Episode #129 - Life at Collinwood is serene for me now--danger has passed, but for one member of the Collins family, it's just beginning.
Say something, Roger, bids Sam. You're either dead drunk or out of your mind, accuses Roger, sinking back into the chair. Possibly both, says Sam, but that doesn't alter the fact that your loving wife is in our midsts. It isn't possible, insists Roger. It's quite possible, says Sam, I saw her with my own two eyes, and they haven't been failing me yet. (ironic) When did you see her? asks Roger. Tonight, says Sam, approximately 30 seconds before I phoned you. Where was she? asks Roger. She was walking to the lobby of the Collinsport Inn, reports Sam, big as life. Are you sure it was Laura? Asks Roger. I'm sure, says Sam, one thing I know, I'd bet my last dollar on it, I've got plenty of reason to remember what she looked like. But I haven't heard from her since Phoenix, says Roger--what would she be doing back in Collinsport? I don't know, says Sam, but one thing I do know is that she's the last person on earth I ever expected to see again--hoped to see again--this could be the end for both of us.
Sam drinks his booze. and asks Bob for another. You've had enough of that, even for you, says Roger. I haven't started, says Sam--if I'm going to drown, I'd like to drown in a sea of vodka, might as well drown happily. I'm a fool to listen to you, says Roger, annoyed. You're a fool if you don't, says Sam, you're in bigger trouble than I am--I wasn't driving that car. Be quiet, you idiot, hisses Roger--someone may overheard you. soon it will be common knowledge--if Laura decides to make it so, says Sam--I mean after all, Laura has the deciding hand or have you forgotten? Bob brings Sam another drink. I'm not so sure you even saw Laura, you're so blind drunk! Says Roger. Not that blind, says Sam. If she's in town, why hasn't she tried to get in touch with me? asks Roger. Perhaps she's waiting, biding her time, suggests Sam. For what? asks Roger. I wouldn't know, replies Sam, unless...oh, someone wants her to torture you a little before she makes her big announcement. What are you getting at? demands Roger. She's staying at the Collinsport Inn, registered under her maiden name, says Sam--you know who else stays there. You think Devlin brought her here? asks Roger, upset. Wouldn't it be logical for him to try to get the truth out of her? asks Sam--he's tried everything else. He wouldn't know how to get in touch with her, insists Roger, she left no forwarding address at the sanitarium, I saw to that. You underestimate Burke, says Sam, if you wanted to find out something, he could find out exactly where she was--if he needed to, and he does in this case. That much is true, Roger agrees. She's been asking questions about you and Burke, from Maggie, reports Sam--she's been going for the last couple of mornings down to the coffee shop--they're getting quite chummy. What did she ask your daughter? Roger asks. General questions about the family, says Sam. Is that all? Roger asks. Yeah, says Sam, I tried to get Maggie to find out more about her, but she said she couldn't--all Laura said is that it would be a shock to her family if she made an appearance. Roger makes a choking sound. Shock, he says, that's hardly the word--he rises and walks away from the table. Sam joins him. Why did she have to come back? asks Roger bitterly. I know she felt guilty about the accident, says Sam--during all those years she was married to you--wasn't that when she started drinking?--isn't that the reason she landed in an institution? What of it? asks Roger angrily. Laura may have come back to ease her conscience and get revenge for all those unhappy years, says Sam, and in the process, hang me--unless...she knew I saw the accident. I have already answered that question--I don't know! says Roger. She must have said something about it one way or another, insists Sam. She did not, says Roger firmly. In all those years you were married? asks Sam. We tried to avoid discussing the accident as little as possible, says Roger, neither one of us wanted to bring it up--I don't know what she remember of that night or what was said afterwards. He sits back down at the table, as does Sam, who says, if she doesn't know if I was involved in that, you wouldn't tell me, would you?--no, you'd like to see me squirm, wouldn't you?--you ARE sadistic! Roger gives him a look of hatred. I never pretended to have any liking for you, he tells Sam, but you can take it from me that I am telling you the truth--Laura may know that I paid for my silence, or she may not. Yeah, well I suppose I have to believe you on it, says Sam, taking another slug of his drink, I have no choice. I don't care whether you believe or not, says Roger, snatching his hat off the table
--it doesn't make the slightest bit of difference to me! Sam rises at the same time as Roger and gets in his face--where are you going? Home, says Roger. What are you going to do about Laura? Demands Sam. I don't know yet, I'll have to think, says Roger. You'd better think, agrees Sam, and just don't spend any time on gentle contemplation--you'd better decide what you're going to do about Laura and do it fast! Roger gives Sam another look, then leaves. Sam returns his glass to the bar, asking for another.
Evans cottage - Maggie and Joe enter, and she invites him in for a nightcap. If you think you can stand the company, he says. I'll bear up, she assures him, laughing. I didn't know, says Joe, you were pretty quiet on the way back up here, I thought it might have something to do with the company you were keeping. They removes their coats. The company's fine, Maggie assures him, offering Joe some of Pop's brandy or something else. OK, says Joe. OK to the brandy? she asks, pouring. OK to the brandy and OK I'm not going to ask you any questions, he says--I know something is bothering you, but I gather you don't want to talk about it. It's not that I don't want to talk about it, she says, handing him a brandy and keeping one for herself--I just don't think it's going to help. She holds up her glass in a silent toast, and he responds. Why don't you try it? suggests Joe. They sit down. It's Pop, says Maggie--some woman's got him in a flap and I don't understand why. A woman, says Joe, that sounds intriguing--who is she? Just some woman who came into the coffee shop one day, says Maggie--you saw her, do you remember, you said she looked familiar. So many women stop by that coffee shop, says Joe, I don't think I can remember a particular one. I mentioned her name to Pop, and it seemed to strike a bell, says Maggie--he started asking questions about her. Do you know anything about her? asks Joe. Not very much, says Maggie--we have passed the time of day once or twice--I know that she lived in Phoenix, and I know she's originally from Collinsport, and that she had some family here--and that she had some connection with Pop. Ho do you know that? asks Joe. Because of the questions he's been asking, says Maggie--tonight he asked me to pump her to find out who she is and what she's doing here. Maybe she's just an old friend he's naturally curious about, suggests Joe. No, it's more than that, says Maggie--if she were just a friend, Pop wouldn't be so anxious for me to get information out of her--he knows that she's staying at the hotel--he could just go up to her room and asks these questions himself--I think he's afraid of her--that's the way he acts, afraid to face her, afraid she might harm him in some way--I know it sounds strange, it does to me, too, but whoever she is, she's terribly important to Pop. What's this woman like? asks Joe. Pleasant, quiet, says Maggie, and a little odd--I can't put my finger on it, but there's something just a little offbeat about her. You know what I think? asks Joe--I think you're blowing up your father's interest in this woman all out of proportion. Maybe, says Maggie, but Pop acts strangely every time the subject of this woman comes up. Maybe he doesn't want you to know about her, says Joe. But why? asks Maggie, if he's got nothing to hide. Maybe she was once one of his models, and they had something going, says Joe--he just didn't want to tell you, he's tool embarrassed. I hope it's something as simple as that, says Maggie. I bet it is, says Joe--I bet you're making a deep, dark mystery out of nothing. I hope so, says Maggie--I just know that I don't like the way he's behaving--I'm worried about him--terribly worried. (So what else is new?)
Roger returns to Collinwood and removes his coat and puts it on the table. He wanders into the drawing room and looks at the phone, then goes over to it and dials, then thinks about it, and hangs up. He gazes at the booze and pours himself a drink, quaffing deeply. Liz comes in and he asks her what she's doing up. I'm about to go to bed, she says, a book in her arms, where did you disappear to? I went down to the Blue Whale, says Roger. Why, I thought you detested it, says Liz. I do, he says, Sam Evans called me, asked me to meet him down here--if it hadn't been Evans, it would have been somebody else. What did he want? asks Liz. He had a rather startling announcement to make, says Roger--I'd better pour you a brandy before I tell you--you might need it. I don't want a brandy, says Liz, annoyed, please get to the point! In a minute, he says, you'll wish you had one--Evans said we're going to have a visitor--someone that neither you nor I ever expected to see again
--Laura is back. This news stuns Liz.
What's she doing in Collinsport? Liz asks Roger. That, my dear sister, is the jackpot question, says Roger. Where did Sam see her? asks Liz. In the lobby at the Collinsport Inn, says Roger, apparently she's staying there. Is he sure is was Laura? Asks Liz. He said he is, replies Roger. Maybe he's mistaken, says Liz. There's one way of easily finding out, says Roger, Evans said she was registered under her maiden name. He dials the phone and asks if a Laura Murdoch is registered there--she is?--no, don't bother ringing her room now--I'll call her in the morning. He hangs up. Liz sinks down onto the sofa and says, "Sam was right." Yes, says Roger, I had a feeling he would be. What could she want? wonders Liz. I don't know, says Roger, there are several possibilities--money's one of them. She gets a generous check every month, says Liz. Maybe she's decided it's not generous enough, says Roger. What she gets is ample for her needs, says Liz. Maybe it's not money at all, says Roger--after the left the sanitarium, she didn't make too many financial demands on the family. Do you think she wants to see David? asks Liz, consternation on her face. I suppose that's a possibility, says Roger. I'd rather she didn't, says Liz, we don't know how sound she is. If all she wants is to see him, says Roger, let her see the boy--what difference would it make? Liz rises from the sofa. You may not love your own son, she says, but I do--Laura was a very sick woman--seeing her might have a very bad effect on David--I won't allow it! All right, he says, if she contacts us, tell her so. Why don't you tell her yourself? asks Liz. Perhaps I will, says Roger. you're afraid of Laura, aren't you? asks Liz. Afraid of my own wife? asks Roger. Yes, you always have been, I've always sensed it, says Liz. Why should I be afraid of Laura? He asks her. That's what I'd like to know, says Liz. You're not making any sense, says Roger, irritated. You had a chance to talk to her just now, says Liz--why didn't you? Because it was too late, says Roger, because... Because why? asks Liz. It might be better for her to contact me first, says Roger. Better in what way? asks Liz. Maybe she doesn't even want to see me! says Roger. Why did she come back? asks Liz. I don't know--stop hammering at me with a million questions! insists Roger, I know as much as you do. David is my concern, says Liz, and I don't care if Laura is his mother--I won't allow her to upset and disrupt his life. There's nothing we can do about it now, let's talk about it in the morning, advises Roger. But I don't think either one of us is going to get much sleep, predicts Liz. Roger watches her walk upstairs. He turns off the lamps in the drawing room, sighs, and heads upstairs himself.
Joe and Maggie at sitting cozily together on the sofa now. Tell me more about your boat, she asks. I have a feeling your mind isn't on boats, says Joe, it's on your father and his mysterious lady friends.
I'm trying not to think about it, she says--you're probably right, I'm probably just being silly. Sam returns home. Hi, Pop! Maggie greets him. You two still up and about? asks Sam, tossing his hat onto his work table. I guess I'd better be heading home, says Joe, standing. Maggie walks him to the door and thanks him for the life. Anytime, Joe assures her. Sam pours another drink. Don't you think you've had enough? Maggie asks him, concerned. Enough, what's that? asks Sam. Joe puts on his jacket. You need some help with him? asks Joe. No, says Maggie, I can manage him, I've had enough practice. (How sad.) I'll see you in the morning, says Joe. Same time, same place, same coffee, teases Maggie. He chucks her under the chin and bids both her and Sam good night. Maggie turns to her father. Come on, Pop, sits down, she says, take your shoes off. I'm not going to bed, he says, swaying, I've got to work. He rubs his face distractedly. Work at this hour, in your condition? She asks. Yeah, I've got an idea for a painting, says Sam, I've got to get it on canvas before it gets out of my head. You can hardly stand up, she tells him. Stop nagging me! says Sam, I've got to paint! He goes to his easel and looks at the canvas. You're not only loaded, you're out of your mind, says Maggie. Quiet! he orders, waving her away--I'm thinking!--I've got to get it on canvas. I give up, she says--I'll see you in the morning--if you can see in the morning. (More irony) Good night, says Maggie, and retires to her room. Sam lights a cigarette, but before the match makes contact, he gazes, enraptured, at the lit match, then blows it out.
(The music I always associated with Angelique is playing as) Sam begins to draw, sweeping motions on the canvas.
I see--all right, thank you, says Roger into the phone in the Collinwood drawing room. She's not there? asks Liz. She's gone out, says Roger. This early? Asks Liz, drinking coffee. The clerk said she left about an hour ago, says Roger--that's not like Laura--she used to sleep until noon. Did she leave word where she could be reached? Asks Liz. Apparently not, says Roger, sitting in a chair. You could have left a message for her to call you, says Liz. I'm not in that big a rush to see my dear wife, says Roger--in fact, I'd rather not see her at all. Liz looms solemn. I want to see her, she says, I want to know what's on her mind. I have a feeling you might not have to wait very long, says Roger, Laura was always very unpredictable, she would arrive someplace unannounced, for all we know, she might be on her way here now. Liz sits on the sofa, pondering the possibilities.
Maggie, in her waitress uniform, awakens Sam, who is sleeping on the sofa. She finds an empty booze bottle in his hand and takes it. Pop, she says, but he turns over and tells her to go away. Come on, wake up, she demands. No, just let me sleep a little while longer, he insists. No, I've got to go to work, she says, and I'm not going to leave you in this condition--now get some coffee in you. He reluctantly sits up on the sofa. Coffee, who needs that stuff? he asks. (sacrilege!) You do, she says. He rubs his eyes and asks if it's morning yet. You'd know if you opened your eyes, she says. I never want to open them again! he says, rubbing his temples. You deserve that hangover--you were impossible last night, she says. He stretches and says, "I hope I had a good time." She takes the glasses she and Joe used and stands in front of the easel. Hey, what's this? she asks--I've never seen this before-is this the painting you started last night? This brings Sam to full, open-eyed consciousness. He asks if he was painting last night. Don't you remember? asks Maggie. No, he says. You were determined to paint last night, she says, I couldn't talk you out of it--this must be what you started--doesn't look like your style, though, I've never seen you paint like this before. Sam looks perturbed. Let's see it, he says, and stands beside her. Now do you remember it? asks Maggie. No, says Sam. It looks like a woman standing in fire, remarks Maggie. I don't like it, says Sam, turning away from the painting. There's something about this painting that gives me the creeps, says Maggie--such wild colors, and what a subject for a painting--a woman in flames--Pop, I can't imagine what was going on in your head. Sam rubs his throat and asks for the coffee. OK, she says, and goes to get some. Sam looks at the painting, removing it from the easel.
We see it for the first time--what appears to be an abstract of a woman, arms upraised, burning in fire!
NOTES: Now Sam becomes entranced by a match flame, as Laura was in a previous ep. Why? What compelled him to paint that creepy picture, despite being drunk and barely able to stand? Fire, matches, birds rising from their own ashes. Pattern or coincidence?
Liz says Roger is afraid of his own wife. Is that true? If so, why? They apparently had a bad marriage, with a wavering foundation built on pay-off and secrets. Somehow, I sense there will be a battle between Liz and Laura for David. We already know how much David adores his mother, it's been mentioned several times, and one of the main reasons David wanted to get rid of Vicki was because he feared she was there to take his mother's place, and Laura would never come back. I also recall how much Burke's face softened when he saw Laura's photo. How much of a torch is he still carrying for the woman who betrayed him?
The beginning of this storyline is a sharp contrast from the ending of the Matthew storyline, and I'm finding this rather dull. We're once again back to endless scenes of people talking, which makes Robservising a tough go. Every new story has to start somewhere, though. I know that.
It was nice to see Maggie and Joe connecting with such enjoyment. He's already offering to help her with Sam, being so kind and sweet about it. They make such a nice couple.
Episode #130 - During the time I've been at Collinwood, there is one name that is seldom spoken--and when it is, the voices are hushed. But now the name is being spoken again, and the voices are filled with uncertainty.
Roger exits the kitchen, checks his watch, and picks up the foyer phone. On the landing, Mrs. Johnson overhears him ask for Laura Murdoch's room. She dusts the banister upstairs and listen as he is told that there is no answer or message--I'll call later, thank you. He goes into the drawing room and she comes downstairs and listens outside the drawing room as roger tells Liz she still doesn't answer. She must still be out, says Liz. Unless she's in her room and just won't answer the phone, says Roger. Why would she do that? asks Liz.
How do I know what she'd do? asks Roger impatiently--she was out of her mind the last time I saw her, and still might be, for all I know. Somehow I don't think so, says Liz, she's been out of the sanitarium quite a while--I think she might be all right now. It disturbs me she's at the Collinsport Inn, says Roger--because Burke Devlin's there. Yes, says Liz, that would be an unfortunate meeting. I wonder if he found her and brought her back here? asks Roger. Anything is possible, says Liz, but he usually announces his triumphs. I don't want to, but I'd better see her, says Roger--that is, if she'll see me. If she came back here of her own free will, I'm sure it's because she wanted to see us, says Liz--her own family has moved away, I'm sure she has something to say to us. Yes, says Roger sarcastically, but what is it? He closes the double doors, and Sarah dusts one of the foyer tables, then rushes into the kitchen.
Sarah joins Burke in his hotel room. What brings you here, Mrs. Johnson? He asks. Something I know will interest you, she says. I have many interests, he says. This is something that's got them pretty nervous up there at Collinwood, she reveals. I don't blame them, he says, I'm putting the economic squeeze on their fishing cannery. That's not what's got them nervous, says Sarah, nothing like that at all--maybe you know about it already--they seem to think you had something to do with it. With what? he asks, No, I don't guess you do, she says, well you're going to be as surprised as Roger Collins was when he found out who came to town. Who are you talking about? asks Burke. Laura Collins, she says. He's silent.
She repeats the news. I heard, he says. You're speechless, she notes. Oh yes, he says, yes, you've knocked the wind out of me. I thought it might, she says. When she did come back? asks Burke, rising from the sofa and walking around the room. I don't know, I must have been yesterday or the day before, says Sarah, I just heard them mention if this morning, and I heard everything. Why did she come back? wonders Burke. That's what they'd like to know, says Sarah--they think you might have brought her back. I tried, he says, a few years ago, but she was in a sanitarium, and they said her progress wasn't considered very hopeful. They don't even know that she might be the same way as when she went in there, says Sarah. Roger actually thought I had something to do with bringing her back? asks Burke. That's right, says Sarah. Burke thinks that over. Laura Collins, he says--Laura--have they seen her yet? I know they haven't talked to her, says Sarah, that's why they don't know what she wants--but they want to get to her before you do. Do they know where she is?--where is she, do you know? he asks. In a place that's very convenient for you. Here, he guess. Right, she says. He goes to the phone eagerly and reaches Mr. Wells--is a Laura Collins registered here? he asks. She's not registered, says Burke to Sarah, who remembers and tells him that she's registered under her maiden name. Murdoch, remembers Burke, and asks for Laura Murdoch--what's the room number?--yes, thank you, no, don't bother to ring. Burke hangs up. This could be the best break I've had, he says, Laura's the key--my troubles started with her and will end with her--Mrs. Johnson, you have made my day for me. I was just doing my job, she says proudly. You're a genius, he says--you'll find a little something extra in your paycheck. (She gets from the Collins and Burke--nice little scam.) Thank you, says Sarah, now what is it that happens next? I'm going to visit an old acquaintance, says Burke.
We see the front door of room 31. Burke knocks insistently, but there is no answer. Frustrated, he goes away.
David plays on a swing in front of the Old House. Laura watches him, hidden in the tress. David, obviously, swings higher and higher.
Sarah turns down David's bed. I'm not tired, he complains. He's wearing pajamas. You were yawning all through supper, she reminds him. That's 'cause I didn't like supper, he says. You don't like my cooking? She asks. You never cook anything that I like, he says. I'm going to have to speak to your father about your eating habits, she says. Wouldn't do any good, says David, shrugging, he doesn't care what I eat. Well, she says, that may change now, and you might be getting the discipline you've been needing all these years. What do you mean? he asks. You'll see, she replies, now get into bed. What do you mean? he asks again--discipline? She tucks him in. You'll be getting into line, she says--put your head down. You don't have to cover me up, he protests, I can do it myself. Maybe somebody else will be doing that soon, she says. Who? he asks. You'll see, now close your eyes, she says. Listen to that wind! She says, noticing the window is open. She goes to close it, but David stops her--I like listening to the wind, he says. You'll catch pneumonia with this open, she says, closing it, oooh, that wind doesn't sound like wind, it doesn't sound like anything earthly. She picks up something from the floor. I had a funny feeling today, he says, leaning up on one arm--I felt like someone was watching me. Somebody should watch you, she says. I thought I saw a lady, standing behind a bush, he says. One of the widows, maybe? she asks. No, she was different, he says. You're always seeing things and telling stories, she says--now close your eyes and go to sleep. She turns off his light and leaves his room. David sits up and climbs out of bed. He stands on a chair and re-opens his window, allowing the sound of the wind back into his room. Then he slips back under the covers and seems contented.
Sarah, coming downstairs, overhears Roger on the phone--she still doesn't answer? No, no message, thank you. Is David asleep? Roger asks Sarah. I put him to bed and turned the lights out, she says, the rest is up to him. Thank you, he says, and goes into the drawing room. Did you reach her? asks Liz, who is standing in front of the fireplace. No, she's not been in all day, says Roger. Could she be with friends? questions Liz. She didn't have that many friends, says Roger, close ones, I mean, the only person she could be with is Burke Devlin. What are you going to do about Roger? asks Liz, are you going to tell him about his mother? I suppose she'll want to see him, says Roger, she could have that right. It might be a bad experience for him, says Liz. Not necessarily, he's almost forgotten her, says Roger. No he hasn't, says Liz, every once in a while he asks me a question about her. Oh, why did she have to come back now? frets Roger. I don't know, says Liz, but I think we must prepare David for whatever might happen. Roger looks unhappy.
David can't seem to get to sleep, changing position every few seconds. Sarah answers a knock at the door--it's Laura, leaves blowing around her.
Come in, please, says Sarah. Thank you, says Laura. It's a terrible wind blowing out there, remarks Sarah. Yes it is, agrees Laura, looking around. I haven't seen you for many years,--Mrs. Collins, says Sarah. Yes, it's been a long time, says Laura. I thought I heard... says Roger, then finds himself face to face with Laura.
He's speechless for a few seconds, then says, "Hello, Laura." Hello, Roger, she says. Thank you, Mrs. Johnson, that will be all for now, says Roger, dismissing Sarah, who goes into the kitchen. I didn't expect you, Roger tells Laura--you should have let me know you were coming. I felt it might be better this way, she says. I must say, you look very well, praises Roger. Thank you, she says, but I'm hardly at my best--how's David? He's about that tall, says Roger, indicating height with his hand--has your coloring--he's asleep now. I'm very anxious to see him, she says. Yes, says Roger noncommittally. I suppose you never expected to see me again, did you? she asks him. I don't know, not really, I suppose. I never expected to come back, she says--Collinwood hasn't changed. Nor have the people in it, he says--we're just the same as we were. Perhaps a bit mellower? She suggests. I never was the mellowing kind, he says--but I mustn't keep you waiting, come in here, Liz is in here. Thank you, says Laura, I look forward to seeing her. Liz, we have a surprise visitor Roger tells his sister, ushering Laura into the drawing room. Laura, says Liz. Hello, Liz, says Laura. Liz holds out her hands and Laura takes them. It's very good to see you, says Laura. Good to see you, too, says Liz, with sincerity--you're looking very well. I suppose so, compared to the last time you saw me, says Laura. Come over here and sit by the fire, invites Liz. Laura thanks her and sits on the fireplace seat, staring into the flames.
David continues to toss and turn, moaning.
I've always loved this fireplace, says Laura. It's always been one of my favorites, agrees Liz--I have it going almost constantly. Let me get you a drink, offers Roger. Thank you, she says, for the record, I no longer drink--I know you'll be pleased to hear that. Roger and Liz exchange significant looks. How do you feel? Liz asks her. Stronger now than ever before, says Laura. What have you been doing? asks Liz. Moving about mostly, since my release from the sanitarium, says Laura, I've finally found a place to settle down. Where? asks Roger. Out west, says Laura. Do you plan to live there permanently? Asks Liz. You mean you're asking me if I plan to come back here to live, says Laura.
It had entered my mind, says Liz. Breathe easily, says Laura, I plan to go back out west. I didn't mean it that way, says Liz. You had every right to, says Laura--I made things very difficult for myself and everyone else while I was here, and I have deep regrets about it--what occurred between us is now part of the past, and I certainly have no intentions of wallowing in it. I'm glad of that, says Roger. Time has been very good to me in many ways, in spite of everything, says Laura, the analysis that I went through at the sanitarium was very important to me--helped me to find a new direction--and when I left there, I spent more time thinking about what it was I wanted--and I finally found out. What is it? asks Roger. David, she replies.
In his room, David calls, "Mother...Mother...", still unable to fall asleep.
When you say you want David, what do you mean? Roger asks his wife. I mean I found the one element of my life that was missing, she says, one that everyone needs--love--David can give me that. Are you saying that you love David and want his love in return? Asks Liz. Exactly, says Laura. How do you expect to acquire it? asks Roger--you're only a vague memory to him. Surely he's asked about me, says Laura anxiously. Of course he has, says Liz. But he doesn't expect to see you ever, says Roger. Why not asks Laura. Because your case was considered to be...so hopeless, says Roger. Now that you've see me, says Laura, do I still seem to be so hopeless? I don't know, he says. Come now, she says. Let's be straightforward, says Roger. Oh yes, we must, she says, rising to her feet--now more than ever. Where do we stand exactly? Asks Roger. More important, she says, where are we going? All right, legally, he says, we are still man and wife, if you will, and I am still responsible for you. I have no desire whatsoever to continue our marriage, she says, I won't oppose a divorce--I feel we should both be free to face the future squarely. What is it that you want? he asks. I want complete custody of David, replies Laura, looking at Liz.
Upstairs, David continues to murmur, "Mother...Mother!"
What do you mean? asks Liz. I mean I want to live with him permanently, says Laura. You want to take him away from here? asks Liz. Yes, answers Laura. Is that all you want, just to take him with you, asks Roger--you have no other terms? None, Laura says--I have a very good place to live with very good people--I can provide everything for him. I see, says roger. David, of course, says Liz, is in line for a sizable inheritance. Whatever is due him is his alone, Laura assures her, I want nothing, except his love. Are you sure you can get this from him? asks Roger. Laura rises and looks Roger in the face. I have to get it from him, she says--I will--and I desperately need this opportunity. He's not the kind of child that you might imagine, says Roger. He's my child, says Laura, and that's all I need--Roger, do you want him more than I do? What you're saying is, says Roger, you want to take him from me. Well? she asks. Liz watches them. I don't know, says Roger. Liz stands. I think we must all take the time to think this over, she says. I've taken the time, says Laura, I know what I want, I know where I stand and I think I've stated it--and I know what I need. The choice must be David's, says Liz. It has to be, agrees Laura--well, I'll be at the Inn--please call me just as soon as you've talked. I will, of course, says Roger. Walking through the foyer, Laura says oh--I wonder if I might look in on David--I know he's sleeping. I think that had better wait, says Liz. Oh, says Laura, well, perhaps you're right, I don't want to wake him--I'll wait for your call, Roger. I'll see you out, says Roger, leading her to the door. Laura bids Liz goodbye.
David sits up in bed as the wind howls through his room. He climbs out of bed.
Roger closes the door after Laura. He is deep in thought as he returns to the drawing room and asks Liz what she makes of this. She certainly has changed, says Liz. Do you believe her? asks Roger. I don't know, says Liz, I don't know what to believe. She sits on the sofa.
David walks across the landing and down the stairs, slowly, as if sleepwalking. Roger spots him and asks what he's doing up--get back in bed, he orders, you'll catch cold. David looks at him, mute. David! cries Roger. David doesn't reply. The front doors abruptly blow open and David runs out. Mother, Mother, Mother! he calls.
Roger grabs him into his arms and pulls him back. Liz comes over to help. Roger tells her he was trying to run out of the house, and she helps him pull David back. What is it? demands Roger, shaking David awake. "Bad dream--I had a bad dream," mutters David. It's over now, soothes Liz. My mother was there, says David, calling me, here! Liz helps David back into the foyer as a perturbed Roger closes the double doors.
NOTES: It appears that we have an interesting little domestic crisis here. Laura wants David to live with her, as most mothers would. Since David has proven so troublesome for him for so long, it seems likely that Roger would be glad to let the boy go to live with his mother. Liz, on the other hand, will never agree to it, and this is going to cause more conflict between Roger and Liz.
Upon learning that Laura is back in town, Burke was desperate to find her and grill her about the manslaughter conviction. We know there are going to be fireworks between these two, especially since she apparently dumped the then-poor Burke for the rich Roger. Burke's voice takes on a special tone when he says Laura's name--does he still love her, or does he just want to use her?
Laura seems normal, but she does have a bit of a preoccupation with fire.
Loved Mrs. Johnson's spying/running to Burke to spill the beans. They're a hoot together. She was so proud of her spying, and he's giving her a bonus for being so good at it! I did enjoy watching her put David to bed; she seemed so motherly, but her hints about him now getting disciplined were out of line; she had no right to say anything to him about it. She does seem fond of him, though.
David couldn't sleep, and seemed to sense his mother's presence even though he didn't actually see her, both at the Old House when he was on the swing, and in bed while trying to sleep. Does Laura have loving intentions toward her child?
Love, Robin
