Episode 142: Stop

Friday, January 13, 1967

Note: The episodes’ official numbering includes skipped numbers for pre-emptions, in accordance with their numbering system (so that one could look at the number of an episode and know what day of the week it aired on). I have elected to number the episodes by what episode it actually is, but I will note the official numbering also.

This is the 142nd episode, but the official number is 145 or 10.

My name is Victoria Winters. A strange force has caused me, against my will, to bring a painting to Collinwood—a painting so weird and mysterious that no one—not even the man who painted it—can explain it. For one, it holds an unusual fascination.

David is looking at the painting when Laura comes into his room. She wants to go out to lunch, but he doesn’t feel like eating. She thinks he’s disturbed, which he adamantly denies (in a disturbed way). He tells her he thinks the painting is trying to tell him something. Something bad.

He wants to know what it is.

David says he looks at the painting and sees light coming for him.

She asks him to go for a walk, but he wants to be alone.

Sam hasn’t read the morning paper in a week. He’s got his own disaster going on. He doesn’t want to paint. “I can see myself having an exhibition of fifty paintings of Laura Collins surrounded in flames.”

Later, Laura stops by, asking for Sam, but he’s not at home.

Laura is curious what Sam is working on now.

Maggie wonders whether Laura can explain Sam’s obsession with her.

Sam arrives home.

Maggie says she’s meeting Joe. “I want to get there early so I can see the surprised look on his face.”

Laura asks Sam why he did that atrocious painting of her.

Sam wants to know why he’s painting her. He shows her the latest painting.

Laura is not happy, and neither of them has answers for the other.

“I’m just saying that every time I start to paint, it comes out—you!”

Laura wants the paintings destroyed. She wants Sam to stop painting it. She says he will stop painting it.

Maggie and Joe arrive back at the cottage.

Maggie is tired of worrying about her father. She’s thinking of leaving town to get away from her nursemaid life. She says she doesn’t see much future for herself in Collinsport.

Joe says he’s there.

They kiss before going to look for her father.

Laura comes into David’s bedroom. The portrait glows, but only when Laura isn’t looking at it. She leaves.

Maggie and Joe bring Sam home, drunk as usual.

Joe says good night and goes.

Maggie says she’ll make some coffee.

Laura thinks about Sam.

Sam drops his cigarette on the newspaper (the newspaper was mentioned in the first act, by the way).

        Cast, In Order of Appearance

Victoria Winters . . . . . . . . . . . . . . . . . . . . .   Alexandra Moltke

David Collins . . . . . . . . . . . . . . . . . . . . . . . .  David Henesy

Laura Collins . . . . . . . . . . . . . . . . . . . . . . . .  Diana Millay

Sam Evans . . . . . . . . . . . . . . . . . . . . . . . . . .  David Ford

Maggie Evans . . . . . . . . . . . . . . . . . . . . . . . .  Kathryn Leigh Scott

Joe Haskell . . . . . . . . . . . . . . . . . . . . . . . . . . Joel Crothers

Fashion by Ohrbach’s

Directed by John Sedwick

Story created and written by Malcolm Marmorstein

Episode 140: You Painted My Dream

Wednesday, January 11, 1967


Note: The episodes’ official numbering includes skipped numbers for pre-emptions, in accordance with their numbering system (so that one could look at the number of an episode and know what day of the week it aired on). I have elected to number the episodes by what episode it actually is, but I will note the official numbering also.

This is the 140th episode, but the official number is 143 or 8.

My name is Victoria Winters. It is night at Collinwood after a day of strange and unexplained events. But the strangest event of all has just happened to a small boy, and it defies explanation.

David cries out for Elizabeth, and she comes to him. 
Vicki arrives too.

He’s afraid of the painting. He says he saw a face come right out of it. His mother’s face.

Liz tells him it was a bad dream, but he insists it was real.

Liz says dreams sometimes seem very real.

She asks why the painting is there and Vicki tells her Sam painted it, that he didn’t want it, and that he gave it to Vicki. Then David saw it and wanted it.

Liz says they can take the painting away now. David doesn’t want it anymore, does he?

David says he guesses not, but then when Liz goes over to take it down, he changes his mind and begs her to let him keep it. She says they’ll talk about it in the morning.

Vicki and Liz tuck David back into bed.

After they leave, David gets back up and goes over to look at the painting.

Liz asks Vicki why she gave David the painting. Vicki says it was an impulse; he seemed to want it so much. She tells her how Laura felt about the painting.

Vicki asks whether they’ll need her if David leaves with Laura.

Liz says she isn’t sure David will be leaving. Laura needs to prove she can do more for David than Liz can, and Liz isn’t sure that’s the case.

Vicki says, “Oh, but she needs him so badly!” (A strange thing to say—is Vicki under Laura’s spell? Or the forces fighting against Laura?)

Liz points out that the important thing is whether David needs Laura. She seems to be the cause of his nightmares. Her presence there seems to disturb him.

David sets his crystal ball on the windowsill. 
He gets up on something and looks at the portrait.

It’s morning in Collinsport, and Sam is preparing to paint when there’s a knock on the door. 
It’s Vicki and David. David wants to thank him for the painting.

He likes that it looks like his mother, and it’s scary, and he loves scary things. He asks why Sam painted her that way, standing in flames. Sam says you can’t ask an artist why he paints something, because he never knows the answer.

David tells Sam he painted David’s dream. His mother is on fire, and it’s getting hotter and hotter.

Sam says maybe they both travel on the same psychic wavelength.

He tells David there are cookies and cider in the refrigerator. David still wants to know how Sam painted his dream. Sam says it’s a coincidence. There’s not any real connection.

David says he just thought it was spooky. (David likes spooky things.)

When David goes to the kitchen, Sam says David’s dream is the same as the vision he’s been having. 
He started another picture. It was going to be a seascape. He shows it to Vicki.

“It’s another woman on fire!” Vicki says. She wants to know whether it’ll be Laura Collins again, and what the empty space is going to be.

He doesn’t know.

Vicki says something strange happened yesterday. Something made her take the painting, something made her show it to David, something beyond her power.

David comes back and Vicki says it’s time for them to go. Sam tells Vicki that some things are best forgotten. 
After Vicki and David leave, Sam begins, unwillingly, to paint.

When Vicki and David return, Liz tells David his lunch is ready in the kitchen.

Vicki tells Liz she took David to see Sam; he wanted to thank Sam for the painting.

Liz says she thinks that was a mistake. Vicki asks why, but before Liz can answer, there’s a knock on the door.

It’s a policeman asking to see Laura. 

It’s about the dead woman in Phoenix. 

Liz says she’ll take him to Laura’s cottage, but first he wants to show Liz some personal effects found in the fire.

She can identify the locket—a family heirloom; her brother gave it to Mrs. Collins when they were married.

Vicki said she saw this locket in Laura’s possession, and Laura told her a story about it—how she clipped a lock of David’s hair and kept it in there.

Liz says it can’t be the one she saw, because this is a family heirloom.

Vicki says it must be.
The policeman opens the locket and finds a lock of hair.

 

      
 Cast, In Order of Appearance

Victoria Winters . . . . . . . . . . . . . Alexandra Moltke

David Collins . . . . . . . . . . . . . . .  David Henesy

Elizabeth Collins Stoddard . . . . . Joan Bennett

Sam Evans . . . . . . . . . . . . . . . . .   David Ford

Lt. Dan Riley . . . . . . . . . . . . . . .   John Connell

Fashion by Ohrbach’s

Directed by John Sedwick

Written by Ron Sproat