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GOING HOME Originally aired September 1982 |
QUINTON'S CAR - NIGHT
QUINTON AND TONY HAVE JUST RESCUED NOLA FROM SILAS, WHO HAD BEEN HOLDING HER CAPTIVE IN AN ABANDONED, RAT-INFESTED SHIP FOR WEEKS. A PALE AND WEAK NOLA SITS WITH QUINTON IN THE FRONT SEAT, HER HEAD ON HIS SHOULDER.
NOLA: I never thought I'd see anybody ever again. And then when you walked through that door, I thought I was dreaming or something. I've been dreaming a lot lately, I've been tied up so long...
QUINTON: Nola, please, don't talk now. You're tired, you need some rest. Everything is going to be fine, I promise you. I won't let anything happen to you. Tonight you're going to see your little Kelly Louise, and you'll be home in your own bed, in your own bed in my house. I want you to come home with me, Nola. My life has no meaning without you.
NOLA: But what about Helena?
QUINTON: No, no, there is no Helena in my life, no Helena. After everything that happened on that island, I behaved so badly. I'll never forgive myself. If you could find it in your heart to forgive me, I promise I will never reject you again.
NOLA STRUGGLES TO SIT UP AND LOOKS HIM IN THE EYE. SHE NOTICES THE CUT ON HIS HEAD WHERE HELENA BASHED HIM WITH A CROWBAR, AND REACHES UP TO TOUCH HIS FACE.
NOLA: Oh, no, you're hurt.
QUINTON (taking her hand): No, I'm fine, I'm fine. Now that you're back with me, my life has meaning again.
STILL HOLDING HIS HAND, NOLA SNUGGLES UP TO QUINTON, RESTING HER HEAD ON HIS SHOULDER AGAIN.
NOLA: Where did Tony go?
QUINTON: He went to get you some soup and something to drink.
NOLA: I'm not hungry, I can't drink anything.
SHE CLOSES HER EYES.
QUINTON: Shh, it's alright, you're just tired and weak and exhausted. But you're alright. We're going home now, Nola. Together. We're going home.
FADE OUT
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I LOVE YOU . . . ARE YOU ASLEEP? Originally aired September 1982. |
Quinton rescued Nola from Silas Crocker who had held her hostage for several weeks. Upon getting Nola back to Springfield, they brought a very ill Nola to the hospital. Nola was suffering from gastroenteritis and almost died. Quint spent practically night and day waiting at the hospital for word on Nola's condition. Quint goes into Nola's room to see her, but she is asleep . . . or so he thinks.
INT. NOLA'S CEDAR'S HOSPITAL ROOM -- MORNING
QUINT sits by Nola's bed totally distraught and exhausted. NOLA lies in the bed asleep facing away from Quint. Pachelbel's Canon plays softly in the background.
QUINT: Oh, Nola, Nola I don't think I would have the courage to say the things to you I want to, to your face knowing you could hear me. But seeing you sleeping here and realizing how close I came to lose you., there are things that I must say to you. It's not easy saying these things Nola to you. I know you've accused me of keeping things from you of not telling you about myself or my past, but what you don't realize is how little there is to know about me. I could give you facts and dates, but would that help you know Quinton McCord. I know him so little myself, how could I ever expect you to know him. Now you see Nola every time I've let down my barriers and my defenses and felt free to love someone, I've lost that someone forever, Nola. I lost that someone forever and it frightens me to let myself go.
(Quint goes to touch Nola)
QUINT: Do you remember the first time I met you in the gazebo when I interviewed you for the job in my household? Well Nola, from the minute I saw you, that very instant I knew I could love you, I did. I don't know why or how, but I did and I fought it Nola, yes. I fought it with every fiber of my being because I was afraid that if I told you how I felt, I'd lose you and I don't think I could ever live throught that lose again. Nola, Nola, I'm terrified, I'm terrified that I would hurt you, not intentionally you see, but I would. Perhaps, perhaps my life is cursed or maybe I was meant to be alone always, but you see Nola, everytime I've taken someone into my life and made them a part of it they . . .
QUINT: What I'm trying to tell you Nola is I love you too much to let that happen to you. Yes. You see you've given me so much. By watching you and being with you. I enjoy life and the wonderment you show it and everything around you. Nola, I even learned something from those wild wonderful dreams and fantasies of yours. Yes. And then when I was learning to live again, I was afraid, I was afraid Nola that the inevitable would happen, you see and you were kidnapped. And then I came into this room in this hosptal and saw you lying there her so ill and helpless, I thought I was going to lose you again. I thought I was going to lose Nola. You see everytime I've let someone into my life and made them a part of it I've lost them. Everyone and everything that's been so near and dear to me. I . . .
(He breaks down)
QUINT (C.U): But Nola, I want to to tell you this for the first time,*** for the first time since I've known you I'm no longer afraid. No longer am I afraid to tell you that I love you. Yes. I love you Nola. And I want you and I need you more than you'll ever know. I love you Nola. God help us both.
(Pan down to Nola with her eyes open. She continues to listen to Quint without stirring)
QUINT: Nola I never would be able to say this to you if you were awake, but all the same it's true. I love you. Yes I love you. I know you've accused me of keeping things from you in the past and I can't deny it, but Nola if you knew my reasons perhaps you'd understand.
(Nola starts o stir)
QUINT: Good morning.
(She slowly rolls over. Pachelbel fades out).
NOLA: What time is it?
QUINT: Its just past 7:30. Kelly Nelson came in at 6:30 to give you your medication and you were asleep so he said I could stay as long as I called him and told him when you woke up. How are you?
NOLA: I'm okay. How are you?
QUINT: Oh, I'm fine. Seeing you and seeing that you're all right, I'm just fine.
NOLA: You don't look fine. I mean you look a little tired. What happened to your face here?
(She reaches toward the bandage on his face. He takes her hand away and holds it)
QUINT: Nothing, just a bit tired, that's all, that's all. Now perhaps I should call Kelly Nelson so he can give you your medication.
NOLA: Yeah well, Maureen told me you went to police headquarters with Mike Bauer for questions and stuff.
QUINT: Yes, yes, It's true.
NOLA: Uh, what did they ask you about?
QUINT: They just wanted the details of the kidnapping.
NOLA: Is that it?
QUINT: Well of course, what do you think?
NOLA: Oh, I don't know. I just know how much you . . . um . . . hate talking to the police and you know. It's uncomfortable and everything.
QUINT: Well uh, I'll call the desk so they can bring in your medication now.
Quint goes for the phone. Nola looks disappointed.
(***Please note this is NOT the first time Quint told Nola he loved her. The first time was actually in the tent in St. Croix back in July 82, but he had not said it to her since. Perhaps with all the changes at GL at the time, someone forgot he already said those three word to her face . . . oh well . . . they were still awesome)
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TORTURED & SECRETIVE QUINTOriginally aired September 1982. |
The following series of scenes happen while Nola is recovering at Cedars Hospital after being rescued from the evil Silas Crocker. There is a lot of mystery surrounding the "room on the third floor" at Thornway Road. The authorities, trying to gather more information about Nola's kidnapping, have visited Thornway Road on a few occasions.
INT. QUINT'S THORNWAY ROAD STUDY ONE DAY
HELENA, done up in usual outrageous Helena garb, enters the study as MRS. RENFIELD immediately leaves, not at all pleased with Helena's continued presence in the house.
HELENA: (approaches Quinton who is drinking coffee) Aren't you even going to say goodbye to me, Quinton?
QUINTON: (turns and smiles at Helena) Gladly and joyfully, good bye, Helena. There's only one other thing that you could possibly do that would make things better for me.
HELENA: (suspiciously) And that is?
QUINTON: (sternly and directly) Leave Springfield all together.
HELENA: You know, you have a very strange way of showing your appreciation, Quinton.
QUINTON: Appreciation? (laughing) For what? For complicating my life beyond belief? Or for trying to kill Nola with your selfish actions? Or perhaps trying to kill me?
HELENA: I never tried to kill you. (Quinton turns away from her in disbelief) That's the truth, Quinton. And you do have something to be grateful to me for. After all, I never told Lieutenant Wyatt that you had everything removed from the room on the third floor before he and Mike Bauer arrived yesterday.
QUINTON: What are you talking about?
HELENA: Oh, don't be naive, Quinton. We've known each other far too long for that
QUINTON: You can't possibly know what you're talking about.
HELENA: In a way you're right because I didn't see exactly what was in the room. Violet saw to that. But I did catch glimpses of shadows . .
QUINTON: (furiously) Whatever you saw, you must never repeat it to anyone. Do you hear me?
HELENA: (submissively) I won't. I promise.
QUINTON: (quietly and turning away from her in pensive fear) Not to anyone. Never!!
HELENA: Are you all right, Quinton? Quinton, what's wrong with you?
Quinton stares off as camera fades out. A LITTLE WHILE LATER..
QUINTON: (noticing Helena is still there; annoyed) I thought you were about to leave.
HELENA: I am, but, Quinton, I want you to know that despite everything that's happened between us, I'm still very concerned about you.
QUINTON: Are you? Well, just pack up your concern with the rest of your things and get out of my house.
HELENA: Quinton, you may have forgotten how close we once were and what we've shared, but I haven't. And ever since that night on that God forsaken island when we rescued Nola and found the temple of gold . .
QUINTON: Only to lose it.
HELENA: Since that night, I have seen you more pressured, more tense and more frightened than I've ever seen you before.
QUINTON: I am not frightened, Helena. I am disappointed. Disappointed because in one brief moment, I saw the work of a lifetime covered by tons of lava, never to be recovered again.
HELENA: No, That isn't it. There's more to it.
QUINTON: No, no, I failed in my quest. Can't you understand how devastating that was?
HELENA: Of course, but you failed before. Many times. But you never reacted quite. .
QUINTON: (interrupting) I'm reacting as any man would react to that kind of a lose. (agitated) Now would you, please, gather your things together and get out of my house.
HELENA: Not until you tell me what has you so terrified.
QUINTON: You're imaging things.
HELENA: No, no, I see it in your eyes. There's that haunted trapped look. And it was so very obvious yesterday when the police were questioning you.
QUINTON: (getting more agitated) Would you, please, stop badgering me and leave me alone.
Quinton retreats from Helena's questioning. MRS. RENFIELD enters the room.
MRS RENFIELD: (to Helena) Fritz has your bags in the car. He'll drive you to the hotel now.
HELENA: Thank you. Have him wait. I want to check my room one more time.
MRS. RENFIELD: I've already done that, and I've locked the door.
HELENA: You're both afraid of the same thing, aren't you?
MRS. RENFIELD: (sternly) What are you talking about?
QUINTON: Pay her no heed, Mrs. Renfield. It's just her imagination.
HELENA: No, this has nothing to do with my imagination, Quinton. Ever since the first day I came to work for you all those years ago, I've sensed a sort of deep dark secret between the two of you. And now that I'm back in your lives again, it's more apparent. Which can only mean that you're terrified that your secret's about to be exposed. That's it? Isn't it.
QUINTON: (angrily) Good bye, Helena.
HELENA: (knowing she got the best of him) Good bye, Quinton.
Helena sashays out of the room past Mrs. Renfield. Quinton angrily watches her as she leaves, covering his fear. Once she is safely out of the room, he continues.
QUINTON: (turns to Mrs. Renfield in fear) She's right. She's right.
Quinton exits the study via the secret passageway. Mrs. Renfield watches him disappear and creepily comes further into the room and pulls a scary voodoo type doll out of her dress. The Dobermans bark loudly outside. Renfield lovingly looks at the strange doll as the camera fades out.
LATER that day QUINTON is mysteriously brooding in the study when MRS. RENFIELD enters.
MRS. RENFIED: Mr. McCord, I didn't realize you were home. I was helping Fritz clean out Helena's room.
QUINTON: You don't have to do that.
MRS. RENFIELD: No, but I didn't mind. The sooner we rid ourselves of everything that reminds us of that woman, the better we will feel.
QUINTON: I agree, but she's still in Springfield and that makes me very very uneasy.
MRS. RENFIELD: But that can't be for long. The authorities have to let her go soon.
QUINTON: Thank God, Helena doesn't realize that if someone with a modicum of intelligence took everything that she knows about me and put it in some sort of chronological order, then they would realize . .
MRS. RENFIELD: (interrupting) Don't even think that way. It could never happen.
QUINTON: (defensively) Yes, and how can you be so sure?
MRS. RENFIELD: Because we've kept it from everyone all these years. No has even come close to the truth.
QUINTON: The longer I live with this secret, the more pressure I feel.
MRS. RENFIELD: What has happened since you left this house that has caused you to have such a deep depression?
QUINTON: I went to Spaulding Enterprises to see Amanda Spaulding. She wasn't there, but there was some woman there that kept asking me all sorts of questions.
MRS. RENFIELD: About what?
QUINTON: About me? Well, she wanted to know why I came to Springfield, where I received my training in archaeology and with whom.
MRS. RENFIELD: Who is this woman?
QUINTON: Some sort of systems analyst. But she's not the first person to ask me all manner of questions. And then there's Vanessa Chamberlain. She's bringing Blanche Bouvier here to Springfield.
MRS. RENFIELD: (shocked) You never told me that.
QUINTON: I know. I know. I didn't want to trouble you with that. It's my problem. Like everything else in my life.
MRS. RENFIELD: It means that you will have to leave Springfield the way you did the last time that Blanche was here last year. You remember, you took Nola with you to San Francisco . . .
QUINTON: (interrupting) No, no, no, no, Mrs. Renfield. Never!!
MRS. RENFIELD: Why not?
QUINTON: Because I'm tired of running. Tired of trying to escape from the fates that seem destined to want to confront me at every turn.
MRS. RENFIELD: (dramatically) The fates have nothing to do with your current dilemma.
QUINTON: Really? Then why is I've begun to believe that I had no choice in coming to Springfield. That it was part of some preordained plan to bring me here to this place to finally confront my destiny with Nola Reardon at the center of it all.
MRS. RENFIELD: (surprised) Nola?
QUINTON: (emotionally) Yes, yes Mrs. Renfield, I've never felt like this about a woman before. I've never known a woman like Nola Reardon before. So why now? So why is it over before I've had a chance to have her in my life. (Quinton slams his hand on the hearth)
MRS. RENFIELD: You can still have Nola in your life.
QUINTON: (desperately) No, no, I can't!!. I can't. Because if I tell her the truth, that truth will be the one thing that will turn her against me.
MRS. RENFIELD: Mr. McCord, I wish there was something that I could say to calm your fears.
QUINTON: No, nothing can do that. But I've never been a coward, Mrs. Renfield, and I won't become one now.
Quinton purposefully heads to the door.
MRS. RENFIELD: Where are you going? QUINTON: To see Nola.
MRS. RENFIELD: Why now?
QUINTON: Because, perhaps, it's time that I finally told her the truth.
Quinton leaves the study. Mrs. Renfield follows after him.
MRS. RENFIELD: No, Mr. McCord. Mr. McCord, come back. Come back.
(Ed. Note . .As can be expected, Quinton did not tell Nola any of his secrets after this scene. Just before Quinton was to see Nola in the hospital, he was ushered away by Mike Bauer and Lieutenant Wyatt to go to Toronto regarding a dead body that they believed was the body of Silas Crocker's accomplice, Jamie Loomis. It took months before everything was revealed. Around the time of the above scene, Douglas Marland written story was wrapping up. Whether the "secrets" that Marland had in mind where what we really got is unlikely. I had occasion to meet Douglas before he passed away and did ask him what he really had planned, but he would not reveal it, wanting to save it for the future. In the story that unfolded on GL, Quint's "secrets" were that he has Henry Chamberlain's illegitimate son and that he thought (incorrectly) he was responsible for the death of his archaeology mentor, Prof. Renfield. All actual details were seemingly less ominous than what was detailed in the above transcribed scenes. The weird "voodoo" doll mentioned seemed to have no more meaning than that it was a doll that Quint loved as a child. It had special meaning to Renfield as she raised the young Quint (know then as Sean) with his mother. In the end, Quinton and Mrs. Renfield were involved in nothing nefarious at all.)
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OPEN MOUTH, INSERT FOOTOriginally aired October 1982. |
The following scene was during a difficult time in the courtship of Quinton and Nola. Nola has moved back into Thornway Road after recovering from her illness. Rebecca Cartwright and the mystery surrounding her have come right between our favorite couple and their short term chances for romance. The reason for the interesting title of this scene should become obvious as one reads it. We all adored Nola, but sometimes she was known for very ill-timed remarks.
INT. THORNWAY ROAD FOYER & STUDY-LATE ONE NIGHT
GRACIE is standing outside the front door to Thornway Road as NOLA says goodbye to her friend.
NOLA: Gracie, I told you that Fritz knows that you're leaving. He locked the dogs up.
GRACIE: But I'm still scared.
NOLA: Look, your taxi's right out there. But there is one more thing I want to ask you. Gracie, I have to get into Cedars tomorrow. I have to get into that woman's room (referring to Rebecca Cartwright). I have to find out about her.
GRACIE: Are you out of your mind?
NOLA: No, I want to find out about this Rebecca person. So I can make a decision. Okay?
GRACIE: Okay.
NOLA: All right.
GRACIE: Good night
NOLA: I'll see you tomorrow. (Nola and Gracie share a friendly kiss) Bye bye. Take care.
Gracie LEAVES and Nola closes the door behind her. She chains the door and the camera pulls back to reveal QUINTON standing behind the door.
NOLA: Oh, Mr. McCord, you scared me. How long have you been standing there?
QUINTON: (seriously) Long enough, Nola.
NOLA: Oh.
QUINTON: What were you doing, Nola?
NOLA: I was saying goodbye to Gracie.
QUINTON: She came over this late to visit you?
NOLA:(worried that Quinton overheard her talking about Rebecca) Yeah, you know Gracie.
QUINTON: No, I don't know her. Why don't you tell me about her.
NOLA: Well, she and I went to see this horror movie, and uh, well, she got really scared.
QUINTON: Oh, I see, so she came over here to talk to you about a horror movie?
NOLA: Yeah, well, I said we were scared, you know.
QUINTON: Did you calm her down?
NOLA: Yeah, I did. And we were also scared about Silas Crocker and, I mean, you know, we were wondering if we still have to talk to the police.
QUINTON: Ah, I suppose you do.
NOLA: Yeah
QUINTON: Why don't we go into the study and talk about it?
Nola follows Quint into the study.
QUINTON: Would you like some brandy?
NOLA: No, I'm fine.
QUINTON: I could ring for some tea.
NOLA: No, really, I'm okay. Thank you.
QUINTON: It's just as well. The rest of the people in the house are asleep.
NOLA: Oh
QUINTON: That doesn't bother you, does it?
NOLA: No, of course not, it doesn't bother me.
Quinton sits on the couch
QUINTON: I like it when we're alone together.
NOLA: (fidgeting a bit) I do too.
QUINTON: Are you nervous, Nola?
NOLA: No, I, just that talk with Gracie I had, that's all.
QUINTON: Well, why don't you come over here and sit down and tell me about it. (he makes room for her on the couch) Hmm?
Nola sits down next to Quinton. She is still acting a little nervous.
NOLA: (sighing nervously) Well, it was like I told you, you know. The movie, and uh, you know, being chased by Silas Crocker, and everything, and our lives were in danger, you know.
QUINTON: Well, that's not what I wanted to happen, you see. Here, let me explain my intent from the beginning. You see, It was my intention to have Helena move back into this house to act as bait to lure Crocker out into the open, and once he was in the open, we could catch him. And when we caught him, then I would know that your safety would be guaranteed. That's why I increased the security around the house and have acted preoccupied lately.
NOLA: Yeah, But Silas Crocker broke through all the security.
QUINTON: Ah, I realize that. That's why I'm doubling all the security. I've even thought of having a body guard assigned to you personally. (He continues moves closer to her and in an intimate tone) You know what you mean to me, don't you?
NOLA:(looks wide eyed at him) I like to think I do. (Pachelbel starts to play in the background, teenage hearts go pitter patter)
QUINTON: What can I do to convince you?
NOLA: I don't know.
QUINTON: Yes, I know I've disappointed you in so many ways.
NOLA: Not really, I mean, I like to think about . . the beach. When you kissed me on the beach that time.
QUINTON: Yes, yes, Nola, that was a very very special moment to me.
NOLA: It was special for me too.
QUINTON: You know, if anything would have happened to you, I don't think I could have gone on living. Do you understand that?
NOLA: Do you care that much about me?
QUINTON: Yes, Nola, yes I do. And what about you?
NOLA: (sighs) Oh gosh, I don't know. (getting very emotional) Things are so confused. I don't know what to do.
QUINTON: (holds and comforts her) Nola, Nola.
Nola continues to whimper.
NOLA: It's just like Rebecca. (Pachelbel quickly fades away, and Quint releases her) I mean, the movie Rebecca. Gracie and I were talking about it. You know, the . .
QUINTON: Why did you mention Rebecca?
NOLA: Oh, I don't know, I guess, I heard it somewhere from Mrs. Renfield or Helena or somebody.
QUINTON: You know, Nola, (he gets up from couch) I really don't like you listening in on peoples' conversations. You have to be careful of what you do and what you say
NOLA: What do you mean?
QUINTON: Ah, some people might not understand
NOLA: What? (she gets up from couch and moves toward him) What people?
QUINTON: Helena for one.
NOLA: (upset, Nola turns away from him) Oh gosh, you know, you know, if she's been saying things about me, you know not to trust her or anything. I mean, it's just, it's just like on the boat last summer.
QUINTON: Nola, I told you to forget about that. I've already explained that.
NOLA:(upset) How can I believe . .how can I believe that you care about me if you take her word over mine.
QUINTON: Nola, that's not what I meant at all.
NOLA: (turns from him and leaves the room) No, it's what it sounds like to me.
Upset, Nola closes the doors to the study behind her.
QUINTON:(exasperated and calling after her) Nola.
Nola has recently learned about the mysterious Rebecca Cartwright who was briefly staying in the "Room on the Third Floor" at Thornway Road until she went to Cedars to have some reconstructive surgery on her face and vocal chords which were damaged in a horrible accident. Nola finds out that Quinton (still known as Mr. McCord during this time) has taken responsibility for her by paying for her operations and seeing to her well being. Nola is trying to find out exactly what role Rebecca plays in Quint's life. Nola is also trying to find out exactly what role she plays in Quint's life. Nola had moved back to Thornway Road about a month prior when asked to spy on Mr. McCord for the FBI. She agrees, but only because she believes Quint is innocent of any wrongdoing and wants to prove that to the authorities . . .and herself. This particular period in Quola history got extremely gothic and almost weird at times. There were also lots of changes in regime at "Guiding Light" during this time period which often made the Quola story seem confused and inconsistent, but the chemistry between the characters was always able to carry the story.
INT. THORNWAY ROAD STUDY
QUINT is sitting in a chair as NOLA storms into the study obviously annoyed at something. Quint stands up when she enters.
NOLA: Mrs. Renfield said you wanted to see me.
QUINT: Yes, I did.
NOLA: (with an attitude): Well?
QUINT: Nola, I don't understand. I'm puzzled by the way you're acting.
NOLA: (shortly) Why?
QUINT: A while ago you said you were going upstairs to get the baby and bring her down here so that the three of us could be together . . . now that didn't happen. And you didn't come down for dinner either.
NOLA: The baby had an upset stomach. I had Fritz bring a plate up. Is there anything else you want . . . .(needling him with formality) Mr. McCord?
QUINT: Nola what has happened to change you so much so quickly? Now are you angry with me for something?
NOLA: It's not important.
QUINT: (frustrated) Would you stop this . . . of course it's important. Tell me what's wrong.
NOLA: Okay, one minute you're saying wonderful things to me. The next minute I hear you saying that there's a woman . . . that she's the most important thing in the world to you . How do you think that makes me feel?
CUT TO A FEW MINUTES LATER
Nola is sitting on the couch in the Study still obviously annoyed and Quint brings her a glass of brandy.
QUINT: Maybe this will help settle your nerves.
He places the glass on the table in front of her.
NOLA: Thanks
QUINT: Nola, I know that you're entitled to some explanation.
Nola nods.
QUINT: But I won't make any . . . not yet.
NOLA: Why?
QUINT: I just can't. You'll have to trust me.
Quint sits down close to Nola.
QUINT: (softly) Do you think you can manage that?
NOLA: (moving down couch from Quint and angrily) I don't know.
QUINT: Nola, please, please try. Now remember . . . remember the beach . . . .when we kissed . . . can you remember the things I said to you . . . how I felt about you?
NOLA: (weakening) How can I forget?
QUINT: I'm glad that all happened even though I didn't mean for it to happen and the reason for that is . . . for one brief wonderful moment I forgot that I wasn't free to tell you what was in my heart.
NOLA: (confused) What are you talking about? (getting angry) What do you mean you you're not "free"? Are you committed to somebody else?
QUINT: Yes I am, but in a way that I can't explain.
NOLA: (frustrated) Oh, I can't believe this (Nola gets up from couch) You do this to me every time. I ask you a question and then you turn around and say something that you can't answer. Oh, can you at least tell me who this woman is?
QUINT: (getting up from couch) It's a woman from my past Nola. Someone . . . someone I used to be in love with.
NOLA: Are you still in love with her?
QUINT: I don't think of it as love now.
NOLA: Well then what is it?
QUINT: It's a commitment . A commitment that for the time being I can't walk away from. Now all I'm asking for is that you trust me. Just like I trusted you when people like Helena came to me and said that you were spying on me.
NOLA: (softly) You know what a liar she is.
Quint moves close to Nola and puts his hands on her shoulders.
QUINT: Even so, the point is I have faith in you Nola. I refuse to believe that you could or would harm me in any way. Now please . . . can't you trust me like that?
Nola reacts.
CUT TO A FEW MINUTES LATER
NOLA is facing away from QUINT and quietly crying.
QUINT: Nola? Nola what's wrong? Why are you crying?
NOLA: (shaking head and crying) I guess I'm just being sentimental.
QUINT: About what?
NOLA: I guess about what you said about trusting people.
QUINT: I meant it.
NOLA: (turning to Quint) I want you to know that I trust you. And it . . . you know that stuff about Helena . . . said that I was spying on you . . well you know sometimes . . . .well things seem different than they really are. But I want you to believe in me. I want you to trust me. Because well all I care about is that people don't believe the things that they're saying about you that they're true (classic "Nola line fumble")
QUINT: I know Nola sometimes I appear to be eccentric it seems to be the curse of my life and perhaps I am eccentric at times.
NOLA: Well you're sure different than most people.
QUINT: (looking away) I often think I spent too much of my life locked up in laboratories hidden away on archaeological digs looking for valuable artifacts. Perhaps I've had too little contact with the real world.
NOLA: The real world's not so hot.
QUINT: Yes, well like it or not we're a part of it Nola (Quint turns toward Nola) Now Nola, (he moves toward her) you know me better than anyone else in the world except for Mrs. Renfield and you know that I don't . . . well I don't care about what people think about me or say about me, but I do value your opinion . . . it's very very important to me. (he turns Nola toward him and moves very close to her) Now I want you to answer something for me . . . Now do you trust me?
NOLA: (quietly) Yes.
QUINT: Completely?
NOLA: (almost entranced) Completely.
QUINT: Thank you.
Quint lightly kisses Nola. Quint then slowly brushes the back of his hand gently against her chin and cheek.
QUINT: (very softly) Now all I want . . . you to do is to trust me for a little while longer and then perhaps I'll be able to come to you and talk to you about the future. And I want you to believe that I care a great deal about you even though I'm not in any position to make any kind of commitment now. Is that enough for you to hold onto?
NOLA: (quietly) I guess that'll have to be enough if that's all you can give me right now.
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"Quint Tells Nola He Loves Her Part 2" Originally Aired November 1982. |
Rebecca Cartwright has completed her series of operations at Cedars Hospital and has returned to Thornway Road in order to recover. Nola fears that Quintıs feelings of commitment toward her will turn to love. Helena Manzini who is also living at the house is encouraging Nolaıs fears by pointing out the class differences between her and Quint while Rebecca and Quint come from a more similar background and education. Upon Rebeccaıs return to the house, Quinton throws Rebecca a little party so that she may meet everyone in the house and feel welcomed. The party however is a disaster when Nola has a little too much champagne and in her efforts to make Rebecca feel at ease she actually upsets her. Nola feels very badly about this, but is even more upset by the thought that now that Rebecca is living in the house, Quint will always consider her second.
INT. THORNWAY ROAD STUDY MORNING.
QUINT is sleeping on the couch in his tuxedo from the night before. MRS. RENFIELD enters the study in order to clear away some of the effects of the prior nightıs "celebrations". She notices Quint sleeping on the couch and moves to wake him.
RENFIELD: Mr. McCord.
Quint starts to stir.
RENFIELD: Mr. McCord!
QUINT: (groggily) Yes? Yes, what is it? (sitting up) Is Rebecca all right?
RENFIELD: Yes, Iım sure she is. She is probably still asleep since she has not yet rung for her breakfast.
QUINT: Breakfast? What time is it?
RENFIELD: It is 9:00 in the morning.
QUINT: Oh, good Lord.
RENFIELD: Mr. McCord, why didnıt you go up to your room last night?
Quint gets off the couch and puts his jacket on
QUINT: Because I didnıt want to until I was sure that Rebecca was asleep. I stood up all night staring into the fire thinking about my life and all its twists and turns.
RENFIELD: (stopping him) Mr. McCord please, you know as well as I do there is not one single place in this house that is safe from prying ears. Now we can speak in generalities if you wish, but you know you can never talk about . . . .
QUINT; Yes, yes, yes, youıre right. Youıre right. Iım just a little groggy from the champagne I suppose. Rebecca did get to sleep . . . didnıt she?
RENFIELD: Well Iım sure she did. I looked in on her once to see if there was anything at all that she needed and she signified to me there was not. May I ask what exactly your feelings are for Rebecca Cartwright?
QUINT: Save me if I know Mrs. Renfield. Iım . . . my mind is in such a terrible state of confusion. I . . . was thinking about what we once were to each other . . . that terrible day and what I did to her.
RENFIELD: You donıt really know what happened.
QUINT: Perhaps not, but I know the results of that terrible day . . . all the pain and the suffering that I feel I am responsible for and because of that responsibility I have a deep commitment to Rebecca.
NOLA appears at the door unnoticed by Quint and Mrs. Renfield.
QUINT: (conıt) Do you think sheıll be able to speak again?
RENFIELD: Of course we have no way of really knowing, but didnıt you tell me that the doctors were convinced the operation was a success? Then we must assume that she will speak in time.
QUINT: Sheıs got to. Sheıs just has got to speak again. So that I can get on with my life.
RENFIELD: And when she does what will happen to your life then?
QUINT: Well I donıt know exactly, but perhaps Iıll be able to get on with a normal life or . . .
Mrs. Renfield finally notices Nola at the doorway.
QUINT: (Continuing and turning to Nola as well) . . . have no life at all.
Nola reacts.
RENFIELD: Excuse me, Iıll get some coffee.
Mrs. Renfield leaves as Nola enters the study.
NOLA: Morning.
QUINT: Good morning Nola.
NOLA: Look Iıd . . . .
QUINT: (overlapping) Nola, Iıd like . . .
Nola laughs and they both stop.
QUINT: Itıs all right . . . please you go first.
NOLA: Look I know I donıt have the right to ask you any questions, but . . .
QUINT: Nola, you have every right to ask me any question, but you must trust me when I tell you that there are some that I just canıt answer. Now can you do that?
NOLA: I think so. Itıs one of those questions that I asked last night . . . is that the one that you have trouble answering?
QUINT: You mean when I came in after seeing to Rebecca and you asked me if it was always going to be like that?
NOLA: Are you always going to chose her over me?
QUINT: But Nola, Iım not doing that.
NOLA: It looks that way to me.
Nola walks away a bit.
QUINT: (moving towards Nola) Nola listen you have to understand that right now Rebecca needs a lot of care and attention. She needs to be completely relaxed so that her vocal chords can have a chance to heal and that sheıll be able speak again.
NOLA: Is that all it is to you . . . just to help her to speak?
QUINT: Yes
NOLA: Then will your commitment be over to her?
QUINT: I donıt understand
NOLA: Once she speaks, once she can talk again . Will you be done with her?
QUINT: Nola please sit down.
Quint leads Nola to the couch and they sit down. Pachelbel starts to play. Quint moves close to Nola.
QUINT: Now Nola . . . do you remember that night I came into your hospital room and told you that I loved you even though I thought you were asleep and couldnıt hear me?
NOLA : (quietly) I remember.
QUINT: Do you have any idea how difficult that was for me?
NOLA: I think so.
QUINT: Nola, it has been years since Iıve been able to think on those terms let alone say anything about it. I made myself a promise a long time ago never to fall in love again.
NOLA: But why?
QUINT: Because I knew that if I did I would only end up hurting that person and I fought my love for you because I thought Iıd do that to you and I just couldnıt bring myself to do it.
NOLA: Do you love me?
QUINT: Yes, yes Nola I love you.
Quint moves in to kiss Nola (BTW: This is their first "real kiss" since St. Croix in July). They continue kissing as the camera pans up to reveal Mrs. Renfield entering the Study.
RENFIELD: (not noticing them yet) Mr. McCord.
They break from the kiss. Nola is embarrassed.
RENFIELD: (sincerely) Iım sorry. Rebecca insists on seeing you.
Quint gets up and gives Nola a knowing look. Nola is obviously disappointed, but continues her martyrdom. Quint leaves the Study.
INT. NOLA'S THORNWAY ROAD BEDROOM
NOLA sits at the end of her bed alone. A KNOCK is heard at her door.
NOLA: I don't want to see anybody.
RENFIELD (O.C.) It's Violet. Please let me in.
NOLA: (quietly) Come in.
Mrs. Renfield enters with a silver tea set.
RENFIELD: I thought you might like a cup of tea about now. You know I've always found that a good cup of tea is very soothing to the nerves.
Renfield sets the tea set down.
NOLA: Thank you. Is Tony still here?
RENFIELD: No, he just left.
Nola gets up and walks toward the door.
NOLA: What's going on in the house?
RENFIELD: The house is very quiet tonight. Rebecca is asleep in her room . . . and I believe Mr McCord is still down in his study.
NOLA: Oh. . . . . . Boy sure's in bad shape with his face . . . and his shoulder isn't much better.
Nola sits down in a chair next to the tea set.
RENFIELD: I know but, I dressed the shoulder wound. I think it will heal nicely. And I think the ice pack will bring the swelling down on his face, but I'm afraid he's going to have two very nasty black eyes.
Nola is quiet as she drinks her tea. Renfield moves to leave and then turns back to Nola.
RENFIELD: Nola, you know that I always try not to interfere, but there are sometimes when I feel that I must speak out. It is no secret that I care Mr. McCord very deeply. That I am devoted to his welfare. It is my sole wish that he find happiness.
NOLA: I know that.
RENFIELD: I believe that you hold the key to that happiness.
Nola places her tea on the side table and moves away from Renfield not wanting to hear that right then. Renfield follows her.
RENFIELD: Nola? You do love him don't you?
NOLA: Yes I do. I never thought I could love anyone before like this.
RENFIELD: Would it help you if I told you that Mr. McCord loves you in the very same way. I know that he holds you dearer to his heart than he has any other woman in his life. The love he has for you is stronger than he ever thought possible.
NOLA: It doesn't seem like that sometimes.
RENFIELD: Oh Nola! To him this is a new discovery. At the same time he's exhilarated, but he's also confused. The confusion comes from the fact that he didn't know this kind of love existed before now. And in this confusion, well he doesn't always respond to you the way you would like him to.
Nola walks away from Renfield again.
NOLA: Mrs. Renfield, the point is . . . confused or not . . . that he doesn't trust me. I mean he'll trust someone like Helena with his life like tonight. But he will not trust someone who loves and cares about him. Oh what's the use? I don't know . . . I don't understand.
RENFIELD: Nola, must you understand him to love him?
Nola does not respond, but turns slightly to Renfield and listens intently.
RENFIELD: Then go to him. (Renfield gently places her hands on Nola's shoulders) Go to him. Give him your unconditional love. He needs your support now. He must know that you love him for no other reason than that he is the man that he is. Go to him my dear because he needs you very very much.
Nola starts to leave and then turns back to Renfield for an embrace before she "goes to him".
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"NOLA AND BEA HEART TO HEART" Originally aired December 1982. |
Quint has gone to Switzerland to see one of Rebecca's specialists about why she has not yet regained her voice. Back in Springfield, Nola has a heartfelt conversation with her mom Bea about Quint and their future together.
REARDON BOARDING HOUSE KITCHEN
(NOLA enters the kitchen much to BEA's surprise.)
BEA: I didn't expect you.
NOLA: What do I need an engraved invitation or something?
BEA: No, but I kind of thought you'd stay close to home incase Mr. McCord calls.
NOLA: Well I don't have to wait anymore.
BEA: Oh?
NOLA: We had a telegram saying that he was coming home tonight.
BEA: Oh?
NOLA: I'm hungry.
(Nola moves toward stove.)
BEA: Oh, well there's some left over stew in the pot over there.
NOLA: Yeah? From dinner?
BEA: Let me get it.
NOLA: No . . . I'll get it mom . . . It's all right . . . I'll get it
BEA: Oh, all right , all right
(Nola takes some stew.)
BEA: Honey, I know you very well and you're not acting like yourself. Tell me what's wrong.
NOLA: I don't know. I guess I just feel a little unsettled that's all.
BEA: Because Mr. McCord is coming back?
NOLA: Well, no, it's not that . . . I want to see him.
(Nola walks to table and sits down.)
NOLA: (con't) It's just . . . I don't know . . . .it has to do with this Rebecca Cartwright.
BEA: She hasn't talked yet . . . huh?
NOLA: No and I've just had it with it that's all.
BEA: What do you mean honey?
(Bea moves to table and sits down too.)
NOLA: Well with her not talking when she can talk . . . I told her about it.
BEA: Ow . . . what did she say?
NOLA: She didn't say anything. She kept writing on that sheet . . . that paper . . . "I don't know what you're talking about." And then I told her that . . . that I know about this commitment that Quinton feels toward her to see that she's fully recovered. And once that commitment's fulfilled and she's well again she'll be out of our lives forever and Quinton and I can start our future together.
BEA: (aghast) Nola you told her that?
NOLA: Yes.
BEA: Oh, honey . . . . do you think that was a good idea?
NOLA: Well yeah, I don't want her to think that she was getting away with anything.
BEA: Yeah, but I mean if your suspicions about that woman are right . . . maybe you shouldn't have tipped your hand like that and confronted her honey.
NOLA: Well, uh . . . I'm just afraid that she's going to hurt in some way. You know, I don't know how or why or anything, but I just didn't want her to think that she could get away with hurting him and I said that I was going to watch her 24 hours a day.
BEA: You really care about that man don't you dear?
NOLA: (quietly) Yeah, I do.
BEA: You know honey, all I want is for you to be happy.
NOLA: (still quiet) And?
BEA: Nola are you sure you know what you're getting into?
NOLA: (shaking head and sighing) Oh, I don't know.
BEA: Are you sure that the kind of lifestyle he can offer you doesn't enter into it just a little bit?
NOLA: (honestly) No . . . I mean of course it does. (swooning) I mean . . . you know . . . but there's just . . . I don't know . . . there's something different about him . . . it's hard to explain . . . it's . . it's a feeling that I get . . . . when we're together . . . I . . . I . . .I don't know . . . in my heart I just feel that's it's right. Do you understand that?
BEA:(smiling) Yeah? I felt that way about your father right up to the day he walked out on me. I guess maybe that's why I never remarried Nola. I don't know . . . maybe we only get one person in our lifetime that can make us feel like that.
NOLA: Well see . . . that's what I'm talking about . . . that's what Quint does to me.
BEA: But honey, there's so much you don't know about the man and I know it bothers you.
NOLA: I know. I was afraid of those things . . . what he was doing, but I know that what he is doing is for us. Well like the other day when he went to meet Silas Crocker and he could have been killed mom . . .he could have been killed, but he went to meet him so he could get Silas Crocker out of our lives.
BEA: And did he?
NOLA: I think so. Quint thinks so. Helena's gone.
BEA: She's gone?
NOLA; Yeah, I don't know where, but. . . she's gone and now we'll get rid of Rebecca and we'll be all set.
BEA: You really think you'll get rid of Rebecca?
NOLA: I think so. He promised me and I believe him.
BEA: All right . . . so after she's gone then what other obstacle are going to be in your way?
NOLA: Well why would there be anyhting else?
BEA: Oh honey, let's face it, there's always been something. First it was the quest and then it was Silas and then it was Rebecca . . . .
NOLA: (over) Mom, it's going to be wonderful. It really is.
BEA: I just hope you're right darling. Nola I don't want you to set yourself up for another heartbreak.
NOLA: Mom, would you just stop this, there's not going to be any heartbreak . . . we love each other. . . that's all that matters.
BEA: I know. I know how you feel honey. I know how frightening it is to think about commiting yourself to one person. That's why I'm asking you all these questions. I like Mr McCord . . . I like him . . . I think he's basically a very good man, but he is very mysterious dear and there are a lot of things you don't understand about him.
NOLA: You know mom, I was talking to Mrs. Renfield about that. She said to me " do you have to understand him to love him?"
BEA: Well?
NOLA: I said no. . . . that just . . . that just loving him was enough
Bea does not look convinced.
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"I want you to come home with me, Nola. My life has no meaning without you."
