Episode #192 - Vicki leads David into the woods, where the flickering flames from the burning cabin are reflected in the surrounding trees and bushes. She assures him he's all right. David, apparently in a state of shock, stares at the conflagrations, calling FIRE. Vicki tells him it will die out. DIE! He repeats. Pulling at him, Vicki tells him not to look at it, they'll go home. HOME? He asks. Take my hand, says Vicki, struggling with him, don't look at the fire! Home, moans David, that was my home--and he points to the burning shack. No, she tells him, it's not his home, it's the fishing shack. They're going home that's not your home. FIRE! FIRE! cries David, seemingly still intent on leaping into the flames where he saw his mother disappear.
Vicki continues to struggle with David, who appears to be in a weird trance. She begs him to come home, and he asks where they are going. She tells him she knows he's been through a terrible experience...at that points, Burke joins them, and Vicki tells him how awful it was. Burke says he saw the shack burning from the beach--is anyone...inside there? No, no one, says Vicki. David was there alone, asks Burke. No, says Vicki. Was she there? asks Burke. Yes, says Vicki, and when Burke wants to go to try and save her, she dissuades him--she saw her, but she vanished. This surprises Burke, but Vicki says it's the only way she can describe it. Burke still wants to go see, maybe it was the smoke, and she's still alive, but Vicki tells him firmly no, she's sure--there's nothing more to be done.
David says, "That's the fishing shack burning, isn't it?" Come on, we're going home, says Vicki, leading him away.
In the hospital, Liz tells Carolyn she's beginning to remember, she knows she is. Carolyn says please, don't even try, the doctor says she must rest. Liz says she must remember what happened, or she can't rest. Carolyn reminds her that just before she got sick, she was at Aunt Laura's cottage, and something must have happened to you there, but please try to sleep--she'll be right here. I was asleep, and dreaming, says Liz, Dreaming about Laura at the cottage. You called to us, encourages Carolyn, and said you remembered. I woke up, continues Liz, I called, yes, I remembered about the choir, I got up out of bed, there was a storm someone in my room, I couldn't see who it was. Seeing her mother is getting upset, Carolyn tells her to rest, just a little while, then she'll help her remember. Liz promises to rest, but first she must remember---please help? All right, if you promise to stay very calm, says Carolyn, who then says she, Roger and Vicki heard Liz calling, saying she'd remembered what had happened; but by the time they got to her room... Liz remembers--she got up--there was something in the corner, she could see it, it was so dark, a shadow, a shrouded fog, she couldn't see who or what it was, at first she thought it Vicki, Carolyn or Uncle Roger. It was Aunt Laura, wasn't it? asks Carolyn. Not the Laura they think they know, says Liz, she can't describe her face, it was distorted with hate, eyes blazing, Laura in some other form, almost some other being, horrible, you can't imagine what she looked like. It's all right, soothes, Carolyn, now you promised me you'd try to get some rest. I wanted to resist her, but didn't have the strength, says Liz, no one would have, her eyes were piercing through me! Mother, says Carolyn, she's gone now, forget her. Gone? Asks Liz. Carolyn talked with Uncle Roger--Laura has left Collinwood and will never come back--and no matter what the doctors say, that's why you're better--because Laura is gone. "Not with David?" asks Liz anxiously. No, Carolyn assures her, not with David. Liz leans back on the pillows, supremely relieved.
Liz is sitting up, asking Carolyn about Dr. Guthrie--when he was at Collinwood, did he do a lot of prying? This puzzles Carolyn--he was trying to find out what was wrong with Liz. Liz knows that, but asks if he went everywhere--he must have gotten to know it very well. They gave him the run of the place, says Carolyn. Then he did go everywhere? Asks Liz uneasily. Yes, says Carolyn, just about. Liz asks if he went to the Old House? Many times, says Carolyn. And the closed off wing, asks Liz, did he go there. Carolyn doesn't know about that. And the basement, asks Liz, did he go into the basement?
He never mentioned that he did, says Carolyn--why? No reason, says Liz, but is clearly concerned--she must get back to Collinwood. Soon, very soon, says Carolyn. Liz insists she wants to go home right now. Carolyn says she can't go right away, she heard what the doctor said. Liz wants to make sure David is all right, but Carolyn says she already told her--Aunt Laura is gone, Uncle Roger put her on the bus himself this morning, and David is safe at Collinwood. Agitated, Liz says she wants to go to Collinwood tonight, she never should have left there in the first place--why did Carolyn let them take her? They had no choice, says Carolyn, easing her mother back against her pillows, but she assures her, they didn't know what was wrong with her, but she promises, David is all right. David? says Liz. Yes, says Carolyn, perplexed, that's why you feel you have to get back, isn't it, to make sure he's all right? Yes...David, says Liz, but she doesn't sound as if that's what she's talking about after all. I've got to be with him, says Liz. Carolyn wants to call Collinwood and tell them how much better she is, and check on David, too, so you don't worry--try to rest. Liz can't, not until she's at Collinwood.
Collinwood in shadow - David's room - Vicki sits on his bed, asking if he thinks he can go to sleep now. Yes, he responds. She says to call her if he needs anything. He asks if the fishing shack burnt down. Yes, she says. Too bad, he says, he had all his fishing stuff in there. Try to go to sleep, says Vicki, not wanting to discuss it. I wonder how it started, he muses. It doesn't matter, she says, try to get some sleep now. He asks about his mother--she's gone, isn't she? Yes, says Vicki. I was supposed to go with her, wasn't I, but it didn't work out that way, did it? he asks. Vicki shakes her head--no. Why not? he asks. Because you wanted to stay here with us, says Vicki. Is that how it was? he asks. Why did I decide to stay here? Because you know how much we love you and how much we'd miss you if you ever went away, says Vicki. My mother wanted me to go with her--was she angry or mad when I said I wouldn't, he asks. No, says Vicki. Are you really sure, he asks. Yes, she says, because, David, your mother wanted you to be in a place where you'd be the happiest--she loved you. Does she? he asks. Yes, she assures him, and always remember that. Maybe I'll go visit her, or maybe not, says David. Vicki says he doesn't need to decide that now. David says he's glad he decided to stay here. Are you? she asks. Yes, I wouldn't want to leave here--ever.
Vicki pats his head and says she's very glad he feels that way--very glad. She leaves his room smiling, and he pulls the covers over himself and closes his eyes, contented.
Vicki and Burke sit on the sofa in the drawing room. Burke is surprised David doesn't remember anything that happened. Vicki says he knows his mother is gone, but vague about the rest of it. Probably in a state of shock, speculates Burke. She hopes he can forget about it all, and somehow it will stay erased from his mind. Roger returns, and gives Burke a dirty look when he greets him, demanding to know what's going on around here? He tried to forget a semi-forgetful evening in town and someone told him there was a fire at Collinwood. He pours himself a drink. In the fishing shack, says Vicki. Is that all it was, grumbles Roger. Vicki says she has something to tell him, and tells Burke she wants to talk to Roger alone. Burke agrees that would be better, and leaves the room. What is he talking about? Asks Roger.
What's going on around here. It's Laura Collins, begins Vicki. Is she back? asks Roger, clearly scared. "Is Laura here?" She was, says Vicki, but gone now. Gone where, asks Roger. She tells him Laura was in the shack when it burned. Roger is stunned. Laura? Yes, says Vicki. Impossible, says Roger, I put her on the bus, saw her leave with my own eyes--are you sure it was Laura. I was there, says Vicki. You were there? he asks. She didn't escape? asks Roger. No, says Vicki. You couldn't have helped her? he asks. No one could have, insists Vicki gently. Roger can't get over it--Laura, he says. She didn't want any help, says Vicki, it was a fire, that's what she wanted. I can't believe it, he insists. "I got David out just in time," adds Vicki. DAVID? says Roger. Yes, he was in there, says Vicki. She wanted to take David with her? asks Roger. She wanted to take David with her, just like in the story of Laura Murdoch Radcliff, says Vicki. Roger looks like he's taken a hard punch. He sets down his drink and says, "David--she wanted to kill David--she wanted to burn him." He's all right, Vicki assures him. You saved David, didn't you? Roger asks. Yes, but he wanted to stay there with his mother. Roger shakes his head, saying he doesn't know what to say--where is he now. Upstairs sleeping, says Vicki, somehow, he's forgotten everything that happened. Roger walks away, then looks at the staircase. "I should have stayed here with him," he says regretfully, "I should have known he'd still be in danger." And he goes upstairs.
Vicki answers the phone--it's a cheerful Carolyn, who tells her Mother is better--she's going to be all right. Vicki says that's wonderful. Carolyn doesn't know what happened, but tonight, little by little, she began to get better. Vicki understands--Laura Collins burnt to death tonight. Burned? Asks Carolyn. Yes, it was awful, says Vicki. Carolyn asks about David. Liz asks if anything happened to him. He's all right, Vicki assures them, but Laura, says Carolyn. Burned? Asks Liz. Yes, says Carolyn. Vicki tells Carolyn to tell her--how much better is Liz? She can talk, move, says Carolyn ecstatically, she can remember--and she'll be coming home very soon--isn't that wonderful? Vicki agrees. They're finally free, and can stop being afraid, says Carolyn. Vicki hopes so, as does Carolyn, who hangs up. I've got to go home--back to Collinwood, murmurs Liz.
Roger enters David's room and looks at his son. David stirs. Roger fixes the covers, just staring down at him. He's about to go when David awakens. "Father? I thought that was you, but I wasn't sure." It's me, says Roger. "I", corrects David--don't you remember, it's incorrect to says it's me, even if it sounds very funny--you're supposed to say it's I. He's very matter of fact. Roger apologizes, as does David--you always told me it's very rude to correct your elders--I apologize. Roger sits on his bed, assuring him, "You don't have to apologize, son." David asks if he heard about the fishing shack. Yes, says Roger, go back to sleep, I didn't mean to wake you up. It burned down, says David. Roger tells him he knows--try to get some sleep. That's too bad, laments David, I had all my fishing junk in there. Roger says they'll see that he gets more. There was one pole he especially liked, Matthew helped him make it, a long time ago, says David. Don't worry about that--or anything, says Roger, in a tone that makes David ask if he's all right.
Yes, says Roger, standing up stiffly, of course I'm all right--try to go back to sleep now, son. David asks if he was looking for something. No, says Roger. Then what did you want? Asks David. Oh, I just wanted to...he sounds as if he's going to cry--nothing--I didn't want anything, says Roger. David doesn't understand. Roger says he doesn't, either, there's so much that's so hard to understand--so much.
Drawing room - Burke tells Vicki the fire is almost completely out--Joe is keeping an eye on it. (No fire trucks in Collinsport?) Vicki asks if they should call the police, or an ambulance? They can call the police tomorrow, and no need for an ambulance, says Burke. Then she was right, says Vicki, there's nothing there. Just a pile of ashes and some burned-out fishing tackle, says Burke. Vicki walks away, saying she knew about the way she was going to die--she heard her telling David a story once, that could have been about herself--a beautiful phoenix who was consumed in fire, and reborn from it's ashes. Impossible, says Burke. That was a story she told a child, says Burke. I know, says Vicki, but she's gone, and left nothing behind. She left one thing, says Burke, fumbling in his pocket. He shows Vicki a locket, which she immediately recognizes. The fire didn't destroy it, says Burke. Vicki takes it from him--the woman who died in the fire in Arizona was wearing this, says Vicki. Are you sure? asks Burke. Yes, there's only one like it in the whole world, says Vicki, and Mrs. Collins was wearing it when she first came here. How could she, asks Burke, if the woman in Phoenix was wearing it? Because she was Laura, says Vicki wonderingly, holding the locket, "Laura Murdoch Collins."
Whoever that was, says Burke. Yes, whoever that was, says Vicki, turning to look at him.
NOTES: One of the very best Roger scenes ever. Roger has a lot of trouble expressing emotion, and his scenes, first with Vicki, then David, have always produced a lump in my throat. Roger is an SOB in this storyline, pretty much, but his love for his son comes gleaming through here, vividly. Kudos to Louis Edmonds for his performance. Henesy was equally wonderful.
Laura Collins was the first supernatural creature we encountered on DS, before her, ghosts were the staple supernatural forces. She made a terrific villain. It's a blessing that David thinks his mother has just gone away, but you sense he knows the truth, deep in his heart.
Burke is such a manly, cool guy. I always enjoyed Mitchell Ryan's performances, gaffes and all. I liked him, and I'm glad he went on to such a good career.
Episode #193 - Sam Evans' studio - Peace has not yet found a home near Collinwood, Vicki's intro tells us. Someone knocks at the door and Maggie, in a quilted bathrobe, first looks out the window then greets Joe, asking if he's all right. He tried to make it home, but just couldn't, he says. She helps him sit down, asking if something happened at Collinwood, and he says yes--don't ask. Concerned, she notes his smudged-up hands and face. There was a fire, she says. Yes, he tells her. Something happened to David, didn't it? demands Maggie--Joe, you've got to tell me!
What happened to David? demands Maggie. Vicki saved him from the fire just in time, says a slightly out of breath Joe. Where was the fire? she asked. Maggie kisses him and touches his face as he reveals they found him at the old fishing shack--Vicki got there first, he, Vicki and Burke were searching for him all night--the woods, everywhere. Joe, he's all right, she assures him--relax and she'll make coffee. Sam exits his bedroom and Joe apologizes for waking him up. Was that you banging on the door a little while ago, asks Sam, without rancor. Take it easy, Pop, he's had a hard night, says Maggie. Sam's hand is bandaged. Maggie explains how David almost burned up in the fishing shack near Collinwood. Sam said they thought all would be OK with Laura gone. She came back, says Joe. Laura Collins was there? asks a surprised Maggie. Yes, says Joe. In the fire, in the shack, asks Sam. Yes, says Joe. She tried to kill that little boy, says Sam. Maggie tells Sam Vicki got him just in time. I don't understand, it was her son, says Sam. Maggie asks Joe what happened to Laura--was she killed. I guess so, says Joe, they waited until the fire was completely out, he searched the ashes, there was no sign anyone had burned there. She got out, says Sam. No, says Joe, Vicki told Burke, after she talked David out of his mother's arms, Laura Collins vanished, just disappeared. Are you sure? demands Sam. I see, says Sam, and she really wasn't human. Maggie recalls the day she came to Collinsport, the day she got off the bus. She's gone now, muses Sam. Yes, says Maggie, for a long, long time. How do you know? asks Sam. Maggie reveals how the friendly woman told her the story of the phoenix. The bird that consumes itself in fire, says Sam, then rises from it's own ashes. Not for almost a century,. Says Maggie. Joe says, Laura Murdoch Radcliffe, Laura Murdoch Stockbridge, Laura Murdoch Collins... You mean, they were all the same person, asks Sam? Maybe, says Maggie. Impossible, insists Sam. Maggie says they will never know for sure, but the story meant something to her, and did come true.
Not possible, says Sam, but very likely the truth. And they all look seriously at each other.
Outside shot of Collinsport, busy with traffic. Cottage - Sam examines his hands, which are no longer bandaged. He answers his door to find a Mrs. Portia Fizsimmons standing there. She asks to come in, and says her name means nothing to him? No, he says. You are a painter, and my name means nothing to you? she asks. He repeats her name, realizing who she is. She thanks him for recognizing her, saying he almost toppled a monumental ego of the art world. To say the least, he hardly expected her, he says. She doesn't give advance warning to painters, she says, she likes to catch them off guard. When did you paint that, she asks, pointing to a painting. Last summer, he says. Another--two years ago, business has been slow, says Sam. She says it's about to pick up, that she would say that painting is five years ago--she's very familiar with his paintings from 10-12 years ago, and midway from the ones he's doing now. He hasn't been painting for sometime, says Sam, he had an accident with his hands. She isn't interested in that, she says--she's sorry to hear about his hands, but she isn't interested in what he's painting now. Sam is puzzled. She reminds him of one of his paintings--3 women on a wharf mending fishing nets? The one of the Red Star, recalls Sam, he did that about--10 years ago, she finishes. I'm a much better painter now, says Sam. She agrees with that, but says give the public a chance. She tells him she's Mrs. Fitzsimmons, and her being there is too good to be true. It IS true--she wants his paintings, a series dating 10-12 years ago. You're going to have a show of me in your gallery? Asks Sam, amazed. She says she wouldn't have a show in anyone else's. Sam doesn't get it. Looking at another canvas, she says he's a very good painter. I thought I was the only one who knew that, says Sam. You were, until about two weeks ago, says Portia, when I came across one of your paintings, don't ask me where, it would just depress you to hear. A junk shop? he guesses. A shop, she says, but the frames, not the pictures, were to be sold, and if you bought frames, the pictures were thrown in for nothing. Sam remarks it's nice to know that one's handsomely framed. The frames were terrible, but the pictures were of a style about to be in fashion again, she explains, if he's got anymore, enough for a show, they're in business. He doesn't know, says Sam. Come on, Evans, she says, don't be hard yet. He doesn't know if he has enough paintings of that period, he says. She finds it hard to believe he sold that well, she says. As a matter of fact, he did, he says. And probably for nothing, she says, she wants to but them back, and sell them, of course, for a considerable profit for both of them, which she can get. He might be able to get some of them, he says, but are you sure you aren't interested in some of what I'm doing now? Maybe I will, in time, she says, but I want to do a big job on you, and when I'm through, you'll be rich and famous and I'll be rich, and that's all right with me. She only wants those older paintings, because she knows they'll sell, and doesn't want to take any chances they won't. Sam thinks hard. Well, can you get me at least 12 paintings, or as many as you can of that period, she demands. He doesn't know. She says if he gets the paintings, she'll get the showings and the sales. And the reputation? Asks Sam. All artists are alike, says Portia, veritable hermits working away, far, far from the fancy crowd--with one single vision to keep going and that is fame. Fame isn't everything says Sam. Fame is like salt, she says, what's meat and potatoes without it? She asks if he can get her the paintings. He thinks so, he says, yes, he's sure he can. It will be meat, potatoes and more salt than will be good for him, she says--he has a week. Sam isn't happy with this time frame. She's got to set up a whole season, she reminds him, it takes a lot of time. A week is all he has, and he can do it in that time--if he can do it at all.
And, imperiously, she leaves the cottage.
Blue Whale - Joe and Maggie sit over a couple of drinks. He supposes he should be surprised, but nothing will ever surprise him again. Maggie says her father was just sitting and staring at his hands. Healed, just like that, says Joe in disbelief. It was Laura Collins, says Maggie, and Joe says not to even mention her name, he doesn't want to think of it anymore. Neither does Maggie. He takes her hand in his, apologizing for busting in on her this morning. She says to feel free to make it a habit. He was knocked out all day long, says Joe--she hasn't talked to Vicki up at Collinwood, has she? asks Joe. This catches the attention of a stranger wearing a dark cap, sitting at the bar. Maggie says, she was going to, and figured she should wait. Joe asks if he told her about Liz--Carolyn called this morning--very suddenly, she's better. They both know why, don't they, asks Maggie. The man from the bar interrupts their conversation, asking if he mentioned a Mrs. Stoddard, and Collinwood. Yes, says Joe, sounding a bit suspicious. The man apologizes for breaking in like this, but did he say Liz was better? Joe asks if the man is a friend of Liz', and he says he'd like to think so; it's been a long, long time--has she been ill? Joe says he doesn't feel he should be discussing this. The man says he understands and shouldn't be intruding (and sits down with them)--if Liz has been ill, she's better now. Maggie asks Joe what's the difference, everyone finds out whatever happens at Collinwood--it becomes general knowledge sooner or later. She's been sick and she's better, says Joe. Thank you, says the man, I've been away a long time. Then you're from Collinsport, asks Maggie. No, but he spent quite a lot of time here, years ago, the man says. Maybe you know my father, says Maggie--Sam Evans. The man thinks over the name, says it sounds familiar, but it's been a long time, too long. He introduces himself as Jason McGuire, and Maggie introduces herself and shakes his hand, and this is Joe Haskell. He offers to buy both of them a drink, but Joe says they were getting ready to leave. He gets up, apologizing again for intruding. Maggie says, "Welcome back." He returns and asks Maggie if Mrs. Stoddard is well enough to receive visitors. Maggie says she isn't at Collinwood, she's been staying at a Boston hospital, but is much better now and should be coming home. He heard something shocking about Liz, he says, a scandal. Do they know what he's talking about? No, says Maggie. He's probably mistaken, one of those rumors, there's nothing to them. Maggie says she thinks she knows what he's talking about, but Joe tries to stop her. What's the difference, says Maggie, everyone in town knows she's a recluse, she hasn't left Collinwood in 18 years--not until she went to the hospital. No one really knows why, but there are hundreds of theories as to why she won't leave. Hmm, says McGuire, that's curious. She stayed shut up in that house for 18 years. By her own choice, says Maggie. Joe suggests they get going. How sad, remarks Jason. Mrs. Stoddard probably still is a very beautiful woman. Yes, she is, says Maggie as Joe helps her into her coat. And so she stayed close to Collinwood all this time, muses Jason
--how sad. And he gives them a smile that quickly fades.
Collinwood drawing room - Roger paces angrily, telling Sam he told him he didn't want to see him and he meant it. Sam says he knows what he was through, he heard about his wife. Roger wants Sam to leave immediately--please go. Sam says as soon as he made arrangements to pick up his paintings. Roger asks if he is drunk, demented or what? Very important, or he wouldn't be here now, says Sam--the paintings he sold him 10 years ago. Those preposterous canvases? demands Roger. I don't know where they are or what you're talking about. I'm talking about the paintings I sold you 10 years ago, says Sam, I want them, I need them. Roger says nonsense, they're his, anyway, to begin with, and he has neither the time nor inclination to go looking for them--he might have destroyed them, someone else might have, he really doesn't know (or care, apparently). Roger pours a drink, and Sam tells him he wants those paintings within a few days. Why, asks Roger. They're mine, says Sam. You're mistaken, I paid a rather tidy sum for them, if you recall. You didn't pay a cent for them, says Sam. Fifteen thousand dollars, says Roger, isn't that right. No, says Sam, that money was for something else. It was for the paintings, insists Roger. "It was because I saw you behind the wheel of that car," Sam reminds him. Shut up! says Roger. How many times have I warned you never to mention that? Sam says he wants those paintings and will do whatever he has to do to get them. Sounds like a threat, says Roger. You can bet it is, says Sam. Tell me, says Roger, why are these paintings suddenly so precious. None of your business, says Sam. They must have some value, or you wouldn't want them, insists Roger--tell me, are they valuable? Only to me, says Sam. Roger doubts that. Are you going to give them to me? asks Sam. I might sell them to you, if I can locate them, says Roger. Sam tells Roger he's not going to sell them to him, he's going to GIVE them to him. And what if I don't, asks Roger. I'm going to Burke Devlin, warns Sam. Will HE give them to you? Roger asks. You know what I'm talking about, says Sam. Roger thinks I over, then says you must want these paintings for a reason--and for money--therefore I won't give them, but sell them to you. Sam offers to give back the fifteen thousand. Roger turns to look at him, fascinated--where would YOU get that kind of money? he demands. I'll get it, promises Sam. I see, then they are valuable, guesses Roger. Let me think--art prices usually rise in time, if the artist is any good--and I think you're exceptional, Evans, I've always told you that--I'll sell you back the paintings for 50 thousand dollars. Sam is stunned--and angry. That's a bargain, says Roger, arms crossed, if you've managed to get 15 thousand, surely you can scrape up an additional 35 thousand? You know I can't, says Sam, disgruntled. Oh, I'm sorry, says Roger, for a moment, I thought we'd do business together. Maybe we still can, says Sam. You're prepared to make a counter-offer? Asks Roger. Sam says he'll give him 48 hours, then he's going to Devlin and tell him the whole story--how Roger killed that man and framed Burke for it--he starts to leave. You wouldn't dare, says Roger. They face off. Besides, says Roger, he really doesn't know where the paintings are. 48 hours, Roger, that's my rock-bottom offer, says Sam, going into the foyer to put on his hat.
48 hours, Sam says again, and leaves Roger standing there.
NOTES: Love Portia, so sophisticated and definitive--she knows what she wants! And her real name--Lovelady Powell! Do you know anyone else with that name?
What has gone on between Roger and Sam? This show provided the nutshell for that one--Sam helped cover up Roger's manslaughter crime for big bucks, supposedly in exchange for his talent. Sounds like he sold his soul to Roger for fifteen grand, doesn't it?
Love Maggie and Joe together, they're such a great, sweet couple, very wholesome.
We've met Jason McGuire, who will figure prominently in the next batch of episodes. He's a great character, brilliantly-played by Dennis Patrick.
Love, Robin
