Episode #154 - I have come to a dark and desolate place. I do not know where I am, or why I am here--but I only know that I am drawn by an unknown force.
The chapel door opens and an elderly man with huge glasses peers out at Frank and Vicki. We're sorry to disturb you, says Frank--we got lost on the road. We're not lost, says Vicki--this is a place we're supposed to find. Can you hear me? asks Frank--can you tell us where we are? The old man starts to reach up to touch Vicki's face. Frank protectively pulls her back. It's all right, says Vicki. You're alive? asks the man? Yes, says Vicki. Both of you, living? he asks. (this guy is a hoot!) Yes, says Frank, we were hoping you could tell us where we are. I heard the knocking, he says, I always hear the knocking--I open the door and they're never there. Who knocks on your door? asks Vicki. They do, he says. The children in the neighborhood, they play pranks on you? asks Frank. Some of them are children, says the old man, some are older than I, but they open the door and they go away, but you're not like them. No, says Vicki, we didn't go away, did we? No, agrees the old man, but that's not why you're not like them--you're living, they're dead. Vicki gives Frank a nervous glance over her shoulder.
Please, says Frank, would you just tell us where we are, then we'll go away. Don't go away, says the old man, everyone else has gone away, so long ago, I can't remember--don't you go, too. Where are we? asks Vicki. You didn't read the names, says the man. We didn't see any names, says Frank, it was too dark--we didn't even see a sign. No sign, only the stones--you didn't read the name on the stones? asks the man--the gravestones--the great name of Stockbridge is on almost all of them. This is a cemetery? asks Vicki.
Of course the names are worn now, so many of the stones have fallen, I can't blame you, says the old man, for not knowing where you are. And you're the keeper? asks Vicki. The earth is the keeper, says the man, I just open the door when they knock. (Brrrr!) Can we come inside? asks Vicki. Please come in, says the caretaker. Vicki and Frank follow him inside. He closes the creaky door behind them. They enter a small, cold-looking room filled with a desk, chair, shelf and books. It's brick, very gloomy. They look around. Vicki asks if these are the records of the people buried here. Yes, he says, names, the day they were born, the day they died, and where in the ground outside they are laid forever. And that's all that's known about them? asks Vicki. No, he says, that is all that is in the books--the rest is in here--he taps his head--come, I'll show you. You're very kind, says Frank, edgy--maybe some other time. No! says Vicki, distressed, I can't go now, I know I can't! The man takes down a book and reads "P. Agthorn Stockbridge, born 1713, died 1731--at the height of his youth--trampled by a stallion--he left a young wife and a baby girl--the girl they say had hair like the sun--here is another"... You'd think it would smell all musty in here, says Vicki, but it doesn't--it smells of jasmine. Jasmine? repeats the caretaker. It comes from in there, says Vicki, pointing to another room. Frank darts forward. What are you talking about? he asks--let me take you home, I'm worried about you. What's in there? asks Vicki. No, not in there, warns the caretaker, you mustn't go in there. Why not? asks Vicki. That's the crypt, he replies, I never let anyone go in there. But I have to, protests Vicki, please! If the man says no, says Frank, I think we'd better take his word for it. We knocked, says Vicki, and we didn't go away, we came in--please do us this one favor. That's where the young man I was just telling you about is buried, the caretaker explains--all the Stockbridges that met a violent death, they're inside there, away from the wind outside, away from the hail and the hot sun--where they can find the most peace. Please, begs Vicki. Well, all right, but quietly, he cautions, so quietly even they can't hear. He leads them into the room and turns on an overhead light. It's so musty in here I can hardly breathe, complains Frank. Smell the jasmine, says Vicki. (this struck me funny.) See here, says the caretaker, shining a flashlight on a stone--P. Agthorn Stockbridge lyes here, Born 1718--Died 1731. The caretaker reads the stone. What does P stand for? asks Vicki--Paul, Peter? No, I don't know, he says, first names didn't mean much to the Stockbridges, it was the last name that meant the most, and the middle name, the name of the families that married into the Stockbridge line--this man's name was Agthorn--that was his mother's maiden name. And they all died violently? asks Vicki. Every one of them, affirms the caretaker--here, Hugh Spencer Stockbridge, born 1687, died 1780--he was murdered--his throat was slit while he was sleeping. And she was drowned at sea, says the man, directing the flashlight on the stone above--E. Pendleton Stockbridge, born 1801, died, 1817--she was drowned at sea, most of her body was torn to bits by the rocks. (such a pleasant story.) Please, Vicki, can't we leave now? asks Frank. Vicki shakes her head. All death is violent in its way, says the caretaker, but for these poor souls, it was especially so. He leads them to another stone, shining the flashlight on L. Murdoch Stockbridge, born 1735, died 1867--how did he die? asks Vicki. Not he--she--says the caretaker--burned to death. What was that name? asks Frank. L. Murdoch Stockbridge Frank reads, repeating the name a couple of times. A candle fell against the bed curtain, says the caretaker--what body is in there is mostly ashes. Vicki puts her hand to her mouth and coughs. Frank, I can't breathe! she chokes, the air--please take me out of here! Vicki, look at that name, says Frank. It's so musty in here, only a minute ago, the smell of jasmine! Says Vicki. Read that name, orders Frank--L Murdoch Stockbridge.
Please take me away from here! begs Vicki. I've seen that name--L. Murdoch--on legal documents in the office a hundred times, says Frank--Laura Murdoch Collins--L. Murdoch Stockbridge. The caretaker repeats the latter name and adds, "Died by fire--L. Murdoch Stockbridge died by fire!"
It's Josette Collins! says Vicki. No, we have no one here by that name, says the caretaker. In the car, says Vicki, just before I asked you to turn off the road, I smelled jasmine--that's her special scent--and here again--L. Murdoch Stockbridge--Laura Murdoch Stockbridge--her name was Laura? First names meant nothing to the Stockbridges, he says, the middle name told where the blood came from--that's what they wanted to preserve--the bloodline. I think we can go now, says Vicki. None too soon for me, says Frank. Don't go, please! says the caretaker, I opened the door and let you in--please don't go. Thank you, says Frank, but we really do have to go. Were you looking for something particular? asks the caretaker. No, says Frank--but we found it anyway, he says wonderingly, looking at Vicki. What was it? the caretaker asks. We don't know, says Frank. I don't understand, says the caretaker. Neither do we, says Vicki--thank you--and they leave the caretaker to turn out the lights in the violent death room.
Sarah Johnson, smiling, enters the drawing room and asks Roger (rather flirtatiously, I thought), if she can get him anything. He already has a drink in his hand. No thank you, he says, I have everything I need right now. There's a little chill in the air, she says, maybe I'd better build up the fire. She moves to d so. The fire is fine, says Roger impatiently, sitting down. I don't mean to interfere, says Sarah, mining for gossip, but I hope there hasn't been anymore trouble. I wasn't aware there had been any in the first place, he says. I could hardly help noticing the police had been here again, she says. Oh, you couldn't, could you? asks Roger sarcastically. I saw their car in the driveway, she says. I see, says Roger. It bothered me to think of anyone in this family being in any kind of trouble (her expression says otherwise). Thank you, says Roger, but nobody is in any trouble. I'm glad to hear that, she says, because with all due respect, I like to think of this family as something very close, very important to me. You should be commended for your loyalty, says Roger--as for the police, believe me, it was nothing important. Believe me, I'm happy to hear that, she says. Laura briskly enters the house and greets Sarah. Roger abruptly asks Sarah to get him some coffee with his brandy--very strong and black--would you go into the kitchen and make some, please?--I think Mrs. Collins would enjoy a cup, too. Of course, says Sarah, undoubtedly annoyed at being asked to leave. She goes. Roger cautions Laura not to speak until Sarah is out of earshot--have you decided to make a full explanation? he asks. I've come to tell you that I don't have anymore to say, she says. Please! says Roger, irritated, what you tell the police is a matter of absolutely no interest to me--lies and evasions are what they deserve (oh, really?) I deserve much more, and I'm waiting to hear it! But I don't have anything to tell you that I haven't told them! she protests. I don't accept that answer! says Roger angrily--a woman died in your apartment in Phoenix, and I'm convinced you know more than you're telling me--I'm waiting, Laura, do you hear--I am waiting for the truth! What would you like to hear? she demands--tell me exactly what is it and I'll say it! Don't you understand, I must know, it's for your own sake, he says, you must tell me the truth so that I can handle the entire situation--as it has to be handled. What are you thinking? asks Laura--surely not that I murdered that woman! Is it impossible? he asks. Roger! she says. Oh, you're so shocked, he mocks-- when will you learn that nothing a human being does is shocking. The idea that I could murder anyone, says Laura--I refuse to discuss this, Roger! If you go through that door, warns Roger, as she starts to leave, it may be the first step in your eminent departure from Collinwood! Don't be ridiculous, she says, my staying or leaving is Elizabeth's decision--at the moment, she has agreed to my staying. I'm afraid that was before our visit from Lt. Riley, says Roger--my sister and I had a chat in this very room before you came here--tonight's episode has convinced her there is no longer any reason for you to stay on in Collinwood. I am not leaving here without David, she reminds him. You are if Liz says you are, he tells her. Did you hear what I said? she repeats--I said I'm not leaving without my son! We'll see, says Roger. I think you and Liz had better listen to me, says Laura--I'm getting a little tired of her threats and I think it's time she realized I have a few of my own! Oh? he asks. And if she thinks she can force me to leave Collinwood... begins Laura. Yes? asks Roger. I don't advise her to try it, because I can carry out my threats, too! says Laura And you think you're incapable of murder, says Roger--I want you to look at yourself right now. Perhaps I was a little carried away, she agrees, calmer--you know I could never hurt anyone. (tell that to Sam. all this thwarting is pissing her off.) That's a lie, says Roger. I get very frightened at the thought of losing David! she cries. Frightened enough to kill? He asks. Of course not! she says. You forget, he says, that as your husband, I got a running report of your conduct from the hospital. I was sick then, I'm not sick now! she insists. Are you so sure? he asks. What do you want me to say--do you want me to say something I didn't do? she asks desperately. No, but I want you to explain a lot of things that have not been explained, he says. I do not know who that woman was! says Laura. That is only one incident, he says, there are many other things that have to be explained, much closer to home. Such as? she asks. Sarah enters the foyer, tray in her hands; she can hear all now. Burke Devlin, says Roger. We're not going to start that argument again! protests Laura. Indeed we are, says Roger, until I know what you two are up to. I told you, I'm trying to keep him pacified, says Laura. That's a strange way of pacification, says Roger. (is she sleeping with him?) We want to keep his mind off the manslaughter case, says Laura. I told you never to mention those words! hisses Roger. Then don't keep bringing up the subject of Burke! says Laura. Sarah listens closely.
And stop suspecting my methods! orders Laura. Sarah bangs the tray against the table outside the foyer to warn of her imminent arrival. Mrs. Johnson, says Roger in a hushed voice. Laura sits on the sofa. Sarah comes in and says she hurried as fast as she could--I hope I didn't keep you waiting--would you like me to pour? No, Mrs. Collins will pour, instructs roger. Sarah sets down the tray on the coffee table. If that's all, says Sarah, I'd like to go to bed, if there's nothing else. You've had a busy day? Roger asks her sarcastically. Yes, she says, I have, always on the go--I like it that way. She bids both good night and leaves. How much do you think she heard? asks Laura. I don't know, says Roger. Maybe nothing, says Laura. Maybe everything, counters Roger. (everything, naturally, or enough to do damage.)
Frank and Vicki return to Collinwood and stand in front of the door. Are you all right now? he asks. I think so, she says--are you sure you didn't smell jasmine, too? The only things I smelled were must and mold, he says. I'm sure it was Josette Collins, says Vicki, trying to tell us something about Mrs. Collins. I'll have to admit, there was something odd going on there, he admits--but why would she want you to know that Mrs. Collins is descended from an old New England family that had married into the Stockbridges? I don't know, says Vicki, but what bothers me is that that woman died by fire. That old man kept whispering that over and over again, says Frank--L. Murdoch Stockbridge, died by fire. Could it have anything to do with that fire in Phoenix? wonders Vicki. Who knows? asks Frank, but Mrs. Collins didn't die in that fire. I wish I understood what I'm supposed to understand, says Vicki. So do I, he says. Wish we could piece everything together, she says--David's dreams, Sam Evans' paintings, the fire in Phoenix, and now this ancestor. If she is an ancestor, says Frank. It seems connected--and yet so unconnected, says Vicki--I'm very tired--would you like a drink before you go back? You make it a stiff one and you're on, he says. (ahem, mind out of the gutter.) Ah, says Roger as they come in, Vicki and Mr. Garner, our legal light that puts a sparkle in our governess' lovely eyes! (LOL!) Everyone greets everyone else a good evening. How are you? Frank asks Roger. I'm not so sure at the moment, he says, brandy? Fine, says Frank. Would you care to join our little merry-making? asks Roger. Nothing for me, says Vicki. Roger prepares the drinks. Would you like some coffee? offers Laura. Vicki thanks her and sits beside her--did you first come to Collinsport as a young woman? queries Vicki. I'd like to think that I came as a young woman the second time as well, says Laura, pouring a cup of coffee. (I guess she means her sane return to Collinwood.) I'm very sorry, says Vicki, what I meant was, your family didn't come from Collinsport? No, says Laura--why the interest in my family? The thing is, David is always talking about his family, says Vicki--he knows about the Collinses, but he speculates about your side of the family, and I have nothing to tell him. If he asks again, says Laura, tell him his mother comes from one of the oldest, finest families in the area. I have something to tell you, Roger tells Frank--I was going to call you first thing in the morning, hoping to anticipate a call you can expect from Lt. Riley. Must we talk about this tonight? asks Laura. I'm merely going to tell Mr. Gardner what Lt. Riley told us, says Roger, that's all. What did Riley have to tell you? asks Frank. Something very amusing, says Roger--that the authorities in Arizona--they're very diligent, you know--they have identified beyond any question of doubt who that woman was who burned up in the fire. They have? asks Vicki. Yes, says Roger, dental records, blood types--all of the things modern science has invented to make this possible--and at least the great mystery is solved. I'm glad to hear that, says Frank--who was she? The lady who burned up in that fire has proven to be, with absolutely certainty, says Roger--Laura Murdoch Collins. Laura Murdoch Collins, died by fire, murmurs Vicki. I think it's amusing, don't you?
--very amusing, says Roger. Frank, not smiling, looks at Laura, whose face is expressionless.
NOTES: Eureka! Has Vicki found it? Did Josette lead her to the biggest clue connecting Laura with the supernatural? What is amusing to Roger appears to have struck a chord in both Frank and Vicki. What will they do to investigate further?
Sarah was such a hoot, trying to pump Roger for info when he didn't want to be pumped. She still got an earful, and I bet she'll go straight to Burke with it. How will he react to what Laura told Roger about keeping him pacified? Either through fair means or foul, Laura has her claws in him, and he won't like being made a fool of.
That caretaker always gives me the creeps, talking about the dead the way he does, but he adds a lugubrious comical element, too. I always thought he was an interesting character.
Episode #155 - A strange woman has come to Collinwood, a mysterious woman capable of lies and deceptions. She believes no one suspects her, but unknown to her, in a room, far away from Collinwood, there is one who could unmask her.
Mrs. Johnson pays Burke a visit in his suite at the Inn. You look like the cat that swallowed the canary, he remarks. She grins proudly. If I do say so, I really earned my paycheck this week, she says. What do you have to tell me? he asks, helping her off with her coat. First I want you to answer me something, she says--you have a great deal of faith in Laura Collins, haven't you? All the faith in the world, he says. You really think she'd going to be able to help you destroy the Collins family? asks Sarah. Yes I do, he replies. How do you think she'll do that? asks Sarah. By testifying for me at a retrial, says Burke. She's going to tell the court is was her husband that was driving the car that killed that man, not you? asks Sarah. That's right, why? asks Burke. What makes you think she'd be willing to do that? asks Sarah. She told me she would, he says, she gave me her promise. (why the third degree before dropping the bomb, Sarah? Seems kind of mean to me.) She's lying, says Sarah--you're not going to like what I tell you, but Laura Collins is a fraud!
Those are strong words, says Burke--you'd better have plenty of evidence to back them up. I have evidence from Mrs. Collins' own lips, Sarah assures him. What does that mean? asks Burke. I overheard Mr. and Mrs. Collins, they were talking about you, says Sarah, and Mr. Collins said he was worried about you--he thought you and Mrs. Collins were up to something and he wanted to know what it was. What did Laura say? asks Burke. She said she was keeping you pacified, reveals Sarah. Laura said that? asks Burke, taken aback. That's the word she used, says Sarah--my hearing is perfect--I heard her say she was keeping you pacified to keep your mind off that manslaughter case. What else? asks Burke. That made Mr. Collins very nervous, and he said she wasn't to use those words, says Sarah, and she told him not to worry about you, that she had her own way of handling you. Handling me? asks Burke. That's the gist of it, says Sarah, then they heard me outside and stopped talking. Burke rubs his face with his hand. I don't understand any of this, he says. It's plain this woman has made a fool of you, says Sarah. You're lying! accuses Burke, you have to be. I don't lie, not to you, says Sarah. Laura wouldn't say that, says Burke, she couldn't. (denial, meet Burke.) She did, says Sarah. I don't believe that! says Burke--who's been putting you up to telling these lies to me? These are not lies, but the truth! says Sarah. Was it Roger, is he behind this? demands Burke, is he paying you now? She turns to leave. Answer my question, I want the truth! he says. You got the truth a moment ago, she says--if you don't want to believe it, don't--but that was the truth! Angry, she gathers up her coat and gloves and heads for the door. Burke calls her name and apologizes for losing his temper. You should be, she says. Accept my apology, is won't happen again, he assures her. I'm sorry for you, she says, it's plain to see this woman has got you wrapped around her little finger. That's not true, he says. Isn't it? she asks. I know Laura, he says, she isn't capable of this kind of deception. (Roger doesn't agree.) Maybe you don't know her as well as you think you do, suggests Sarah. I don't want to believe that, he says. Men--you're all alike, says Sarah, just let a pretty woman bat her eyes at you, you believe anything--you think she wants to go to jail?--that's where she'll go if she testifies for you--she'd have to tell that she'd lied in a court of law. She says she doesn't want to protect herself at all, says Roger, she only wants to get even with Roger. She has to say that, points out Sarah, she doesn't want you making any trouble.
This undeniable truth hits home. Yes, says Burke. Well? says Sarah. If she's planning to trouble cross me, says Burke viciously, her little plan is going to backfire--she's gonna pay for it!
Cottage - By the fireplace, of course - I'm glad you came to see me today, Laura tells David, her arm around her son--I've missed you! You have? asks David, smiling up at her--I missed you, too. I'm glad, she says, hugging him--it must be getting close to your dinnertime--you going to have to be getting back, they'll be looking for you. Do I have to? he asks. I don't want you to go, she says, but I think it's best--after all, we don't want anyone to find you here, do we? I guess not, he agrees. Are you sure nobody knows you came here? she asks. Nobody knows, he says, Aunt Elizabeth was busy, and I waited until Miss Winters had gone into town. Good, says Laura, because no one must know you're paying me these little visits. Nobody does, he assures her. There are a lot of things your Aunt Elizabeth doesn't understand, says Laura--how much I need you and you need me. I don't understand my aunt, he says, I guess she's just being mean--she never acted this way before. That's because she doesn't understand, says Laura, but one day she will--however, in the meantime, these visits must be our secret, OK? OK, he agrees. I'll get your coat, she says. He picks up a music box and comments on how pretty it is. You want to hear it play? she asks. Sure, he says. She takes it from him and winds it up. He listens to the tune. It's pretty, he says. You like it? she asks. Yes, he says. It's yours, she says. You mean I can have it, for keeps? he asks, joyous. Yes, she says, but I think you'd better leave it here--someone might ask you where you got it, and we don't want anyone to know you've been here. I'll keep it hidden, he swears, looking at it, nobody will find it--please, Mother, let me take it home. It's very difficult to say no to you, she sighs. Then let me have it, he begs, please, Mother?
All right, but keep it hidden, she says. I will! he says, closing the music box. I want you to remember something, she says, don't tell anyone--it's got to be our little secret. I like secrets, he says. Good, she says, helping him on with his coat. I'll try to come back tomorrow, he says. Fine, she says, be very careful going home. I will, he says. They say goodbye and he leaves. She looks into the fire, sits down, and smiles with satisfaction.
Liz stares out the drawing room window at the lightning. Thunder rolls. David returns home, music box in hand, and takes off and hangs up his coat. (camera goof) Liz goes into the foyer and calls to him. He hides the music box behind his back. Did I startle you? asks Liz. I thought you were upstairs, he says. I came down a little while ago, she says, where have you been? Out on the beach, playing, he says. You know I don't like you playing on the beach after dark, I've told you a hundred times! Liz chastises I'm sorry, he says. At least you came home before it rained, says Liz. Is dinner ready? he asks. I'll tell Mrs. Johnson to have it ready in a few minutes, she says. Oh, he says, walking backwards, I'll go up and wash my hands. David, why are you backing away from me? she asks--what are you holding behind your back? Nothing, lies David. I can see you're holding something, says Liz, It's nothing important, says David. Show it to me, orders Liz. He holds it out. It's nothing but this old box, he says, handing it to her upside down--I found it on the beach. That's a strange sort of thing for someone to lose on the beach, comments Liz. People are losing odd things on the beach all the time, he says. She looks at it. I've seen this before, she says. You couldn't have, says David, I just found it. Why are you lying? asks Liz. I'm not, he says. I recognize this, says Liz, it belongs to your mother--she gave it to you, didn't she? No! protests David. I've seen it on the table in her cottage, says Liz. Maybe she lost it, suggests David. I don't believe that, says Liz--I think you saw her this afternoon and she gave it to you. No, insists David. Why are you lying to me? asks Liz. Because you wouldn't understand, says David. I'll try to understand, promises Liz. I like my mother, he pouts, I want to see her, but you won't let me see her, and it isn't any fair. Did your mother tell you that? asks Liz. I knew it anyway, says David--why do you have to be so mean to her? I'm not mean to her, says Liz. I think you are, he says. Let's go into the drawing room, she says, I want to talk to you. She leads him in and she sits on the sofa. Are you going to scold me? he asks. No, darling, she says, I just want you to understand a few things--sit down. He does. What do I have to understand? he asks. I wouldn't do anything to hurt your mother, says Liz. Then why won't you let me see her? he asks. Because I have to decide what's best for you, says Liz, and I don't think you and your mother should be together right now. But I LIKE to see her, says David, I want to see her. You didn't a few days ago, she says. That was a few days ago, he says, I was just acting like a stupid baby. You were having those dreams about her, Liz reminds him. But I'm not having those dreams anymore, he says. Just the same, she says, you were having them and they did disturb you. You want my mother to go away, don't you? asks David, armed crossed over his chest. Just for a while, says Liz--I'm not saying she can't come back someday. I don't WANT her to go away! says David, don't you see--please, don't make her go away! I have to decide what's best for you, she explains, even though I have to make a decision you don't like. You wanna get rid of my mother because you hate her! accuses David. That's not true, says Liz. Isn't it? he asks. Of course not, she says, I couldn't hate her because she is your mother, and I love you very much. Well I don't love you! he says. David! cries Liz. I don't! he says. That's a terrible thing to say! says Liz. (David always pulls out that hate card.) I don't care! He says, I don't love you
--you don't want my mother to stay, you want her to go away--you're mean!--I hate you! He runs off. Liz is very upset.
Cottage - I'm waiting for an explanation, Burke tells Laura as she twists her hands together. So am I! she counters. You? he asks. You come baring in here when I told you never to come here, and then you just announce that you can't trust me anymore--well, why? I keep my ear to the ground, says Burke--I hear you and Roger are getting very cozy. She makes a face. Who told you that, Vicki? she asks resentfully. Never mind who told me, says Burke--whose side are you one?--Roger's?--mine?--or are you playing both ends against the middle? I already told you whose side I'm on, says Laura--what more can I say? I've a hundred reasons not to trust you, he says. Then don't! she says. Is that all you have to say? he asks. That's all I can say, except goodbye, she says. Aren't you even going to try to defend yourself? asks Burke. No, she replies, goodbye, Burke. she sits by the fire and cries. He sits beside her. Laura... he says. I said goodbye, she reiterates, please go! Don't cry, he says gently. (this gal bird has the moves down!) I just can't help it, she says, because I'm saying goodbye to so much! H turns her to face him. Do you remember what we said to each other a long time ago? she asks him. We said a lot of things, he recalls. We vowed to each other that someday... she sniffs ...we would be together, finishes Burke--is that what you want? Please, go, she says, tears in her voice. Could we ever be together?--is that possible now? he asks. Not if you don't trust me, she says. I want to trust you, he assures her. But you don't, she says, you constantly have to be reassured--you just can't believe I'm honest with you. I believe that you're honest now, he says.
Liz, obviously perturbed, sits alone in the drawing room, the storm loud and obnoxious outside. She finally takes her coat and leaves the house.
I have to appease Roger, Laura explains to Burke, I have to pretend I'm not interested in you because otherwise I'll never get custody of David
--can't you understand that? Yes, he says. Then why do you mistrust me? she asks, her eyes limpid and lying. I don't, he says. You didn't a moment ago, she points out. That was a moment ago, he says, and I was wrong. I hope you mean it, she says, for many reasons. I mean it, he says. He touches her cheek. You're very beautiful, he says. She thanks him. Come here, he orders, and draws her into his arms for a kiss. She starts to protest, but responds. From the doorway, Liz cries, "LAURA!", her face filled with fury. She slams the door behind her and surveys Burke and Laura.
Burke and Laura leap to their feet. Liz! says Laura. Don't bother to explain, says Liz, no explanations are necessary. That's right, says Burke. I'm glad we agree, says Liz. I think you'd better go, Laura tells Burke. Are you sure you want me to? he asks. Yes, please go, she says. OK, I'll call you later, he promises--I'm glad you walked in just now, Liz--I like things out in the open. So do I! she retorts. Burke says goodnight to Laura. Burke leaves. I hope you won't try to embarrass either one of us by offering an explanation, says Liz. I suppose there's no point to it, because you won't listen, says Laura. No I won't, agrees Liz--I know what I saw. Appearances can be deceiving, says Laura. Right now I'm not so concerned about you and Burke, says Liz--I'm concerned about what you're doing to David. What am I doing to David? asks Laura. Encouraging him to lie, to meet with you secretly, says Liz. Did he tell you that? asks Laura. I won't have it, says Liz--I've tried to be patient with you, but my patience has come to an end--I'm asking you to leave. But you already have, says Laura. But you haven't done anything about it, says Liz. That's only because I haven't had enough time, says Laura--I need more time! You've had plenty of time, says Liz--I want you to please go! Tonight, in the middle of this storm? Demands Laura. Tomorrow at the latest, says Liz. Is that an ultimatum? Asks Laura. Call is what you wish, says Liz--I've had enough from you--you're not welcome here anymore. And if I refuse to leave? asks Laura. It won't do you any good--you'll never get David, says Liz. How will you stop me? asks Laura. I'll take you to court, says Liz. I must say, you're very good at making threats, aren't you? asks Laura. It's more than a threat, vows Liz--I'll take action--you'll never get David. Never? asks Laura. That's right, says Liz--I'm convinced more than ever that you're not good for him. I think you should know something, says Laura, that if I decide to take David, no power on earth will stop me! What do you mean? asks Liz. You'll find out, says Laura. Will I? asks Liz. Mmm-hmm, says Laura, and I think you'll be very sorry that you tried to interfere with my plans. We'll see, vows Liz--now I want you to leave--do you hear me? Oh yes, says Laura, I hear you.
Good, says Liz, and leaves the cottage without a backward look. Laura goes to the fire. She throws another log on it, then sits down and stares into it.
Liz arrives home and closes the doors behind her. She takes off her coat, rubbing her arms against the chill. She calls to Roger when she enters the drawing room, but she's alone. She feels her face. We see Liz and Laura's eyes superimposed. Liz seems to be losing strength as she heads for the stairs, barely able to walk up them. Roger, where are you? asks Liz, feeling suddenly faint.
Vicki? Roger? somebody help me! And she tumbles down the stairs.
We see Laura's eyes one more time, then Liz lying at the bottom of the stairs unconscious.
NOTES: Oh, dear, we know what Laura was able to do to Sam with those terrible eyes of hers, what has she now done to Liz? Is the matriarch of Collinwood dead or dying? Poor Liz had no idea what creature she was going up against in her desire to protect David, but Laura is a formidable enemy. Didn't it seem as if Laura was working some bizarre alchemy on Burke--besides her tears, I mean. Is it possible he's that much of a softy where Laura is concerned, or did she use some powers on him? I still don't think Laura really cares much for Burke anymore; I think she's above earthly love now. I think she just wants to keep him out of her way while she works on her dominant goal--getting David out of the clutches of the family.
Liz had to know that trying to keep David and Laura apart wouldn't work, and that they would find a way to see each other despite her orders. Now that the painting that was to serve as a warning has been destroyed, David's real feelings toward his mother have come out--the longing to see her, be with her, like any normal little boy. The painting sent those nightmares, clouded his vision of Laura, so he saw his mother as something evil. The problem is, she apparently IS evil, with evil intentions toward him. Apparently Josette sent Vicki and Frank to the crypt so they would learn new information about Laura and hopefully prevent a tragedy.
Love Sarah with Burke. She almost seems to be baiting him when she asks him all those sly little questions about Laura's loyalty, then she lowers the boom. It seemed as if she did it that way to get maximum exposure out of her big news, toying with Burke like a cat with a mouse. Burke's fury and disbelief that Laura is lying to him seems to go hand in hand with her hold over him, a hold I still suspect is more supernatural than man-woman passionate.
Have a great weekend!
Love, Robin
