926 - Philip comes downstairs and demands of Megan, where is Michael?--answer me! She points the gun at him. What are you going to do with that? he asks. Sounding like a robot, she responds, "He made me see how necessary it is, I'm sorry, Philip, I have to do it." No, commands a voice from the door--Barnabas!
--who says, you don't have to do it, nor will you. Megan gazes at him. Barnabas comes over to the couple and demands, give me the gun, Megan. She does. Go upstairs, he orders--you and I will talk later. She gazes at her husband, then walks past him and goes upstairs. Barnabas says, I assume the boy caused the trouble that just happened now. Yes, says Philip. I'm not surprised, says Barn--after the altercation I had with him the other day, I knew he'd be difficult to handle. What you just saw isn't all that's happened, says Philip--there was trouble at Collinwood--Michael stayed there last night, persuading Megan to let him do so Tell me everything you know, commands Barnabas, at once!
Michael returns to Collinwood. David spots him in the foyer and asks, what are you doing? I forgot my book last night, says Michael.
Maybe you left it where Maggie is, suggests David. You mean she hasn't come home yet? asks Michael. You know very well she hasn't, says David. Michael denies that. Come into the drawing room, says David--avoid my father, who, if he sees you, will ask a big bunch of questions. David closes them in the drawing room. What happened to Maggie? he asks. I don't know, lies Michael. This isn't a game anymore, insists David, you don't have to tell anyone else, only me, and I'll make sure they find her. Who are they? asks Michael. The police, says David. The police? repeats Michael, this is getting interesting--it doesn't take long for your father to panic, does it? My father knows Maggie well enough to know she'd never run off without saying a word, says David--he's convinced something's happened to her and is upstairs right now, searching for her. If she's in the house, says Michael, he should find her. Yes, agrees David, and I'm afraid if they do, we'll all be in a lot of trouble. Not me, boasts Michael, they can't do anything to me--nobody can! He goes to get his book. David insists on coming with him--if my father sees you up there, it might be a good idea for us to be together. I don't need you, says Michael--I don't need anyone! He heads off, alone.
Cold and scared, Maggie sits on a barrel in the room where she's imprisoned. She checks the door, wondering where am I, what is that room?--it's been quiet for hours now, whoever was making that breathing sound must have gone--who could it have been? I can't believe it was David, he wouldn't have gone away and left me there (he once did it to Vicki)--Michael, it must have been him, he didn't go home when he said he did. If it wasn't David or Michael who could it have been? I don't want to think about it! She sits on the barrel. The breathing starts again, making her seriously afraid. Maggie's eyes widen. Who is outside the room? she asks--Michael, is that you? The breathing grows louder.
Antique shop - Michael insisted he had nothing to do with it, Philip tells Barnabas, but Maggie Evans didn't just vanish--I knew he was lying, and that's when I took him over my knee; Megan intervened after he appealed, and I got furious with her and went upstairs. If he's harmed Maggie, it will ruin everything, says Barnabas, there's only one thing to do--bring him under control. We've tried that, he refuses to be brought under control, says Philip. He must be made to listen to reason, says Barnabas, to understand that he's gone too far and jeopardized all of us--our plans must be changed, and quickly--and he must be made to understand that this is the end for Michael.
The end? asks Philip. Yes, says Barn--he must be confined to the room upstairs until it's time for him to emerge again. I understand, says Philip, but we've been telling outsiders he's an orphaned relative--how will we explain where he's gone? His departure will be different from that of Alex and the baby, says Barnabas--where is he now? I don't know, says Philip, but assume he's at Collinwood--he didn't want to leave yesterday. I'm sure that's what he's done, says Barnabas--get him and bring him back as quickly as you can. What will we do about Maggie? asks Philip. There's nothing we can do, says Barnabas, until we talk to the boy and learn what he's done to her. Philip hurries out. Barnabas calls up to Megan. This thing is getting out of hand, he tells himself--I'm losing control!--I must find a way out of this, but how?--why is it there are moments I doubt everything I'm doing, and other times I'm sure the cause is so right? How did I get to be this way?--it began when I opened the Leviathan box, when I opened it, I surrendered my will--I can't go on this way, seeing people hurt, people I know and love--I must find the strength to fight this, but I need time, I must stall everything until I find the answer. Megan comes down and asks, am I to be punished? This is no time for punishment, says Barnabas--you thought what you were doing was right, even though it wasn't, and I understand that--now you must try to understand--what your true responsibility to the boy is. I love him very much, she says, her eyes alight. As it should be, says Barn. Megan gushes, he's the most wonderful child in the whole world, and even though I know what I almost did was terrible, I fear I've let Michael down, and am afraid to face him when he comes back. Michael has caused a great deal of friction between you and Philip, hasn't he? asks Barnabas. Yes, says Megan defensively, but it's only because Philip refuses to understand him, makes no effort with him. And you feel your love for him requires you to do anything he asks you to do, don't you? asks Barn. Yes, says Megan, as if it's a religious experience--how can I refuse him anything, he's so wonderful? You can, says Barn, because your first allegiance isn't to him, but to me. What do you mean? demands Megan. Exactly what I said, says Barnabas. Her face changes--that's impossible, she hisses, he is the one I serve! Are you sure you're all right? he asks--perhaps it's time to--reconsider. Why? she asks, his is the only way, his cause must be served--why do you doubt that? No, I don't, says Barn, I was only testing you, making sure YOU have no doubts--you're very good for him, Megan, but you love him too much, are blind to his faults--love him less, see him as he is, be strong and firm, comfort him, discipline him, protect him--mother him. She goes into Barnabas' arms and hugs him--I'm so glad you came when you did., she says--I only wish Philip could understand me as you do--now, what are we to do? I'll tell you what is to happen now, says Barnabas--do not grieve for Michael. Megan looks ready to start grieving right now.
Still hearing the breathing, Maggie, terrified, grabs her collar. Finally, it stops. Michael's voice asks, "Maggie, can you hear me?" Who are you? she demands. You don't have to be afraid, he assures her. Is this Michael? Asks Maggie. Soon, very soon, says the voice, I'll come in, Maggie. Somebody let me out, she begs, pounding on the door. "I'm the only one who can do that, Maggie, nobody else can hear you--you and I, all alone, here, hahahaha!" Maggie looks even more petrified.
Philip arrives at Collinwood, looking for Michael. I thought he returned to the antique shop, says David. Has he come back here since then? asks Philip. Not that I know of, says David. Philip ushers David into the drawing room--I want us to have a talk--first, has Maggie been found? No, says David. Philip grabs him, sits down on the sofa and holds David's arms. You must not be protective of Michael now, warns Philip--I don't care what he says to threaten or intimidate you, you must tell me everything you know. I don't know anything, protests David. Passionately, Philip says, David, you don't have to fear retaliation from Michael--HE CAN'T HARM YOU! I wish I could help you, says David, but I can't. "You are one of us," Philip reminds him, "it is your obligation to help--you know as well as I do that Michael is responsible for Maggie's disappearance! David thinks it over. Suppose she's dead? suggests Philip--what will we do then? She can't be dead, insists David, who apparently never considered the possibility. Why not? demands Philip. Because, says David, because something like that is against the rules, it says so in the book. Michael doesn't live by our rules, says Philip, you know that--tell what you know, it might be too late already. It can't be too late, says David, adding hesitantly, Michael promised he wouldn't hurt her. Philip asks, when was that? Last night, answers David. Philip grabs him by the arms--what did Michael do? "I don't know," says David. "Then tell me what you do know!" cries Philip. We were in the drawing room, playing a game, relates David--Maggie came in to grade my theme--Michael told her we weren't finished, Maggie got all mad and that's when she left the room, and Michael said he'd take care of her. How? demands Philip. He said we would just play a game with her, just to scare her, says David. When is the last time you saw Maggie? asks Philip, and where? Last night, admits David, in her room just before she went to bed. She didn't get to bed, did she? asks Philip--David, take me to Maggie's room.
"I'm still here, Maggie," taunts Michael's voice. "Are you all right in there?--you're not still frightened, are you? Why don't you say something? I hope you haven't fallen asleep, Maggie--that would be a mistake--a very big mistake!" Maggie is leaning against the door, her back to it, shaking, terrified, defiant, silent.
David and Philip go to Maggie's room. The room looks exactly as it did last night, says David, when we were in here. Both you and Michael were in here? asks Philip. Yes, we were fooling around in here before Michael went home, reveals David. Michael never went home last night, says Philip. This shocks David. He obviously sneaked back here after you'd gone to bed, says Philip. But your room is just down the hall, notes Philip--if he'd tried to lure Maggie out into the corridor, you'd have heard them, right? Yes, says David. Then she must have gotten out of here another way--how, David? I don't know, says David. Is there another way out of this room? asks Philip--you must not keep anything from me. The secret panel behind the wall, confesses David. Did Michael know about it? asks Philip. He could have, says David--there are lots of them in Collinwood, we were playing in some of them yesterday. Do you know how to open this one? asks Philip--open it, I'm going in. David opens the secret panel. Go stay with your father, says Philip--don't tell him I'm here. Philip heads into the corridors behind the secret room. David leaves, closing the door behind him. Philip arrives at the area where the two old-fashioned lights flicker, then passes them. Michael is following him, smiling like the little rotter he is.
Maggie hears footsteps and, terrified, finds a candlestick to use as a weapon. "It's almost time, Maggie," says the disembodied voice. Just a few more minutes, then I'm going to open the door and come in--then you'll know who I am, won't you?" Maggie, petrified, cries I don't want to know who you are--"Don't come in here!! If you come in here, I swear I'll kill you!" She stands, waiting, the candlestick poised for murderous action.
Philip continues to search for Maggie and arrives back at the flickering lights. Hearing footsteps, Maggie's entire body clenches.
When she hears a voice asking, are you in there? she looks nearly insane with terror. If you can hear me, says Philip, answer me, I've come to get you out of there." He tries the locked door. He opens the door. Maggie, at the end of her rope, raises the candlestick high, ready to de-brain her enemy.
NOTES: What always has bothered me most about this storyline is the disintegration of the sweet, loving relationship between Philip and Megan. To watch them fall apart, on opposite sides of the Leviathan business, really bothers me.
Michael is still a horrible, nasty brat who deserves a few hours with Aristede in close quarters, putting him through many different tortures.
The repetitive scenes of Maggie walking through the corridors, always afraid, got wearing after a while, although the ones in which Michael's mechanized voice spoke to her were more interesting--and scary.
I love how Philip and Barnabas are both beginning to shed their Leviathan influences, but at what cost to them?
Megan's totally losing it. Although she, too, was questioning what's happening, she chose Michael over Philip, a huge mistake, and that kid deserved more than a spanking. I was rooting for Philip to smack his butt to a pulp! One assumes that Michael is killing two birds with one stone by having one hated enemy (Maggie) eliminate another (Philip). Maggie is so terrified, she probably doesn't recognize Philip's voice, and will surely strike when he enters the room with her.
927 - Philip unlocks and opens the door; too terrified to even register who she's hitting, Maggie darts forward and slams the candlestick over his head. Unconscious, Philip lies face-down at her feet. Maggie, horrified, covers her mouth, kneels, recognizes her victim, drops the candlestick and bursts into tears. "I didn't mean it!" she sobs.
Collinwood drawing room - Julia glances through another book. The secret panel opens; Michael slithers in. How did you get in there? she asks. David showed me all the secret panels in the house, he explains. Did he show you the secret panel in Maggie Evans' room? she asks pointedly. He avoids the question, talking about how neat this house is, with all its secret panels. Julia reminds him of her question. He admits to knowing about the secret panel in Maggie's room. Julia persists--did you use it to get into her room?--see her after David did? Grown-ups sure ask a lot of questions, complains Michael. I'm only asking one thing, says Julia--"Do you know something that none of us know about Maggie's disappearance?" Of course not, smiles Michael. At that moment, Maggie comes flying into Julia's arms. Michael beats a hasty retreat. Maggie, crying hard, says, I've been through a nightmare! Julia leads the sobbing Maggie to the sofa--your ordeal is all over, she assures her. It's just begun, insists Maggie--I spent the night in a maze under the house, lured there, trapped in a room--someone tried to kill me--I thought it was that friend of David's... Julia rises from the sofa, looking for Michael, but he's long gone. He denied knowing anything about you, says Julia, but I knew he was lying. It wasn't Michael, it was Philip who did this! says Maggie. Why? asks Julia. I don't know, and never will, says Maggie--I killed him! Julia's lower lip trembles
--you killed him?--where is he? I'll show you where he is, but I can't look at him, not after what he did. You had no choice, says Julia--he's dead because of what he did to you. Michael watches them heading upstairs, a huge smile on his face. He's proud of himself, the little SOB. (I give this kid a lot of credit for making the character so despicable.)
Julia examines Philip, Maggie standing fearfully by.
Megan puts away new antiques in the shop. Michael enters. You should have a heavier sweater, she says--the weather is treacherous (such a "mom" thing to say). He accuses her of not doing what she was supposed to do. I couldn't, says Megan hesitantly, there were reasons. "Reasons don't matter," insists Michael, "what matters is what *I* want--and I wanted him dead!" She touches his face gently, but he rebuffs her, pushing her hand away. You're very dear to me, says Megan, but very new--Philip and I have been in love with each other for a long time. "That's all over now," says Michael--"you're right about the weather, it IS treacherous--David had on a nice new sweater today--let's go to Brewster's and get me one." What did you mean, it's over? asks Megan. I mean we don't have to worry about Mr. Philip, “the traitor" Todd anymore--"I mean he's dead!" grins Michael.
Megan's mouth drops open in disbelief.
Megan stares at Michael, horrified--"Philip can't be dead!" she cries. He's dead all right, says Michael, and deserved it. You did it! accuses Megan. "I had it done," admits the boy. Megan darts forward and grabs her coat--I'm going to Collinwood! "I don't like the way you're acting, Megan!" shouts Michael--"Philip's part of your old life, it's over now--you can't rush off and leave me alone, I don't like it!" She hurries out, ignoring him. He slams the door closed, then begins trashing antiques, throwing them heedlessly to the floor.
Julia answers Megan's frantic knocking. Megan rushes past Julia, utterly hysterical--I've got to see Philip! You can't, says Julia. Megan sobs--I must see him! she insists. Julia pats her back.
Michael, cleaning up the mess he made, hears someone enter the shop. We're closed! he calls. The person enters anyway. A hand drops to his shoulder, and Michael stares up in terror. It's Philip, who demands, "How could you have done it?" I don't know what you're talking about, bleats Michael--I didn't do anything. "Yes you did," says Philip furiously, "you terrorized Maggie Evans--you tortured her, told her you were going to get her." "I was only joking, I didn't mean it," wails Michael. "No," says Philip, "you meant for her to get ME, it's called killing two birds with one stone, isn't it? You would have gotten away with it if that girl had been stronger and that weapon sharper, you almost succeeded, but not quite, because I'm here now, Michael, and I'm going to take care of you." "You can't touch me," boasts Michael, "and you know it!--you know who I am." "In this house, you're just a little boy whom I'm responsible for," says Philip.
I'm not just a little boy EVERYWHERE in this house, retorts Michael. "You're not going to get to that room until I'm finished with you," promises Philip, after a glance upstairs. Michael grins, then ambles to the stairs. Philip grabs him. You'll be sorry if you hurts me, warns the boy. YOU'RE the one who'll be sorry, Philip assures him. They struggle a few moments. Megan enters the shop, calling to her husband--let go of Michael--now! she orders--I'll do what has to be done! Michael wrests free from Philip and rushes into Megan's arms. There, there, she soothes him, him close, "my little darling." Go to my bedroom, she urges--I'll be up there in a little while. "Do you know what your little darling did?" demands Philip angrily. Taking off her coat, Megan says, I know, I heard the whole story from Julia, I was shocked! So was I! says Philip. You shouldn't be, darling, says Megan (she calls both her pseudo son and husband darling, which seems kind of odd, but things along this line will get stranger still)--you shouldn't expect him to behave the way other children do, and proud that he doesn't. How can I be proud of what he did to Maggie? asks Philip--it was vicious. I agree, says Megan, but remember how new Michael is, and how much he's learned here--a little while ago, he was lying in a cradle, and in a little while, he'll know what to do with his skill and cunning and energy (sounds like something to hope for--not!). What about NOW? demands Philip--how can we keep these things from happening? Megan's face turns thoughtful--there is a way, darling, she says, going into Philip's arms--"I thought you were dead!" I can't help but think back to a time before Michael came, says Philip. Forget those times, commands Megan, they're over--and the time of the Leviathan people is drawing closer and everything that must be done will be done, and I will take care of the child. How? asks Philip. I'll tell you if you want to know, says Megan, then I'll go to the boy and tell him what he needs to know--mine is the only way, for it is the Leviathan way--the way it must be. Philip gazes at her, mesmerized by the reverent tone in her voice.
Using Megan's lipstick, Michael writes his name on the mirror in Megan and Philip's room. She took my side against him, he tells himself, crossing his arms over his chest--that's the way I like it, but I didn't like her being nice to him AT ALL!--well, she won't be when I finish working on her... He gazes at himself in the mirror. Megan enters the room, smiling. He points to his handiwork on the mirror and says, I suppose you'll punish me for doing this. Awww, I could never punish you for anything, she croons. You don't even care what I did to Maggie Evans? he asks. Of course not, says Megan, but I do care that too many people notice you, asking questions. I like it when people notice me, he says petulantly. And they all will, promises Megan, at the right time, but it's not that time yet, and that's why, for your own good, something is going to happen you won't like at all. Going a little crazy, Michael covers his ears, screaming, I don't want to hear! You must hear! insists Megan, and you must accept--so must I, no matter how lonely it makes me. Michael's countenance takes on, for real, the look of a frightened little boy.
Maggie enters the shop. I'm glad to see you aren't hurt too badly, Philip--no thanks to me--I'm so ashamed. Forget about it, says Philip, it was the only thing you could do under the circumstances. I wasn't thinking clearly, admits Maggie--that's the thing, how could I possibly imagine you were responsible for this? I might have been, says Philip--you don't know me very well. Maggie looks at him; there's a sudden, strange bond between them. I suppose you're wondering about the boy and why he did what he did, says Philip. Yes, says Maggie, I am thinking about him. Understand, he's not like other children, says Philip--since his parents were killed in the accident, he's been angry all the time, angry at the world--he wants to strike out at anyone because of what happened to him. And I just happened to be there, says Maggie. Yes, says Philip, I'm sorry. I had no idea, says Maggie--perhaps you could talk to Dr. Hoffman, maybe she can do something.
Upstairs, Michael runs back and forth, hands still covering his ears, screaming, "No, no, you can't do it to me!" I don't want to, Megan assures him. Then don't! he says, wild-eyed. I must, she says gently. He grabs her arm--you're the only one who really loves me! says Michael. Perhaps I am, she says. And you're the only one I love, wails Michael, so let's not do what they want--let's do what WE want--let's run away, then we can be together for a long time! (This sounds incestuous!) We can't run away, says Megan, nor can we be together, not anymore. "I don't care what you say!" spews Michael viciously--"You don't love me!" But I do, protests Megan, that's why I'm willing to let you go, because I know that what is to happen to you is best for you. "It's NOT!" rants Michael--if you do as you're supposed to do, I won't love you anymore. I know that, says Megan, but you'll love Carolyn. Michael launches into the throes of ecstasy--"Carolyn!" he exults, holding his hands to his mouth in an attitude of ecstasy. Think about her, urges Megan. He retrieves the lipstick from the dresser, adds "Carolyn" below his name and encloses it all in a big heart. Megan takes the lipstick from him and says, that proves it--there's no choice anymore--it must be done. Michael looks absolutely scared spitless.
Antique shop, 4 PM - I should get back to Collinwood, says Maggie--thank you, Philip, for being so understanding. Philip clasps her hands, reassuring her. Megan comes pounding downstairs, hysterical--it's the boy! she cries--something terrible has happened to him! Megan phones Julia, begging her to come to the shop--I found Michael unconscious and can't bring him to--please hurry! I'll be right there, Julia promises. Megan runs into Philip's arms. Pull yourself together, he says. Megan cries. Maggie watches them, then slowly leaves the shop, still gazing at them through the window.
Michael lies in bed, moaning, I don't want to be by myself! He thrashes on the pillow as if in pain. Please! I don't want to be by myself! he says again. Julia listens to his heart, then turns to the Todds.
Didn't he look well when he returned from Collinwood? asks Julia. He looked as if something was coming on, answers Megan--you can tell that with children--he didn't want to lie down, so I asked him to lie down in my bedroom--then I (Megan sobs) came back and found him lying unconscious on the floor. She again falls into Philip's arms, crying wildly. He comforts her, assuring her, he's conscious now. I don't like it, says Julia--his heartbeat is irregular and his vital signs not what they should be--I want him in the hospital immediately. She picks up the phone to call for an ambulance. As she's dialing, Michael moans, I don't want to go, I'm afraid. Don't be afraid, says Megan, it's what's best for you. Michael suddenly goes limp. Megan, concerned, calls Julia over. She takes his pulse, but can't find one. He's dying! sobs Megan. Julia goes to get her bag--perhaps I can shock him back to life. (Paddles...everyone clear--no, this was before the time of that.) Please, you must save him, wails Megan--don't let him die. Philip assures Megan, the doctor knows what she's doing, we must wait and see. Julia prepares a hypo and injects Michael with it...will be live or die?
NOTES: I swear, the relationship between Megan and Michael is nearly incestuous; there were so many hints of it here. And since I don't want to spoil, wait until a few episodes hence, if you're wondering if I'm right. I hope the little bastard is dead. He's too good at making me despise him!
It also seemed as if they made a big deal about Philip and Maggie connecting in a romantic way--or was I seeing something not there?
How many times was Megan crying in someone's arms in this episode, or had someone crying in hers? Must be a record.
SO great the way they fooled us about Philip! They made it seem like he was dead for sure, and when he entered the antique shop, then dropped his hand to Michael's shoulder, scaring the crap out of him, as he should have, well, I loved it. Too bad Megan blunted it by taking Michael's side against her husband, and calling him darling as she did her own husband. This is really messing up the Todds, not just as a couple, but individually, too.
Love, Robin
