982 - Maggie examines the note, figuring it's some monstrous joke--Angelique is dead! (I guess this Collinwood isn't much different from the Regular Time one.) Hoffman enters--has Mr. Collins returned yet? she asks. No, he hasn't, says Maggie sadly. Perhaps you'd like me to take you to your room, suggests Hoffman. That would be nice, Maggie answers. Hoffman points out, you haven't eaten. The young woman says, I'm not hungry. Your rooms face the sea, says Hoffman. Did hers--Angelique? asks Maggie. No, replies Hoffman, grinning secretly--I'm sorry if I did something wrong, but these arrangements never upset Mr. Collins before. (I adore the bitch Grayson Hall plays in this storyline, she's a master manipulator and such a joy to watch in action.)
Old House - Will won't return until the Eagle closes, Carolyn tells Barnabas--that's the bar in the village--he spends more time there than here--thank goodness. (Does she hate her husband or his behavior? It's a fascinating relationship.) It might not be wise for me to stay here, opines Barnabas. Now that we have the coffin here, you'll be safe, she assures him. The front door opens; Will enters, looking very dapper. Stunned at the sight of his subject sprung to life, he says to Barnabas, turn around! When the vampire stands in profile, Will, pointing rudely at him, says it's like him, in my book! It's Barnabas Collins, says Carolyn. I KNOW THAT! shouts Will. Barnabas smoothly jumps in and says, I'm a descendant of the man you wrote so brilliantly about. Oh, says Will, you've read my book? Yes, I came on a pilgrimage to see you, says Barn, stroking the artist's ego. Did you hear that, Carolyn? asks Will--this calls for a little drink. Does it, Will? asks Carolyn bitterly. Will spies a copy of his book on the table. Look here, he says, you've brought a copy! Barnabas looks at Carolyn. What a difference this is going to make, exults Will--did my wife tell you we've been looking for one? It's like seeing an old friend! Noticing a page has been torn out, he is disgusted--the way people treat books, look, the pages are torn--oh! Again, Carolyn and Barnabas exchange significant looks. Not long ago, either, says Will--I wish it were my fingers that were chopped off! Carolyn darts forward--if that book was so important to you, she says, you wouldn't have lost your last copy. Drink in hand, he sighs, "Oh, honey, I'm a loser,"--you know, some people, everything sticks to, like fame and fortune, me, I'm just the opposite." He drinks, looking morose--"I can't even keep the bottle full. When Carolyn turns away, he tries to reach for her, but she avoids him. Come on, it's a joke, he says. It's not a very funny one, she retorts--I've rented a room to Barnabas. Rent a room to a relative? asks Will--that's nonsense. He wants to pay us MONEY, Will, she says. (Where is Barnabas getting his money now; the family jewels surely aren't available in parallel time for his use, and since his departure was rather sudden, he didn't think to grab some jewelry to pave his way.) I won't hear of it, insists Will. It would do me a great favor; says Barnabas--I don't know how long I'm staying, but would like to spend my time in the house the original Barnabas loved so well. Oh, well, says Will, if you put it that way, but I must warn you, we like our privacy--I'm writing a new book. Carolyn bursts into cruel, lengthy laughter.
Defensively, Will says, "Well I am, this week, definitely. So you see, I'm going to be pretty busy," he adds, taking another slug of his drink. I'll keep out of your way, Barnabas promises. Everything is going to work out just fine, says Will. Barnabas looks like he wonders what kind of family he's gotten himself involved with--all this domestic chaos!
Maggie, in her designated room, looks depressed. Quentin enters--I don't want you to be angry, he says. Would you understand if I were? she asks--I don't want you to be angry, either. They hold hands. Why did you make that scene? she asks--if you don't tell me what I did wrong, I'll never know. It wasn't you, he says, holding her shoulders, it was me--accept that--me--I was wrong. How were you wrong? she asks. Don't ask me that, he says, looking pained.
We're married, she reminds him, I have the right to ask. STOP IT! he cries, please. All right, she says, it's late, let's just go to bed (and one gets the distinct impression there will be no lovemaking in their Collinwood bed.)
Down in the cellar, standing by the open coffin, Barnabas tells Carolyn, I'm worried about that book. He's drunk, says Carolyn, and will remember nothing in the morning. (Although he might wonder where his cousin's room is.) I'm not so sure, says Barnabas. I know him, you must see that, she says. Guard me carefully, says Barnabas--I'm in a an unfamiliar time without any touchstones, I'll need all the help I can get.
Collinwood - day - Maggie sits in the drawing room, writing her sister. Hoffman enters to show Maggie the weeks' menus--if you want to make any changes... I'm sure they're all right, Maggie assures her. I wish you would look at them, urges Hoffman--to avoid any unpleasant scenes. Maggie takes the paper in her hand and says all right, I'll be happy to. Did you find the rooms comfortable? asks Hoffman. Yes, says Maggie--thank you. You can see other suites and choose one of them, the housekeeper suggests, looking like he has an ulterior motive for everything she's saying. No, says Maggie, it seemed fine to me. And Mr. Collins? asks Hoffman. Yes, I think so, says Maggie. I thought he might resent the change, says Hoffman. Was HER room so different? asks Maggie, rising from the desk. It was beautiful! Hoffman rhapsodizes--the most beautiful in the house, I think. Where is her room? Maggie asks. The east wing, of course, says Hoffman, the sun seems so much brighter there.
Maggie looks unsure. Is there anything else I can tell you? asks Hoffman. I wondered about Daniel, says Maggie--it seems to me if there's a young boy in the house, we should be able to hear him. Master Daniel isn't feeling well today, says Hoffman. I want to go see him, says Maggie. He's resting and shouldn't be disturbed, says Hoffman. Quentin enters--I see you are settling everything, he says, pleased--I must go to the cannery for a couple of hours. This displeases Maggie. I have to go to work, insists Quentin, I've been away too long. I know, says Maggie, but I wanted to go over some menus with you. With me? he asks, amused--you and Hoffman work that out. The latter smiles, thin-lipped, happy at the bride's faux pas. There will be no further mistakes, Hoffman assures him. I'll see you about six, Quentin tells his bride--investigate the house and the rest of the grounds--there's lots you haven't seen. Maggie smiles and says, I know that. Hoffman asks to see Quentin for a moment, and the two of them leave Maggie alone in the drawing room, Hoffman closing the doors on the new bride. Inside, Maggie listens at the door. In the foyer, Hoffman asks Quentin, do you think we should have Dr. Reeves look at Daniel? They both agree that isn't necessary. Who told him I was married? asks Quentin sharply. Mrs. Stoddard, sir, says Hoffman. Before Daniel even got my letter? he demands. Yes, after the cable came, says Hoffman. I see, says Quentin--I must have a long talk with her. Hoffman smiles, pleased at making further trouble.
Drawing room - I wonder why Quentin didn't tell me Daniel resents me, ponders Maggie--I'd have understood--why didn't he tell me?
Old House - Will comes downstairs and pours a drink. Carolyn, wearing a robe, says, "Ah the hero--have you written much today?" Shut up, he says--you know I just got up. With a hangover, she observes. He takes ore booze. Getting started again? he asks. Are you? she shoots back--that's more the question. I just looked in on our guest, Will says, sitting on the sofa. He's been gone all night, she says. Yes, and his bed not slept in, adds Will. Because I made it earlier, she says. Will holds the booze glass pressed against his chin--it's the same book I gave Angelique, muses Will, the one Hoffman threw out of that room. Carolyn fingers her throat. The one no one could find, says Will--it smells of her perfume. She has been dead six months, she reminds him. The room still smells of her fragrance, says Will. Carolyn wanders to the mantel. How did Barnabas get the book? demands Will--has he been here longer than he says he has? He came here last night, she insists, now don't ask me anymore questions--I have a migraine. I'm sorry, says Will--I thought we'd go to the big house, meet the new mistress--it would be good for you to get out. Carolyn whirls on him and demands, when did you know what was good for me? Will, still drinking, says, I'll go alone--yes, maybe I'll see Mr. Barnabas Collins--I'm looking forward to a chat with him. Will Loomis, she says sharply, shaking her head, don't you start anything with him--we need that money he pays us--and don't you forget it!
Hoping to compare the handwriting to the note she received, Maggie searches the desk for something Angelique wrote. Hoffman enters bearing a tea tray. Mrs. Collins, she says, I don't know who will be coming here today. Startled, Maggie rises from the desk. Aren't you going to continue the tradition? asks Hoffman--at tea time, anyone from the estate was invited to stop in. What a charming idea, exclaims Maggie. Mrs. Collins thought of that, says Hoffman. They are interrupted by Will, calling merrily, "Hello!" That would be Mr. Loomis, I think, notes Hoffman. Will enters--well, there you are, he says, don't introduce me, Hoffman, "I knew her daddy, good fellow, fine painter, we spent so many nights here--I'm so glad you're here at Collinwood." Maggie pours him a cup of tea, but Hoffman has already presented him with a glass of booze. Will shakes a finger at the teacup--it's bad for you, he says--tannic acid, very bad. Maggie looks stricken and embarrassed at her social faux pas. Hoffman will tell you how I feel about tea, says Will. He and the housekeeper share a laugh, making Maggie feel like a fool. Indeed I do, says Hoffman, and leaves the room. I wanted to catch Maggie alone, whispers Will--it's coming from a stranger, but sometimes, that's best. She looks scared. Don't trust her at all, warns Will, watch her, carefully. Maggie nods, afraid.
I know what it's like to need a friend in this house, Will tells Maggie--I owe Sam a few favors and am perfectly willing to let you collect them--has she given you any trouble yet? No, says Maggie, I don't know... This house is full of hornets, warns Will, you've got to step carefully. I've only met Mrs. Stoddard, says Maggie. Will, sipping his drink, says, she'll smile at you, your husband pays her bills, don't think I'm just a gossiping old writer, I am that, but more, too. Maggie stops him. I have a note I haven't shown to anyone, even Quentin, admits Maggie, but I don't know what it means. She lets him read it. I never thought I'd see her handwriting again, says Will softly. She's dead, protests Maggie, upset, and I don't believe in ghosts. This is the house for them, asserts Will, still staring raptly at the note.
Barnabas, after rising from his coffin, contemplates to himself, I don't want to harm anyone, despite the failure of my hope that by transcending time, I could change what I am. Carolyn comes downstairs. I've been waiting all day for you to rise, she says, pulling off her scarf. Carolyn, he murmurs, trying to turn away from her. You need me now, don't you? she asks, her voice hoarse. He turns away. "You can't start this and then just stop!" she cries, her voice rising with hysteria, "I can't let you do that, do you understand me, I won't let you, I'll tell Will everything I swear I will--you can't forget about me now, I'll tell, I'll TELL!" Barnabas, goaded, tortured and miserable, grabs her into his arms, pulls her hair out of the way and gives her what she wants, sinking his fangs into her willing throat.
Maggie stands outside the east wing door. HER room, she thinks to herself, I must find HER room. She hears Hoffman's voice issuing from behind the double doors, cackling, "You should have seen her, pouring tea for Will Loomis!--the look on his face--she has so much to learn!" Maggie opens the door and calls Hoffman, who exits the room and closes the doors behind her. I was talking to one of the chambermaids, explains Hoffman, you shouldn't be in this part of the house, we must clean it for her--it's almost dinnertime, I assume you are going to change--and, talking incessantly, she leads Maggie away from Angelique's room.
Old House - Will drinks. (I guess it's replaced his writing career.) She's as pretty a girl as you'd want to see, says Will of Maggie--Carolyn, you're not listening to me. Weak, Carolyn says, I'm fine--leave me alone. She didn't know anything about your cousin Barnabas, not a thing, muses Will aloud--funny business, you'd think he'd have gone to the big house before he came here, I mean, I sure would have. Carolyn passes out on the sofa, exposing her bare neck. Carolyn! calls Will. When he spots the fang marks; his mouth drops open in astonishment.
Dawn - The cock crows. Barnabas goes downstairs to his coffin, opens it. "Not yet, Mr. Collins," says Will from a corner, holding up a cross. Barnabas cries out and darts away from the sight. The books are right, says Will, they tell you what to do even if vampires are legendary. Only Carolyn and I know they're not, don't we, Mr. Collins?--only she can't help you. Let me die, begs Barnabas. Oh I should, says Will, but I used to be a reporter--now, he says, his affable manner changing, his voice harsh, where did you come from--tell me? Another band of time, reveals Barnabas, humiliated and defenseless, his hands pressed against his coffin--another time band exists, with another Will Loomis, another Carolyn, all living on this estate. You exist in this other time? demands Will. As I am, says Barnabas--you see I am the first Barnabas Collins, the man you've written about, son of Joshua. Will is intrigued. Barn explains about the room he discovered at Collinwood, Angelique's room--I watched you the day Julia threw the book into the hall--the book came from your time to mine, I picked it up. A book, says Will, at last! What are you going to do with me? asks Barnabas.
I need you, Mr. Collins, says Will, I need you, you're going to make me my fortune--with a book! Will opens the coffin. "A cross!" screams Barnabas. Indeed, one has been affixed to the inside lid of his coffin. He turns away. I'm taking no chances, says Will--get in, he orders, then adds, with joy on his face, "You're going to be my prisoner, my hope, my salvation--yes, he says, my salvation." He forces Barnabas into his coffin, imprisoning him. Will then secures the coffin with chains, ensuring the vampire cannot escape.
NOTES: We won't be seeing Jonathan Frid for a long time. A couple of weeks at two eps per day. He's off making HOUSE OF DARK SHADOWS, and soon, we'll see an exodus of other characters as they leave to take part in the movie. Selby, Pennock and Parker carry much of 1970PT while everyone else goes to the Tarrytown movie set.
Will has substituted drinking for writing, apparently, and his wife is very bitter about it. They have money problems, and now Will has figured to write INTERVIEW WITH A VAMPIRE, which I bet inspired Anne Rice's tale years later. That's how we won't see Barnabas for a long time; Will is interviewing him, off-camera, for the duration of the HODS movie shoot.
Poor Maggie, Hoffman is playing cruel games with her, and making fun of her as she talks to Angelique's portrait--or is it Angelique? Who sent Maggie that note? Is Quentin's dead wife absolutely dead, or only partly?
Love it when Carolyn goads the reluctant Barnabas into biting her. It was pretty hot. She acted as if he'd addicted her to his wondrous lovemaking and was attempting to take it away!
Imagine Barnabas locked away in the coffin, only let out to be interviewed for Will's book. It always bugged me, a terrifying replay of that horrible slice of his life he endured for nearly 200 years after his father did the same--but at least here, he gets out once in a while--to be humiliated by Will asking intimate questions about his life.
983 - We see a chained coffin in which Barnabas lies, trapped. We will see it a lot--but not Barnabas.
Maggie, her hair very long (a fall?) paces the drawing room. Liz, looking calculating, bids her a warm good morning. Maggie greets her back. Call me Elizabeth, urges Liz--do you want to see the children now? Do you know where Quentin is?--I'd like to have him when I meet the kids. I advise you to handle this alone, says Liz--after all, you are mistress of Collinwood, and Daniel must realize that sooner or later. Maggie looks unsure.
Daniel's room - Amy tells Daniel, I'm glad you've decided to meet our stepmother. Daniel, dressed in a suit and tie, his voice impossibly deep, says, I'm going to do more than just meet her, I'm going to find a way to driver her out of this house! He tries valiantly to break the comb he was using on his hair, but it refuses to break.
Amy chastises him--that's a terrible thing to say! I mean it, insists Daniel--I want Maggie out of this house! If you father married her, she must be a very nice person, says Amy. That's not why he married her, says Daniel--he did it because he was lonely, "and still loves my mother very much, I know that." That doesn't mean you can't try to be friendly, says Amy. She's no friend of mine, David retorts, she never will be--she'll be sorry she ever came into this house!
Maggie, sitting by the fire in the drawing room, nervously twists her hands. Quentin and Liz enter. What has Liz has been telling you? he asks. I'm just having a bad case of nerves, answers Maggie--I don't want to be a disappointment to the children. What makes you think you will be? he asks, taking her hands (he's wearing a DREADFUL 70's sports jacket, burnt orange and black, call the Fashion Police!) I don't know, says Maggie, this is all so new, it could be a terrible adjustment for the children, somebody new. Look, says Quentin, in the first place, only one of them must make an adjustment, Daniel, and I'm sure he'll do that without any problem. He smiles. Come over, sit down and relax, it will be over before you know it--Elizabeth, stay with Maggie while I get the children. Chris sees Quentin exiting the drawing room and heartily shakes his hand, welcoming him home. They smile at each other. Come meet the new Mrs. Collins, urges Quentin. He introduces Maggie to Chris Collins--my cousin, my lawyer--and he also manages the estate for me. Maggie smiles at Chris and shakes his hand. He welcomes her to Collinwood. Odd for you to be here, remarks Quentin, you're usually chained to your office until two. I need to talk to you, Quentin, about Bruno, says Chris. I'm not in the mood for any crises, says Q, but he frowns at hearing this, becoming angry--what about him? He's come back, says Chris. I didn't know, says Quentin. Liz, looking like she'd rather be elsewhere for this discussion, suggests, why don't I up and get the children? Quentin agrees--Maggie, excuse us, I want to talk about this right now. He closes Maggie, alone, in the drawing room, turns to Chris and demands, know how long Bruno has been here? Elizabeth discovered him a few days ago, up in Angelique's room, reveals Chris--I don't know who let him in the house, but knowing Bruno, I imagine he let himself in. Maggie listens to the two men talking.
Quentin agrees--where he is now? I went down to the cottage, heard the piano playing, and there was Bruno, says Chris. What did you do about it? demands Quentin. Nothing, says Chris, I wanted to talk to you about it. There's nothing to discuss; says Quentin, fuming, you know how I feel about Bruno! I told Bruno he isn't wanted here, says Chris, but he insists Angelique gave him permission to move into the cottage. Quentin whirls around--Angelique is dead! he shouts--he no longer has her benevolence to fall back on--throw him from this estate ASAP--use force if necessary, don't let him take advantage of Angelique's name any longer--you can call me if there are problems. He stalks off, leaving Chris standing there, hands in pockets. Chris looks at the drawing room doors and enters. I'm sorry for intruding this way and upsetting your her husband, says Chris. Do you think everything will be all right? she asks. Yes, says Chris, I think so--have you seen the estate yet? No, I haven't had a chance to see the house, she says. I'll be glad to do it at your convenience, he promises. Thank you, that would be very kind, she says. He wishes her happiness at Collinwood. I hope I'll have it, too, she says, not sounding at all sure--I want to make him as happy as the first Mrs. Collins did. Chris looks weird. Did I say anything wrong? she asks.
"Angelique," says Chris, "Angelique became a legend in he own time, a legend would be very difficult for anyone to live with." He leaves the room, and Maggie, wondering helplessly if she'll ever measure up to Collinwood's former mistress.
Liz goes to Daniel's room, and tells the children, I've come to bring you downstairs. Is SHE there? asks David. Your stepmother is anxious to meet you, she says. My stepmother, says Daniel sarcastically. We're very anxious to meet her, too, says Amy, giving Daniel a look--you've got to meet her sometime. Liz agrees--and it won't be half as bad as you think, Daniel.
Quentin apologizes to Maggie for losing his temper over Bruno. She takes his hands and asks, who is Bruno?--why do you dislike him so much? Someone I hope you never meet, says Q, the less said about him, the better. There's a knock at the door. That's the children, he says, and goes to answer it. He leads the kids in and introduces Maggie to his son, Daniel, and his favorite girl, Cousin Amy. How do you do? asks Daniel coldly. I'm very pleased to meet you, says Amy sincerely--what should we call you? Maggie, she suggests. Quentin is cool. Daniel gives her dagger-eyes. Quentin and Liz leave them alone to get acquainted, Liz closing the double doors. Let's sit down and get acquainted, Maggie suggests. Out in the foyer, Liz says, Quentin, you KNOW Daniel won't like Maggie--he was devoted to Angelique. Maggie will have to find a way to win him over, insists Quentin. I don't envy her, says Liz--I don't envy anyone who must follow in Angelique's footsteps. He shoots her a dirty look. Do I get a demerit for speaking out of turn? she says sarcastically. "I'll be in my study," he says icily, and leaves.
Amy sits on the sofa with Maggie, who explains, I lived in Collinsport as a little girl, but moved away when I was eight. Off by himself, Daniel works on a puzzle. Maggie goes over to him and says, I'm very glad we've finally met, I need your help--Collinwood is such a big house, and I thought you might be just the person to show me around the house and grounds. Have you met Chris, Amy's brother? Daniel asks. Oh, yes, I did, she says. He'll show you around the estate, it's part of his job, says Daniel. If I told Chris I wanted you to show me around...she says. Chris wouldn't like that, says Daniel intensely--everyone at Collinwood has their own job to do, and does it--that's the way my mother wanted it. I'm sure that won't be changed, says Maggie. My mother used to talk about the order of things, says Daniel--she said Collinwood was like a perfect clock, never stopped running, you could depend on it, live your life by it. Smiling, Maggie says, it's a very lovely sentiment. The clock strikes noon. Daniel remarks on the house--Maggie, have you met the gardener yet?--every day at noon, my mother used to go talk to the gardener--she took care of all the estate landscaping herself, which is why it's all so beautiful--my mother loved and understood everything that was beautiful, he adds, sounding worshipful. She looks at him quizzically--I know a little about landscaping, she says--I haven't been here long enough to know the routine... Amy and I should go upstairs and give you a chance to do so, suggests Daniel dismissively--come, Amy. It was nice meeting you, Maggie, says Amy, and they leave.
Foyer -You must be very proud of that performance, Daniel, says Liz. I knew you'd be standing here, listening, I just knew it, says Daniel. The kids run upstairs. Liz enters the drawing room. Maggie leans on the mantel, upset. It's going to take time, comforts Liz, you can't expect him to accept you without some difficulty. It was a total disaster! laments Maggie..
The boy is living in the past, has never accepted his mother's death, says Liz--difficult as it may be, you will have to make him accept it. She must have been a very beautiful woman, comments Maggie. That calculating, ugly look on her face, Liz says, yes, that she certainly was. (But that was all?)
Angelique's room - Daniel and Amy enter. We shouldn't be here, she says. (She calls him David, and I've been writing that name over and over--why didn't they just call him David instead of confusing me?) Just come in and close the door, he orders. Why are we here? she asks. This is one room in the house where we can talk and no one will hear us, says Daniel, and because I've found a way to get rid of Maggie.
I'm not going to help with your plan because I don't think it's right, protests Amy. They're going through with it, he insists, I don't want her in this house. I'm scared! cries Amy. You'll be a lot more scared if you don't help me, warns Daniel--and twists her arm behind her back (shades of Nora and Jamison). You're hurting me! she protests. Are you going to help me? he demands. I'll do it, she says. He releases her. I'll tell you what to do in the next room, he says--there's a secret panel. We see Angelique's gorgeous portrait.
Quentin, kneeling at Maggie's feet, asks, how can you call yourself a failure after just one meeting? She looks away--because it was, she says--Daniel hated me, and I think he always will. That's not true, says Quentin, he doesn't know you, and until he does, of course, it's going to be difficult. He takes her in his arms--you must be determined to show him you're his new friend--he'll come around, believe me! Are you sure? she asks. he hugs her--to know you is to love you very much, he says--he'll come around, I've got a lot of confidence in both of you. He kisses her forehead, comforting her.
Daniel leads Amy to a brick wall--stand right here, he orders--my mother's room is on the other side, and she can hear everything we're saying in there--do you remember the right tune? Yes, she says, and I'll start humming when you say, "Mother please sing to me again." All right, says Daniel, don't forget, and don't change your mind about helping me. I'll be here, don't worry, she says. He leaves.
6:25 - Maggie stands in the drawing room, looking out the window, then paces, and finally settles down in a chair with a magazine. Daniel enters and says hello--I was looking for my father. He's in the study, she says. No he isn't, I just looked there, says Daniel. Sit and talk to me, she asks. No, I want to find him, insists Daniel. He hears the clock striking 6:30--it was silly of me, he says, i know I can't find him at this hour, anyway--my father is there every day at this time, and doesn't like to be disturbed--my mother's room, which he kept exactly as the same as before she left--he goes there, stands in front of her portrait and remembers her--and sometimes he talks to her. Maggie finds this disturbing. (and the kid is DAMNED creepy.) Why are you doing this to me?--trying to upset me?--I want us to be the very best of friends. Coolly, he assures her, I'm not trying to upset you, I just wanted to tell you where he is. I refuse to believe your father would go to her room every day at this time--he isn't the kind of man who would cling to the past that way. It just goes to show you don't know him very well, says Daniel nastily--my father loved my mother very much, and has never gotten over his death.
Stop this! begs Maggie. If you don't believe me, says Daniel, you can go upstairs and SEE! SEE FOR YOURSELF! He leaves. Maggie paces, deciding what to do, and finally heads upstairs. Daniel and Amy watch her from the foyer. How do you know for sure she's going to HER room? asks Amy. I'm confident that's where she's going, he says.--remember what you have to do. Yes, says. Liz exits the kitchen area and asks, what are you two whispering about? Just playing a game, says Daniel innocently. Liz gives him a look as saying, I know what's really going on.
Maggie knocks at the door to Angelique's room, calling Quentin. She spots the photo of Quentin and Daniel, noting the inscription, then sets it down. She looks up at the portrait. Daniel enters the room. your father wasn't here, she says--he wasn't here! Maybe he left before you came in, he suggests. I don't believe he was here, says Maggie. The boy looks at the portrait--how beautiful she is! he says. I wish I could make you understand...begins Maggie. Understand what? he cries, that she's dead and she isn't coming back, ever? Yes, she says. You're wrong! he cries--she is coming back someday! That's impossible, says Maggie. She told me she's coming back! he insists--she told me even since she's been away. He turns to the portrait--Mother, tell Maggie she's wrong--sing to me again, Mother! I refuse to stand here and listen to you talk this way, insists Maggie--and starts to leave the room. She hears a woman's voice (NOT Amy's) crooning "Lullabye". She stops, startled, listening, and looks up at the portrait. Not possible, it's a trick, she says. Not a trick, says Daniel, she's still here, she never left, she's NEVER going to leave! Maggie steps back--I don't believe this, she mutters, tears in her voice. She turns and sobs, "My God, stop it!" races from the room. Amy comes in. You were wonderful! praises Daniel--did you see her just now?--everything went exactly the way I wanted it--how did you get in here so fast from the secret room? I never got to the secret room, she admits--Chris stopped me downstairs--I'm sorry. Daniel's face changes--you've got to be joking--I heard you humming!--so did Maggie. She couldn't have, because I wasn't there, insists the little girl.
Daniel, stunned, asks, if you weren't there, who was?
NOTES: A very creepy ending, and Daniel is a very creepy child.
We see Barnabas' chained coffin as the credits roll. It makes me aware of how long this dry spell without him is going to be.
We've already seen David trying to oust Vicki from Collinwood, so this seems like deja vu all over again to me. We only recently saw Michael, with David's forced help, trying to scare Maggie. The retread just doesn't seem all that interesting to me. Playing tricks on governesses/new stepmothers is a been there, done that, IMHO. This ep seemed very long.
That orange jacket of Quentin's must go! Ick! It's awful, but that's what we wore back then. I just hope none of my outfits looked that terrible, but I know some did.
Liz is fun here, wicked and calculating. You wonder if she's instigating because she's bored. She's not as bad as Hoffman, but she seems the type who loves gossip and probably watches soaps, a far cry from our own Liz Stoddard.
Maggie annoys me in this storyline, I'd forgotten how much. She often stands there, mouth hanging open, like she hasn't a clue, and I, for one, tire of it very quickly. Quentin's endless temper tantrums and tirades become dull, too.
I do like certain parts of PT 1970, especially when Alexis shows up. She heats up the story considerably!
Love, Robin
