930 - Julia's intro tells us that Barnabas arranged for the escape of Paul Stoddard, who goes to the antique shop in Collinsport, unaware of the terrifying nightmare that awaits him.
Backed against the wall, Paul screams as the creature approaches him, his face twisted in terror. Too frightened to move, Paul orders the snarling creature, "Get away from me!" The door closes by itself, locking him in.
Philip and Megan return to the shop. He suggests she make coffee--I'm going to stay up and work. Someone's been here, says Megan, eyeing the messed-up desk. Impossible, only Carolyn has another key, says Philip. Is it possible he came out of the room again? asks Megan. I don't know, says Philip--I'll go see. He approaches the door, hears the breathing, and finds Paul cowering. "Megan, come upstairs!" screams Philip. Hearing the panic in her husband's voice, Megan runs. Paul, barely able to move, clings to the wall. We have to get Paul out of here, Philip tells Megan. HE doesn't want us to, cries Megan. I don't care what he wants, says Philip, we must get Stoddard downstairs! The creature sounds very angry. Megan speaks to it directly--we don't know how he got here, but he can't stay--it's too dangerous! The creature grows more furious. Philip tries to help Paul out, but the creature's noises grow even more intense in protest. Don't touch him! Megan orders Philip. We can't let him stay here, protests Philip. He's giving us a warning, says Megan. They close the door, leaving Paul alone with the creature. Megan, upset, wonders aloud, why wouldn't it let you take Paul out? I don't know, there's no reasoning with him, says Philip. What will he do to him? asks Megan. I don't know! answers Philip desperately. We should find Barnabas, Megan suggests--he'll know what to do.
Collinwood - Barnabas coldly tells Julia, I have no feelings about your being involved with Paul's case one way or another. You're so totally different now, says Julia, what happened to you in the past? Nothing, he says. Not true, she counters--you used to be a man of feelings, who cared about the people at Collinwood. I still do, insists Barnabas. That's progress, she says, the first sign of emotion I've seen since... Please, leave me alone, he begs passionately--stay out of this! Out of WHAT? she asks. He doesn't answer. We've been through so much together, reminds him, I feel you need a friend, let me be that friend, let me try to help. If I tell you everything, he says to himself, you'll be too involved, and your life in greater danger--I've already caused enough harm, I must work this out alone. He turns to her and says, I've always valued your friendship, and that's why I don't want you involved--I will do my best to undo what has been done--but it must be done alone.
I don't understand, she says. Don't try, he begs, just trust me, and keep an eye on Carolyn. What does she have to do with this? demands Julia--is Carolyn in any danger? No immediate danger, says Barnabas, but please, do follow her, as much as you can. The phone rings; Julia reluctantly answers it. It's Megan, looking for Barnabas. He's right here, says Julia, handing him the phone. Come here at once, Megan tells him, it's an emergency--Paul is in the upstairs room--please hurry! Barnabas, knowing Julia is listening to every word, says, I'll try to get over before you close--Julia, I must leave. I know something has happened and want to know what, she insists. I can't talk now, says Barnabas. I know it was Megan, says Julia--what involvement do you have with those people? Trust me, he repeats--that's how it must be. He leaves. Carolyn runs downstairs--Julia, my father is gone!--I knew he was going out this evening, and I was going with him--I waited on the terrace, but when he didn't show up, I got very worried. She slips into a coat--he said he was going into town, and I must find him. Julia follows Carolyn out the door.
Antique shop - Paul continues to cower against the same wall, cornered and toyed with by the Leviathan creature, who refuses to let him go.
Megan waits for Barnabas downstairs at the antique shop, nervously glancing upstairs. Barnabas enters and asks, how did Paul get in here? He stole my keys while we were at Collinwood, says Megan--he must be gotten out of that room. If he's in any condition to be taken out, yes, agrees Barnabas. He heads upstairs, Megan following. Philip listens outside the door, hand on the knob. I haven't heard anything but breathing for some time now, Philip tells them. Inside the room, Paul moans. Philip unlocks the door; the three of them enter. Go downstairs, Barnabas tells Megan-- set up a cot in the basement room. What are you going to do? she asks. Never mind, do as I say, he orders. Philip warns Barnabas, be careful. The latter moves toward the creature. Philip, stay out of the room, orders Barnabas. Needing no urging, Philip exits.
Firmly, angrily, Barnabas tells the creature, I'm taking this man out of here, and you can't stop me!--you can't keep him here, nor harm him more than you already have. The creature growl-breathes in protest. You will stay where you are, commands Barnabas--don't come closer, you have no choice but to obey; there will come a time when you won't have to obey, but that time isn't now!--I am the master now, and you must do as I say!--I am taking him out. Take my arm, Mr. Stoddard, he says. Paul does, shaking. Barnabas drags the stunned man from the room. Philip closes the door and locks it as the creature snarls, incensed that his prey has been taken away. They urge Paul downstairs.
Julia and Carolyn reconnoiter in front of the Collinsport Inn. He isn't at the Blue Whale, or here, says Julia. I'm afraid something has happened to him, frets Carolyn.
Did he go anywhere else? asks Julia. I don't know, says Carolyn. We have to keep looking, says Julia, and they walk off.
Barnabas and Philip lead Paul to a basement room Megan has prepared. Barnabas requests a blanket. They help Paul to lie down and cover him. Megan hears the bell jingle upstairs and runs up to see who it is. What happened to Paul? Philip asks Barnabas--what did the creature do to him? He's in a state of shock, says Barnabas--go upstairs with Megan.
Upstairs, Megan finds Julia and Carolyn; the latter asks, have you seen my father?--Julia and I have been looking for him. Philip comes up--we would have alerted you if we'd seen Paul, he says. Megan agrees--we'd have brought him home. Call the police, Julia advises Carolyn. . Wait, says Philip, how long has he been gone? Two hours, says Carolyn. It's possible he returned to Collinwood by now, suggests Philip.
Barnabas waits downstairs with Paul, who tries to rise from the cot, insanely. Barnabas pushes him back down--we're trying to help you, Mr. Stoddard! Paul knocks down a lamp. Upstairs, Julia asks, what was that?--there isn't anyone else here, is there? The Todds look uncomfortable.
The four of us are the only ones here, says Philip. Something caused the noise, says Megan--go check it out.
Listen, Barnabas urges Paul--I'll get you out of here, but not now--rest quietly, I'll find a way to get you out, he promises. Philip stands in the doorway--what happened, he asks--Carolyn and Julia are up there. Go up and get rid of them right away, orders Barnabas. Philip picks up a piece of the broken lamp and carries it upstairs. "Carolyn!" cries Paul. Be quiet! Barnabas orders. Paul says her name more softly, settling back on the pillow.
Megan tells Carolyn, I hate to see you so worried, I hope he's all right. I figure he went into town for a drink, and returned to Collinwood, says Carolyn. If he was going to do that, asks Julia, why wouldn't he wait for you? Philip displays the lamp that broke. Megan apologizes for not being more careful in her placement of it. Julia, we should go back to Collinwood, says Carolyn--sorry we disturbed you. The Todds close up the shop. Go home alone, Julia tells Carolyn, I want to stick around and keep looking in case he didn't go back. But if I do find him at Collinwood, how will I reach you? asks Carolyn. (in the days before beepers/cell phones.) I'll keep in touch with you by phone, promises Julia. Philip glances out at them before closing the shop's front door. Barnabas asks the Todds, did the women suspect anything? I think Carolyn accepted it, says Megan, but I wasn't sure about Julia. Don't worry about her, she knows nothing, Barnabas assures them. What about Stoddard? queries Philip. I locked him in the basement room, says Barnabas. What are we going to do about him? asks Megan. I need time to think about it, answers Barnabas. We don't have time, Megan informs him, pretty soon the police will be after him. No reason for the police to come here, says Barnabas--tomorrow morning we must start giving him drugs to keep him quiet. His being here is too dangerous, says Megan, he should either become one of us, or be disposed of! There is to be no killing, Barnabas reminds her--are you so indoctrinated by his thinking? Philip and Megan, taken aback by Barnabas' ire, gaze at him suspiciously. He apologizes for shouting. Are you all right? Megan asks. I'm just upset, that's understandable, he says. Megan agrees, but not with much sincerity. Our problem is not downstairs, but upstairs, says Philip. Do not go back to that room until I return tomorrow, orders Barnabas--make sure the door is securely closed before you go to bed. Philip agrees. Barn orders Megan to turn off the lights. She does, throwing the shop into darkness. Barnabas leaves. Julia spots him exiting the shop. Go to bed, Megan tells Philip. Tired as I am, he says, I couldn't sleep now. She offers him a sleeping pill--you need the rest--go upstairs, I'll bring it up to you. He heads upstairs.
.
Philip listens outside Michael's door, but hears nothing. Megan joins him--she doesn't hear anything, either. I hope he's sleeping, says Paul. I want to go inside and check him, says Megan. Philip reminds her of Barnabas' orders--we can't open the door until tomorrow. Have you noticed anything different about Barnabas? asks Megan--his attitude seems to have changed, and tonight I found myself questioning his judgment. You shouldn't do that! insists Philip. I couldn't help it, she says--Barnabas is wrong about Dr. Hoffman, she is dangerous to us! We'll discuss it with Barnabas here tomorrow, says Philip--let's go to bed! Megan removes the pills from her pocketbook.
Paul lies on the cot, mumbling to himself.
Philip lies asleep. Megan tries to awaken him, but can't. She leaves the bedroom and goes to the creature's room. He is breathing softly. She unlocks the door, allowing his escape. She listens from the safety of her bedroom as the creature passes by, and we see from its viewpoint as it slithers downstairs to the basement...
Paul notices the same odor he did in the room upstairs. Hearing the creature breathing, he assures himself, no, it's my imagination, my overworked mind tells me...no, it isn't, it's coming to get me again! There's no way out! he cries, taking a chair and holding it out as if preparing to tame a lion. The snarling creature is right outside the door...!
NOTES: Paul is a luckless individual, isn't he?
Interesting to note that Joseph/Alexander/Michael smells bad in his natural form. Doesn't surprise me! LOL!
Megan must have drugged hubby to ensure he would stay asleep while she sicced the creature on Paul. She's hysterical one minute, self-assures and bitchy the next. Will the real Megan Todd please stand up??
Barnabas really warred with himself about telling Julia everything, but he doesn't want to put her in jeopardy, so he kept quiet. This is the nice Barnabas, slowly returning to the surface of the ugly veneer the Leviathans forced on him.
931 - Sounding more than a little over-the-top, Paul wails, THERE'S NO WAY OUT! as the creature heads for the door. He waits, chair poised. From above, Megan watches what's about to happen, grinning. The chair is grabbed from Paul's hands by an invisible force as the creature advances on him. Paul shrieks. Megan looks delighted. No! don't touch me, don't come near me! screeches Paul. Barnabas enters, sees what's happening, and orders the creature, "Drop him!" (it's that big and strong enough to hold a full-grown man?)--do it now! Good, praises Barnabas--don't move, Mr. Stoddard. The creature is angry at the interruption. You will not have him! insists Barnabas--stop it! Barnabas pulls Paul, thoroughly saturated in some kind of slime, his clothing torn to shreds, out of reach of the creature. Now you will follow me from this room, insists Barnabas--when you are human, you will never do this again--if I have to use control to force you, I will, but forget this man! FORGET HIM!
Paul cowers, terrified. Come! Barnabas commands the creature--no, you will obey me! he shouts, when the creature apparently considers going back for Paul. "Come, don't turn back," commands Barnabas. Upstairs, a disappointed Megan shakes her head, then runs back to her own room. Paul staggers from his place against the wall. Never leave this room, Barnabas orders the creature--get back in! Barnabas backs off, screaming, "No, you will not come toward me--THE ROOM! GET IN THERE!" The creature finally goes where he's been ordered. Stay in there! says Barnabas, locking the door. He himself looks absolutely devastated by his own close call.
Philip stumbles on something down in the shop.
Barnabas orders Megan to come here. A door opens and she comes to him. What's going on? she innocently asks. You heard nothing? he asks sarcastically. I must thank you, she says--I was so frightened, I knew he was out, I tried to awaken Philip, who'd taken some sleeping pills--I was so frightened! "YOU SHOULD NEVER HAVE UNBOLTED THAT DOOR, MEGAN!" he says, don't lie, I know you let him out--and why
--stay here and do nothing until I have taken care of Paul Stoddard! Megan looks at him speculatively.
Paul runs from the shop and meets Julia outside. She sees the state he's in--shocked, unable to speak--and calls his name.
Barnabas returns to the room where he left Paul--but he's gone. Uh oh! He leaves.
Julia takes Paul to Stokes' place. The professor looks him over and remarks, it's as if his clothing had rotted away--that smell, I noticed it the moment you brought him into the room--heavy and sweet (do the Leviathans smoke pot)? I'm sorry for bringing him here, says Julia, but I didn't know what to do--I couldn't take him to Collinwood. Paul stares straight ahead, eyes bulging. The hairs on is arms are singed right off, observes Stokes. He calls to Paul, who is unresponsive. He's in shock, says Julia--he didn't talk in the car--I don't think he knows who I am. How long this can last? Asks Stokes. I don't know, she says--with Amy, it was...the same way!--she was in the shop playing, the next thing I knew, she came to Chris' cottage and couldn't speak, she was that terrified. Stokes suggests calling the police; they could go to the shop--good heavens, if there is something there... Not yet, cautions Julia. Because of Barnabas, guesses Stokes, you think he may be involved? I know he is, says Julia, not how, but not of his own free will, either--he came out of the shop, and is in there now. You should be more realistic about Barnabas, urges Stokes. (tell her to stop breathing!) "I can't be," she insists--if we bring the police in now, whoever is responsible for this will go underground--please wait until Paul can speak, she begs. Stokes agrees--what frightened Amy so much? He asks. She saw Grant Douglas and thought it was Quentin, explains Julia. That might scare Amy, but not Paul, says Stokes. Julia agrees--there are so many thing I don't understand--why are his clothes this way?
Stokes suggests perhaps Amy never got close enough to. . .whatever it is. Paul begins mumbling incoherently.
Paul lies down on the sofa. Julia finds his pulse very slow, the way it is with shock. I want to go to Collinwood to get my medical bag, she says. If I had experienced what Paul had, says Stokes, I'd take refuge in sleep, too. When the phone rings, Julia orders him to tell whoever it is, I haven't been here all evening. It's Osmond--the large painting will be done in 3 hours, says Stokes--he expects to hear from you himself, so he will tell you. I had forgotten all that, says Julia--it does seem to be taking advantage of you to leave him here, says Julia. I quite agree, says Stokes, but you can't take him to Windcliff the way he is now--I wouldn't allow you to, I like to see the ending of a story once I've begun it. It can be dangerous, she warns him. Don't be melodramatic, he says, grinning. You don't know, she says, you must take this seriously--don't let him alone, ever, they'll be after him, and will do anything they can to get him. I understand, says Stokes. I have to tell Carolyn where he is, says Julia, I can trust her, she's so worried about Paul. But Carolyn works in that shop, Stokes reminds her. We can trust her, insists Julia, she's the only one we can--I'll leave phone numbers if I must leave Collinwood--if there's any change, let me know, but use no names--you must be more careful with this than anything in your life!
Megan, on the phone, muses, Paul Stoddard is gone--why did Barnabas come back into he shop? That's what I want to know, I won't be blamed for this, HE must be--can we really trust Barnabas?
The phone rings at Collinwood. Amanda stands by and answers when no one else does. Megan asks for Liz. She isn't in, says Amanda. Did she leave a number where she can be reached? asks Megan. No, says Amanda, not that I know of--there's no one here, I'm waiting for Julia. Take a message that Mrs. Stoddard call Megan Todd as soon as she gets in, says Megan firmly. I will, Amanda promises. Julia enters. I've been waiting and waiting, complains Amanda. "Wait just a moment," says Julia. Please, begs Amanda, Mr. Best is here in Collinsport--I saw him in the hotel lobby, simply looking at his watch and smiling at me--tonight he'll come for me, I only have two hours left! Go back to the hotel, Julia orders, stay with Grant, do everything you can to help him remember! He'll never say he loves me, laments Amanda--he must, or else...¦when there's a knock at the door, I'll answer it and Mr. Best will be there--and this time he'll give me no more time. Two hours! says Julia, heading for the phone--Professor Osmond said Quentin's portrait would be ready at 3--we will have to see it before then--go back to the hotel and stay with Grant, says Julia, I will call you--"Amanda, you must keep trying."
In the hotel, Quentin drinks. He tells Amanda, you're different than you were when we first met, you're changing--it's almost as if Olivia Corey, the toast of Broadway, is disappearing. If I'm not Olivia Corey, she asks, who am I? He chuckles--everyone is always asking me questions, forgetting I'm the original man without answers. Hysterical, Amanda says, "You must! Answer at least one!" She starts to cry. He asks, "What's wrong, Olivia?" Don't call me that! she wails. Why? he demands, that's your name, right? She looks at him, desperate. You look at me as if I can help you, he says. She apologizes. Don't be sorry, he says, I would help you if I could, and you know it--when you first brought me back from the hospital, you said one thing, but would never answer me--will you now?--why did you say we'd met before--if you know, why not tell me?--if you know something about me, tell me--please! She shakes her head and cries. I'm afraid I don't understand the rules of this game, says Grant. I didn't make them up, says Amanda. What does that mean? he asks--who, where did we meet?--because I also have the feeling we've met before? "Help me, please help me," he begs, staring into her eyes. She puts her hands on his face and draws him toward her for a kiss.
They draw back from the kiss, staring into each other's eyes. Could you love me? she asks. Tonight, this night, could you look at me and say, "I love you," and mean it? Seeing his blank face, she asks, you couldn't? That's your answer, not mine, says Quentin--is it so important? Yes, to me, she assures him. It would be easy to lie to you, he says, sometimes I feel I've lied to many beautiful women. She turns away; he pulls her back to face him. How does a man without a past know if he's in love or not?
--whatever I feel for you, and I feel a great deal, it's always the unknown, and somehow I have the feeling that in my other life, there's a woman who I love very much--why can't I remember? The phone rings. Amanda answers. Bring Quentin to Osmond's immediately, says Julia, we will see the portrait. Relieved, Amanda says it's our only chance.
Stokes watches Paul sleep. He notices his eyes are open. I didn't take you seriously the other evening, admits Stokes--but you can trust me, he assures him--look at me, please--can you speak? You must tell me what happened in that antique shop. Paul closes his eyes.
Osmond's place is adorned with paintings all over the walls. Julia leads Amanda and Quentin into a room where the covered portrait awaits them. Osmond allowed us to see it alone, says Julia. I should be used to you dragging me into strange rooms by this time, says Grant--"What is it, doctor?" Julia stands before the covered painting--it's a Tate of Quentin Collins, she explains. "Grant" laughs--another attempt to prove I'm 100 years old. Glancing at Amanda's solemn face, he adds, "And you take it as seriously as she does!" Yes, admits Amanda, but won't tell him why. Have you ever seen that portrait?--does it look exactly like me? asks Grant. No, says Julia, I haven't seen it--it was covered by a landscape that Osmond had removed. Oh, two Tates for one, laughs Grant--commercially, not a bad deal--and I'm supposed to stare at it and say "I'm Quentin, it all comes back to me now"--this is too insane! He starts to leave. Amanda stops him--it isn't insane, believe me, she begs. All right, my lady, he says, just what secret do you know--or are you both crazy? He'd prefer to leave the room and the house. Amanda begs him not to. Look at the painting, advises Julia--see what effect it has on you--it's vitally important to all of us that you regain your memory. I don't see why it matters to anyone but me, says Grant. You're wrong, says Amanda seriously. Very wrong, agrees Julia--clear your mind of anger and be as responsive as possible. All right, doctor, he says. Julia removes the covering from the painting. Amanda screams. Grant's face screws up in incredulous horror.
NOTES: So what does Grant see? Will this job his memory and force him to realize who he really is? Will it be in time to save Amanda from her fate at Mr. Best's hands?
Will Paul reveal all to Stokes, or has his mind snapped at the sight of the Leviathan creature?
As Paul Dennis Patrick really overplayed the role at times, and this was one of them. A little too much! I preferred him as Jason McGuire.
Love, Robin
