Episode #184 - The air at Collinwood is tinged with the coldness of the grave as the dreadful truth of the unanswered come out into the open. Two people face each other, two people of two different worlds.
I don't understand you, Laura says. I'm sure you do, says Peter--I'm saying that you are the undead. And just what do you mean by that? she asks. I mean that you've lived and died, he says, and somehow come back to walk the earth. I don't know whether to laugh at you or cry--I suppose I should laugh, since I've never heard anything so ridiculous. I'm a man of science, he says, I wouldn't make such a statement unless I meant every word of it. Let's be honest--are you denying you're the undead? And if I am? she asks.
If you are the undead, he says, and I'm sure you are, then this is a very significant moment. Why? she asks. Because this kind of communication has never been possible, he asks--are you aware of what this could mean to the world of the living? You really are serious about this, aren't you? she asks. I told you, he says, it's been my life. You're life? she asks--really, what an interesting way to put it. But I'll tell you what disturbs me the most, he says, and why I'm speaking to you so frankly. Please do, she says, sitting by the fire--you fascinate me no end. What interests me, he says, is why you've come back. Surely your investigative techniques given you the answer to that? she asks. It has something to do with David--what is it you want with him? he asks. David is my son, she says--I want him to live with me. That word is taken on another meaning, he says--you'll have to explain it. Where can you go? he asks. The place has been chosen, she says, and it's many miles from here. Name the place, he says. No, she replies, it's really none of your business. Why do you need David so desperately? He asks. Because he's my son, she says. I'd hoped you wouldn't give me such pat answers, he says. Really, Dr. Guthrie, she says, you've gotten more answers already than you're entitled to, considering this fantastic idea you presented to me. You still haven't denied it, he points out, not completely. Nor have I admitted it, she reminds him. You've come back from the dead and you want your son, he outlines, there has to be a reason--what are you going to do to David? Love him, she says. There's more to it than that, he insists--you want him for a specific purpose. She stands. You're becoming tiresome, she says. I know I am, he says, that's because I'm closing in on you, and you can feel the pressure--I must know now--what is it you represent--the force of good or evil--what are you? You would hardly expect me to tell you I'm evil, she says. Why does Josette oppose everything you want to do? he asks. I can't imagine, she says. Does she represent good or evil? He asks, You're going to have to ask her that yourself, she says. I'll do that, he tells her, and very soon--how do you explain the long procession of Laura Murdochs who died by fire? I don't, she says. The empty coffins and the empty slab in the morgue--all those places should have been occupied by long generations of Laura Murdochs--why?--where are they?--isn't it so that they are all standing here in front of me--that you have been all the Laura Murdochs for centuries? I think I've played this game long enough, she says. The evidence has been stacking up against you for centuries, accuses Peter, well I beg you, for David's sake--leave him alone. You are insulting, she says. I'm afraid you'll harm him, says Peter. Get out of here! she demands, opening the door. If you promise to leave him alone, I promise I'll help you, says Peter, picking up his coat. I don't need your help or anyone else's, she says. Then I'll have to stop you, he vows. If this preposterous notion of yours were true, she says, just what do you think you can do about it? You've been cut off from others, he points out, you have no allies, I compiled enough data to convince everyone my theory about you is true--the fact that you're exposed and identified is in itself an advantage over you. No one will ever believe you, she warns him. I think they will, he says. You'll be laughed out of town, she says. I'll prove it, he says, you'll see. You're powerless, she tells him
--powerless. He leaves. She slams the door and leans against it, horrified over what has happened, frantically trying to decide what to do.
Collinwood - Joe knocks at the door, observing the sky. Peter answers, glad to see him. Your message said urgent, says Joe--I hope you're not planning another trip to the cemetery., No, Peter assures him, this time it's something within reason. Sounds comparatively dull, says Joe. Time is running out, says Peter--I just talked to Laura Collins, I tried to forestall her making a move with David--I've managed to cut her off from any allies, she's isolated, boxed in, but I can tell she's ready to lash out--I don't know what form this retaliation will be in, but I do know she'll take action, and soon--we've got to block any opportunity she has. What can we do about it? asks Joe. The only one who seems to know about Laura Murdoch Collins is Josette Collins, says Peter. That's reaching a little far, remarks Joe. Yes, says Peter, but she almost got through to us once--tonight, I'm going to make it possible for her to get through without any interference. Another seance? asks Joe. Yes, says Peter and this time it will be very different--everyone there will be sympathetic--by that I mean each person will also have had some contact with Josette. Who will the people be? asks Joe. David is the one who's had the most frequent contact, says Peter, Vicki was the last medium she used--and one more--Sam Evans. You've got to be kidding, laughs Joe. Sam was used by Josette to make those paintings, says Peter, so Sam is already a medium. He'll never do it, predicts Joe. That's where you come in, says Peter, you know him, you've got to convince him to take part in this. He'd throw me right out of the house, says Joe, and that's not saying what his daughter will do to me. Please, Joe, do your best, says Peter. OK, says Joe, what time, where should he be? Ten o'clock, at the Old House, says Peter. He'll just love that, says Joe--it might take a couple of drinks to get him there. One other thing, says Peter--I'll have Vicki put a table and chairs just outside the old wing, they'll have to get to the Old House somehow. I'll pick up one of the company's station wagons and put them in, says Joe. Thanks Joe, says Peter, and says he'll be waiting to hear from him later. David comes downstairs and Peter asks what he's up to,. Homework, says David. Sounds like fun, says Peter. Not to me, says David, I'm going in the kitchen to steal some cake. Do you have to steal it? asks Peter. I've already had two pieces, grins David. Guthrie laughs. Listen, tonight might not be so dull for you after all--I hope you're a good man with a secret. I'm an expert! Brags David. Good, says Peter, because you're going to go someplace tonight--that's the secret--Vicki's going to take you. Will it be far away/ asks David. Not too far, says Peter. Will I have fun? asks David. Possibly, asks Peter, but I'm sure you'll like it, anyway. I can't wait! Says David. I don't want you to say a word about this to anyone--not your father or Mrs., Johnson. I won't, David assures him, I never say anything to her.
Keep yourself available, says Peter--stay with Vicki or Carolyn, finish your homework--you may be up very late tonight. David slips off to the kitchen, thrilled, while Peter looks serious--and worried.
Evans cottage - Maggie is cleaning Sam's brushes. I saved you another brush, she says--what were you cleaning with?--cement? He sits reading the newspaper, his hands still bandaged. I need some new brushes, he says, I wish these hands would hurry up and heal! Slow but sure, she says. Too slow, he complains, I've got to get some canvases ready for the tourist season! I wish you'd get some ready for a show, she says--it's about time you got some recognition. It's too late for that, he says. Don't say that, she says. Joe knocks, Maggie, fixing her hair, answers. He kisses her. Come on in, she says. Joe greets Sam. I guess you didn't get your watch fixed, she teases. He looks at his watch--oh, I'm late! he realizes. Uh-huh, she says--that's one thing about an honest man, he always confesses. I'm going to have to do worse than that, he says--beg off for tonight. I don't know if I'll let you, she warns. I'm sorry, Maggie, he says. What was it last time? she asks--oh, yes, you dropped your watch into an netfull of mackerel--what is it this time? I can't tell you, he says. Sam starts to get up, saying he should leave the two of them alone. Joe stops him, explaining that it's actually you I want to talk to--alone. You're not going to ask for my daughter's hand? asks Sam. Not tonight, laughs Joe, but it is very serious. I don't want my father involved in anything, says Maggie. Go ahead, says Sam, it's all in the family, anyway. Maggie stays. It's Dr. Guthrie who wanted me to talk to you, says Joe. I see, says Sam, I liked him--he's the man who believed me. He wants to know if you'd be willing to do something for him, says Joe--a large favor. How large? Asks Sam. He wonders if you'll meet him tonight, says Joe. I think I can manage that, says Sam--where? I'll pick you up and take you there, says Joe. Take me where? asks Sam--the Blue Whale is within walking distance. Not the Blue Whale, says Joe. Collinwood, maybe? asks Maggie. Not exactly, says Joe. What's all this about? asks Maggie--what's all the mystery--why does Dr. Guthrie want to see him? Can you promise not to breathe a word of this to anybody? Asks Joe. Of course I won't, she says. Sam, he wants you to attend a seance tonight, says Joe. Both Maggie and Sam laugh. You've got to be kidding, says the latter. Come on, Joe, says Maggie. I'm very serious, says Joe. I told you he was a strange one, Maggie tells her father. What's it all about, Joe? asks Sam. It's down at the Old House, says Joe, they want to try and contact Josette Collins--they're sure she's been trying to tell them something about Laura Collins. If that's what they believe, that's their privilege, says Sam--what do they want with me? Dr. Guthrie believes you're receptive to Josette, says Joe. How does he figure that? asks Sam, smiling. He thinks Josette was using you to paint those pictures, in order to tell us something. That's a little far out, says Maggie. I know it sounds that way, but after all, hasn't everything that's been happening lately? Yes, says Maggie, and I don't want my father involved in it. Why don't we let your father decide, says Joe.
I can't go through a preposterous thing like that, insists Sam--I can't. He takes out his cigarettes.
At the cottage, Laura gazes out the window, upset. She goes to the fireplace and sits down in front of it, her face set and determined.
Laura gazes into the fire, working her magic.
At Collinwood, Peter removes his jacket and loosens his collar a bit. He sits at the desk and begins making notes, takes off his glasses, shakes his head, puts his glasses back on.
Sam smokes. Why can't you? asks Joe. It just isn't my kind of social event, says Sam. Can't you understand how important it is? asks Joe. To who, Carolyn Stoddard? asks Maggie. (meow) No, Mrs. Stoddard, says Joe. She's in a hospital in Boston, she reminds him. It's related to her! says Joe, everything that's been going on in this town is related to this seance--what we find out tonight might save Mrs. Stoddard--and it also might answer a lot of questions that we've all been asking--Sam, how did you get your hands burned? My hands? asks Sam. Maggie intervenes--Joe, I've gotten him to forget about all that, why bring it up again? Because what your father thought, says Joe, might be true. Yeah, says Sam, that Laura Collins burned my hand?--I believe it--so did Guthrie--you mean I might find the truth about it out tonight? No guarantees, says Joe, but you might get closer than you can any other way. Please, don't, says Maggie. I don't know, says Sam, maybe you're right. Please stay away from it, warns Maggie, the problems at Collinwood have nothing to do with you. I'm afraid I'm more involved than I want to admit, says Sam. Then you'll go? asks Joe. I don't know, says Sam, I know you mean to help me, but I can only help myself in my own way. I hope so, says Maggie. I'll be by to pick you up later, says Joe, heading for the door. Sam and Maggie look into each other's eyes. Sure Joe, thanks, says Sam, and takes a puff of his cigarette.
We see Laura's eyes, huge, working on Peter, who continues to scribble things down a the desk. He removes his glasses, presses his hands into his head. David answers the door to Joe. When are you going to take me out on a fishing boat? David asks him. When the weather gets warmer, Joe assures him. I'll see you then, says David, and closes the doors. Joe knocks at the drawing room doors and twice greets Peter, who is so distracted, he doesn't hear Joe come in. He looks disheveled and sweaty. I thought I'd stop by and tell you that Sam will be here, says Joe. That's good, remarks Peter, undoing his tie--it's hot in here. Also, says Joe, I got the chairs and table, and put them in the station wagon. What chair and table? asks Peter. The ones you told me about, says Joe. Oh, yeah, thanks very much, says Peter. Are you feeling all right? asks Joe. Yes, says Peter, it must be my eyes, I'm tired--I'll have some coffee after a while, that will pick me up. If there's nothing else, I'll get the chairs and stuff down to the Old House, says Joe. Thanks a million, says Peter, still making notes. Right, says Joe--good luck. He gives Peter a concerned look before leaving. Peter shakes his head, removes his glasses. Laura's eyes are superimposed over him. He rises from the chair, moves back and forth, loosens his collar, gasps for air. No! he cries, sitting before the fireplace, don't let it happen to me now! Laura's eyes do their evil magic. David exits the kitchen, plate in hand. Josette! He cries.
She appears on the stairs and points to the drawing room. What is it? he asks--what are you trying to tell me? She walks downstairs. You want me to go somewhere--where? he asks desperately. She continues downstairs, pointing. You want me to go back there, says David--you want me to hurry!--she disappears. David enters the drawing room to find Peter nearly unconscious. He calls to him.
Peter bends his head backward to look at David, imploring him for help.
NOTES: Peter is one brave man, approaching Laura the way he did, letting her know he knows everything about her, begging her to spare David. Apparently he has no idea what kind of woman he's dealing with--she's more evil harpy-bird than woman, apparently, and he riled her up really badly. I don't know how he could have been so unconcerned for his own safety, having dealt with her powers before, but he had no protection since the last time, so why was he so foolish? He's a smart guy, a nerd with those icky glasses, but he's a nice guy, too, caring about David and the others in the house, even though some of them have been downright nasty.
Not my kind of social event, says Sam, trying to refuse to join in the seance. What a hoot! Yet he is curious to solve his own strange mystery, so he agrees to participate--despite Maggie's objections. Even though he and Maggie laughed when Joe presented this to them, Sam agreed to do it, and Maggie didn't talk him out of it.
Episode #185 - Terror strikes again at Collinwood, as the force of evil seeks vengeance for the challenge that one man has made, a challenge that the living shall triumph over the undead.
We see Peter and Laura juxtaposed, Peter gasping for breath, clutching his throat, as David stands over him, calling him in a desperate voice. Help me, please, begs Peter, help me, David, please. What's happening? asks David--you've got to tell me what to do! David goes calling for Vicki as Peter continues to be tortured. David, save me, please, begs Peter, reaching out to the boy, hugging him. Frantic, David doesn't know what to do to help the doctor.
Hugging David like a lifeline, Peter rocks back and forth in front of the fire place. "Dr. Guthrie! Dr. Guthrie!" cries David.
We see Laura's eyes working hard to subdue the doctor, then a look of consternation enters them, and her spell is broken.
David! gasps Peter--she almost had me. Who? asks David as Peter gazes at the fire behind him--what are you talking about. You didn't get me--why? asks Peter. Who are you talking to? asks David. You! says Peter exultantly, of course--you are the key! He smiles gratefully at David--you saved me because you're the key! Says Peter, moving with difficulty to the couch. Vicki enters and sits beside Peter. David tells her Dr. Guthrie is sick or something.
Peter wipes his perspiring face with his handkerchief. Are you all right? asks Vicki. Yes, says Peter, mopping his face, I just got my wind back. What happened? she asks. She... begins Peter, then looks at David and tells him it's time he went upstairs to start getting ready. OK, says David. Come right back down here, says Peter--thank you for saving me--for being there when I needed you. I wouldn't have been there if it hadn't been for Josette, explains David, she was right on the step, just pointing to these doors. You mean, says Peter, she was out there and directed you to me? That's it, says David. I guess you'd better thank her for me next time you see her, says Peter. I will, promises David. Better run along, says Vicki. David leaves. What's happening? asks Vicki. I went to Mrs. Collins, he says, threatened to expose her--when I got back here, I could feel her power taking me over--she would have had me all the way if the key hadn't dropped right in my lap--David is the key to everything she wants--she can't do anything without worrying about him. He puts on his jacket and glasses, and explains how David came into the room, and he reached out for him--as soon as he touched him, the spell was broken--because David had made contact with me. I don't see how Josette figures into all of this, says Vicki. Josette has been working here, too, but her powers seem to be different. They represent good, says Vicki. If she's materializing as easily as this, he says, I think our seance is going to be a great success--I've got some things to do before we're ready, he says. Vicki puts her hand on his arm. Are you sure you're all right? she asks. Yes, he assures her, I feel fine. He slowly walks into the foyer--I've got to got to my hotel and get my tape recorder and the rest of my notes, he says--you take David to the Old House and make sure you keep your eye on him--and above all, be certain his mother doesn't get near him--I'll see you as soon as I get back--thanks--goodbye. She smiles at him and says goodbye, then stands there a moment, contemplating. David runs downstairs. Are you ready? She asks. Yes, he says, and I finished all my homework, too. Very good, she praises--I'll be ready in a minute, I just have to tell Mrs. Johnson something--stay here, don't move. He grins and says OK, then slips on his coat, with a bit of difficulty. The doors open and Laura enters. David--I've been looking for you, she says, smiling at him. (uh oh!)
Hi, Mother, says David. How are you? she asks--I haven't seen you in the past few days, and I've missed you! I've missed you, too, he says. She sits down and asks where he's been. I don't know, he says, I've been so busy. Too busy to see me? she asks. It seems I had to do something every single, solitary minute, he tells her. I see, she says. And the homework, wow! he says. Vicki's been giving you more work than usual? She asks. I guess so, I've been working very hard, he says. Couldn't you spare a minute for me? she asks. Every time I tried to, he says, something came up. I thought we were going to buy your shoes together, she reminds him. Miss winters took me, he says, I told them I wanted to go with you, but they said I had to get them right then. How would you like to come spend the night at the cottage with me? she asks. Sure, when? he asks, smiling. I thought maybe tonight would be a good idea, she says. Not tonight, he says, I have to go somewhere--they haven't told me where yet--Miss winters and Dr. Guthrie. She repeats the doctor's name and says she somehow didn't think he'd be going anywhere tonight. He was feeling kind of sick before, says David, but he's OK now. Is he? she asks. Yeah, says David, I don't know what was the matter with him--he kept saying that *I* saved him!--because I was the one that found him. That was fortunate, she says. I wouldn't even have found him if it hadn't been for Josette, says David. Josette? repeats Laura.
She was standing right there and she led me into him, says David. It was Josette, she says--why don't we go down to the cottage right now? David starts to protest. I bet they don't have anything important place to take you at all. Dr. Guthrie said I'd like it, boasts David--and I could stay up real late. Well, if you want to stay up late, she says, you can come down and we can stay up late together--why don't we go now, and you can phone later and tell them where you are? I can't, says David, I promised Miss Winters I'd stay right in this very spot. Oh, you did? asks Laura. Vicki exits the kitchen. Yes I did, says Vicki, and I think it's very good that he can carry out his instructions so well. David is planning on spending the night with me, says Laura, rising to her feet. Didn't he tell you, says Vicki evenly, he has something else to do? I did tell her, pipes up David. Yes, well I'm sure it can't be that important, says Laura. But it is, says Vicki, smiling--he has to go someplace. Where could a child be going at this hour of night? asks Laura. That's a surprise for David, explains Vicki. Can't it be put off for ano9ther night? asks Laura. Absolutely not, says Vicki. I very much appreciate your dedication and efficiency, says Laura--however, I would prefer David to be with me tonight, and I'm sure he would, too. I'm sure he would, too, says Vicki brightly, but perhaps tomorrow or the next night. Yes, says David, tomorrow would be fine! Come along, Vicki tells the boy, and he rushes to the front door. Very soon, we will know everything there is to know, says Vicki--until then, you know how things stand. Yes, I know exactly how they stand, replies Laura, and she watches as Vicki and David leave, plotting God knows what.
Laura stands in the foyer. They've gone, have they? asks Sarah. Yes, says Laura. Of course, it's not up to me, says Sarah, but I don't think very much of taking a child out this late at night. I can't say they have my blessings, says Laura. I don't like the things that have been going on around here ever since Mrs. Stoddard went to the hospital, says Sarah--it's a difficult place to work with His Nibs having the run of the place. You mean Dr. Guthrie? Asks Laura. Himself, says Sarah--you never heard such whispering--they think a whisper can hide everything--all that sneaking around, moving furniture--they think I don't know that they're up to something. I'm sure not much gets past you, says Laura. They think I can't figure out where they've taken that table and those four chairs, says Sarah--down to the Old House--there's something big going on down there--it's only a guess, but I think they're having another one of those seances--big doings, and I think it's terrible to put a child like David through a terrible thing like that--that so-called doctor, he's off now getting his tape recorder. Oh, so that's where he's gone, says Laura. Yes, says Sarah, and I think he ought not to dabble with powers that are greater than he is.
You're quite right, agrees Laura--there are powers greater, far greater, than Dr. Guthrie. She leaves the house. Sarah nods to herself, smug.
Old House - David and Vicki enter, flashlights in hand. Oh, boy, this is a surprise! says David, gazing around the drawing room. I'm glad you like it, she says. Don't you? he asks. I don't like this place in the daytime, much less the night, she says--let's go into the other room, there should be some candles. David notes the table and chairs and asks what they're doing here. Vicki lights the candles on the table and explains they're expecting two more people. Who? asks David. Dr. Guthrie and Sam Evans, says Vicki. What's Mr. Evans doing here? asks David. The doctor feels this is the right time for another seance, explains Vicki. A seance! says David ecstatically, oh, boy, I always did want to go to a seance! You're going to have to do as you're told, warns Vicki. I will, he promises--why are we having a seance? Because Dr. Guthrie wants to contact Josette, says Vicki--he thinks she has something very important to tell us. Maybe she does, says David eagerly, because it's a seance. Anyway, all the people here are those to whom she's appeared before, says Vicki. Josette appeared to Mr. Evans? asks David. Not exactly, says Vicki, but Dr. Guthrie feels she was responsible for making him paint that portrait. Why would she do a thing like that? asks David. Perhaps because she's trying to say something, says Vicki. What could she be trying to say about my mother in a painting of fire? queries David. That's a question that may be answered tonight, says Vicki. That question is what I've been trying to figure out, he says--it's really been bothering me. I think you should prepare yourself for the chance that what you might hear tonight may not be very pleasant, she warns him. He considers this very seriously.
Laura returns to the cottage, very troubled and angry. She sits by the fireplace and looks into the friendly flames. What evil will she perpetrate now?
Laura merely sits by the fire, concentrating.
Peter Guthrie climbs into his car and begins to drive down the road.
Laura's eyes are highlighted as she works her evil wiles.
Old House - David and Vicki agree that it's cold. He offers to build a fire, but she tells him no, they won't need it. When it Dr. Guthrie going to be getting here? asks David impatiently. He must be on his way, says Vicki. They hear the front door open, and David suggests that's him now. But it's Sam Evans, and Vicki invites him in. Sam greets both of them. I'm awfully glad you could make it, says Vicki. I'm not sure I am, says Sam--oh, quite a camp site, he adds, gazing at the table and chairs. My favorite place! Says David. I bet, remarks Sam. Did Josette really make you paint that painting? David asks him. I don't know, says Sam--that's why I'm here--I've got to find out--otherwise I'd be insane and out of my mind for coming--he turns to Vicki--what are we supposed to do? The doctor's on his way; he'll explain everything when he gets here, says Vicki. Uh huh, says Sam.
Peter drives down the dark, lonely, unlighted road. He begins to blink excessively.
We see Laura's unblinking eyes, working, relentlessly pushing him to where she wants him.
Old House - Have you ever been here before? David asks Sam. This is my first time, says Sam, and I hope the last. Would you like to see a very beautiful painting? offers David. Here? asks Sam in disbelief. Right here, says David, pointing above the mantle. You've got a sharp eye, praises Sam--it's a good portrait. It's Josette, says David. Is it? asks Sam--there's a dimensional quality about it--the artist caught a very expressive face--eyes alive, lips seem soft, wanting to speak. You know, that's exactly the way I feel when I look at it? says David. It's amazing, it's in very good condition, says Sam, considering how it's been exposed to the temperatures all these years--yes, it looks very fresh--artist must have used very good materials--no sign of cracking or drying.
Laura's eyes...Peter's car...Peter begins to feel peculiar, and complains aloud about drivers driving with their high beams on. He blinks against the glare, raising his hand to block it out. Signaling, he says, holding up his hand again. See my headlights blinking...brighter...brighter all the time! He holds up his hand again, steering, blinded. Laura's eyes, the fire, work on Peter Guthrie. That's too bright, he says, bright--it's almost like fire...like fire...why should it be like fire? We see fire on Peter's face, as if a ghost were attacking him.
Old House - That's the lady who's going to speak to us, says Sam. Yes, says David--I can't wait until she appears! You like this kind of thing, don't you, David? asks Sam. Sure, says the boy. Some people's tastes... says Sam good-naturedly. When is Dr. Guthrie going to be here? asks David. Any minute, says Vicki. That's what you keep saying, gripes David.
You're too impatient, says Vicki. David gazes up at the portrait--I just know Josette has something to tell me, he says--something right now.
Laura's eyes...Peter's car comes over a hill. He's blinded by light, holding his hand up, trying to see. Fire appears. Why should it look like fire? he asks. Fire...Laura Murdoch! No! Leave me alone! Fire...blinding me...I've got to stop the car!
It's going faster, I can't stop it, brakes won't stop it, I can't control it, it's out of control! NO! he cries, no! No! And he crashes into a tree.
Laura, her work done, continues to stare into the flames. She turns away, her eyes glazed, but filled with triumph.
Peter's car bursts into flames.
NOTES: Is there any chance at all that Peter Guthrie survived that conflagration? I think not. Laura murdered him, without remorse, I'm sure. He dared to stand between her and her son, and she removed him from the world forever. Poor guy, yet another Collins sacrifice. Will the others have the seance without him? How will they all react when they hear what happened? Will Vicki know and Sam suspect that Laura murdered Dr. Guthrie? Will they finish what the poor man started?
I still wish Dr. Guthrie hadn't forced the issue with Laura. He seemed to want to learn all about her, almost as if she were a science experiment--much as Julia eventually will want to learn about the worlds of the living and the dead--or undead. The problem is, Phoenix or not, Laura is still all woman, and a vengeful, cruel one at that. She knows what she wants and killed to get it. Dr. Guthrie stood in her way, so he was ousted. Bitch! I wonder, too, if she messed up his bleeder valve, having attended the David Collins School of Auto Disrepair? Did she melt his brakes so they wouldn't work? Very creepy way to die.
Too bad Mrs. Johnson told Laura where everyone was going, because that made Laura able to focus her energy on Peter and kill him. For all her insistence that she doesn't gossip, Mrs. Johnson should have her own column--Collinwood Daily!
I enjoyed the scenes at the Old House, with Sam admiring Josette's portrait and David impatiently awaiting the seance. It was normalcy mixed with the madness of what Laura was doing to Peter, and made what happens to him even more terrible.
Love, Robin
