Episode #138 - The quiet of the night at Collinwood has been shattered by some news--news so startling and strange, that it is beyond belief.
I'm sorry to shock you, Patterson tells Roger in Collinwood's foyer. You'll have to explain what you were saying, says Roger. I'm afraid I can't explain it, says Patterson--I can only tell you what the Phoenix police report told me, that a body identified as that of Laura Collins was found a few days ago, burned to death in Phoenix. That's ridiculous, says Roger. Ordinarily, I wouldn't break news like this to you the way I did, says Patterson, but I heard Mrs. Collins was back in town. That's true, says Roger, so the whole thing is preposterous. That's what it seemed to me, says Patterson--I went to the Inn, but they said she had checked out--that she was living here--is that true? Yes, says Roger, that's right. The register at the Inn said she checked in there 3 days ago, which was the same day as the fire in Phoenix, says Patterson. It's obvious to the least intelligent person that this report is erroneous, insists Roger, walking into the drawing room with Patterson behind him. That's what I thought, says the sheriff, so I phoned Phoenix--I told them Laura Collins is here in town and asked them to verify their identification--they said that the identification was positive--they said the body they'd found was definitely Laura Collins.
How can they be so positive it's the body of my wife? asks Roger. The building she was living in burned, explains Patterson, not entirely to the ground, but the body was found in what was left of her apartment. Who identified the body? asks Roger. No one specifically, says Patterson--the body was burned beyond recognition. Then how did they identify her? asks Roger. The Medical Examiner established her age and other characteristics, says Patterson. He was wrong, says Roger. The identification was also a matter of logic, says Patterson as they both sit down in chairs. That's a piece of logic I'd like to hear, says Roger. Everyone else was survived and accounted for, says Patterson, except Laura Collins--there was only one fatality and the body was found in her apartment. Would I seem naive if I suggested that somebody has made a mistake? asks Roger. No, you wouldn't, says Patterson, there certainly has been a mistake--but there is also an unanswered question. Yes, agrees Roger, that's exactly right--a charred body in Phoenix. Yes, and there has got to be an answer to that question, says Patterson. We'll let the police in Phoenix worry about that, says Roger. Except they asked me to ask Laura a few questions, says Patterson, to see if we can clear up just who it is they have found--it's possible she was letting someone else use her apartment--I would like to speak to her for a few minute, if you don't mind. All right, says Roger, she's staying in Matthew's cottage, but there's something I want you to understand--she's been under a terrible strain. I'm aware of that, Patterson assures him. I would suggest you not pressure her with your third degree type of questioning, says Roger. I had no intention of doing that, Patterson says, there is no accusation being made. All right, come along, says Roger. They leave the house together. We see the fire dancing in the fireplace.
Which segues into a fire in the cottage fireplace, into which Laura is gazing with rapt concentration. Roger and Patterson knock at her door. She asks them to wait a minute, then opens the door and invites them in. Sorry to brother you like this, says Roger, but the sheriff wanted to get a good look at you with his two eyes. It's nice to see you again after all this time, Patterson tells Laura--I have a few questions I'd like to ask you if you have a few moments. Of course, she says, and invites him to sit down. He sits on the arm of a chair, she in front of the fireplace. He explains to her that the Phoenix police have been in touch with him, they asked me to ask you a few routine questions--have you been residing at 443 Mason Street? Yes, replies Laura. He writes in his book. Do you still maintain a residence at that address? He asks. Yes, the keys are in my purse, she replies. And when were you last at the apartment? asks Patterson. About a week ago, eight or nine days, I think, she says. And you arrived here 3 days ago, says Patterson---there's a gap there of at least five days--how did you travel? By train to St. Louis, she says, and I spent half a day between trains, then I went on to Boston, and from there by bus to Collinsport--of course I stayed overnight in Boston. That accounts for the time, then, says Patterson. Why don't you just tell her what happened, says Roger. Please, Mr. Collins, cautions the sheriff--did you leave any of your personal effects in the apartment? Yes, clothing and other things, she says. Did anyone else have a key to the apartment? Not that I know of, she says, has there been a robbery? No, a fire, he says. Fire! she repeats, rising--in my apartment? The whole building was burned 3 days ago, he says. Was anyone hurt? she asks. Yes, he says, several people were burned or had smoke inhalation, but there was only one fatality. Oh, who was it? she asks. The body was identified as the body of Laura Collins, he informs her.
I wish you wouldn't be quite so melodramatic, comments Roger. What do you think? Laura asks the sheriff. I don't know what to think, he says, you are here, that's obvious, a fact--the Phoenix police did want me to find out if you had any idea who might have been staying in your apartment. No, none whatsoever, she says. Sure there weren't any friends? he asks. I knew very few people, she says.
It beats me, he says, I guess I'll have to let Phoenix figure it out--the body's in their territory anyway, not mine, luckily. What made them think it was my body? asks Laura. The body was found in your apartment, he says. What condition was it in? she asks. Unrecognizable, he says. I see, she says. This is a very distasteful conversation, says Roger. That's all right, says Laura--I want to be as helpful as I can. I'm sure this is unpleasant for you, says Patterson--I'll phone you as soon as I get to the station. I'm sorry I can't give you more information, she says. You've been very helpful, he says--I'm sure they'll make a positive identification very soon. Will they? she asks. Yes, they've gotten very good at that, he says--this isn't much of a welcome, but it was nice to see you again. She thanks him. Roger tells Patterson he'll be right along--would he mind waiting for him? Certainly, says Patterson, and bids Laura goodbye. Left alone with Laura, Roger insists it's the most ridiculous thing he's ever heard of--what does she make of it? She warms her hands by the fire. I don't know what to say, she replies. What has gone through my mind hearing this, he says--I've wondered what effect this might have on your plans--you have no place to go back to, to take David to. I hadn't planned on taking David to that apartment, she says, I made a commitment to another place. Oh, well, that's fine then, says Roger--I have to go, but I want to come back and talk to you--about Devlin. All right, she says, resigned. They bid each other good night.
Burke carries Laura's suitcase to the front door of Collinwood. Thank you for the use of your muscle, Carolyn tells him. (No comment!) It's very light, he says, hardly anything in it--I assume you're not going to ask me in? Are you kidding? she asks--the place is booby-trapped for you--you set so much as one foot inside there, sirens start wailing, bells ring, lights flash. He pulls her close to him. You have quite a cute little imagination, he says. It's not my imagination, she says. And a cute little nose, he adds. That's your imagination, she says. I've always imagined kissing you, he says. She smiles. Do you? she asks. They kiss, a nice one. There, that's got to be imagination, he says--nothing that good could be real. I don't know whether I feel younger when I'm with you or more mature, she says. Burke laughs. Well, he says, I like to think that I leave my ladies a lot younger than that I would leave them a little older--and he kisses her again, holding her face in his hands. She laughs and asks him to come inside for a few minutes, it's so cold out here. What happened to the booby traps? he asks. Ignore them, she says, and opens the door. He carries in the suitcase. So far, no burglar alarm, he teases. Don't worry, they'll get you yet, she says. I'll only stay a minute, says Burke, helping her off with her coat. You can stay twice that long, she assures him--come inside and warm yourself next to the fire. He takes her hand. It's warmer next to you, he tells her. She smiles at him, completely smitten. He goes into the drawing room, remarking that he feels like he's in forbidden territory. You are, she says, closing the doors. He holds his hands out to the fire. Isn't that better than standing outside? she asks. It would be, he says, if I were closer to you. (What an operator!) She sits beside him on the fireplace seat. All the comforts of the front porch, she says, and they kiss, lengthily. She clings to him. You know, I hate to see you go out into the cold night again, he says. Why would I go out? she asks. To take the suitcase down to your Aunt Laura, he says. You almost made me forget, she says. I'd be happy to save you the trip, says Burke--I'll take it down to the cottage on my way out. Carolyn looks at him, suspicious of this good deed.
Roger and Patterson return to Collinwood. I assume you've gotten enough information, says Roger. Yes, says Patterson, enough to send the Phoenix police off in another direction--we've still got to settle the matter of that identification. Yes, of course, agrees Roger. If Mrs. Collins should think of anything that you think might be helpful, I'd appreciate your calling me, says Patterson. Roger assures him he will. They shake hands and say goodnight. Roger enters the house and sees both Laura's suitcase and Burke's coat.
In the drawing room, Carolyn asks Burke, who is caressing her hand, if he would really carry Aunt Laura's suitcase all the way down to the cottage for her. I wouldn't want to see you get calluses on your delicate little hands, he says, kissing her hand. She grins with delight and giggles--you're so thoughtful, she says--or is it just that you'd like the opportunity to visit my Aunt? He laughs. Oh, you're a suspicious little devil, he says. No, just a jealous one, she admits. I assure you my going to see your aunt Laura has nothing to do with affection--it's business, business, business. You can't fool me, she says. Yes I can, he says--I'll take it there. I don't know why I let you get away with so much, she says. I'm irresistible, he says, kissing her again. The door opens.
Roger greets Carolyn, but not Burke. Burke rises. Hello, Roger, he says. This man is not welcome in this house! Roger sternly tells his niece--surely you realize what he represents. I'm never certain, says Carolyn, grinning, that's what's so fascinating about him. Then pay close attention, says Roger--he represents the destroyer of this family and you along with it--he's about as fascinating as the Grim Reaper. You should know about the Grim Reaper, accuses Burke--you've played him often enough, but I'll tell you what I represent--honesty and truth--(Superman, move over!)--and I'm willing to speak the truth, anywhere, anyplace--can you say as much for yourself? Absolutely! says, Roger, without any hesitation--Carolyn, would you kindly show Mr. Devlin out. Carolyn tries to placate her uncle, but Burke says never mind--I was just leaving. In the foyer, Carolyn closes the doors and goes to Burke, who remarks that he hopes he spoiled Roger's evening. You haven't spoiled mine, says Carolyn. One of these days, we're going to have an evening to remember, he promises her, kissing her (take her all the way?)--I'll call you tomorrow. He picks up the suitcase. You're very determined to deliver that, aren't you? asks Carolyn. Very determined, he agrees, and leaves the house.
Laura sits by the fire, perspiring. We see her glazed-over eyes in close-up. She doesn't seem to hear the knock at the door. Mrs. Collins! calls Burke, breaking her trance. Bellboy! he announces. Just a minute, she says. She opens the door and greets him. Where should I put your suitcase, Madame? he asks. Right where you're standing is just fine, she says. You're letting a lot of cold air in, he reminds her--and she closes the door. I certainly appreciate your bringing my bag very much--how in the world...? Carolyn had it, says Burke, I saved her the trip. That's just like you, she says, doing two favors at once. Three, he corrects, seeing you is doing a favor for myself. You certainly do capitalize on the moment, don't you? she asks, sitting by the fire. I belong to the make-the-most-of-the-opportunity philosophy, says Burke--that's the secret of my success--I've become a very wealthy man, did you know that? That sort of news gets around, says Laura. I could buy and sell Collinwood and everything it represents, states Burke. It takes a lot of money, she says. I have it, he says. That's something you've always wanted, she says. I've fulfilled most of my ambitions, he says. Why are you giving me your qualification? she asks. To let you know I'm not someone to be taken lightly, he says, or to be made a fool of.
I doubt very much that could happen to you, she says. I doubt it, too, he says, and that's why I'm here--to make certain it won't happen.
Carolyn exits the kitchen. Roger joins her in the foyer. Company gone? he asks. Of course, she says, picking up her coat, you pooped the party. What a pity--it had the makings of a remarkable one, he says--did you take the suitcase down to your Aunt Laura? It's on its way, she assures him--Burke volunteered to take it down to the cottage. Devlin is taking it down to her? asks Roger, an edge in his voice. Yes, she says. Roger's forehead furrows. I wish you hadn't done that, he says. I'm sorry, she says, I didn't realize... Good night, Carolyn, he says, angry. She says good night sadly.
Roger goes into the drawing room while she heads upstairs. Clearly worried, he stands in front of his rifle collection before taking one down from the wall.
Cottage - I'm asking you for a definite commitment, Burke tells Laura. I don't know what kind to give you, she says. I want to know what you are going to do for me, he says. She sighs. I told you that whatever it is that has to be done cannot be done until I have custody of David, she says--I want David just as much as you want my testimony. But you haven't told me that you would give me that testimony, he reminds her. First of all, she says, it was very foolish of you to come here--if Roger had the slightest notion that I was going to do something in your favor, I would never get David. Why are you here? he asks. To be nearer David, she says. I wish I could be sure of you, he says--something about you I can't figure out--I don't know what it is--I waited for years to see you, wondering what I would say when I saw you again--how I would rant, rave and carry on--call you every name in the book--send you to jail along with that so-called husband of yours. But you don't feel this way now? she asks. For some inexplicable reason, he says, staring at her profile, that kind of revenge has faded--I have no doubt what I'll do to Roger--but you're another story--Roger's rotten as he always was--he'll get what he deserves--but I don't know about you--you owe me. Owe you what? she asks. Some years of life I never had--some love I never had, either, he says softly. I don't have the power to give those things, she says. He moves in closer and kisses her cheek. Don't, Burke, this isn't the time, she says. Yes it is, he insists, nuzzling her chin--you know it and I know it. Please, Burke, she begs.
The front door opens as Burke is about to plant a kiss. Roger stands there, intensely angry, rifle aimed directly at Burke.
NOTES: Will Roger do away with Burke then and there? Finding his arch rival and his wife about to smooch can't do anything but fan the fires of discontent. Perhaps Roger will simply shoot both Burke and Laura--then we can have a really interesting trial!
Carolyn is jealous, but I don't think Burke wants anything more than getting a re-trial on that manslaughter charge--and clearing his name. Laura has but one reason to be there--to get David. Problems of the past don't concern her. Burke romances two women in this episode, smoothly. He really does know how to please the ladies--and how he aroused the big green monster in Carolyn.
So Laura died in a fire in Phoenix, huh? Interesting. What happens when they do get a positive ID? Who is this strange woman with a fascination for fire? Why does David keep dreaming about going into a fire to his mother? Why is Sam painting a canvas with Laura in the midst of fire?
Episode #139 - They re-do the scene in which Laura tries to fight off Burke's advances (she seems far less interested this time) and Roger enters the cottage, rifle in hand. Roger! cries Laura. What do you think you're doing? asks Burke. Get away from my wife! orders roger. Is this your idea of a joke? asks Burke. Far from it, says Roger, I demand to know what you're doing here. Renewing an old acquaintance, says Burke. You have no business with my wife--from now on, stay away from her, commands Roger. Is that an order? Asks Burke. Roger you don't understand, says Laura. I'm talking to Devlin, says Roger. I'm listening, says Burke. You'd better listen, warns Roger--stay away from my wife. And if I refuse? asks Burke. I'll kill you, says Roger--nothing would give me greater pleasure!
Roger holds the gun steady. He and Burke stare at each other. Laura is very perturbed. You won't shoot, says Burke. Don't test me, says Roger, you'll be sorry. Will I? asks Burke, I could kill you and no court in the land would hold me responsible, says Roger--you're trespassing on my property and bothering my wife! Was I bothering you? Burke asks Laura. You don't understand, she says, please let me explain! I understand all I need to, he says, I could shoot Devlin with complete immunity from the law. Then shoot me, says Burke, stepping forward. Roger's breathing increases. I'm warning you, he says, stay where you are. Getting nervous? asks Burke, stepping forward again, and again. Take another step and I'll shoot, says Roger. Go ahead--shoot, says Burke.
Roger is just about to, but Burke grabs the muzzle of the rifle and the two men get into it. The gun fires. Laura gasps. Burke takes the gun away from Roger and tosses it to the floor. I'll kill you for this, I swear I'll kill you! shouts Roger. Can't you two leave each other alone? asks Laura--do you have to start this thing all over again?--you're behaving the way you did 10 years ago! Roger turns away. Get him out of here, he tells Laura. She goes to Burke and asks him to please go--for her sake. All right, I'll go, says Burke, because of you. He picks up the gun. I meant what I said, Roger tells him, I'll kill you if it's the last thing I do. I heard you, says Burke, brandishing the rife, and he leaves after saying goodbye to Laura. What did he want? demands Roger. Calm down, she urges. Answer me! he says. Hr brought me my bag! She says. What were you talking about? asks Roger. David, mostly, she says, how it feels to be back in Collinsport--nothing that wouldn't come under the heading of general conversation. From what I heard, says Roger, it was far more intimate than that--legally you're still my wife, I refuse to have you playing around with Devlin. I was not playing around with anyone, she says, I don't have the slightest interest in Burke. Why did you tell him your reason for coming back here? demands Roger--you told him you came here not to see me, but to take David back with you!--why? Why not? she asks, when I leave here it will be public knowledge anyway. You deliberately encouraging him, letting him play with you, play into your hands, accuses Roger. It's not true, she says--I am pleasant to Burke because it is the best way to handle him--I have said nothing that was in any way damaging to you. Allow me to remind you that if there is a re-trial, says Roger, it will be damaging to you, too. You have said that before, she says. I want it to sink in! he insists, furious--you committed a perjury--if I go down, you go with me! I am fully aware of that, she says. Don't ever forget it if Devlin comes around here, he says. I haven't told Burke anything, I don't intend to--the accident was in the past--we're not living in the past--all I want is David--I'm not concerned with anything else! Your best chance of getting David is cooperating with me, he says. I'm trying to cooperate with you, she says. Then try a little hander and stay away from Devlin! he shouts. I'll handle Burke, she says, please don't worry about it. If Burke thought you were a loyal wife to me, says Roger, he wouldn't try to get information out of you--why don't you try acting like a loyal wife, even if it would be a travesty. I am not disloyal! She says. Burke and everyone in this town has got to think you're loyal to me, says Roger--whether it's true or not. All right, Roger! she says, fed up. It's going to be all right! he says--the happiest day of my life will be the day you take my son and go
--if David is my son! She looks at him, stunned, as he exits the cottage. Laura looks out the window.
David sleeps restlessly, seemingly unable to find a comfortable sleeping position. David! she calls, three times, and he hears her voice, making him even more restless.
Collinwood - Vicki enters David's room and awakens him. She sits on his bed, shaking him. I'm awake, he says sleepily--what time is it? It's 10:30, she says--you're a real sleepy-head this morning. He sits up. I kept waking up in the night, he says, I had that dream about. About your mother? asks Vicki. Yes, says David, she kept calling my name again, over and over again--she kept telling me she wanted to take me away--and there was that fire all around--it was scary. I'm sorry you keep having that dream, says Vicki. Why do you suppose I keep having them? asks David. Because you're mother's on your mind, she says, and I think in the back of your mind, you really want to see her. Maybe, he says, I'm not sure. Roger comes in and bids Vicki and David good morning. He tells David to get dressed; he's taking him down to Matthew's cottage. This alarms David. That's right, to see your mother, says Roger--she spent the night there last night, she's going to be staying there for some time. I'm not so sure I want to see her, says David uneasily. Don't start that nonsense, warns Roger. It's not nonsense, insists David--there's something scary about my mother. that's ridiculous, says Roger--get dressed, we're going to see your mother. No! says David firmly. Do as I say right now! says Roger. I said no, I don't want to! retorts David. Are you going to behave, or am I going to have to give you a sound thrashing? Demands roger. David pushes back the covers and flies out of bed, into Vicki's arms. Don't you come near me! he warns his father, don't let him hurt me. Vicki holds him in her arms, assuring him no one is going to hurt him--go get washed up. OK, he says, then tells his father, "I'm not going near my mother--and you can't make me!" He exits the room, slamming the door. What am I going to do with that child? He helplessly asks Vicki. Would you mind a suggestion? She asks. I would welcome anything, he says. you're not going to get David to obey, she says, by spanking him. He deserves a good spanking, says Roger--he's just being obstinate for the sake of it. I don't think so, says Vicki--he was genuinely frightened--he had that dream about his mother again. Why would he be frightened of seeing Laura--what could be going on in that little mind of his? I have a theory about David, says Vicki, making the bed--I think he really wants to see his mother, but when he does, she'll reject him--there were a lot of children like that in the foundling home--they wanted love--but they didn't know how to handle it. Laura wouldn't reject David! says Roger, quite the contrary, she needs him as much as he needs her. I know that, says Vicki, but David doesn't--he's got to learn that for himself. How if he keeps refusing to see her? asks Roger. I don't know, she says, but I'm going to have to think of some way to get the two of them together. I wish you would, he says, not only for my sake, but for hers--his behavior was a slap in the face for her. I feel very sorry for her, says Vicki, and I will do what I can. Thank you, he says, I do appreciate your attitude. Was the sheriff here last night? Vicki asks--I woke up last night and saw his car parked...was there some trouble? No, our local defender of the peace gave another demonstration of his incompetence--there was a fire in Phoenix, Arizona, and there was a body found, and they thought it was Laura.--it's ridiculous, isn't it?--apparently the Phoenix police are as incompetent as our own.
Does Mrs. Collins have anything to say about it? asks Vicki. Not much, says Roger, anyway, it's not important--the main issue is David--please try to think of some way to get them together--it will be of vital importance to all of us. Vicki fixes David's bed, smoothing it down nicely.
Laura received yet another visitor, Vicki, bearing a breakfast tray (and we spot the camera in the shot). I thought we might have breakfast together, suggest Vicki. that was very thoughtful of you, remarks Laura as Vicki sets the tray down on the table. Has Mrs. Johnson been in yet? asks Vicki. Yes, a little while ago, says Laura--she'll be back later--she certain does wonders with a dust cloth. I'm surprised you managed as well as you did, says Vicki, setting the table. I managed very well, says Laura. I see you've made a fire, notes Vicki. Yes, I love a nice fire, says Laura--there's something so soothing about it. Vicki takes off her coat and sits down near Laura, who asks if David is up yet. Yes, he got up a little while ago, says Vicki. Does he want to see me? asks Laura eagerly. He's still awfully excited from last night, says Vicki. That's all right, you don't have to make excuses for him, says Laura. I'm sure that he will want to see you, Vicki assures her--after he gets over this stage fright. I hope you're right, says Laura, I've waited so long to see him, sometimes it seems like an eternity. I know, says Vicki, you see he's missed you as much as you've missed him. Before I came back to Collinsport, did he ever talk about me? asks Laura. All the time, says Vicki--he told me how much he loved you, and wanted you to come back. Did he? asks Laura. Yes, says Vicki, that's why I'm sure that this thing is just a phase. Tell me about him, says Laura, anything that comes to mind--his favorite color, what he likes for breakfast, I want to know everything there is to know. His favorite color is blue, says Vicki. That's my favorite color, says Laura, delighted, And as for breakfast, says Vicki, sitting at the table, I think he'd be perfectly happy to have hot dogs and hamburgers every morning if he could. that sounds typical, says Laura, joining her at the table. David is very typical (?) says Vicki, in lots of ways--but he's more sensitive than most children--and I think he's much more intelligent. That's very good to hear, says Laura--I wonder if you could do me a favor--could you get me a lock of his hair?--I know it's an odd request, but I have a piece of his baby hair, I keep it with me all the time in this locket--she holds it out for Vicki to see. That's a beautiful locket, says Vicki. Thank you, says Laura--it's a family heirloom--Roger gave it to me on our wedding night. Oh, says Vicki. I've kept it with me all the time I was in the sanitarium, says Laura--I suppose you know I was there for a very long time. Yes, says Vicki, I had heard it mentioned. You don't have to be embarrassed about it, Laura assures her, it's perfectly all right for me to talk about it--in fact, very good therapy. I'm not embarrassed, says Vicki. When I was there, says Laura, sometimes it was my only contact with reality--it meant I had a son somewhere outside those walls--he was growing up and waiting for me to come back to him--if only I could win David's love and acceptance--that's all I want. Perhaps if you came back to the house with me now, you could talk to him, suggests Vicki. No, says Laura, he doesn't want to see me, I don't want to force myself on him, I'll just upset or frighten him. If only there was some way the two of you could meet, muses Vicki, somewhere natural, as if it was an accident--yes, wait a minute, I do have a plan--every afternoon, after David's studies, I take him for a walk, between 4:30 and 5:00--you could plan to meet us on that walk! If you think it wouldn't upset him... says Laura. No, says Vicki, because it wouldn't seem planned at all, it would just be an accident--I'm sure he wouldn't be upset. Where could we meet? asks Laura. The greenhouse, suggests Vicki. How about on top of Widows' Hill, says Laura.
Why Widows' Hill? Asks Vicki. I used to take David up there when he was a little boy, says Laura, he liked to watch the ships--I just thought possibly he might be more willing to accept me in a familiar surrounding. All right, agrees Vicki, then we'll meet a little after 4:30 on Widows' Hill. Thank you very much, says Laura--I really do appreciate your help! I want David to understand and accept you, says Vicki--he needs someone--he needs a mother. And I need him, she says, you have no idea how much--in fact, no one knows. She sits before the fire.
Vicki and David walk together, very quickly. He asks her where they're going. To Widows' Hill, she tells him. When they arrive there, David asks her why she brought him up here. To look at the ocean, she says, I like to look at it, don't you? Sometimes, says David--I wonder how many people have died here? That's a morbid thought, she says. Lots of people have, according to the legends, he says. I know all about the legends, she says, but I don't want to talk about anything that depressing. Why--because you're afraid of the legends? He asks her. Because I don't, she says. David gazes down and admires the huge waves. Come back from there, you're making me nervous, she says. I won't fall, he says, annoyed. Come back here, commands Vicki. OK, he says, sometimes you are the biggest scaredy cat. Scaredy cats don't have accidents, she says. Neither do I, says David. There's always a first time, she says. David looks up at the gulls--did anyone ever catch a seagull and keep it for a pet? he asks. I wouldn't know, says Vicki. That's what I was thinking I might do, he says. That's very interesting, says Vicki. It's boring hanging around up here, let's go home, he says. Wait a minute, she says, stopping him--isn't that a ship out there? He looks where she's pointing, on the horizon. Oh, yeah, I think it's a ship, he says, but I can't make it out. I wonder what kind of ship it is? asks Vicki. Probably an ocean liner, says David, going around the world--to all the far off places. Maybe it is, she agrees. You know what I'm going to do when I grow up? he asks--I'm going to get on an ocean liner and go all around the world to all the far off places. "Are you going to go to Madagascar?" asks Laura, stepping out of the bushes. He gazes at her stunned. You remember we used to talk about far away places, she says, when you were a little boy, you used to ask me about Madagascar--you liked the sound of the word--do you remember that? He nods. I still know lots of things about faraway places, she says--I could tell you all about them if you want me to--David, come here. NO! he cries, moving close to the cliff's edge. Be careful! warns Vicki. Come to me, please, begs Laura, holding out her hand. No, I won't, I won't! wails David, backing up further. Look out! calls Vicki. Come back, David, says Laura urgently, come to me, please! No, he says. Come to me! she pleads again.
David falls. Vicki shouts his name. He clings to a rock, yelling for help, as the hungry waves lap at the shore below.
NOTES: Will David be the next victim of Widows' Hill, or will Vicki and/or Laura be able to haul him back to safety? I think we can safely conclude the answer to that, but will this bring him together with his mother or push them further apart? She sounded just the way she did in his dream; too bad Vicki didn't alert her.
I always get the impression that the only way Roger and Burke will end their quarrels is with pistols at 10 paces, a real old-fashioned gun fight. The way Roger brought his rifle to the cottage was almost humorous. I wondered if he would have murdered both Burke and Laura if he found them in a romantic clinch. I don't think Roger needs to worry about Laura--she won't be on his side, because that means losing David--and she's far too passionate about her need for him to lose him.
Why does Laura want a lock of David's hair? Sounds potentially witchy to me! On the one hand, Laura seems like a mother anxious to be reunited with her son; on the other hand, she seems to be an otherworldly creature with strange designs on David, witnessed by Sam's creepy painting and David's nightmares. Which is she?
Scary last scene there!
Love, Robin
