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MYSTERY & CHEMISTRY IN THE LAB Originally aired February 1982. | 
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This series of scenes originally aired around February 1982. Just a few weeks earlier, Nola gave birth prematurely to her daughter, Kelly Louise. Finally back at Thornway Road and trying to uncover his secrets, Nola wastes no time getting back to sneaking around Mr. McCord’s spooky and mysterious mansion. The night before, she discovered the entrance to one of the secret passageways in the old house, and while in Mr. McCord’s laboratory, accidentally knocked over some strong acid, leaving indisputable evidence of her snooping. Quint is furious when he finds the spilled acid.
INT. QUINT’S LABORATORY–ONE AFTERNOON
QUINTON is dressed in his fencing garb. FRITZ cleans up the acid in the foreground, while MRS. RENFIELD goes through the lab coats hanging on a coat rack. Quinton supervises.
QUINTON: (to Renfield) Have you found anything in the pockets?
MRS RENFIELD: No, it’s obvious all these coats were laundered. So at least we know that Nola didn’t find another letter from her(later revealed to be referring to Quint’s ex-fiancee, Helena Manzini) when she rummaged through them.
QUINTON: What I don’t understand is how she could spill an entire bottle of acid and not realize it. I mean, the fumes must have been overpowering.
MRS. RENFIELD: No wonder she wasn’t asphyxiated without the exhaust fan being on
QUINTON: I suppose, we should be grateful that she didn’t spill any of it on her or step into it accidentally. (stopping himself from the terrible train of though) My God, what a horrible thought.
MRS RENFIELD: You wouldn’t listen to me when I warned you about allowing Nola to find the mechanism that triggered the door to the secret passageway.
QUINTON: I just wanted to cure her curiosity once and for all.
MRS RENFIELD: Nola’s curiosity is insatiable. But, at least, I’m relieved that you’ve nailed up the door that leads to your bedroom.(the secret passageway led to both Quint’s lab and bedroom. A few months later, Quinton would gladly want Nola to enter his bedroom)
QUINTON: (moving toward Fritz who is still cleaning up spilled acid) Almost finished?
FRITZ: (in a German accent) Oh, not quite, sir, but the smell is so strong, I catch my breath.
QUINTON: Ah. Fritz, you took Miss Nola into town earlier today? How was she?
FRITZ: Oh very happy, sir, she was humming and singing all the way to the beauty parlor where Miss Middleton works. (Then happily reminiscing about his potential encounter with the young woman, Gracie) She even asked me if I wanted to go in to say hello to Miss Middleton.
QUINTON: (slightly amused at Fritz’s crush on Miss Middleton) Well, there’s no need to rush through this job. That acid’s very dangerous, and I wouldn’t want you burning yourself.
FRITZ: I’ll be fine, sir, excuse me. (Fritz turns back to his work, and Quint turns back toward Renfield)
QUINTON: Why are you looking so apprehensive? You told me the coats have been laundered, so there’s no possibility of her finding another letter.
MRS RENFIELD: But she found one, and now she’s busy going through your Italian-English dictionary, trying to translate whatever words she does remember.
QUINTON: Yes, but I told you she never used vocabulary that they would print in a dictionary.
MRS RENFIELD: Perhaps, but she knows the truth about you, and what you’ve been working on for so long.
QUINTON: I realize that, but in spite of everything that I loathe in that woman, I respect her professionalism. She would never mention my quest in a letter or anything else that . . . could fall in the wrong hands. (Quint opens a large crate that holds an ancient golden cradle)
MRS RENFIELD: If Nola should ever guess what this represents, or how it fits into your plan. Everything we’ve ever worked for would be lost. That’s why I’m so apprehensive.
QUINTON: Don’t worry, Mrs. Renfield. I’ll see to it personally Nola never does.
FRITZ: (approaching Quint and Renfield) Excuse me, sir, if it’s all right with you, I’d like to go wash up before I pick up Miss Nola at the Cedar’s Hospital.
QUINTON: Well, I didn’t realize Nola had a doctor’s appointment today.
FRITZ: Oh, she didn’t. She just wanted to see how her little girl was and find out what day she could bring her back home. Well, excuse me, sir. (Fritz leaves the laboratory)
MRS RENFIELD: I’d forgotten that Nola was bringing the baby home this week.
QUINTON: Forgotten? It’s the only thing I ‘ve been able think about for days now.
(Quint looks at cradle and moves toward it. Camera pans down to mysterious golden cradle in the crate)
LATER THAT DAY
(NOLA knocks on the door to the empty lab)
NOLA: (O.C.): Uh, Mr. McCord, I’m really sorry I’m late.
(Nola continues knocking to no avail. Finally, she decides to slowly and cautiously enter on her own. Noticing the strong smell in the room, she grimaces.)
NOLA: Boy, does it stink in here.
(She takes a lab coat and puts it on as she moves across the room. She jumps when QUINTON suddenly enters the lab.)
NOLA: Oh, Mr. McCord.
QUINTON: (very sternly) I’ve been waiting to talk to you, Nola. We have to have a very serious talk. Probably the most serious talk we’ve had since you’ve moved in here, beginning with an explanation of what went on in her last night. (Quint approaches a startled Nola) Now I want the truth, the whole truth and nothing but the truth.
NOLA: (innocently covering) Well, I don’t know what you’re talking about. I don’t know.
QUINTON: Now don’t play games with me, Nola. I know you were in this laboratory last night. I have proof.
NOLA: I don’t know what you’re talking about, Mr. McCord.
QUINTON: Look, look at the table. Look at the floor. You did that when you spilled a bottle of acid. Now, no more lies, tell me.
NOLA: (in a very innocent voice) I heard a noise in here last night. So I came down the hall. And, and I . .
QUINTON: Nola, you couldn’t have possibly come down the hallway, because the door was locked, and only I have a key. Now please, no more lies. No more!!
NOLA: (walks away from him, then defensively confronts him) I found a secret passageway, down in the library and the next thing I knew, I was at that door, right there.
QUINTON: Then what?
NOLA: (trying desperately to divert blame and disarm him) Now, wait a minute, you tell me what you’re doing with a secret passageway, and what you’re trying to hide.
QUINTON: I didn’t build this house. I rented it. Remember?
NOLA: (somewhat speechless) Yeah.
QUINTON: And now that I’ve answered your question, you answer mine. What were you looking for?
NOLA: (insistently) I wasn’t looking for anything.
QUINTON: Well, you must have been looking for something, if you were distracted enough to knock over an entire bottle of acid and not even realize it.
NOLA: I didn’t do it on purpose.
QUINTON: (accusingly) You didn’t hear it fall?
NOLA: No
QUINTON: You didn’t smell the fumes?
NOLA: (getting very emotional) No!!
QUINTON: You know, I find this all very very hard to believe, Nola.
NOLA: Stop treating me like a criminal!! (Nola turns on the tears) I’m not a criminal!!
QUINTON: (uncomfortable with her emotions) I . .I . .I wasn’t doing that. I . .
NOLA: No, you’re acting . . . you’re treating me like I’m ten years old. Now, I want you to stop it right now. I think we just ought to forget this whole thing. Because I can’t work . .I can’t keep things secret. I can’t keep things hush hush. Let’s just forget the whole thing.
QUINTON: (softening to her emotional outburst) No, no, I didn’t want that at all. You see, I wanted you to stay with me and work with me.
NOLA: (still very emotional and crying) Look, I don’t want it either. I like this place. I like you when you’re not like this. I wanted to learn your work, and I wanted to go to London. But it’s just not worth it. It’s not worth the hurt and the aggravation. I’m just going to pack my bags. I’m gonna go.
QUINTON: (trying to calm her in a soothing voice) Nola, please, I . .Nola, I have never been very good at expressing myself with women.
NOLA: (wiping away her tears) I think you’re pretty good.
QUINTON: (tenderly and sincerely) Now look, Nola, realize this, (he turns Nola to face him) I wasn’t upset because of the table or the floor. I was upset because you could have been hurt, and no one would have been around to come and help you. I couldn’t live with that thought. Not now, not when Kelly Louise is almost strong enough to come home . . .and we can all try to be a family. Now please, please, try in your heart to understand that, and to forgive me. (So that he can look into her eyes, he gently lifts her chin with his fingertips) You see, I could never forgive myself if anything ever happened to you.
(Camera zooms into the background to reveal MRS. RENFIELD who has entered unbeknownst to Quinton and Nola. Witnessing this tender moment, she appears concerned)
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NOLA’S LONDON BUMMER Originally aired approximately March 1982 |
This scene originally aired around March 1982 when Mr. McCord had taken Nola to London so he could meet and work with his colleague Professor Charles Taylor. This was Nola’s first trip ever abroad, and she was very excited. While in London, Professor Taylor’s lab was broken into, ancient maps were stolen, and he was assaulted by Silas Crocker. Nola and Quint have just visited Prof. Taylor in the hospital. Meanwhile, very early stages of Quint and Nola’s romance started to blossom. Their chemistry was tremendous, and quickly the tension built as to when Mr. McCord would first kiss Nola. In this instance, Nola’s Cockney chambermaid friend, Effie, gets in on promoting the proper mood for amour. However, Effie became more known for interrupting potentially amorous interludes between the couple.
INT. PROFESSOR TAYLOR’S SITTING ROOM IN LONDON–EVENING
EFFIE is setting the room for romance. As instructed by Nola and Mr. McCord, she checks the fire in the hearth and fiddles with the radio until she finds just the right station playing organ music. Nola has previously informed Effie that Mr. McCord has a particular penchant (perhaps romantic) for organ music. Something exciting seemed imminent.
NOLA and QUINTON enter the sitting room. Quint is wearing one of his traditional English smoking jackets with a very exaggerated and old-fashioned type of cravat. Nola wore a loose, gauzy, white dress and appeared to be either very cold or very much in the mood of the scene.
EFFIE: Good evening, Miss Nola and Mr. McCord.
QUINTON: Effie
Nola conspiratorially smiles at her friend.
EFFIE: Is there anything else you’ll be needing?
QUINTON: No everything’s all right. Thank you.
Quinton moves off to the other side of the room. Making sure Quinton does not see her, Effie girlishly wishes Nola luck in getting the desired romantic outcome. Effie leaves the room and closes the doors. Nola glances at Quinton who has moved to the other side of the room and is in deep thought after the disturbing hospital visit with his colleague. Continuing to look over at Quinton, Nola moves over to the radio and increases the volume just a bit.
Nola then moves across the room to the fireplace where Quinton, clearly preoccupied, is standing. Nola warms her hands on the fire, and then trying to get his attention, pleasingly poses by the mantle.
NOLA: (giggles) It’s funny . . .
Finally, out of his deep thought, Quinton looks up at Nola.
QUINTON: Hm?
NOLA: (still giggley and flirtatious) I mean, it was so warm out today, and then, all the sudden it turned so clammy.
QUINTON: (starting to move toward the sofa) It’s always like that when the fog rolls in.
NOLA: Oh, yeah, you know, I just love the fog. Sometimes it’s just real scary, you know, and then other times it’s just . . .Oh, it can be . . .(Nola moves back toward Quinton, behind the sofas and dreamily continues) . . .oh so . . . (sighing) . . . romantic, just like in one of those romantic movies. You know, where two people, they suddenly find each other and (hoping he will invite her to sit next to him, she loudly plumps the pillow next to where he is sitting on the sofa) . . . You know, (she sits on back of sofa). . .kind of like us.
QUINTON: (cluelessly he looks back at Nola) Now, I’m really confused.
NOLA: Well, when I first started working for you, I was kind of scared of you, you know. But the more that I got to know you, I got over that. Then when I brought Kelly Louise home, I . .I was a little worried then, you know, cause we were all sort of “living together.”
QUINTON: (still clueless) Well, why, Nola?
NOLA: (trying to explain) Well, cause you’re a bachelor and not used to having kids in the house. And um, (Nola gets up and moves around to other side of sofa) well, it’s sort of like the fog, you know. One minute it’s . .(dramatically) it’s real scary, and then the next minute, it’s just . . . .(Nola sits on sofa next to Quint)
QUINTON: It’s what?
NOLA: Oh, I don’t know . .
QUINTON: No, please, go on.
NOLA: It probably wouldn’t make a whole lot of sense.
QUINTON: Oh, I have a feeling it would make a great deal of sense, Nola. Like what you said this evening to Charles about recovering the stones and Silas and Helena. I mean, it was inspired!!
NOLA: (covering, but not exactly wanting this change in subject or mood) Oh, that’s wonderful.
QUINTON: Oh, I was, I was so inspired. As a matter of fact, I want to discuss that with you right now.
NOLA: (disappointed) Now?
QUINTON: Uh huh, I’ll pour us some brandy and coffee. Oh, and would you mind turning the radio off? Music is so distracting when I’m trying to think.
Dejected, Nola moves over to the radio to turn it off as per Quint’s request. She turns back to him with her arms crossed in semi-disgust.
QUINTON: (continuing in oblivion) Oh, the heat from that fireplace is practically putting me to sleep, you know. Oh yes, well. (Quinton gets up, smiles at her, moves toward the closed doors of the sitting room, and opens them for fresh air) Ah, there, that’s better. (to Nola) Now, why don’t you sit over there, and I’ll pour us some coffee and bring it to you.
NOLA: Great. (Nola sashays over to the sofa, still hoping for the best) Great. (She plops on the couch in a hopeful, dramatic pose. Smiling, Quinton moves back to the couch with the cups of coffee. Nola deliberately brushes off the cushion on the sofa next to her, hoping for Quint to sit next to her.)
QUINTON: Make yourself comfortable and here’s your coffee. (Quint places the cups on the coffee table.)
NOLA: Thank you.
QUINTON: And I’ll sit right here, (Quint sits instead in the armchair next to the sofa) and we’ll discuss it. Your plan . .
Nola looks totally disappointed, realizing that no romance is going to occur. When will he ever get a clue? And when will Nola learn not to bring up business when there are chances for romance?
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NOLA FALLING IN LOVE? Originally aired April 1982 |
NOLA FALLING IN LOVE
Aired about April 1982. Quinton and Nola returned from London. They have just started becoming closer and more attracted to one another, but while in London Quint had a final fling or something else of undetermined nature with ex-fiancee, Helena. Nola is hurt, considering quitting her job with Mr. McCord, and moving out of his home.
EXT. QUINT'S GAZEBO -- AFTERNOON
Nola and Quint sit close together on a bench in the gazebo. Tony (Nola's brother) appears in the background and doesn't let on he is there.
QUINTON: All I'm asking for, Nola, is time to sort things out for myself, and for you not to leave and take Kelly Louise (later known as Stacey) with you.
NOLA: You see, it's not just Helena. I mean, there were other things that happened before London. There are so many things about you that I don't understand at all . . . I mean you know everything there is to know about me. You know my family. You know where I come from. You know that my father left us when we were kids, and you know that I was pregnant, and I didn't have a husband, but I don't know anything more about you right now than I did when I first met you, right here, in this gazebo.
QUINTON: I remember that.
NOLA: See, what I'm trying to say is, I've been honest with you, and that's something that isn't real easy for me to do.
QUINT: Oh, I know all that Nola. (Quint gets up) I . . . while you don't know very much about me, there is one thing, though, I have never lied to you. Now that is something that you simply have to believe. (Quint turns around and sees Tony) . . . Anthony . . . hello.
(Nola quickly turns around to see Tony.)
NOLA: What are you doing here?
TONY: Mrs. Renfield told me I could find you out here. I didn't know I'd be interrupting anything.
QUINTON: You didn't, Anthony. I finished what I had to say, anyway. (to Nola) . . . Nola, you needn't give me an answer now. Just promise me you'll think it over. I'll see you in the lab when you're finished with your visit with your brother.
(Quint walks toward Tony.)
QUINTON: Anthony, good to see you. Give my best to your mother and your sister Maureen.
TONY: Sure
(Quint leaves).
TONY: I came out here to welcome you home. I never expected to be walking in on that.
NOLA: How long have you been standing here?
TONY: Just a couple of seconds. I wanted to turn back and go back to the house . . .
NOLA: (with an accusatory tone) But instead you decided to eavesdrop.
TONY: I wasn't eavesdropping!
NOLA: Oh really!
TONY: Really! . . . you know mom and Maureen and Floyd and everybody's been telling me how much you changed, since you came back from London. You know what? You don't seem to have changed at all. You're still jumping to conclusions and blaming everyone in sight. Did you ever think that if you didn't have anything to hide you wouldn't need to worry about people walking in at the wrong time?
NOLA : (overlapping) I don't have anything to hide. I'm not hiding anything!!
TONY: Really?
NOLA: Yes!
TONY: Well mom's been asking you since you worked here if there's something going on between you and your boss. You know with the bonuses and the special favors, the limousines, trips to San Francisco, chinchilla coats, this last trip to London. And the whole time you say "no mom, there's nothing going on between me and Mr. McCord". Lying through your teeth!!
NOLA: I am not lying. That is the truth!!
TONY: Really?!
NOLA: Yes!!
TONY: Well, I don't know that many bosses that would hold their employees and say what I just heard!
NOLA: Stop it, you were eavesdropping, you were!
TONY: I wasn't eavesdropping. I just . . . I didn't know what to do. I was too embarrassed to turn around and go back or to let you know I was here. I want to know what's going on here.
NOLA: Nothing's going on . . . nothing!
TONY: Really?
NOLA: Yeah, nothing!!
TONY: Nola, I don't want mom to go through another summer like last summer. Remember when you got yourself pregnant and tried to hang it on Kelly Nelson, that whole thing?
NOLA: I can't believe it! I can't believe it! How long are people going to hold that against me? Just how long? I mean other people make mistakes, right, and they're forgiven, but not me. If I could find a way . . . if I could find one stinking way to get people to believe how sorry I was for what I did, I would find it, but nobody's going to believe me . . . just . . .
(Nola walks away from Tony crying.)
NOLA: Look, I do care for Mr. McCord, but he doesn't care for me and that really hurts a lot. Of course you wouldn't know how that feels.
TONY: You're wrong Nola. I know.
(Tony walks over to Nola and hold her.)
TONY: I'm sorry. I'm real sorry.
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NOLA'S PERSUASIVE POWERS Originally aired June 1982. |
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After the truth comes out at the baby's Christening that she got pregnant by Floyd to trick Kelly into marrying her, Nola runs off to London with Kelly Louise (now Stacey). Floyd threatens to take the baby away from Nola, and her first response is to run. The last time she was in London with Quint, she became quite friendly with a chambermaid named Effie whose friendship she seeks after the blow up in the States. The following scene is right after Quint has found some pertinent information about his quest for the temple of gold and has convinced Nola to go back to Springfield with him to face Floyd and to get ready for the quest. The following scene also includes one of the MANY "almost kisses" for which Quint and Nola became frustratingly famous. They didn't actually kiss for the first time until about a month later in St. Croix.
INT. PROF. TAYLOR'S LONDON LABORATORY
(QUINT enters the late - Professor Taylor's laboratory and moves to a shelf where he checks a secret sliding door. He shakes his head.)
NOLA (V.O.): And I remember watching Professor Taylor when he put things away in that special hiding place of his.
(NOLA enters carrying KELLY LOUISE.)
NOLA: Well, we just helped Effie carry the luggage downstairs.
QUINT: I want to thank you for rushing your packing.
NOLA: Well, I'm looking forward to the trip, but not to the Floyd part though.
(Nola sets Kelly Louise on lab table, as Quint moves toward her.)
QUINT: I'm going to have to brush up on my scuba diving. Gunther's an expert so he'll help get me ready.
NOLA: How long does it take to learn to scuba dive?
(Quint picks up Kelly Louise)
QUINT: Oh not very long, but it is dangerous, and so I want to brush up on it.
NOLA: Well, I'll learn how to do it, while you're brushing up on it.
QUINT: Oh, that's all right, I don't think that will be necessary.
NOLA: Well, I think that you're forgetting that I'm the one that showed you where Professor Taylor's secret hiding place is. And I'm the one that tricked Helena and Silas, so I could get the pictures, so you could decipher the maps, and this is the most important part, and I should be there. I have a right to be there.
QUINT: (over) All right, all right, Nola, Nola, that's fine. Kelly Louise, I think your mother is using those persuasive powers I spoke about earlier, and I'm sure they'll work on Floyd too.
NOLA: I hope so.
QUINT: (slowly moving toward Nola) Nola, I'm sure that you could persuade me to . . . well to do almost anything.
(Quint moves in to kiss Nola, but then they are interrupted.)
EFFIE: Mr. McCord, the taxi's downstairs, and as much as I hate to see you go, you better, or you're going to miss your plane.
(Nola looks off in disbelief that yet another "almost kiss" has been interrupted.)
QUINT: Thank you, Effie, I'll take Kelly Louise with me. And thanks again, Effie, for taking care of Nola and Kelly Louise.
EFFIE: My pleasure, sir.
(Quint leaves with Kelly Louise. Effie moves toward Nola.)
EFFIE: (to Nola) I'm so happy to have seen you again.
NOLA: (shaking head) Effie, Effie, Effie . . . Effie, I really love you a lot, you know, but your timing is the pits, and it's getting worse.
(Nola leaves in humored disgust.)
Continuation of London Scene - "CALL ME QUINT"
(Nola is holding Kelly Louise and watching Quint as he reads Prof. Taylor's notebook on the flight home to Springfield).
NOLA: Well, Kelly Louise, we've been on this plane for over an hour now and Mr. McCord hasn't taken his nose out of that notebook once, not once.
QUINT: I'm sorry, I didn't mean to ignore you two, but I was just going over the notes Charles left us in this book. And, uh, don't you think it's about time you started calling me by my first name?
(Nola has been looking down at the baby, giving her a toy to play with, but looks up at Quint with a surprised look at that comment.)
NOLA: (Obviously nervous) Um. I, uh, I, uh...might be a little awkward. I mean, the only time that I've ever called you that name before is when I was trying to convince Helena that our relationship was something more than just em . . employee and boss.
QUINT: (Quint gives her a very early and restrained version of "the look" and puts his index finger to his mouth) But we have that by now, don't we?
NOLA: (still nervous) Maybe. . . . I just wonder if Helena's back in Springfield.
QUINT: Well, uh, Mrs. Renfield hasn't seen any sign of them, but, uh, we'll know soon enough, for sure.
NOLA: Yeah, we'll know a lot of things soon enough, like if Floyd's still trying to take Kelly Louise away from me.
QUINT: Nola, I...I'm quite sure that once you face him and talk to him, he'll realize what a mistake it would be to take Kelly Louise away from you.
{Quint reaches out and takes the baby's hand; Quint & Nola look at each other} You obviously put her above everything else in this world.
NOLA: Of course, I do. (Talking to Kelly Louise) I'm gonna see to it that all the promises that I made come true, that every dream that you have comes true, because if they don't, I know how much they can hurt.
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Quint Tells Nola He Loves Her Originally aired July, 15 1982 |
This scene takes place in Nola's tent on the island, the day after she and Quinton finally kissed for the first time. Helena had arrived at Quint's campsite late the night before, and is a cause of concern to Nola for many reasons. It has been raining all day, and Helena has been needling Nola about her (Helena's) skill as a diver, as well as her archaeological expertise. As the scene starts, Nola has just left a meeting of Quint, Nola, Gunther & Helena in Quint's tent. We see Nola sitting on her cot and taking off her raincoat, as we hear Quint call her name off-camera.
QUINT: (Following her into her tent) Nola. Nola, why did you just get up and leave my tent like that?
NOLA: Because I just really got sick of Helena's stories about working with you on all those digs and everything.
QUINT: Nola, Nola. It's...it's the rain. It is. I mean, you'll feel better tomorrow, when the sun's out, believe me.
NOLA: No, it's not the rain.
QUINT: Well, then, what is it?
NOLA: Yesterday was one of the most exciting days of my life. And then Helena came and everything changed. You changed. (Pachelbel starts to play in the background.)
QUINT: No. No, Nola, no you're wrong. Believe me, nothing's changed.
(He takes her hand in both of his and kisses it, then puts his left hand on the side of her face and kisses her.)
QUINT: (Pulling away and looking at her) Now do you believe me, that in spite of Helena's being here, nothing's changed between us.
NOLA: Well, I...I was just so scared, I mean, it took us so long to get this close.
QUINT: Once we finish our search here, we'll be even closer. I'll take you somewhere, where we'll be all alone and I'll tell you... well, I'll try to tell you everything about me, things that I've never told a living soul, save Mrs. Renfield. (Quint's hand is caressing her chin and the side of her face.) I just pray to God you'll understand.
NOLA: Well, I told you a lot of things about myself and... and you understood. I never thought you'd speak to me again.
QUINT: I'd never leave you, Nola. I love you.
(They start to kiss passionately. As Quint starts to put his arms around Nola, Helena barges into the tent.)
HELENA: Quinton! (in a shocked tone of voice)
(Quint and Nola pull apart, and Nola rests her chin on her hand, giving Helena a dirty look.)
QUINT: (in a disgusted tone of voice) What do you want, Helena?
HELENA: Gunther and I have dinner ready.
QUINT: That's nice. We'll be out there in a moment.
(We see Helena with an annoyed look on her face.)
QUINT: I said we'll be out in a moment.
HELENA: Quinton, do you have any idea how difficult it is with all the rain to get a fire started?
(We see Quint and Nola; Nola leans closer to Quint as he answers
Helena.)
QUINT: Then why don't you tend to it, Helena?
(Helena leaves the tent. Nola get a big grin on her face & Quint smiles at her.)
QUINT: Now, where were we?
(Nola kisses him and puts her arm around his neck.)
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SILAS KIDNAPS NOLA |
Nola and Quinton have just returned from St. Croix. Their adventure started out wonderfully, but then went sour when the golden temple that Quint spent his life looking for was destroyed on the island when a volcano erupted. Quint was very upset and Nola incorrectly believed that he blamed her for the unfortunate disaster. They returned to Springfield separately after many misunderstandings. Quint tried to convince Nola to return to live and work with him at Thornway Road, but she refused, feeling that Quint no longer cared for her, as he once did. Unbeknownst to Nola, Quint's arch enemy Silas Crocker had followed them back to Springfield and had been watching Nola and waiting for a perfect time to abduct her, as final revenge against Quint. While Quinton is on a business trip in New York, Nola goes back to Thornway Road to get the last of her things.
INT. NOLA'S ROOM AT THORNWAY ROAD
NOLA slowly enters the room carrying two suitcases. MRS. RENFIELD follows her in. Nola looks sadly around the room.
RENFIELD: Oh, Nola, I wish I could persuade you to change your mind. Mr.McCord is going through such a terrible time of disillusionment.
NOLA: (moving toward bed) Well, I appreciate what you are trying to do, Mrs.Renfield, but uh . . . I know more (she puts suitcase on bed) I know more about this than you do. (Nola moves toward the window)
RENFIELD: This house will never seem the same without you and Kelly Louise.
NOLA: (opening window) Well, it isn't easy. It isn't easy for me to do, you know. I was wondering where the dogs were, because when I drove up in the taxicab, I told the driver not to get out. I didn't see them.
RENFIELD: Yes well, Damian and Lucifer ran off today. Fritz is out there now looking for them. I promised to help him after I've helped you pack.
NOLA: I'd rather do that alone, Mrs. Renfield.
RENFIELD: Very well, I understand. (she turns to leave and then turns back to Nola) Oh Nola, I'm going to make a pot of tea. Won't you at least have a cup with me?
NOLA: Well, I'll see how much time I have left when I finish packing. Thank you. Renfield leaves. Nola moves toward the standing wardrobe armoire and starts to remove her clothes from it. Nola thinks about Quint.
QUINT (V.O.) Nola, I want you to think of this as your home . . . your's and Kelly Louise's.
She moves back over to bed with the clothes. Suddenly, Silas (as played by Benjamin Hendrickson) is seen coming through the window that Nola has just opened. Nola slowly turns and sees him, gasps, and runs toward the door. Silas runs after her, grabs her, and covers her mouth, just before she is able to scream.
SILAS: No Nola, now don't scream and ruin it all. My plan worked perfectly up to this point. Now, you just cooperate if you know what's good for you.
RENFIELD (O.C. calling) Damian . . . Lucifer
Silas drags a struggling and terrified Nola back into the room and closes the door.
SILAS: (in a menacing tone) This rather sharp object that's sticking in your ribs is a gun, Nola. Don't force me to use it. All right, Nola, now this is what we're going to do. You're going to finish packing before that man servant, Violet comes back from look and find the Dobermans. But they'll have a long search, don't you worry. I made sure of that. Now, I'm going to let you go, but I'll have my gun trained on you all the time, so don't you scream. Nod if you understand.
Nola nods, and Silas releases her.
SILAS: All right, now finish packing.
Nola hesitates. Silas holds his gun at Nola.
SILAS: (angrily) Get on with it.
Nola starts to pack as ordered.
NOLA: What are you going to do with me?
SILAS: Well, that's for me to know, and for you to find out. But I'll tell you this much Nola, you and I are going away together. You're going to help me get that golden cradle from Quint and those other valuable artifacts, before he turns them over to the New York museum.
Nola reacts and continues to pack. SILAS: That's right. I know everything that's going on here. You know, I even know your family rather well from all the hanging around I did down at that scroungy boarding house of yours down on Seventh Street, waiting for a chance to grab you. I've been here too, watching and listening. So, I know exactly where Quint is right now.
NOLA: Well, I got news for you. Your plan isn't going to work, because we aren't even talking to each other anymore.
Silas laughs out loud.
SILAS: Yeah, well, I guess then I know a lot more about the situation than you do, Nola. Cause Quint's been moping around this house ever since he came back, and it's not just losing the golden temple that's affecting his mood. It's because he's still in love with you, Miss Reardon.
Nola reacts. (Even with a gun trained on you, hearing that hottie is in-love with you would give anyone butterflies.)
SILAS: And that's how I know I'm going to get those things back from Quint, because he knows it's the only way he'll ever see you again. Now get on with that packing. We got a long trip in front of us.
CUT TO:
A FEW MINUTES LATER
Nola continues to slowly pack
SILAS: Now hurry up with this before Violet gets back here, and I got to take care of her too. (Silas waves his gun) You know how devoted Violet is to Quint. She'd gladly part with her life, before she'd turn that cradle and those other things over to me. So looks like you're my only way .
The phone RINGS. They both react. Silas moves over to the phone watching Nola all along. He grabs the phone by the base.
SILAS: All right, you better answer this so we don't arouse suspicion, but remember I'll be right next to you.
Silas gestures for Nola to get phone, but she hesitates.
SILAS: (angrily) Come on . . . move!!
Nola moves to get the ringing phone and places remainder of her clothes on bed. Silas keeps gun pointed at Nola.
NOLA: (tensely) Hello
CUT TO MAUREEN (as played by Ellen Dolan) on phone at Boarding House
MAUREEN: (surprised at Nola's tone): Hello, Nola? Nola, is there something wrong?
NOLA: (tensely) No, there's nothing wrong.
MAUREEN: Well, you sounded so strange when you answered the phone.
NOLA: It hasn't been easy for me.
Silas grabs phone and covers mouthpiece.
SILAS: Cut it short.
NOLA: Maureen, I have to finish and get out of here.
MAUREEN: Well yeah, that's why I'm calling. See, Ed and I decided that we could come out and pick you up, so you don't have to bother calling a cab
NOLA: No, you shouldn't do that!
MAUREEN: Well, why not?
NOLA: You just shouldn't do that.
MAUREEN: Well, I'm afraid Ed's already made up his mind. And anyway, he's invited you out to his house tonight for dinner and maybe a swim.
NOLA: Well, it's very nice of him, but I can't do that.
MAUREEN: (surprised) Why can't you do that?
NOLA: (shortly) Because I can't.
MAUREEN: Look Nola, I can tell by the sound of your voice that you're going through a very bad time now, and I don't think that you should be alone. So, Ed and I are going to be out there in about ten minutes.
NOLA: How's Kelly Louise?
MAUREEN: She's just fine.
NOLA: Will you give her a big kiss from me?
MAUREEN: Nola, what is it? Something's really bothering you. Is there someone there with you?
Silas covers mouthpiece of phone.
SILAS: Say goodbye and hang up.
NOLA: I have to say goodbye now. Give my love to everyone. Goodbye.
Nola hangs up phone.
SILAS: Good girl, now finish that damn packing, before I lose my patience completely.
Silas violently shoves Nola to finish her packing.
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"If Nola should ever guess what this represents, or how it fits into your plan. Everything we've ever worked for would be lost..."
