Episode #198 - Collinwood is a vast and sprawling place, its rooms are many, its halls a labyrinth stretching from high turrets to deep cellars. And of its many rooms, there is one built deep into the very foundations of Collinwood. And this one room seems to inspire different emotions in different people--in some it is mere curiosity, in some it is desperation, in some, it is fear.
Liz catches Roger banging away at the lock and demands to know what he's doing. I should think it would be obvious, he answers sarcastically. Liz is beside herself, telling him he can't go in there, and he says he's going to try, hitting the lock repeatedly. He'll stop on one condition, he says--give me the key. She doesn't have it, she insists. Then you give me no alternative. She forbids him to enter the room, and he says he has no alternative. Then he leaves her with none, says Liz, if you as much put a hand on that door again, you can leave Collinwood for good.
Roger looks at her.
Roger tells her she can't be serious, and she advises him not to try to find out. What's in there, he demands. It's no concern of yours, says Liz, walking away from him. Maybe not, says Roger, but why is it such concern to you? I don't have to answer questions about my own house, retorts Liz. Roger tells her he's got to get in there. She absolutely forbids it. He wants her to go in there and search for Sam's paintings, but she just told him they aren't in there! What IS in there? Roger asks. Some personal belongings, answers Liz. Could the paintings be hidden amongst them? he asks. They're not, says Liz. He's got to look for the paintings, says Roger, he promised Sam Evans they could be used in a showing he's giving. Liz finds it hard to believe her brother is going to all this trouble for Sam Evans, but Roger says yes. You dislike him intensely and you're the last person in the world who'd do a favor for him, points out Liz. That's not necessarily true, says Roger, but she says he's her brother and she loves him, but has no illusions about his willingness to oblige. Neither do I, says Roger, but I told Sam I'd look for these paintings for him. You wouldn't go from here to there for Sam Evans, protests Liz., and you know it. It's important for him to have these paintings, insists Roger, he says his career depends on it. Since when have you had anything but contempt for his career? demands Liz. He isn't going to argue with her, he's got to look for these paintings! As a favor to Sam? She asks sarcastically. Yes, says Roger. It just doesn't make sense, she says, at least she hopes it doesn't--I hope you have no reason to HAVE to do a favor for Sam Evans. Of course not, says Roger, his voice shaky, I told him I would, and I will. Liz asks if he's keeping something from her. No, he says. He turns and walks to the door, then asks, "Are you keeping something from me--that room is really just filled with your personal belongings--and that is the truth?" Yes, they're old things of Paul's, says Liz, yes, that's it--when Paul went away, I put his things in there, and I don't want anyone disturbing them. Roger understands that, and she must understand him when he says he gave his word to Sam and must do everything in his power to help find those paintings--Liz understands THAT, doesn't she? And Roger goes upstairs. Liz checks the lock for damage.
At the Evans cottage, Sam tells Maggie he won't find them, he knows he won't. She tells him to stop stewing about it every minute of the day and night. I can't help it, says Sam, I've got to have those paintings. Maggie is combing her sideways ponytail, and in her waitress uniform. She knows, she says, tell me who HE is. A man I sold some paintings to, says Sam, and he must get them back. If he said he'd find them, he will, she assures him. IF he can find them, frets Sam. Maggie doesn't get it--how can someone just lose 10-12 paintings. Not lost, says Sam, they can't be! Stop worrying about it, she advises. He thought she was going to work. She was, she saying sliding her arms around his neck and kissing the top of his head, but I don't want to leave you in this state. I'll be all right, he says, you go on. Are you sure there's nothing I can do for you? she asks--how about if I talk to that man myself. NO! says Sam, then realizes how desperate he sounds, and softens his tone--I mean, it isn't necessary, he'll find them--he'd better find them, or else! Or else what? demands Maggie, what does that mean? Or else he's lost a big chance for a great reputation. That's not what it sounded like, she says. "ARE YOU GOING TO WORK OR AREN'T YOU?" shouts Sam. All right, I'm going! She shouts back, but he stops her as she's putting on her coat, apologizing for yelling. She ought to be used to it by now, she says. Once the paintings are found and he has the rep he's always wanted, says Sam, holding her arms, he'll make it up to her, no more work for her, and she'll get everything coming to her--that's why he must get the paintings, for both of them, that's why he's got to find them and give them to me. Maggie leaves, and Sam looks desperate.
On the phone in the drawing room, Jason, on the phone and holding a brandy, tells Willie that the trouble with him is, he has no faith in him. When he says he'll do something, he does it. I told you, I'd be living in Collinwood in a week, and I am, and if I say I'm going to do something else, I will. Oh, Mrs. Stoddard and I are the best of friends! She's a wonderful woman, generous, same as I always thought she'd be. You and I will be meeting later, and I'll have more to tell you about how WONDERFUL, and generous, Mrs. Stoddard can be. He grins and takes a big swallow of his drink, then hangs up. He opens the double doors and goes into the foyer, touches the phone on the table, then wanders back into the drawing room, looking it over with pleasure. He looks at the portrait above the mantle and greets Liz when she comes in. He tells her she looks lovely, and he wants to talk to her. What do you want? She asks. He asks her to sit down, there's a little matter he wants to settle. He offers her sherry, but she refuses, and he tells her how much he enjoys living here and responds to this way of life. So I've noticed, she says, frowning. Then she won't have difficulty in his small request--transitions between the way of life here at Collinwood and those he lived while he goes to town--these transitions are somewhat disturbing. What are you trying to say? she asks. He wants to be more consistent, and if he's to live in a manner that befits Collinwood, he's going to need a little "assistance." You mean money, she says. That's what it seems to take, he says. Absolutely not, she says. It needn't be too great an amount, he assures her, just like a little allowance. I said no! Consistent with the generosity you've already shown me, he says, ignoring her negative responses. Didn't you hear what I said? asks Liz. No, I don't believe I did. I said I wasn't going to give you any money! Funny, says Jason, facing her, I still don't seem to be able to hear you, which is probably just as well--for your sake. (Smack his face, Liz!) What do you mean? she asks. For your sake, I hope you agree to my simple request, because if you don't, all I lose is an allowance, but you could lose a great deal more. I refuse to be threatened, she tells him. Who is threatening, certainly not I, says Jason, just making a simple observation. Were you? Of course, he says, what do I have that could threaten you? He was hoping she'd do it out of friendship, for old time's sake--how about it, Liz, for old time's sake?
She looks infuriated enough to explode.
Cottage - Sam, drink in hand, tells Roger that he's got to find his paintings, told tell him he couldn't find them! Roger says he's looked everywhere. No you haven't, says Sam, otherwise, you'd have found them. Roger asks if he has any idea how big Collinwood is?--he's searched them all with no results. Search them again, commands Sam, and don't come back until you do have results. I have been patient and reasonable long enough, says Roger. Have you? asks Sam. There's an end to everything, says Roger. Yes, there certainly is, says Sam, just like the end of my silence. You won't go to Burke and I know it, says Roger. What makes you think so? Asks Sam, because I'm implicated, too? Exactly, says Roger. What if I said I didn't care? I wouldn't believe you, says Roger. What if I said the satisfaction I might derive out of seeing you get what you deserve would more than compensate? Roger still doesn't believe him. I think you might be very foolish, says Sam, and we'll see then. Roger shouts that he told him a thousand times he'd give him those paintings if he could find them. Find them, says Sam. And I told you a thousand times I can't. That does it, says Sam, I'm going to Burke and tell him what I know. That does it! agrees Roger, goodbye. I mean it, Roger! So do it! It will mean jail, says Sam, for perjury and manslaughter! It will mean the end of a few things for you, too, says Roger, the respect from your friends and loving daughter... Leave Maggie out of this, orders Sam. I'd be only too willing to, says Roger, but when the truth is out, it will be all over town! You'll rot in jail, you'll see! Clamors Sam. And where will you rot? Asks Roger, here, under the loving gaze of your daughter?
Get out of here before I kill you, rasps Sam. I'm going, says Roger, and I won't be coming back, and you wouldn't get those paintings now even if I did find them! Sam tosses his glass at the door, smashing it to bits. Then he takes a fresh glass and pours another.
Roger enters the drawing room to find Jason drinking. Jason invites him to come in, come in, and Roger thanks him, saying it's not very often a man is invited into his own drawing room. Jason asks him to join him in a brandy, and Roger says it's not very often he's offered some of his own brandy. Oh, says Jason, he understood Collinwood and everything in it belongs to Mrs. Stoddard--my mistake. Collinwood belongs to the family, and any family member is entitled to what it has to offer Jason says he's glad to hear that, it puts a little deeper meaning on something your sister told me this afternoon--that while I'm living here at Collinwood, I should try to feel like a member of the family. Somehow, that doesn't sound like Liz, says Roger. It does me, says Jason, Liz has always been such a friendly person, such warmth and generosity from her, seems perfectly natural to me. He sits down at the piano, and Roger asks if he can ask him a question. Of course, says Jason. Do you expect to be a member of this...family for a very long time. Not too long, says Jason, reaching for his drink, which he's placed on the piano--I don't want to wear out my welcome, you see, although Liz did make it seem rather durable--and he plays a few notes on the piano--I can't tell you how wonderful it is to know that we're still friends after all these years. I find it no less than amazing, says Roger sarcastically. Oh, really? asks Jason, I feel I'd be doing your sister a great injustice were I to feel she was anything but the loyal friend she's always been. Roger says they seem to have different pictures of his sister. To be expected, says Jason, she probably has different feelings about the two of us--I can only say it makes me very happy to bring out her friendlier qualities. May I ask more precisely how long you plan to stay here? asks Roger. That's up to Liz, says Jason, like everything else around here
--and he takes another sip of the drink and almost slams it on the piano, then plays a few bars as Roger angrily walks out of the room. Jason is very pleased with himself.
Sam drinks, and smokes a cigarette. Maggie returns home to find him in a very bad state. She takes the drink from his hand and realizes the bottle is empty. She knows he's worried about the paintings, she says sternly, and I sympathize, but only up to a point! Recognition, says Sam, I coulda had recognition. Maggie says she would hate to haveanyone recognize him in this condition. She'll make him some coffee. He doesn't want any, but she insists he drink it anyway. My whole life,wasted, complains Sam drunkenly, the chance of a lifetime, gone! Maggie says perhaps he'll still find the paintings. He won't, he looked and can't find them, laments Sam. Pop, she says, you've heard from him? He stood right there, says Sam bitterly, his stupid face hanging out, and his beady little eyes shifting all over the place--I could have strangled him on the spot! Was he absolutely sure they were lost, she asks. He said he searched Collinwood from top to bottom, says Sam. Collinwood? pounces Maggie. Then he comes in here, whining, says Sam. Collinwood? she asks again, did you say Collinwood? What? he asks, realizing he made a mistake. Then the man who bought the paintings was Roger Collins, guesses Maggie. Sam denies this--it couldn't have been Roger. You said he searched Collinwood, she reminds him, but he says he made a mistake saying that. POP, WAS IT ROGER COLLINS? Maggie cries. It wasn't, he says again. It WAS, she says. All right, it was, he admits. Those were the paintings you sold 10 years ago, she says. Can't I sell paintings to anyone who wants to buy them? he whines. Why Roger Collins? demands Maggie, why would he want to buy them. They're good paintings, says Sam. You and I might think so, says Maggie, but Roger Collins? He though so, too, insists Sam, that's why I sold them to him! Pop, that was the time you were paid 15 thousand dollars, says Maggie. That's not an exorbitant amount for 10 paintings, he says. It was then, she reminds him, more than you were ever paid before. but not more than I deserve, insists Sam. But more than they were worth to a man like Roger Collins, says Maggie. They were worth much more, says Sam, twice as much to anyone. Why wouldn't you tell me Roger Collins bought those paintings? She asks. Because it wasn't important, he says. Important enough for you to deny! She says. I didn't deny it, her father insists, I just admitted it. You denied it at first, and kept it a secret for 10 years! Roger wanted it kept a secret, says Sam, he said he didn't want anybody to know he liked my paintings. That's not true! Says Maggie. It is true, not leave me alone! shouts Sam, balling his fist. Pop, that money--it wasn't for those paintings, was it? It was! he says. Was it? she asks again. What was it for, then, he asks, facing her, his voice cruel, TELL ME! TELL ME! Maggie retreats, saying she doesn't know--she doesn't know and doesn't want to know! He grabs her, telling her he's going to tell her what it was for. "I don't want to hear!" she wails. You do, I don't care. No, just tell me it was for the paintings, she begs, it was for the paintings, you always said so, tell me and I'll believe you. It was for... begins Sam. "So you wouldn't testify," his daughter finishes. "You saw Roger driving that car, not Burke, you saw Roger kill that man, and Roger paid you so you wouldn't...Pop, why did you do it, and what for? WHY?"
She walks away, and Sam looks as if he's going to burst into tears of shame.
NOTES: Extraordinarily powerful scene between Sam and Maggie at the end. She demands to know answers to her questions, apparently pretty sure what they are, but when he grows furious and wants to tell her the truth, she retreats and wants him to keep lying to her. Wonderful acting on both parts, and a very realistic scene.
Loved the Roger/Jason scene, too. Jason drinking the Collins brandy, leaving rings on the piano, comparing his relationship (more friendly) with Liz to Roger's. You can tell Roger wants to strangle Jason, but Liz only threatened to toss her brother out of Collinwood in this ep, so Roger is wary of angering her--and probably pissed that she seems too kind to this smarmy guest.
Episode #199 - The cold night wind howls around Collinwood, but inside the great house, all is quiet and serene. No one knows what is happening now far away from the great house, but it will change the life of at least one member of the Collins family.
Evans cottage - Tears in her voice, Maggie asks Sam why. Not for myself, he says, but for you and your mother. Those two years before Maggie's mother died, she was sick, they desperately needed money.
They couldn't live off what he made, couldn't keep alive, he found a way to make easy money, a lot of money. And you took it, says Maggie. Yes, says Sam, and if that makes me weak, I'm weak. The money must have been hard to resist, she comments. Hard, says Sam in an almost angry voice, impossible, it meant so much to all of them. Then everything Burke says was true, says Maggie, he wasn't driving that car. No, admits Sam. And Roger was, says Maggie. Yes. And you saw that accident? Yes, says Sam, I was out for a walk, a car was coming down a highway, it was driving very fast, swerving all over the highway, so I knew whoever was driving had to be drunk. Then the man appeared, he was walking down the highway, the car swerved and hit the man. It all happened so fast, I didn't even have time to cry out, I couldn't warn him! Then, says Sam, the car stopped for just a fraction of a second, and drove on, but in that second, I saw Roger behind the wheel--it was Burke's car, Roger was driving it. He didn't get out to help that man? asks Maggie. No, says Sam, there was nothing he could do--the man was dead the minute he hit the pavement Awful! exclaims Maggie. Roger must have seen me, says Sam, because he came to the house the next morning and offered me 15 thousand dollars for the paintings. Neither of us mentioned the word bribe, but we both knew that's what it was. And you kept quiet all through that trial? asks Maggie. Yes, confesses Sam, I was well paid for my silence. Pop! she says reproachfully--you let an innocent man go to jail for five years! You think I don't know that? demands her father. Don't you think I've felt guilty and ashamed every day of my life, ever since that happened? I know you have, says Maggie sadly. But it meant so much to us, says Sam, for all of us, especially your mother. I know, says Maggie. It meant I could get her things for those last years, says Sam, meant I could give her all the things I always wanted to. I know, says Maggie. I'm not asking you to agree with me, says Sam, but try to understand the way it was. She pulls away from him; he's holding into her arms, and sits on the sofa. I am trying to understand, she says. You're disappointed in me, aren't you? he asks. What do you want me to say? she cries. I never wanted to hurt you, says Sam. Maggie knows. I have hurt you, says Sam, you're not only disappointed in me, but ashamed. Please, don't, she begs. If he could make it up to her, he would, says Sam, sitting next to her on the sofa, but she immediately moves away from him. Pop, please don't! she sobs, I'm going for a walk. Maggie! objects Sam. Pop, please don't say anymore, there's nothing more to say, says Maggie, and she takes her coat and leaves the cottage. All right, says Sam, resigned.
Burke and Vicki are on a date at the Blue Whale. He tells her he's never heard of Jason McGuire. Mrs. Stoddard says he was a friend of her husband's, explains Vicki. Burke pours them wine. Burke thinks any friend of Paul's would be as welcome at Collinwood as poison ivy. That's what Roger says, smiles Vicki, but Mrs. Stoddard has asked him to stay, but no one knows how long. They thought he'd only be around for a couple of days, but it's looking more and more like he's planning to stay indefinitely. Burke is puzzled. Vicki is worried about Liz, ever since she's come back from the hospital, she's been acting very strangely. It's as though she has something on her mind she can't or won't talk about. Maybe she's worried about business, suggests Burke, I've certainly given her enough to worry about. Vicki doesn't think that's it. Jason enters the bar and looks around, then spots Burke and Vicki at a table. Burke is just saying, "I would think she'd ask him to leave," when Jason interrupts their conversation and greets Vicki, telling her how particularly lovely she looks this evening--but that's no novelty, is it? (What a slick tongue this man has!) Vicki thanks him, and introduces Burke to Jason. Don't you own a local business here? asks Jason. Logansport Enterprises, says Burke. Carolyn told me all about you, says Jason. Another man enters the bar, a young man with blond hair and a nasty grin. He watches Jason. I understand you're doing very well, Jason tells Burke. I hope to do better, says Burke. The young man darts forward and greets Jason. There you are, says Jason, not seeming too happy with the interruption. The young fellow is staring at Vicki, asking Jason to introduce him to his friends. Jason drags the guy away, saying they'll take another table. The young man continues to gape at Vicki. Burke wonders why Jason was in such a rush to get his friend away from them. Vicki says it's strange, Jason claimed not to have any friends in town, yet he knew that man. He did, agrees Burke, who has never seen him before, and doesn't like the way he's looking at Vicki--he has half a mind to go over and tell him so, he says, rising. Vicki stops him, urging him to not pay attention to him. At the other table, Jason orders the young man to stop staring over there. I like the scenery, he replies. Stop staring! orders Jason, that's Vicki Winters. The governess? Yes, says Jason, and I don't want her asking any questions about you. So she lives up at Collinwood, too--you've really got it made, chuckles the younger man. Not as far as she's concerned, says Jason, women aren't part of this plan, I'm after bigger things. The other man is licking his lips now, and Jason again tells him to stop looking at her. OK, he says, turning to face Jason. That's better, says the latter. Have they started to come around? The other man asks, and Jason says yes, she has, they're going to do all right. I'm glad you said we--better not forget your old buddy. Jason assures him he's getting his part are. Not part, half, says the other man, share and share alike is their motto. Jason agrees, not very happily. How much do you expect to collect? The man asks him. I'm not sure, says Jason, but it will be plenty, you can count on that. What do you have on this dame, anyway? That's my business, says Jason. You never kept secrets from Willie before, says the other man. This is different, this time things have to go exactly the way I want them to go, says Jason--keep your mouth shut, mind your own business and you'll collect plenty. Willie agrees, then asks Jason to ask Mrs. Stoddard to invite him up to the big house. Jason slams down his beer glass--absolutely not! He says. Why not? demands Willie, you ashamed of your old buddy? Jason says if he moves in there, the family will begin to ask questions, and the fewer questions, the better off they'll be. Willie complains he doesn't like living in a rooming house in that hick town--it's not Willie's style. It will have to be, for the time being, says Jason, you'll have to be patient. Willie agrees, not pleased, and urges Jason to remember--Willie's not a patient man. A man passing by knocks Willie in the elbow, and he leaps to his feet and snarls, "Hey look out, Mack. Just you look out, hear?" And he grabs a bottle from the table and moves to hit the man with it, but is quickly subdued by Jason and some others (extras!) who rush over to help. Easy, easy! cries Jason. The two men sit back down and Jason looks angrily at his partner. At the other table, Vicki tells Burke she thought there was going to be a fight.
So did I, says Burke, whoever this McGuire is, he has a very strange choice of friends. And Willie rubs his hand across the back of his neck, looking very James Deanish.
Maggie returns to the cottage and coolly greets her father. Hello, darling, he says, lifting a bottle of booze and telling her he hasn't had a drop, and is going on the wagon, definitely. I hope you mean it this time, she says. He really does, says Sam. Good, says Maggie shortly, she's going to make dinner, then she has to change--she has a date with Joe. Never mind dinner, says Sam, he doesn't want anything to eat. You have to eat, she says. I couldn't eat, says Sam, Maggie, come here. She goes over to him and reluctantly sits down. He wants to talk to her--about what she found out tonight. Maggie doesn't want to talk about it, but Sam says he can't live with it this way. We've said everything there is to say, Maggie tells him, but Sam wants to explain, wants her to understand why he did it. Please, let's forget it, begs Maggie. No, he says, it was a terrible mistake, but everyone makes mistakes. It's done, part of the past, he says, how could he change it, even if he wanted to. You probably couldn't, she agreed. Is there a way, he asks her, tell me? She says she can't tell him what to do. I want you to, he says, I want you to tell me what you think I should do. There is one thing, she says, go to Burke. He'd go to the sheriff, says Sam. Maggie knows. I could be tried for withholding evidence, says Sam, go to jail. Maggie asks him if it wouldn't be better to risk a short time in jail than to feel guilty the rest of his life? You want me to go to jail? He asks. Of course I don't! she bursts out, I just want you to be yourself again, the way you were before all this happened. But, going to Burke, that's too drastic, says Sam, I couldn't do it. Up to you, she says. I just couldn't, says Sam. That's your decision, she says, disappointed. Call me a coward, insists Sam, call me anything you like, but I just can't do it! You said that, she says, nobody is calling you names, I wouldn't do a thing like that. She looks wounded, and Sam begs her not to look at him like that. She closes her eyes, miserable, and says she isn't looking at him in any special way. Yes you are, says Sam, I can see the hurt and disappointment in your eyes. Try not to hate me, he begs. I don't, she says, you're my father and I love you no matter what, oh, Pop, let's just forget we ever said these things! She walks away from him and he looks very sad. We'll never forget, either of us, it will always be there between us, he says. Well, says Maggie, if you don't want any dinner, I'm going to change--I'll be late. I don't want any dinner, says Sam. If you change your mind, she says, there's stuff in the refrigerator. Maggie, implores Sam, what can I say? Nothing--there's nothing left to say, Maggie murmurs, and goes to her room.
Sam pours himself a drink, but doesn't take a sip, he goes over to the phone, lifts the receiver and dials. "Collinsport Inn? Let me have Burke Devlin's room, please," says Sam.
Sam paces the cottage. We hear a car pull up, and soon there's a hard knocking at the door. Burke rushes in, saying he got Sam's message, what's going on? Sam hesitantly tells him he has to tell him something, then offers him a drink. You didn't call me here to offer me a drink, says Burke, the room clerk said it was an emergency. In a manner of speaking, it was, says Sam, saying he's going to have a drink, because he needs one--and he knocks back a swallow of booze. (Off the wagon already!) What's the emergency? Demands Burke. Something I have to tell you, says Sam, taking another drink. Get to the point, says Burke. Sam says it's very difficult, let him take it in his own time. Take your time, says Burke, all I want to do is know what's going on. Sam says he had a talk with Maggie this morning, about Burke. It's about the accident, says Sam. The accident? asks Burke. Yes, 10 years ago, the manslaughter charge, says Sam. You saw it, didn't you? Asks Burke. Yes, admits Sam. I knew it--what did you see? Asks Burke. A car, coming down the highway, says Sam, a man, walking down the highway, the car swerving and hitting the man, the car stopped just for an instance. Who was inside? asks Burke tensely. Sam replies, you, Roger, Laura Collins. Who was driving? Asks Burke. Sam starts to respond, then stops. Burke says, "I wasn't driving, was I, Sam? WAS I?" Sam shakes his head. I knew it, says Burke. You were in the back seat, passed out, says Sam. "Who was driving," asks Burke. "It wasn't Laura, was it, Sam?" Again, Sam shakes his head. "Who was driving? Who killed that man? Say the name?" Sam doesn't respond, and Burke grabs him, whirls him around and shouts, "TELL ME THE TRUTH! SAY IT! SAY IT!" Sam licks his lips and says, "It was Roger Collins!"
Burke releases him, then steps away, staring at him silent, finally vindicated.
NOTES: GREAT scenes in these shows, and superb performances. Maggie's shame at her father's act of treachery is palpable, as is Sam's need for her to understand what he did. His family needed the money, so he betrayed Burke, who was his close friend. He was caught between a rock and a hard place, wanting his sick wife to be eased out of her final days in comfort. It was a brave act on Sam's part to do what he does here, and he deserves kudos galore for the courage--even if he did drop immediately off the wagon.
I love Vicki with her hair up. She looks wonderful. And I think she and this Burke make a good looking couple. We won't be seeing Frank Garner again, so the writers must have decided to pair Vicki elsewhere.
We meet the original Willie, a James Dean wannabe who here, at least, manages to know his lines. We know he's a hot head by the fact that he wants to hit a guy over the head with a bottle just because he bumped his elbow. In just a few eps, this Willie will be replaced by John Karlen, and the legend that's the Second-and-Best Willie will be born. There's quite a difference, as you will soon see. Love the way this Willie salaciously stared at Vicki.
As always, Dennis Patrick's slick performance as the slick Jason has me mesmerized. He's deliciously watchable, and now he's got trouble with his hot-headed partner.
I was lucky enough to see these shows when the show premiered, and I'm happy I was. It's great seeing them again, too.
Love, Robin
