924 - Gazing up at the familiar face of Barnabas' former wife and tormentor, Julia's face registers utter shock. "Angelique," murmurs Julia. The name suits her, doesn't it? asks Sky. The painting looks so old, says Julia--it's strange. Whoever painted it did a good job, says Sky--she's dressed as she was at a costume ball, just before I met her--the painter even painted it on an old canvas. She's very beautiful, remarks the astonished Julia. The best model we ever used, boasts Sky--that's how I met her, saw her photo in my magazine--FASHION, you probably read it. Occasionally, says Julia (somehow, I can't picture that). I decided to do a layout, just of her, he says. You haven't known each other long then, says Julia. I went to the city myself to supervise it, says Sky--it's unheard of, a publisher taking charge, but I met her, and while I never believed in the old songs, "Love At First Sight," "It Only Takes a Moment"--embarrassed, he stops blathering--you've got me talking about my favorite subject. I see I have, says Julia, disturbed. The phone rings. Sky answers--good, he says--to Julia, he adds, the plane has landed on time, she's in the launch and should be here in 20 minutes, so if you will excuse me, there are magazines for you to read--mine, of course--amuse yourself. Don't worry about me, says Julia. He exits, leaving her with what surely must be a jumble of wild, confused thoughts.
Doing schoolwork at the desk in Collinwood's drawing room, David sneezes. He asks Maggie, who sits nearby, do I have to do all this right now? He wipes his nose with his hand. Yes, you do, she says, and your handwriting had better be more legible this time. Why do I never get to do anything I want, he complains. You know that isn't true, chides Maggie. Why couldn't I go to Michael's house to play? He asks. You're coming down with a cold, says Maggie. Yeah, and staying here is going to make it go away, says David sarcastically. And you have work to do, says--you can't spend all your time at the antique shop. I don't see why not, he says. Megan and Philip don't want you two boys under foot all the time, she says. They like it, insists David. You must get under foot some of the time, says Maggie. You wouldn't understand, he says. What? she asks. Nothing, he responds. Something, she counters. I was just thinking, he says. Think about finishing your theme, she says. He continues to work, drops the pen on the desk, and announces, it's done. Already? she asks--when are you going to learn that schoolwork is important? I know exactly what is and isn't important, says David, verging on nasty--"You don't have to worry about me." The doors swing open--it's Michael. "Hi," he says. Michael! says David, excited. You didn't come to my house, states Michael. SHE wouldn't let me, says David, gesturing to Maggie, who doesn't look glad at all to see the intruder. It doesn't matter, says Michael, I've come here. It's great, enthuses David. I didn't want you playing with David because he's coming down with a cold, explains Maggie. I don't get colds, scoffs Michael. I'm surprise Megan and Philip let you come here, considering they knew I wouldn't let David go out, says Maggie. Oh? asks Michael. You aren't going to make him go home, are you? asks David. "You wouldn't do that, would you, Miss Evans?" pleads Michael, sounding like an Eddie Haskell wannabe. Come on, urges David. I certainly should, for your sake, says Maggie. For His sake, Miss Evans? asks Michael with icy politeness. If you boys start running around and David gets overheated. . .begins Maggie. David, really excited, says, we won't--we'll sit and play quietly, won't we, Michael? The latter assures Maggie, I know lots of games we can play. While we're playing, you can grade my theme, says David--we won't go out of the house or anything. Maggie, staring at Michael, says, well, if you two boys start rough-housing, he'll have to go home--David really is coming down with something--"You can stay." What do you want to play?" asks David. Michael, staring at Maggie, shrugs. Maggie returns to join the boys and asks Michael, is something is wrong? What could be wrong, Miss Evans? asks Michael. You keep staring at me, she says. David, uncomfortable, asks Michael, do you want to play Wall Street? "It doesn't matter what game we play, David!" says Michael, annoyed--"You know that. David goes to get the game. Maggie starts to tell Michael to remember... "To clean up?" asks Michael-- "Miss Evans? We know."
Sky and Angelique Rumson exchange a big, happy anniversary welcome home kiss. I missed you, he says. Beaming, she says, I missed you, too. We aren't alone, warns Sky--there's a woman here to talk to you about the Tate painting--get rid of her quickly--I've got champagne on ice and big plans for the day. She loops her arms around his neck--I won't let a thing interfere with us, she assures him--they hug. Angelique checks her face in the mirror. Do you have any idea how much I love you? he asks. Nearly as much as I love you, she replies, throwing her arms around him again. As they hug once more, we see she's wearing a big diamond rock on her left hand. Angelique really does gaze after him with longing before going to meet the woman who has come to see her. Julia's back is to Angelique, who greets her with a cheery hello. Julia turns. "Hello, Angelique," she says. Angelique's face contorts with disbelief and shock.
Mortified, Angelique rushes to close the doors. "Why did you come here?" she asks Julia. Not to find you, the latter assures her. I want nothing to do with you, says Ang, any of the Collinses or anything at Collinwood, do you understand? Julia shakes her head. "I've changed, I'm different," insists Angelique--"I have everything in the world I want." "Do you indeed?" asks Julia disbelievingly. "EVERYTHING," emphasizes Ang--"And I won't let you or any of them take it away from me."--I'm afraid you will tell them--no one there will believe I've changed--Barnabas would never believe I love and am loved. Barnabas might surprise you, Julia.
Bitterly, Ang says, that's one thing he would never do--Barnabas always laughed at me when I spoke of being human. Have you given up your powers? asks Julia, astonished. Of course, says Ang--willingly!--you don't believe me?--do you think I'd be standing here begging you, when with just a few words, I could wipe this meeting from your mind and be safe again?--no, that was part of the agreement--if I could find a man who could honestly love me, then I could live as a human--and I am! She turns away from Julia--I knew this would happen, she laments--I would see one of you, one of you would find out I was here...this house, Sky loved it so much, I couldn't bear to let him sell it--he knows nothing about me, and must not--the past means nothing to me now. If it means nothing, says Julia, then why do you have Quentin's portrait? Surprised at how much Julia knows, Ang admits, I have it because Sky gave it to me. Why did he happen to choose this particular picture? asks Julia--was it chance? No, admits Ang--when Sky asked me to marry him, I wasn't sure; I didn't know if I could give it all up--one day as I was wandering through a gallery, trying to make up my mind, I saw that (she nods her head toward the View of South Wales). You knew that Quentin's portrait was underneath? asks Julia. I was at Tate's studio the night he covered Quentin's portrait and began that picture, says Angelique--so the picture came to mean for me everything my life had been up until now--all those weeks of trying to make up my mind about Sky, I would go to the gallery, look at the painting, and remember...Barnabas, Quentin, all the rage I felt, all the unhappiness, every plan I made had gone wrong--one day Sky picked me up at the gallery; he knew the owner, who told Sky that it was my habit to come to the gallery and sit there every day and look at that picture--he bought it for me, as a surprise wedding present. Now if I ever have a single regret, I come to look at it, and am very glad to be as I am now-- "Julia," she says earnestly, "we became friends in the past, please let us be friends now, don't tell them I'm here, please don't." I won't, promises Julia, if you give me the picture. But I can't, protests Ang. Quentin is in trouble, reports Julia. Ang is surprised to hear Quentin is at Collinwood. A man I assume to be Quentin arrived a few weeks ago, says Julia, but he's lost his memory, and I am sure the portrait will help him regain it--he's just as he was, he hasn't changed at all. Don't tell me those things, begs Ang, I don't want to hear them! Allow me to take a View of South Wales and have it transferred to another canvas, asks Julia--your husband need never know--if you ever felt anything at all for Quentin, you must do this, Angelique--you must! Stricken, Angelique considers Julia's words.
Michael and David play Wall Street. Michael steals from the bank. I caught you, announces David. No you didn't, counters the future Leviathan leader evenly. Yes! says David. I saw you take it!--why did you do it? Because I have to win, says Michael. You have to? repeats David--"Then there's no point in playing the game. He rises from the chair and walks away, arms crossed over his chest. "Sit down!" orders Michael--"You haven't finished your move." I don't plan to, says David. Look at me, commands Michael. Reluctantly, David does so. You will sit down, orders Michael, and finish the game. David sits and says, "And you will win.". "And I will win," agrees Michael. Maggie enters--David, she says, if Michael will excuse you for a few minutes, I'd like to discuss your theme with you. To David, Michael says, "Michael won't." What did you say? demands Maggie. Innocently, Michael replies, "Nothing, Miss Evans." I think you said that you wouldn't excuse David, says Maggie, but this is about his homework and doesn't concern you. David reminds her--we're playing a game. You can stop your game, insists Maggie--this theme is illegible, there are whole sentences here I can't read. "You really should let us finish, Miss Evans," says Michael, an implied threat in his voice. David agrees--please. Please don't tell me what to do, Michael, insists Maggie. David's little lecture can wait, can't it? asks Michael rudely-- besides, I don't know what's so important about handwriting--I've never seen a grown-up's I could read! Neither have I, says David, and that includes yours, Maggie. So why don't you just go back to your room? suggests Michael (this kid has cojones, I have to give him that)! Angry, Maggie says, you apparently didn't understand what I said earlier--you do not give me orders, David is in my charge, not yours.
I don't understand what you're so upset about, says Michael--we said he'd come to you when we're finished. She and Michael stare at each other for a few tense moments. All right, she says--five minutes, David, and you're to come to my room--alone. She leaves. "I HATE HER!" Michael says. You can't, says David. And she hates me, says Michael. David points out, if you hadn't said... She'll be sorry, promises Michael. Come on, we should just play, says David. The game is finished, says Michael, you go listen to her lecture, and then...then we're going to have some fun. What are you going to do? asks David. "Fun for us, anyway," says Michael, grinning. I won't do anything to hurt Maggie, says David. We won't hurt her, says Michael--as soon as it gets dark, we just have a nice new game to play, that's all. And he grins at David.
Angelique and Julia are seated in comfortable chairs. I'll send someone to pick up the painting the day after tomorrow, promises Julia--it will be back before next weekend. Ruefully, Angelique says, I'm deceiving him already--the influence of Collinwood. Tell him you want to lend it for an exhibition, suggests Julia. He'll want to know where, says Ang, he has that kind of mind, very thorough--no, we had better do as you said--you pick it up--and please keep my secret, begs Ang, don't even tell Quentin. I promise, Julia assures her, and I keep my promises. Don't misunderstand this, says Ang--I don't even want to see YOU again. That can be arranged, Julia says. Sky joins them and asks, have you settled it yet?
All arranged, says Julia, shaking Ang's hand--thank you very much. She shakes Sky's hand, too. He offers to take her to the launch. Not necessary, says Julia, heading out. Angelique looks worried, but once she and Sky are alone, he asks, did you get what you wanted? No, she replies. What's wrong? he asks. She giggles and says, wrong?--what's wrong is that you're too sensitive, and know me too well. She curls her arms around his neck. I don't know you nearly well enough, he says. Very seriously, she says, you do, you know me as I am now, and that's all you have to know. She kisses him passionately.
Collinwood - night - storming, no surprise - Maggie comes out looking for David and Michael, who are no where to be found. When she heads upstairs to find them, all the lights go out. Upstairs, David holds a candle. You shouldn't have taken the fuses out, David tells Michael. I just wanted to see if she's scared of the dark, says Michael. David protests--I don't like this game--can't we stop? No, says Michael--she's coming. They run and hide out of her view. Maggie, also bearing a candle, enters her bedroom, calling to David. Her door blows closed; she finds she's locked in. DAVID! she calls, is that you?--answer me, I know it's you or Michael, if you don't answer me...David! David, on the other side of the door, asks, what's the matter, Maggie? You know perfectly well, she says--open this door! David unlocks the door. He and Michael stand there. The fuses have blown, says Maggie--I want you to help me find the fuse box. I didn't do anything, insists David. Well I know who did, says Maggie, looking at Michael--I've had enough of your tricks for the day--I'm calling Philip and Megan and having them come to pick you up. You don't need to, says Michael, I'm ready to go home now, and will call them myself. He walks off, furious.
You shouldn't have done that, says David. I don't know or care what you mean by that, says Maggie, but that boy is not a suitable friend for you--I hope you realize it--I don't want him to come back here again. No, Maggie, says David, don't say that, please! He walks away, into his own room, leaving Maggie alone in the hall. Maggie returns to her bedroom, where she finds the lights work; she blows out the candle. She prepares her bed for sleeping, but is interrupted by the sound of heavy breathing. She looks around, fearful. She moves around her bed, then listens at her door. She presses her ear to the secret panel, which opens. That's where the breathing appears to be coming from...
NOTES: Angelique seems very happy, and sincere in her desire to have nothing to do with the Collins family. Her wistful remark to Julia about how she's already deceiving her husband, blaming it on the Collins influence, was telling. At least she agreed to help Quentin by loaning Julia the painting. Did she really give up her powers, willingly? And does she really desire to be human? Sounds like she means it, but let's wait and see. Can one painting be taken from the top and moved to another canvas? Is it possible?
Sky is cute, but most feel he's a rotten actor at this stage of his career, and the comment usually made about him is "wooden." Make your own judgment on that one. Ang got a handsome, rich fella, and more power to her!
Michael is a nasty little brat, and we worry what he has in store for poor Maggie. That he must always win--even if he must cheat--is an annoying facet of his character.
David didn't seem like his Leviathan self in this episode, did he? He was very cowed by Michael, afraid for Maggie, much as Philip seemed to be out from under the Leviathan influence the other day. Normally, David would let Michael do whatever he wants--look how he just gave him his coveted radio when Alex wanted it! Even David chafes at this new version of the Leviathan leader.
925 - Maggie follows the sound of breathing, calling to David. Are you making that ridiculous noise? She demands--stop this!" She finds that the secret panel has closed behind her, making it impossible for her to return to her room. "DAVID!" she cries, terrified.
Maggie walks through the secret passageway, the sound of the breathing continuing. "David, why are you doing this? Are you angry because I sent Michael home? Michael!" To herself, she says he'd said he was going home--but maybe he didn't. "Michael is that you? Answer me!" She determines to find another way out of this place, and the camera focuses on two flickering lights in a brick wall that look much like those in 1897. We wonder how it just so happens that they are lit in this secret passageway.
At the antique shop, a nervous Megan tries to work, but is too agitated to do so. Philip comes in. It's nine-thirty, says Megan angrily--you were supposed to be back at six to help me with the accounts! I was held up at the Carson place, he says defensively; the lot was bigger than I expected. I called the Carsons at 7:30, she rails--they told me you had just left! I see, he says. Where have you been for the past two hours? demands Megan. He looks at her. Is it something I shouldn't know? she asks. Philip resentfully explains--after I left the Carson's, I drove the truck to the bluff overlooking the North Cove, and sat there for two hours! Doing what? she asks. Looking at the ocean and thinking, he says. Thinking? asks Megan sarcastically. About us, our life and what we're doing to it, outlines Philip--about the way we've changed and the things we've done. Megan's face softens. We had no choice, she says. Why not? asks Philip, other people are free to choose the way they live their lives, not us? She thinks about it--I don't know or understand it, she says. Yes, that's what's so frightening, says Philip, neither do I. Why don't we close up the shop now and go to bed, suggest Megan, touching him provocatively. Good idea, he says--where's Michael? He's spending the night at Collinwood with David, says Megan. This totally whacks Philip out--"At Collinwood--are you out of your mind?" What's the matter? she asks lightly--it was Michael's idea. Of course, says Philip, furious, and you went right along with it because you don't know how to say no to him--the way he runs your life, the way you fawn over him, pamper him--well, I think you've gone to far this time. There are times you're more childish than Michael, accuses Megan. It's dangerous to let him stay with David, persists Philip. Snapping the shade over the door closed, Megan says, that's absurd--I refuse to discuss it. Philip grabs her arm--you're going to discuss it, he insists. No, retorts Megan, I'm going to bed! And I'm going to Collinwood to get Michael! Shouts Philip. No! insists Megan, wrenching free, you're going to stay here, stay right here and let him stay where he is. I don't want to take that risk, says Philip. Where do you get this ridiculous notion you have about this child? Demands Megan. He's not like other little boys, says Philip, he's uncontrollable, incapable of abiding by set rules because he makes his own; there's no telling what he might do out there. It's not right to keep him cooped up in that room upstairs every night! insists Megan.
I'm concerned for the safety of other people, says Philip, not what's right. Michael is a wonderful child who deserves the very best from us, says Megan, he can't get it if you keep criticizing and picking on him! "When are you going to stop taking HIS side?" cries Philip--can't I ever be right anymore? Stop it! she orders. They stare at each other, a couple who was about to go to bed to make love, now adversaries. "I'm warning you, Philip," says Megan, stop persecuting him, let him live his life the way it should be lived, if you don't, if you don't..." You'll what? he asks. Megan suddenly changes, returning to her pre-Leviathan self. She launches herself into Philip's arms--what are we doing to each other? she wails. He wraps his arms around her. Why are we fighting like this, we never used to, what's happening to us? she asks. I don't know, he answers, but I sometimes wish I hadn't seen that box. No, says Megan, pulling away from him and staring at the Leviathan box, don't ever say that again, don't even think it--Michael could be taken from us! Would that be so bad? asks Philip. Yes, it would he, she says, under the spell once more.
Collinwood - A scared Maggie realizes she's been going around in circles as she tries to find a way out--there's no way out! I don't know how to get out, I'm all alone in here, and I've got to find my way back to my room!
9:10 AM - Roger returns home. Michael and David are playing the same board game in the drawing room. Roger overhears Michael telling David, "You'll sell when I tell you to!" It's not in the rules, protests David. These are MY rules, insists Michael, and that's what counts. Roger listens at the drawing room doors, not liking this exchange. He enters the drawing room. you're up early, David, he observes--who is this young man? Michael introduces himself--I came over early, he explains, because we had to stop playing last night before we finished. Michael is Alex' cousin, adds David. Yes, says Roger, forehead creased, I knew that before I opened the door. Didn't you like Alexander? asks Michael. I only met him once, answers Roger
--didn't get to know him--where's Maggie? Asleep, I guess, says David--Amy slept over Tammy's house (glad she has other friends and can enjoy a normal life away from Collinwood). I'm going upstairs, says Roger--go on with your game. It's your turn, says David--you didn't pay me for that stock. You didn't tell me your father hated Alexander, accuses Michael. He didn't hate him, says David. He tries to resume the game. Angrily, Michael says, you shouldn't keep things like that from me. Pay up so we can get this over with, says David. The game is finished, announces Michael, I'm getting tired of it! He shoves the game, pieces and all, to the floor.
Roger knocks at Maggie's door. He finds her gone, and her bed hasn't been slept in. Puzzled, he leaves the room. The camera focuses on the secret panel.
Maggie continues to try to find her way out of the maze; another door closes and locks after her. She cries, "Who's out there? Let me out!" (Looks like she's in the storage room outside Quentin's old room.) Hearing the breathing again, she cringes in fear.
Roger comes downstairs and asks David, who's put the game away, do you know where Maggie is?--I couldn't find her anywhere. I haven't seen her all morning, replies David--she must be somewhere in the house--it's not like her to go off without telling anybody. Yes, I know, agrees Roger. Michael exits the kitchen, and listens as Roger sternly asks David, did something happen last night that I don't know about?--when I went to look for Maggie, she wasn't in her room, nor had her bed slept in. I don't understand, says David. Roger leaves to make a through search of the house. Michael enters the drawing room. Do you know anything about this? asks David. "About what?" inquires Michael innocently. Maggie's missing, says David, her bed wasn't slept in last night. How should I know? asks Michael, I wasn't here last night. I know, says David, but-- "Michael, did you do anything to her?" Of course not, says Michael, I haven't the slightest idea where Miss Evans is!
David and Michael play cards in the drawing room. When David seems preoccupied, Michael asks, are you still thinking about that stupid governess? I'm worried about her, admits David. Stop worrying, she'll turn up sooner or later, says Michael. Hearing his father come in, David anxiously asks, did you find anything? No, says Roger--and I searched the entire house--I'm going to give her a piece of my mind when she does come back. It's your turns, David, says Michael. Roger goes to answer the door. It's Philip, who has come to pick up Michael. Roger invites him in. Philip bids Michael good morning. We haven't finished this game yet, says Michael. I can't wait for you to finish, says Philip, I have work back at the shop. And David must start his lessons, adds Roger. "He can't do that until his governess comes back," points out Michael. Roger looks at him, as does Philip, who asks Roger, is David's governess away? We don't know where she is, says Roger--she seems to have disappeared. Philip stares at Michael, who smiles innocently, wiggling his eyebrows.
Megan dusts the deer head, and other items in the shop. She hears Philip arguing with Michael, who demands of Philip, let go of my arm! Keep walking, orders Philip, you have some explaining to do! Philip hustles the boy into the shop. Megan asks, what's going on? That's what we're going to find out, says Philip, and he's going to tell us--I warned you it wasn't safe to let him go over there! Will one of you please tell me what's going on? cries Megan. David's governess ran off somewhere and he thinks it's MY fault, bleats Michael. Philip is still holding the boy's arm. She didn't run off, you did something to her, says Philip. Megan is angry at her husband for this accusation. Don't look so shocked, says Philip--he's capable of it! I don't believe it, insists Megan--I want to hear Michael's side. That isn't necessary, says Philip, I just want to find out what he did to her and where Maggie is now! I didn't do anything, honest! Michael swears to Megan. Philip grabs him. Listen, he orders--she wouldn't have run off without telling someone. Leave him alone! says Megan. Stay out of this, says Philip--Michael, Mr. Collins said Maggie didn't sleep in her room all night--suppose you tell me why. Megan, he's hurting me! protests Philip. Megan forcefully calls her husband's name. I told you to stay out of it, rages Philip, if we're going to be responsible for your little darling, we'll be responsible for him in all ways. He drags Michael to the stairs prepares to administer a spanking. Stop it! commands Megan, don't you dare lay a hand on him--if you do, you'll be sorry! Philip, frightened by his wife's hysteria, releases Michael, who runs into Megan's arms, swearing, I didn't do anything wrong--why does he always blame me? She comforts him, assuring him everything will be all right, he isn't going to hurt my darling--no one is ever going to hurt you.
Philip gives Megan a look of disgust and goes upstairs. Michael looks after him triumphantly and says, Megan. Philip hates me and never will understand me, and for that reason, I think we're going to fail. What are you saying? asks Megan. Philip SAYS he believes in what we want, explains Michael, and talks about our cause sometimes, but he doesn't really believe in it, not like you and I do. He caresses her face. I'm not wrong, he says softly, somehow hypnotizing her--there isn't anything more important than what we believe in, is there? No, nothing more important, she agrees--and Philip could make us fail. I don't think Philip should be one of us, says Michael. "I don't, either," says Megan, viciously adding--I'll do something about it. Michael, satisfied, leaves the shop. Megan gazes upstairs. She opens the desk top and takes out a gun, then goes upstairs after her husband.
NOTES: It always has to be the Leviathan child's way or no way. Maggie and now Roger suspect the kid is trouble, at the very least, and even David's feelings seem to be losing their luster in the face of the kid's dictator complex. Now Michael seems to have convinced Megan to murder her own husband! I wonder why Megan and Philip are so different in their devotion to their leader. Philip wants to treat him as a human son, administer a spanking if necessary. Megan treats him like royalty--or like a son she prefers over her husband. It's not healthy.
Will Maggie escape from the maze? Will Roger find her? Will David intervene?
This kid is something else, isn't he?
Love, Robin
