Episode #152 - A little boy has had a change of heart at Collinwood--it is a change that affects many other people--in particular, one woman, who feels her own security, indeed, her whole way of living, is threatened by this change.
Vicki finds Liz pacing in front of the fireplace. You wanted to see me? asks Vicki. Yes, I'm very upset, says Liz--David's mother visited him in his room last night. It must have been after I left, says Vicki. I guess you should have stayed with him longer, says Liz. He was very upset about losing his painting, says Vicki, I thought it best to leave him alone so he could get over it by himself--as far as I know, though, nobody went into his room. Obviously she did, says Liz, and I don't like it a bit. I'm very sorry, says Vicki, but to be quite honest, even if I had seen her go in, I wouldn't have stopped her--she is David's mother. Now will you please stop her, commands Liz. Stop her from seeing David? asks Vicki. I've told Mrs. Collins I don't want her to see David again, says Liz--maybe in a few months, but not now. What if she wants to see David? asks Vicki--how can I prevent it? You'll have to do something, insists Liz, make up an excuse--if you can't think of anything, refer to me
--but you must stop David's mother from seeing him again! (very unfair to Vicki to put her in this position.)
Laura sits in her usual spot, staring into the fire. Frank Garner tops by and introduces himself to her, explaining that he's the attorney who will be representing Roger in their divorce action. How do you do? she asks. He wants to have a few words about it with her, and she invites him in to sit down. He takes off his coat and loaves it on the sofa. They sit down. What is it you wanted to ask me? she queries. I wondered who was representing you, he says--lawyers dealing with lawyers make faster headway--we speak the same language. Frankly, I hadn't given it much thought, she says. You'd better, if you want to move this thing along quickly, advises Frank. I do want it to, you have no idea how much, she says--do we have to go through all this rigmarole?--I mean, can't you just handle the whole thing for both of us? That might be awkward, he says. I don't see why, says Laura. I represent the Collinses, he says, my first allegiance would have to be to them. Of course, she says, but I don't see what that has to do with it. Surely you'll want to settle it, he says--as their attorney, it's my job to see that it's kept within reason--if I were to act for you, I'd have to get as much as possible--so you can see there would be a conflict of interest. No there wouldn't, she says, for the simple reason that I don't want any of their property, or a single penny. (why?) This surprises Frank. Oh, what would you live on? he asks. I have my own resources, she says evasively. Off the record, says Frank, it would be extremely foolish not to ask for something. But I am asking for something, she says, I'm asking for the only thing they have that I want--my son. I'm afraid it's not as simple as that, says Frank. Why not? asks Laura--I want David, Roger has agreed to it, I don't see anything complicated about that. What about the boy's interests? asks Frank. Oh, he'll be taken care of, Laura assures him--where I plan to take him, he'll have no need for anything the Collins family could give him. (why?) You're forgetting that David is potentially a very wealthy young man, points out Frank--you can't ignore a fortune that's rightfully his. Would it help if I signed something guaranteeing not to touch any of his money, to keep it all in trust for him until he comes of age? Asks Laura. Certainly, says Frank, as far as the Collins family is concerned, that would clear up all the financial problems. Draw it up, I'll sign it, says Laura. It means that you'll be totally responsible for the boy's care, he says. I assure you, I am delighted with that responsibility, she says--I want only my son. Very well, says Frank, I'll take care of the whole matter--when the time comes to go to court, I'll find somebody to stand up for you--it will only be a formality. (ka-ching for two lawyers.) I'm very grateful to you, she says. There's one other matter I feel obliged to discuss with you, says Frank--it's about that woman who burned to death in the fire in your apartment in Phoenix. What about her? asks Laura. The police have been asking all kind of questions, he says. Yes, they've asked me a lot of questions, too, she says, I've answered to the best of my ability, but I don't know anything about it, or how she got into my apartment--I'm really as baffled as they are. They've been bandying about some rather unpleasant innuendoes, he says, such as murder. That's absolutely ridiculous, she says. There may be an investigation, he says, in which case you would have to go back to Phoenix to testify. Impossible, she says. I'm afraid it's all too possible if the law insists, says Frank, but you don't have anything to fear, unless of course you're hiding some information. Of course I'm not, she says, it's just that I've got to get everything settled here first, there's nothing the law can do to me--the only thing that can harm me is if I don't get my son. (one track mind--not money or anything else is important to her.) I'll do everything I can to expedite matters, promises Frank. That's very kind of you, she says. I'll go back to the office now and start things in motion, he says. If you could do everything to see that I get David as soon as possible, she says, I'll be in your debt eternally--goodbye.
He bids her goodbye and leaves. She sits by the fire, looking as if she intends to harm someone.
Laura holds her hand up in front of the fire. Vicki stops by. What a nice surprise, says Laura--you're just in time for tea. Thank you, says Vicki. Come in and make yourself comfortable while I fix things, says Laura. Was that Frank Garner I saw driving away from here? asks Vicki, taking off her coat. Yes, he just stopped by, says Laura. I called to him, says Vicki, but he seemed too deep in thought to answer me. I guess I gave him quite a bit to think about, says Laura--about my divorce--is he your young man? I'd hardly say that, says Vicki, uncomfortable. Would you like him to be? asks Laura. I haven't really thought about it, one way or the other, says Vicki. Laura smiles. Oh, Vicki, when a nice young man comes along, everybody thinks about it one way or the other, she says. I didn't come here to discuss me, says Vicki. Very well, I can take a hint--why did you come? asks Laura. It's about David, says Vicki. He's all right, isn't he? asks Laura. He's fine, says Vicki, but Mrs. Collins (Stoddard) is very angry at you for going to see him last night when she told you not to. Surely I have that right--I'm his mother, says Laura. She feels that as long as he's under her roof, that's for her to decide, says Vicki. He doesn't belong to her, he belongs to me, insists Laura. That hasn't been settled yet, says Vicki. It will be soon, says Laura. In the meantime, says Vicki, she's asked me to make sure that you don't see him again. And will you do it? asks Laura. It's my job, says Vicki evenly. Laura sits beside her. I know you don't like me very much, begins Laura. That isn't true, says Vicki. Then why is it that you wouldn't help me to see David the last time I asked you? inquires Laura. It wasn't because I didn't like you, says Vicki--I don't know if I can explain it. Please try, asks Laura. It's a feeling, says Vicki--something tells me David's in danger--I don't know why it is or where it comes from, I'm just sure David is in danger. You're a sensible girl, says Laura--even if David were in danger, is it likely it would be from me, his own mother? (you betcha.) No, of course not, says Vicki, but so many strange things have happened since you came back to Collinsport--for one thing, Sam Evans being compelled to paint these strange paintings, all of them of you. Is it my fault that he has a fixation about me? asks Laura--believe me, I haven't done anything to encourage that. But they're always on the same subject as David's dream, says Vicki--you in fire. But I know nothing about the paintings, insists Laura--I know nothing about David's dreams until they started--can you be sure that Roger didn't tell Sam about David's dreams when they were down at that Blue Whale, having one too many? Perhaps, says Vicki, but what about the way David was affected by that painting? Do I have to remind you who brought that painting into the house? asks Laura. No, says Vicki, I've told you I don't know why I did it and that I was compelled to. Not by me, says Laura, I asked you to get rid of it--it was far from flattering, I hated the thing. How do you explain that David's face came into that painting? asks Vicki. There was an artist in the house--Sam Evans, points out Laura. He was much too badly burned to paint anything, says Vicki. How do you know that, he might have been faking? asks Laura. Why do you say that? asks Vicki. I don't know, says Laura, but his behavior has been. . .well, you'd hardly call it rational. But that fire at his house, says Vicki. I was no where near his house, says Laura--a local drunk comes home, goes to sleep with a cigarette in his hand, sets himself on fire--is that my fault? (yes) I suppose not, says Vicki. You see, says Laura, there really is a logical explanation for all these so-called strange happenings since my arrival. Yes, but the fact remains that I've been ordered to keep you away from David, says Vicki--I've come here to ask you to help me. Why? asks Laura. Because David will be the one who suffers if there is an unpleasant situation, says Vicki. But this whole thing is an unpleasant situation to me, says Laura, and very painful. Will you help me? asks Vicki. Laura evades the question by saying the water must be burning. She suddenly sticks her hand into the fire. Look out, you'll burn yourself! warns Vicki. Laura draws back quickly. Oh, no, she says...well, you're right, of course, I must be more careful.
She rubs her unharmed hand. Vicki gazes at her oddly.
There's an awkward pause as the women sit down. I would have thought that you of all people would be on my side, says Laura. What do you mean? asks Vicki. I mean I thought you knew what it was like to be without a mother, says Laura. Vicki looks guilty, but keeps it under control. Yes I do, she says. Then how can you possibly let them do the same thing to David they did to you? asks Laura. It isn't the same, says Vicki, he has a family. A family, yes, but not a mother, says Laura--what kind of family is it--Roger, hardly what I would call a devoted father--Liz, who is much too busy running the estate and business, and Carolyn, who can't see beyond her own problems--aside from you, he has no one in the world but me. That isn't true, says Vicki . Think of David, says Laura, even if they take him away from me, do you want him to go through life without the memory of a mother's love, without knowing he was the most important thing in the world to me? Of course I don't, says Vicki. Then help me! begs Laura. I can't, says Vicki--I can't go against Mrs. Stoddard. I just need to see him a few more times, says Laura--is that so much to ask? No, it isn't, says Vicki, but I can't do that. A few more times, accidental meetings, pleads Laura, no one need ever know that we planned them! I'm sorry, says Vicki, Mrs. Stoddard has been so kind to me, but I can't go against her. Why not, asks Laura, I don't understand it--you would rather go against David and me then, even though we need your help more. It isn't a question of that, insists Vicki. What is it, then? asks Laura. It's...I don't know, says Vicki, I have to think it over--Vicki grabs her coat and hurriedly leaves. Laura, exasperated, closes the door and stands there, contemplating her next move. (Laura is a consummate actress, and knows how to push all Vicki's buttons. Pulling the "no mother" card is a stroke of genius.)
Drawing room, Collinwood - What do you mean, you can't do it? asks Liz. I simply can't, says Vicki, she's David's mother. Please don't try to judge what's best for David, says Liz. I'm not trying to judge, says Vicki, I'm just saying I can't do what you've asked me to do. I'm surprised, says Liz, I thought I could rely on you. I'm sorry, says Vicki, but I can't bring myself to keep a mother from her son--maybe it sounds silly, but when you haven't had a mother of your own... You must stop seeing David and looking at yourself, says Liz--David has a family, he knows who and what he is. (ouch) I realize that, says Vicki, but if you could have seen and heard Mrs. Collins. I've already seen and heard her, says Liz, and I'm not impressed. She loves him so much, says Vicki. I've never questioned that, says Liz--the question is, does he need her?--I don't think so--she upsets him very much--she's had her chance and didn't know what to do with it--perhaps sometime in the future, she can come back and try again. I feel so sorry for her, says Vicki. No amount of argument is going to change my mind, says Liz. I can see that, says Vicki. Then you are to keep Mrs. Collins from David, says Liz--is that clear? Vicki nods reluctantly. Good, says Liz--now run upstairs and see what David is up to--and remember, under no circumstances is David to see his mother. Upset, Vicki nods again, rushing past Roger with a hurried, "Excuse me." What was that all about? asks Roger. We were just clearing the air, says Liz. Why is it that whenever you clear the air, I'm always reminded of Lucretia Borgia? asks Roger. (LOL!) Please, Roger, I'm in no mood for your jokes, says Liz, as someone knocks at the door. Who's joking? asks Roger--I'll get the door, sister dear. It's Frank, who tells Roger, "I've just seen your wife." Bully for you, remarks Roger. (Rog is in a mood tonight.) Liz sits at the desk and greets Frank when he and Roger come in. I just told Roger I was speaking to Mrs. Collins about the divorce, says Frank. Was she being difficult? asks Liz. Quite the contrary, says Frank, she wants nothing in the way of a settlement, makes no claim on the Collins estate--all she wants is her son. If that's all she wants, she can have him, says Roger. (Another great father moment.) David is the one thing she cannot have! says Liz. I'll decide that, says Roger--I may not have accomplished very much in my life, but I am David's father. We'll discuss it later, says Liz. There's nothing to discuss, asserts Roger. I disagree, says Liz. Please, says Frank, what is it you want me to do--shall I draw up the papers? Yes, and as quickly as possible, says Roger. Just a minute, protests Liz, I have something to says about that. My dear, you always have something to say, says Roger, the question is, am I to listen to it? Yes, insists Liz. Excuse my interrupting, says Frank, but we really don't have time to waste. What's the rush? asks Liz. Mrs. Collins doesn't want to leave without David, says Frank, but she may have to, quite soon. Why? asks Liz. That business of the woman who burned to death in her apartment in Phoenix, says Frank. I thought she satisfied the police that that's all she knew about it, says Roger. So far she has, says Frank, but there's an awful lot of talk, and there may be an investigation, in which case she'll have to go to Phoenix to testify. And of course you'll go along with her and act on her behalf, says Liz. I don't understand, says Frank. Whatever else Laura may be, says Liz, she's still a Collins--she must be protected. My sister is very big on family name, says Roger. Please, says Liz, you're becoming tiresome. No, I'm becoming bored, says Roger--I want this divorce settled and as quickly as possible. Liz rises from her chair. There are many things I don't understand, she says, and I want to understand them before turning my nephew over to that woman! Need I remind you that that woman as you call her, is David's mother? asks Roger. Yes, says Liz, but she may also be wanted by the Phoenix police--it might be wiser to wait until that's over.
What are my instructions? asks Frank. Go ahead as quickly as possible, says Roger. Hold off, orders Liz. Who's divorce is this, anyway? Demands Roger--I'm the one getting divorced--you're just being difficult. If she is wanted in Phoenix, says Liz, I think we ought to have that matter cleared up before turning David over to her. You're just being melodramatic, says Roger. I'd hardly call the death of a woman in Laura's apartment a drawing room comedy, says Liz. Frank stands. I really have to get back to town, he says, what should I do? We'll let you know, says Liz. Frank bids both good afternoon and Roger offers to see him to the door. Once they're out of Liz' earshot, Roger quietly tells Frank to draw up those papers. Mrs. Stoddard. . .begins Frank. I'll take all the responsibility, Roger assures him. Frank nods. All right, he says, and leaves. Roger thanks him. The phone rings, and Roger answers in the foyer. Hello...speaking....he says ...what?--I can't believe it!--all right, we'll be waiting for you. He hangs up. Liz asks what's going on. The police have identified the body of that woman in Phoenix as positively Laura Collins, says Roger.
If Laura is dead in Phoenix, says Liz, who is that woman down at the cottage?
NOTES: Who, indeed? What's going on here? It almost appears as if Laura has cloned herself--is that her secret? It's clear she isn't quite human, but what, then, is she?
Poor Frank, caught between Roger and Liz--it's tough being a Collins lawyer!
Loved the humorous touches--who's divorce is this, anyway? LOL! Watching the back and forth argument between Liz and Roger was a hoot, and he was especially cutting. Excellent writing.
Episode #153 - The wind howls around the walls of Collinwood, for it is a very cold night--a chill is felt inside the great house, too, for two members of the Collins family have just received a strange and terrifying piece of information.
Liz gazes out the open drawing room window, hugging herself against the cold. Roger asks her what Riley could have meant. I don't know, says Liz. It's preposterous, says Roger, it has to be. I don't know what to think, says Liz. Be reasonable, says Roger, how could they identify that dead woman in Phoenix as Laura when Laura is alive and living in Matthew's cottage? I know, says Liz. So they've got to be wrong, says Roger. They must be, agrees Liz, without conviction. You've been behaving very strangely since that phone call--why? asks Roger. For some reason, it frightened me, says Liz. You're being absurd, says Roger. Perhaps, says Liz. There's a knock at the door. That must be Riley, says Roger--we'll get this thing straightened out right now. He opens the door. Come in, Lieutenant, he says.
Riley enters the house. You can put your coat in there, indicates Roger, and Riley drops it across the foyer table. Shall we step into the drawing room? suggests Roger. They do. Liz greets Riley. Now, says Roger, what is this all about? I have some reports here I just received from the state police in Phoenix, says Riley, I want you to take a look at them. I am not interested in any reports, says Roger, I want to know what this nonsense is about. Roger, don't, cautions Liz. I'll have to ask for your fullest cooperation, says Riley, I have to follow through on these reports, I want you to look at them. Oh, all right, anything you say, says Roger, annoyed--only let's get this nonsense cleared up once and for all! Riley shows Roger a record of his wife's blood type--he got it from the sanitarium where she was confined for three years, from their files. You're certainly thorough, remarks Liz. We have to be, says Riley--you notice Mrs. Collins' blood type is RH positive (not A, B, O, AB?)--this is a report from the medical examiner in Phoenix--you'll see that her blood type is the same as Mrs. Collins, RH positive. (that's not a blood type, but the RH factor, someone didn't do their homework). I always thought thousands of people had the same blood type, says Roger. They do, agrees Riley. Then what does it prove? asks Roger. Nothing by itself, but here, says Riley--take a look at this--he hands Roger another paper--that's a copy of Mrs. Collins' dental records, also obtained from the sanitarium--notice these filings, the occlusion of these teeth, the slight irregularity of this upper molar--this is a dental chart also made by the medical examiner in Phoenix--you'll notice that Mrs. Collins' teeth correspond to those of the dead woman--exactly, down to the slightest imperfection. What are you saying? asks Roger. That based on these records, says Riley, the Phoenix police have positively identified the dead woman--as Laura Murdoch Collins.
Liz looks shocked. That is absurd! says Roger. I agree with you, says Riley, but dental records are considered positive proof of identification. Are you telling us that Mrs. Collins is an impostor? asks Liz. Don't you think I know my own wife? demands Roger. Yes, says Riley, of course, your word is good enough for me--I'm satisfied the woman living on these premises is Laura Murdoch Collins. Then why did you insists on showing us these absurd records? asks Roger. Because I'm just as mystified as you are, says Riley. Then obviously there's been a mistake made, says Roger. Maybe, says Riley, but these are official police records, I can't ignore them--I'll have to question Mrs. Collins. Laura has told you all she knows, insists Roger. Perhaps, but I still have to talk to her, says Riley. But why? asks Roger, you know she's not an impostor, you just said so! Perhaps she can shed some further light on this matter, suggests Riley. Are you implying that she's hiding something? asks Roger. No, says Riley. What are you implying? asks Roger. I'm not implying anything, says Riley, holding onto his temper--look, I have these records on my hands--they may seem ridiculous to you, but I have to follow through on them, so I have to talk to Mrs. Collins. Roger, says Liz, I think the Lieutenant ought to talk to Laura. Oh, all right, says Roger, but please go easy on her--she's a highly sensitive woman. I understand that, says Riley. I suppose I'd better let her know you're coming down, says Roger. He picks up the phone and dials the cottage.
Laura, sitting by the fireplace, doesn't hear the first rings. She finally goes to answer it. Roger, it's you, she says. Why didn't you answer the phone? he asks, I thought you were out. I was dozing, she says. This early? he asks. Yes, she says, what is it? Lt. Riley is here, he wants to ask you a few question, says Roger. What about? she asks. It's nothing for you to worry about, he assures her, but we'll be down in a moment. All right, she says, and hangs up. What now? her expression asks.
Blue Whale - Frank pours more wine for Vicki. I developed a real taste for this stuff when I was in Paris, he says. When were you in Paris? she asks eagerly. About four years ago, he says, I took a semester of law there--I had a ball. (that says so much--snag this guy, Vicki!) Funny, says Vicki, when I was a little girl, I used to look at picture books and dream about the day when I could go to a faraway place like Paris. You'll visit all those places someday, he assures her. It's nice to think about, anyway, she says. You know what really pleases me? he asks--seeing you smile. She sips her wine. Is that so unusual? she asks. It's been a long time since I've seen you so relaxed and happy, he says--I don't approve of long faces. Neither do I, says Vicki. Any special reason for your good mood? he asks. Could be the wine, she suggests flirtatiously. (this is a fun side of Vicki.) I prefer to chalk it up to the company you keep, he quips. The company's just fine, she says. I could say the same, he says. And I'm very happy about David, says Vicki, he and his mother seem so much closer--he's beginning to accept her. And that really pleases you? he asks. It should, she says. Does it? he asks. Yes, she says, David needs a mother, he always has--I'm very happy he's learning to accept her. Are you really that sold on Laura Collins? he asks doubtfully. I want to be, she says. There's such a thing as being too charitable, opines Frank. Is that what I am? Vicki asks him. Look, I can understand why you'd want to think the best of Mrs. Collins, says Frank, I do myself, but... ...Don't be too gullible, finishes Vicki. No, I wouldn't say that, says Frank, there's an awful lot about that woman I can't figure out. If you could have seen her this afternoon, says Vicki, she was so genuine, so sincere in her love for David. Maybe she is, says Frank. That's all that matters, isn't it? asks Vicki. There's still an awful lot of unanswered questions, points out Frank--for instance, who died in that fire in Phoenix. I don't know, admits Vicki. Don' you care? He asks. I care about David, says Vicki--I want him to have a mother who loves him. Because you never had a mother? he asks gently. Is that so wrong? she asks. He chuckles. No, that's not wrong, just charitable, maybe too charitable, he replies. There are a lot of questions in my mind, says Vicki, but I'm sure there are logical answers to them. I hope you're right, he says. I hope so, too--for David's sake, she says.
Cottage - The good officer has promised not to keep you long, Roger tells Laura as Riley and Liz stand by. That's perfectly all right, says Laura--what was it you wished to ask me, Lieutenant? May I tell her? requests Roger. Go ahead, invites Riley. You tell me, Laura--how does it feel to be a dead woman? What? she asks, wide-eyed. Lt. Riley has the report of the medical officer in Phoenix--according to his brilliant findings, you died in a fire several weeks ago. Roger! says Laura--is this your idea of a joke? No, my dear, drawls Roger, the joke is on the Phoenix police department--and I consider it very amusing. Well I don't, she says. Are you losing your sense of humor? Asks Roger. Not at all, she says, I just don't understand any of this. It's very simple, says Roger, with their usual degree of efficiency, they've come up with a series of documents proving that you died in that fire. What documents? She asks. The floor is now tours, Roger tells Riley, who sits in a chair and opens the folder. Here you are, Mrs. Collins, he says, dental records, blood type, all the records we usually use to make identification. And what do they prove? She asks, sitting by the fire. They prove that the woman who died in the fire has all the physical characteristics of Laura Collins, he explains--the dental records are the most telling--teeth are like fingerprints, there are no two people in the world who match exactly. Then you're saying that I'm not Laura Collins? she asks demurely. Obviously you are, he says. I'm glad it's obvious, she says. Just to remove any lingering doubts the officer might have, says Roger, sitting, would you answer a few questions for me? Of course, she says. What were we going to call David before he was born? asks Roger. You wanted to call him Charles Andrew, replies Laura. Do you remember that, Liz? Yes, says Liz, not pleased. What was the address of our house in Augusta? Asks Roger. Liz walks around and sits next to Roger. 427 Hilldale Avenue, says Laura. Do you remember we had a little dog when David was a baby, a cocker spaniel. Of course I remember, she says. What did we call him? asks Roger. We called him Dog, says Laura, because that's what David called him. These things could only be answered by my wife, Roger tells Riley--I hope that erases any doubt you have in your mind. I don't have any doubts about Mrs. Collins identity, insists Riley, I told you that. Then what was the reason for this visit? asks Roger. To ask just one question, says Riley--Mrs. Collins, after searching your memory, are you sure you told us everything you know that might help us identify the dead woman. Everything, says Laura. Are you sure there wasn't someone who might have had access to your apartment? he asks.
Only Margaret, says Laura, the maid who worked for me--but I told you about her already. We tried to find her and got no where, says Riley, as Liz listens intently. Well, says Laura, rising, then I'm afraid I'm as much in the dark about it as you are--I'm sorry. Is that all? asks Roger. There is one more thing, says Riley--we'd appreciate it if Mrs. Collins would submit to a physical examination. Physical examination? Asks Laura. It's not mandatory, of course, says Riley, it might help clarify my report. Laura would be glad to cooperate, I'm sure, wouldn't you? Roger asks his wife. Yes, of course, why not? asks Laura. May I pick you up tomorrow at your convenience? Asks Riley. Fine, says Laura. I'll phone you about it in the morning, says Riley. All right, agrees Laura. Is that all, Lieutenant? asks Roger. For now, Riley says. Would you take the Lieutenant up to the house? Roger asks Liz, I want to talk to Laura for a moment. Of course, says Liz, heading to the door. Riley thanks Laura for her cooperation. Quite welcome, says Laura, smiling. Liz and Riley leave. Well, Liz certainly was quiet through all that, says Laura, arms crossed over her chest. Liz is puzzled, says Roger, and frankly, so am I. Why? she asks. Because I have a feeling you know something you're not telling, he says. Surely you don't think... begins Laura. I don't think there's anything to that report, Roger assures her. There isn't, she says. But there was a dead woman found in your apartment, he says, and I think you know more about it than you're pretending. That's not true, she insists. You forget, says Roger, I know you pretty well--I know when you're lying or evading. I am not lying or evading, she says, I know nothing whatsoever about that woman. In public I'm willing to back you up in anything you say, he says, but in private, I think we should be truthful with each other. I am being truthful, she says, that woman is just as much a mystery to me as she is to you.
All right, relents Roger, heading for the door--if you decide you have anything more to say to me, I'll be up at the house waiting for you. He leaves the cottage. Laura stands there and sighs.
A car speeds through the night; we see its headlights. It's Frank driving Vicki home from their date. Tell me some more about Paris, she asks. What do you want to know? he asks. Anything, she says. Contrary to the usual student custom, I lived on the Right Banke, he says--had a very nice little room, a garden, statues. . .(I think they cut his speech here.) He realizes she's lost in thought and calls her name three times. You're not listening to a word I'm saying, he says. Jasmine! Says Vicki--the scent of jasmine--it's everywhere. I don't smell anything, he says. Turn down the next road to the right, Vicki tells him. Why? he asks. Because that's where we're supposed to go, she says. That will take us in the wrong direction, he says. Please do as I say, she says. OK, he says, making the requested turn. Now stay on this road for a while, she instructs, and there's another road, and you go to the left there. Where we heading? He asks. I don't know, she says. You don't know? he asks. I just know we're supposed to be on this road, she says, that we're going where we should be going. He looks at her anxious face, nonplused.
Drawing room - You're in an uproar about nothing, Roger accuses Liz. I wouldn't call tonight nothing, says Liz. You can't blame Laura for the inefficiency of the Arizona police, says Roger, pouring a drink. It isn't a question of blaming her, says Liz. What is it a question of? asks Roger. Things have been happening that I don't like, says Liz, Laura's presence here makes me very uneasy, more so every day. She hasn't done anything but try to cooperate, says Roger, downing his drink. I can't hold her entirely responsible for these things, says Liz, I'll say that. I'm happy to hear you admit it, says Roger. Things have been happening, says Liz. Is it Laura's fault? demands Roger. Perhaps, perhaps not, says Liz, there's one thing I am sure of--these strange, mysterious things that no one can explain all began with Laura's return to Collinwood. Roger thinks that over.
Keep going straight now, Vicki tells Frank. I wish you'd tell me what's going on, he says. We're almost there, she says. Almost WHERE? he asks. Where we're supposed to be going, she says. We're in the middle of no where, he points out. Stop, right here, she orders, please, now! He does so, making a face. OK, we're here, now what? he asks. I don't know, she says, I've never been here before. You've never been here before? he asks, perplexed. I just know that I must be looking for something, she says--it must be that house--look there, beyond the trees.
That's a strange looking house, he says, can't you see those things in back of that house--they're gravestones--we're on the edge of a graveyard. She looks at him.
Let's face it, Roger accuses, you're ready to put the wrongs of the world at Laura's feet--you have it in for her because you want David. And you want to get rid of him, says Liz. We've argued about this a hundred times, says Roger, and I'm not in the mood to talk about it tonight. I have no intention of arguing, says Liz, but I don't like the effect Laura is having on this house, and after tonight, I'm more determined that ever that she must leave. She's already said she would leave, he says. But she hasn't done anything about it, says Liz. She hasn't had time, points out Roger. I've tried to be patient with her, says Liz, but my patience is at an end, either she decides to go soon, or I'll have to decide for her. There's nothing you can settle tonight, he says. But it will be settled, she insists.
It's late, says Roger, and we're both tired, why don't you go to bed? I think I will, she says--good night. She leaves the room. Roger takes his drink and sits down.
Vicki arrives at the spooky looking house, and begins banging the knocker. Frank joins her, calling her name. Why did you jump out of the car? he asks her. (careful, Vicki, you're blowing this now.) I didn't want to argue with her, I have to be here, she says desperately. What's so special about this place? He asks. I don't know, but I'm supposed to be here, she says. There's nobody here! he says. There must be! she says. This isn't a house, he says, it's a chapel or something; there wouldn't be anybody here this late, the place is completely deserted. It can't be! she wails. This is the last place we want to be at this time of night, says Frank. I heard footsteps, says Vicki. I don't hear anything, he says. I did, she insists. What's the matter with you, what's wrong? he asks, seeing her agitation. I don't know, she says, I just know there's something or someone here I should know about! There's nobody here, he says, if you don't believe me, just listen. I am, she says. Do you hear anything? he asks. No, she says. then take my word for it, he says, there's nobody here, and we shouldn't be here, either. Maybe you're right, she says. of course I am, he says, let's go. He starts leading her away. Wait! She says--there's someone behind that door, I can feel him standing there. Vicki... says Frank. Look! she cries, the doorknob!
Indeed, the knob is turning, and the door opens. Vicki and Frank wait to see who's inside.
NOTES: Who is inside? Why did Josette (and we know it's Josette because of the jasmine scent) draw Vicki to this strange, scary place? Who are they going to meet? Is this some clue to the danger Vicki feels surrounding David?
We have a dead woman in Phoenix who has been identified as Laura Collins, yet we have Laura Collins here in Collinsport. She seemed concerned about having a physical. Whatever supernatural creature she is now, will it show up in her blood as something odd? Will she really submit to this exam, and appear human, or will she find some way to get out of it?
Roger and Liz are really at each other's throats over David's situation. Roger just wants to get rid of his marriage and his troublesome son. Liz wants David to stay, both as an heir, and because she loves him.
Vicki had better watch it. Her odd behavior is surely going to lose her Frank, who doesn't seem the type to appreciate the supernatural.
Who will win this rug of war between Laura and Liz? What's the secret to the Phoenix mystery?
Love, Robin
