stiff quaff of her drink and tells Liz, I don't believe all those kids at the antique shop come from Philip and Megan's relatives--it's just all so...bizarre. What's bizarre about it? asks Liz. There is definitely a connection between the three children, says Julia--I'm sure because of the birthmark I saw on all three kids, right above the wrist--if it didn't completely defy logic, I'd say all three children were one and the same. Liz gazes at her oddly, suspiciously.
I find this hard to believe, says Liz--it's an unusual coincidence. Not coincidence, says Julia, I'm sure of that. What else could it be? asks Liz. I don't know, admits Julia but will find out. How? asks Liz. I intend to talk to Paul, who was the first to express fears about the antique shop, says Julia--is he in his room? Yes, says Liz, but you can't see him now--since you last spoke with Paul, his condition has worsened--I called in Dr. Reed, Paul's under sedation. I see, says Julia. I'd hate to see you make an embarrassing mistake, says Liz, your suspicions are no more than that. I'm sure there's something strange about the people in the antique shop, says Julia. You have no proof, insists Liz. I plan to investigate it further, says Julia--if there is a conspiracy, as Paul claims, I will find out. Very well, says Liz, but be careful, VERY careful--and she turns on her heel and hastily leaves, giving Julia a glance before doing so.
11 o'clock - Julia sits by the fire. She hears a knock at the door and finds Chris waiting there. He rushes past her and asks, did you go to the address Stokes found?
There is no such person as Harrison Monroe, says Julia but Charles Delaware Tate does live there and he's very much alive. Chris, smiling hopefully, asks, can he help me? I don't know, says Julia, I think he could if he wanted to. Disappointed, Chris asks, did you ask him and he refused? There are two things you must know, says Julia--Tate is mad, and oddly, looks as young as he did in 1897. Chris urgently says, you must go back there today, immediately, I don't care if he's crazy or not. I'm not sure it would do any good, says Julia. Chris insists we've got to do something--there's a full moon again tonight! Julia offers to drive him back to Windcliff, but Chris says that's not the answer. I know, says Julia but there are no answers; we've run out of time. Why do we go on kidding ourselves? laments Chris--there's no way out for me. (This was sad.) There was a way out for Quentin, Julia reminds him--there's a way out for you, too--Tate told me that Quentin's portrait burned, there's a way to find out if that's true. What good does it do me? asks Chris. If the painting was destroyed, says Julia and if Grant really is Quentin, he, too, will go through the transformation--if it doesn't happen, it means Quentin's portrait is intact somewhere. I still don't see how it can help me, says Chris. I have no control over time, says Julia, I can only do what I can--I will make all the necessary arrangements to send you to Windcliff; you should be back at 3. Chris asks her where she's going now. I will arrange to be with Grant at dusk this evening, says Julia.
Old House - Liz tells Barnabas Julia's suspicions about the children at the antique shop. It was wise of you to come to me at once, he says. I tried to dissuade her from her investigation, to no avail, says Liz, she's determined to go on with it. There's only one course of action, says Barnabas--Julia Hoffman must become one of us. Liz agrees. I will meet you at Collinwood, says Barn, and give you the necessary instructions. What is our goal? asks Liz--can you tell me? What makes you ask that now? queries Barnabas. Something Julia said, reveals Liz--what is our goal?--what are we trying to do?--and what does Paul have to do with it? You will know when the time comes, promises Barnabas--but this I can tell you--we will bestow on a particular person a very great honor. He smiles. Who is this person? she asks. Someone we will all be very proud of, says Barnabas, and that's all I can tell you.
Barnabas arrives at Collinwood and hangs up his cane and cape. He enters the drawing room, where Julia is reading a book. I want to talk to you, he says--I was wondering what arrangements you made for Chris--tonight is a full moon, I was getting concerned about him. I don't believe that, says Julia--when you came back, you said there was nothing you could do about him--you wrote him off. Barnabas accuses her of misunderstanding his feelings and motives. Julia disagrees. I never wrote Chris off, insists Barnabas--I felt there was nothing I could do for him, but I still feel compassion for what he must go through tonight. Is that REALLY why you're here? demands Julia--or is there some other reason? I am sorry you feel as you do, says Barnabas. So am I, says Julia shortly--Chris will be going to Windcliff, so he'll be safe through this transformation. I'm glad to hear that, says Barnabas--you really are determined to solve his problem. Through clenched teeth, Julia says, "I'm determined to not give up as you have." She sits down on the sofa, her back to him, deliberately rude. What are you reading? Barnabas asks. Another book on lycanthropy, she replies. Barnabas begins to concentrate on Julia with his eyes. She turns and asks, what are you doing?--what do you want of me? You've been working very hard, Julia, and it's beginning to show--have you been resting enough? He leans in close. Yes, she answers, sounding as if she's falling under a spell. Are you sure? he asks hypnotically--doctors are often very careless about the rudimentary rules of health. Julia says, in a weird voice, I don't know what prompted this sudden concern from you, but for some reason, I don't believe you. Barnabas draws back, and says, you will in time--I hope you find what you're looking for. He caresses her face with his hand, twice. Julia gazes up at him lovingly. He bids her good night. The spell is broken. Julia blinks her eyes and supports her head on her hand for a moment. She rises as if exhausted and heads upstairs, the book in her hand.
Collinsport Inn - A drunken Grant pours himself another drink. When Olivia enters, he yells, "There she is, folks, our own little Jenny Lind!" She gazes at him. He giggles--sing me a song! he cries. Why are you in my suite? she asks angrily. My room depresses me, he complains--"It doesn't have a bar!" He points to his drink and says, at this very moment, you depress me, too--so go on a farewell tour. What's the matter with you? she demands--why are you behaving this way? Oh, if we're going to talk about behavior, says Grant, let's start with yours--I admit mine might be a bit on the tacky side, but at least it's open and honest! And you think mine is not? she asks. I hate to think how successful you could have been during the French Revolution, spits Grant, chuckling unhappily.
There's no point in talking to you, she says, you're in no condition to make any sense. There's nothing wrong with my condition, says Grant, balancing himself unsteadily--I can stand on my own two feet! He trips and nearly falls, laughing as he walks a wobbly straight line. He gazes into her eyes and says, I can look at you, talk to you, and I know what I'm saying, but there's only one thing wrong--I don't know who I am. Their faces are close enough to touch. We'll work on my memory--won't we? He asks. Olivia looks miserable--you seemed so calm and sensible about your problem until now, she says--why is today different? That's the first perceptive thing you've said since you walked through the door, says Grant--I don't know, but it is. Go to sleep, Olivia suggests--you'll feel better, then we can find out why it is. It's not ME you're trying to help at all, accuses Grant, but yourself, and you're quite right--at least there's some hope for me, I once knew who I was--I don't think you ever knew who you were! He leaves. Olivia picks up one of her many photos and stares at it.
Julia, the book on her chest, dreams of a storm-filled sky. You will believe, Julia, someday soon, says Barnabas' voice, then you and I shall be close once more, as we were long ago, we need you, Julia, need the resources of your mind--come to us...come to us! Julia goes downstairs. The front door blows open; Barnabas, bearing the Leviathan box, enters. Julia waits on the stairs. The double drawing room doors open of their own accord, then close. Julia continues walking downstairs. The double drawing room doors open for her, too. Come, Julia, says Barnabas, don't be frightened. She walks toward him and asks, what do you want? You were fascinated with this box the first time you saw it, he says--I want you to have it. Breathing emanates from the box.
Julia looks at it, eyes wide. What's inside? She asks. That's what you wanted to know when I stopped you from opening it that night, says Barnabas, but I have no reason to stop you now--go on, Julia, open it and look inside--turn the key and open it! Julia reaches to do so, but withdraws her hand and says, I don't want to. You have no choice, insists Barnabas--you want to know what's in that box. NO, cries Julia, I don't want to see it! She runs away. It's too late to run, says Barnabas, you will be unable to resist this when you see this box next--you will be compelled to open it! He laughs, cruelly, and sets the box down on a table. Julia awakens, sits up, clutches her throat in fear.
Collinwood drawing room - The Leviathan box lies on the same as in Julia's dream. Liz is looking at it. Barnabas tells her, with immense satisfaction, Julia has had her dream. So now she believes, says Liz. One more step, says Barn--she will come downstairs, you will show her the box, then stay with her until she opens it. Liz understands. Barnabas grins and leaves, smiling up at the landing before exiting via the kitchen. Julia, still dressed in the same hideous brown dress, enters the drawing room. Liz smiles at her and says, I had no idea you were in the house. Yes, I was reading, says Julia, then I fell asleep and had a dream. Are you feeling all right? asks Liz. Julia rubs her face--I don't know. By the way, somebody left something for you, says Liz, holding up the Leviathan box--it's here. Who left it for me? asks Julia. I don't know, answers Liz, but it's an interesting looking box, isn't it? Julia gazes at it, afraid. Open it, Liz encourages, and find out--go on, Julia, open it. Julia moves to do so, but a knock at the door breaks the spell. I'm curious, says Liz--open the box, Julia (said in a less than friendly tone). Distracted by the door, Julia goes to answer it rather than open the box. It's Chris. Julia is upset and distracted. You asked me to meet you at 3, Chris reminds her. I remember, says Julia--I'm very happy I did. Chris asks her what's happened. I'll tell you later, she says, then calls to Liz, I forgot to do something--I'll be back later. She and Chris leave.
Barnabas joins Liz in the foyer--Julia never will open the box, he says--the interruption shouldn't have stopped her; the spell shouldn't have been that easily broken--there are certain people who we can't absorb; it has to do with their genetic structure--Julia is one of them--so we must find another way to deal with her--"And you will have to find it!"
Liz is less than pleased with this assignment.
Julia, a covered painting in hand, arrives at the Inn. The moon will be full, she tells herself--if Quentin is still here, I must speak to him before it happens--I'll know what I have to know by his behavior. She knocks at the door. Olivia answers. Julia asks to see Grant before they talk. Olivia asks to see the painting--you do intend to loan it to me again, right? Julia unties the string and removes the covering--you won't be interested in it anymore, she predicts--I did to it what you were going to do--she shows her the painting of Amanda under the landscape--you knew it was there, didn't you? I didn't, insists Olivia. You had the landscape x-rayed, says Julia, so you knew there was a portrait underneath it, but you didn't know whose it was. The portrait has no value to me; I have several of my grandmother's paintings. It has no value for you because it's not a portrait of Quentin, says Julia. YOU seem to be the one preoccupied with Quentin, not me, says Olivia. I want to show the painting to Quentin because of his relationship with your grandmother, says Julia--do you object? No, says Olivia, but this isn't the right time to see him. Why not? asks Julia. He was disturbed by something, says Olivia, took to drinking, and is sleeping it off. Then this is definitely the right time to see him, exults Julia, and hauls the painting to Grant's suite. Olivia follows. Julia knocks at Grant's door. They find the entire room in disarray, furniture tossed everywhere!
NOTES: Did Grant destroy the room in his drunken state, or did his werewolf self do it? Now that Julia can't be "Leviathanized", what will Liz to do her? Is Olivia really Amanda? Is Grant really Quentin? Why can't Barnabas caress Julia's cheek with love instead of evil intent?
I've heard it said that these episodes were filmed out of sequence, which might explain why Barnabas was calling Julia his dear friend in today's first episode, yet seemed so calculating and icy toward her in the second, after he had had his revelation/punishment.
Selby drunk was always fun, and he was a rip-roaring riot here. Our own Jenny Lind! LOL!
917 - Carolyn walks downstairs, throwing a look of concern towards her father's room. Liz exits the drawing room. Carolyn asks, are you sure keeping my father sedated all the time is the best thing? Dr. Reed says it is, answers Liz--we must accept his judgment. I wish Julia was still treating him, says Carolyn. You know why she isn't, says Liz. I want to speak to Paul, convince him that his fear of Julia is unfounded, says Carolyn. I'm going to the Historical Society meeting, says Liz, bringing some old pieces of silver--you should be taking interest in it, too. I'm interested in my father now, she says curtly--it kills me to walk into his room and see him unable to move or speak--he's almost not human anymore. Liz (who today is wearing a gold serpent pin), assures her daughter, everything that can be done is being done--and she leaves with her silver tea service.
Carolyn, distraught, enters the drawing room and closes the doors. Upstairs, the door opens; Paul, hair a mess, clings to the railing like a kid learning to walk, stops and gazes down, obviously stoned. Clutching the banister, he totters downstairs. Walking unsteadily, he tries to open the front door. Hearing a sound, Carolyn runs to him, grabbing him before he tries to leave. They're after me, he insists, I've got to get away! She struggles with him--where are you going? she asks. Anywhere away from here, he babbles. Come into the drawing room to talk, she urges. I must get out of here, he says, there's no time for that. No one else is here, she assures him, no one's going to come--please, she begs. Paul relents. She helps him into the drawing room. He wipes his eyes and says, I can't stay, you must understand. I don't, she cries--this is where you wanted to be, and should be, especially now that you're sick. If I stay, I'll be dead, he says--you don't know what it was like, lying up there, knowing it was to become my tomb. Stop imagining things, says Carolyn--there's no reason to think it will become your tomb. They're trying to kill me, he cries, teeth clenched--they've somehow gotten into this house.
Who? she asks. The ones who are after me! he cries. You've got to get over this notion that people are trying to harm you, insists Carolyn. It's the truth, says Paul, you saw me when I came into this house--look at me and tell me no one is trying to do something to me!--go on, look at me! She does. He's disheveled, but more, too. Now for heaven's sake, let me out of here before it's too late, pleads Paul. Wait here, says Carolyn, I'll go get your coat. (Just one look was all it took, yeah.) Paul leans back in relief, then stands, turns and spots Liz standing there. Oh, no, he wails, collapsing into a chair. He passes out. Carolyn runs in, his coat in her arms, and drops it to the floor. What's wrong with him, Mother? She asks. "Nothing now," says Liz--"Were you really going to take him away?" demands Liz--"Where?" I don't know, admits Carolyn. If I hadn't come back for your great grand-mother's sugar bowl, says Liz, you...oh, Carolyn, I'm worried about YOU. I'm all right, says Carolyn, near tears--"What about Father?" He'll sleep, says Liz, then I'll have Mrs. Johnson take him to his room. She leads Carolyn away. They walk into the foyer. You must accept the situation and believe how ill Paul really is, says Liz. I don't want to believe it, says Carolyn. None of us does, insists Liz, but we must. She walks away. Carolyn looks as if she's about to burst into sobs.
Paul lies in bed, sprawled across the sheets. Did I make it downstairs? he asks himself, or did I dream it? No, I didn't dream it. He notices Liz standing there. You gave us quite a scare, she says, holding medicine that looks like water and a spoon. I don't want it, he insists. You must take it, says Liz--it will make you feel better. It's making me sick, he says. Pouring the medicine into the spoon, she says, don't act like a child, Paul, it was prescribed for you. The doctor is one of them, says Paul. I humored you about Dr. Hoffman, since you kept screaming she was one of them, whoever "they" are, sighs Liz--now I won't get rid of Dr. Reed, and you must take your medicine. Paul rolls away, forcing her to spill the medicine. Fine, she snaps, go on hurting Carolyn--and you ARE hurting her very much. Liz recaps the medicine and leaves the room. Paul lies there, thinking over what he's done to Carolyn--but I'll make it up to her--as soon as I get out of this house--and I WILL get out! I will get back my strength if I don't take the medicine, which makes me very weak. Mrs. Johnson knocks and brings in a glass of milk and cookies. Mrs. Stoddard told me you didn't take your medicine, she says. Yes, and I'm not going to, insists Paul--and you can't make me take it, either. Oh, I won't do that, says Mrs. J--I brought you some warm milk to let you get some rest, and some fresh cookies to help you get back your strength--the cookies are Carolyn's favorite. Paul asks, is there anything in that milk--medicine? Of course not, says Mrs. Johnson, people take too much medicine as it is; to my way of thinking, they'd be better off without it. Spotting an empty vase on his night table, she cheerfully suggests, I'll get you some fresh flowers to cheer up the room. She leaves the milk and cookies on the night table, wishes him a good rest and leaves. Paul takes the glass of milk and looks at it. Mrs. Johnson stands outside the door, watching him. Liz watches Mrs. Johnson watch Paul, her expression malevolent.
Paul grows sleepy. The empty glass of milk is on the tray. Liz and Mrs. Johnson enter the room. It didn't take long, says Liz. No wonder, says Mrs. J., with all that medicine in his milk. It had to be this dosage, says Liz, we needed for him to take that much before moving him. Are we doing the right thing by him? asks Mrs. Johnson. My doubts were erased by Mr. Barnabas, says Liz. It still seems a little drastic, says Mrs. J. I can't take a chance on Paul getting away, upsetting Carolyn again, says Liz. No, we must not have that, agrees Ms. Johnson. Go up to the tower room and be sure everything is ready, orders Liz--I will wait for Barnabas--when he gets here, we'll move him. One more thing, adds Liz--don't say anything to anyone about this--I'll handle it, with Barnabas' help. Of course, says Mrs. J, and leaves. Liz stands by the bed and cruelly says, "What made you think, for even one moment, that I'd wanted you back?" She leaves the room.
Paul opens his eyes and glances over at the vase sitting on his night stand--where he apparently poured the medicine-laced milk. Liz is one of them, too, Paul tells himself. He slowly crawls out of bed and takes off his robe (under which he's wearing pants and a shirt). He goes to get his jacket and passes out on the floor. There's a knock at the door; Carolyn comes in and finds him. She tries to help him up and hugs him. He gives a start when he realizes someone is holding him, but comes to more fully. Thank heavens it's you, he says--I had to get out of bed, get out of here, before it's too late. Get back to bed, she urges, I'll help you. No, he says, it's worse than I thought--I've just discovered something terrible, and I must get out of here before they get to me. I'll sit with you, offers Carolyn--no one will get to you! No, you can't protect me like that, says Paul, I need to get out of here. Why is it worse now? she asks. I can't tell you here, says Paul--I'll tell you when we are safely away from here. What do you want me to do? she asks. Check the hallway, he says--make sure the coast is clear--I'll wait until you get back--you'll do that for me, won't you, to save my life? Yes, she assures him, of course. She goes into the hallway, closing his door behind her. She walks down the hall, then comes back, bringing Liz with her. They find Paul gone. Carolyn begins to cry--he was so sick, he promised he'd wait for me! she wails--what will we do? Look for him, says Liz, he can't go far in his condition. Carolyn races off, slamming the door behind her. Liz finds the empty glass, then looks inside the vase--ah, so that's what he did.
Paul exits by a back door, walking drunkenly.
Mrs. Johnson, help Carolyn search the grounds, orders Liz--you know how important it is that Paul be found. Flashlight in hand, Mrs. J says of course. I must call the doctor and make arrangements for after we find him, says Liz. Yes, agrees Mrs. J, leaving the house. She calls out to Paul. Paul, in the woods, clings to a tree. He hears Carolyn and Mrs. Johnson calling to him, but Paul falls to the ground, unconscious. Someone stops beside him (a man wearing blue socks).
Paul opens his eyes and looks up to see Eliot Stokes, who kneels beside him and asks, what's wrong? Nothing, says Paul, I just have to get away--help me! However, Paul is unable to tell Stokes what he needs to get away from--my name is Stoddard, he says. Eliot immediately realizes he's Carolyn's father.
Carolyn? asks Paul--oh, no, they sent you after me, didn't they? No, says Stokes, no one sent me, I just happened by, lucky for you--you could catch your death of cold. I seem to be marked for death no matter where I turn, don't I? asks Paul, supporting himself with both hands on each of Stokes' shoulders. Stokes introduces himself. Take me to the police, begs Paul--I'm in terrible danger. From whom? asks Stokes. I can't tell you that, says Paul, but I will tell the police. I want to take you back to Collinwood, says Stokes--we can call the police from there. Paul becomes upset--no, not there, please, he says, you've got to take me to the police, if you don't, I'll be dead!--I'm not being hysterical or melodramatic! Stokes agrees--we'll go to my car, and I'll take you to the police. (Gotta love Eliot, he's so practical.)
Stokes leads Paul into the police station. Eliot introduces Paul to the young officer behind the desk, explaining that Mr. Stoddard--has a story he wants to tell the police--I don't know what it is, he wouldn't tell me. The cop offers Paul a chair and some coffee. Paul sits down, sighing, I never thought I'd get here. Well, you did, says the cop--everything will be all right. He hands Paul a cup of coffee. It will never be all right until they stop chasing me, says Paul--they've been after me ever since I got here. "What do these people doing to you?" asks the cop. Eliot listens carefully. First, little hints--phone calls, things like that, explains Paul--veiled threats, their way of putting me under their control--and I was, too, because when I got away, they tried to take me back to Collinwood. "I see," says the cop. No, says Paul, desperate--you think I'm mad! No, says the cop, you're frightened. You would be, too, says Paul, if they were after you. Tell us everything, says Stokes--who are THEY? There are a great many of them, says Paul--people you'd least suspect. Name one of them, says the cop. Yes, says Paul, my wife, Elizabeth Stoddard. Hard to believe, says the cop. Impossible to believe, amends Paul--and yet you tell me why she took me back into Collinwood after 20 years of open hatred--unless THEY wanted me there!--you know how they gossip in this town--why would she risk all of that unless they wanted her to do so? Still a little hard to believe, says the cop. Because it's Liz Stoddard who's involved, says Paul--you'll do nothing. I'll talk to Mrs. Stoddard, the cop assures him--her and the doctor and whoever else is involved. (How does he know about the doctor?) If you still feel you're being held captive, we'll have to do something about it, right Prof. Stokes? Stokes agrees. I want to be kept locked up, under guard, begs Paul, until the investigations are completed--then I'll tell the whole story. There will be time for that later, says the officer. Yes, I guess so, says Paul--may I have a phone, I want to assure Carolyn I'm all right. I'll do that for you, says Stokes. That's good, says the cop--Mr. Stoddard needs rest until she comes.
9 o'clock. Paul awakens. I feel much better, he says. You got a good nap, says the cop--that's good, because someone is here to see you. Carolyn, says Paul--but it's Liz. Don't let her near me! begs Paul. Liz enters, along with Stokes, who tells the cop, Paul is terrified of Mrs. Stoddard. I've got to get out of here, insists Paul, and tries to, but the sheriff restrains him. Go back with you wife, insists the officer. Liz, spoon and bottle in hand, says, he won't go back with me unless I give him a sedative.
She pours the medication onto the spoon; the sheriff subdues him, insisting, we're here to help you. Liz comes relentlessly at him, aiming the sedative for his mouth. "TRAITORS!" screams Paul. "MURDERERS!"
NOTES: Paul is in deep doo-doo now! I was so sure Eliot believed him, but he keeps being returned to Liz' hands--and he now knows for sure she's one of THEM. Liz' high position in the community cancels him out every time, with Carolyn, Stokes and the police department! Even Mrs. Johnson obeys her without question, and while we know she isn't one of THEM, for Paul, she might as well be, since she listens implicitly to Liz. Once again, Dennis Patrick turns in a first-rate performance as the seemingly-insane Paul; he sounds nuts, even though we know he's telling the truth. They want to keep him sedated and quiet, but why don't they just kill him? He seems to be a major pain, unless he plays a further role in their despicable plans. I feel so sorry for Carolyn, too; she clearly loves her father and wants to help him, but I wish she'd get it through her head that bringing her mother in on everything in regards to Paul is a big, big mistake!
Love, Robin
