Mother’s Daughter

Episode Report Card
admin: F | Grade It Now!
Wakey, wakey

That night, Hannah does that sit-straight-up-in-bed-bending-at-the-waist thing that people only do in the movies. Then she goes for a little midnight jog along the road while chanting "Madison 316, across the spire and through the green." A truck passes her, then stops and honks. She waves and runs to catch up.

In New York, Skeet knocks on the door of Lucinda's parents, who apparently are expecting him. He apologizes for intruding and then establishes that they don't know any Amish girls named Hannah, and then tells them she's having spells where she thinks she's Lucinda. "What do you mean she thinks she's our daughter?" says Mr. Bryant. Skeet explains about Hannah saying things Hannah would never know, and repeats her little complaint about the "mother from hell Nazi" who hides the booze. Lucinda's mother closes her eyes. And then the mother from hell Nazi speaks, asking Skeet what he wants from them. "Just your help. We're trying to rule out any possibility of contact between your two families." Mr. Bryant says they don't know each other and that they can't help. Skeet thanks them for their time, and gets up to go. His cell phone rings. It's Evelyn, saying she got the results of the bloodstained sheet they sent her. That quickly? So they sent to sheet to Boston from Pennsylvania, and it got there and was tested and back to Evelyn in the same time it took Skeet to get to New York? Did he go by way of California? Evelyn tells him the blood on the sheet isn't Hannah's; it's the rare AB negative. Paul says nothing for a long time, then finally hangs up the phone. And he asks the Bryants a question, and if you're so stupid you need me to tell you what that question is (or the answer), then thank you for reading my recap, Ms. Hilton. Skeet goes on to ask why Lucinda killed herself. They're not certain why; what they do know is that she was on drugs, and they both carry a lot of guilt for not doing more to intervene. Mr. Bryant says that when you're told over and over again that you're not needed, you start to believe it. "It's not a mistake we'd make again," says Mrs. Bryant. "If we've learned anything in the last ten years, it's that you don't get a second chance." Hold that thought, ma'am. Oh, there's the doorbell! Mrs. Bryant answers it. It's Hannah. "Can I help you?" says Mrs. Bryant. Hannah says, "Look, I'm sorry, I know I should have called. Don't get all depressive, okay?" Then she says, "You were right. They stole my bag. Loser model freaks," as she breezes into the apartment past a speechless Mrs. Bryant. Don't expect Skeet to make the introductions, as he's too busy making the Skeet Face. And Hannah, that is, Lucinda, asks Mrs. Bryant if she's done something with her hair, and Mrs. Bryant recoils from her touch, and Hannah's confused because she looks "old." Then she acknowledges her dad's existence with a "Hey, D," which cracked me up, oddly enough. Dad doesn't even say anything. He just goes to his wife's side as she gets all teary-eyed and says, "It's her. It's her!"

When we come back from commercial, Mrs. Bryant is still saying "it's her!" over and over again, and she adds that this girl "smells like Cinda." Hannah/Lucinda's wandering around the apartment, wondering when they had time to paint. And hey! You moved the coffee table! Then she starts calling for her dog, who is apparently named "Spridle," and wants to know why he's not coming. "Spridle died!" says her dad, finally finding his voice just in time to tell her pet is worm food. "When, last night?" screeches Lucinda. Then she sees Paul. "I know you," she says. Yeah, maybe he has some liquor on him now, hey? "Something's wrong here," she says. "I don't feel well." She rushes for the bathroom, where she vomits water. And we cut to a couple of clips of water and a little frozen girl looking right into the camera and a hand reaching through the water, and we can cross a couple more clips off our opening-credits checklist. I thought that was a boy in the opening credits, but apparently it's a young Hannah. And she looks at a seemingly dead Lucinda laid out. Skeet just stares at her (the Bryants didn't come to the bathroom too?), probably because as Hannah/Lucinda coughs, he can see her breath, as though it's freezing indoors. Hannah goes to her room, where she stares out the window at the street scene with the big church she described (and we were shown) earlier. Skeet follows her. "I drowned," she says. "Hannah, you're back," says Skeet. "I don't know this place," says a rather calm Hannah. "You shouldn't," points out Skeet. She says that she feels like she's still drowning, and sadly says she's going to lie down. A similarly weary piano plinks in the background. Skeet's cell phone rings. Christ, Skeet, set that thing to vibrate already. It's Keel, who wants to know if Hannah is there. Skeet says she is, but he doesn't know for how much longer. "She's slipping away, isn't she?" says Keel. He says he'll bring Hannah's mother.

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