Episode #178 - The man who has come to attempt to solve the mysteries that hover over Collinwood has made a startling suggestion to which others can only react with shock and fear.
You can't be serious, says Joe. I'm serious, says Peter--the only way for me to test the validity of some of my theories is for us to open a grave. You didn't tell me this was what the doctor had in mind, Joe tells Carolyn, aghast. Believe me, I never knew, she says, shooting a look at Peter. It's no wonder you wanted Carolyn to pledge me to complete secrecy, says Joe. Carolyn said you'd do anything you could to help Mrs. Stoddard, says Peter. Yeah, I would, says Joe, but grave-robbing isn't exactly in my line--I'm not a body snatcher. I don't want the body and I don't want to rob the grave, says Peter. Then why do you want to break in? asks Joe. I just want to see what's inside, says Peter, then we can close the grave and whatever is there can rest in peace. Do you really have to do this? asks Carolyn. It's the only way, insists Peter. You have really knocked me over! says Joe--where is this grave, what's involved? We have to open the vault at the old crypt, says Peter--I must open the coffin and view the remains of Laura Murdoch Stockbridge, who died in 1767. Joe and Carolyn stare in consternation at Peter.
I must see what's in Laura Murdoch's coffin, repeats Peter. Laura Murdoch--isn't that your aunt's maiden name? Joe asks Carolyn. Yes, it is, she says. There were several Laura Murdochs, says Peter, all of whom died in exactly the same way--and each of them with a span of exactly 100 years between the deaths--the first Laura Murdoch died in 1767, the second in 1867. And now there's a third right here in 1967, finishes Joe. Exactly, says Peter, there's one more thing--they all died in fires. That lady that died in the fire in Phoenix, says Joe--everyone thought she was Laura Murdoch Collins--boy, no wonder you asked if I believed in reincarnation. Joe sits down. It all seems a little more plausible now, doesn't it? asks Peter. That picture Sam kept painting of Laura being consumed by fire, recalls Joe. Yes, says Peter, and it all adds up to one thing--that my request that you help me open the grave is not outlandish. No, says Joe, I can't believe this is anything more than coincidence. There's only one way we can find out, insists Peter, by viewing the remains of Laura Murdoch. Aside from everything else, says Joe, what you're asking us to do is illegal. I've already spoken to Frank Garner, says Peter, asked him to draw up the necessary papers--he said it's possible, but there may be a little red tape. Can't we wait until he cuts through it? asks Joe. That may take a long time, says Peter. Yeah, but if it makes what you want us to do legal... begins Joe. We don't have an awfully long time, objects Peter. Certainly we can wait a little while, says Joe, if it makes what we're gonna do right. We don't have it, says Peter, how can I impress that on you?--I have the feeling all the events here are leading up to something else--to a greater disaster, what it is I don't know yet, but I do know it's coming, and I must prevent it. What you've got are feelings, suppositions, says Joe, there are no concrete facts. That's why I'm asking you to help me, says Peter--to get some concrete facts. And if the vault doesn't yield any? asks Joe. That's the chance we'll have to take, says Peter. I'm sorry, says Joe, it just does not sit right with me. What of all the things that have happened here DOES sit right with you? asks Peter. I've got to admit, says Joe, they are awfully peculiar, but... What the doctor is saying, interrupts Carolyn, is that we don't have time to sit around and talk about it! Wait, cautions Joe, I am not finished--there's something else that goes against me--I am not the most religious man in the world, but a grave is hallowed ground. I thought you wanted to help, she says. I do, he says. You said you'd do anything, she reminds him. I would, says Joe, but this is more than I bargained for. I know I'm asking you a lot, she says, but you promised a lot, you said you'd do anything to help my mother--are you going to go back on that? If we were sure that it would help your mother... says Joe. there's a chance that it might, she says, and it might be our only chance to save her--are you going to throw that away? she asks plaintively. He looks down into her face. I guess I can't, he tells her--all right, Doctor, I'm with you--I'll help you open that grave--I don't like it, I don't think it's right, but I'll help you. He looks at Carolyn. (what a great guy, I say again, Carolyn should not have let this one get away!)
Laura gazes out the cottage window at the encroaching clouds. Her face is determined. She goes to sit by the fire. Outside, we hear frogs croaking, wind, other night sounds. Roger knocks at Laura's door. She answers. It's about time you finally decided to come around, she says. I see, you're in one of your charming moods, he observes. It's not my charm you came to see, she says. Please let's not argue, it's so tiring, he says--I don't suppose you have anything to drink around here, do you? I could fix you some tea, she says. Tea isn't a drink, it's liquid, he says. (LOL!) Do you have anything to report? she asks anxiously, about what's happening? Nothing, he says--what's the matter with you this evening? I'm on edge, she says, very nervous. For what reason? he asks. She looks into the fire. I don't know, she says, I have a feeling that things are closing in on me--time is running out, there's not much left. What the devil are you talking about? he asks. I've almost won over David, she says, but I've got to get him completely, and soon, or it will be too late. I haven't the foggiest notion of what you're talking about, says Roger, but as far as I'm concerned, you can take him and leave right now. No, he's got to come of his own free will, she insists. I don't understand why, says Roger, just take him and go. You don't understand anything, she says. Get to the point, he says--what are you driving at? What do you think of this Dr. Guthrie? she asks angrily. Not very much, he says, What do you think he is--why do you suppose he's here? she asks. He's some sort of psychologist who's trying to find the cause of Liz' illness, says Roger. And does that make any sense to you? she asks. Frankly, no, says Roger, but it's what Carolyn wants and I can't question it--Liz is her mother. He's not just a psychologist, she says, he's a parapsychologist. One of those ghost chasers? asks Roger. Must you reduce everything to its lowest commons denominator? she asks sourly--an investigator of psychic phenomena. Why didn't Carolyn tells me this? demands Roger, angry now. Because she doesn't trust you, says Laura. Who else knows about this? asks Roger. I don't know, says Laura--Vicki, Frank Garner, everyone, I suppose. Except me, says Roger, isn't that just fine!--why is he here? If you want to know the answer to that, you'd better ask Carolyn, she says. Of course, says Roger, it all fits in now--a seance--whoever heard of a real psychologist trying to commune with the spirit world?--but why?--what's he up to? I have no idea, says Laura. It's all so confusing, says Roger--he turns to Laura--but then, everything that's happened since your return is confusing. You're not going to start that business up again, are you? she asks. What business? he asks. Everyone's favorite game around here--guilt by innuendo, she says--this is New England and obviously witch hunting is still your favorite sport. Why did Vicki scream out during the seance? asks Roger. Ask Vicki, not me! says Laura. And that body in Phoenix, continues Roger, why did it disappear? She rises to her feet. Surely it is apparent by now I am here, not there, she says, so how would I know? She lights a cigarette. And Liz, says Roger, you were the last person to see her. I didn't hit her over the head, says Laura--I wanted to often enough, but I never did it. (LOL, delicious!) Why didn't you mention it immediately? he asks. It was a very confusing day, she says, there was no reason for me to assume I was the last person to see her. Are you telling me everything? he asks--there's nothing you're hiding?--you'd better tell me because I'll find out anyway
--whatever it is, you'd better tell me, Laura. She turns to face him. There is nothing, she says, nothing! She walks away from him and sits by the fire, cigarette in hand. (their head to head here was marvelous--guilt by innuendo indeed!--and she is the closest thing to a witch we have until Angelique makes her entrance)
Drawing room - The road to the crypt is practically never used, says Peter, if we wait a few more hours, with any luck, no one should pass us. You want to go right now? asks Joe. Yes, says Peter, I think the sooner we get this over with, the better. I guess I sure agree with that, says Joe, I still don't like any part of it. You're not backing down, are you? asks Carolyn . No, I'm in, he assures her. By tomorrow morning, says Peter, this will be just a bad memory. Memory of this is enough, says Joe. What about the old man who acts as watchman? asks Carolyn. I checked on him, says Peter, he lives in a little house on another part of the property. He must make rounds, says Carolyn. Very seldom, says Peter, after all, who would want to break in? Only a couple of lunatics like us, says Joe. Won't the crypt be locked? asks Carolyn. I don't think so, says Peter, if it is, we'll just have to find some other way to get in. Well in that case, you'll need some tools, says Carolyn, they're in the shed behind Laura's cottage. That lets that out, says Peter--we can't take a chance on coming anywhere near Laura's place. There's plenty of time for me to go home and pick up my tools, isn't there? Joe asks. All right, says Peter, but make sure nobody sees you carrying them--we don't want any suspicion thrown on us. Amen, says Joe. I think it will be better if we take one car, says Peter, I'll pick you up at your place. Right, says Joe, I'm on North Main, it's the white clapboard house (a man of property, hm?) at the end of the street. In an hour, then, says Peter--thank you for doing this. I just hope we don't regret it in the morning, says Joe. Never mind the morning, says Carolyn, I'm worried about tonight. Don't worry--we'll be very careful, promises Peter. You'd better be, says Carolyn--come on, Joe, I'll walk you to the door--I won't be a minute, Doctor.
Listen, if we end up in jail, jokes Joe, will you do me a favor?--bake me a cake--my favorite filling is a file. I want you to know, she says, I'll never stop being grateful to you for this. You don't have to be grateful, he says, just pray we're doing the right thing. Just keep remembering it's for my mother, she says. Roger enters. Where is Guthrie?--I want to speak to him, he says firmly. In the drawing room, says Carolyn. I want to speak to you, too, says Roger. What about? asks Carolyn. Never mind that, he says, just get in here. Carolyn tells Joe she'll see him later and thanks him again. Roger whips off his coat as Peter watches, then pours a drink. Carolyn enters. If it isn't my niece, says Roger, Lucretia Borgia, and Dr. Guthrie, the eminent psychologist--parapsychologist, that is! He downs his drink. You know, says Carolyn in a small voice. All right, you two, he says, exactly what has been going on here? We're trying to get to the bottom of your sister's illness, says Peter. By table tapping? demands Roger, what comes next?--are we to read tea leaves after dinner? Your equation of parapsychology with gypsy hocus pocus, says Peter, shows a profound ignorance on your part. (get him, doc!) You have been digging around long enough! says Roger, what have you come up with? I'm afraid I can't tell you that yet, says Peter. When will you be able to tell me? asks Roger. As soon as I've verified that I suspect, says Peter. Suspect what? asks Roger. I'm sorry, I can't tell you that at the moment, says Peter. You'll know soon enough, says Carolyn. And listen, Roger tells Carolyn, it hasn't mattered a bit to me that you've given this man free run of the house, but it's going to stop unless you can explain exactly what's going on. I'll tell you this much, says Peter, from what I've been able to discover, it all seems to relate in some way to your wife. That's what I thought you were going to say, says Roger--you get out of this house
--no, I'm not asking you to get out, I'm ordering you to leave this house, this minute--get out! Peter turns and leaves without another word. Roger is steaming. I don't ever want him in this house again, he says. Carolyn turns to look into the fireplace. (an excellent performance by Edmonds.)
As for you, Roger rants to Carolyn, I've let you play mistress of this house long enough--the time has come for it to stop. If you'll just let me explain, she begins. There's nothing to explain! says Roger. It has nothing to do with you! she says. Anything that goes on in this house has to do with me, he says. I simply didn't think you'd understand about Dr. Guthrie's work, she says, walking to the piano. But why didn't you try to explain it to me instead of going behind my back? he demands, how do you think your mother would have felt about a thing like this? In my mother's present condition, says Carolyn, I had to make the decision as to what was best for her--there was no other alternative. Why didn't you give the doctors in Boston a chance? he asks. The doctors had a chance! says Carolyn--they could find nothing wrong with her in this world! So you leap to the brilliant conclusion that it must be something apart from this world! accuses Roger. I don't know, says Carolyn, I'm willing to try anything that might help her. And if it harms Laura at the same time, so much the better, says Roger. Laura never entered my mind, says Carolyn. Laura has never been out of your mind, ever since you got it into your head that Burke threw you over because of her, says Roger. I don't care what Laura and Burke do, she says, since my mother became ill, I haven't given the two of them a thought. Do you actually think this voodoo fakery will help anything? Roger asks. Do you think she's faking that trance she went into? asks Carolyn desperately--do you think Vicki was faking what happened to her at the seance? They're both just highly overwrought women, he says. Why can't you just admit there's something very strange going on around here? She asks. Because I will admit nothing that can't be proven, says Roger. If Dr. Guthrie proves it, she says, what would you say then--would you admit you were wrong? He considers this. If he proved it to my satisfaction, says Roger, yes. Carolyn smiles. At least let him try, for my sake, she says, for my peace of mind--so I can tell myself I tried everything. He looks at her fondly, and we know he's given in. Oh, very well, he says, let him investigate away, if it will comfort you any. He sits on the sofa. She goes over, rubs his back, and thanks him, telling him how much she appreciates that. I reserve the right, he warns her, to remain extremely dubious about this whole thing. She kisses his forehead. You wouldn't be you if you didn't, she says--I'm sorry it all had to be such a secret--but it seems to be the only way. I suppose so, he says--still, there does seem to be a lot of unexplained things going on around here
--I'll have to admit that much--there is a possibility that there might be something in what Guthrie's doing--just a small possibility--but nonetheless, a possibility. (Roger admits to a possibility!)
Crypt - Joe and Peter approach, Joe carrying a bag of tools. Peter tries the door and finds it locked--you don't suppose there's anybody in there, do you? he asks Joe. He tries the knocker, twice. There's nobody in there, says Joe. Maybe it's stuck, says Peter, and starts to apply more force to the door. You're not going to break in, are you? asks Joe, grabbing his arm. I will if I have to, says Peter--give me a hand. I agreed to come down here, says Joe, but breaking in... We've got to get in there, says Peter, I'll take complete responsibility. All right, says Joe, stand back, let me have a try. He pushes against the door, once, twice, but to no avail.
They turns to get the tools, then see that the door has mysteriously opened by itself.
NOTES: Who's the ghostly breaker and enterer, Josette? She's done her damnedest to help, and this seems her latest effort on their behalf. Joe probably thinks he's fallen down the rabbit hole.
I loved the conversation between Roger and Carolyn. He was all bluster, but under her quiet, dignified responses, he came around to her way of thinking. These two really do love each other, too bad he loves himself more. I also loved the way Peter left Collinwood without a nasty retort. The doctor has class!
As for Laura and Roger, well, I wonder why they couldn't stay married--until I remember she was competing with him for which of them loved him more. Guilty by innuendo--how funny! And their back and forth arguing is like watching a hot tennis game. When Guthrie told Roger he felt Laura was responsible, Roger, despite his own doubts, ordered the doctor out of Collinwood. One wonders why he is defending this woman when he believes there are many mysteries surrounding her, too.
Episode #179 - A voice has been heard out of the past, a voice that spoke in a foreign tongue and in a whirlwind of terror--and now it speaks no more, but still the power behind that voice is with us--it prompts us, it leads us, and where it goes, we must follow, no matter how lost and forlorn the place, no matter how numb the heart with fear.
We repeat yesterday's ending. The two men watch fearfully as the door opens by itself. Peter turns on a flashlight. Come on, he says. I don't think I'm going in there, says Joe. Why not? asks Peter--you're not afraid, are you? I don't know, says Joe nervously, but there's someone inside there. There's no one in here, says Peter, come on, we can't waste time. There's nobody there? asks Joe. No, it's empty, absolutely empty, Peter assures him. Then that makes it worse, says Joe, because you know I didn't touch that door, and it opened. Maybe you just loosened it up, suggests Guthrie--come on, take it easy. They enter the crypt, Joe very reluctantly--and the door creakily shuts closed by itself behind them.
Peter and Joe enter the crypt. All we have to do is find the vault with L. Murdoch Stockbridge on it, says Peter. This place is a kind of mausoleum, says Joe. According to Vicki, says Peter, all the members of the Stockbridge family that died by violence are buried here in the vaults. I can't believe it, says Joe--this is going to sound stupid--I'm really scared. Don't you think I am? queries Peter. We're grown men, Joe reminds him. Grown men to whom death is a mystery, says Peter, taking his arm--come on, let's find the vault. Peter shines his flashlight on various headstones. I wish you'd tell me more about this, says Joe. I'd rather wait until I find, well, whatever we find, says Peter. It's stuffy in here, says Joe. Yes, must and mold of almost three centuries, says Peter, shining his flashlight on the walls. It's like it eats the air right up, says Joe. Peter finds the grave he's been looking for. L Murdoch Stockbridge, reads Joe, 1735-1767--exactly 200 years ago.
I know, says Peter. All right, says Joe, now that we've found it, what does it tell us? We're not through yet, says Peter--bring the tools, will you? Joe goes to get the tools--wait a minute, he says. We can't waste time, says Peter. I didn't realize quite what this was going to feel like, says Joe. I know it's frightening, says Peter. I don't think it's fear, says Joe, it's respect--I have some respect for the dead. So do I, says Peter. I'm beginning to wonder, says Joe. I do! says Peter, I also have respect for the living--respect and something more--I want to help them. What good is this going to do them? asks Joe. Whatever I do--whatever we do--is to help Mrs. Stoddard, says Peter. By breaking into a grave? asks Joe. We have to, insists Peter, Mrs. Stoddard's life might depend upon us--and remember, says Peter, the dead might also be willing to help the living. I'm not so sure about that, says Joe. One thing you can be sure of, says Peter, if we don't do everything we can, Mrs. Stoddard may be done for--I'm going ahead with this, with or without you. With me, says Joe, handing him the crowbar. Peter and Joe begin removing the stone on the grave.
Drawing room - I don't want to sit down and wait, says Frank angrily to Carolyn, I want to know where he is! He said he's be back before too long, says Carolyn. I know he'll be back, says Frank, I want to know where he is now! He didn't say, she tells him. Don't lie to me, says Frank. What makes you think I'm lying? she asks. Come on, it's written all over you, he says. I'm not lying, honest I'm not! she says. All right, where's Vicki, I'll ask her, says Frank. Vicki doesn't know, says Carolyn, stopping him. But you know! says Frank, and you've got to tell me! She turns away. I drove all the way out here, says Frank, it's very important I find Dr. Guthrie now! I promised Dr. Guthrie I wouldn't tell anyone, she says. You know we've been working closely together, says Frank, your promise doesn't include me. I'm afraid it does, she says. Pete Guthrie is a very fine man, he says, he's working very hard to help your mother, but there are times he might go too far. How can he go too far if it might help her? asks Carolyn. If he got into the kind of trouble where he could no longer work on the case, says Frank--I'll be specific--if he broke the law and went to jail! Jail? She says quietly. A few minutes ago, he says, we had a phone conversation, and he mentioned doing something that could get him into a lot of trouble--now tell me, did he go out to the cemetery, to the crypt? She shakes her head. I promised I wouldn't tell, she insists. All right, you listen to me, he says, I'm driving out to that cemetery right now--you don't have to tell me a thing--just stop me if you don't think I should go. She thinks it over--go, she says finally, and hurry, that is where he went, with Joe--but hurry! With Joe, why? asks Frank. He said he might need some help, says Carolyn. With what? asks Frank. I promised I wouldn't tell a soul, she says, near tears, but Frank shakes her, demanding to know the answer. They went to open up a grave, she admits
--the grave of Laura Murdoch Stockbridge. He races out the door. Scared, she goes to look out the window.
Peter and Joe are working hard to remove the grave cover, using hammers and chisels to work at it. It's like one solid block, complains Peter. What we need is dynamite says Joe. Lacking that, says Peter, I think we'd better give it another try. Joe and Peter decide to give it another try and together hold a chisel, using all four of their four hands on it, trying to wedge it open, straining and grunting. It's not going to budge, says Joe. It's got to, says Peter. I've got the feeling someone's thwarting us from the inside, says Joe. It's your imagination, insists Peter, it's run away with you. Come on, says Peter, one last try. All together now, says Peter, one, two--it's beginning to move, he notes, easy now. It's coming out, says Joe. They remove the stone cover of the grave, and set it down on the floor, gasping from their exertions. They gaze at the coffin within. Give me a hand, says Peter, and he and Joe pull the wooden coffin out of the hole. Let's put it on the table, says Peter, and they do, after Peter removes the tool bag from it. You're really going to open it, huh? asks Joe. We can't stop now, says Peter. After 200 years, wouldn't it have rotted away? asks Joe. No, says Peter, it's not as closely sealed as it was in there. It's nailed down, points out Joe. We'll pry it open, says Peter, getting the crowbar. Shall we get started? asks Peter
--I'll try to put this wedge in and you can use the hammer. Hit it hard, orders Peter. NO! cries the old caretaker--don't go where the dead go--no, no, no!
The caretaker comes forward, staring at Joe and Peter's faces. How fortunate you are I stopped you just in time, he says. you're the caretaker, aren't you? asks Peter. You're the one who should take care, warns the old man. You look after the cemetery, says Peter--Miss Vicki winters told me about you. Miss winters? asks the caretaker. A young girl with long, black hair, she was here, says Peter. Yes, she's here, somewhere, says the caretaker. No, she was here, says Peter. With long black hair, repeats the caretaker, scanning the graves--young woman, yes, but her name was not Winters--she's still here--there she is, black hair, long, young, so very young. You don't understand, says Peter, this girl was alive. You're the one who doesn't understand, accuses the caretaker--they were all alive. Peter looks at Joe. Please, he says, I need your help. I know, says the caretaker. And you'll give it? asks Peter hopefully. I already have, says the caretaker--you were going to open that coffin, weren't you? Yes, says Joe quietly. You were going to open it! says the caretaker. Yes, says Peter. I stopped you, says the caretaker--I did help you--by stopping you. Please, I don't have time to explain, says Peter. Don't you know who these people are? asks the caretaker. Yes, says Peter, the Stockbridges. And how they died? demands the caretaker. I know, says Peter, by violence. Though they're in their graves, says the caretaker, the violence may still be alive--even though they've been dead these long years. I don't say that isn't impossible, begins Peter, but the caretaker interrupts him--and once let loose on the earth again, what terrible revenge might it take? I'm willing to take that chance, says Peter. The caretaker shakes his head. You have no right, he says, you have no right--he points to the open grave. He's obviously not going to let us go through with this, Joe tells Peter. Just let me talk to him, begs the doctor, for a minute. I don't think it's going to do much good, says Joe. L. Murdoch Stockbridge, says the caretaker, died by fire. I know, says Peter, but it's very important that we open this coffin--we're willing to take all the consequences. Only because you don't know what the consequences might be, warns the old man. I told you, says Peter, I'm willing to take that chance. She died by fire, says the caretaker--the fire choked off her screams, the smoke blinded her--and what if they're here, the screams for help, the cries, the flames, the smoke?--the dead sometimes take their death with them to the grave--it's all they have. I'm sorry, says Peter, but I have to open this coffin, is that clear? Leave her in peace, if peace is hers, says the caretaker. I'm doing this for a woman that's alive, says Peter, leading the old man into the other room, and in terrible danger. Do we unleash a greater danger against her? asks the caretaker--a greater danger against all of us? I may also bring peace to that woman who's alive, says Peter, and peace and rest to that woman whose ashes are in there. How do you know? asks the caretaker. I don't know for certain, admits Peter, any more than you're certain of what you just said. I am certain, says the old man. No you're not, says Peter--you're afraid--but not certain. Afraid, says the caretaker, yes, I am afraid, I am here to guard them, and I have against everything, and they are grateful, so grateful. I'm sorry, says Peter, but I have to do this
--Joe...he returns to the other room. NOOOO! cries the caretaker. Please, if it's a matter of saving a woman's life? demands Peter. Would you take a life to save a life? asks the caretaker, hovering protectively over the coffin--you can open that coffin, save that life--once I am dead!
Is there nothing I can say to you to convince you? asks Peter. The caretaker shakes his head. Joe and Peter move away from him. I'm afraid he means it, says Joe. What are we going to do? asks Peter. I guess we'd better get out of here. I can't do that, says Peter--we've got to get that coffin open somehow. Frank comes running in. I knew I'd find you here, he says--and what did you two think you were going to do? Isn't it obvious? asks Peter. And isn't it obvious what this could mean? demands Frank. The graves might rise, says the caretaker--the cries for help, the screams, the smoke! I'm sorry, Frank tells him, I apologize for my friends. I know you, says the caretaker. Yes, I was here with a young lady, says Frank. With long black hair, recalls the caretaker. (only a few notes behind.) You were a great help, says Frank. I helped them--I stopped them, says the caretaker. I'm very grateful, says Frank, we won't trouble you anymore. Not me, says the caretaker, sweeping his hand toward the graves--them, you mustn't trouble them. We won't, promises Frank, then turns to the other two men--do you realize you could go to jail for this, and you, too, Joe?--there are ways of doing things, legal ways. Ways that take a long time, protests Peter. We can't help that, says Frank. We don't have time to waste, says Peter. What do you think you'll accomplish behind bars? asks Frank. If I explain to the court... says Peter. Do you think any court would listen to the reasons you'd have to give them? asks Frank--you know better than that--they'd most likely commit you to a hospital. Doesn't that prove my point halfway, says Peter--would a court be more sympathetic before the point for my reasons than after? Yes, says Frank, for one thing, you wouldn't be there as a man accused of a crime! You mean they'd listen to me, to my reasons? asks Peter. I think I could finally persuade the authorities to give us permission, says Frank, we might not have to be too specific as to our reasons. Finally is the key word there, says Peter--it would take too much time! You have no choice, insists Peter. I'm not so sure of that, says Peter. I'm not going to let you do it! says Frank. Even if I give you my guarantee that it's absolutely essential to Mrs. Stoddard... You can't help Mrs. Stoddard if you're behind bars, says Frank, and that's where you'd be by nightfall--and there'd be very little I could do to help you. Joe comes over. I'm sorry, Doctor, he says, you'll have to count me out. Give it up, Pete! begs Frank, for now, anyway--you've got to! I hate to give it up, says Peter, but I know when I'm beaten. He goes to the caretaker. My apologies, sir, we'll put the coffin back and try to seal up the vault as best we can. No, says the caretaker, let her rest a while where she is, another day will do. Let's get out of here, says Frank. Does it have to be like this? asks Peter. Yes! Frank says firmly. They start to leave, but Joe still stands there. That smell, says Joe, what is it? Mold, dust, replies Frank--let's go, Joe, it's a different smell, like flowers, more like perfume. Jasmine? ask Frank--is it the scent of jasmine? I don't know what jasmine smells like, says Joe, but it's like a lot of flowers at night, when it's very warm. I don't smell it, do you? asks Frank. No, says Peter, it might be Josette. Jasmine, says the caretaker, it smells like jasmine, far away, coming from the sea. No, here! says Joe.
They all look to see the coffin opening by itself. No, you must rest! says the caretaker--we're going away!--rest, rest. Don't touch it! says Peter--let me look! He goes over to gaze down into the coffin . Look at this, he tells the others. What is it? asks Frank. I'm not sure I want to see it, says Joe, making a face. It's absolutely empty, says Peter as the others crowed around behind him--the body's gone. They all stare into the empty coffin in amazement.
NOTES: So what does this mean? It's a lucky thing Josette intervened, because if not for her, they never would have gotten a look inside that coffin. Frank was determined to uphold the law of the land and prevent them from looking inside, while the caretaker was upholding the laws of those who died by violence for fear the violence buried with them would come out to get them all. Pretty scary stuff. I guess when Josette saw how hopeless it was, she took matters into her own hands.
You have got to love that one-track-mind caretaker. He knows what he must do, and no grave can be defiled. I wonder what he thought when he realized a ghost smelling of jasmine helped get around him?
An empty coffin, an empty lab slab. What is the connection, if any? And how does this tie in with Laura and her strange powers?
Joe is such a good-natured shlub, willing to risk being arrested--but once Frank threatened them, he was all set to quit--but notice which of them Josette "appeared" to by exuding her scent! Why not Peter, or even Frank? She "appeared", so to speak, to the good guy who was just along for the ride!
Love, Robin
