Episode #227 - This is to be a night of horror--a night that evil will display its terrible power. A night that an innocent is to become the frightened object of that power.

Cottage, morning - Sam awakens Maggie, who, to his astonishment, had overslept for the first time in his memory. Well, getting one's blood drained can weaken a girl! When Sam noted that her doors were left open, I could only think to myself how careless Barn was, unless he was rubbing in the fact that he had had "knowledge" of Maggie during the night.As tired and drained as Maggie is, she fights her father, argues with him, but she forces herself up and out.

She looks utterly exhausted at the coffee shop, her marks on her throat covered in a scarf. She's so out of it, she gives poor Joe only half a cup of coffee, then overfills his cup, spilling it. She breaks a cup, too, but has no interest in cleaning it up. When she passes out, her father and Joe take her home and put her to bed. Maggie, like Willie, refuses a doctor, protecting her enslaver. JOE AND MAGGIE ARE JUST SOOOO CUTE! I love it when he sits on her bed and they talk about him going out with the guys and vowing to tell her about most of it. When he promises her flowers, however, she gets upset--they remind her of her nightmares of her own death,and she doesn't want him to talk about such things.

Barnabas takes a candle to the window and sends Maggie a telepathic message--Come with your father tonight to the Old House. I want to see you, Maggie. She suddenly feels well enough to drive Sam to the Old House, and says she overheard Willie come to the door, which Sam insists was impossible. Something improved her hearing, and the flirtatious tone in her voice says it's something Sam would not be too happy about!

When they show up at the Old House, Barnabas looks smug, like he's been expecting Maggie. Their exchange and the way they look at each other is the behavior of lovers. Barnabas urges her to go home, get better (be there so I can bite you, Maggie), and their goodnight stare is fraught with lovers' passion.

When Sam wants to knock off early, Barnabas discourages it, and why? So he can go off to nosh on Maggie again while Sam is busy painting his visage! Barnabas smiles out the window, seeing Maggie in his mind as she tosses and turns in bed, awaiting him.She senses he's coming, and makes sure her doors are open to receive him. She pulls off the scarf and lies back in bed, eagerly waiting for the touch of her lover's sharp teeth on her throat.


Episode #228 - A brilliant morning sun shines on Collinwood, but it does not seem able to disperse the shadow that has long hung over the vast and rambling house--the shadow of a secret, an insidious secret, held by a man who is no longer a stranger to Collinwood.

Jason demands Liz give him a job at the cannery, something in public relations, perhaps, which will explain his continued presence. Carolyn comes in and sees how perturbed her mother is. Jason feigns concern for Liz' welfare, and Carolyn leaves. Jason behaves as though his position in the firm is a done deal, and bonus--a way to take some of the workload off Liz! He leaves, grinning as always. Liz goes to dial the phone.

Study - Roger cannot believe it when he learns Liz has made Jason director of PR. She defends her action, but Roger tells her she's made a big mistake. He can't change her mind, however, no matter how many good arguments he presents.

Drawing room - Carolyn reveals to Vicki how much she dislikes Jason, articulately how he fakes his too-sweet behavior. Jason comes in, asking for Liz. Carolyn wants to know how long he's going to stay. Ask your mother, advises Jason.He tells her of his new job at the cannery, which her mother encouraged him to take (let's kill this SOB!) because of their friendship. Carolyn tells Vicki she will not believe what Jason told them.

Study - Roger tells Carolyn he never saw Jason before this current visit; he was away at school during the time Liz knew Jason and Paul Stoddard. Carolyn laments that she knows so little about her father, but Liz refuses to discuss him. Roger tells her that what Paul left behind is in the locked basement room. Carolyn, who never knew what was in that room, is curious about it. Vicki advises Carolyn not to pursue that.When Liz comes in, Roger tells her that they are all annoyed at Jason's participation in the business. Carolyn asks her mother for the key to the basement room, but Liz, upset, forbids any discussion about that room and leaves.

Liz paces the drawing room. When Vicki comes in, Liz apologizes for her outburst in the study. Vicki believes that room is connected to Liz' current troubles.Liz denies this--Paul's things are down there, but it would, as Vicki points out, disturb Liz to have them touched. She begs Vicki to put a stop to Carolyn's curiosity about that room.

Carolyn diligently searches for the key; she finds one in a box, but quickly returns it when someone approaches. Seeing it's Vicki, she takes out the key again. Vicki tells Carolyn it will be extremely painful for her mother if Carolyn insists on going into the locked room. She doesn't have to know, responds Carolyn--and she has the right to see her father's things! Maybe that's not what's in the room, suggests Vicki.Vicki pleads with her, but Carolyn doesn't listen.

NOTES: Jason's demands are getting more and more outrageous, but they are leading up to a really BIG one, not long from now.

I remember being annoyed that they returned to this aspect of the show after the previous exciting episode with Maggie.

Carolyn has every right to know about her father, and Liz is wrong to keep it from her. Of course, Liz feels huge guilt about Paul Stoddard, and doesn't want to twist the knife in her own heart by talking about him, or opening up a trunk or suitcase and looking at his old clothes. Surely, however, Liz has to understand that Carolyn wants to know about the man who fathered her--and Vicki about her parents, too!

Love, Robin

Episode #222 - The past and the present have intermingled at Collinwood, and the ancestral home has become a source of strange occurrences and strong curiosities. A foreboding structure can attract the least suspecting.

Poor Willie flinches when he hears a knock at the Old House door while lighting candles for the arrival of dusk. Vicki is surprised to see him, but when he admits that he's working for Barnabas now, she tells him she's happy for him.He, in turn, nervous and scared, orders her to go, now--he has no idea when Barnabas is coming back! She praises the work he's done so far at the Old House and he practically pushes her out the door. She departs with a sarcastic thank you, and after Willie ushers her out, Barnabas appears and sarcastically asks his employee: "Were you afraid for her? How very CONSIDERATE of you!" (oh, Barnabas is SO very cold here.)

Maggie, sure she was followed, returns home to the cottage, breathing harshly. This time she's the one afraid of a knock at the door, but it's only Barnabas, and she seems afraid to let him in. He looks outside after she reveals why she's afraid, but since he was the one following her, he sees no one outside, of course. She tells him about the woman attacked by the waterfront and the dead animals, and he seems more concerned about whether anyone recognized him than anything else. Sam arrives home, worried about Maggie--another woman was attacked, but she got away because headlights frightened away her attacker! (what does Barnabas know from a car at this point, anway?) After they decide Maggie will get the station wagon (as if she can't be attacked walking to or from the car), Sam and Barnabas make a deal that Sam will paint Barnabas' portrait for a thousand dollars, a kingly sum in 1967.The offer leaves Maggie's and Sam's faces wreathed in smiles; that's probably rent and utilities for six months for them! However, adds Barnabas, Sam must work only during the nights, only at the Old House--and he'd like him to start immediately. With a commission like that in the offing, Sam gathers his paint supplies and Maggie drives them to the Old House. He works all night.

Maggie visits Vicki at Collinwood and they discuss Barnabas' European ways and admire his portrait. Maggie comments about the eyes in the portrait and how PENETRATING they are, and this segues into Barnabas himself, sitting patiently, hands crossed on his cane, posing for Sam. The cock crows--it's dawn! Sam catches a line on Barnabas' face that he missed and insists he must add it to the portrait.When he looks up, however, Barnabas has abruptly disappeared, and Willie is waiting to take Sam home. When will I work again? Sam wants to know, and Willie says Barnabas will be in touch, after sundown. Sam is perplexed, but again, one senses the money is spurring him on, and he leaves with Willie.

NOTES: I think Barnabas knows how desperate Sam must be for money, and aside from the fact that he is impressed by the way he paints, he also likes his daughter and has some nefarious plans for her. It must be very puzzling, this painting only at night, but heck, for that kind of money, Sam's willing to accept the strange behavior of this wealthy stranger.

Now Willie, who used to do his best to nearly rape the lady folk in and around Collinwood has become their concerned protector. Strange how being bitten by Barnabas brings out the best in Willie, huh? Even Barnabas realizes that Willie is suspicious of his plans for Vicki and Maggie, but knows his new servant can't do anything about it.


Episode #223 - There is a fog that clings to the cliffs that mark the edge of Collinwood, a fog the sun cannot disperse. There is a man more frightening than the fog, more threatening, a man who is thought to be gone but who still remains, a man who clings to Collinwood with more tenacity than the mists from the sea--a man whose presence inspires more unrest than fear, more mystery than anger.

Liz, alarmed after learning from Vicki that Barnabas has employed Willie, decides she must warn her newly arrived cousin against Mr. Loomis. David wants to go with his aunt to the Old House, but both Liz and Vicki insist that he study upstairs. Liz leaves. David is curious as to why Liz wants to speak to Barnabas, and even more that Barnabas has stolen away his favorite hiding-away spot and has the nerve to make changes there.

Receiving no answer to her knock, Liz enters the Old House. She spots the unfinished portrait of Barnabas on its easel and observes the changes that have already been made in the drawing room. David joins his aunt and in consternation sees the portrait of Josette is missing; the smell of her jasmine perfume is also gone, and David fears her ghost is, too.Liz, telling David it's Barnabas' home now, stops him from going upstairs to search for the portrait.

Vicki shows Burke the strong resemblance between the present-day Barnabas and the foyer portrait. Burke, waiting to see Liz, who isn't expecting him, expresses annoyance that Barnabas has hired Willie.He also realizes that Jason is upsetting Liz, and that as a result, she's done something totally unlike herself.

Liz and Burke talk in the study. She's irritated at him for coming to Collinwood, and he wants to know why she sold property to someone else, knowing the purchaser would ruin it. Burke suggests she needed the cash, but Liz imperiously denies being forced to sell it.When Burke suggests Jason wants to do her in, she tells Burke to stop prying. Burke offers to assist Barnabas in ridding himself of Willie, but Liz haughtily assures him her cousin can take care of himself.

Foyer - David explains to Burke that he's unhappy because, while he likes Barnabas, he isn't happy with his taking over the Old House and moving Josette's portrait--thus making her spirit leave. Burke suggests Barnabas might give David the portrait, an idea that excites David.However, with the portrait gone, David fears going to the Old House, though he won't admit that to Burke. After David leaves, Burke stares closely at Barnabas' portrait.

David enters the Old House and calls to Barnabas. Dogs howl outside. David tells Josette that he's afraid. The front door slams shut, and the braying dogs seem even closer. Unable to get out, David is frightened.

NOTES: Poor little David, feeling forlorn because, with the portrait gone from above the mantle in the Old House, he feels Josette's comforting, protective presence is gone, too. His first scene with Liz was disjointed; I guess he missed some lines, but he kept talking how he hoped Barn didn't make any changes, or not too many changes, etc. I got a bit confused.

Burke prefers to bring Liz down himself, so he's angry that Jason McGuire seems to be muscling in on that. Of course, we know Liz sold the property Burke wanted to get the money to buy the Swiss bank account Jason demanded. I think that although Liz likes like Burke, but she resents his meddling in her personal/business affairs; hell, she doesn't even accept it from her own family! We hear the name Hackett as the buyer of the   property, which will soon become familiar for another reason.

I loved how Liz told Burke that Barnabas is a "true" Collins and can easily handle Willie Loomis. I guess she was trying to hint that Burke can't, or that Barn can do it better.

Nice scene between David and Burke; the latter, always seeming a better father figure to David than Roger is, encouraged him to ask Barn for Josette's portrait, if he feels so badly about it being moved. David returns to the Old House and, like Vicki a few days ago, finds himself locked in, the howling of the dogs terrifying him. Didn't the poor kid look pathetic as the howling increased in volume? Once again, Henesy proves his acting mettle.

Love, Robin

Episode #218 - A path that can never be lighted by good because evil hides itself too well in the night, choosing the moment that it will reveal it's horrors.

Dogs bark wildly as Barnabas watches Jason leave the mausoleum.

Roger, puzzled because he couldn't reach Cousin Barnabas at the Inn, the only decent place to stay in the entire town, suggested letting him stay with them at Collinwood. Hey, he's family, while Jason and Willie are only usurpers. Besides, Roger knows Barnabas is interested in starting a business, and he, Roger, would love to be of assistance as a consultant, paid, I'm sure. When Barn shows up, he smoothly bypasses Roger's question about his accommodations (can't very well tell the guy he beds down in a coffin during the day),but asks to live at the Old House, startling Liz. He speaks so passionately about the house and his desire to live there, and I laughed when he assured her, "I'm the product of a proper marriage."

Jason confesses to Liz that he wasn't able to keep Willie resting in bed.Liz, still not believing Willie is ill, insists Jason take his friend to a doctor.

Fascinating conversation between Barnabas and Jason. Jason wonders how Barnabas knows about him, while Jason finds Barnabas' resemblance to the portrait uncanny. Hey, by the way, WAS your ancestor buried with his jewels? asks Jason and is, of course, disappointed to find out not only was he not, but he's buried in England, anyway.Jason chuckles how he hates to see crime encouraged, and you sense that Jason suspects some unsavory stuff about Barn, but Barn probably knows a lot about Jason, not just from what Willie might have told him, but through their blood bond.

Of course, Roger, trying to talk Liz into letting their cousin stay at the Old House,(Barn sensed an ally in Roger, apparently) is puzzled when he realizes, damn, he still doesn't have their cousin's phone number or any idea where he's staying. The reason for that is obvious when Barnabas steps up to the mausoleum door. Roger would never understand these accommodations, and it's not as if Barnabas has access to a phone where he's "living" now.


Episode #219 - A dawn obscured by mists from the sea slowly creeps toward Collinwood, and through the morning mists, a man emerges from the darkest pit the night can know. But the peace he looks for will not come with the day, for through the mists, into the morning, he brigns with him the torment of the night.

A furious Jason accuses a weak, sickly Willie of searching for the jewels. Loomis is terrified when Jason says he knows damn well what Willie was up to, and is laughingly relieved to find out his friend thinks he's after those jewels again! Rather than lead Jason to a more horrifying conclusion, Willie agrees--yeah, he was looking for those gems again! Willie gazes at Barn's portrait and says NO to jewelry! Jason orders Willie to take the next bus out of town, but Willie insists he can't, and collapses against Jason, whose anger fades when he sees that Willie is truly ill. More puzzled than ever, helps his friend upstairs and, at Roger's insistence, calls in a doctor.

Although Roger admits Willie looks "ghastly," he still believes he's faking his illness.Jason becomes nervous when Roger gets a call from the sheriff, and even though Roger seems to think they just want him to serve on some committee, he wonders what this is all about--him, perhaps?

Sheriff Patterson tells Roger about the local cattle being drained of blood--and explains that no animal, but only a human being could have done it.Roger wonders what kind of man could or would do such a horrendous thing.

Willie isn't sick, he's weak from loss of blood,Dr. Woodard gravely explains to Jason.

Sheriff's office - Roger and Patterson discuss and speculate about the mysterious cattle deaths. Roger leaves.

Woodard tells Jason that Willie's wound healed with surprising speed, which is curious. Rest and fluids are what the patient needs, says the doctor. The doctor reveals his findings to Roger, which, given his discussion with the sheriff, surprises him. Dr. Woodard assures them that Willie will be fine, with decent food and rest.

Willie thrashes in his bed, insisting he "won't go back there." Dogs howl outside in the distance.

NOTES: Poor Willie, as much a victim as the cattle. Does Roger make the connection between the cattle slaughter and Willie's mysterious loss of blood? Now they know Willie is truly ill, not faking, so will they be kinder to him? Willie doesn't want to go back there, and we know where, don't we? What a sad state Willie's been reduced to!

Love, Robin

Episode #214 - There are two great houses at Collinwood, one alive with the present, and the other slowly decaying, filled with the dead memories of the past.

We got a shaky shot of the Old House. Vicki, on one of her seemingly endless searches for David, got stuck inside the Old House (I assumed Barnabas did that to see who he'd snared in his web). I loved the way they have fog rolling past outside the windows topping the door, and Barnabas' theme music is excellent and eerie. He, of course, is easily able to open the "locked" door, and then begins to regale Vicki with stories about the building of the Old House,comparing it with the pyramids of Egypt (luckily some history with which he IS familiar).

It's been noted that Barnabas was blinking a lot in the initial eps, and I have a perfect explanation for that--he's been in total darkness for many years, can you blame him if glaring electric lights make him blink? Barnabas speaks to Vicki of the beauty of the Old House compared with the harsh labor inflicted on those who built it, the crippled and the dead, beauty outside, hatred inside. Frankly, I think if I'd been Vicki, I'd have been terrified, listening to what he was saying! And when he speaks of the argument between father and son (which actually took place on Collinwood's stairs), he laughs when he mentions the death of the son, and the laugh--"What happened here wasn't funny"--never fails to chill me all the way through. The pyramids were designed to be a tomb, agrees Barnabas, staring sadly through the staircase as though through prison bars, but the Old House wasn't.

How affectionately Carolyn greeted Uncle Roger, home from a business trip! His comments about Willie, that the jet set can't be kept down, made me giggle. As she is telling him about their newly arrived cousin, Barnabas, invited in by Vicki, greets his present-day family. Roger's resemblance to his pop must have thrown him for a loop, huh?Barnabas is grateful for the ALIVENESS of his family. While Carolyn rhapsodizes about her handsome new cousin knowing all the familial dirt and his old-world charm, Vicki cautiously mentions that he spoke as if making notes, and discussed the Old House as if he'd actually lived there. Go with that, Vicki!

Study - Roger and Barnabas bond over a bottle of Amontillado (which, given how often some folks get walled behind bricks a la Poe's "Cask of Amontillado" gives one pause to smile). Does Barnabas actually drink? From the camera angle, one can't tell. Barnabas wants to drink to eternal health for the Collins family, and one wonders what he has in mind to make that so. Roger checks out Barn's ring with great interest. "It was handed down," Barnabas says (yeah, from him to himself). Roger seems especially thrilled that this new cousin is wealthy, which will surely ensure what Barnabas wants--to be embraced by his family.Shipbuilding is something Barnabas knows, and hopes to continue, and Roger seems eager to help him spend his wealth.

Carolyn, Vicki and Roger see Barnabas, who mentions how pleased he is at his pleasant reception, off. Carolyn's thrilled to see a friendly person visiting for a change, Roger likes the guy's bucks and warmth, and all three agree he sure looks like that painting in the foyer.We segue from the portrait to the grinning face of Barnabas, standing in the woods, praising himself as the dogs howl around him. He pulled off his deception, and he's damn proud of himself!


Episode #215 - Violent intent has many consequences, as those discover who commit themselves to carry out such intentions--this man (Burke) is prepared to do just that.

Blue Whale - Burke joins Maggie at a table. She's quite pleased that Willie appears to be gone, but Burke assures her that if he isn't, he's more than willing to have a rematch with Mr. Loomis. When Jason comes in, Burke quizzes him, asking if Willie really gone.It's really puzzling to Burke to learn that Willie left without any money--and that Jason had some to give him! Jason leaves. Burke returns to Maggie,and both agree they don't know for sure if Jason is lying or not. Joe comes in, depressed--his uncle is searching his farm for a missing calf, which seems to have disappeared. They finally found it--dead--with two small puncture wounds in its throat.Everyone is grossed out and perplexed at this story.

Willie shuffles into the Blue Whale. He looks terrible, miserable, and heads for the bar. Burke goes over to him and finds Willie shaking, his head dropped down in a very dejected manner. Burke says Willie's name; the latter gazes at him with unseeing eyes. What? asks Willie, turning his gaze away from Burke's. I told you to leave town, Burke reminds him, who simply replies that he hasn't thought about it. He speaks as if not quite there, not even looking at Burke, nodding his head as if he has palsy. In a low voice, Willie apologizes for making trouble. Incredulous at the change in Willie, Burke asks him what's wrong. Nothin', mutters Willie, then drops his head in his hands, his attitude one of total despair. Pitifully, he begs Burke to leave him alone. Burke backs away from the scared, scary young man. When Jason comes back in, Burke informs him that his friend is ill. Jason goes over and demands to know where Willie's been, accusing him of being in the mausoleum. The latter, jerking around to face Jason, shivering in fear, says nothing is wrong--he wasn't in the mausoleum! You were there to rob a grave! Accuses Jason. He offers Willie the $500 to leave town fund, which Willie refuses--he's staying.

At the table, Burke muses on what has happened to change Willie. Joe muses over the dead calf on his uncle's farm, drained of blood.

Jason continues to demand answers from his friend, Willie can't take it anymore and begs Jason to leave him alone.When Jason notices blood on Willie's sleeve, Willie tries in vain to hide it, but Jason is persistent--how did you get that blood on your sleeve?

NOTES: What a change, huh, pre-Barnabas and post-Barnabas! Even as Burke vowed to keep punching Willie until he left town, as ordered, Mr. Loomis himself, looking quite terrible--unshaven, haunted eyes, trembling uncontrollably, appeared at the Blue Whale. No one but the audience connects Joe's creepy "expertly drained calf" tale (found on his uncle's farm) with Willie's behavior, and what a terrible secret Willie now harbors! Even Burke relented when he saw how defanged (sorry, couldn't resist) Willie was, and was worried enough about him to suggest Jason take him to a hospital. When Willie, weak, exhausted, nearly insane from God knows what ordeal he's been through, begs Burke to leave him alone, you feel Devlin's astonishment; this was the guy who was giving everyone so much trouble? As Jason accuses Willie of sinking so low as to try to rob a stiff, Willie's face shakes, his hands tremble and he can't even drink his booze--and we have seen him knocking it back pretty easily over the last few days! And Willie's terror when Jason demanded to know why he had blood on his jacket sleeve was palpable. I found it amusing that two men who know Willie pretty well, Jason and Burke, both decided he had changed so much in appearance and behavior, he needed medical attention.

Love, Robin

Episode #210 - There are no limits to the things some men will do--they sink to the bottomless depths of corruption. They will desecrate sacred ground, and violate that which should remain sealed forever.

Willie returns to Collinwood, closing the doors behind him. He heads upstairs. Jason, heading out of the kitchen, spies him and asks where he's going. MY room, replies Willie. Come down here, orders Jason, I want to talk to you--now! What do you want? asks Willie. Where have you been? demands Jason. Out...around, says Willie. Don't give me answers like that! says Jason angrily--come down here. Willie complies. I want to know where you've been and what you've been doing, says Jason. What are you gettin' so nosy about? asks Willie. Now on the bottom step. You've been acting kind of strange, says Jason. Willie denies this, but Jason reminds him he knows him--you've been quiet and cagey--I've seen you like this before--you've got something going for yourself--and I want to know what it is. Willie shakes his head and insists he doesn't know what Jason is talking about--then grins at Barnabas' portrait.

Look at me when I'm talking to you, commands Jason. I can hear ya, says Willie, but Jason, furious pulls Willie around to look at him, shaking him by the shoulders. What, are you gonna get rough with me? asks a grinning Willie. As rough as I have to be! says Jason, to pound some sense into your head. What's the matter? asks Willie innocently. You're up to something, accuses Jason, shaking a finger at him, I've been adding things up, you've been asking a lot of questions, the kind that shouldn't interest you, about the Collins family.Nice people, remarks Willie. The ones that are dead? asks Jason. History, says Willie--hey, they go back a long time. This painting, says Jason, what is that to you? Art, replies Willie. Who are you kidding? asks Jason. I like lookin' at it, says Willie. What about those books you've had your nose buried in--since when has reading become your hobby? I'm a curious guy, says Willie. Yes, you're curious says Jason--you won't tell me what you're up to. Nothin', says Willie, honest, I swear on a bible! The bible you could swear on will never be written, says Jason grimly. All right, says Willie cheerfully, I'll swear on a stack of sawbucks. He sits on the foyer table. That might convince me, says Jason--I don't know, cause you've got something on your mind. Just money, that's all, says Willie--when am I gonna get some? Mrs. Stoddard just told me she'll have it for you in a few minutes, says Jason. Are you sure? asks Willie. Yes, says Jason, I just saw a man from her company delivery an envelope to her--I know it's here. Well, get it, man, get it! encourages Willie. I will, says Jason, but I want you to go up there and pack! You want me out tonight? asks Willie. That's right, says Jason. OK, if that's the way you want it, says Willie, jumping off the table. Liz pokes her head out of the drawing room, asking to see Jason for a moment. Sure, says Jason, then quietly tells Willie that this is it--she's going to give me the cash now. I'll just go up and pack, says Willie, heading upstairs.

Drawing room - Liz thrown an envelope down on the desk. Here, count it, she tells Jason. He picks it up and assures her he trusts her. I don't trust you, she says, count it. I can tell by the feel of it, he says. See that your friend gets out of this house when you give it to him, orders Liz, right now! Of course, says Jason, and I'm sorry this had to happen. I'm sure, she says sarcastically. But I am, he says, I wanted this to be quiet, the same way you wanted something kept quiet. The silence is costing too much, she warns him. You can't put a price on the kind of silence you're buying, he reminds her. There will be a limit to it, she warns him.You're always so businesslike, he protests. Just get your friend out of this house immediately! She says. Of course, he agrees--immediately. She leaves the room. Jason takes the money out of the envelope.

Willie goes to a shed on the property and begins to stash tools in a bag, clanking them noisily. He takes a length of rope and a pulley that are hanging from a post, and stuffs those into the bag, too.

Willie heads for the Collins family mausoleum, walking slowly through the fog, a probably-stolen flashlight in hand. He hears a dog barking and stops for a moment, unnerved, but continues to break into the outer door, working diligently on the lock.

11 PM - Vicki knocks at the drawing room door. Come in, says Liz. Vicki asks her if she's busy. Not really, says Liz--what did you want? I wondered where you were, says Vicki, holding herself as if cold--the house is so quiet. Carolyn's out, isn't she? asks Liz. Yes, says Vicki. She seems to be staying away from the house as much as possible, says Liz--she's frightened of that man. I am, too, says Vicki. Liz apologizes. Why is all this happening? asks Vicki. I'd rather not talk about it, says Liz. How much longer are we going to have to put up with Willie Loomis? Asks Vicki. Liz rises and assures her she doesn't have to worry about it anymore--I've taken care of it--he's leaving. When? asks Vicki joyfully. Right away, says Liz. That's wonderful! says Vicki. It was impossible for him to stay here any longer. Carolyn's going to be very happy, says Vicki--I was afraid he was going to stay here a long time--is he leaving town? Yes, says Liz. And Mr. McGuire is going with him? asks Vicki. No, says Liz. I thought they traveled everywhere together, says Vicki. I don't know or care, says Liz, sitting on the sofa. What was it that made Willie want to leave? asks Vicki. Does it matter? asks Liz. He's been acting so strangely lately, says Vicki, even Mr. McGuire couldn't figure it out. Couldn't figure what out? asks Liz. His interest in the Collins family, says Vicki, he's been asking all sorts of questions going back 200 years, and he even read up in some old books dealing with the family history--he was quiet fascinated by that portrait in the foyer, says Vicki, that one near the door, the man with all the jewelry. Oh, yes, Barnabas, says Liz. I've seen him staring in front of it, just staring at it, says Vicki. Barnabas Collins was known for his jewelry, says Liz, he wore quite a lot of it, as you can see in the portrait--strange that a man like Willie Loomis would be so interested in jewels that only exist in a painting.

Willie finally succeeds in breaking the lock into the tomb. He enters, closing the squeaky door behind him. He surveys the three plaques on the wall.

Willie walks over to the plaques, shining the flashlight on each in turn. Joshua Collins, born, 1755, died 1830. Naomi Collins, born 1761, died 1821. He reads her name aloud eagerly, then looks at her coffin, grabbing onto the rope ring near the top of it, giving it a tug. He tries to pull it open, straining and grunting, but can't open it. He tries the other end, with the same result. He reaches for the bag of tools he brought in, taking out a crowbar, and tries working open the coffin with that, but is unable to despite immense effort, and, frustrated, tosses away the crowbar. He looks outside the mausoleum, running a hand through his hair, then sits down on Joshua's casket and lights a cigarette, furiously throwing down the match. He walks around the coffins for a few seconds, , grabbing into the rope ring again. He takes out the rope and pulley, attaching the latter to the rope ring, then begins to thread the rope through a ring hanging from a lion's mouth above the plaque. When he hears the heartbeat, he drops the entire device, hands pressed over his mouth in a gesture of terror.

Jason comes downstairs as Liz exits the kitchen. Well? she asks, is he gone? I'm working on that right now, says Jason, he went up to pack. Why is he taking so long? asks Liz, he hasn't that much to pack. He'll be gone, soon! says Jason. I assume he was pleased with the contents of the envelope, says Liz. He will be, Jason assures her. What do you mean, will be? asks Liz, haven't you given it to him yet. No, says Jason reluctantly, I'm trying to find him. Where is he? asks Liz. Don't worry about it, says Jason. I do worry about it, says Liz, I wouldn't have given you the money. I'll find him, says Jason, you're getting what you want, you're getting rid of him, leave the rest to me. I have left the rest to you, says Liz sourly, and he's still here somewhere--I paid a price to get rid of him, and I want my money's worth. You'll get it, Jason assures her, I'll take care of it! Well take care of it! says Liz--now! She heads upstairs. Jason looks perturbed over Willie's disappearance.

Willie, gasping in fear, backs away from the sound of the heartbeat. He looks out the gate. The heartbeat stops. Willie looks at the back wall, cautiously, then takes a puff on his cigarette and leaves it on the edge o Joshua's casket. He returns to the wall and hooks the opposite end of the pulley end into the ring on the lion's mouth. He pulls back, tugging hard, loops the rope around his wrist for better leverage. He pulls. The ring in the lion's mouth opens a secret panel in the wall behind Naomi's coffin. The heart beat begins again, louder and louder. Willie shakes his head, then sees that he's opened a door to what could be amazing riches. He steps forward, shining the flashlight into the darkness.
Willie enters the mysterious room, unmindful of the heartbeat in the light of this fascinating discovery. He finds a coffin inside, sealed with three chains. He examines the padlocks holding them together carefully, shining the flashlight n each in turn. Grinning exultantly, he goes into the outer room to get some tools. Using a pick and hammer, he begins working on the first lock.

Jason returns to Collinwood, looking none too happy. Vicki's in the drawing room, and he asks if she minds if he sits by the fire. Go ahead, she says, I'm just about finished. I didn't mean to disturb you, he says, I'll be very quiet. He sits by the fire. I guess I am finished, she says, rising. Please, he says, don't leave on my account. I'm leaving on my account, she says. I thought we were friends, he says. What makes you think we're not? she asks. I can tell, he says--oh, well, no matter--things will be quiet again very soon--I'm sure of it--my poor, misunderstood friend Willie will soon be gone, then everything will be back to normal again. I thought he's already left, she says, disturbed. I'm waiting to say goodbye to him now, says Jason. Where is he? she asks. I was looking for him myself, admits Jason. I think you may have missed him, says Vicki, I saw him leave--I was looking out my window and I saw him going--he seemed to be carrying his things.Oh, but his things, they're up--you saw him carrying things? asks Jason. Yes, she says. I see, he says. Is he going or isn't he? asks Vicki. I'm not sure, says Jason, perplexed, he couldn't be gone--because I have this...well, he'd want to say goodbye--no matter, one way or the other, he'll be out of here--tonight.

Willie, eyes gleaming greedily, has finished opening the final lock. The last chain slips off the coffin. The heartbeat continues all around him, but Willie has only one thing on his mind as he begins to jimmy open the coffin with the crowbar. The heartbeat abruptly stops, and Willie looks up, pleased, grinning with glee. He succeeds in opening the coffin after prying it open in several different places. He takes all the tools off the top of the coffin, places them on the floor, and, delighted, opens the coffin.His expression changes to one of immense terror as a beringed hand reaches out of the coffin and grabs his throat!

NOTES: One of the classic DS episodes! I notice that Jonathan Frid, Daniel Keyes and Clarice Blackburn are listed in the credits, even though we didn't see either of them in the episode today. Wonder what's up with that. Did they cut out some scenes with Mrs. J to make room for more commercials?

Willie is going to get a serious lesson in not letting greed get the better of him. Next time we see him, he's going to be a completely changed young man.

Jason believes Willie has something going for himself, and indeed he thought he did. Now Jason, holding Willie's $500, waits for him to come home, claim it, then leave again.

I remember watching this episode the first time, wondering what had reached out of that coffin to grab Willie's throat. Now I know, of course, but that final moment is still no less thrilling every time I see it! My God, the expression on Willie's face, and the way he shuddered as the hand took hold of him!

Suspense doesn't get much better than this on a Friday, believe me, friends!


Episode #211 - The dawn will soon come to Collinwood and bring with it the unresolved troubles of another day. A frightening and violent man has disappeared, but the fears he created have not disappeared with him, wherever he is, some violence is surely taking place.

Drawing room - Liz tells Jason that's not what she wanted to hear. I thought you always insisted on the truth, says Jason. I insist on you keeping your promise, she reminds him.And I'll keep it, he says. Your promise was that Willie would be gone from here last night, says Liz. Well, says Jason, as far as anyone can tell, he is. He hasn't gone, his things are still here, says Liz. Maybe he decided to have one last night on the town, suggests Jason. You know that isn't true, says Liz, Who can be sure? asks Jason. Collinsport offers very little entertainment for a man like your friend Willie, she says. If he were in any trouble, we'd have heard about it, says Jason--Willie is not famous for his anonymity. It was bad enough when he was here, comments Liz, but at least I thought we were keeping an eye on him--now who knows what he's up to. Maybe he decided to leave without any fond farewells, suggests Jason. I can imagine him leaving without any fond farewells, agrees Liz, but not without the money. Then isn't that our assurance that he'll turn up sooner or later? asks Jason. I don't want it sooner or later, I want it now! says Liz. But I've looked for him, insists Jason, ever place conceivable. Look for him in a few inconceivable places, suggests Liz, knowing him, I suspect that's where he'll be. She looks out the window. But Liz, he says, it just doesn't make sense--you're asking me to look for someone and bring him here--then send him away again. Are you sure you don't know what he's doing? she asks. I've told you I don't know, he says--you have my word for it. Your word! She says disdainfully. Yes, my word, he says. I've had your word once before, she reminds him. And I've kept it, he says, I haven't said a word, to anyone, about our agreement. You were paid very well for your services, she says, and out agreement was that you were never to return to Collinwood. Mrs. Johnson comes in to report to Liz that she was making up Mr. Loomis' room, because she was told he was leaving, His departure was been delayed, says Liz sourly, giving Jason a dirty look. You can make up his room later in the day, Liz tells Sarah. He'll be gone by then? asks Mrs. J. I'm sure he will, says Liz, giving Jason a significant look--will you let me know when he's gone? She leaves the room. I didn't really think he was leaving, Sarah tells Jason, because he didn't act like somebody getting to go anywhere--I saw him prowling around the tool shed last night. Are you sure? he asks her. I know what I see when I see it, she says, he apparently needed tools for some reason. Yes of course, says Jason, but do you know what that reason might have been. With your Mr. Loomis, who care be sure? she asks--he's one of the strangest young men I've ever met--all the time you're talking to him, you know he's thinking something--but you have no idea exactly what it is. I know what you mean, says Jason. Of course, you're such an old friend of his, she says, I bet you know what he's thinking all the time. In this particular instance, says Jason, I'm not so sure.

In a way, I'll be sorry to see him go, says Sarah. I find that hard to believe, Jason says. Make no mistake about it, she says, I disapprove of him thoroughly, but sometimes, I like talking to him--that's right, he was interested in things, and sometimes I didn't approve of the things he was interested in, but I liked telling him things. What kind of things? asks Jason. Family things, she replies. The clock chimes. You and Willie discussed your family? asks Jason. My family, scoffs, Sarah, you wouldn't get two words out of me about my family--no, the Collins family. What would you talk about, the two of you? asks Jason. We didn't talk so much as he asked me questions, says Sarah--about family history. That's a whole new facet of my friends, says Jason, I find that terribly interesting, what did he ask you. One of his favorite subjects was this young man here in the portrait, says Sarah, pointing to the portrait of Barnabas. Yes I know, says Jason, Willie was very impressed with it. He asked me all kinds of questions about him, says Sarah, what his name was, who he was... It's a portrait of Barnabas Collins, isn't it? asks Jason. Yes, says Sarah, and your friend seemed real sorry when I told him he'd gone to England and died there. Barnabas died in England, and Willie was sorry, muses Jason. Maybe there's good left in him yet, suggests Sarah. I'm sure there is in all of us, says Jason--what else did he ask you, about the painting--about anything? His tone makes her say, "Mr. McGuire!" He apologizes for being abrupt, after all, it's hardly important one way or the other, I've been known Willie to have strange fancies before.You know what I think fascinated him most about that portrait? she asks--it's a pity to say it, but it's the truth--the jewels, the ring, pun and other thing he's gone on there--I think Mr. Loomis would like to see that ring up close--the real one that is. (and Mr. Loomis did!) Yes, extraordinary, says Jason--did anything else fascinated Willie? He was fascinated by the legend, she says--not that I believe in legends. What legend? Asks Jason. That some of the Collins family had their jewels buried with them, she says--according to the legend, especially the Naomi Collins legends--she was given jewels by a pirate, and wore them to her grave--did you ever hear of a thing like that? No, agrees Jason, it doesn't seem very likely, does it. Nonsense, she says. Where was this woman buried? Asks Jason. That's what your friend asked me, she says. And what did you tell him? asks Jason, that he was buried with the rest of the family? No, that's the strange thing, she was buried in that little cemetery five miles north of here--Eagle Hill--why did you want to know? Curiosity, he says. It's too many people curious about such things, she says. Jason agrees. She goes upstairs. Jason looks at Barnabas' portrait intently, then leaves the house after putting on his coat and cap.

The outer door of the mausoleum bangs in the wind, squeaking wildly. The old caretaker approaches, asking who's there? He opens the freely swinging door and enters. Where are you? he asks, I know someone's here--evil, that's what's here, I can feel it in the air--evil, evil, I know you're here! He looks around nervously.

A dog barks as Jason touches a tombstone outside the mausoleum. Go away! calls the caretaker. Who's there? asks Jason. Only the dead, says the caretaker, now go away. He joins Jason outside. I'm looking for someone, says Jason, a young man, he might be here. The living must leave here, insists the caretaker, must never come here again--he should never have come here, I should never have let him stay--the last living man I'll ever allow here, mumbles the caretaker, no one may ever come here again. Look, old man, I don't know who you are, says Jason, but if there was a young man here, I want to know what he did, when he was here and where he went.Sacrilege! Says the caretaker, resentfully, disturbing the dead!--criminal, that's what he is--he pretended to be someone he wasn't. If that were a crime, we'd all be in jail, says Jason--now, what did he want here--what did he do? He said he was a Collins, but I knew he wasn't, says the caretaker, he said he wanted to pay his respects--but he has no respect. Please tell me what he did, says Jason. Yes, come with me, says the caretaker--se what he's done--he points to the broken door, the lock is broken, he tells Jason--the young man you described broke in there. How do you know that? asks Jason, did you see him? If I'd seen him, he wouldn't have done it, says the caretaker--I thought he'd gone away, but he hadn't gone away. This place--does it belong to the Collins family? asks Jason. Yes, says the caretaker, Joshua and Naomi Collins--and one of the children--another child, a son, is buried in England they say. Is that all that's happened? asks Jason--just the lock broken? He should never have gone inside, says the caretaker. Why, what's in there? asks Jason. The dead, asleep and at peace, says the caretaker. Is that all? asks Jason. Evil, says the caretaker, evil hovers there, can't you feel it? No, can't say that I do, replies Jason--nothing inside was disturbed, was it? Yes! says the caretaker. You mean somebody disturbed the coffins? Asks Jason. Nothing that profane, says the caretaker, but the dead were disturbed, I can tell! Do you mind if I go in there? asks Jason. Please, you mustn't! begs the caretaker. Why not? asks Jason. I told you, evil is in there! the caretaker replies. Suppose I just take my chances, grins Jason, entering the tomb. No, no, no, for your own sake! cries the caretaker, but he follows Jason inside, telling him they shouldn't be in here--doesn't he feel it? These are the tombs of Joshua and Naomi Collins, says Jason, pointing to them. Yes, says the caretaker, pointing to the third coffin, there is the child, Sarah. I don't see what you're so excited about, says Jason, nothing seems to be disturbed. Something happened in here, someone was in here, insists the caretaker, we mustn't stay. Naomi Collins, wasn't she the woman who was supposed to be buried with all her jewelry? Asks Jason. That's the question HE asked me, says the caretaker, the man who was here last night. What did you tell him? asks Jason. I can't answer anymore questions, says the caretaker. I don't think you have to, says Jason, and everything seems perfectly OK in here, a little damp perhaps, but that can't be helped. Can't you feel anything in the air? Demands the caretaker. I can't even feel the air, says Jason--now tell me, where did this young man go after he left here? I don't know, I didn't see him, says the caretaker. Isn't it possible he wasn't here in the first place? Asks Jason. Oh, but someone was here, the lock was broken, it must have been him, insists the caretaker. If Willie had been here, there would have been more evidence than that, says Jason--he's not the kind to get this far and just stop. Stop what? asks the caretaker excitedly.   Nothing, says Jason hastily, the important thing is, I'm satisfied he wasn't here--thanks for the tour. You tell him he must never come here again, says the caretaker. I was just telling you, he wasn't the one who was here, says Jason, then stops, looks down and spots Willie's cigarette butt on Sarah's coffin. He picks it up and gazes at it. Yes, I must try to mend this lock, murmurs the caretaker. You do that, says Jason, glancing around, holding the ciggie butt in his hand. The two men exit the tomb. Tell your friend never to come here again, says the caretaker urgently. I just told you, he wasn't the one that was here, says Jason, walking away. He looks back, then down at the evidence in his hand.

Jason returns to Collinwood alone. You still haven't found him, accuses Liz. I will, he assures her, removing his cap--he's probably somewhere in town. Isn't that where you looked? asks Liz. No, says Jason, I looked for him in other places. Are you sure this isn't some scheme to keep him here? asks Liz. Please, Liz! says Jason, annoyed, I've had a very trying day, and I assure you for the last time that it is not! Mrs. Johnson comes out and asks if she should set a place for Mr. Loomis. How about it? Liz asks Jason, will he be gone? I told you I'd do my best, says Jason, turning away, hands in pockets. There's your answer, Liz tells Sarah. (huh?) And now, if you'll excuse me, says Jason. I always have, says Liz sarcastically. He gives her a warning look before going upstairs. Doesn't it seem strange that Mr. McGuire doesn't know where Mr. Loomis has disappeared? Asks Sarah in a hushed voice to Liz, and they've been all but inseparable--I mean I don't like to talk about people who are your good friends, but those two gentlemen, particularly Mr. Loomis, don't you find them a bit strange? I'm afraid I don't know what you're talking about, replies Liz. I don't like this Mr. Loomis disappearing like that, says Sarah, I think something's wrong and I don't like it. I don't think you need concern yourself about it, says Liz--I have some work to do before dinner, I'm going upstairs and don't want to be disturbed, but let me know if Mr. Loomis turns up. Sarah promises to let her know. She angrily picks up Jason's hat and coat from the table, complaining that no one hangs up a thing around here. She hangs up the coat and hat. Someone knocks at the door, and she answers it. A man in a hat and cape stands outside, his back to us. "I'd like to see Mrs. Stoddard, if you'd be so kind," he says in a rich, cultured voice. Mrs. Stoddard? asks Sarah, looking stunned. This is Collinwood, isn't it? asks the man. Yes, she says. And the mistress here is Mrs. Elizabeth Collins Stoddard, is she not? he continues. Yes, she says, still looking as if she's caught in bright headlights. "Then perhaps you would do me the courtesy to inform Mrs. Stoddard that her cousin is calling and wishes to pay his respects." Her cousin? asks Sarah, totally perplexed. "Yes--her cousin from England," the man says. From England? repeats Sarah, opening the door for him--oh, please, come in. I'd be delighted, thank you, he says, entering the house. She closes the doors. The man removes his hat, his back still to us. Sarah takes his hat and cane, and asks if he'd like to wait in the drawing room. Here would be fine, he assures her, thank you.She cannot remove her eyes from his face. I'll let Mrs. Stoddard know you're here, she says, heading upstairs. The man turns and gazes at the portrait, then turns so we can see he looks exactly like the man in the portrait. "Oh, Madame," he says, "if you would, you can tell her that it's Barnabas Collins"--and he smiles.

NOTES: And thus a legend was born! I remember this all so vividly, and the way it made me feel the first time I saw it. Who was this mysterious man, I wondered, and what, if anything, did he have to do with what happened to Willie in the mausoleum? I loved his resonant, sophisticated-sounding voice, and the way Sarah stared at him before we actually got to see him was so suspenseful!

Most have already seen this episode several times before, but if there are any newbies, I'd love to hear what you think.

Jason's scene with the caretaker was funny. The caretaker has a one-track mind, and Jason was ready to believe Willie hadn't been there--until he found his cigarette butt. What does he think happened to Willie? Did he get a pile of jewels and leave behind the $500? Keep watching, the best--and weirdest--is yet to come!

Love, Robin

Episode 206 - Two men have come to Collinwood, two strangers. That they are there is strange, and the men themselves have a strangeness, each in his own terrifying way--but what is strangest of all is their affect on one woman in particular.

Liz' room - Liz sits, buffing her nails distractedly. What do you think? asks Vicki--will it be all right? Liz apologizes. I guess I wasn't listening, she admits, will what be all right? Will it be all right if I stop using the text and let David pick his own reading? asks Vicki--he's gone way beyond the text anyway, and this way he can pick his own rate of acceleration in reading. Oh, yes of course, says Liz--you know whatever you decide is fine with me. She sips from her cup. I just wanted to let you know what I was doing, says Vicki. That's very thoughtful of you, says Liz. Vicki bites her lip, thinking, and starts to leave, but turns and says, "Mrs. Stoddard--is there anything I can do?" About what? asks Liz. I'm not quite sure, says Vicki, but you seem to be quite worried. Nonsense, I'm fine, insists Liz--you're the one who seems worried. No, says Vicki, I'm not worried--I'm frightened.

You have no reason to be frightened, says Liz. I can't help it, says Vicki.Maybe Jason's friend did get a bit out of hand, admits Liz. Carolyn had to use a gun to keep him away, Vicki reminds her. Isn't it possible Carolyn let herself get a little more upset than was necessary? asks Liz, standing. No, she's much too cool for that, says Vicki--if anyone could handle a situation like that, it's Carolyn. All right, says Liz, agitated, I know that, too, but I talked to Mr. McGuire and nothing of this kind will ever happen again. She puts on her earrings. When I said I was frightened, says Vicki, I didn't just mean I was frightened of Willie or Mr. McGuire. Then what are you frightened of? asks Liz. What frightens me most of all is you, says Vicki--I feel you're in some kind of trouble. Liz denies it. What are these men doing here? demands Vicki. Mr. McGuire was a friend of mine many years ago, says Liz--I've told you this, as a favor, I'm letting Willie stay here--how many times do I have to explain? I just can't believe that you have friends like this, says Vicki. That's enough, says Liz testily--this is my house, and if I choose to have guests, that's nobody's business but mine. Of course, says Vicki, and I'm sorry. I wish all of you would stop asking these unnecessary questions, says Liz. I'll try not to ask them again, says Vicki. Apparently, says Liz, it's high time I did start having guests at Collinwood--the moment there's the slightest interruption in routine, you, Carolyn and Roger don't know how to react!--it's a good thing to have different people at Collinwood--she sits down and apologizes for not being herself--forgive me. Are you sure there isn't anything I can do for you? asks Vicki. Positive, says Liz, I'm all right--I shouldn't have talked to you that way. That's all right, says Vicki. Try to understand, begs Liz, there's nothing to be frightened of, or worried about--please, Vicki. I'll try, says Vicki--is there anything else. No, says Liz--thank you for telling me about David. Troubled still, Vicki leaves the room. Liz looks very sad.

We see the medal in Barnabas' portrait, then the new Willie, as portrayed by John Karlen. I saw a man who looked just like him the other day in New York, Willie tells Mrs. Johnson, who's cleaning the banister--I mean the way he dressed, with the big tie and long hair. It takes all kinds, unfortunately, says Sarah. Of course, he wasn't nearly as elegant, says Willie, he was a beatnik. (haven't heard that word in years!) Oh you'd better not let you hear Mr. Roger say his ancestors look like some beatnik, warns Sarah, dusting the foyer table. He might not like it, huh? asks Willie, staring at the portrait--I'll have to remember that. You'd better, advises Sarah. What the guy in New York was missing was a pin like that, says Willie, pointing at the portrait--the one on the coat--it must have taken a lot of diggin' to come up with those diamonds. They should have left them in the ground, opines Sarah, dusting a statue--a good heart and a good conscience are the only jewels worth having. Willie chuckles. What if you don't have them? he asks--the good heart and all that? You'd do well to get them, says Sarah. What if you'd rather some like that pin? Asks Willie. Then you're probably past saving, she replies. Yeah, I guess so, he says, this guy here, was he past saving? Judge not lest ye be judged, she says. And the ring, and that thing around his neck, says Willie--I bet they were worth saving. She dusts the grandfather clock. You can be sure they got special attention--the Collins family was never known for its set of values, she says. But they could value something like that, huh? he asks. I wouldn't be surprised, she says. I'll bet they really hang onto stuff like that, he says--I bet they still have that pin--and the ring, too--you want to bet? I'm not a gambling woman, she says. Come on, he says, you know better than that--I bet this family's got enough jewels stashed away somewhere to buy half a continent--have they? I suppose so, she says. Come on, he cajoles, I bet you've even seen them. There you're wrong, she says--I've heard about them, just like everyone else, but seeing them is another thing. The Collins jewels are a legend by themselves, that's what I heard, says Willie. That's what they say, says Sarah. And what else do they say? he asks. Once I heard... she sees the intensity on his face and stops. What?--go on, he urges. I didn't hear anything, he says, I'm much too busy to hear stories, much less tell them. What did you hear, tell me? he demands. I didn't hear anything, she says, and if you're smart, you'll get your mind on something else besides rings and jewels and stuff like that--you hear me? Yes, ma'am, he says. She exits through into the kitchen.Yes, ma'am, he repeats, then goes over to the portrait, head bobbing--I hear you. He smiles.

Burke's hotel room - He exits his bedroom and asks if he can put these things (David's coat) in a bag for her. No, thanks, I can manage, she says, distracted. I didn't realize I still had them in the back of my car until I had my tires rotated, says Burke--what's David been doing for a raincoat. (good auto maintenance.) He had one he'd outgrown, says Vicki--it served it's purpose. I sure wish you could have seen the expression on his face when the plane landed on the lake and taxied up to the fishing lodge, says Burke--he grinned so much, I thought the top of his head was going to come off--he's a great kid, it's a pleasure to be with him. Yes it is, agrees Vicki. Tell me what happened, he says--that creep, Willie, what's he done?--he way you're acting, he must have done something. No, says Vicki. What about his friend, McGuire, asks Burke--what's he been up to? Nothing, she says. You wouldn't lie to a guy, would you--unless you thought he was asking questions that were none of his business, is that it? Not really, she says. They must have done something, he insists--what are those jokers up to? Carolyn has to use a gun to keep Willie away, reveals Vicki--she said it was the only thing that stopped him. Then there's only one thing to be done--tell Liz, says Burke. She knows, says Vicki. What's the problem--she gave him his walking papers, didn't she? asks Burke. No, says Vicki, she told Mr. McGuire about it. She told Mr. McGuire about it--are you kidding? asks Burke. No, says Vicki. That's all she did? asks Burke. Presumable Mr. McGuire spoke to Willie, says Vicki. The next thing you're gonna tell me is Carolyn had to apologize--what's going on up there? I wish I knew! she says. I can't believe Liz would allow something like that to happen and do nothing, he says. She did speak to Mr. McGuire, says Vicki. That's next to nothing, he says. Maybe Mrs. Stoddard is right, muses Vicki--maybe we do lead such a sheltered life up at Collinwood that we let people upset us when they haven't really done anything. Perturbed, Burke asks her if she believes that. No, not at all, she says. Come on, he says, let's go--to Collinwood. You can't go there! she says. Just watch me, he says, pulling on his coat, come on. What are you going to do there--you aren't going to have a fight with Willie?--please! No, he says, not a fight, at least not the kind of fight you're thinking of--I'm not going to see Willie or his oddball friend--I'm going to see Liz. He helps her into he coat. You can't do that, she protests. I can and I am, he says. If you talk to Mrs. Stoddard about Willie and Mr. McGuire, it will make her more upset. I can't help that, he says, it sounds to me like Liz is caught up in something and I want to help if I can. She won't talk to you, predicts Vicki. He holds her arms. It's worth a try, he says--you ready? I guess so, she says--may I ask something?--I thought you and Mrs. Stoddard are enemies. We are, he says. Why do you want to help her? asks Vicki.Let me put it this way, he says--if anyone is going to do her in, I want it to be me. He smiles.

Drawing room - I have no intention of continuing this discussion, Liz tells Burke, and I wish you'd remember that you're not welcome at Collinwood. She rises from the sofa. Burke rises from his chair. I know, he says. Please leave, she says. I didn't come up here to ask you any questions or tell you what to do, he says. Then why are you here? she asks. I came to tell you something that I know, he says. I'm not sure I'm interested, she says. He's only trying to help, says Vicki gently. I don't need any help, and I must say, I'm rather annoyed with you. Sorry, says Vicki. It's bad enough you consider it necessary to discuss what happens at Collinwood with outsiders, but to go to Burke! says Liz. She didn't come to see me because of that, at all, says Burke, she didn't want to tell me anything about what's going on at Collinwood, I had to drag it out of her--and for your information, she tried to stop me from coming here. Well, says Liz, if you won't follow her advice, then perhaps you'll follow mine--I suggest you leave. Not until I say what I've come here to say, Burke insists. Then say it quickly, says Liz. There is a very dangerous man living in this house, he tells her. Really? she asks. Yes, he says, I've seen this guy in operation, if Vicki hadn't been there, I hate to think what would have happened. Is that what you came to tell me? asks Liz--that you and Willie almost had a fight?--really, Burke! It wouldn't have been an ordinary fight, because he's not an ordinary man, says Burke--he's dangerous! Thank you for your information, she says curtly--and now may I say goodbye? She goes to the fireplace, dismissing him. Liz, says Burke, if you're in trouble... The only kind of trouble I have is with people like you, she says angrily, who interfere in things that don't concern them! I want to help, he says, I know that's hard for you to believe, but I do. Why would you want to help me? she asks--you've always hated me, you know that. I don't hate you, he says--the Collins family and what it stands for--that's what I hate--please, Liz, you need help--what kind, I don't know, but I want to give it if I can. (I always knew he liked and respected her.) I repeat, I do not need any help, just peace and quiet, she says. I give up, says Burke, exchanging glances with Vicki, but you can't say I didn't try. I'll get your coat, volunteers Vicki, and leaves the room. Burke starts to walk away. Liz thanks him for his offer--you meant it, didn't you? she asks. Yes, he says,. I'm sincerely grateful, she tells him. You mean that, too, don't you? he asks. Yes, she says.

Willie comes downstairs. He deliberately bars Vicki's way and when she asks him to please let her pass, demands the password. I haven't got time for games, she says. Who says I'm playing a game? He asks. Look, she warns him, either you let me pass, or... He holds up his hands, placating her. You don't give me a chance to apologize, he says--that's all I want to do, apologize. She tries to move past him, but he again bars her way. Will you please let me pass? She asks again. What's the rush? He asks. I am, says Burke, exiting the drawing room. Hey, it's big man, says Willie, hi, big man. All right, says Liz, that's enough. Willie apologizes. I take it back, you're not a big man, says Willie. I'm big enough to tell you something, says Burke, and you'd better listen. I thought you were leaving, says Liz. Stay away from Miss Winters, orders Burke--far, far away--you got that, Willie? Miss Winters? asks Willie--you mean Vicki? Listen, punk, advises Burke. Willie, please leave, says Liz. Sure, says Willie, chuckling, a good thing the lady's here, he tells Burke--or you might have got yourself hurt. Burke grabs Willie by the lapels and jams him up against the grandfather clock. Both Liz and Vicki utter words of protest.Take your hands off me, says Willie. I will, says Burke, as soon as you understand what I'm saying. Take your hands off me, orders Willie, his voice soft and dangerous. Please, begs Liz, both of you, I won't stand for this--Burke, you were leaving, now please go! Please, says Vicki, fighting won't help anything. I'm not so sure, says Burke. Neither am I, agrees Willie. Let go of him right now! says Liz. Please, agrees Vicki. Burke releases Willie, who strolls past them. Don't forget what I said, says Burke. I never forget a face, warns Willie, and saunters upstairs. Burke looks furious. He and Willie exchange a look when Willie is at the top of the stairs. Burke takes Vicki's hand and squeezes it, then goes back into the drawing room, where Liz stands. You still won't change your mind about my offer to help? asks Burke--you just saw with your own eyes! What, two men with terrible tempers? Asks Liz. You saw more than that, says Burke. When you see Willie, why don't you just let him alone? asks Liz. I can't believe what you're saying! says Burke. Why, it makes sense, says Liz, you're both looking for a fight. You saw the way he was treating Vicki, says Burke. You're making too much of nothing, says Liz. Did you think it was nothing? asks Burke, incredulous--maybe I'm the one who's crazy! Maybe we should just forget it for now, suggests Vicki. Forget it? asks Burke. Vicki's right, says Liz, it's not that important. Nobody knows the Collins pride better than me, says Burke, but this is taking things too far! I don't know what you're talking about! says Liz. Your turning down my offer of help out of pride! says Burke. I am turning down your offer because I don't need it--will you please believe that? says Liz. Then will you let me put it another way, he says--maybe there's some reason you've got to put up with this guy, but think what you're doing to Vicki--to Carolyn! Please, I can't listen to anymore of this! says Liz--when will people start leaving me alone? That man has something on you, doesn't he?--him and his friend McGuire? No, no! says Liz. That's why you're acting this way, pursues Burke. No, they're not, please they're not! she cries. Let me help, for your sake, everyone's sake! pleads Burke. No, says Liz, racing from the drawing room, I don't need your help, anyone's help, leave me alone, I don't need any help!Burke and Vicki watch her retreat, worried and scared.

NOTES: Karlen makes a much better Willie, at least I think so. Hall had his moments, but Willie's menace is more understated, more elegant, if that's possible. You see the wheels turning in his wicked head, the plans he's making to take off with the Collins family jewels--if he can find them. And his little fight with Burke was wonderful, and you know they will clash again soon.

Poor Liz. Not only does she have to fend off Jason's threats and Willie's against all the women in the family, but she now has to deal with Burke's concern for her. He's on her side, yet she must push him away. It's hard to believe that Burke now seems to be on the Collins family's side, but we know he's always liked Liz.

Great scene with Willie and Sarah J. She urges him to become a better person, but his focus is on the jewels and the pretty money he hopes to make when he finds them. There's lots of irony there, as those who've already seen the series know. Willie eventually does get his hands on the jewelry, but not to benefit himself. He was so intense in his interest for the jewels, he even made gossipy Sarah shut up. That takes some doing, and it was hilariously done here. Beatnik? LOL!

So Burke did take David fishing. That Roger allowed it shows how far things have come between Burke and the Collinses--and now he wants to help Liz out of this jam. Too bad she can't let him--and it is as much pride on her part as it is fear of someone discovering her secret. She's ashamed she's gotten herself into this situation and doesn't want anyone else to know about it.


Episode #207 - The halls of Collinwood echo to the footfalls of men who would plunder and pillage--those who have no conscience--they take and they take, until it becomes a disease, spreading uncontrollably--but there comes a time when the victims will be pushed no further--and must strike back.

Blue Whale - We see a happy couple clink glasses in a toast. Jason and Willie are at the bar, where Willie thanks Jason for buying him a drink--maybe someday I'll buy one for you, says Willie sourly. Don't worry about it, Jason assures him. I worry about it, all right, says Willie, slamming his hand on the bar, I like to slap a tenner down on the bar and but a couple of drinks. Next time, you'll buy, says Jason, smiling. When's the next time gonna be? asks Willie, next year?--that's a long time to go with empty pockets. It won't be that long, says Jason. Convince me, urges Willie. We'd have had plenty of money if you hadn't moved into Collinwood, and made all that trouble with those girls, accuses Jason. I had to get something out of this. It's going to take longer because of you, says Jason--one more blunder like that and you'll blow the whole deal, and none of us will get any of it. I'm getting tired of being told I'm lousing up the whole deal, says Willie angrily, I'm tired of being bossed around--if I don't see some dough soon, I'll show you how to get it! Jason looks at him, brow furrowed.

The trouble with us, says Jason, is we agree on what we want--money--but disagree on the best way to get it. He sips his drink. Yeah, agrees Willie, there's only one way. That's what I'm talking about, says Jason--I don't know what it's going to take to wise you up. I'll tell ya, says Willie, it'll take some money, that's all, like right now, I'd like to feel some green stuff in my pocket--I'm out to have a good time tonight (a blonde passes by and he eyes her), and like I say, I'm gonna have it. Jason hands him a bill. This should hold you for a while, he says. Are you kidding me, how long is this supposed to last? Asks Willie. Until I can get you some more, says Jason. I'll try holding my breath, says Willie disdainfully. Yes, says Jason, try that. Maggie, Sam and Joe enter the bar. Here comes the local talent, says Willie. Stay away from them, orders Jason, waving a finger at him--the last time. I remember the last time, Willie tells him. Joe asks Sam and Maggie if they like this table. Magnificent location, says Sam, excellent view of the floor show. There's our friend again, says Maggie doubtfully, sitting down. Yeah, I see him, says Joe. Who's that? asks Sam. Some houseguest from up at Collinwood, says Maggie. Collinwood? asks Sam, high society. Just the opposite, laughs Joe. Don't stare at them, Maggie tells her father. Who are they? asks Sam. Friends of the family, I guess, replies Maggie--the older one seems all right, but that other one is bad news. See them look right at me? Willie asks Jason--they're talkin' about me. So what? asks Jason--you've been talked about before, you have a way of making friends. I'm not out to make friends, says Willie nastily. I can see that, says Jason, listen, you're too edgy, just relax. How do you relax when you haven't any dough in your pocket? demands Willie. The blonde girl passes by again. Willie puts money in the juke. You've got to trust me, begs Jason, or we won't get anything out of this. OK, I'll listen! says Willie. I don't want you to tangle with anyone, says Jason. Willie promises, but says he won't let anyone push him around. That makes sense, agrees Jason, let me see if I can mend some of the fences you broke down--we might be able to get along with these locals--until it's time for us to move on. There's only one guy in this town of won't be able to get along with, says Willie--Burke Devlin--we're going to lock horns for sure. Stay away from him, says Jason. Him and me nearly had it twice, says Willie--next time, there's be no stopping us. That's what I mean, says Jason, you'll have to avoid him. I'll do what I can, says Willie, but I can't promise anything. The sounds of the Beatles "My Love Don't Give Me Presents" fills the room. Burke Devlin comes in. Jason grabs Willie's arms. Hey, look what just stumbled in, says Willie, as he and Burke exchange glances. Stay away from him, warns Jason. Look at him just starin' at me, says Willie, grinning evilly. Forget about him, says Jason, it doesn't mean a thing, he's just checking you out to see if you're going to make a move--and you're not. I'll stare him down if that's what he's lookin' for, brags Willie. Turn away! says Jason. Why should I? asks Willie. Jason stands in front of him, blocking his view of Burke. You don't want this man Devlin for an enemy, he says--I mean it, Willie!--turn away! Willie grins and turns back to the bar. Burke gives him a look. With dumb people, says Willie, it's just fate. He looks at Burke and Jason, angry, pulls him back to the bar.

Burke joins Maggie, Sam and Joe, remarking that it certainly is a motley looking crew in here tonight. Motlier than ever lately, says Joe, explaining that he and Willie squared off a few nights ago, but his buddy broke it up. What started it? asks Burke. He was getting a little pushy with Maggie, says Joe. Thanks for protecting my daughter, says Sam, it means I buy you an extra drink. I don't understand how Mrs. Stoddard can have them up at Collinwood, remarks Maggie. This surprises Joe, too--how can Mrs. Stoddard let a creep like that up at Collinwood with the girls there? I tried to find out her motive myself, says Burke, figure out what was going on--Vicki, Carolyn, even Roger had been asking the same questions--I got a big mind my own business. Liz Stoddard isn't herself these days, says Sam. No, she isn't, agrees Burke, Willie was annoying Vicki, I stopped in, Mrs. Stoddard stopped me--I could have broken his neck. The way you're looking at him just now, I think you still have it in your mind, says Maggie.The temptation is tremendous, admits Burke. It would only mean trouble, says Sam, and we've had enough of that to last us a long time. I've just gotten a 10 year vendetta off my back, says Burke, I'm not looking for any trouble, but on the other hand, I can't walk away from anything that involves me. Sam says he's going up to the bar, where the real fun is. The bartender brings over drinks. Maggie warns her father not to have too much fun. Sam takes his drink from the bartender's tray and teasingly calls his daughter a killjoy. He goes to the bar. I want this man Devlin for a friend, Jason tells Willie. So, have him, says the latter. He can be very useful to us, says Jason--I found out he did time. He's an ex-con? Asks Willie. Five years, says Jason, smiling. That's the funniest thing I've ever heard! Says Willie happily--the guy acts like he own the town and he's done a stretch! Got a lot of money, says Jason. Maybe that's why they sent him up, suggests Willie. No, says Jason, it was for something else. You never can tell about people, says Willie--what an act he puts on!--I bet he eve goes to church on Sunday. Never mind what he was, says Jason--right now, he's quite a power in this town, so you just cool it and I'll go cultivate him. Sure, go ahead, says Willie, and give him my regards. Jason goes over to the table and greets his friends. He asks to speak to Burke on a matter that could be easily settled--I hate to take you away from your friends, says Jason, but it's important. All right, agrees Burke. I'm buying, what are you having? Asks Jason. Bourbon, says Burke. Jason calls over to the bartender for two bourbons. He and Burke leave the table to sit at another. Now, says Jason, I know I shouldn't intrude like that, but I want to talk to you about my friend--he's a good lad, he really is. He's one of the worst creeps to crawl out of the woodwork in a long time, says Burke. You don't understand him, says Jason. I'm not his analyst, says Burke. We could all use one, says Jason. Yes, but that doesn't excuse his behavior, says Burke, and I'll tell you frankly--if he lets out one more peep, I'm going to wipe up the streets with him . Jason looks uncomfortable at this threat. The blonde passes Willie again, and he makes a face that says, ooh, I want me a piece of that!

Bob brings over drinks for Burke and Jason. Willie notices Sam sitting at the other end of the bar and brings over his drink and offers to buy Sam another. Why? asks Sam. Just trying to be friendly, says Willie. Sure, says Sam, who would probably accept a drink from Hitler himself, that's a very friendly thing to do. Willie orders the bartender to give Sam another drink. What made you decide to be so friendly? asks Sam. I've been in town a while, says Willie, haven't made any friends, figured I'd give it one last try. You picked the right man, says Sam, I'm the friendliest man in town. Let's drink to that, says Willie, raising his glass, and a grinning Sam does the same and comes over to clink glasses with him. Another thing, says Willie, I've been lookin' at your beard--is it real? Yeah, says Sam, but don't pull it. They grin at each other and laugh. It looks good, says Willie--why did you grow it? I don't know, says Sam, I got tired of shaving. He drinks. I thought of growing a beard, says Willie, and I started to, but it felt so crummy, and people started to look at me different. Don't worry about people, says Sam. I don't, says Willie, I usually do what I want anyway. They laugh.

I see your father's in very good company, says Joe to Maggie. Uh oh, she says. That's OK, says Willie, that creep only likes to pick on girls, anyway. I wish Pop would move away from him, says Maggie, I don't trust him at all. Do you want me to go over and steer your father away from him? offers Joe. No, I'd rather you didn't get involved, either. I don't think there's going to be any problem, says Joe, his buddy's here to calm him down. I wish Pop would move away from him, says Maggie.

OK, Burke tells Jason, he hated his mother and carried his security blanket around until he was 19, what else does he do? You just won't believe he's basically good, says Jason, like all people. Not for a moment, says Burke, but I'm curious--you're different from him, and yet you travel with him--why?There's some people you think you can never get close to, remarks Jason, with whom you have absolutely nothing in common--suddenly, fate throws you together--we've been around a bit, gone on a few voyages together, he's a good lad, hard worker--if he likes ya, he'll do anything in the world for ya. You missed your calling, says Burke, you should have been a social worker. They laugh. How long you planning to stay in town? asks Burke. I don't know yet, says Jason, just visiting. Nothing more? Asks Burke. Nothing more, says Jason. You're presence up at Collinwood has caused some discomfort with several of my friends, says Burke. I'm sorry to hear that, says Jason, I thought I'd been genial and pleasant to everyone--I can understand your feelings about my friend. No, it goes deeper than that, says Burke--you have another motive for being there, something that gives you the run of the house. Jason laughs--is that what I've got--the run of the house, eh? Whatever you've got, says Burke, I just want you to know that I like those people and am worried about those up at Collinwood. I'll keep that in mind, says Jason, although I don't know what you're talking about--cheers.

You've got to be kidding, Willie tells Sam--you're an artist, you paint pictures? Yes, says Sam, without the use of numbers. How do you like that, says Willie, I've never met an artist before--that's why you grew that beard! Well, says Sam, no. I hear all artists is crazy, says Willie. Not true, says Sam. Sure, says Willie, as Sam smokes his pipe, you've gotta be crazy to do that kind of stuff!--do you do all those cartoons? No, I just paint what I see in this vicinity, says Sam. Do you make any dough at it? asks Willie. Just enough to get by, says Sam. Willie puts a hand on his shoulder. Then why don't you get wise and paint that other stuff that makes dough? Asks Willie. I'm not interested, says Sam, his smile fading. He drinks. Do you paint girls? Asks Willie. Let's talk about something else, suggests Sam. I want to know if you have models, asks Willie.

Joe checks his watch. Would you excuse me for a minute? asks Joe, I'm supposed to call the night supervisor--one of the boats had engine trouble and was late getting in--it will just take a second--he glances toward Willie--you stay put until I get back. Sam, fed up with Willie's grilling, starts to rejoin Maggie at the table, but Willie puts him back, urging him to tell him about his models. I don't use them, I tell you! shouts Sam. Spotting trouble, Maggie comes toward them.

I've heard all about you artists, I've heard stories! Insists Willie. Excuse me, says Maggie, joining them. Hello there, says Willie. Pop, we're waiting for you, come on, says Maggie. Is this your daughter? asks Willie excitedly. That's right, says Sam. You've got a mighty nice looking family, says Willie, and he asks Maggie if she'll let him buy that drink she wouldn't have before. No thank you, she says, holding onto Sam's arm--come on, we have to go. I get it, says Willie, you don't want him to talk to me--I know when I'm gettin' the business--you think you're something else, too special, too good for words, well let me tell ya, you're nothin' special at all. Now you just take it easy, buddy, says Sam. And your old man, here, says Willie, he's worse than you are, paintin' pictures no one will buy. Now listen here, says Sam. At the other table, Burke and Jason have noticed what's going on. Your daughter ever model for ya? asks Willie, walking around, inspecting Maggie, she looks like she could be a model, nice build. Sam gets into his face, warning him to watch what his mouth . I'll say whatever I want to say! threatens Willie. You say whatever you want to say--well, say it to me! says Burke from behind him. Come on, Pop, says Maggie, leading him away. Oh, it's Mr. Burke Devlin, says Willie. You've got something to say to me? asks Burke--this is a great opportunity--speak up. Jason stands by and tries to get Willie to walk away. Wait, now Mrs. Burke Devlin wants me to speak up, says Willie. Speak up, says Burke, because you'll be gone in 10 seconds. Where will I be gone to? asks Willie--who's going to send me there? I am, warns Burke. You know you terrify me half to death, mocks Willie. You've caused a lot of trouble to people in this town, says Burke, but this is the end of it, right now. Pretty big talk, says Willie. I can do more than talk, says Burke. You think you're a pretty big man in this town, doncha? Asks Willie, baring his teeth. Jason tries to pull Willie away, but the latter shrugs him off. I get a kick out of these guys who think they're so clean, says Willie, when all the time they're trying to cover up their dirt! There's the door, says Burke, if you're wise, you'll walk out of it--if you're not, you'll be carried out! Atta boy! says Willie, clapping his hands--now you're talkin' like a real ex-con! Burke hits him across the face, backhanding him. Willie falls against the bar, then pulls a switchblade out of his pocket. Maggie screams. You're dead, jailbird, says Willie, pointing the knife at him. Cool it, Bob! Orders Burke, I'll handle this punk. He and Willie begin to circle each other, Willie taking futile stabs at Burke with the knife. Burke grabs Willie's arms and forces him to drop the weapon, then pushes him against the bar, which nearly topples over, and gives him several good punches to the face and body. Willie falls to the floor, grunting.Get up, Willie! Orders Burke, but Willie lies there in a heap. Get him out of here, says Burke, and Joe and Sam escort Willie out the door. You'd better get your buddy out of town, Burke tells Jason, and fast, because if you don't, I'm coming after both of you. Jason leaves. Maggie runs over to check Burke's messed up hands. Burke closes the knife he took from Willie, assuring her he's fine. Sam and Joe come back, and Burke tells them Willie's been asking for it for weeks, and somebody finally had to give it to him.

Jason joins Willie, who us nursing a cut lip, out on the docks. I'm going to kill him, vows Willie. Don't start talking like that, says Jason . I mean it, says Willie, looking at the handkerchief that is stained with his blood, I mean it. It won't do any good, says Jason. I don't care, says Willie. You've got to get out of town now, says Jason. I'm gonna get that man, says Willie. Sure, says Jason, do whatever you like with Devlin, but please, wait until we get the money--doesn't that makes sense. Yeah, says Willie. You leave, says Jason, it will take the pressure off me. I'll be coming back for him, says Willie. You've got to go, right away, says Jason. OK, agrees Willie, but I'm not going unless I get enough dough--and I mean enough. I'll get it, promises Jason--I'll get it.He walks away. Willie looks like he'd love to kill someone, right now.

NOTES: A little violence in the tight confines of the DS studio! Pretty good, too, but Willie was no match for Burke. Wonder why Jason felt he should tell Burke that Willie hated his mother and carries his security blanket until he was 19? It only made Willie seem like a wimp.

Sam is so friendly to everyone, especially those who offer to buy him a drink, but he bit off more than he could chew with Willie, whose only interest in his artwork was the money it made--and whether he got to paint nude female models. Always focusing on what's important is Willie, LOL! What a low life! He attempts to befriend Sam, then makes dirty remarks about his daughter--what's his problem?

What will happen now? Willie's vowed to kill Burke, will he make good on his threat? Will Jason get the chance to continue shaking down Liz if Willie keeps his promise to go?

Burke is chummy with Sam and insists he cares about those up at Collinwood. Now that he's vindicated, I guess he's not only willing to let bygones go by, but take on former enemies as friends. Pretty big of him, but given his original plans to ruin the Collins family, not in keeping with what we expected.

Love, Robin

Episode #202 - Willie sits at the bar in the Blue Whale. People are dancing the odd dances we used to do back then, shakin' their groove thangs. Willie orders a beer. Maggie enters, looking around. Willie likes what he sees and his eyes follow her. She sits down at a table. Willie tells the bartender he wants to buy Maggie a drink, and the bartender passes on the offer to Maggie. She shakes her head, and the bartender relays that to Willie, who, annoyed, tells him a good bartender would have just served the drink and not asked questions. Willie grabs his beer and goes over to Maggie's table. You hurt my feelings, he tells her, I just wanted to buy you a drink--that's the reason people come to a place like this. Sorry, but I'm waiting for someone, she says. Until that someone shows up, I want to buy you a drink, he says. She'd rather not, she says, she doesn't know him. He sets his beer down on her table and says she'll get the chance to know him--right now. Hey, don't sit down here, says Maggie. Listen, speedball, he says, no one tells me where to sit--and not to sit, he says, not budging.

Willie admits he may have been a little pushy, but he wanted someone to talk to. There are other people here, she points out, but he says who is he supposed to talk to, the bartender? Have a drink with me, he wheedles. She told him, she doesn't want one. Petulantly, he asks if she doesn't think he can afford it. He has plenty of money, he boasts. She's sure he does, she answers coolly. He can buy a drink for everyone in this bar! Says Willie. Why don't you? she asks, not looking at him. If I do, will you have a drink with me, he asks. She says she's expecting someone any minute, she says, growing annoyed. He tells her she isn't a friendly girl, is she? No, says Maggie. That can be changed, he says. She prefers to keep it that way. This whole town is unfriendly, complains Willie, I come thousands of miles, and this is the type of greeting I get. If you'd sent us a card, we'd have hung a banner--will you please leave me alone? retorts Maggie. He grins--she you think you're pretty swift, do you--I know your kind, he says. I doubt it, says Maggie. I know all kinds of women, boasts Willie. Maggie says she's sure he does. The more I can see of this town, it's not famous for its women (way to cozy up, Willie!)Why did you come here, then? she asks. Because...Willie says, the travel brochure said it was picturesque, and I came from South America to little, sunny--what's the name of this burg, anyway. Rio de Janeiro, says Maggie sarcastically. He smiles, then says Collinsport is what it's called. He puts his hand on hers and tells her he's really beginning to dig her. Joe comes in and Maggie is relieved to see him. He asks if she's been waiting long, and Willie answers that she sure has, he shouldn't keep a little girl like this waiting so long. That's what she tells me, jokes Joe. Maggie says she's introduce him, pointing to Willie, but doesn't know his name. Willie says he doesn't know if he wants to be introduced to a man who'd stand up a young lady like Maggie. Some people need manners. Maggie tells Joe to sit down and he does. "You're going to sit with us?" asks Willie. That's right, says Joe. We were having an interesting conversation, says Willie coldly, not only were you late, but you're interrupting us. Maggie told him she was expecting someone. He knows what she said, says Willie, but this is the first come, first served generation. (I never heard it described that way!), and I was the first--what do you think about that? Not too much, says Joe, his face angry. Why don't you take a little walk over to the bar until we're finished, suggests Willie--that is, if we finish. (What nerve!) We're finished, says Maggie, her hand in Joe's. Not me, says Willie. She thanks him for keeping her company, but her date is here now. So you're going to drop me, just like that--well, I'm not ready to be dropped, says a pissed-off Willie. Maggie suggests to Joe they move to another table, and Willie threatens to follow them. Joe stands, saying he doesn't think Willie will do that. Willie is pointing a finger at Joe. You gonna stop me? he asks. I am, says Joe. Willie rises, too, and drawls well, now, lets see.

Willie tells Joe he's talking pretty big for a man who works in a third-rate seaport. Joe responds he can back up everything he says any kind of action you're looking for. Maggie rises, too, and suggests Joe ignore him, but Joe says he's getting tired of guys who come in thinking they can push everyone around. I don't think it, I know it, says Willie. Where did you get that outfit you're wearing? asks Willie, taking a swipe at Joe's jacket--you some kind of sailor? Yeah, what of it, says Joe. What do you ship out on, those barges out there in the harbor? Asks Willie, cruising for a fight. No, says Joe, I'm on the Bon Homme Richard under Captain John Paul Jones. That's the kind of answer I expect from a guy looking for trouble, says Willie.Willie! Shouts Jason from the door. Willie crosses his arms over his chest as Jason comes over. What's the matter? Asks Jason. Nothing I can't handle myself, says Willie. These people are friends of mine, Jason informs him, so forget it, whatever it was--you understand? Sure, says Willie. Jason says he means it. OK, says Willie. Jason hustles him over to another table, saying he'll be with him in a moment. It would have been easy, Willie warns Joe. Jason orders a round of drinks for everyone in the bar. Jason apologizes to Joe and Maggie, apologizing for his friend. Can't he do that himself? asks Joe. Jason admits he's a little hot-headed, but a nice lad when you get to know him. Maggie doesn't want to get to know him, and Jason says he will see to it he never bothers him again. Sit down, enjoy yourselves, the bartender will bring you anything you like! Joe and Maggie sit back down and Maggie thanks him for breaking it up. My fault for not being on time, says Jason--sorry again. He leaves them. A strange pair, remarks Maggie, one downright charming, the other... a creep, finishes Joe, and she grins and says that's just the word she was looking for. Joe wonders what they're doing in town, but Maggie neither knows nor cares--forget them--what's it like to serve under John Paul Jones? Inspirational, says Joe, little tough to get used to the three-cornered hat. Joe asks why her father isn't here, and she says he won't be here tonight. Joe says he'll be mad he missed a free round of drinks. He's at home, says Maggie, the art dealer is pushing him for more paintings. Joe suggests they drink to their friend's arrival. She prefers they drink to themselves. To us, toasts Joe, and they smile at each other over the rims of their glasses.

At the bar, Jason calls Willie a fool, demanding to know what's the matter with him. Willie asks about Collinwood--he wants to move in there, he says, looking seriously at Jason before taking a toke of his cigarette. You're not only a fool, but out of your mind, says Jason, the time isn't right. You said we were going to stick together, says Willie, but you living at that house and me in that crummy room isn't sticking together. Slicking together means you do exactly as I say, insists Jason, obey my instructions--you agreed to that. I didn't know it was going to be so one-sided, bitches Willie. Jason asks what he's talking about. Willie says he doesn't remember seeing him pack his suit in his seabag. He points to Jason's new suit. I only just got it, the only thing I've been able to get so far, says Jason. Willie asks what he's gotten him. Jason says to remember it's the future he's thinking about. Sure, the future, says Willie, if I stay here long enough, I can collect Social Security! The trouble with you is, says Jason, you're too used to going into a place, stuffing your pockets, then running out. Willie says at least it's in your pockets. Jason told him this would be different. It's different, all right, agrees Willie, I've got nothing. He shows him the last of his cash, taking it from his pocket, complaining it's all he's got. Put that away, says Jason. Don't get so nervous, says Willie, it's just enough for the tip. Here, says Jason, slapping some money down on the bar, that should tide you over for a while. Jason goes over and puts a dime in the jukebox. Willie joins him, saying it won't last him 10 minutes. You've got to make it last longer, as long as is necessary, says Jason, I want you to stay put. You're staying up there, why can't I? asks Willie. Because, says Jason, it isn't the time yet, they aren't ready for you, they've just gotten used to me--if I bring you there, it will spoil the whole thing! You can do it if you tried, says Willie. Jason tells him he's had this in the works for 18 years, and won't spoil it for a matter of days--he's waited for things before, he can wait again. Jason returns to the bar, and Willie sits next to him. You made me promises, says Willie, said everything would be great, easy life, Willie could have everything he wanted--but what has he seen?--just that new suit Jason is wearing. Well what do you want--the tops or the bottoms? Asks Jason (LOL!)  You know what I'm talking about, says Willie. Jason asks if he wants to leave? Yeah, he could leave now, says Willie. Just get on the next bus and go somewhere you think you can do better, says Jason--make up your mind, Willie. I've come this far, I'll go all the way, agrees Willie. Jason says that means doing exactly as he says, and follow his instructions--this is HIS caper, not Willie's, he's along for a free ride, but can't get on until Jason says so--is that clear? Yeah, says Willie. Jason means it, and he's still not convinced. Willie asks him for a stack of bibles to swear on. Don't make me laugh, says Jason. My word isn't good anymore? asks Willie. Jason tells him if his word were any good, they wouldn't be friends--and they laugh together. Jason claps him on the back and says now he thinks they understand each other again. Willie wipes his nose with the back of his hand and says they always have. All right, says Jason--they'll use his brains, and Willie can save his brawn for something else. Don't worry about saving my brawn, says Willie, I've got plenty, but since they're using Jason's brains, how about thinking up some money.

Jason is in the study, enjoying a fine cigar. He looks out at the storm, his hands behind his back, and surveys the room, then sits down, very pleased with himself as he blows smoke out of his mouth. Carolyn enters and he says to come in--he was just lighting up this excellent cigar. Uncle Roger's favorite, says Carolyn. Jason says he must send Roger some cigars next time he's in Manila, they grow the filler portion there, but the wrapping comes from Sumatra, they have a way of combining the two for a great cigar--try one? He suggest to Carolyn. They really aren't her thing, she says--he's very interested in these kind of things, isn't he? Yes, he says, it's these kind of things that give life that extra little zest, things like these that make you say life is worth living, so squeeze every ounce out of it that you can. That's your whole philosophy, she says. You may quote me, Jason replies. She gives him a look, then says she wants to ask him something. They sit down. She never got to know her father, she says, and always wondered what he was like, she's seen photos and used to ask questions, but never got any answers, so she gave up asking. Jason understands why she got no answers. She grew up knowing very little about him, says Carolyn, except the bad part--you knew him, spent time with him. And you want me to tell you all about him, says Jason. If you would, she says. He wants to tell her about the other side of him--he last saw him 18 years ago, as Liz had, but has no idea where he is now. What was he like? Asks Carolyn softly. Maybe if I could tell you about his laugh--he would laugh loud, the hardest of anyone, until tears fell down his cheeks--he was the kind of man other men liked, and as you probably know, women liked him a great deal more. Carolyn doesn't like that part. I was really shocked when he married your mother, says Jason, oh, they made a handsome couple, him with his charm, her with her great beauty. He wasn't a man for marriage, had no idea what permanent meant. Carolyn looks sad. He was always under full sail, says Jason, the horizon far more attractive than any woman could ever be. Is that when he left my mother? Asks Carolyn. He can't say for sure, explains Jason, because Paul never talked to him about it--that's the kind of man he was--Paul Stoddard and I were very much alike. (!) Carolyn thanks him for telling her about him--she really appreciates it. If she wants to hear more, there are stories he could tell. I'll let you know, says Carolyn, and leaves the study.
Carolyn comes out through the door under the landing in the foyer and is about to go upstairs when someone knocks at the door. When no one else comes to answer, Carolyn opens the door. It's Willie, seabag flung over his shoulder, looking for a friend who is living here--Jason McGuire. Is he expecting you? asks Carolyn. Yes, just tell him Willie Lomis (that's how he pronounced it) is here. Hey, there he is! says Willie, going over to Jason, who has the cigar in his mouth. Hi, Jason, he says. Hello, Willie, says Jason. Willie tells him he's decided to accept his invitation.Willie smiles, and Jason looks absolutely furious that Willie lied to him

NOTES: Loved the comment that Jason and Paul are alike, considering we know that both are portrayed by the same actor, this is an ironic line of dialogue.

Willie is a troublemaker, a liar and a very poor womanizer. Loved Maggie's clipped responses to his advances. He sure wanted a fight, and I'm sure Joe would have given him a good one. What the heck is a speedball? I know what was back then, but why refer to Maggie that way?

Jason seemed to want to hurt Carolyn with what he had to say about her father. There was nothing positive, except the man had a great laugh. That really didn't tell Carolyn anything she wanted to hear about her father. Jason could have told her more positive stories. Now Willie has come to Collinwood, determined to live the high life he assumes Jason is living. Soon, Willie will unleash a very powerful force on Collinwood--and DARK SHADOWS. Thank God the actor we're seeing how will shortly be replaced by John Karlen.


Episode #203 - Jason leads Willie into the drawing room and demands to know what he's doing here. I've decided to accept your kind invitation, smirks Willie. Why did you have to say that in front of Carolyn? Asks Jason angrily. That's her name, says Willie, not half bad. Jason told him not to come here, but Willie says he knows that, but he figured he could help Jason. There's nothing you can do to help, says Jason, but you can ruin everything. You worry too much, says Willie. Yes, says Jason, I worry about you, and I'll tell you frankly I don't think this is the right place for you to be. We're buddies and sticking together, Willie reminds him, we've been through a lot. I've got a good deal going on here, says Jason, and I don't intend to blow it--so pick up your seabag and go back to your room! He opens the doors. I couldn't pay my rent, says Willie, the landlord got snobby, so I had to give him a little push--and he got evicted from his room. You have to go somewhere else, insists Jason. Do you have the dough to pay for my rent, asks Willie. No, says Jason.Willie closes the doors and says he's staying right heah (that's how he pronounced it), then tells Jason, "You aren't going to evict me, are you?"

Willie looks around, saying he's never been in a place like this--he'd like to meet them--pictures and everything!--do people really live here? Yes, says Jason, the kind of people you've never met. The kind of people who never met anyone like you. Willie scratches himself, saying it won't be the first time. Jason tells him they won't take his staying here. Well, says Willie, they'll have to get used to it. This is a place like you say it was going to be, it's what it is, a place of easy living--I've been taking kicks all my life through all these years, and this time no more--I do the kicking! That point of view will get you kicked right out of here! warns Jason. No it won't, says Willie, because you'll fix it, and I'll be quiet as a mouse. Can't you get it through your thick head--they'll never accept you! says Jason. Willie says he'll leave that up to Jason--you can talk to anybody into anything. Not this, says Jason. Sure you can, says Willie, you told me you had something on the woman who owned this house, they'd give you the key to it. Yes, says Jason, and I've almost got it, bringing you here now will blow the deal. You can handle it, insists Willie, you've got a talent for it. It won't work, says Jason. Be a little reckless, suggests Willie, because if you don't, you might lose everything--if I feel you're beginning to cut me out, I'll see to it that you don't get anything. And I've asked myself, says Jason ironically, if I did the right thing bringing you into this. You got your answer, didn't you? asks Willie. Yes, says Jason, annoyed that HE is now being blackmailed. Book me a room here, says Willie. All right, says Jason, but if you blow this deal on me, it will be the last mistake you ever get a chance to make. You worry too much, says Willie. Jason decides to work it through Mrs. Johnson, the woman who works here--Willie must give her a little blarney. He's got plenty of that, says Willie. Jason says he'll go get her--and Willie is not to touch anything! Would I do something like that--as a guest of the house? asks Willie. Jason leaves. Willie immediately picks something off the desk and looks at it.

Out in the foyer, Jason greets Mrs. Johnson, who is coming downstairs. He thanks her for the wonderful job she's done on his shirts. She says he's welcome. They're so much easier to wear, unstarched, he says. Personally, says Mrs. J, I like a starched shirt. Not if you have to wear one, says Jason. Not much chance of that, she says. He tells her he has some old shirts. The ones with the frayed collar? She asks. How very observant of you, he says--he's been wanting to get rid of them, does she know of a charity or some worthy cause in town that she might give them to? Yes, there is, she says, and that's very nice of you--just put those things you want to give away on the chair in your room and I'll take care of it tomorrow. He's been wanting to get rid of them for some time, but they're his old things and his good ones were stolen from him in Panama. That's too bad, she says. That's the way life is, he says. Jason says she's so efficient, he's sure she's already taken care of it. What? she asks. The extra room Mrs. Stoddard told you to prepare, he says. Mrs. Johnson doesn't know about it. Jason feigns surprise, saying it must have slipped her mind. Who is it for? Asks Mrs. J, do you have another guest? Yes, and he's waiting in the next room, says Jason. In that case, she says, I'd better check with Mrs. Stodddard--and she heads off to do so.

Jason stops her. You don't doubt my work, do you? he asks. No, she says. Then why do you have to ask Mrs. Stoddard? Because she's my employer, says Mrs. J. I've already checked with her, and she's given her approval, continues Jason, it just must have slipped her mind. Mrs. J asks when she knew about this? He mentioned it to her a few days ago, Jason says. Mrs. Stoddard isn't the kind of person to forget such a thing, says Jason. Yes, but you must remember, she's been very ill, and a lot of pressure on her, he says. He asks her to prepare the room and he'll remind Liz himself. He wants Mrs. J to meet the very nice fellow. She isn't sure, but goes along with Jason.

In the drawing room, Willie is checking the mail. He quickly moves away when Jason comes in to introduce Willie to Mrs. Johnson. Is this the woman you were telling me about? asks Willie, heartily shaking her hand, telling her Jason has said so many nice things about her. She's pleased and smiles. Jason has been telling her about the way she cooks--an apple pie, hot, that thick, with a slice of cheddar cheese on top. My favorite! exclaims Willie, wishing he could get a piece of it, and Mrs. Johnson smiles modestly and says there isn't even a piece of crust left--Jason saw to that. When I like something or somebody, says Jason, I always come right out with it. Willie comments that he's sure Mr. Johnson is a very happy man. She's a widow, she says. Jason apologizes, and Willie says he shouldn't have said it. I'm used to it, she says, my husband was a man of the sea, too. I'm sure we all have something in common, says Jason, smiling his ass off. She understands us, says Willie. Mrs. J says she knows what it means to come home, to a sailor. Jason says he bets homecoming was a great thing for her husband, all those pies to look forward to--and herself. It was a good times, she says mistily. Willie asks if his room is ready yet. Jason chides him--Mrs. Johnson was just about to get it ready--the one next to mine, if possible, and he'll tell Liz himself. All right, says Mrs. J, it will take a few minutes. Jason thanks her and Willie says he appreciates it. Mrs. Johnson tells Willie she's pleased to meet him, and he says it right back. Mrs. J goes and Jason closes the double doors. Willie asks if she really is a good cook, and Jason says she's atrocious, she burns everything to death. They really charmed her, says Willie, she can't wait to fix up the room. Jason doesn't think that means anything, she doesn't own the house--he still has to face Liz Stoddard, he says, his face set with determination.

Ms. Johnson, sheets and pillowcases in her arms, listens for a moment at the drawing room door, then heads upstairs. She meets Liz on the stairs and assures her she's taken care of everything. Liz asks what she's talking about, and Mrs. J says she's making up the room next to Mr. McGuire's--Liz forgot to tell her. About what? asks Liz. About Mr. Loomis coming, says Mrs. J, a friend of Mr. McGuire's I'm making up the room for him. He's staying here? asks Liz. Mrs. J is taken aback, she was going to ask her, but Mr. McGuire said he told her and she said it was OK, if it's not true, she won't make up the room, Mr. McGuire is a very persuasive person. Seeing the look on Liz' face, Mrs. Johnson timidly asks, "Should I make up the room?"

Jason tells Willie that he'll take him up to his room now, before anyone else sees him. Yeah, you can tuck me in, too, remarks Willie, grinning, holding his seabag, laughing. Jason opens the doors and finds Liz standing there--she wants to speak to him. Jason introduces Liz to Willie, but she ignores the latter and angrily tells Jason she must speak to him right now. She enters the room and Jason sends Willie to the study down the hall--he'll meet him there later. Liz asks Jason to close the doors. Sure, he says. She asks who Willie is, and Jason tells her Willie is to him what her husband was--his best friend. What's he doing here? she ask. Passing through, he says. The same way YOU'RE passing through? Asks Liz. Jason feigns ignorance. Don't play games with me, she says haughtily, I want to know what's going on. Didn't I mention it to you the other day? he asks. No, she says. Willie just stopped by, says Jason, and I took it upon myself to ask him to stay--I assumed it would be perfectly all right with you. How dare you assume what I might and might not do! she says. Simple hospitality, says Jason. Well, says Liz, I don't want him here. Jason asks to let him stay overnight and they'll work it out in the morning. Liz insists there's nothing to work out, send him on his way! She walks away from him, angry. Liz, I want him to stay, says Jason. YOU want? Asks Liz. "I want," says Jason. You have nothing to say about it, says Liz. Jason asks, "Don't I?" No, she says. Jason wishes she'd invite him to stay. Impossible, she says. Invite him to stay before I insist on it, says Jason--use a little common sense, because I might be very disturbed if my friend were not permitted to stay. Liz says she isn't interested in his problem. Get interested, advises Jason, because my problems are your problems. Liz wishes you'd leave with your friend. Now, says Jason, is that any way to talk--you know that I'm here and staying, and I should think by now you'd have gotten it through your pretty little head my friend is staying, too! Liz says she won't have it, and he asks why she's being so stubborn. Liz says she can't allow him to take over her house. He's not, he says. You are, but by bit, insists Liz. You're just imagining it, says Jason. Liz says he's doing it!--she's imagining nothing, and wants Willie out of here. All right, let's bring it out into the open, he says, let's go into the basement, to that locked door, and you tell me what I can do and can't do--as we look down at the floor, knowing what's buried under there.Liz looks repulsed, ashamed, beaten, her fury dissipated. How about the room for my friend? Jason asks.

Willie waits in the study, sitting on the arm of a leather chair, playing with the fire. He picks up things from the mantle, walks around, sits down in the leather chair and laughs happily. He likes this! He snaps his fingers, walks around, looks in a box on the desk. Vicki enters and he greets her. Don't leave, stay, he says. Vicki says she wanted a book. She goes over to the shelf. Willie says nothing is happening around here--you're the governess, right? Right, she says. Your name is Vicki Winters, right? Yes, how did you know, she says. I made a point to, he says, he saw her at the Blue Whale the other night. She doesn't seem at all pleased. He had to know her name. She remembers seeing him there, too. He introduces himself to her as Willie Lomis, saying he isn't easy to forget. Jason's friend, she says. Yes, he says--does she read all these books? Some of them, she says. That's good, says Willie, I can't stand dumb women (!) I think women should know about things. Vicki agrees. He bars her way. Excuse me, she says. He's looking forward to getting to know her, they will be living under the same roof for a while. Are you staying here? she asks, shocked. He grins. Yes, I'm invited, he says, I guess we'll be seeing a lot of each other, and I can tell we'll get along just great--you'll like me after you spend some time with me--I don't know if you're going to have time to read books--our rooms might be very close to each other, he says significantly. Vicki excuses herself, and Willie asks her not to go. She's busy! Relax, he says, barring her way again. Let me by, she says. Don't be in such a hurry! He says. I've got to go! She tells him. Tomorrow night, he says, he wants to see her. When Vicki tries seeking an exit in another part of the room, he bars her there, too. He'll show her a real good time, he promises, banging the mantle for emphasis. Will you leave me alone, she demands. He tries to kiss her, and she dodges his advances. Stop acting this way, he commands, still not letting her pass. Stop it! she yells.Liz enters, ordering Willie to leave her alone. Mrs. Stoddard! says Vicki. Liz tells Willie to get out. Willie is incensed--nothing happened! Liz asks Vicki if she's all right, and Vicki assures her she is. Of course she is, says Willie. Liz asks if he heard her tell him to get out. Nothing happened, maintains Willie. Jason enters and looks at Willie, asking what's the matter. Get him out of here, orders Liz--I found him annoying Vicki. Willie! Says Jason, what did you do? We were just talking, I swear, says Willie, I didn't touch her! Hey, did I touch you? he asks Vicki. Well, she says... Jason insists on knowing, if anything happened here. Vicki admits he didn't actually do anything. Oh, asks Jason, he must have done something to upset Mrs. Stoddard. I was only talking to her, says Willie. That's all? asks Jason. Is that true, he asks Vicki, was he only talking. They were talking, says Vicki. Did he annoy you in any way, asks Jason. I suppose not, says Vicki. Then what's all the fuss about? Jason asks Liz, the girl has no complaint. Liz knows what she saw. Yes, says Jason, but you can't always believe the things we think we see. Jason thinks they should all forget the unpleasantness, and starts to lead Willie away to his room. Jason, begins Liz, then stops. He asks if she wanted to say anything. No, she says. I didn't think you did, says Jason, I'm sorry. Vicki asks Liz who these men are. My guests, says Liz. Vicki doesn't understand. There's nothing to understand, say's a flustered Liz.Vicki tries again, but Liz, upset, repeats that they are her guests, she invited them, please don't ask anymore questions! Vicki is perturbed.

NOTES: Once again, Willie tries to force his icky attentions on a woman who has no interest. Something tells me the only gals Willie has had in the past are either friends who took pity or hookers. He turned in a better performance here, but I still miss Karlen.

Poor Liz, Jason is just tightening the noose more and more, forcing her to do whatever he wants with the same blackmail threat. It does get tiresome after a while.

Loved the scenes with Mrs. Johnson. They really did put one over on her--and now we have to wonder--is her apple pie any good? She burns everything, according to Jason.

Love, Robin

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