928 - Antique shop - Julia sits at the desk, making out the paperwork for Michael's death certificate. Philip, I'm sorry, she says. The formalities must be dealt with, he answers. I wish I knew what happened to him, she says. The answer is on the death certificate, says Philip--his heart just failed--but for me and Megan, it will be more difficult to find an answer--I'm sorry--I didn't meant to be rude, you've been wonderful both to the boy and Megan afterwards. Has Michael ever been sick? asks Julia. Megan joins them. Should you be up? asks Philip. I couldn't lie there anymore, she says in a wounded voice--too much to be done--I want the funeral quickly. Perhaps it can't be done quickly, suggests Julia. What do you mean? asks Megan. The boy's death trouble me, says Julia--it's almost classic, actually, but I would really rather have some discussions with my colleagues at the hospital, and have one of them examine him. Colleagues! snaps Megan, oh, you're really something! Julia is trying to do what's best, says Philip soothingly. For whom? demands Megan--for him?--you want to talk about Michael?--discuss it with me, I'll tell you everything you need to know. I was just asking Philip if he'd ever been sick, says Julia. Yes, when he was very small, says Megan--but his parents gave him so much love, they willed him to be healthy and strong, and when they died, that will was taken away from him; he was all alone!--we all tried to help, first Mrs. Hutchins. She was a neighbor Michael stayed with in Coleyville after the accident, explains Philip. She was crazy about that boy, says Megan, she tried, well, we certainly tried, but without them to lean on, without Burt and Evelyn... Evelyn was Megan's favorite cousin, says Philip, the deaths were a terrible shock to her, too. Talk about classic cases, sobs Megan--that boy died because he didn't want to live anymore, his heart stopped beating because it was broken! Megan runs off. I'll finish filling this out and you can make whatever arrangements you want, says Julia. He thanks her. Is there anything else I can do? asks Julia. Tell Carolyn and the others what happened, says Philip--tell them not to call, or come to see us--until Megan is ready. He leaves. Julia considers everything.
We see a red candle, flowers, and Michael lying on a funeral bier, arms crossed over his chest. Megan stands over him. Philip joins her--it's time to go, he says, we must leave. I can't seem to tear myself away, says Megan--I want to look at him a while longer. Be reasonable, encourages Philip, everyone is waiting. I know, she says, but I must be alone with him. All right, he says, I'll leave you alone, he agrees, but only for a minute. Megan gazes down at the child.
Stokes takes the painting, A View of South Wales, sets it on the arms of a chair, then pours himself a drink. There's a knock at his door, Julia enters. Where have you been? he asks. At a funeral, says Julia. Anyone I know? asks Stokes. No, these people just moved to town, says Julia, I don't think you know them--I see the painting has arrived. I've already told Osmond, says Stokes--he's setting up his equipment and will get right to work--you don't seem as excited as you should be, he observes--is something wrong, perhaps you don't think it's what we're looking for? I'm sure it is, says Julia, but I'm not quite sure what's disturbing me. I'll get you a sherry, he offers--make you more willing to talk. Where is Coleyville? asks Julia. About 20 miles down the coast, a dreary little place, says Stokes--why? Someone mentioned it, that's all, she says, accepting a drink from him. You look pale, he says. I haven't had anything to eat since breakfast, she says. I'll get you some English biscuits as well, says Stokes, and goes to get the food. Julia sets her drink down on he mantle and twirls the globe on his desk. Twenty miles, she muses--just what would I find there? She again twirls the globe. Stokes brings out a tray with the food--I'll tell Osmond we're coming, he says, but first we must have a serious talk. Julia has gone, leaving Stokes holding his biscuits.
Julia has apparently driven to the home of the woman who supposedly looked after Michael after his parents' death. A sweet, old woman's voice bids her to answer. Julia checks out the bird cage near the door. The old woman comes out--I was lying down, she says--not feeling too well, lately. I'm sorry, Julia says. Yesterday, relates the woman, I heard some tragic news. I know, says Julia, and introduces herself to Mrs. Hutchins--Dr. Hoffman from Collinsport. Megan told me how you cared for Michael, says Mrs. Hutchins. I happened to be nearby, says Julia, and wanted to stop and see you--I was with him when he died--I wanted to talk to you about him.
The woman starts to cry. It was a terrible shock to all of us, says Julia. Not to me, says Mrs. Hutchins, not the way that boy GRIEVED for his parents--was the funeral nice? Very nice, says Julia. When Megan called, I told her I couldn't make it, says Mrs. Hutchins, that's why I had to give up the boy, not well enough to handle him. Was he difficult? asks Julia. All the Hacketts are pretty spirited, says the woman. (Any relation to the infamous Buzz?) His father, Burt, was the most mischievous little boy! Then you've known the family a long time? asks Julia. Yes, says Mrs. Hutchins--and to think they're all gone and I'm still here! She shakes her head ruefully. It was nice of you to allow me to come, says Julia--I appreciate it. You're the kind one, says Mrs. Hutchins, coming to comfort me--may I escort you to the door? Go back to bed, urges Julia. "Manners," says Mrs. H, "I always taught that to Michael." She sees Julia to the door and out, then leans against it, seemingly miserable. Another door opens; Philip, dressed in a suit, comes out--you did very well, very convincing, he praises. I still don't know how you found out about me, she says petulantly. I know a number of people who, at the time, will prove very useful, says Philip--and you have proved that. He hands her an envelope filled with cash, which she accepts greedily and begins to count. It's all there, he assures her, as we agreed--enough for bottle after bottle. Annoyed at his implication, she peevishly says, "I'm not WELL!" Please, he begs, you fooled Dr., Hoffman, but don't try to fool me. Mrs. H. speaks to her bird--Dr. Hoffman was such a nice lady, I wonder if it was right that I fooled her. It was right, says Philip, and that's all you need to know. Why did I have to fool her? asks Mrs. H, appealing to Philip. No more questions, he says--it was part of our arrangement--and you are to forget me, Dr. Hoffman and the boy--it's all something you dreamed, after too much whiskey. One thing I must know, says the woman, was there really a little boy who died, or did you make him up too, like Burt and Evelyn?--please, she begs, tell me that. We were just through all that, snarls Philip--for your own good, forget it! And he moves to leave. She looks at all the pretty money as Philip leaves the house. Julia, hiding in the bushes, spots him. (boy, she is GOOD!)
Megan unpacks more antique from a box, and places a pitcher in the window. She finds a toy soldier and stares at it rather sadly. Philip returns. Gleefully, he says, Dr. Hoffman was there, and she's completely convinced! Megan grins--it's all over, she says. All over, agrees Philip. Now I'll have to learn to stop looking for things Michael would like, says Megan, gazing wistfully at the toy soldier.
Stokes demands, Julia tell me what's going on--you can't just walk out of here like that! Julia apologizes--there was someplace I had to go. Coleyville, he guesses. I'll admit that much, she says. I hope your trip was worth the time, says Stokes. It was, she assures him--I need to talk to you--I desperately need your help--something is going on---the way Barnabas has been acting, Paul Stoddard's mental condition, the series of strange little boys who have been coming and going in that new antique shop, all blond, and blue-eyed, with the same birthmark on their wrists--all of those things are linked up somehow!--today, says Julia, the oldest and latest of these little boys died. Stokes it shocked--then it was his funeral you attended this morning? Yes, she says, I pronounced that boy dead, a classic case, all the symptoms were as if they read out of a book; I saw him in his coffin, I was there when they buried him, and yet, something disturbs me terribly about his death--ever since Barnabas returned, there is something evil in this place that is threatening all of us!
Stokes looks puzzled and perturbed--we must try and stop this danger--the question is, how do we begin? (I love this guy!--no questions, just right to action)
So the minute I saw Philip coming out of that woman's house, explains Julia, I knew she was lying, but why would she lie about that boy's death? The entire story raises a great many questions, remarks Stokes. Julia agrees--I'm positive that Barnabas can answer all the questions, if he would. Paul Stoddard is another person who knows something, suggests Stokes. But he's so frightened, says Julia. I think you could win his confidence, he says. I believe I could, agrees Julia. I want to pay a visit to the antique shop that specializes in a succession of strange, disposable little boys, says Stoke. (Great line!) The answers are there, insists Julia. I suppose they're closed, since it's the day of the funeral, says Stoke. No, Carolyn told me Megan wanted to work today, keep busy, says Julia. That's a perfectly acceptable explanation, says Stokes. They always have perfectly acceptable explanations, complains Julia angrily.
Antique shop - Megan holds the toy soldier. It's late, says Philip--I'll close the shop. Not yet, says Megan, gazing at the toy. You look tired, he notes. It isn't that, says Megan--I miss Michael so much. Stop thinking about him, advises Philip--he had to be gotten rid of. "You were glad, weren't you?" Megan snaps. Stokes enters the shop--am I too late? He asks--has Carolyn left for the day?--I'm Professor Stokes, a friend of the family. She greets him warmly. You do have a charming shop, says Stokes, glad you have something beside patchwork quilts and Colonial silver--I was admiring your locket--that doesn't come from this part of the world, does it? I don't know, says Megan hesitantly.
Megan, please, chides Philip, a dealer isn't supposed to admit ignorance. (The camera focuses on the locket, which is turned around, revealing the back, not the front. Oops!!) Well, smiles Megan, I took it because I thought it pretty. Megan turns it around, looking down at it as she holds it in her fingers. This is, too, says Stokes, taking a piece of statuary--perfect for the dear old lady who invited me to dinner. Megan smiles at this latest sale. Let me wrap it while you browse, Philip offers. No time, says Stokes, pulling out his wallet, but I'd like to come back later and look around more carefully--I'm especially interested in old New England prints, if you run across any. I'll keep my eyes open, promises Megan. When Stokes accepts his package from Philip, he notices a Naga ring on his hand. Goodbye, says Stokes. I hope your hostess likes her present, says Megan, after the departing professor. Philip and Megan exchange serious looks. You had the same feeling about Stokes that I did, says Philip. "Yes, he could be dangerous to us," agrees Megan--"It's strange the way someone can always sense those things about THE OTHERS!" He's a very intelligent man, comments Philip. But not quite intelligent enough, says Megan, pulling down the blind on the door--all that talk about what a hurry he was in? He's standing across the street watching! Philip wonders--perhaps I shouldn't have worn the ring, I'm sure he noticed it. It makes no difference, insists Megan--married people often like the same things--I'm tired of all this waiting, hiding, and pretending we are like other people--we are not! If they were, she adds, voice softening, I couldn't have given up Michael, seen him lying there, dead. He grabs her by the arms and shouts, I told you to stop thinking about him, it only upsets you! She pulls away and looks outside, then begins closing the covers over the windows. "Goodbye for now, Professor Stokes!" she says nastily. I didn't realize how dark it is out, says Philip. Or how quiet it's become, without Michael, says Megan. Philip again grabs her--forget about him--Michael is dead! He goes to turn off the lights, but she stops him, suddenly scared. No, she says, do you hear something? They do--footsteps coming downstairs--Michael! He smiles at them.
"I've decided not to go through with it," he says. They stare at him, stunned. He grins.
NOTES: Get Michael back in his coffin, damn it! Bury him forever!
That old lady was a hoot. Loved her bird, too. Is she a Leviathan or just someone they hired? She was so funny, feeling guilty about fooling Julia--but she loved the money and the prospect of bottles and bottles of booze. I guess we know what her hobby is, huh?
Julia has made substantial headway in this mystery now, and I'm proud of her for hiding in the bushes. She has amazing intuition, and she knows this whole thing smells bad. Go, Julia!
Love the scenes with Stokes. He was right to be angry with Julia for leaving so abruptly, and for once, she told him what was going on. I think he really likes her, and he's certainly a good friend to her, helping her most of the time without question! This is one of the few times he seemed really annoyed with her.
Funny blooper with the turned-over locket. They should have pinned it to Megan's blouse, then it wouldn't have turned over that way. Stokes should have tried hiding himself better; he isn't a good detective of he couldn't stay hidden better than that and they spotted him across the street!
929 - Barnabas looks like a vampire as this episode opens, or at least like someone who hasn't gotten enough sleep. He stands outside Michael's room, waiting for...what?
Michael comes downstairs, acting supercilious--I decided not to go through with it, he coolly tells them. Megan is especially taken aback.
Philip turns around and gazes at Michael, hatred in his eyes. Get back to your room, he orders. Perhaps you didn't hear what I said, Michael begins. Philip, furious, says, I don't care what you said or decided, get back to your room or I'll drag you there myself! Don't threaten the boy! Megan begs her husband. He'll ruin everything! protests Philip. I'll talk to Michael, volunteers Megan. She turns to her dead son and gently explains, it's too late to change everything--I know how you feel about staying alone, and I'm really sorry. "I don't want to go back to the room!" insists Michael. Megan drops the gentle tone--you must go back she says bitchily--all the arrangements have been made, we went to a great deal of trouble--don't you understand? He doesn't WANT to understand, Philip says. Megan pretends she didn't hear him and says, Michael, darling, look, it's going to be very bad for all of us, including you, if you're seen again--go back to your room. No, I've made up my mind and like the way I am right now, and don't want it to end. You have no choice! spits Philip--Megan, I'm not going to stand here all night while you try to talk him into going upstairs; either you do it right now or I will do it!
But you WON'T, retorts Michael. Philip, who has had it, physically grabs Michael, forcing him upstairs. I don't want to go! screams the boy--I want to stay!!! The phone rings. Megan, distracted, reluctantly answers it. It's Carolyn, offering Philip and Megan an invitation to come to Collinwood and spend the evening with us--given your grief and all... I think that would be very good, says Megan--I'll talk to Philip and get back to you. Megan, after a brief hesitation, ascends the stairs.
Philip, breathing heavily from his efforts, has tossed Michael into his room and locked the door. We hear the snarling breathing of the Leviathan creature. Megan joins Philip--is Michael all right? she asks. Yes, stop worrying about him, says Philip, annoyed. Did you do anything to him? Megan. I would think, says Philip testily, you'd be more concerned that Michael did something to me! Megan looks guilty, a little, but hears--loudly--how angry the creature is with them. What if he decides to leave the room again? asks Megan nervously. He can't, Philip assures her--the door has been locked from THIS side! I know, she says, but he gets bigger and stronger every day. Philip agrees--I'll add a heavy bolt to the door. Inside, the pissed-off creature seethes.
Collinwood - Paul creeps downstairs and into the drawing room. He opens a drawer in an armoire (where any of the kids could find it) and takes out a gun. Hearing a door slam, he slips it into the pocket of his robe. Carolyn finds him--what are you doing here? she asks. I thought I would move around a bit, he says--I'm feeling better. You look better, too, she says--I think it's wonderful. Looking a little loony, he says, I've discovered I'm allergic to the medication I'm taking, so I decided to stop taking it. I'm sure Mother will be delighted to see you're looking better, too. Don't tell your mother you saw me down here, he says, you know how finicky Liz has been about my illness; she would say I'm up prematurely--you know what I mean. She agrees. Could you bring me some food, asks Paul, but not tell anyone you're doing it? Haven't they been feeding you? she asks, surprised. Yes, of course, he says but that doctor they got for me, he's a clever one, putting the medicine in my food--yes, but I'm onto his tricks--I'm allergic to that medicine, and I'm not going to eat anything brought to me, unless you bring it--I know I can trust you--I'd better get up to my room--she'll come to me soon, won't you? Yes, she assures him. Paul walks off, looking suspiciously to the left and right. Carolyn shakes her head, upset, then shrugs and head off to the kitchen.
Paul returns to his room. A box has been left for him, and when he turns, he sees Barnabas Collins standing there, gazing at him.
What are you doing here? Paul asks Barnabas, and pulls out the gun. I advise you to put it away, says Barnabas. No, says Paul, I'm quite willing to use it, too, if you force me. You already have more problems than you can handle, says Barn sympathetically.
Yes, thanks to you, accuses Paul. I'm here to help you, says Barnabas. Help me? asks Paul--do you think I'm idiot enough to believe that? Look on the bed, says Barnabas, don't be afraid. Paul sees the box--what is it? he asks. Your clothes were taken from you after that night you went into town, Barnabas reminds him--I brought them back for you--if you look in the envelope, you'll find enough money to get you away from Collinsport and far away. It must be a trick, says Paul. I'm helping you escape, Barnabas solemnly assures him--before anymore harm comes to you. I'm more concerned about what harm might come to Carolyn, says Paul. I promise I'll protect Carolyn after you're gone, says Barnabas. Does that mean she's no longer part of that PLAN you were involved in? demands Paul. Please don't ask anymore questions, urges Barn--I'm guaranteeing Carolyn's safety--are you willing to go or not? Paul looks in the envelope, checks the stash of cash, and agrees to go. Good, says Barn, get ready to go in an hour's time--I'll see that you get out without being seen. Barnabas leaves the room. Paul opens the door, looks out, closes it--Barnabas believed me--that's good, because I don't believe HIM--I'll leave, all right, but not before I'm assured Carolyn is out of danger, not before I find out more about Barnabas and his friends at the antique shop.
Philip has finished adding a deadbolt to Michael's room. I'm worried about him, frets Megan. He can't get out now, Philip says. Perhaps we should stay here and not go to Collinwood tonight, suggests Megan. Mrs. Stoddard asked us to be there, Philip reminds her--and we are going! He stalks off, Megan looking after him. Michael continues to breathe heavily, an obscene phone caller out of control.
Liz sniffs a bottle of medicine, smiling. She recaps it, pulls something from her pocketbook and affixes a label to the bottle. Carolyn comes in--when is Dr. Reeves going to get here? she asks. He isn't, says Liz--he has an emergency at the hospital, but sent over some new medicine, I'm taking it up to Paul now. I'll take it up to him, volunteers Carolyn--I might have more success in getting Paul to take it than you would. Yes, agrees Liz, you can get him to do just about anything--thank you. Liz hands Carolyn the bottle and smiles. Carolyn answers a knock at the door, welcoming Philip and Megan. They join Liz in the drawing room. Philip closes the doors. We had a major problem at the shop, he reveals--Michael got out of his room. If someone had seen him, says Megan, we could never have explained it--he went back into his room, and I'm sure he'll stay there. I expect Barnabas will be very pleased, says Liz--we should all have a drink to celebrate our little deception. Philip and Megan smile back at her with satisfaction as the trio exchanges proud Leviathan looks.
Paul, dressed, counts the money Barnabas gave him. The latter begs him to hurry. Paul puts the money in his pocket--what's our next movie? he asks Barnabas. Carolyn knocks at the door. Get rid of her, Barnabas orders Paul, and hides behind the drapes. Why are you all dressed? asks Carolyn--you aren't planning on leaving the house, are you? She sets the medicine on the dresser. I told you, he says, I'm feeling better, and I need to get out for a few hours. Remember what happened the last time you tried to go out, she says. Yes, but I'm much better now, says Paul--that was over a week ago, you said so yourself downstairs--you must understand I hate being cooped up and want to show everyone I can manage on my own--I'd like to go into town, perhaps to the Blue Whale. You aren't planning to leave Collinwood, are you? she asks. Is that what you think, that I'll run out on you again? asks Paul.
You haven't been happy since you've been back, says Carolyn. I will never desert you again, he says--if it will make you feel better, I'll take you along--it will be just like old times. She hugs him--that would be good, she says--if anything happened, I'd be there to take care of you--but could you give me half an hour before we leave?--the Todds arrived just as I was coming upstairs. That's the couple from the antique shop, says Paul, guarded. That's right, she says, what's the matter? Nothing, he says. Mother and I invited them here for the evening, explains Carolyn, and I really should put in an appearance, but I'll think of an excuse to leave and meet you on the terrace in half an hour. Fine, agrees Paul, hustling her from the room. Barnabas comes out of his hiding place. "What now?" demands Paul. I didn't expect there would be company, says Barnabas, but that might make it easier--give me 10 minutes, I'll try to keep them all in the drawing room and keep the foyer free for you. Barnabas smiles reassuringly and leaves.
I think you're very fortunate to be the ones guiding the child, Liz tells Philip and Megan. We feel very grateful for that, Megan assures her. Philip agrees. Megan, sounding like a religious fanatic on a tear, says this crisis has been a very good test for us--the time isn't far off when our people will become a group, come into our own, there will be many more responsibilities then, and we must be prepared to meet them--when the time is right, our people, from various parts of the world, will converge here, right here, we will establish our own society right here in Collinwood--that's one of the reasons YOU were chosen, Mrs. Stoddard! Liz looks delighted--Barnabas told me that the Collins family prestige and money will be very helpful to us, but, says Liz, that's all he told us. "What more do you need to know, Elizabeth?" asks Barnabas, joining them. Liz goes to him, welcoming him--I was hoping you'd drop by this evening. I'm glad, says Barnabas--your curiosity seems to be nagging at you. He closes the double doors. No, she says, I just want to know exactly what our ambition is. We are waiting for HIM, says Megan. And what do we hope to accomplish, after he arrives? asks Liz. We must be prepared for whatever is in store for us, says Megan. Well said, praises Barnabas. I only asked because I've been thinking about the future, says Liz--I'm starting a new life, but part of the old life is still very dear to me--specifically, Carolyn. Megan, confused, stares at Philip. "What about Carolyn?" asks Barnabas. I've been worried about what's to become of her, says Liz. Don't worry about her, says Barnabas. I want my daughter to share this experience with me, says Liz--I want her to become one of us.
This catches Barnabas off-guard, but he recovers--it's only natural for you to be concerned, he says, and I'm also concerned for Carolyn's future. Megan, noticing something odd about his response, his behavior, watches him closely. I'm glad to hear that, says Liz. Megan comes over and asks Barnabas, are you feeling well? I feel fine, he says, but she still looks perplexed. Carolyn enters, apologizing to Megan for taking so long--I was on the phone. Megan wipes her eyes and says, we needed to be interrupted--all I can talk about now is Michael. That's to be expected, says Carolyn, taking her hand. I don't know how I will live without him, laments Megan. You have to, says Carolyn. (duh!) I know, admits Megan. You two are much better off out of the antique shop tonight, remarks Carolyn. At that moment, Barnabas spots Paul coming downstairs and exchanges glances with him before closing the doors. Liz calls to Barnabas--who's in the foyer? Barnabas doesn't respond at first, then closes the doors and says no one, I was just looking at the time. (How, given where the clock is?) Paul opens Megan's pocketbook, which is lying on the foyer table, and steals the keys to the shop. In the drawing room, Carolyn suggests to Liz--Philip and Megan stay the night. We can't, says Megan--we have to return to the shop right after dinner--but thanks for the consideration.
Antique shop - Paul lets himself in with the stolen key, closes the door behind him and rifles through the desk. He looks over the shop and focuses on the stairs.
Collinwood - Megan and Philip bid Liz and Carolyn good night, thanking them. Feel welcome at Collinwood any time, urges Liz.
Paul stands outside the door of the Leviathan lung brat, then unlocks the bolt. He finds the door locked, tries another key on the ring, then goes in... NO! Paul cries, backing away...
NOTES: Here we see the contrite Barnabas, trying to make amends for his transgressions against Paul in the name of the Leviathans. Paul doesn't trust him, understandably, but now Megan is suspicious. She's so dogged in her loyalty to the Leviathans! Now Philip, more pragmatic (and hating Michael more than Megan despite the common cause) ran him upstairs and shoved him into the room--good for you, Philip! The kid's going to ruin everything!
Liz isn't yet aware of her daughter's contribution to the cause? Why not? If Liz is truly one of them, she should be happy that Carolyn is so important to this plan. Or do they feel she would begin to waver if she knew the whole plan and her daughter's part as Leviathan bride?
Poor Paul, trapped with the lung brat! Will he live or die? Will he retain his mind, or lose it? How do you feel about not actually seeing the creature? Is your imagination working to put a picture of him in your mind, or do you wish they had shown you the real Leviathan lung brat in all his slimy, green glory?
Love, Robin
