984 - Lots of lovely flowers in this storyline, and the sets are bright, colorful and exciting to the eye.
Daniel gazes up at his dead mother's portrait. What's the matter? asks Amy. It was her, she heard me and answered me, he insists--SHE did the singing. That isn't possible, says Amy, scared. It WAS, asserts Daniel, Maggie and I both heard it--don't you realize what this means--she's coming back! You know that isn't true, says Amy--people can't come back from the dead (except at Collinwood). Maybe she never even died, suggests Daniel. But she DID, she DID, says Amy. If only I could make her sing again, then you'd have to believe me, says Daniel, frustrated-- Mother, can you hear me?--make Amy believe you sang to me--do it again, Mother! I don't want to hear it, declares Amy fearfully, and runs from the room. It's all right, Mother, says Daniel--*I* heard you singing, and that's all that matters.
Hoffman is sorting through the mail, and Maggie runs in, close to hysteria. Go get Quentin from his study, orders Maggie--I want to speak to him. Hoffman offers her help, but Maggie is insistent--I want Quentin. He doesn't like to be disturbed, Hoffman warns. Am you going to tell him or am I? Tell me what? demands Q from the doorway--Hoffman, you can leave. She does. He closes the double doors--what's wrong? he asks. Is it true that you go up to Angelique's room every night to meditate and remember? asks Maggie. Where did you get an idea like that, asks Quentin, puzzled and pissed. Daniel told me, says Maggie--I went up there because he convinced me I'd find you there. "You went up to Angelique's room?" demands Quentin. I couldn't help it, she says--ever since I came into this house, it's Angelique I've had to contend with, her standards I've had to live up to--all I've heard is how beautiful, efficient, irreplaceable she is... Quentin takes hold of her arms and firmly tells says, no matter what anyone says, you HAVE replaced Angelique, no one can change that, do you understand? I'm trying to, admits Maggie. I can't understand why Daniel would deliberately tell you something that wasn't true, says Quentin--I hasn't been in that room since the day Angelique died, he assures her. She falls into his arms, immensely relieved--it obviously was a childish prank, she says, I'm just sorry it worked. She describes what happened in Angelique's room--Daniel told me he went up there to have her comfort him. To WHAT? demands Quentin. Then, continues Maggie, we looked up at the portrait; he implored his mother to sing to him, then I heard a woman's voice, it sounded like it was coming from the portrait itself. Quentin, furious, wants to run right off and talk to the boy, make sure it won't happen again. Don't, begs Maggie--I feel it will only make things worse, now that I can understand, I can cope. You shouldn't have to cope with such nonsense, Quentin insists--I'll go talk to him. He leaves. Maggie, agitated, paces the drawing room. Hoffman exits the kitchen and enters the drawing room. She notices Maggie's posture and asks, is everything all right? I don't think anything will ever be all right, she says, so far, I've been a total failure with Daniel. Hoffman smiles with pleasure and says, the first Mrs. Collins could do no wrong as far as Daniel was concerned--she delighted him by always doing all kinds of little things that might have seemed insignificant to other people. Like what? asks Maggie, interested. There's a record Daniel has that he loves, reveals Hoffman--I noticed it was broken; the first Mrs. Collins would have replaced it immediately. Maggie grins--do you know where I can buy this recording? I do, says Hoffman, and while I don't think it will solve everything, it will be a beginning. Thank you, says Maggie--I appreciate your advice very much.
Daniel's room - I should punish you, Quentin tells his son. Go ahead and do it, challenges Daniel as if he doesn't care. No, says Quentin, just don't play anymore so-called jokes like tonight. I wasn't playing a joke, I heard my mother! cries Daniel. Stop it, commands Quentin. The boy jumps to his feet--I'm telling the truth--I think she's somewhere in the house, trying to communicate with me. No more talk about your mother, shouts Quentin, she's dead and can't come back--you are forbidden to go back to that room, from this moment on! Fuming, he leaves his son's room.
Quentin, having (thank God) discarded the orange horror-jacket, helps Maggie bring in her packages--it looks like you bought out every store in town, he teases. I went to all the places I'd been as a child, she says, and even ran into two people who remembered me after all these years. Your innocence is one of the most charming things about you, he says--everyone in Collinsport recognized you, whether they said so or not--everyone knows you're the new Mrs. Collins. He hugs her. Maggie is really happy. What did you buy? he asks. Lots of things, she says, but one special item for Daniel. What is it? asks Quentin. You'll find out when Daniel does, insists Maggie, smiling gleefully. He grins, chuckling--I like surprises, too--I'm glad you're taking initiative with him. We cut abruptly to:
Daniel looks out the window in his room. You haven't been yourself the past few days, remarks Hoffman--I'd like to help. Nothing you or anyone can help, says Daniel. These are difficult times for all of us, she says, we can only hope things will change. Nothing will while SHE'S around here, says Daniel. Your father told me about your little prank last night, says Hoffman. Did she tell you I'm not allowed in my mother's room anymore? He asks. I know, she says--was it a prank, or did you really hear your mother's voice? Daniel looks reluctant to answer--I don't want to talk about it, he mutters. You know how devoted I was to your mother, says Hoffman, I want to know what happened in that room--if there's any chance we could contact her. She sang to me through the portrait, admits Daniel. There's hope then, says Hoffman--she has not abandoned us, and I know she never will. Quentin enters--Daniel, your stepmother is waiting for you downstairs--with a very nice surprise. He leaves. I'm not going! says Daniel. I suggest you do, says Hoffman. Whose side are you on, anyway? he asks resentfully. If you like surprises, says Hoffman. Not from her, insists Daniel. I have a feeling, says Hoffman
--take my advice, and go see what this is--my instinct tells me you will like this surprise. She smiles calculatingly. Daniel leaves. Maggie opens the cover of the stereo and puts on the record, but doesn't play it. Can I come in? asks Amy. Maggie is pleased to see her. I was looking for you earlier, says Amy, but Miss Hoffman said you went out shopping. I just got back, says Maggie--why were you looking for me? Amy hands her a bouquet of lavender flowers--I got special permission to pick them from the greenhouse. Maggie, delighted, hugs her--that's so sweet! She says. I want to apologize for what happened in the room, says Amy. Completely forgotten, Maggie assures her. You have to be a little patient with Daniel, says Amy--he's really not as mean as he seems, but after his mother died... I understand, says Maggie--I promise to be very patient with him--thank you. She looks around to see which vase she can add the flowers to. I knew you'd be like this even before you came, says Amy. Maggie hugs her again--we'll be very good friends--I'll have to find a vase later for the flowers. She sets them down on the table. Daniel enters, looking coldly at Maggie--my father told me you were looking for me, he says. Yes, says Maggie, an arm around Amy's shoulder--close the doors. He does--what about my surprise? I hope you like it, she says--sit down, I want you to listen to something. She puts on the record. Amy's mouth drops open in dismay. What's wrong? asks Maggie. The little girl doesn't reply.
Daniel smiles. Quentin bursts in, angry. Maggie, scared, asks, what's wrong? Quentin turns off the record--who played this music? He demands. I did, admits Maggie. "What a stupid thing to do!" he barks. Maggie runs from the room. Daniel rises from the sofa and says, "She'll never be my mother--never." There is deep satisfaction on his face and in his voice. Maggie sits on the staircase, crying. Hoffman stands at the top and asks, is something wrong? Shrilly, Maggie says, you know something is wrong--you know about everyone in this house, and you knew how my husband would react when he heard that recording, and deliberately kept it from me! That isn't true, insists Hoffman. Why didn't you tell me? cries Maggie. Quentin exits the drawing room--I'd like to know the answer to that, too, Hoffman, he says. I'm sorry, Maggie, he says. Ever since I came to this house, I've tried to do something, anything, right, but it's just not possible! Sobbing, she runs upstairs. Quentin stands at the bottom of the stairs, talking to Hoffman, who still stands at the top. Now she believes you're to blame, says Quentin--obviously, she must have a reason. Hoffman walks slowly downstairs, admitting, I was the one who suggested Maggie buy the recording for Daniel. What a ridiculous blunder! says Quentin--you know how I feel about that record! You're quite right, says Hoffman, it was stupid of me, but I really felt it might help Mrs. Collins' relationship with Daniel, I didn't think about what you might feel about it. My feelings no longer matter, says Quentin--my wife has been unnecessarily hurt by this incident. I'm sorry, says Hoffman--I should apologize to Mrs. Collins, too. She turns to do so right now. Quentin stops her and says, "Hoffman, you see that this never happens again." I understand, she says, and heads upstairs. Quentin is pissed off.
It's storming. We see Angelique's portrait. Maggie stares up at it, speaking to her: I wish you were flesh and blood, then I might be able to fight you, but how can I fight a presence? Hoffman, startled to find Maggie in Angelique's room, asks, were you talking to someone? Only to myself, says Maggie icily. I came to apologize, says Hoffman--I'm sorry for what happened. Maggie accepts. I want to explain why I did what I did, says Hoffman--I've been very concerned about Daniel's state of mind, and felt it imperative that you and he become friends--I guess I just forgot that Mr. Collins loved her so much...everyone loved her...who cam blame them, look at her. Maggie looks at the portrait. She was the heart, soul and lifeblood of Collinwood, blathers Hoffman--she was that rarest among human beings, a legend in her own life.
You're a rare person yourself, says Maggie coolly--you're the only person I've ever met who could turn an apology into a testimonial. (go, Maggie, go!!) If you'll excuse me, adds Maggie, I have an apology of my own to make--to my husband--I was foolish to get so upset, I should have had the presence of mind to tell Quentin who was responsible for my buying that recording--well, I've make my mistakes, and will make more, but I'm learning--you bear that in mind, Hoffman--I'm learning. She leaves. Hoffman gazes up at Angelique's portrait and says, "Oh, this house needs you more than it's ever needed anyone--if there is some way for you to come back to us, please try to do it--you must find it--we're waiting!"
Maggie goes downstairs, thinking, Quentin told me it would be a challenge, and now I must find a way to rise to the challenge, no matter how many of them are against me--I must show them I am the mistress of Collinwood--nobody can change that, nobody! She hears a woman's voice in the drawing room, saying, I'm sorry I didn't notify you in advance--I should have realized how shocked you'd be. I was quite shocked at first, admits Quentin. It was on the spur of the moment, the woman continues--the opportunity came up and I decided to take advantage of it. Quite all right, says Quentin. I'm forgiven then? the woman asks. Of course, says Quentin. Maggie stands in the half open doorway as Quentin offers the woman, who Maggie realizes is none other than Angelique, a glass of sherry.
Maggie, terrified, turns away--my God, she's back!--she's come back! Maggie rushes upstairs.
In the drawing room, Quentin hands a glass of sherry to...Angelique!!
NOTES: How stupid--the credits refer to the woman Maggie assumed was Angelique as "Alexis," so we are already clued in that the visitor is not Angelique--but who is she, and why does she so resemble Angelique? Why did they do that? They should have called her something else, more mysterious, like "the woman."
Someone on one of the mailing lists to which I belong says this storyline seems much like LAURA, especially with all the views of Angelique's portrait. It seems that portrait is a character unto itself.
I love that Maggie seems to get some backbone in this ep, talking back to Hoffman, maintaining her cool. It won't last long. KLS has a large part in HODS, and will shortly be leaving us.
Henesy always plays the bad boy so well. I'm waiting for him to do something to the bleeder valve on Maggie's car.
I always wondered why Quentin wasn't more honest with his new bride about his former wife. He is hiding a secret, and if he'd only told Maggie the truth, it would have made their lives so much easier--but we wouldn't have had 1970PT. It does get interesting with the addition of today's character.
985 - Maggie, standing in her bedroom, is a quivering mess. Quentin knocks; when she doesn't answer, enters the room. Why did you run away? He asks--there was no reason to be frightened. She draws away from his touch--"I saw her with you!" she accuses. Let me explain, he says. Explain what? she asks--I know what I saw and heard--I'm terrified! There is no reason to be, he says again. Don't let her near me! cries Maggie, near hysteria. She sees a woman she is sure is her husband's dead wife standing in the doorway, looking startled. Make her stay away! Begs Maggie.
Calm down, says Quentin. How can I? demands Maggie. Quentin goes to the blond and says, it might be better for you to wait downstairs. She agrees--I'm sorry for causing all this trouble--I thought it would be better to get it over with quickly. Quentin closes the door and gently says, Maggie, that woman's name is Alexis. Huh? asks Maggie. She's Angelique's twin sister, just arrived from Florence, he says--she just found out what happened to Angelique. Maggie finds this a bit hard to accept--Angelique's twin? Yes, and she's very upset, says Quentin--it would be very thoughtful if you'd go down and greet her properly. No, says Maggie, I don't want to see her, even meet her. That's ridiculous, says Quentin. I must explain...begins Maggie. There's no time for that, says Quentin, we have a guest waiting downstairs, and one of us should be with her. Annoyed, he leaves.
Dr. Cyrus Longworth's lab - The doctor tells Chris Collins, I saw Angelique--I saw her down by the drugstore about an hour ago, I ran downstairs and called to her, but she just kept on going--it was an incredible feeling, seeing her again. You're a scientist, Chris reminds him, who deals in established principle and fact--we must accept death is the end. I often wonder, says Cyrus--people used to believe the world was flat, that the sun revolved around the earth--these were facts to them, and I saw Angelique walking down the street. I wish to submit there's an explanation for it, insists Chris, pointing to everything in the cave-like lab--"all of this--you've been working yourself too hard, you've been locked in this lab for over a year--whatever you're doing, it can't be worth your health or peace of mind; it might even damage your mind. You know nothing of what I'm doing here, says Cyrus. I agree, says Chris--I wish I did--you're very secretive about it. I'm afraid people might misunderstand, says Cyrus. We've been friends a long time, says Chris--I'm not likely to misunderstand. Cyrus agrees to explain--man is chemical in his composition; now, if the proper compound was distilled and administered to a human being, this chemical composition could be radically changed, altered, and I've been working on such a composition. Why alter a human being? queries Chris. Man is not one person, but two, says Cyrus--one is good, the other, evil--these two people are within each of us, always fighting against each other, but if these elements could be separated, imagine the possibilities--evil could go its own way, completely free of any aspirations or remorse that are foreign to him, and good could have its own life, free of struggle against evil impulses or hostile thoughts--my God, says Cyrus, looking at himself in a mirror, just imagine what a person... Realizing Chris isn't thrilled, Cyrus says, I was right, you misunderstood everything I said, and I'm sorry I said anything. I do understand, says Chris, and am all the more worried about you--don't you understand what you've done?--you've become obsessed by a purely private, impractical idea. It's not impractical, asserts Cyrus--it's ready to be used, and could be, if you had only given me that address book of Angelique's and told me the name of that Boston chemist. Now that I know, I'm glad I didn't, says Christ--for you sake. It's not private, says Cyrus--Angelique believed this could be done, and was the one who started me on all these experiments. Separating good and evil, scoffs Chris--seriously, there's no doubt in my mind which of the two appealed to her.
Quentin, I must leave, insists Alexis, I can't stay here. That's unthinkable, he says. But I'm having such a devastating effect on Maggie, protests Alexis. She'll be all right, Quentin assures her, and besides, I have, and always will, make the decisions at Collinwood. Of course, she agrees. It's settled, says Quentin--we have much catching up to do. And we will, she assures him, smiling, don't fear that. Hoffman enters, stares at Angelique and gasps, "It's you!"
Don't be upset, Hoffman, says Quentin--I'd have told you in advance if I could have. She apologizes for her momentary loss of composure and says, I know very well who this is--welcome to Collinwood, Miss Stokes. Quentin tells Alexis, Hoffman sees to the house; anything you need, just ask her. Alexis thanks him. Angelique spoke of her twin sister quite often, says Hoffman--she was always very sorry there was so much distance separating them. It was more than distance, says Alexis, she and I were never as affectionate as sisters should be--and now it's too late, isn't it?--the news of her death came as a great shock to me. You never got my letter? asks Hoffman. What letter? asks Alexis. Just after it happened, I wrote to you in Tangiers, the last address Mrs. Collins had, says Hoffman--I assumed it's what brought you here. I never got the letter, says Alexis, I was living in Florence. Why did you come, then? asks Quentin. I just had a feeling this is where I was needed, says Alexis--I would like to go to the room you offered, I'm very tired. Hoffman, take care of Miss Stokes, orders Quentin--make her very comfortable. Hoffman suggests the first Mrs. Collins' room--if Mr. Collins doesn't object. I don't, he says, rather curtly. I'd like that very much, says Alexis--thank you, Quentin. The ladies leave. Quentin pours a drink, telling himself, uneasily--naturally she looks just like her, she's her twin, I just wish she didn't look so uncannily like her, I just wish...oh, I'm as bad as Maggie, behaving like a frightened child--she's her sister, come from far away, but how far away? How far away? I wonder. He takes a big gulp of his drink.
Maggie spies Hoffman leading Alexis down the hall.
Cyrus, if you hadn't invited me down here, I'd have broken in, says Chris--I was that worried about you. You never worried before, why now? asks Cyrus. (My screen went blue here.) I also spoke to Dr. Reese, says Chris, who said you read a paper on black magic at the Scientific Society--he was shocked. Cyrus plays with a rabbit (there are live animals in his lab--bunnies, guinea pigs, hamsters, they're so cute!) Cyrus laughs--why? he asks. Because you're a scientist, says Chris, and know black magic isn't a fit subject for scientific conjecture--I'd have thought you'd know that yourself. If it were up to the Reeses of the world...begins Cyrus. "We'd still believe the earth is flat," finishes Chris--"is that what you were going to say?" No, says Cyrus, gesturing with a carrot, I prefer to quote from Shakespeare, if you will forgive a scientist doing that--"There are more things in heaven and earth that can be dreamt of by your philosophy, and yours--and Reese's, too." I admire your devotion, says Chris, but not your direction--it can only lead to trouble. Glory, corrects Cyrus, and it will, very fast, if you give me the name of that chemist.
Chris refuses--I'm sorry to withhold it, but it's the only way to stop you, and I feel I have to, desperately, before it's too late. The cute black and white bunny munches on a carrot.
We see the portrait of Angelique fade into the face of Alexis, who is admiring her dead sister's room. "It's exactly as you left it," says Hoffman hoarsely, "nothing has changed." Alexis gazes at her and asks, what are you talking about?--I've never been in this room before.
Hoffman confidentially assures her, I understand about telling everyone you're a twin sister. But I am Angelique's sister, insists Alexis. Hoffman shakes her head--you don't have to lie to me--I always thought Angelique would come back... Alexis interrupts her--you thought Angelique would come back--that's impossible, she's dead! She is not like others, says Hoffman coldly. She certainly wasn't like anyone else, says Alexis--nevertheless, she is dead, do you hear me, she's dead, and I'm her sister--now if you would get me a nightgown, please, I'm very tired. Hoffman gives her a look, says "Certainly," then asks, which one would you like? I really can't answer that question, can I? she asks, I've never seen any of them--pick one out for me. Hoffman says of course, I'm sorry, Miss Stokes, if I said anything... It's all right, says Alexis, I understand how much you must miss her, but I wouldn't intimate such a thing to anyone else if I were you--they might be very distressed by it--and so might you. Hoffman gives her a weird look, then opens the closet and takes out a pink nightgown with furry shoulders. This was her favorite, she says. Thank you, says Alexis, it's lovely. Hoffman drapes it over a chair, gives Alexis one final look, and leaves. Alexis gazes up at Angelique's portrait.
In the hallway, Hoffman passes by Maggie's room, and when the latter comes out, says, "Mrs. Collins, you might be interested in knowing that the young lady is staying." I see, says Maggie, by whose orders? Mr. Collins, reveals Hoffman with satisfaction, and walks off. Maggie, distressed, goes downstairs and finds the booze bottle empty and turned over. What's happening to you--to ALL of us? she asks herself, holding the bottle.
Angelique's room - Quentin hears someone playing the piano--Angelique's Theme--and enters the room. Alexis, wearing her sister's nightgown, is playing the tune. Obviously drunk, he takes another slurp of his drink. She stops playing and apologizes--I couldn't sleep, she says, and found this piece of sheet music--I hope I didn't disturb you. He gazes at her darkly, but says, I don't mind. Is the gown is bothering you? she asks--Hoffman gave it to me because I left my luggage in town--I hope you don't mind. No, it's all right, he says, you look so very much like HER--so very much. I know, says Alexis. Especially in this room, he adds--it's as if two people have blended together and then became one. Or as if the past and present have blended together and become one? she suggests. He drinks. You miss her very much, don't you? she asks--so do I--perhaps we can...comfort one another. She places her hand on his shoulder. He looks at her stonily. Maggie enters, catches this moment, and runs out. Quentin follows her. Alexis sits back down at the piano.
In the drawing room, Maggie sits in a chair, sobbing. Quentin kneels beside her, assuring her, no matter what you saw... Can you possibly claim that wasn't Angelique in that room? she asks tearfully. Drunk, Quentin says, you can't possibly think Alexis...now listen, even if you think that for a moment, it's insane! Is it? demands Maggie--then you explain this to me--she hands him the note she found tucked under the door that said, "You're not wanted here, now or ever--Angelique." Where did you get this? he asks. It was slipped under the drawing room door, explains Maggie. It's a practical joke, obviously, he says. No it's not, insists Maggie hysterically, rising from the chair--she wants me out of this house. She is DEAD, Maggie, he says. Look at that note, she cries--is that Angelique's handwriting or not? Maggie, I'm not going to discuss this any further, he says angrily--I want to know why you didn't tell me about it after you found it. Look at the note again, begs Maggie--Will Loomis swears that it's Angelique's handwriting! Quentin stares at her--Will Loomis?--what does he know about this? I showed it to him the next day, she says. You received a crank not from somebody telling you to get out of your own house...begins Quentin, furious. IT WASN'T A CRANK NOTE! shouts Maggie. Listen to me! he commands, and be quiet--you found time to show this note to some drunken neighbor and not even to your own husband? I have trouble finding my husband, retorts Maggie--he isn't here. Untrue, he says--you've had plenty of opportunities. Even when we are alone together in a room, you're still so far away, she says forlornly--I'm beginning to understand, you know she's not gone, you can feel her presence in every room in this house!--she still runs this house, tells everyone what to do, nobody makes a move without her approval first, no one, not even you! He turns on her, exploding, "All right, that's it!" She is not dead, wails Maggie, she's more alive than any of us! For your own good, he snarls, I forbid you to mention Angelique's name again! You forbid me? she yells, you forbid me like a child and I am not a child and refuse to be treated like a child--not by you or anyone, I know what I heard and what I saw! You're not being fair! Quentin says, you're not giving anybody a chance! No one's given ME a chance! she rants--this is Angelique's house, not mine, you're Angelique's husband, not mine! " All right, if that's the way you feel about it, get out!" demands Quentin--"Leave Angelique's house and leave Angelique's husband!" "That's exactly what I'll do," she responds--"that is EXACTLY what I will do!"
Crying, she runs out the front door. Maggie! calls Quentin, following her. Alexis trails downstairs--what happened? she asks. Maggie, he says--she actually went out that door. Shouldn't you go after her? asks Alexis. No, says Quentin--why should I, she behaved like a child. But still...says Alexis. You're right, agrees Quentin, and goes back out the door, but it's too late--we hear a car pulling away. He stumbles back in--"It's too late now, isn't it?" he asks numbly, and heads into the drawing room. Alexis looks stricken.
NOTES: KLS has made her exit to be in HODS, so Maggie and Quentin will be estranged quite a while now. That was a great scene between them, escalating into a perfect reason for her exit.
Love the set of Cyrus Longworth's lab; complete with live animals. I can just imagine Dan Curtis complaining about the poor animals' feed bill. I also enjoy Chris Pennock's performance here, which expands as time goes on. I thought him annoying as Jeb Hawkes, but the mild-mannered Cyrus Longworth is a gem, and he does him proud.
Is Alexis Angelique or not? Is Hoffman right? She played along with her story about "twins," but does Hoffman know there really isn't a twin sister? Stay tuned!
Love, Robin
