736 - (Don Briscoe) - Collinwood before the turn of the century, a time of bizarre and frightening events. The two Collins children, Nora and Jamison, have been sent away to school against the wishes of their mother, a strange, mysterious woman only recently returned to Collinwood. Anger by the separation from her children, she has vowed that they will not spend another night in the school. Only moments before her vow was made, the school mysteriously caught fire.
Nora, caught in the flames, sees her mother, who assures her, I've come to take you and Jamison away! I can't! cries Nora--the flames! You have to, says Laura, I can't reach you--try! Nora begs, please, Mother, come to me! Laura, however, simply stands by the door. . .
Tim comes racing downstairs to stand beside Laura, who asks him to help get Nora out. Tim grabs a blanket, covers his head with it, then races into the flames and lifts Nora into his arms. The three of them dash from the school. We see a very phony picture of what looks like a clay building of the school being consumed by flames. Tim assures Laura that Jamison and all the other children got out, thanks to Trask and Rachel.
Collinwood - Quentin goes into the drawing room and reports to Magda that the urn isn't there. Now? she asks. We have to find out where she keeps it, says Q. If it's a personal belonging, says Magda, why isn't it in her room? Perhaps because it's too valuable, he says. You didn't tell mer that before, says Magda, but you aren't speaking of monetary value. You've been close to her the past few days, says Quentin--where does she go when she leaves? Once for a walk in the garden, once to go to the school--to me, says Magda, she seems as she was before leaving Collinwood. She isn't at all, insists Q--you wouldn't believe me if I told you--it's too fantastic. Magda finds the urn intriguing--how do you know it exists? Someone told me, he says--I'm not paying you to ask questions--so mysterious. Why are we looking for this urn? Asks Magda--we don't know what it looks like or contains.
I know why we're looking for it, he says. If it isn't worth money, what IS it worth? She asks. Laura's life, he replies. That answer scares me, says Magda, I won't help you harm Laura. After I get it, promises Q, I won't touch a hair on Laura's head. Your word isn't always truthful, Magda reminds him. Tim, Nora and Laura come bursting in with the news about the fire at the school. Quentin asks where Jamison is; they assure him he's OK--they others are spending the night in Rockport, says Laura, but I wanted to bring Nora back to Collinwood so she would be safe where she belongs. Nora is tired; Tim suggests she go to bed right away. Laura is exhausted, too; Magda offers to take care of her. Laura tells Quentin--tell Edward what happened. Q explains that his brother went to Collinsport an hour ago--I will tell him when he gets back. Magda asks Laura if she's all right, and the latter asks for some tea. Magda goes to get some. Quentin stands in the doorway, staring at Laura, who asks Magda to close the doors. In the foyer, Quentin grabs Magda's arm and says, you aren't to let Laura out of your sight for a moment--because she is going to lead us to the urn. How do you know that? demands Magda. He reminds her that Laura's life depends on it.
Laura paces the drawing room, wanders to the fire, warms her hands. She looks totally burnt out (pun intended). Opeing the doors she finds Quentin right there. Were you leaving? he asks--I wanted to make sure you were all right--would you like a brandy? No, says Laura--I appreciate your concern. He holds up the drink and says, "So, the little old schoolhouse burned to the ground." A terrifying sight, says Laura. And rather a bizarre way of getting the children back home again, remarks Q. She asks what he means by that. What do you think I mean? He asks. Do you think I had something to do with it? asks Laura Did you? counters Quentin. I wouldn't risk my children's lives, protests Laura. I was just fascinated by the way fire has played such an important part in your life this past year, he says. Leave the room, orders Laura--I want to be alone. He rises and toasts her--whatever you say, my dear, he says, draining his drink. Magda returns with the tea tray. Quentin watches the scene for a few moments before closing the doors. When Tim Shaw comes downstairs, Quentin asks him about the fire--how did it start. One minute everything was normal, next, the entire building in flames, answers Tim--we were lucky to get everyone out alive.
Laura drinks her tea and tells Magda, I'm beginning to feel a little better. Magda advises her to go to bed--you look tired--you had had a terrible experience. I'm just grateful the children are safe, says Laura--I'm going outside to get some air, then I'll retire for the evening. She opens the double doors. Tim comes in. Nora is asking for you, he tells Laura. I'll go up and say goodnight when she goes up to her room, says Laura. Tim asks to speak to Mrs. Collins. Laura asks Magda, excuse us. The gypsy leaves. Tim says, something has been puzzling me since the fire--how did you get into the room with Nora? I walked in, after the fire began, replies Laura--I knew Nora was in the room; I was leaving the building when I smelled smoke--I was terrified and went back down the corridor to see where it was coming from--I heard Nora scream and rushed in.
I see, says Tim--that's what's puzzling me--I was in the corridor, too, and didn't see her. There was a great deal of excitement, says Laura, any number of things might have happened you didn't see--I'm very happy we had this talk--I want Trask to know the courage you displayed this evening. (sure, butter him up, LC!) No need, says Tim. I feels you should be properly rewarded for saving Nora's and my life, insists Laura--when you get back to Rockport, have Trask call me. All right, Tim agrees, as she smoothly hustles him out. He bids her good night and leaves. She sighs, knowing she has averted suspicion--for now.
Nora, on the landing, spies her mother leaving the house and follows. Magda sees the child leave.
Quentin goes downstairs and finds Magda standing in the doorway. Laura left the house, she reports. Why didn't you follow her? asks Quentin, annoyed. Magda explains that Nora came down and followed her mother. Quentin wants to see if he can find her. Magda advises him to stay here--if Laura wants to be alone, she will send Nora back to Collinwood, and we can get the information from the little girl as to where her mother went. Yes, grins Quentin, of course.
At the gazebo, Laura drops her snake bracelet on the ground when she goes to a pedestal with a weather vane contraption on it. She opens it and takes out her urn. When Nora calls to her, she hastily shoves it behind her back. Why didn't you come and say good night to me? asks the little girl. I was going to, Laura assures her--I came out here alone to look for something I hid here a long time ago. Is that what you have behind your back? asks Nora eagerly--"Can I see it?" Yes, says Laura, but it will mean nothing to you. She shows Nora the urn. The little girl is disappointed--oh, it's just an urn. Yes, agrees Laura. Why did you hide it? asks Nora. It's a secret, says Laura. I like secrets, says Nora. Go home to bed, says Laura--I'll come and tell you a wonderful story about the urn. Nora wants her mother to come back to the house with her.
I want to stay here a while, says Laura--I can't explain why, but it's necessary and I will see you later. Nora promises to wait for her. After the child leaves, Laura lifts up the urn and calls to her master--hear me, bearer of warmth and fire, giver of life and destroyer, and grant through your flame the energy and sustenance I must have.
Magda reports to Quentin that Nora is returning--Laura is not with her. She sends him into the drawing room; I will handle Nora alone. Quentin leaves. Magda kneels, takes Nora's hands and tells her, your mother will be very upset that you left the house. I saw my mother, and she wasn't upset, says Nora--she was in the garden and wanted to be left alone. Magda takes Nora upstairs to bed. Quentin, who has overheard all, is pleased.
Magda goes to the gazebo and looks around, then asks "What if she took the urn away?" Quentin joins her and says, I'm sure the urn is around here somewhere, all we have to do is find it. It's a big place, warns Magda, we could be here all night.
Laura sits down in the drawing room, seemingly pleased.
Quentin asks Magda where Nora said Laura was standing. She shows him. Quentin looks around and spies Laura's snake bracelet in the grass. He picks it up, rises. Magda asks what he has found. He jiggles the pedestal contraption, opens it as Laura did, and finds her urn! Is that It? asks Magda, proclaiming it a worthless piece of junk . Quentin is beside himself with glee--this is a valuable and precious thing--it contains a flame, and not an ordinary one, but one capable of giving life--but if snuffed out, the life would be snuffed out with it. . .how will it happen? he wonders, snapping his fingers--just like that?--or will the energy be slowly drained out of her? Magda looks sickened. We will know soon enough, says Quentin, taking sand in his hand, dousing the flame in the urn. "Goodbye, Laura!" he says exultantly, laughing.
Laura looks wildly around. "NO!" she cries.
NOTES: Some viewers love Laura, some don't, but do we root for Quentin to kill her or not? Clever way to get her children away from Trask's school, but not so fast. . .we will all see soon. Will Quentin do away with Laura? What kind of relationship does Rachel have with touchy-feely Trask? Does Tim love Rachel?
737 - (Roger Davis) - Collinwood before the turn of the century--a time of evil and terror for all who lives in the great house. The unexpected return of Laura Collins has caused one person in the house--Quentin--to live in mortal fear. He and he alone is aware of the mysterious link that exists between Laura and the supernatural. And now, on this night, he believes he has found the way to end Laura's existence.
Quentin douses Laura's fire with a handful of sand, happily saying, "Goodbye, Laura!" Laura herself feels her life draining away. Contemplating his ex-lover, now enemy, Quentin laughs.
Laura, in the drawing room, helps herself around by gripping the furniture. Judith enters, concerned about the condition of her sister in law. I'm cold, Laura says. Judith wants to call for a doctor, but rushes off to get her sister in law some tea. Laura rises and walks unsteadily to the front doors. She exits, leaving them open. Judith returns to tell Laura her tea will soon be ready, but finds her gone. She spots the open door. Quentin enters. Judith asks if he saw Laura, who just left the house--go find her! Did she do something naughty? Asks Quentin teasingly. No time for flippancy, scolds Judith, Laura is very ill. Quentin thinks Laura is just being melodramatic. No, she's ill, Judith says--she can hardly stand on her feet. How did she get outside? Quentin wonders--Laura has always been able to take care of herself very well. You're callous, accuses Judith. When I saw her earlier, says Quentin, Laura was fine--a little tired after the ordeal at the school, but that's all. Judith reminds him both Laura and Nora were trapped in flames--perhaps Laura's illness is only emotional.
Quentin laughs--"Our Laura, struck down by feelings of emotion"--even you yourself said Laura was incapable of emotion. Are you going out to find her or not? demands Judith. No, says Q--I want to know what's come over you; you've always hated Laura and was happiest when she was out of the house. I did hate her, agrees Judith, but I don't want harm to come to her. (So generous!)--whatever her faults, she's a human being. That's debatable, says Q, then apologizes for shocking his sister. Laura did something you wouldn't do, says Judith--rush into a burning building to save her child--under the same circumstances, you would run away, coward that you are. You can't shame me into searching for Laura, insists Q--I'm having a drink--would you like to join me? Judith doesn't answer, she picks up the phone and calls for Dr. Pendleton. Too late for a doctor, mutters Quentin--what she needs is an undertaker.
Laura goes to the secret hiding place of her urn and finds it gone. Dirk spots her. I saw you coming from the house, and you appear ill, he says. Come here, she demands, trembling--hurry! He realizes she is ill. She leans her body against his, causing him to say, embarrassed, "Mrs. Collins!" (Are you trying to seduce me?) Just stay where you are, she orders--I'm so terribly cold. . .!
Dirk urges Laura to let him take her to Collinwood--we can't stand here, someone might come and see us. Don't be embarrassed, she urges. Dirk can't help it. It's lucky you came when you did, she says, although you may not know it yet. Yes, yes, he says, we can discuss it on the way to Collinwood. You're going to be the one, she says, and through you. . . He doesn't know what she's talking about. You will help me, says Laura, and come to me when I summon you. We can't stay here, protests Dirk, backing away from the seemingly amorous Mrs. Collins. You will come to me when I need you, she says desperately. I'm sorry, says Dirk, but I'm taking you back to Collinwood. And, supporting her weak body, he does.
Reflected through Quentin's brandy glass, Judith tells Mrs. Trask on the phone that they should thank the Lord all the children are safe--I will tell him the moment he comes home. Quentin takes it the school is beyond repair. They have no idea how it started, Judith tells him. Shouldn't you call the doctor again? suggests Q--he should be back from his house call (what's THAT?). Judith declares that Quentin is indifferent to suffering. "The suffering of some people has to be seen to be believed," he snaps. The front door closes. Dirk helps Laura in. Judith thanks him. Quentin agrees that Judith was right, and assures Laura--my sister has a call into a doctor and everything will be all right. You're a hypocrite! cries Judith. This is no time for name-calling, says Quentin. Get away from her! orders Judith. I owe it to Laura to take her upstairs myself, insists Quentin--and so he does. Judith invites Dirk into the drawing room and closes the doors. Where did you find Laura? She asks. The garden, looking near collapse, answers Dirk--at first I thought she had been drinking, but she's very sick. Judith wonders what she was doing in the garden. Dirk ventures that Laura is delirious--I don't think she knew where she was going, and nothing she said made any sense at all. Judith again thanks him for his help.
Laura's room - Quentin helps Laura inside and into bed. Nervous, he keeps licking his lips. He turns on the lamp. Laura lies there, pale, breathing heavily. She gazes at him. Rest, he urges-- the doctor will be here soon. He leans in close. "How do you feel now, too weak to talk?" he asks--what's happened to you? You already know, she says--you're much too concerned. Of course, he says, grinning, we wouldn't want anything to happen to you now. I don't know how it was possible, says Laura, but you did this to me--it couldn't have been anyone else. I don't know what you're talking about, says Q. "You're trying to kill me," she accuses. Oh, he says, now that is a very strong accusation--tell me, he says, touching her, do you have any way of proving that? I'll find a way, she assures him--you'll pay for this. I don't think you have that much time left, says Q. He's right beside her, very close, almost in bed with her.
She raises her head and orders him to get out. He suggests she doesn't exert herself--you don't have energy to spare, do you?--ohhh, now don't look at me that way, it almost compels me to feel sorry for you. I wouldn't want your pity, she says. And you wouldn't get it, he retorts--and for a very good reason--I recall an incident at the cottage the other evening--we both thought that I was dying. . .I asked you to help me, and you refused, you left me there to die--now I do believe that one bad turn does deserve another? He moves to kiss her mouth; she turns away. He grabs her face and forces a kiss on her mouth. "Why, your lips are ice cold," he says viciously--"Goodbye, Laura." And after a last caress of her face and shoulder, Quentin leaves his former lover alone, presumably to die.
Judith comes downstairs and Dirk enters Collinwood, lamp in hand. He greets Judith and tells her he's about to make his rounds.
Go out on your own, says Judith--the doctor doesn't know about Laura, he doesn't know what's the matter--go out on your rounds. Dirk leaves.
Laura climbs off the bed, desperately weak. She speaks into the fire, asking her master, help me, I cannot die now, I'm not finished what I came here to do! I beg you for understanding and mercy--grant me another life-giving flame. Wind blows Laura begs, don't let my warmth be taken away--there's so little left!--please help me, she implores--appear to me in human form--I've chosen someone, a young man. . . (we see Dirk entering Collinwood)--through him you can appear to me, help me--I beg you, possess him, help me, answer my plea! Dirk walks through the dark foyer, into the living room. He stares at the fire and lifts a bucket of water, presumably to put it out. Laura mutters, he's near the fire now, spellbound by the flames--take possession of him and come to me, please! Dirk puts down the water, totally entranced. He seems to hear Laura's voice, and the flames are reflected, dancing over his face. He speaks in a foreign language about Amen-Ra; Laura responds in the same language. "Come to me," she begs, over and over. "I don't want to die, I can't die, not now, not here!" Dirk walks from the drawing room.
Laura's bedroom - She lies on the floor, unconscious. Dirk enters, kneels beside her, lifts her into his arms and carries her to the bed. I don't understand, he says. She regains consciousness and says, there's no need to understand, come closer, she orders. I've been speaking foreign words that make no sense, he says. She grabs his lapels. "Come closer to me," she orders. I shouldn't be here, says Dirk. Do you want to leave? She asks. No, he says, I want to stay and help you--I don't know why. Because I'm going to die, she says. You can't, you won't, he promises. You have the power to save me, says Laura. Dirk doesn't believe that. Look deep in your soul, she tells him, you'll know, you must do something, there's very little time. I don't know what to do, he says desperately--I don't know what to do!
He draws her into his arms, calls her name in a rough voice. You do have the power, she says--only you can restore me! No! he cries, it's impossible. Look inside yourself, and you will see the flame of eternal life. He holds her closely, promising he will never let her go--I don't want to lose you. Use your power, cries Laura, don't let me die! He clasps her tightly in his arms.
NOTES: Roger Davis does do a nice intro, his voice is low, arresting and sexy. I wonder if Selby burned his hands on that urn. It looks like it contains a real flame.)
So, will Dirk light Laura's fire using sex to rejuvenate her? Sure looks like it, doesn't it? How else would she be "restored"?
That scene between Quentin and Laura was sexy, wasn't it? You know they were once lovers, and suspect they were wildly passionate together, but he saw her die in Egypt and knows her presence here now, alive, is impossible. He knows she's a supernatural being and wants to destroy her. One bad turn deserves another, and when HE was near death, she left him to die--so he does the same. But he touches her one last time, as though establishing that they DID once have a physical relationship--and now he's taken away her very life force--really intense scene!
Love, Robin
