Episode #136 - Kinescope - For me, this is a peaceful night at Collinwood--the great house is quiet, and no unseen threats exist in the shadows. But for one member of the Collins family, it is a night of fear and unanswered questions.
Roger paces inside the drawing room. Someone knocks. He checks his watch and answers the door. It's Frank and Richard Garner. I thought you'd never get here, complains Roger. We got here as quickly as we could, says Richard. Hello, Mr. Collins, greets Frank. I wasn't expecting you, says Roger. Frank volunteered to come along, says Richard, and I thought he ought to--he may be quite helpful to you. Let's go into the drawing room, suggests Roger, which they do. Now, what's this all about? asks Richard. I told you over the phone, says Roger crisply, I've spoken to my wife--I want to start divorce proceedings as soon as possible. You also said there were other complications, that's why you wanted me to come here, says Richard--what are they? Roger pauses. He walks toward the window and says, "I'm in trouble, Garner--the worse trouble of my life."
What's going on?--what kind of trouble are you in? asks Richard. I'll get to that later, says Roger--how soon can I get a divorce? What are the grounds? asks Frank. I was asking your father, says Roger nastily. Frank knows more about divorce laws than I do, says Richard, that's why I brought him along. Oh, I see, says Roger. He walks toward the fireplace. Have you decided on grounds? asks Frank. Does it matter? asks Roger. I'm afraid it does, says Frank. Base it on anything--incompatibility, mental cruelty, I don't know the divorce laws, says Roger--all I know is I want a divorce and so does Laura. What kind of settlement does she want? asks Frank. She wants complete custody of David, says Roger. What kind of financial settlement? asks Frank. She wants David, says Roger, that's all. How does Elizabeth feel about this? asks Richard. Oh, she'll probably throw up a couple of roadblocks, says Roger, she's overly protective of David. Where is she? asks Richard. She went to bed early, explains Roger--that's why I called you here tonight--I didn't want her to overhear this discussion. You realize, of course, says Richard, that I represent Elizabeth--I can't do anything against her wishes. Roger suddenly tells Frank there's somebody here who would like to see him--and I think you'd like to see her, too--of course I'm talking about Miss Winters. Frank exchanges looks with his father and says he would like to see Vicki. Good, I'll call her, says Roger. He goes into the foyer and calls up to Vicki. She comes down wearing an attractive black velvet robe. You have a visitor, Roger says. Smiling, she comes downstairs. This is a surprise, she says. How are you? Frank asks, beaming. I'm fine, she says, when I spoke to you on the phone this morning, you didn't say you were coming here tonight. She meets him in the foyer--Barbie and Ken. Life is full of surprises, says Frank. Why don't you take him into the other room? suggests Roger, and give him a cup of coffee--I'm sure you have a lot to talk about. I'm sure we do, agrees Frank--I've got something to tell you, Vicki. As they head into the kitchen, Vicki she asks him what it is he has to tell her.
Roger returns to Richard. I had the distinct impression you were trying to get rid of Frank, says Garner, Sr., I did, says Roger--I want your advice on a matter I want to be kept secret--Burke Devlin is pushing for a re-trial of that old manslaughter charge. That's nothing new, says Richard. Yes, but Laura wasn't in Collinsport before--he could use her, get her to testify against me. I've been laboring under the assumption you were innocent of that manslaughter charge, says Richard. I am, says Roger, of course. (Then why is he possibly in the worst trouble of his life?) Then what have you got to be worried about? asks Richard--it's a closed book. It was, says Roger, Devlin will try to open it again--he could work on Laura--she was always susceptible to him in the past--he might get her to change her testimony--it makes me nervous, having her back in town--I want to give her what she wants and get her out of town as quickly as possible. And what she wants is a divorce? questions Richard. And custody of David, says Roger--I don't object to her having either one. Do you want me to start divorce proceedings immediately? asks Richard. Immediately, says Roger. I'll have Frank handle it, says Richard. Why Frank? Asks Roger. Because Frank and I have come to an important decision, says Richard.
Dad and I have decided to open a branch office in Collinsport, Frank reveals to Vicki over coffee in the kitchen. (oh, boy, he'll be so close!) That's wonderful! she says. At least I'll be seeing more of Vicki Winters--that's a plus factor, he says--or will you be leaving Collinwood? Why do you say that? she asks. Will you be working here after David goes? he asks. What do you mean? she asks. Hasn't anyone told you? he asks--Mrs. Collins is back. Yes I know, says Vicki, but what about it? She wants custody of David, she wants to take him with her, he says. Oh, I didn't know that, says Vicki, I thought she was just here for a visit. I'm sorry to be the bearer of unhappy tidings, he says, looking at her downcast face, but she could mean you'll be minus one job. I see, says Vicki, rising from the table to look out the window. How do you feel about it? he asks. I have mixed feelings, says Vicki, I don't want to leave--but for David this could be the best thing that could happen--he needs someone who wants and loves him, and I'm afraid his father can't fill that position--if Mrs. Collins can, then I'm glad for him--I know what it's like to be brought up an orphan--I wouldn't wish that on anyone in the world. Still, she looks sad.
I'm not sure when he'll be leaving, says Frank, but Roger wants his wife out of the picture as quickly as possible--to be honest with you, it strikes me as peculiar. (Not if you're Roger Collins!)
Cottage - Sam mixes paints on a palette and works on a canvas. He's wearing a shirt and tie. He hears a car pull up and swiftly covers the painting. Maggie comes in. You're home early, says Sam. Joe has to get up early tomorrow morning, says Maggie, removing her coat, we decided to have a fast beer and call it a night. (They're dating?--great!) She rubs her cold arms. That doesn't sound very exciting, says Sam. Maggie asks to see the canvas he's working on, but Sam turns on her when she tries to uncover it. Leave it alone! he orders. You don't have to snap at me, she says. Sam apologizes. What is it with you and this painting? she asks--you never used to mind if I looked at your work--what's so special about this painting? It's a new work in progress and not ready to be criticized, says Sam. You always let me look at your first sketches, she points out. I'm not very happy with this one, says Sam, I'd rather keep it to myself--can't you accept that? What's wrong? she asks. Nothing, he says, there's just something about that painting that's bugging me--I guess I just have to get it out of my system. He pours himself a drink. Are you sure it's just the painting that's bugging you? What else? he asks. You've been acting strange the last few days, says Maggie--I keep wondering if she has anything to do with it. She? asks Sam. Laura Collins, says Maggie, you've been acting odd ever since you found out she came back to town. That's just imagination, says Sam. Is it? she asks, sitting beside him on the sofa--are you sure you're not keeping something from me? I don't keep secrets from my favorite daughter, he says. You never used to, she says. Don't worry about me--there's nothing to worry about, he assures her. What is Laura Collins to you? she asks. An old acquaintance, says Sam. Is that all? asks Maggie. That's all, says Sam. How well did you know her? asks Maggie. I knew her fairly well when she was Laura Murdoch, says Sam, then she married Roger Collins and moved out of my social sphere. Then why the big interest?--why did you get me to answer all those questions? asks Maggie. Because I was curious, he says, about what made her come back to Collinsport--I thought her marriage to Roger was over and she left town for good--I'm curious to know why she came back. That was more than just curiosity, notes Maggie--it seemed like you were afraid of her. Afraid? asks Sam after taking a slug of his drink--why would I be afraid of her? That's what I'd like to know, says Maggie. The answer is, I'm not, says Sam. I guess I'll have to accept that, she says, but I still say there's more you're not telling me about. She shakes her head and rises from the sofa. Sam drinks.
Roger prepares a drink, too, as Richard is remarking that he has a feeling Roger is hiding something What would I be hiding? asks Roger. Something about that old manslaughter charge, suggests Richard. That's absurd, says Roger, handing the drink to Richard. I hope so, says Garner, I assumed you were telling me the truth at the time, that it was Devlin, not you, who was driving the car. Of course it was Devlin, says Roger. Then why are you in such a panic at your wife coming back? asks Richard as they sit down--if you're innocent, you have nothing to fear. Of course I'm innocent, lies Roger, and I have nothing to fear--I'm not in a panic at all. You seem to be, remarks Richard. I'm not, insists Roger--it's just that I know divorce is inevitable and I want it to be settled as quickly as possible. That's your only reason for telling me to drop everything and come up here, says Richard. Roger drinks. You said it was an emergency, says Richard.
It IS en emergency, says Roger, I want it settled right away--I have reasons of my own. They both drink.
There is only one thing I want from you, says Roger--to settle this thing as quickly and easily as possible. You're absolutely sure your wife wants a divorce? asks Garner. She wants it as much as I do, Roger says. Who is her lawyer? Richard asks. I don't know, says Roger, rising, in fact, she might not have any at all. She should if she's going to file a suit, says Richard. Would it be too difficult to arrange for one? asks Roger, would that be any obstacle? No, if you're in full agreement, says Richard. We are, says Roger--how soon can you get started on this? Right away, I should think, says Richard--did you want to talk to me about anything else? No, I think that concludes our business for now, says Roger. Frank and I had better head back to Bangor, says Richard, it's a long drive. He exits the drawing room and calls to Frank. I appreciate your coming up here this hour of the night, says Roger as Garner collects his coat and hat. I think that Frank was glad of the opportunity, says Richard, he's been looking forward to seeing Miss Winters. Frank exits the kitchen, Vicki behind him. His father tells him they'd better get going. What did you decide? asks Frank. You'll be representing Roger in his divorce proceedings, says Richard, now get in touch with Mrs. Collins in the morning and see if she has legal responsibility. She's staying at the Collinsport Inn tonight, but tomorrow on, she'll be up here with us at Matthew's cottage, says Roger. I'll be in touch, promises Frank. Good night, says Richard, and Roger thanks him again for coming up. Roger bids Frank good night. Frank tells Vicki it was good seeing her--he hopes to see much more of her. Vicki smiles and says she hopes so. Good night, he says, and he, too, leaves. Vicki closes the doors. Roger is in the drawing room, gazing out the window as we hear the Garners speed off in their car. Vicki goes to Roger. Frank tells me I might not have a job much longer, she says. What? he asks, distracted. He says Mrs. Collins is taking David away, says Vicki. Yes, it's true, he says. Then you won't be needing me, she says. I suppose we won't be needing your services any longer, says Roger, I'm sorry. As long as David's happy, she says, I should be happy for him. He'll be better off with his mother, says Roger, he'll be happier living with Laura. I hope so, says Vicki--when is she taking him? I'm not sure, says Roger--there's a lot to be settled first. Will it be soon? asks Vicki. We think Laura should live here for a while, says Roger, so she and David can get used to each other. Then it won't be immediately, says Vicki. No, says Roger--as soon as he learns to accept his mother again. He sits on the sofa, and she on the fireplace seat. I was very worried about David tonight, says Vicki--I didn't like the way he was behaving. He's being difficult and obstinate, it's typical of David, says Roger. It's much more than that, says Vicki, I think he's genuinely frightened. Frightened of Laura?--that's absurd, says Roger. No, says Vicki, frightened of his nightmare--he described it to me--it did sound very frightening. What did he say? asks Roger. He was standing with his mother in fire, says Vicki--fire all around--it was getting hotter and hotter and he couldn't escape
--David kept repeating one word over and over again--fire, fire, fire. The camera pans to the fire in the fireplace.
I keep seeing fire, Sam tells Maggie (is this an epidemic?) What? she asks. Huh? he says--nothing, I was just thinking out loud. Does it have anything to do with the painting? asks Maggie. He rubs his beard distractedly and asks her what makes her say that? When you start talking out loud, she says, it's usually because you're getting an idea for a painting. Could be I am, he says. Why would you want to paint fire? she asks. Fire is very interesting, says Sam--a lot of interesting colors in fire--it's getting late, you ought to go to bed. You trying to get rid of me? she asks. No, I just want you to get your beauty sleep, he says, patting her arms, that's all. Is everything all right? she asks. Fine, fine, never better, he says, pacing. Then why are you pacing? she asks. Just thinking, he says. Is that all? she asks. I'm fine, don't get on my back, he says. OK, she says, good night--and she goes into her bedroom. Sam returns to the canvas and uncovers it, starting raptly at it.
Sam surveys the canvas, then re-covers it. He rubs his face, looking like a tortured man. He pours a drink and downs it quickly, trying to get hold of himself. He turns off the light and leaves the cottage. Maggie comes out and calls to her father, but he's gone--and she's worried. She wanders over to the window and looks out, thinks, then, unable to help herself, uncovers the painting.
She looks horrified.
We see fire leaping in the fireplace behind Vicki, who is explaining to Roger that David hasn't been behaving like himself--that's what worries me. He doesn't know how to behave in front of his mother, says Roger, but Laura will bring him around in no time. I hope so, says Vicki--he needs a mother. You can be a big help in that department, says Roger--you seem to have as much influence on him as anyone else in this house--talk to him, persuade him to see his mother and get to know her again--he might listen to you. I'll do what I can, says Vicki. Good, says Roger, thank you very much--I don't think you have to worry about your losing your job here--we'll work out some arrangement for you. How? asks Vicki eagerly, smiling hopefully. I don't know, but we'll talk to Liz, he says, we'll find something--but in the meanwhile, you'll give me your full cooperation on this other matter? You have it, she says. The clock strikes. Time to go up to bed, says Vicki. Yes, it is getting to be about that time, agrees Roger. Shall I turn off the lights? she offers. No, he says, I'll be up just a little longer. They say good night. She goes upstairs. Roger looks out the window.
Maggie is gazing in distress at the painting on the easel, sitting in front of it. Sam returns home, a cigarette in his mouth. Hello, says Maggie. I thought you went to bed, says Sam. I heard the front door slam, she says, so I came out here to see if you went out. I'm back and all right, says Sam, so go to bed. She comes over to him. I saw the painting, she says. I told you I didn't want you to see it, he reminds her. I know, but I got curious, she says--why did you do it?--why would you paint a thing like that? I don't know, he says. That's not much of an answer, she says. I know, says Sam, but it's the only answer I can give you--I don't understand that painting--I don't know why I'm painting it--I just know something is driving me to that canvas--I don't know what it is--some power outside myself is forcing me to paint that thing! You're not making any sense, she says. I know, says Sam, it doesn't make sense, nothing about this makes any sense at all. you're starting to scare me, she says. You're only scared, says Sam
--I'm terrified.
NOTES: Is Sam losing his mind? What otherworldly power is forcing him to paint this painting? What does it mean to the Collins family? Didn't you wish they showed us the painting again?
Frank and Vicki are soooo cute. I wish she'd end up with him. He could give her a nice job--as wife! Really, given that Roger was so anxious to get rid of Vicki, now he says they will work something out. If not David's tutor, what could Vicki do at Collinwood?--perhaps they can offer her a secretary's job at the cannery?
Roger seems too anxious to get rid of David, but it's mostly that he wants to rid himself of Laura, whom he fears will resurrect the manslaughter trial again--and implicate him. The way he bald-face lies to Garner pisses me off. Garner was right--why should he fear Laura's return to town if he's truly innocent, as he claims to be?
Episode #137 - There is a strange new presence at Collinwood--a presence that should be familiar, but isn't--a presence that causes many to search their consciences.
Blue Whale. A man lights a cigarette for a woman. Between them, we see Sam, sitting at the bar alone, who is gazing at the fiery match with fascinating. Sam drinks. Patterson taps him on the shoulder and Sam twitches. What are you so jumpy about? asks the sheriff. What are you accusing g me of tonight? asks Sam. What would you like to be accused of? asks Patterson. Let's see, says Sam, I think I'd like to be accused of being a wealthy man. All right, I'll book you on suspicion of being wealthy, quips Patterson. I wish I could plead guilty to that, says Sam. You see Roger Collins? asks Patterson. Why ask me? queries Sam. I assume you've been here since the doors opened, says the sheriff. What do you want from him? asks Sam. Maybe I'll book him on suspicion of being wealthy, suggests Patterson. He's guilty, says Sam, smiling, then laughing. The smile fades. I don't know what I'm laughing about, the joke's on me, says Sam, sipping his drink. That one's on both of us--stay loose, Sam, says Patterson. That's why I'm here, says Sam, excusing himself as he walks past the couple we saw earlier. He makes a phone call to Collinwood. Roger answers. I hoped you'd forgotten my number, says Roger. I wish I could, says Sam, and you along with it. I'll make that very easy for you, Roger assures him, now what do you want? I want to know what's happening, demands Sam. Nothing, everything is under control, Roger assures him. That's what you think, says Sam--I'm at the Blue Whale--the sheriff was just here looking for you. What did he want? asks Roger. I don't know, says Sam, I've got to see you. What for? asks Roger. To show you something, says Sam, something strange--I don't understand.
What are you talking about? Roger demands. I can't tell you about it, I have to show you, insists Sam. You might understand things better if you weren't drunk all the time, says Roger. You'll come? asks Sam. Yes, I'll do that, says Roger, changing his tone when Carolyn comes downstairs, coat over her arm--"and thank you for calling!" He hangs up, then notes that Carolyn is all dressed up--where are you off to? Downtown, says Carolyn--Aunt Laura decided to stay at the cottage tonight, so I volunteered to go by the Inn and pick up her luggage. That's very thoughtful of you, says Roger, you're a good niece. Mrs. Johnson is straightening up things, says Carolyn, adding a few things so she'll be more comfortable. Carolyn looks at her reflection in a mirror on a wall upon which Barnabas' portrait will soon hang. It pleases me you're being so friendly, says Roger. Why shouldn't I be? asks Carolyn--she's my long-lost aunt--the thing is she's your long-lost WIFE. Now that little remark wasn't entirely necessary, chides Roger. It was, says Carolyn--it was intended to provoke you into telling me what the story is going to be. There isn't going to be any story, he says, Laura's going to be here for a short time, then she's going away. Oh, I had visions of the two of you living together, says Carolyn--happily ever after. She's changed considerably, says Roger--she doesn't want me, she wants David. I could see that, says Carolyn, the only reason she stayed in that cottage tonight was to be close to David--I like that quality (obsessive?)--she's also very beautiful--I can see why you were captivated by her. She was even more beautiful 10 years ago, says Roger. I can also understand why Burke was your rival for her, says Carolyn. Yes, says Roger, Burke is everyone's rival for every woman--he doesn't discriminate in that department--if it's a female, it's fair game for him. That tidbit was tended for my collection of warnings about Burke, says Carolyn. It was, agrees Roger--I can't think of a more improper person for you to be associated with. I like improper people, says Carolyn (Buzz, Jeb)--do you think he still carries the old torch for her? I don't know--and I really don't care, says Roger. Carolyn slips into her coat. Imagine my own aunt being my competition, says Carolyn. It's possible, warns Roger, Devlin has a tremendous range. She notes that he's taken his coat, too, and asks if he's going out. For a short while, he says. She offers him a lift, but he prefers to take his own car--it's on the drive(way). She buttons her coat and they leave the house together.
Patterson dials the phone from a booth. The phone rings at Collinwood, but goes unanswered.
Blue Whale - A couple twirls a crocheted ball on the ceiling, finding it very amusing; they dance closely and laugh together, hugging. Sam sits alone at a table, and the laughing couple passes by him. Burke enters the bar and looks at Sam. They say hello to each other. Your eyes are retractable, remarks Burke--when I looked at you just now, your eyes retracted back in your head. They have good instincts, says Sam. May I sit down? asks Burke. I don't see how you can, says Sam, there are only three empty chairs, and the place is crowded as it is. Burke joins him. I'm the pushy type, he says, can I check your oil? I think I've got enough mileage in this, says Sam, gesturing to his drink. You look like the loneliest man in town, comments Burke. You're wrong, says Sam--I'm very popular, I'm having a very good time tonight--laughing, dancing, singing. How many years I known you, Sam? asks Burke. Too many, says Sam. Since I was a kid, says Burke, you always know I mean what I say. I know that, says Sam. I'm going to tell you why I like you, says Burke--because you have a conscience--which also tells me you don't like what you're doing. That's where you're wrong, says Sam, lifting his glass--I love to drink. He takes another swallow. You know what I'm talking about, says Burke
--you're falling down, into a deep well, and if you don't get out fast, the roof is going to come crashing in on you. Sam drinks some more.
What roof are you talking about? asks Sam. You know why I came back to town, Burke reminds him--I needed you, needed your testimony. That's assuming I have testimony to give, says Sam--it might just be that anything I might say wouldn't help your case. I don't buy that and you know I don't, says Burke. What is all this last chance talk? asks Sam. For old time's sake, for Maggie's sake, I don't want to see you go to jail, says Burke. You won't see me go, not even on visitor's day, says Sam. Because you see, I don't need your testimony anymore, says Burke. Then maybe you'll stop bothering me, says Sam. I've got all the testimony I need, says Burke--everything I need to wrap up this case. Sam looks at him. Congratulations, he says--the man who has everything--what is it that you think you have? Laura Collins, says Burke--she's changed, considerably--she's not the same wild, reckless, irresponsible girl she was 10 years ago. That's good to hear, says Sam, nothing like a little self-improvement. She's come back to face certain realities, says Burke, to do what has to be done. Sounds like she's pretty well recovered, remarks Sam. She has, Sam, and she's getting a divorce from Roger, which means she can testify in court. Shame, says Sam, another good marriage down the drain. You don't mean that at all, says Burke--you're running scared--and you're going to be running scared until this thing is finished--if you had half a brain, you'd come over to the winning side. Roger enters the bar. There's my unworthy opponent, says Burke. Roger goes to the bar and Burke joins him, asking if he can speak to him for a moment--you do have a minute, don't you? Not really, says Roger. I suppose you come in here because you're so busy, says Burke--come and sit down. Roger reluctantly joins Sam. Hello, Evans, he says. Burke laughs--it always amuses me to see you two greet each other in public, he says--like you've never met before. Your minute is about up, says Roger. I just want to take this opportunity to congratulate you on your good fortune, says Burke, sitting down with them. Your voice has a nice sinister curl to it, says Roger, say what you want to say. I want to wish you good luck on your reconciliation with your wife, says Burke. Thank you, says Roger. Isn't it amazing, the things love can do, says Burke sarcastically, to bring you two together after what you've been through. It isn't really amazing if you know what love is about, says Roger. I suppose I don't know anything about "love", says Burke--I suppose that's why she married you 10 years ago instead of me. I'll go one step further, offers Roger--I think you've gone beyond the point of even knowing what it is.
I guess we can chalk that up to five years in a confined area, says Burke. Better luck next time, says Roger. I'm glad you said that, because there will be a next time, says Burke--it begins right now! Devlin, says Roger, I couldn't care less about your future. Well, you'd better care about it, advises Burke, because you're part of it, and so is your wife. I strongly advise you to stay away from Laura, says Roger. You're not in a position to give that kind of advice says Burke. The bartender brings over their drinks. If you had any regard for her, says Roger, you would understand that her struggle back to normalcy was far greater than your so-called rehabilitation--her mental state is still very delicate, and pressure from anyone like you could very likely send her back to the institution, possibly for the rest of her life! Come on, Roger, says Burke, don't give me that delicacy routine--I spoke to her! Then you don't know her very well, says Roger. I know her better than you do, says Burke, I've always known her better than you--she won' t crack! Then leave her alone and let her do what she has to do, says Roger. I'll give the same advice to you, says Burke. Sam smokes and listens. You don't have the right, says Roger. Neither do you! retorts Burke. I'm her husband, says Roger. Are you really? asks Burke. I think I've given you more time than you deserve, says Roger, furious; he leaves the table. Burke follows him near the phone. Husband, indeed, he whispers in Roger's ear, who do you think you're kidding, Roger, she came back here to get a divorce, and her son, David--and then she'll leave. Are you that certain? Asks Roger. I haven't the slightest doubt in my mind, says Burke. Oh, there isn't a doubt? Asks Roger. No, she told me herself, says Burke. Did she? asks Roger. Yes, she did--and if she came back to reconcile with you, asks Burke, why is she staying at the Inn? Because she isn't staying at the Inn, says Roger triumphantly--she's staying at Collinwood. She's gone back to Collinwood? asks Burke amazed. Smiling, Roger asks him what's the matter--does that smash all your sadistic hopes--have I blown all of your theories?--you're losing, and you can't take it. I know Laura, says Burke. Of course you do, at least you say you do--that's all you've been saying, taunts Roger--but this is something your ego can't take. We'll see where Laura stands when the chips are down, says Burke. Carolyn breezes in, saying, "I do hope I'm interrupting something!" What are you doing here? Roger asks his niece. I saw your car parked outside, she explains, I thought I'd drop in. She greets Sam, then "Mr. Burke Devlin." Hello, he says, testily. While you're here, says Roger, why don't you tell Mr. Devlin what you've come to town for. I came down to pick up my Aunt Laura's suitcase, says Carolyn. And where is your Aunt Laura now? asks Roger. At Collinwood, says Carolyn. And what did you tell the hotel clerk? Asks Roger, relentlessly rubbing it in. That she was checking out, she say, and oh, you said he would send the bill to you. Roger thanks Carolyn, referring to her as a very efficient little girl--I think I'd better get back to Collinwood, I'm having a late snack with Carolyn's Aunt Laura--we have a lot of catching up to do, plans to discuss and things to do together--it's been a very pleasant encounter, running into you like this--are you coming along, Carolyn? I'd like to stay for a few minutes, says Carolyn. I think that's a good idea, says Roger--Mr. Devlin looks like he could do with a little cheering up--good night, Evans. Sam rises from his seat with a grunt. I think I've had my nightly quota, he says, draining his glass. Please don't go on my account, says Carolyn. It's definitely not on your account, says Sam, giving Burke an ugly look. Burke sits down, looking defeated Thank you, says Carolyn, shedding her coat, that's very nice of you, I'd love to sit down!--yes, I think this cold weather we're having is absolutely marvelous, she tells the brooding Burke. I'm sorry, he says, my mind was somewhere else. As long as your body is here, she says gently--it will be here for a few minutes, won't it? Yes, he says, it will. And your mind? she asks, will that be here, too? That, too, he says. Good
--I'd be terribly embarrassed to have you sitting here and absent-mindedly calling me Laura, she says. Burke looks at her.
Patterson dials his office from the Inn's phone booth, asking Mike if he got confirmation on that teletype from Phoenix yet--you did, huh?--I'm going to continue looking for Roger Collins--I'll call in again--thanks. He hangs up, then leaves the booth.
Evans cottage - We hear a car pull up. Sam and Roger enter the house. I didn't invite him to sit down! Sam argues with Roger. Then why didn't you stand up and walk away? asks Roger, irritated. It would have made me look too suspicious, insists Sam, taking off his coat. It was all very embarrassing, complains Roger. I'm sorry, says Sam, I didn't even know he was there--I thought he was being very clever, but I must say you topped him beautifully. You can save the applause and tell me what it is you brought me here for, says Roger. Well, in the first place, I want to know just where we stand as far as your wife is concerned. It's very simple, says Roger--Laura has no idea of getting involved in any investigation of that accident, says Roger--she has too much to lose--David. That's good, says Sam--then we're in pretty good shape, eh? Relatively, says Roger, if I can trust Laura--I have to keep a watch on her, and keep her away from Devlin--but what is it that you brought me here for? Come over here, instructs Sam, standing in front of the easel. You didn't bring me here to see your painting? asks Roger. I did, says Sam. Oh, what a waste of time! declares Roger. Not this one, insists Sam. I don't want to see your paintings! Blares Roger. You'll want to see this one, says Sam--something strange has been happening, I haven't been feeling right the past few days. Booze, says Roger drolly. No, says Sam, it's something else--I started a painting the other night--the strangest thing happened--I started to work--it seemed I had no control over my brush, or myself--but a painting not in my style started to emerge. Were you drinking? Asks Roger. Sure, says Sam, I had a few, but I worked on it sober, too--I'm telling you, this isn't even the kind of subject matter I do--I don't understand what this is--why it's happening! If you have a problem with your profession, says Roger, it's your business. No, says Sam, this is your business, too. I don't understand you, says Roger. You will--when you see it, says Sam. He lifts off the cover and shows Roger the painting. It's clearly of Laura, but she has bird wings, is surrounded by flames and there is a white silhouette, as yet unfinished, down in the lower right hand side of the painting. That's my wife! says Roger.
What does it mean? demands Sam urgently, grabbing hold of Roger's coat front. You drunken fool! he accuses Sam, and heads for the door. Sam pursues him, yelling, begging for his help, but Roger leaves. Sam smoothes back his hair, then picks up a knife and reaches out to slash the painting--but can't. He looks almost mad. We once again see Laura's face in the odd painting.
Burke drinks his drink and smokes as if Carolyn isn't around. Carolyn nurses her own drink and says that her dear Aunt Laura seems to have him in a sweat. Don't be absurd, he says. You can't get her out of your mind, she says. When I'm with you, you're the only thing on my mind, he says mechanically. Oh, swell, she says, save it for the next time, or at least when it's the truth. He smiles and apologizes again, and says she's the most delightful girl he's ever met--and that's the truth--and you don't deserve half my attention, you deserve all of it--and you're going to have it now. She grins. I'm ready, she says. The only thing that bothers me, he says, is that Laura would share a room with your uncle. There you go again, she says--to put your mind at rest, she isn't in the house itself--she's staying in Matthew's old cottage. With or without Roger? asks Burke. Without, Carolyn assures him--now that you've pumped all the information out of me, how about the other half of your attention. He kisses her hand. Coming right at ya, he says.
We see the sheriff's car pull up in front of Collinwood. Roger answers the door. Patterson tells Roger he's been looking for him--he just received a teletype report from the Phoenix, Arizona Police Department--the report said a body, identified as that of Laura Collins, was found burned to death in a fire.
This stuns Roger.
NOTES: Burned to death in a fire? In Phoenix? What's all this about? Does it tie in with the fact that David insists this woman isn't his mother? Is she an impostor, perhaps? She told Maggie the story of the bird, the Phoenix (remember the wings in Sam's painting), who burns and is resurrected in its own ashes.
Poor Burke, shot down in his hopes that Laura will help him--or is he? Now that he knows she and Roger have separate living quarters and not together as man and wife, perhaps he'll work on her again and hope he can turn on the charm and get her to help him fight the manslaughter charge. I doubt it, though, given that David is her all-consuming desire, and she won't mess it up for Burke. Roger sure had fun playing nastily with Burke's head, didn't he? SOB. He still is the villain of this story, as far as I'm concerned.
Sam is haunted by this portrait, forced to paint almost against his will, it seems. Why? He's being used for something--is it a warning? There is a huge connection between Laura and fire, that's obvious, with so many clues. But the big one--this odd painting of Sam's--is the kicker. Now that Roger has heard what Sheriff Patterson had to say, will be make the connection between the burned body in Phoenix and Laura's visage in the fire in Sam's painting?
Love, Robin
