Episode #136 - Kinescope - For me, this is a peaceful night at Collinwood--the great house is quiet, and no unseen threats exist in the shadows. But for one member of the Collins family, it is a night of fear and unanswered questions.

Roger paces inside the drawing room. Someone knocks. He checks his watch and answers the door. It's Frank and Richard Garner. I thought you'd never get here, complains Roger. We got here as quickly as we could, says Richard. Hello, Mr. Collins, greets Frank. I wasn't expecting you, says Roger. Frank volunteered to come along, says Richard, and I thought he ought to--he may be quite helpful to you. Let's go into the drawing room, suggests Roger, which they do. Now, what's this all about? asks Richard. I told you over the phone, says Roger crisply, I've spoken to my wife--I want to start divorce proceedings as soon as possible. You also said there were other complications, that's why you wanted me to come here, says Richard--what are they? Roger pauses. He walks toward the window and says, "I'm in trouble, Garner--the worse trouble of my life."

What's going on?--what kind of trouble are you in? asks Richard. I'll get to that later, says Roger--how soon can I get a divorce? What are the grounds? asks Frank. I was asking your father, says Roger nastily. Frank knows more about divorce laws than I do, says Richard, that's why I brought him along. Oh, I see, says Roger. He walks toward the fireplace. Have you decided on grounds? asks Frank. Does it matter? asks Roger. I'm afraid it does, says Frank. Base it on anything--incompatibility, mental cruelty, I don't know the divorce laws, says Roger--all I know is I want a divorce and so does Laura. What kind of settlement does she want? asks Frank. She wants complete custody of David, says Roger. What kind of financial settlement? asks Frank. She wants David, says Roger, that's all. How does Elizabeth feel about this? asks Richard. Oh, she'll probably throw up a couple of roadblocks, says Roger, she's overly protective of David. Where is she? asks Richard. She went to bed early, explains Roger--that's why I called you here tonight--I didn't want her to overhear this discussion. You realize, of course, says Richard, that I represent Elizabeth--I can't do anything against her wishes. Roger suddenly tells Frank there's somebody here who would like to see him--and I think you'd like to see her, too--of course I'm talking about Miss Winters. Frank exchanges looks with his father and says he would like to see Vicki. Good, I'll call her, says Roger. He goes into the foyer and calls up to Vicki. She comes down wearing an attractive black velvet robe. You have a visitor, Roger says. Smiling, she comes downstairs. This is a surprise, she says. How are you? Frank asks, beaming. I'm fine, she says, when I spoke to you on the phone this morning, you didn't say you were coming here tonight. She meets him in the foyer--Barbie and Ken. Life is full of surprises, says Frank. Why don't you take him into the other room? suggests Roger, and give him a cup of coffee--I'm sure you have a lot to talk about. I'm sure we do, agrees Frank--I've got something to tell you, Vicki. As they head into the kitchen, Vicki she asks him what it is he has to tell her.

Roger returns to Richard. I had the distinct impression you were trying to get rid of Frank, says Garner, Sr., I did, says Roger--I want your advice on a matter I want to be kept secret--Burke Devlin is pushing for a re-trial of that old manslaughter charge. That's nothing new, says Richard. Yes, but Laura wasn't in Collinsport before--he could use her, get her to testify against me. I've been laboring under the assumption you were innocent of that manslaughter charge, says Richard. I am, says Roger, of course. (Then why is he possibly in the worst trouble of his life?) Then what have you got to be worried about? asks Richard--it's a closed book. It was, says Roger, Devlin will try to open it again--he could work on Laura--she was always susceptible to him in the past--he might get her to change her testimony--it makes me nervous, having her back in town--I want to give her what she wants and get her out of town as quickly as possible. And what she wants is a divorce? questions Richard. And custody of David, says Roger--I don't object to her having either one. Do you want me to start divorce proceedings immediately? asks Richard. Immediately, says Roger. I'll have Frank handle it, says Richard. Why Frank? Asks Roger. Because Frank and I have come to an important decision, says Richard.

Dad and I have decided to open a branch office in Collinsport, Frank reveals to Vicki over coffee in the kitchen. (oh, boy, he'll be so close!) That's wonderful! she says. At least I'll be seeing more of Vicki Winters--that's a plus factor, he says--or will you be leaving Collinwood? Why do you say that? she asks. Will you be working here after David goes? he asks. What do you mean? she asks. Hasn't anyone told you? he asks--Mrs. Collins is back. Yes I know, says Vicki, but what about it? She wants custody of David, she wants to take him with her, he says. Oh, I didn't know that, says Vicki, I thought she was just here for a visit. I'm sorry to be the bearer of unhappy tidings, he says, looking at her downcast face, but she could mean you'll be minus one job. I see, says Vicki, rising from the table to look out the window. How do you feel about it? he asks. I have mixed feelings, says Vicki, I don't want to leave--but for David this could be the best thing that could happen--he needs someone who wants and loves him, and I'm afraid his father can't fill that position--if Mrs. Collins can, then I'm glad for him--I know what it's like to be brought up an orphan--I wouldn't wish that on anyone in the world. Still, she looks sad.I'm not sure when he'll be leaving, says Frank, but Roger wants his wife out of the picture as quickly as possible--to be honest with you, it strikes me as peculiar. (Not if you're Roger Collins!)

Cottage - Sam mixes paints on a palette and works on a canvas. He's wearing a shirt and tie. He hears a car pull up and swiftly covers the painting. Maggie comes in. You're home early, says Sam. Joe has to get up early tomorrow morning, says Maggie, removing her coat, we decided to have a fast beer and call it a night. (They're dating?--great!) She rubs her cold arms. That doesn't sound very exciting, says Sam. Maggie asks to see the canvas he's working on, but Sam turns on her when she tries to uncover it. Leave it alone! he orders. You don't have to snap at me, she says. Sam apologizes. What is it with you and this painting? she asks--you never used to mind if I looked at your work--what's so special about this painting? It's a new work in progress and not ready to be criticized, says Sam. You always let me look at your first sketches, she points out. I'm not very happy with this one, says Sam, I'd rather keep it to myself--can't you accept that? What's wrong? she asks. Nothing, he says, there's just something about that painting that's bugging me--I guess I just have to get it out of my system. He pours himself a drink. Are you sure it's just the painting that's bugging you? What else? he asks. You've been acting strange the last few days, says Maggie--I keep wondering if she has anything to do with it. She? asks Sam. Laura Collins, says Maggie, you've been acting odd ever since you found out she came back to town. That's just imagination, says Sam. Is it? she asks, sitting beside him on the sofa--are you sure you're not keeping something from me? I don't keep secrets from my favorite daughter, he says. You never used to, she says. Don't worry about me--there's nothing to worry about, he assures her. What is Laura Collins to you? she asks. An old acquaintance, says Sam. Is that all? asks Maggie. That's all, says Sam. How well did you know her? asks Maggie. I knew her fairly well when she was Laura Murdoch, says Sam, then she married Roger Collins and moved out of my social sphere. Then why the big interest?--why did you get me to answer all those questions? asks Maggie. Because I was curious, he says, about what made her come back to Collinsport--I thought her marriage to Roger was over and she left town for good--I'm curious to know why she came back. That was more than just curiosity, notes Maggie--it seemed like you were afraid of her. Afraid? asks Sam after taking a slug of his drink--why would I be afraid of her? That's what I'd like to know, says Maggie. The answer is, I'm not, says Sam. I guess I'll have to accept that, she says, but I still say there's more you're not telling me about. She shakes her head and rises from the sofa. Sam drinks.

Roger prepares a drink, too, as Richard is remarking that he has a feeling Roger is hiding something What would I be hiding? asks Roger. Something about that old manslaughter charge, suggests Richard. That's absurd, says Roger, handing the drink to Richard. I hope so, says Garner, I assumed you were telling me the truth at the time, that it was Devlin, not you, who was driving the car. Of course it was Devlin, says Roger. Then why are you in such a panic at your wife coming back? asks Richard as they sit down--if you're innocent, you have nothing to fear. Of course I'm innocent, lies Roger, and I have nothing to fear--I'm not in a panic at all. You seem to be, remarks Richard. I'm not, insists Roger--it's just that I know divorce is inevitable and I want it to be settled as quickly as possible. That's your only reason for telling me to drop everything and come up here, says Richard. Roger drinks. You said it was an emergency, says Richard.It IS en emergency, says Roger, I want it settled right away--I have reasons of my own. They both drink.

There is only one thing I want from you, says Roger--to settle this thing as quickly and easily as possible. You're absolutely sure your wife wants a divorce? asks Garner. She wants it as much as I do, Roger says. Who is her lawyer? Richard asks. I don't know, says Roger, rising, in fact, she might not have any at all. She should if she's going to file a suit, says Richard. Would it be too difficult to arrange for one? asks Roger, would that be any obstacle? No, if you're in full agreement, says Richard. We are, says Roger--how soon can you get started on this? Right away, I should think, says Richard--did you want to talk to me about anything else? No, I think that concludes our business for now, says Roger. Frank and I had better head back to Bangor, says Richard, it's a long drive. He exits the drawing room and calls to Frank. I appreciate your coming up here this hour of the night, says Roger as Garner collects his coat and hat. I think that Frank was glad of the opportunity, says Richard, he's been looking forward to seeing Miss Winters. Frank exits the kitchen, Vicki behind him. His father tells him they'd better get going. What did you decide? asks Frank. You'll be representing Roger in his divorce proceedings, says Richard, now get in touch with Mrs. Collins in the morning and see if she has legal responsibility. She's staying at the Collinsport Inn tonight, but tomorrow on, she'll be up here with us at Matthew's cottage, says Roger. I'll be in touch, promises Frank. Good night, says Richard, and Roger thanks him again for coming up. Roger bids Frank good night. Frank tells Vicki it was good seeing her--he hopes to see much more of her. Vicki smiles and says she hopes so. Good night, he says, and he, too, leaves. Vicki closes the doors. Roger is in the drawing room, gazing out the window as we hear the Garners speed off in their car. Vicki goes to Roger. Frank tells me I might not have a job much longer, she says. What? he asks, distracted. He says Mrs. Collins is taking David away, says Vicki. Yes, it's true, he says. Then you won't be needing me, she says. I suppose we won't be needing your services any longer, says Roger, I'm sorry. As long as David's happy, she says, I should be happy for him. He'll be better off with his mother, says Roger, he'll be happier living with Laura. I hope so, says Vicki--when is she taking him? I'm not sure, says Roger--there's a lot to be settled first. Will it be soon? asks Vicki. We think Laura should live here for a while, says Roger, so she and David can get used to each other. Then it won't be immediately, says Vicki. No, says Roger--as soon as he learns to accept his mother again. He sits on the sofa, and she on the fireplace seat. I was very worried about David tonight, says Vicki--I didn't like the way he was behaving. He's being difficult and obstinate, it's typical of David, says Roger. It's much more than that, says Vicki, I think he's genuinely frightened. Frightened of Laura?--that's absurd, says Roger. No, says Vicki, frightened of his nightmare--he described it to me--it did sound very frightening. What did he say? asks Roger. He was standing with his mother in fire, says Vicki--fire all around--it was getting hotter and hotter and he couldn't escape--David kept repeating one word over and over again--fire, fire, fire. The camera pans to the fire in the fireplace.

I keep seeing fire, Sam tells Maggie (is this an epidemic?) What? she asks. Huh? he says--nothing, I was just thinking out loud. Does it have anything to do with the painting? asks Maggie. He rubs his beard distractedly and asks her what makes her say that? When you start talking out loud, she says, it's usually because you're getting an idea for a painting. Could be I am, he says. Why would you want to paint fire? she asks. Fire is very interesting, says Sam--a lot of interesting colors in fire--it's getting late, you ought to go to bed. You trying to get rid of me? she asks. No, I just want you to get your beauty sleep, he says, patting her arms, that's all. Is everything all right? she asks. Fine, fine, never better, he says, pacing. Then why are you pacing? she asks. Just thinking, he says. Is that all? she asks. I'm fine, don't get on my back, he says. OK, she says, good night--and she goes into her bedroom. Sam returns to the canvas and uncovers it, starting raptly at it.

Sam surveys the canvas, then re-covers it. He rubs his face, looking like a tortured man. He pours a drink and downs it quickly, trying to get hold of himself. He turns off the light and leaves the cottage. Maggie comes out and calls to her father, but he's gone--and she's worried. She wanders over to the window and looks out, thinks, then, unable to help herself, uncovers the painting.She looks horrified.

We see fire leaping in the fireplace behind Vicki, who is explaining to Roger that David hasn't been behaving like himself--that's what worries me. He doesn't know how to behave in front of his mother, says Roger, but Laura will bring him around in no time. I hope so, says Vicki--he needs a mother. You can be a big help in that department, says Roger--you seem to have as much influence on him as anyone else in this house--talk to him, persuade him to see his mother and get to know her again--he might listen to you. I'll do what I can, says Vicki. Good, says Roger, thank you very much--I don't think you have to worry about your losing your job here--we'll work out some arrangement for you. How? asks Vicki eagerly, smiling hopefully. I don't know, but we'll talk to Liz, he says, we'll find something--but in the meanwhile, you'll give me your full cooperation on this other matter? You have it, she says. The clock strikes. Time to go up to bed, says Vicki. Yes, it is getting to be about that time, agrees Roger. Shall I turn off the lights? she offers. No, he says, I'll be up just a little longer. They say good night. She goes upstairs. Roger looks out the window.

Maggie is gazing in distress at the painting on the easel, sitting in front of it. Sam returns home, a cigarette in his mouth. Hello, says Maggie. I thought you went to bed, says Sam. I heard the front door slam, she says, so I came out here to see if you went out. I'm back and all right, says Sam, so go to bed. She comes over to him. I saw the painting, she says. I told you I didn't want you to see it, he reminds her. I know, but I got curious, she says--why did you do it?--why would you paint a thing like that? I don't know, he says. That's not much of an answer, she says. I know, says Sam, but it's the only answer I can give you--I don't understand that painting--I don't know why I'm painting it--I just know something is driving me to that canvas--I don't know what it is--some power outside myself is forcing me to paint that thing! You're not making any sense, she says. I know, says Sam, it doesn't make sense, nothing about this makes any sense at all. you're starting to scare me, she says. You're only scared, says Sam--I'm terrified.

NOTES: Is Sam losing his mind? What otherworldly power is forcing him to paint this painting? What does it mean to the Collins family? Didn't you wish they showed us the painting again?

Frank and Vicki are soooo cute. I wish she'd end up with him. He could give her a nice job--as wife! Really, given that Roger was so anxious to get rid of Vicki, now he says they will work something out. If not David's tutor, what could Vicki do at Collinwood?--perhaps they can offer her a secretary's job at the cannery?

Roger seems too anxious to get rid of David, but it's mostly that he wants to rid himself of Laura, whom he fears will resurrect the manslaughter trial again--and implicate him. The way he bald-face lies to Garner pisses me off. Garner was right--why should he fear Laura's return to town if he's truly innocent, as he claims to be?

Episode #137 - There is a strange new presence at Collinwood--a presence that should be familiar, but isn't--a presence that causes many to search their consciences.

Blue Whale. A man lights a cigarette for a woman. Between them, we see Sam, sitting at the bar alone, who is gazing at the fiery match with fascinating. Sam drinks. Patterson taps him on the shoulder and Sam twitches. What are you so jumpy about? asks the sheriff. What are you accusing g me of tonight? asks Sam. What would you like to be accused of? asks Patterson. Let's see, says Sam, I think I'd like to be accused of being a wealthy man. All right, I'll book you on suspicion of being wealthy, quips Patterson. I wish I could plead guilty to that, says Sam. You see Roger Collins? asks Patterson. Why ask me? queries Sam. I assume you've been here since the doors opened, says the sheriff. What do you want from him? asks Sam. Maybe I'll book him on suspicion of being wealthy, suggests Patterson. He's guilty, says Sam, smiling, then laughing. The smile fades. I don't know what I'm laughing about, the joke's on me, says Sam, sipping his drink. That one's on both of us--stay loose, Sam, says Patterson. That's why I'm here, says Sam, excusing himself as he walks past the couple we saw earlier. He makes a phone call to Collinwood. Roger answers. I hoped you'd forgotten my number, says Roger. I wish I could, says Sam, and you along with it. I'll make that very easy for you, Roger assures him, now what do you want? I want to know what's happening, demands Sam. Nothing, everything is under control, Roger assures him. That's what you think, says Sam--I'm at the Blue Whale--the sheriff was just here looking for you. What did he want? asks Roger. I don't know, says Sam, I've got to see you. What for? asks Roger. To show you something, says Sam, something strange--I don't understand.

What are you talking about? Roger demands. I can't tell you about it, I have to show you, insists Sam. You might understand things better if you weren't drunk all the time, says Roger. You'll come? asks Sam. Yes, I'll do that, says Roger, changing his tone when Carolyn comes downstairs, coat over her arm--"and thank you for calling!" He hangs up, then notes that Carolyn is all dressed up--where are you off to? Downtown, says Carolyn--Aunt Laura decided to stay at the cottage tonight, so I volunteered to go by the Inn and pick up her luggage. That's very thoughtful of you, says Roger, you're a good niece. Mrs. Johnson is straightening up things, says Carolyn, adding a few things so she'll be more comfortable. Carolyn looks at her reflection in a mirror on a wall upon which Barnabas' portrait will soon hang. It pleases me you're being so friendly, says Roger. Why shouldn't I be? asks Carolyn--she's my long-lost aunt--the thing is she's your long-lost WIFE. Now that little remark wasn't entirely necessary, chides Roger. It was, says Carolyn--it was intended to provoke you into telling me what the story is going to be. There isn't going to be any story, he says, Laura's going to be here for a short time, then she's going away. Oh, I had visions of the two of you living together, says Carolyn--happily ever after. She's changed considerably, says Roger--she doesn't want me, she wants David. I could see that, says Carolyn, the only reason she stayed in that cottage tonight was to be close to David--I like that quality (obsessive?)--she's also very beautiful--I can see why you were captivated by her. She was even more beautiful 10 years ago, says Roger. I can also understand why Burke was your rival for her, says Carolyn. Yes, says Roger, Burke is everyone's rival for every woman--he doesn't discriminate in that department--if it's a female, it's fair game for him. That tidbit was tended for my collection of warnings about Burke, says Carolyn. It was, agrees Roger--I can't think of a more improper person for you to be associated with. I like improper people, says Carolyn (Buzz, Jeb)--do you think he still carries the old torch for her? I don't know--and I really don't care, says Roger. Carolyn slips into her coat. Imagine my own aunt being my competition, says Carolyn. It's possible, warns Roger, Devlin has a tremendous range. She notes that he's taken his coat, too, and asks if he's going out. For a short while, he says. She offers him a lift, but he prefers to take his own car--it's on the drive(way). She buttons her coat and they leave the house together.

Patterson dials the phone from a booth. The phone rings at Collinwood, but goes unanswered.

Blue Whale - A couple twirls a crocheted ball on the ceiling, finding it very amusing; they dance closely and laugh together, hugging. Sam sits alone at a table, and the laughing couple passes by him. Burke enters the bar and looks at Sam. They say hello to each other. Your eyes are retractable, remarks Burke--when I looked at you just now, your eyes retracted back in your head. They have good instincts, says Sam. May I sit down? asks Burke. I don't see how you can, says Sam, there are only three empty chairs, and the place is crowded as it is. Burke joins him. I'm the pushy type, he says, can I check your oil? I think I've got enough mileage in this, says Sam, gesturing to his drink. You look like the loneliest man in town, comments Burke. You're wrong, says Sam--I'm very popular, I'm having a very good time tonight--laughing, dancing, singing. How many years I known you, Sam? asks Burke. Too many, says Sam. Since I was a kid, says Burke, you always know I mean what I say. I know that, says Sam. I'm going to tell you why I like you, says Burke--because you have a conscience--which also tells me you don't like what you're doing. That's where you're wrong, says Sam, lifting his glass--I love to drink. He takes another swallow. You know what I'm talking about, says Burke--you're falling down, into a deep well, and if you don't get out fast, the roof is going to come crashing in on you. Sam drinks some more.

What roof are you talking about? asks Sam. You know why I came back to town, Burke reminds him--I needed you, needed your testimony. That's assuming I have testimony to give, says Sam--it might just be that anything I might say wouldn't help your case. I don't buy that and you know I don't, says Burke. What is all this last chance talk? asks Sam. For old time's sake, for Maggie's sake, I don't want to see you go to jail, says Burke. You won't see me go, not even on visitor's day, says Sam. Because you see, I don't need your testimony anymore, says Burke. Then maybe you'll stop bothering me, says Sam. I've got all the testimony I need, says Burke--everything I need to wrap up this case. Sam looks at him. Congratulations, he says--the man who has everything--what is it that you think you have? Laura Collins, says Burke--she's changed, considerably--she's not the same wild, reckless, irresponsible girl she was 10 years ago. That's good to hear, says Sam, nothing like a little self-improvement. She's come back to face certain realities, says Burke, to do what has to be done. Sounds like she's pretty well recovered, remarks Sam. She has, Sam, and she's getting a divorce from Roger, which means she can testify in court. Shame, says Sam, another good marriage down the drain. You don't mean that at all, says Burke--you're running scared--and you're going to be running scared until this thing is finished--if you had half a brain, you'd come over to the winning side. Roger enters the bar. There's my unworthy opponent, says Burke. Roger goes to the bar and Burke joins him, asking if he can speak to him for a moment--you do have a minute, don't you? Not really, says Roger. I suppose you come in here because you're so busy, says Burke--come and sit down. Roger reluctantly joins Sam. Hello, Evans, he says. Burke laughs--it always amuses me to see you two greet each other in public, he says--like you've never met before. Your minute is about up, says Roger. I just want to take this opportunity to congratulate you on your good fortune, says Burke, sitting down with them. Your voice has a nice sinister curl to it, says Roger, say what you want to say. I want to wish you good luck on your reconciliation with your wife, says Burke. Thank you, says Roger. Isn't it amazing, the things love can do, says Burke sarcastically, to bring you two together after what you've been through. It isn't really amazing if you know what love is about, says Roger. I suppose I don't know anything about "love", says Burke--I suppose that's why she married you 10 years ago instead of me. I'll go one step further, offers Roger--I think you've gone beyond the point of even knowing what it is.I guess we can chalk that up to five years in a confined area, says Burke. Better luck next time, says Roger. I'm glad you said that, because there will be a next time, says Burke--it begins right now! Devlin, says Roger, I couldn't care less about your future. Well, you'd better care about it, advises Burke, because you're part of it, and so is your wife. I strongly advise you to stay away from Laura, says Roger. You're not in a position to give that kind of advice says Burke. The bartender brings over their drinks. If you had any regard for her, says Roger, you would understand that her struggle back to normalcy was far greater than your so-called rehabilitation--her mental state is still very delicate, and pressure from anyone like you could very likely send her back to the institution, possibly for the rest of her life! Come on, Roger, says Burke, don't give me that delicacy routine--I spoke to her! Then you don't know her very well, says Roger. I know her better than you do, says Burke, I've always known her better than you--she won' t crack! Then leave her alone and let her do what she has to do, says Roger. I'll give the same advice to you, says Burke. Sam smokes and listens. You don't have the right, says Roger. Neither do you! retorts Burke. I'm her husband, says Roger. Are you really? asks Burke. I think I've given you more time than you deserve, says Roger, furious; he leaves the table. Burke follows him near the phone. Husband, indeed, he whispers in Roger's ear, who do you think you're kidding, Roger, she came back here to get a divorce, and her son, David--and then she'll leave. Are you that certain? Asks Roger. I haven't the slightest doubt in my mind, says Burke. Oh, there isn't a doubt? Asks Roger. No, she told me herself, says Burke. Did she? asks Roger. Yes, she did--and if she came back to reconcile with you, asks Burke, why is she staying at the Inn? Because she isn't staying at the Inn, says Roger triumphantly--she's staying at Collinwood. She's gone back to Collinwood? asks Burke amazed. Smiling, Roger asks him what's the matter--does that smash all your sadistic hopes--have I blown all of your theories?--you're losing, and you can't take it. I know Laura, says Burke. Of course you do, at least you say you do--that's all you've been saying, taunts Roger--but this is something your ego can't take. We'll see where Laura stands when the chips are down, says Burke. Carolyn breezes in, saying, "I do hope I'm interrupting something!" What are you doing here? Roger asks his niece. I saw your car parked outside, she explains, I thought I'd drop in. She greets Sam, then "Mr. Burke Devlin." Hello, he says, testily. While you're here, says Roger, why don't you tell Mr. Devlin what you've come to town for. I came down to pick up my Aunt Laura's suitcase, says Carolyn. And where is your Aunt Laura now? asks Roger. At Collinwood, says Carolyn. And what did you tell the hotel clerk? Asks Roger, relentlessly rubbing it in. That she was checking out, she say, and oh, you said he would send the bill to you. Roger thanks Carolyn, referring to her as a very efficient little girl--I think I'd better get back to Collinwood, I'm having a late snack with Carolyn's Aunt Laura--we have a lot of catching up to do, plans to discuss and things to do together--it's been a very pleasant encounter, running into you like this--are you coming along, Carolyn? I'd like to stay for a few minutes, says Carolyn. I think that's a good idea, says Roger--Mr. Devlin looks like he could do with a little cheering up--good night, Evans. Sam rises from his seat with a grunt. I think I've had my nightly quota, he says, draining his glass. Please don't go on my account, says Carolyn. It's definitely not on your account, says Sam, giving Burke an ugly look. Burke sits down, looking defeated Thank you, says Carolyn, shedding her coat, that's very nice of you, I'd love to sit down!--yes, I think this cold weather we're having is absolutely marvelous, she tells the brooding Burke. I'm sorry, he says, my mind was somewhere else. As long as your body is here, she says gently--it will be here for a few minutes, won't it? Yes, he says, it will. And your mind? she asks, will that be here, too? That, too, he says. Good--I'd be terribly embarrassed to have you sitting here and absent-mindedly calling me Laura, she says. Burke looks at her.

Patterson dials his office from the Inn's phone booth, asking Mike if he got confirmation on that teletype from Phoenix yet--you did, huh?--I'm going to continue looking for Roger Collins--I'll call in again--thanks. He hangs up, then leaves the booth.

Evans cottage - We hear a car pull up. Sam and Roger enter the house. I didn't invite him to sit down! Sam argues with Roger. Then why didn't you stand up and walk away? asks Roger, irritated. It would have made me look too suspicious, insists Sam, taking off his coat. It was all very embarrassing, complains Roger. I'm sorry, says Sam, I didn't even know he was there--I thought he was being very clever, but I must say you topped him beautifully. You can save the applause and tell me what it is you brought me here for, says Roger. Well, in the first place, I want to know just where we stand as far as your wife is concerned. It's very simple, says Roger--Laura has no idea of getting involved in any investigation of that accident, says Roger--she has too much to lose--David. That's good, says Sam--then we're in pretty good shape, eh? Relatively, says Roger, if I can trust Laura--I have to keep a watch on her, and keep her away from Devlin--but what is it that you brought me here for? Come over here, instructs Sam, standing in front of the easel. You didn't bring me here to see your painting? asks Roger. I did, says Sam. Oh, what a waste of time! declares Roger. Not this one, insists Sam. I don't want to see your paintings! Blares Roger. You'll want to see this one, says Sam--something strange has been happening, I haven't been feeling right the past few days. Booze, says Roger drolly. No, says Sam, it's something else--I started a painting the other night--the strangest thing happened--I started to work--it seemed I had no control over my brush, or myself--but a painting not in my style started to emerge. Were you drinking? Asks Roger. Sure, says Sam, I had a few, but I worked on it sober, too--I'm telling you, this isn't even the kind of subject matter I do--I don't understand what this is--why it's happening! If you have a problem with your profession, says Roger, it's your business. No, says Sam, this is your business, too. I don't understand you, says Roger. You will--when you see it, says Sam. He lifts off the cover and shows Roger the painting. It's clearly of Laura, but she has bird wings, is surrounded by flames and there is a white silhouette, as yet unfinished, down in the lower right hand side of the painting. That's my wife! says Roger.What does it mean? demands Sam urgently, grabbing hold of Roger's coat front. You drunken fool! he accuses Sam, and heads for the door. Sam pursues him, yelling, begging for his help, but Roger leaves. Sam smoothes back his hair, then picks up a knife and reaches out to slash the painting--but can't. He looks almost mad. We once again see Laura's face in the odd painting.

Burke drinks his drink and smokes as if Carolyn isn't around. Carolyn nurses her own drink and says that her dear Aunt Laura seems to have him in a sweat. Don't be absurd, he says. You can't get her out of your mind, she says. When I'm with you, you're the only thing on my mind, he says mechanically. Oh, swell, she says, save it for the next time, or at least when it's the truth. He smiles and apologizes again, and says she's the most delightful girl he's ever met--and that's the truth--and you don't deserve half my attention, you deserve all of it--and you're going to have it now. She grins. I'm ready, she says. The only thing that bothers me, he says, is that Laura would share a room with your uncle. There you go again, she says--to put your mind at rest, she isn't in the house itself--she's staying in Matthew's old cottage. With or without Roger? asks Burke. Without, Carolyn assures him--now that you've pumped all the information out of me, how about the other half of your attention. He kisses her hand. Coming right at ya, he says.

We see the sheriff's car pull up in front of Collinwood. Roger answers the door. Patterson tells Roger he's been looking for him--he just received a teletype report from the Phoenix, Arizona Police Department--the report said a body, identified as that of Laura Collins, was found burned to death in a fire.This stuns Roger.

NOTES: Burned to death in a fire? In Phoenix? What's all this about? Does it tie in with the fact that David insists this woman isn't his mother? Is she an impostor, perhaps? She told Maggie the story of the bird, the Phoenix (remember the wings in Sam's painting), who burns and is resurrected in its own ashes.

Poor Burke, shot down in his hopes that Laura will help him--or is he? Now that he knows she and Roger have separate living quarters and not together as man and wife, perhaps he'll work on her again and hope he can turn on the charm and get her to help him fight the manslaughter charge. I doubt it, though, given that David is her all-consuming desire, and she won't mess it up for Burke. Roger sure had fun playing nastily with Burke's head, didn't he? SOB. He still is the villain of this story, as far as I'm concerned.

Sam is haunted by this portrait, forced to paint almost against his will, it seems. Why? He's being used for something--is it a warning? There is a huge connection between Laura and fire, that's obvious, with so many clues. But the big one--this odd painting of Sam's--is the kicker. Now that Roger has heard what Sheriff Patterson had to say, will be make the connection between the burned body in Phoenix and Laura's visage in the fire in Sam's painting?

Love, Robin

Episode #(131_)132 - A stranger has visited Collinwood, and her visit has created tension in the great house, particularly in the mind of a small boy who only saw her in a dream.

Back in his bed, David insists to Liz that he DID see his mother--she was calling me--she wanted me to come to her. It was only a dream, insists Liz, try to go back to sleep. I don't want to go back to sleep; I might have that dream again! he cries. There's nothing to be afraid of, she assures him, sitting on his bed--it was only a bad dream. It was the scariest dream I ever had! he says. Try to forget about it, advises Liz, would you like me to read to you?Only babies get read to, says David disdainfully. Would you like me to sit here with you for a while? She asks. No, he says, I guess I'm OK. Try to get some sleep, she says, tucking him in. He promises to try. Good night, she says, and he says it back. She looks at him once before leaving the turns off the light. David gets out of bed and goes to the window, which he pushes open. Is anyone out there? he calls. Is anyone out there? He looks to the left and right, nervous.

Morning, kitchen - Roger, David, Vicki and Liz sit at the table. (Such a domestic scene!) Roger orders his son to stop playing with his food and eat. Mrs. Johnson made my eggs runny, says David, I don't like runny eggs. Eat your breakfast; stop complaining, Roger orders him. David looks at Liz and asks if he has to eat them. Eat what you can, she says. Roger gives his sister a dirty glance for undermining him. David takes another bite, proclaims that's all he can eat, and asks to be allowed to go play. Not until you finish your lessons, says Liz. I'll finish my lessons later, he insists. Vicki stands and tells him he's way behind in his math lessons already, he's got a lot of catching up to do. I'll catch up this afternoon, he says. That's what you said yesterday and what you'll say tomorrow, Vicki says. Do I have to study? He asks Liz, appealing to a higher court. Do as Miss Winters says, Liz insists, since you've finished your breakfast, go upstairs and do your lessons. OK, he says reluctantly. I'll teach you long division if it kills me, smiles Vicki. It'll probably kill me, complains David. He and Vicki leave. Liz offers Roger more coffee; he gets up to get it himself. When I tell the boy to do something, says Roger, I wish you wouldn't contradict me; it undermines any small authority I might have with him. You're right, I'm sorry, she says. You say I don't pay attention to him, says Roger, but you spoil him--as though he isn't spoiled enough as it is. I suppose I am too indulgent with him, she says, but I couldn't help it after that terrifying experience he had last night. It was only a nightmare, says Roger, small boys often have them--nothing to get excited about. This was more than a nightmare, says Liz, you were there when he woke up, he was trembling all over. I'm glad he was at least afraid, remarks Roger, it proves he's at least more normal than I thought he was. I'm glad you didn't mention last night, says Liz, I want him to forget about it. So do I, says Roger. It was a strange coincidence, says Liz, his dreaming about his mother when Laura was right here in the house. He must have heard us talking about her, says Roger, you know he's always eavesdropping. Whatever the dream was, says Liz, I know it wasn't a pleasant one. What's significant about it? asks Roger. It could mean he doesn't want to see her again, suggests Liz. That's ridiculous, says Roger--how often has he told us he wants to see his mother?--he's said it so many times he sounds like a broken record. Roger drinks his coffee, standing in front of the windows. He doesn't know her, says Liz, he hasn't seen her since he was five years old--she's about as real as one of his imaginary ghosts. You're fishing for excuses, says Roger--you don't want that boy to see his mother. Why would I take that attitude? asks Liz. For a very simple reason, says Roger--because you want to take Laura's place in David's life. Now you're the one who's being ridiculous, she says. Come on, he says, admit it--at least admit there's an element of truth in it. There isn't a particle of truth in it, insists Liz. All right, he says, don't admit it, but the fact still remains--David is the remaining Collins male--the little heir apparent, and you want to keep him under your wing, whether you admit it or not. I want to teach David to be a Collins, yes, she says, but that doesn't mean I wouldn't let him see his mother if he needed to, and if I thought Laura was capable. What makes you think she's not? asks Roger. We're not talking about an ordinary woman, says Liz, we're talking about a woman who was considered totally unbalanced. You saw her last night, did you think she was totally unbalanced? asks Roger. No, says Liz reluctantly, I didn't. If she was totally unbalanced, do you think the doctors would have released her from a mental institution? queries Roger. She may be better, says Liz, but that doesn't mean she's completely cured. You're still looking for excuses, he says. You're the only who's looking for excuses, she accuses--excuses to unload your son. That was uncalled-for, says Roger. No wonder David can't get along with you, says Liz--he knows you don't want him. What if I did? asks Roger, what if I did want him--what difference would it make--if Laura decides to take this to court, they always usually award custody of the child to the mother anyway. Not to a mentally unbalanced mother, says Liz. Oh, you're back to that again, are you? asks Roger. Until I am sure that Laura is all right, I will not allow her to have David, says Liz firmly, I don't care if she does take it to court--I'll fight it, I'll fight everyone to keep him here, including you! Roger looks at her, lips compressed.

How did I do? asks David, as Vicki corrects his math. 75, says Vicki, that's not very good, David. So I'm not a brain at math, he tells her, I'm a brain at history. I'd like you to be an all around brain, she says--if you go over those multiplication tables again, I'll give you another quiz. Do I have to? he asks. Yes, she says. OK, he agrees. She sits on his bed while he works. Why don't you hate me? asks David. That's an odd question, she says. You should, he says. Should I? she asks. Yes, he says, I left you tied up in the Old House--Matthew could have killed you. He didn't, says Vicki, and you did tell Burke where I was. He stands. I wanted to tell my father first, he says, sitting next to her on the bed, but he wouldn't listen, that's why I had to wait to tell Burke--I was all mixed up and mad--I guess you can't understand that. I think I can, she says--when I was a little girl. . .this isn't getting our math done. Tell me about when you were a little girl, he begs, please? What I was going to say is that I used to get all mixed up and mad, too, she says, because I had no one to talk to. Like a mother or a father? asks David. Yes, she says. You're nicer than I thought you were when you first came here, he says. (The ice is thawing.) That makes me very happy, she tells him, now I'll be even happier when you do your math. Do you still want your mother to come back? he asks. Of course I do, she says, more than anything. I used to want my mother to come back more than anything, he says--I'm not so sure I want see her to anymore. (Big change of feelings there.)

You're overlooking one very important factor, Roger tells Liz down in the kitchen--David adores his mother. He did when he was a baby, says Liz, but she's a stranger now. I bet if she came into the house he would probably throw himself into her arms, says Roger. Possibly--possibly not, says Liz. All right, he says, let's be practical, Laura is coming back to this house and will want to see David--what are you going to do about it? I don't know, she says, but I don't think it wise to let her see David. How are you going to stop her? demands Roger--she has ever legal right to see the boy if she wants to. I suppose she has, says Liz, but I'm worried about the effect it would have on David.

David's room - I don't understand, says Vicki, you used to want your mother to come back. Maybe I still do, I'm not sure, he says. Why not? she asks. I had a scary dream about her last night, he says. What did you dream about? she asks. I'd rather not talk about it, he says, it was just scary, that's all. You're trembling! Points out Vicki. I know, he says, I was thinking about the dream. You're awfully pale, she says, feeling his forehead, are you all right? I don't feel too well, he says. What's the matter? she asks. I guess I'm just tired, he says--I didn't get much sleep last night. Why don't you lie down, she suggests--we can finish your lesson later if you're not feeling well--you want me to call a doctor? No, I'm OK, he says, I just need rest. You call me when you're feeling better, she says, and tucks him into bed after he removes his shoes. She leaves the room. David immediately get out of bed and opens his window, where the wind blows hard. Mother!--Mother! he calls.

Drawing room - Liz sits at the desk, doing paperwork. Roger, wearing work gloves, enters, carrying wood for the fire (he's in a sweater, looking really good). He drops the wood by the fireplace and tells Liz she always prides herself on a reputation for being fair, but in this case, I don't think you're being fair in the least. I'm trying to be, she says. You've always had it in for Laura, admit it, he says, removing the gloves. I wouldn't go that far, says Liz--she wasn't my favorite person in the world when you married her, I'll admit that. You thought she was beneath us, says Roger. I'm not a snob, says Liz, I questioned her motives. Oh, how well I remember those smug little speeches you used to deliver, says Roger, I was an irresponsible fool, and Laura was nothing but a conniving little golddigger--I always thought that ironic, considering your choice of a mate was somewhat far from ideal. He sits beside her and she gives him a dirty look, reminding him they aren't dealing with the past, but the present. I agree, he says, so what are we going to do about Laura? I don't know, she says. I was impressed by the change in her, weren't you? asks Roger. I admit I was, says Liz--she wasn't the flighty little girl I remembered--she seems to have developed a quiet strength. Doesn't that speak well for her? asks Roger. As far as it goes, says Liz--but Laura is virtually a stranger to us--particularly to David--and I'm not going to turn David over to a stranger until I know her much better. Don't you think he should be told she's in Collinsport? asks Roger. I don't see that that's necessary, says Liz. He's going to find out sooner or later, why not tell him now? asks Roger--or are you planning to just surprise her on him, as a sudden shock? No, I want their meeting to be as easy and natural as possible, says Liz--I certainly don't want it to be traumatic for David. Then he should be told so he can prepare, says Roger. I suppose you're right, says Liz. Of course I'm right, says Roger. Vicki enters. She tells Liz she's worried about David--he told her he didn't sleep well last night and seemed to have had a nightmare. He had a terrible nightmare, says Liz--he even walked in his sleep!--Roger stopped him as he was gong out the front door. Whatever he dreamt about, he's still frightened of it, Vicki tells them. Oh, you're making a mountain of a molehill, he had a bad dream, says Roger--it's not worth discussing. Don't be unsympathetic, says Liz. I'm sorry the boy had a bad dream, says Roger, but we have to settle this other matter--Vicki, would you bring David down here please, we have to talk to him. Not now, protests Liz, not when he's not feeling well. What if Laura comes to the house this morning? asks Roger--we've got to be prepared. Laura? asks Vicki, isn't that...? My wife, says Roger, she's back in Collinsport and wants to see David.That's very odd, says Vicki, David was just talking about her--she was in his dream, he seemed afraid of her. That's nonsense, says Roger. David's a sensitive child, says Liz, if he's already frightened... You saw Laura last night, Roger reminds her--was there anything frightening about her? No, says Liz reluctantly, quite the contrary. Do you think there would be any reason for David to be afraid of her? asks Roger. Possibly none, says Liz. Roger asks Vicki to asks David to come down here. What if he's still asleep? asks Vicki. Wake him, it's very important, says Roger. Vicki leaves the drawing room, but she first looks back at both of them. Roger sits back down as Liz regards him.

Mother, are you out there? calls David from his window. Are you out there?

Over and over, David calls to his mother. Vicki enters and says she thought he was resting. I guess I'm not as sleepy as I thought I was, he says. Were you talking to someone? she asks--I thought I heard your voice as I was coming upstairs. No, it wasn't me, he says, you must have heard someone else--can I go out and play? Not now, she says, you've got to go downstairs--your father and Aunt Elizabeth want to talk to you. I don't want to talk to them, he insists. Don't be difficult, she says, they want to see you, now go one, scoot. Do I have to? he asks. Yes, she says. Might as well get it over with, he says. Get what over with? she asks. Never mind, he says, and leaves the room. Vicki closes the window.

Let me tell him about it, Liz tells he brother--I don't know how he's going to take the news and you can be quite tactless sometimes. Thank you very much, says Roger sarcastically. It's true, she says. I don't care who tells him, as long as it's told, says Roger.. David joins them, and Liz tells him she wants to talk with him. They settle on the sofa. Miss Winters said you weren't feeling well, says Liz--are you feeling better now? He doesn't answer. What's the matter, David, has the cat got your tongue? Asks Roger when David doesn't reply. I know what you're going to tell me, says David--I wish you'd say it and get it over with--my mother's here, isn't she? Liz looks at Roger, astounded. It's true, isn't it? asks David. Why yes, she says, it is. Did Miss Winters tell you? asks Roger. No, says David, I've known since last night. How? asks Liz. I saw her in my dream, he says, I saw a lady in a blue coat--she sat over there and kept looking into the fire and calling my name--I knew she was my mother because she wanted to take me away. Liz looks at Roger again. David asks if he can go to his room now. Don't you want us to tell you more about your mother? asks Liz. I know all there is to know, he says--can I go? I suppose so, if you want to, says Liz. I do, says David, and leaves the room. Well, says Roger, that was certainly strange. Certainly was, agrees Liz. I imagined a hundred different ways he would take the news, says Roger, but I certainly didn't think he would be quiet and thoughtful--it's so unlike him. How could he have known what I was going to tell him? asks Liz. What I said earlier must be true, says Roger, he must have heard us talking about her. Roger, says Liz, he was able to describe the coat he had on--it was blue, and he said he saw her sitting over there and she was--he said she kept staring into the fire and I noticed that, too--how could he have known all those things? He probably saw Laura, says Roger. He couldn't have, says Liz, he was sound asleep when she was here. We thought he was asleep, says Roger, he must have sneaked down and taken a peek--that's the only logical explanation I can think of. It's logical, agrees Liz, but it is correct? What are you saying? asks Roger--are you saying the boy has extrasensory perception? I don't know what I think, says Liz, I just know I looked in on him earlier and he was asleep--he was still asleep when Laura left the house--there is no way on earth he could have known how to describe those things.
David opens his window and calls. "Mother, I can feel you watching me," he says--"are you out there?--are you out there?--are you out there?"

NOTES: David's mother's presence has disturbed him. He wants her back in his life, yet seems terrified of her, proven by the nightmare and the fact that he keeps calling to her.

Liz is right--they shouldn't turn David over to a total stranger, and Laura is that right now. What about Sam's painting? What does it mean? Why is Laura so pre-occupied with different forms of fire?

Roger seems to be softening toward David, but he still probably would prefer if Laura took him away with her. Liz feels differently, however, she wants the heir apparent under her careful Collins tutelage. Liz is right in her concern, and we sense there's going to be a battle between Laura and Liz down the line.

Weird that David has trouble with math, I thought that was usually a girl thing. He seems a lot warmer toward Vicki now, even if he does seem to delay his lessons as much as possible.


Episode #133 - Someone who used to live in Collinsport has returned, and her return has affected the lives of many people--particularly one man whose life was changed by her many years ago.

Burke is on the phone in his room at the Inn, receiver in one hand, the rest of the phone in the other. He's pacing. I don't want to hear about the cannery or the stock market, he complains, something happened here that changes everything--the one person who can prove I wasn't driving that car 10 years ago has just turned up--yes, Blair, Laura Collins--I'd given her up--they told me her case was hopeless at the sanitarium--that's right--yeah, here at the hotel--no, I don't know what her plans are--I'm going to find out--this woman has the power to give me the one thing I want most in this life--and I'm going to get it. He hangs up.

Vicki's narration continues: Just as one man is driven by a desperate kind of hope, so is another driven by confusion--and fear.

Sam stands looking out the window of the cottage, smoking a pipe. He goes to the easel and lifts off the cover, staring in horror at the picture h painted of a woman engulfed in flames.

Sam rubs his hair and hastily covers the painting when Maggie comes out, cheerily offering him breakfast. He refuses. You've got to eat something, she says. I don't want anything to eat, he says. You haven't been eating breakfast the last couple of days, she notes--as far as I can remember, you haven't been eating much of anything. I don't want to hear about my drinking habits this morning, complains Sam. I'm not talking about that, says Maggie--I'm talking about eating to keep the body supplied with all the necessary vitamins. Vitamins?--what's that? asks Sam, chuckling--a new brand of bourbon? Yes, she laughs, that's just what it is--except it comes in a solid state, looks like eggs, and it's on the table right now--how about having some? I couldn't, he says, it would just stick in my throat. What's the matter, she asks, why are you going on like this? Nothing, he says. Something's bugging you, she says. Something's always bugging me, says Sam. I mean more than usual, she points out. It's my privilege, he says, rising--it's one of the privileges of the Constitution of the United States--gives me the right to be bugged wherever and whenever I so choose. OK, that's your privilege, she agrees. Also, he says, the right of privacy. That, too, she says, but whatever this is, it's getting at you like nothing I've ever seen before. You're going to be late for work, he says. I've got time, she insists, time to make sure you eat something. I won't die of starvation, he assures her. Come over to the Inn, she suggests, I'll give you lunch or whatever you want. Sure, do that, he says. Are you going to get some work done today? she asks. Sure, he says, returning to the easel. You keep saying that and I don't see you doing much, she says. I'm working on a canvas, he says angrily, why do you keep checking on me? Because you've got too much talent to waste, she says, putting on her coat--hey, what's the subject matter, she says. She starts to remove the cover from the painting, but he yells NO and violently pushes her away--don't look at it! he says. You've never covered a canvas before, she says. There's always s first time, he says, it's a new work in progress and I don't want anybody to see it. Even me? she asks. That's right, he says. You always let me see your work, and ask my opinion about it, too, she reminds him. Why do you think I covered it if I didn't want you to see it? he asks--just leave me alone about the whole thing? All right, I'm sorry, she says, I didn't mean to push you. I appreciate your interest, your belief in me, your support, he says, honestly I do. You've been acting this way ever since that woman came into the restaurant, says Maggie. Oh? he asks, what's that have to do with it? Did you ever find out who she is? she asks--is she who you thought she was? Yeah, he says. Who is she? asks Maggie. Laura Collins, says Sam. Oh, says Maggie, what has she got to do with you? Fog, notes Sam, very heavy--not good for the fishermen. What is she...? begins Maggie, but stops. She looks at the covered canvas.

Burke knocks at Laura's door and calls to her--it's me, Burke, he says, but there is no answer, and he retreats.

Maggie serves a customer in the restaurant. Burke enters and bids her good morning. She offers coffee. Good idea, he says. You won't say that after you drink it, she predicts with a chuckle, pouring. I'm looking for someone, a woman, says Burke, she's staying here, so she must have come in here. Is she blonde and very attractive? asks Maggie. Yes, says Burke, have you seen her? There is a woman who used to live here, says Maggie--yeah--you're talking about Laura Collins? Have you seen her? asks Burke impatiently. Not yet, she says, she mentioned she knew you. What did she say about me? he asks. I said you had a big chip on your shoulder, she says, and she said you weren't always that way. That's interesting, what else did she say? asks Burke. Maggie takes a cup of coffee for herself and sits in the stool next to him. That was about all on the subject of you, she says. Did she say why she'd come back? asks Burke. Not exactly, says Maggie, visiting was the impression I got. How did she seem--her behavior? asks Burke. She was very nice to me, says Maggie. Nothing unusual about her? asks Burke.She seemed nervous, explains Maggie, not too sure of herself--I suppose you might even say she was strange--I don't even know what I'm trying to say--she comes in, sits quietly, alone, doesn't want to talk much, or eat much--doesn't eat anything--just sits there with a cup of coffee--which she seldom drinks--I don't think she's finished a cup yet. Burke helps himself to more coffee. He gives her some, too. I was just a kid, says Maggie, but I remember you used to go with her. She was quite a girl, says Burke softly, I don't think I've ever met anyone as fun or exciting to be with. When a man says that about woman, she must have meant an awful lot, says Maggie. Yeah, he says, if she'd married me, our lives would have been different in this town. He sits back beside her. You never got her out of your system-- she's married, or have you forgotten? Asks Maggie. That isn't and never was a marriage, says Burke--never could be, either. What does her coming back mean to you? asks Maggie. I waited 10 years to talk to her, says Burke, 10 years to hear her say a few important words. Sam enters the restaurant. Finally got hungry, says Maggie. Yes, says Sam, I guess, a little. Burke invites him to sit down; I'm just leaving, he tells Sam. No, I didn't mean... says Sam. Relax, says Burke, things are looking up--this town's just about ready to come alive--you'll never guess who's back? Who? asks Sam. The one person who can change everything--Laura Collins, announces Burke. Oh, says Sam, that so? How does that grab ya? asks Burke nastily. It doesn't says Sam, taking a sip of coffee. I bet--start sweating, says Burke, and leaves. Maggie stares after him. Sam looks as if he wishes he could just disappear.

Maggie stuffs her hands into her the pockets of her uniform and asks what Burke meant when he told Sam he could start sweating. Sam, sitting at the counter, says that's the way he likes to talk--he likes to hear the sound of his own voice when he acts tough. Come on, Pop, she says, this is Maggie you're talking to--now what did he mean? He didn't mean anything, says Sam. I don't believe that, she says. Then don't believe it, says Sam. Why did you act like you didn't know Laura Collins was back in town? asks Maggie. I didn't say I didn't know she was back in town, he says. You made it seem that way, insists Maggie. you're imagining it, says Sam. What does Laura Collins mean to you? asks Maggie. Nothing, says Sam. You've got to be honest, please! she begs. I thought I came here to get something to eat, says Sam angrily, rising to his feet--I didn't expect an interrogation! He starts to leave, and she apologizes and tells him to sit down. No, he says, putting on his hat, I've lost the little appetite I had anyhow. On his way out, however, he runs into Laura. They stare at each other a moment.Hello, Sam, she says. Hello, he says back. Do you remember me?--Laura Collins, she says. Of COURSE I remember you, he says with a half-hearted smile. It's been a long time, she says. Yes, a lot of years, he agrees. You look the same, she says. Alcohol is a preservative, he jokes--you're just as beautiful as ever. Hardly, she says, how are you painting these days? Still resisting abstractionism, he says, I seem to be painting the same fishing boats 50 times, the same seascapes--I still paint my portraits for the people who commission them, he says. Good for you, she says, grinning. Back in town for good this time? he asks. I don't know, she says, taking off her gloves. Have you seen your family yet? he asks. All except David, she tells him. He's a good looking boy, says Sam. So they've told me, she replies. I didn't think we'd ever see you again, says Sam. Well, you almost didn't, she says. I know you weren't too happy when you were here, says Sam--whatever made you come back? Let's just say some unfinished business, she says. I see, says Sam--I hope you accomplish everything you came back to do. I hope so, too, she says. Maybe I'll see you in here, he suggests. Maybe, she says. Well, says Sam, I've got a wet canvas waiting for me--it's nice to have you back--goodbye. He bids Maggie goodbye and leaves. Laura sits at a table. Maggie brings her coffee. So you're Sam's daughter, says Laura. In person, says Maggie. At the risk of sounding ancient, says Laura, I think I remember you when you were this high--I wish I'd known sooner. As a matter of fact, says Maggie, laughing, we were all wondering who you were. All? asks Laura. I'm a little ashamed, says Maggie--confession time--I've been trying to find out who you were for the last couple of days. Were you? asks Laura. Do you remember the other day when you came in, says Maggie, bringing over her own coffee cup and sitting with Laura--you sat with your back to the rest of the room--and my father came in and saw you from behind--he said you looked familiar but couldn't quite figure out who you were. He should have introduced himself, says Laura. Maggie makes a face. This may be hard to believe, but he must have been a little shy, says Maggie--he asked me to find out--now you must have been aware of all my questions. I was, says Laura, but I understand. Your arrival in this town has caused a lot of interest--Burke Devlin was in here a little while ago and he was looking for you. Oh, she says, not happy. He must have turned the town inside-out trying to find you, says Maggie--he's a very through man, I can't imagine how you eluded him. I've been off by myself a great deal, says Laura. I'd say he wanted to see you very badly, says Maggie--in fact, he said he's been waiting 10 years to see you. Burke has always been a very determined person, says Laura. He asked a lot of questions about you, says Maggie. I'm sure he did, says Laura. I'd say you were very much on his mind, says Maggie, rising from the table. Could I ask you for a favor--if you see Burke again and he asks about me, would you say you haven'[t seen me? OK, agrees Maggie uncertainly. I know I have to face him ultimately, says Laura, but I'd rather not do so just now. Maggie, unsure about this, walks away. Burke enters the restaurant and looks at Laura, who doesn't see him. He walks around in front of her. She turns and looks up at him. They stare at each other raptly.

Hello, Laura, says Burke. Hello, Burke, she says. This is something I never expected, he says. Nor I, she agrees. Can we talk? he asks. I was just leaving, she says. It will just take a minute, he assures her. All right, she says, and he joins her at the table. I've been waiting 10 years for this moment--10 years of planning this conversation--considering what I would say--wondering whether to be angry or calm--wondering what you would say--now that the moment's here, I find myself at a loss for words. Let me try, then, she says--how are you? In a word, bitter, he says. I knew you would be, she says. Did I have an alternative? He asks. None whatsoever, she says. Thank you, he says, at least I wasn't wrong about that--is it possible you're more beautiful than I imagined. She smiles uncomfortably. He asks how she is, she says perhaps a great deal better off than ever before. You've changed, he notes. In what way? she asks. I don't know, he says, but you're different, I can sense it. I've been through a lot, she says. I tried to see you at the sanitarium, he says, they said your condition was hopeless. They thought so, she says, it's been quite a struggle to get where I am--to do what I'm doing. What are you doing? he asks--why did you come back to town. To do what has to be done, she says. You know, says Burke, putting a cigarette in his mouth, you've given me the most hope I've had in years. He lights up. She gazes into the flame. Have you seen Roger yet? asks Burke. He blows out the match, interrupting her concentration. Yes, she says. I bet he was thrilled to see you, says Burke. That's not important, she says--I've come back because I know now what it is I want more than anything else--David. I'm glad to hear you say that, says Burke--that boy needs you. I need him--more than you can imagine, says Laura--have you seen him? Many times, says Burke--we've become very good friends--he confides in me. Does he? she asks, I'm very happy to hear that. He's a very unusual kid, says Burke, very bright, sensitive--he doesn't take to too many people, but for some reason, he's taken to me. You were always very easy to take to, she says. Was I? he asks--it's hard to remember what I was like in those days. I can remember, she says. I'll tell you something about David, says Burke--he's the kind of son I'd have like to have had--he's the kind of son we could have had. Yes, Burke, she says, exactly the kind. (??) He's very much like you, the way you used to be, says Burke. I'm not that way anymore, says Laura. How do you stand with Roger? asks Burke. I've asked him for a divorce and custody of David, she says. And if you get those things, what then? asks Burke. I'll make a new life for David and myself, says Laura. Let me talk about the practical realities for a moment--I came back to Collinsport to prove my innocence, he says--you're the key to that, Laura--how do you feel about that? I must solve my own problems first, she says, then and only then will I be able to deal with the other practical realities.But they will be dealt with, won't they? asks Burke. They will, she assures him, rising--it's been very nice seeing you--I trust we'll meet again. We will, I assure you, he says. They say goodbye and she leaves. Burke sits back down, smokes, and ponders this.

Sam paints, seemingly in a trance. No, he says, grabbing his wrist and stopping himself from working.He hurls his brush at the painting of the woman surrounded by flames, yellow NO! over and over.

NOTES: Once again, Laura expresses too much interest in fire. And we see Sam painting something he does not want to paint, but feels compelled to do so nevertheless. He actually grabbed hold of his own arm to stop himself!

Burke hopes Laura will be able to prove his innocence, but one senses that Laura doesn't want to mess things up with Roger until she has David safely in her custody. If Roger thinks she's trying to destroy him by implicating him in the manslaughter case, he won't even consider turning David over to her. While I sense Burke still feels attraction to Laura, I don't get the impression the feeling is mutual--she had tunnel vision, and all she wants is David.

Once again, we see Maggie and Sam at loggerheads over his inability to share his problems with her. If it's not one thing, it's something else, and this grows tiring to watch over and over again. She's your daughter and she loves you, Sam--tell her!

Laura is definitely creepy somehow.

Love, Robin

Episode #127 - (Kinescope) - I have just lived through days of terror--I have been the captive of an insane, desperate man who wanted to kill me. I had given up hope of ever being rescued--until a moment ago.

They repeat the ending of yesterday's second episode, perhaps the first time they've done so since the series began.Of course, Vicki's rescue by Burke and Roger was exciting, and their finding Matthew's dead body on the floor at the Old House an excellent denouement to this story of Malloy's murder, Vicki's attempted murder and of course,THE pen.

Collinwood - Liz rushes downstairs and dials the phone, her face frantic. She calls Patterson, telling him to get up to the house immediately--it's an emergency--David just told me the most amazing story--Matthew's on the property and he has Vicki at the Old House. Mrs. Johnson exits the kitchen and overhears. Apparently, Liz tells Patterson, there's a room there no one knew anything about and that's where he's been hiding--my brother and Burke Devlin went there, but haven't come back yet, and I'm terrified!--can you get up here right away and bring some men with you?--thank you, George. She hangs up. Did I hear right? asks Sarah--I'm sorry, I heard voices, and I was worried, so I came down, I couldn't help but hear you--is that true, that Matthew's somewhere here and he's got a hold of Vicki? That's what David said, Liz tells her. How would David know? asks Sarah. It's a long story, says Liz. If it's true Matthew's got her, we won't see her again outside of a graveyard, predicts Sarah. Liz shakes her head and asks her to please not talk that way--I'm frightened enough as it is. So am I, says Sarah, all night evening long, I've had this strange feeling, a chill in my bones--there's only one other time I had this feeling--the night Mr. Malloy was killed. Liz does not appreciate this revelation.The front door opens. Burke, supporting Vicki, enters the house, followed closely behind by Roger. Oh, Vicki, darling! clamors Liz, you're safe--I've been frantic! She's exhausted and soaking wet, says Burke, removing Vicki's coat. Liz takes the coat from him and tells Burke to take Vicki in by the fire. Thanking Liz, Burke leads Vicki into the drawing room. Mrs. Johnson volunteers to make a pot of hot coffee. Do that, says Liz, who then asks Roger what happened. Matthew very nearly killed Vicki, reports Roger. Liz is horrified. Where's Matthew? she asks. He's dead, says Roger. Did you have to shoot him? asks Liz. No, says Roger, we found him--it was horrible. How did he die? asks Liz. I don't know, says Roger, we just found him there--I need a drink. He goes into the drawing room and offers Vicki and Devlin a brandy. They both say yes. Vicki and Burke sit on the sofa. Vicki, darling, says Liz, you're still white as a sheet! I do feel a little faint, says Vicki, but refuses Liz' offer of a doctor. Roger brings over the drinks and tells them the sheriff should be called and told to get up here right away. I called the sheriff, Liz says, he's on his way up here. How did you know to call him? asks Roger. David woke me up and told me the whole story, says Liz. Did he tell you the whole story--how he's been helping Matthew? Roger asks. Yes, she says, he told me. Where is he now? asks Roger. I sent him up to bed, replies Liz. What are we going to do with this boy? asks Roger. I don't know, Liz says, but this isn't the time or place to discuss it--I'm more concerned about Vicki. Vicki shivers, and Burke touches her shoulder comfortingly. I'm concerned about Vicki, too, says Roger, thanks to my charming son--she could have had her head chopped off. Please, Roger! begs Vicki, covering her face with her hand, I don't want to think or talk about it. Take it easy, will you, Collins? asks Burke. Roger apologizes to Vicki--I didn't mean to upset you, I'm just amazed you escaped from being hurt. I think the ghosts saved me, confesses Vicki--the ghost of Josette Collins--I saw her. What? asks Roger. She appeared to me, says Vicki, and told me not to be afraid, and then Matthew came in with the ax--he was going to kill me--and then something stopped him--he went out to the other room--and then I heard screams!--and they weren't like any screams I ever heard before. Calm down, don't think about it, says Burke, noticing how upset Vicki is getting. She continues, I can't get them out of my head--I keep hearing them, I can't stop hearing them! She should be in bed, says Burke, not down here. Liz helps Vicki up and walks her out of the room. They pause in the doorway. You do believe I saw the ghost of Josette Collins, don't you? Vicki asks Liz. I believe you, , the latter replies. I know it sounds incredible, says Vicki, but it's true. We'll talk about it later, says Liz, and leads Vicki away. You believe that incredible story? Roger asks Burke once they are alone. I don't know, Devlin says, watching Vicki walk away. The girl was half out of her mind with fear, says Roger, this nonsense of a ghost is probably a figment of her imagination. I'd buy that, says Burke, if I hadn't seen Matthew's face. What about it? asks Roger. You saw it, says Burke--didn't he look like a man who'd been frightened out of his mind?--frightened to death?--who could have frightened him--he and Vicki were alone in that house--all alone. Thunder rolls.

Liz comes down to the drawing room, where Burke is smoking a cigarette. He asks about Vicki. She's quieter now, says Liz, Mrs. Johnson is with her--where's Roger? The sheriff came, explains Burke, Roger took him to the Old House--I stayed here to find out how Vicki is. She's going to be all right, Liz assures him--Vicki has a lot of courage. Yes, agrees Burke--would you mind if I went upstairs and said goodnight to her? Not in the least, says Liz. Burke thanks her and heads out, but she stops him. I should be thanking you, she says, for what you did for Vicki. You don't need to thank me, he says, I didn't do it for you. Nevertheless, I'm grateful, says Liz--I think of Vicki as one of the family, and her well-being is very important to me. At least we agree about something, says Burke. You're very fond of Vicki, aren't you? asks Liz. Yes, why? he asks. How fond? she asks. That's a personal question, he says, and none of your business. Vicki is my business, and so is Carolyn, says Liz--you can only cause the girls trouble, please leave them alone. I don't take orders, says Burke, especially from you. That wasn't an order, she says, the girls are important to me--both of them--don't hurt them, Burke. What makes you think I'd listen to anything you have to say? he asks. Because in spite of everything, she say, I think you are capable of feeling, and I think you're very attracted to Vicki. What makes you say that? he asks. I saw the way you were looking at her tonight, says Liz. That's ridiculous, insists Burke. Is it? asks Liz. I like Vicki, sure, I'm fond of her, glad she's safe, says Burke--but that's as far as it goes--as far as it could ever go--falling for an orphaned governess doesn't fit into my scheme of things. I hope for Vicki's sake you're telling the truth, says Liz. Burke goes upstairs.

Mrs. Johnson looks out the window in Vicki's room and tells her that Burke Devlin must be very fond of her--he dropped everything when he heard you were missing and came right here to the house and spent the entire night searching for you. She turns down Vicki's bed. I could hear him searching for me that night, through the wall in the Old House--I was only inches away, but I couldn't cry out, says Vicki. Well, says Sarah, he didn't stop searching, he did everything he could, and then he hired special investigators, they came up here, tramped all around the grounds, must have cost him a fortune. I didn't know that, says Vicki. Of course I don't say I like the man, says Sarah, but I'd say you were lucky he was on your side. I know, I'm very grateful to him, says Vicki. Burke knocks, asking if he could come in for a moment. Vicki rises from the chair in which she's been sitting and looks at herself in the mirror before Burke enter. I just came up to say good night, says Burke. Will you be needing anything more? Asks Sarah. No, thank you, says Vicki. All right, says Sarah, I'll be in my room if you want anything--and Mr. Devlin, there's pot of coffee on the stove in the kitchen. No thanks, he says, I'm on my way out. Good night, then, says Sarah, and leaves. How are you feeling? Burke asks Vicki. Fine, she says, I'm exhausted--but as long as I don't think about tonight, I'll be fine. Don't think about it, advises Burke, put it out of your mind--just remember you're safe. Thanks to you and Roger, says Vicki--how can I ever repay you? Just knowing you're alive is payment enough, he says--it means more to me than anything I can think of. Does it? she asks gently. He looks at her a long moment, then turns away. I'm sorry I said that, he says, try to forget it. Why? she asks. Because I say so! he tells her, annoyed with himself. She moves closer to him. Sometimes, I don't understand you at all, she says. Don't try to understand, he says, if you did, it would be trouble for both of us. She looks at him.

I'd better go, let you get some sleep, says Burke--I'll call you in the morning--one word of advice--get out of this house--quit your job--go as far away from Collinwood as possible. Why? asks Vicki, I'm safe now that Matthew's dead. I have a feeling you're not safe, he says--this house--things happen here that can't be explained. I'm not afraid of this house, says Vicki, I used to be, but not anymore (I guess having your life saved by the resident ghosts banishes fear.) Maybe you should be afraid, says Burke, sometimes, cowardice can be a healthy thing. I'm not afraid, she says, I like my job here and want to stay. What's so special about your job? asks Burke, you could find others. No, says Vicki, I feel at home here--this is the closest thing to a home I've ever had. I don't know what to say to you, he says. There's not much you can say, Vicki tells him, I'm very fond of Mrs. Stoddard, and Carolyn--and in spite of everything, I still think I can help David--I want to stay. You've made up your mind, he states. That's right, I have, she says. Just remember this, he says, holding her shoulders--if you ever need anything, call me, I'll be here.I'll remember, she says. Good night, Vicki, he says. Good night, Burke, she replies. He takes a lock of her hair between his fingers and caresses it a moment, then leaves, but not before exchanging another longing look with her. Vicki sits on her bed, pondering all this.

Roger returns to Collinwood, wet from the rain. He takes off his coat and hat. Liz joins him and he tells her the sheriff and his deputies took Matthew's body to the morgue--the coroner will probably issue a report tomorrow. Will there be an inquest? asks Liz. Probably not, replies Roger. Why not? asks Burke, coming downstairs. You still here? asks Roger--I thought you'd gone home. No, I was just on my way out, says Burke--why won't there be an inquest? The doctor examined Matthew, says Roger, thinks he probably died of natural causes. What does that mean?--a heart attack? asks Burke. That's right, says Roger. Caused by what? asks Liz. That, my dear sister, was can only surmise, says Roger--a shock to the nervous system can cause a heart attack--Matthew may have seen or heard something that shocked him so much, his heart gave out. What could he have seen? asks Liz.We may never know, says Roger--personally, I don't want to know--he goes into the drawing room.

Collinwood is dark. It's 2 AM, and Vicki lies awake. Liz enters Vicki's room and starts to close the door, but Vicki calls to her. I hoped you'd be asleep, says Liz, coming in. I'm dead tired, says Vicki, but I can't seem to get to sleep. Liz turns on a light. I was afraid that might happen, says Liz, bringing over a glass of water, so I brought you a couple of pills--you'd better take them. (Liz is the dispenser of mother's little helper here, rather than Julia. Valium, anyone?) All right, agrees Vicki, swallowing the pills with water. They'll start working in a few minutes, says Liz, taking back the glass, then you ought to get a good night's sleep. I hope so, says Vicki, I can use it. You stay in bed tomorrow and get a good rest and get your strength back, says Liz. You're very kind, Vicki tells her. Am I? asks Liz, sitting on the bed--I wonder--ever since you've come to this house, you've had nothing but trouble, perhaps the kindest thing would be to ask you to leave. That wouldn't be kind at all, because I don't want to leave, says Vicki. Can you ever forgive David for what he did? asks Liz. It's not a question of forgiving him, says Vicki, I just wish I could understand him. There's no excuse for his behavior, says Liz. He did tell Burke where I was, says Vicki, and he did try to help find me. Yes, says Liz, but by the time Burke and Roger reached you, it might have been too late. But it wasn't, says Vicki, I suppose I should just be thankful for that and try and forget about the rest. I hope you can, says Liz. Vicki yawns. Those pills are beginning to take effect, she says, I feel a little drowsy. Good, says Liz, have a good night's sleep. Liz starts to leave, but Vicki stops her, saying there's something she wants to ask her--when I told you that I saw the ghost tonight, did you believe me? Yes, says Liz. I know it sounds incredible, says Vicki, and maybe you thought I was hysterical, but I wasn't--I know that I saw Josette Collins--she was as real as you are. Don't think about it anymore, says Liz. She didn't frighten me, says Vicki, she was very kind to me--she told me not to be afraid--you know, I think that she was watching over me the whole time I was there. Perhaps she was, says Liz. And there's something else, says Vicki--she looked like me. There's no resemblance between you and the portrait of Josette Collins, says Liz. If you look closely, there is, says Vicki--the woman I saw looked more like me than the portrait did--maybe she's one of my ancestors.That would make you a Collins, says Liz, sitting back on her bed, and I hardly think that's likely. Then why was she watching over me all the time? asks Vicki. I don't know, says Liz, I don't pretend to understand any of it. One more thing, says Vicki--have you ever seen a ghost? No, says Liz. Has anyone else in this house ever seen one--aside from David? asks Vicki. There was someone who claimed to, says Liz, but that was a long time ago--my great-aunt, when she was a little girl--she wandered away from the house one day and got lost on a deserted area of the beach--no one could find her--it was a nasty winter's day, she almost died from exposure--something like a miracle happened--a man in a fishing boat found her--it was a time of year when the boats don't go out, and that area of the beach that was never fished--according to the story, the man hardly knew himself why he was there--he just had an urge to take his boat out that day--a woman appeared to my great aunt just before she was rescued, and told her not to be afraid. A woman in a long white dress? asks Vicki excitedly. Yes, says Liz. Then it must be Josette Collins! exclaims Vicki, wonder on her face, she must have been watching over your great-aunt, too. That's what she thought, says Liz. So then I did see her, says Vicki, she does exist. Her head sinks down to the pillow. You're half asleep, notes Liz, pulling the covers up over her, don't fight it, close your eyes. She does exist, she does, says Vicki. We'll talk about it tomorrow, promises Liz, turning off the light. "She does exist," murmurs Vicki as Liz opens the door to leave. Liz looks down at Vicki for a moment, then closes the door. The wind blows the curtains at the window.

At the Old House, Josette's ghost walks behind the columns, a glowing figure. (I've got chills!)She walks and twirls, in and out of the columns, dancing a she has before, perhaps a victory dance for her part in Vicki's rescue.

NOTES: That was a satisfying denouement to this storyline. Matthew was apparently given a heart attack, courtesy of the ghosts haunting the estate, and died. Vicki believes Josette saved her, and that she resembles her, forging a link between the ghost and the governess that will continue for much of the series.

Burke loves Vicki, that's obvious, yet he urges her to go away yet again, to protect her from the fallout of his actions. Will she soften him enough to make him drop his vendetta? We'll see! In the meantime, Liz warns him about hurting either girl, and he basically tells her to butt out. Right now, it seems that while he's romancing Carolyn, his feelings are all for Vicki--but he won't admit, even to himself. A man doesn't look at a girl that way, touch her hair, (and let's not forget that kiss!) if he doesn't care--a lot.

Vicki suggested to Liz she might be a Collins, but Liz says no. Is she telling the truth? Will we ever find out?


Episode #128 - The nights of terror have ended, and I have returned to Collinwood--but death has also come here--a death so weird and mysterious, that no one can explain it.

Maggie waters plants in the restaurant. Joe comes in and asks what the coffee is like today. If you liked it two days ago, she quips, you'll like it today--it's the same coffee, she says--and pours him a cup--what do you hear from the morgue? The coroner made his final report on Matthew, says Joe--death was due to heart failure--that's it. Come on, says Maggie--there's more to it than that. What do you mean? he asks. He didn't exactly pass on in his sleep, protests Maggie. He was an old man, points out Joe. You know what the sheriff said, says Maggie. The sheriff is not the coroner, insists Joe. The sheriff said that Matthew's face was all twisted into a horrible expression, she says--why did he look that way?I don't know, says Joe, but I certainly don't believe what the sheriff said. I do, insists Maggie, Matthew Morgan died of fright!

Joe munches on a donut. You don't believe that stuff about Matthew bring frightened to death, do you? he asks Maggie. I do, she says. Come on, he says. Matthew saw something that was too much for him, she says, filling a dispenser with napkins. Adolescence is a few years ago, says Joe, you just don't keep on believing stories about haunted houses and ghosts. Vicki said she saw Josette Collins, says Maggie. Vicki was hysterical, says Joe, she saw the old portrait--old Matthew was coming at her with an ax, she didn't know what she was saying or seeing! Why do you refuse to believe it? she demands. Because I've learned the difference between what's real and what's not, says Joe--Matthew died for a real reason--his heart stopped. That's where you're wrong, she says, Matthew's heart didn't just stop--it burst--that's the autopsy report. You can believe what you want, says Joe, drinking his coffee, you're not going to convince me. She laughs. That's because the only reality for you is fish, she says. Is that so? he asks. And Carolyn Stoddard if you want to call that real, she says. You're getting to be a pretty brassy dame, you know that? he asks. He smacks her rear. She laughs some more. What did you expect? she asks, going back behind the counter--flowers and sugar plums? Half the time I don't know what to expect from you, he says. Good! she says, smiling hugely, you know, that's the trouble with you men--you expect every woman to agree with you and be predictable. Is that so? he asks. Yes, she says, looking into his eyes, that's so. Sam comes in and they greet him. Did you hear about Matthew? asks Joe. Every place I go, sighs Sam, that's the big topic of conversation, I hope I'm not going to hear it here. Oh, no, says Maggie, pouring another cup of coffee, Joe and I have gone as far as we can with it. Can I talk to you for a minute? Asks Sam--you don't mind, Joe? No, says Joe, this coffee Maggie makes demands a little concentration anyway. (That coffee fetish!) Be careful, warns Maggie, or I'll make that stuff stronger. Maggie brings a cup of coffee for her father and she and Sam sit together at a table. Do you know who she is? asks Sam. That woman who was here yesterday? asks Maggie. Who do you think I'm talking about? he asks, annoyed. Easy, Pop, she says, I couldn't find out anything about her. Why not? he asks. Because she left here right after you did, says Maggie, and hasn't been back here since. Oh, he says, I see. What's the matter, she asks. Nothing, he says, sipping his coffee. You've got the distress signal up, says Maggie. Do you think she'll come back? he asks. I don't know, says Maggie. Do you have any idea? he asks urgently. She indicated she'd be in town for a while, says Maggie--she didn't give me the dates or her itinerary--it's really none of my business. (Since when?) Do me a favor, says Sam--I want you to make it your business--I want to know who she is. What for? demands Maggie. I have to know! says Sam. Who do you think she is? asks Maggie. Don't ask me any questions, insists Sam. Why are you behaving so mysteriously? Asks Maggie. I want you to find out who she is, says Sam--it could be very, very important to me--and others. She looks at him, not knowing what to say.

I don't understand why you're behaving this way, she says. I asked you to do me a favor, says Sam--if you want to do it for me, I'd appreciate it, if you don't just forget it, I'll find out by myself. you know I will, she says--I'll try--it just bothers me to see you so secretive. Can you remember any of the things that she said to you? asks Sam--about why she came back. For the holidays, to see her family, says Maggie, something about facing things--come to think of it, she really didn't say much of anything--she asked questions, mostly. About the Collins family and Burke Devlin, you say? asks Sam. That's about it, says Maggie--she was vague, she wasn't even sure why she was here--then a sort of strange mood came over her, and she started to tell me the legend of the phoenix. Sam drinks his coffee. The what? he asks. The phoenix, that bird, says Maggie, did you ever hear of it? Of course I've heard of it, says Sam, nervously wiping his mouth. She started to tell me how when the phoenix is ready to die, it builds a funeral pyre, then it cremates itself, says Maggie, and then out of the ashes, it rises again, and is reborn, and lives for another 500 years--then it does the whole fire bit again, into infinity, I guess. Noticing how distracted Sam seems, Maggie asks, "Hey, Pop, what is it?" What? asks Sam, nothing--strange thing for her to talk about. At least it was something new, says Maggie, you don't hear any of the yokels around here talking about anything like that. I'm going down to the Blue Whale, says Sam, standing and putting on his hat. I wish you wouldn't, she says hesitantly. If you find out something, meet me down there, says Sam. I'll see you late, when I finish here, she says. OK, thanks, says Sam, kissing Maggie's head, hitting Joe's shoulder and saying goodbye. What's with your father? Joe asks. Something's got him upset, replies Maggie, he's on his way to the Blue Whale to solve all his problems. I'm going down there, says Joe, I'll keep an eye on him for you. Would you? she asks--it would be great if you could--I'm worried about him. You worry too much about everything, he says. That's the nature of this particular beast, she says with a rueful smile. Some beast, he says--I left you a huge tip--don't spend it all at once. Smiling, she behind the counter. Oh, Joe, she says, noting the tip, and proceeds to fill the sugar containers. The blonde woman enters and sits at the counter. Hello! Says Maggie--menu? No, just coffee, please, the woman says. Maggie pours her a cup and asks how she is today. Fine, thank you, the blonde replies. You must have heard about Matthew Morgan, says Maggie. No, I haven't, the woman says. They got him last night, says Maggie--he was dead. Oh? asks the woman. Yeah, they found him that way, says Maggie, continuing to fill the sugar canisters--of a heart attack--so they say. So they say? asks the woman. Some people say he died of fright, says Maggie. What was he frightened of? asks the woman. As far-fetched as it may sound, he saw the ghost of Josette Collins, Maggie tells her.The woman looks scared. I say that only because Vicki Winters, the girl that Matthew kidnapped, also saw the ghost--and she heard Matthew screaming at someone and swinging his ax--when all the time there wasn't a single human being in the place--it's one of those deaths that may never be explained. The blonde presses her fingers to her eyes as if she has a migraine. I'm sorry, says Maggie, did I say something to upset you? No, that's all right, the blonde says. I don't usually believe these old wives' tales, says Maggie, I'll bet it was good seeing your family again. I haven't seen them yet, the woman says. Trying to get your nerve up? suggests Maggie. In a way, the woman admits. I'm sure they're looking forward to seeing you, says Maggie brightly. I don't know, the blonde says. They're expecting you, aren't they? asks Maggie. No, the woman says. Then it will be a surprise! Says Maggie. More than that, the woman says, it'll be a shock!

Maggie dries a glass. You say your family will be shocked, says Maggie--you sound like they never expected to see you again. Something like that, says the blonde. Is that good or bad? Asks Maggie. Only the outcome will answer that question, the woman says. I sure hope it works out for you, says Maggie. Thank you, says the blonde, taking out a cigarette and lighting up. She blows out smoke and stares raptly at the flame before blowing out the match. You look very familiar, says Maggie--I wonder if I've seen you somewhere before. I doubt it, the woman says, you couldn't have been more than in your early teens when I left here. I'm may have bee a teenager, says Maggie, but I'm sure I've seen you before. The woman nervously licks her lips. Possibly, she says. You look like you could be one of the Spencers, says Maggie. I'm not, the woman replies. One of the Langs? suggests Maggie. (related to doctor?)No, the woman replies, and rises to leave. You haven't even touched your coffee! Says Maggie (sacrilege!) That's all right, the woman says. My name is Maggie! Maggie says desperately, if I can do anything. Thank you. . .Maggie, says the woman, revealing nothing. She leaves. Maggie is frustrated.

At the Blue Whale, Joe and Sam hang out at the bar. Sam spills his drink and apologizes to the bartender, assuring him he'll hold his glass tighter next time--terrible waste of the country's natural resource, says Sam, who is very drunk. He slides an arm around Joe's shoulders--that's a fact--and I don't mean a little waste, and not just the spillers and the droppers of glasses, I mean the kind of people who would order drinks and then don't finish them--I mean, that's disgusting! He's slurring his words. It certainly is, says Joe, taking another slug. You're a good kid, says Sam, staggering from the bar, but you don't drink enough--where's Maggie. She ought to be here any minute, says Joe, checking his watch--she just left work--that's the eighth time you've asked me. Sam lights a cigarette. Yeah? Asks Sam, and how many times did you answer me? Eight times, replies Joe patiently. And how many times did you give me the same answer? asks Sam. Eight, says Joe. You're consistent if not accurate, says Sam with a chuckle, puffing on his cigarette. What's bothering you? asks Joe. I've got a lot on my mind, says Sam--things are catching up with me--the past stares you in the face, and all of a sudden, you can't see the future! Sam has turned serious now, and at this point, Maggie enters the bar and greets Joe and Pop--you look like you've been busy, she tells her father. Never mind, says Sam, pushing her down into a chair, sit down. Joe holds the chair out for her, a gentleman. I want to talk to you, says Sam, alone. If there's anything I can take, it's a hint, says Joe, moving away. You're a good kid, Joe, praises Sam. I know, says Joe, I just don't drink enough. That wasn't nice! Maggie tells her father. All right, says Sam, waving it away--who is she? I don't know, says Maggie. MAGGIE! he says. I tried, she says. I was depending on you! he protests. She wouldn't say anything, says Maggie. He grabs her arms. I've got to know! he cries. Pop, she chides--I did everything but ask for her name outright--it was very embarrassing, I felt like a spy--and she knew exactly what I was trying to find out--she seems like a very nice person, I felt ridiculous. If she's who I think she is, you'll just find out how nice she is, predicts Sam darkly--did she say anything to you at all? Just that her family wasn't expecting her and that they'd be surprised--no, she said shocked--to see her. That sounds like her, says Sam. Who, Pop? demands Maggie. I've gotta be sure, he says, banging his fist on the table. He gets up from the table and stumbles to the door. Where are you going? she asks. I've got to find out for myself, he says. Maggie is upset. Joe comes over and asks her if he should go after him. No, it wouldn't do any good, she says--there's something upsetting him and he's not going to rest until he can clear it up. She stands--if he can clear it up, she adds. Where are you going now? asks Joe. Home, she says, I can't do anything here. He slips on his jacket and offers her a lift. She thanks him, and they leave the bar together.

Sam walks around the inn, into the front door. He enters the lobby and calls to Mr. Wells--are you here? He opens the guest register and looks at the pages, anxious as hell. He wipes his face with his hand, then reaches into his pocket for change.He goes into the phone booth and is just about to dial when the blonde herself walks in. He huddles in the booth as if trying to hide, the phone held to his ear. She goes upstairs. Sam dials Collinwood. Roger answers, and, learning it's Sam, asks what he wants. You--at the Blue Whale, orders Sam--in two seconds flat. You're drunk, accuses Roger. Yeah, agrees Sam, and I'm gonna be drunker. What's the matter with you? asks Roger. The worst possible thing that could have happened HAS happened, Sam tells him, and hangs up. Roger looks at the dead phone and hangs up, too, then grabs his coat and hat from the bench in the foyer and leaves the house.

Sam knocks down another drink at the Blue Whale in one gulp. Roger comes in and sees Sam lighting a cigarette. I'm going to tell you once and for all, says Roger--I don't like to receive phone calls like that. Well, says Sam, I don't like to make phone calls like that--I'd like to avoid you as much as you want to avoid me, but unfortunately, old, dependable destiny has sketched a picture that includes the both of us. He pats Roger on the shoulder. You're drunk, as usual, says Roger distastefully. As usual, sure, agrees Sam, not as drunk as I should be--under the circumstances. What circumstances are you raving about? asks Roger. Sam rubs his face. first you have to help me get a little drunker, he says, and sits at a table. Roger waves over the bartender. Sam coughs. Help is on the way, says Roger, joining him at the table--this better be important--our relationship has just about come to an end--and this could very well finish it off. Roger, my friend, patron, says Sam--our relationship is going to be a lot closer than it ever was before--we're going to be like brothers! I doubt that, says Roger. I guarantee it, counters Sam. The bartender brings another drink over to Sam. Thank you, my good man, says Sam--he realizes Roger has no drink--you aren't drinking? No, says Roger. Here's to you, says Sam, to us, and whatever may happen--he drinks, then coughs. Are you going to tell me what's on your mind, or are you going to pass out first? inquires Roger, looking at Sam as if he were a bug on the table. When I tell you, says Sam, I want to be as close to passing out as possible. Come on, Evans! says Roger angrily. OK!--here's a hypothetical question for you, says Sam--what's the worst possible thing that could happen to you? All right, says Roger--you becoming my social equal. You are a snob, aren't you? asks Sam--I'll tell you this--becoming your equal is not a very desirable thing to be--what do you think of that? Exactly one minute I'm going to walk out of here, warns Roger, unless you tell me what's on your mind. You won't walk out of here, you'll stay, predicts Sam--you might even buy me another drink. Roger stands. You're a hopeless drunk! He says, furious--don't ever bother me again! He's about to leave when Sam grabs his arm. I saw someone, Sam says--I saw someone I never expected to see again--someone YOU never expected to see again! Whom have you seen? asks Roger. You didn't properly answer my hypothetical question, says Sam. I don't intend to be played with! says Roger, roughly pushing Sam's hand off his arm. Then I'll re-phrase my question, says Sam--who is the one person who could ruin your life more than anything in the world? ALL RIGHT, EVANS! says Roger, not intending to take this anymore. The person who could change your life as well as mine! hints Sam--huh? There's only one person who...says Roger. Sam claps his hands together once. That's right, Roger, he says, eyes gleaming, thrown out the welcome mat--Laura is back in town--smile, Roger, your wife is home!And Sam laughs as Roger's face grows solemn and set in disgust.

NOTES: Here we are presented with the third part of the quadrangle amongst Burke, Sam and Roger--Laura Collins, Roger's estranged wife. Laura apparently married Roger as part of a deal to keep quiet about the fact that Roger, not Burke, was driving the car that killed the man in the road that night. She's been gone, presumably in a hospital, yet she told Maggie she's been to a lot of places, most recently Phoenix. She has a strange fascination for fire, witnessed by the way she looked at her match flame and her relating that tale of the Phoenix to Maggie. Sam is acting much the way he did when he learned Burke was back in town--would his treachery be revealed? Now that Laura has returned, Sam figures this manslaughter trial business will be replayed all over again, so he's terrified, mewling and bringing Roger down with him. Frankly, this last scene in which Sam was teasing Roger about what he knows was very annoying to me, much like the delay in David's telling Roger and Burke about Vicki's situation a couple of eps ago. I guess I understand why Sam wants to toy with Roger, who is such a snob and who hates him so much, but it was too drawn out and annoying for me.

Joe is taking Maggie home. Let's hope it's the beginning of a happy relationship for two nice people who deserve each other. Maggie did try her damnedest to get the woman to reveal her name, but to no avail. Sam treated his daughter miserably, but in many ways, while he is a loving father, I think the booze has pickled his brain.

This is clearly the beginning of a new storyline, the last before Barnabas joins us, followed by Julia and Angelique.

Have a great weekend! Watch for advance Robservations for next week beginning a bit later! Be careful of SPOILERS!

Love, Robin

Episode #123 - The days have been long since I came to Collinwood, but this day is the longest one of my life. The searchers continue to look for me, but I am well-hidden. My eyes have been filled with fear, but now I see fear and terror on the face of the man who would kill me, for he has seen something that he never dreamed he would see--something that terrified him.

Matthew exits the secret room and stands looking up at Josette's portrait. What did I see?--what? he asks, his face twisted with confusion. He moves closer and touches the painting. You're nothin' but a picture someone painted, he says--nothin' else. He backs away, still staring up at it. You didn't move, did ya? he asks--you wouldn't want nothin' from me--yet I swear I saw ya--saw ya--what does it mean?--what? The portrait begins to glow. Why are you doing this to me, why?--NO! And he dashes from the house as if pursued.

Maggie is cleaning tables in the restaurant when Joe comes in. He hasn't shaved in what appears to be days. Look what the crawlers dragged in, she teases. I guess I could use a shave, he agrees. You look like you could use more than that--you look terrible, she pronounces. Thank you--hope I can say the same to you someday, he says. Not if I can help it, she replies--I heard you were out searching for Vicki. Yeah, he says, sitting on a stool, looking exhausted--all night, all day--not a thing--I feel like I could pass out. Don't do it in here, she cautions--not a very good recommendation for the place--how about some rich, black coffee? Make it hot, too, will you? asks Joe with a rueful grin. Sure, she says, and pours him a cup. I can tell by your mood there's no word from Vicki, she says. Not a thing, says Joe, not a single thing--boy, combing the lower cliffs, the beach, the woods. I don't know what to think, she says, pouring herself a cup of coffee, where could she possibly be?--she'll turn up someplace. I hope so, says Joe. I don't know if this town is going to pot or really starting to swing with all the action going on around here, she remarks, smiling. If this is swinging, forget it, says Joe. Sure, she says, your idea of swinging is a netful of fish coming over the side. Is that what you think of me? he asks. Unless your values have changed, she says. Maybe they have, he says. That would be something, she says, but I'm sure Miss Carolyn Stoddard would have everything to do with that. You hit it exactly, he says, looking sad. You look like you're going to make a big statement, she says. I already made it, he says--to Carolyn. No wonder I didn't hear it, she says, and I'm glad I didn't. You would have liked it, he says. (Ah, he knows she likes him.) I would?--how so? asks Maggie. I'm afraid, says Joe, that Carolyn and I have crossed each other off our Christmas card lists. Maggie grins. Just for the season? she asks. Permanently, he says. Your social-climbing days are over? asks Maggie. He shakes his head--that's not why I was going out with her and you know it. I'm sorry, says Maggie gently.--hey, I won't be able to serve another dinner until I know what happened. It's pretty simple, he says, Carolyn just turned out to be something other than what I thought she was. That's a good reason, says Maggie, how did you finally come to that conclusion? She was in Burke Devlin's hotel room last night, says Joe. Hey, says Maggie, that's enough to blow the horn on anyone--how did you know? I was there, too, he says. Talk about convention! laughs Maggie--how did that little combination fall together? (Did she think they were having a threesome?) Oh, says Joe, we were searching for Vicki, and Mrs. Stoddard thought Carolyn might know where she was--I suspected that Carolyn was with Devlin, so I went to the hotel, knocked at his door. You didn't have to say you were the house detective, did you? asks Maggie. I didn't even have to break the door down, he says--I guess they just wanted to make me look silly. Did they? she asks. In spades, he says. How? she asks. I took a swing at Devlin, confesses Joe. Oh, Joe! she says, but she's pleased to hear this. He drinks his coffee. That was silly, she says, did you at least connect? I connected, all right, he says--and he did, too. How many teeth did that cost? she asks. No problem in the dental department, he says, but a couple of lumps up here--and he gestures to his cheek. She laughs--who hit the floor first? she asks. Carolyn got in the middle and kind of broke it up, says Joe, although I must say I'd liked to have given her a chop or two. I told you the town was swinging, she says, and you didn't believe me. A woman enters the restaurant, wearing a nice suit and cloche hat. She sits at a table and removes her gloves, sighing. Joe asks Maggie who it is. I don't know, replies Maggie. She looks familiar, says Joe.

David, another bag in hand, approaches the Old House. He watches as Matthew goes in, and pushes aside a tree branch to continue on his way.

Matthew stands before Josette's portrait, gazing at it. Nothin', he tells himself, then enters the secret room. David enters the Old House and calls to Matthew, who hears him but doesn't acknowledge him. David walks up a few stairs and calls Matthew. He stands in the drawing room and looks around, continuing to call Matthew's name. He touches the shelf that hides the secret room. Inside, Matthew knocks over a candlestick. David hears and presses his ear to the shelf. He walks away, licking his lips, and calls Matthew again. He opens the front door and leaves. Matthew nods his head, pleased. David gazes through one of the broken windows, and witnesses Matthew exiting via the secret shelf. Now David knows! Matthew just stands there for a long moment, then pushes the shelf closed. He goes to look out the window, but David has pressed himself against the house, out of his view--we hope.

Coffee shop -The blonde woman who entered the restaurant sits, twisting her wedding ring around her finger. Maggie offers her a menu. Yes, thank you, says the woman. Do you know her? Maggie quietly asks Joe. There's something about her, says Joe. Or does every woman look familiar? teases Maggie. (What does she think Joe is, a womanizer?) No, I've seen her somewhere, insists Joe. So tell me, says Maggie--I'm more interested in what happened when Carolyn broke up the fight. Joe rubs his face. Then I told them about Vicki being missing and Burke seemed to get pretty disturbed about it, explains Joe. I told you he had a heart someplace, she says. He was more upset than I expected him to be, says Joe--he went out with us and searched all night long--it was like when he knew Vicki was missing, he forgot Carolyn existed entirely--I thought that was pretty interesting. I don't, says Maggie--he just sounds like a guy who's interested in women in general. If that's the kind of guy she wants, then there isn't any kind of possibility of a future for us, says Joe--I'm through with her. (wise choice.) That's the worst news I've heard today, grins Maggie. Oh, I knew you'd be a comfort, he says ruefully. He reaches in his pocket for his wallet. Don't bother, she says, it came from the bottom of the pot. I knew it tasted better than usual, he says, grasping her hand a second--I'll see you. I hope so, she says--get some rest. He leaves. Maggie brings a cup of coffee over to the woman, who thanks her. I have a habit of assuming everyone wants a cup of coffee, says Maggie. Does everyone? asks the woman. No, says Maggie, that would make this a dull old job--you need a few variations to get through the day. The woman stands and goes to the counter. She requests a glass of water. Maggie pours one from a fancy pitcher and works on the menu board. Have you worked here long? asks the woman. About five years, says Maggie. Is Grace still here? asks the woman. No, I took her place, says Maggie--are you from around here? Originally, the woman says, settling on a stool. Do you want to order? asks Maggie. I haven't decided yet, says the woman. Take your time, says Maggie, the kitchen isn't going anywhere--are you back for a visit? Sort of, the woman says. Has the town changed any since you last saw it? asks Maggie. Not a bit, the woman replies. Maggie laughs. In fact, it's just the same way it was today as it was then (said with distaste). That's what I keep saying, Maggie says. And if I know this town, it never will, the woman says. You know this town, all right, says Maggie. Same feeling, the woman says--the salt smell of the ocean, the gulls making those sounds, the fog, the dampness, the fishing boats--the noises of the docks and the old building. Chamber of commerce, anyone? quips Maggie. Is that what I sound like? the woman asks. Right out of the brochure, says Maggie--except there was something in your voice that told me you weren't actually praising those things. Oh, I'm sorry, I didn't mean it that way, says the woman--actually, all those things are very meaningful to me--they've been part of my life until...the last few years. Then you missed it, says Maggie. Yes, I missed too much of everything, the woman replies. You must have just gotten into town, says Maggie. Um-hm, I got into town about an hour ago, the woman says. On the Boston bus? asks Maggie. Why do you ask? the woman asks. You said you were originally from around here, points out Maggie, so I just assumed... I'm staying here at the hotel, says the woman, putting a cigarette into her mouth and lighting it. Maggie is silent. Tell me, says the woman, I suppose the Collins family is just the same as ever. Maggie chuckles. The town doesn't breathe unless they breathe, says Maggie. And Mrs. Stoddard, is she still there? the woman asks. Yes, says Maggie, I guess she always will be. And Roger Collins? asks the woman. If you've ever known Roger Collins, says Maggie--he's himself--only more so. How do you mean? asks the woman. Well to sum Roger Collins up, says Maggie, I'd say he's the man most likely to give the best imitation of Scrooge this Christmas. (holiday ref) Roger has a son, the woman says. David? asks Maggie--cute kid, very clever--blonde hair, very bright. Yes, I remember him when he was very young, she says wistfully, what's he like now? Butter would melt in his mouth, says Maggie, as well as steel. Sounds like a typical boy, the woman remarks. Nothing typical about him, says Maggie--I'm sure a nice dungeon would help. The woman looks upset and opens the menu. I still don't know what I want, she says. That's all right, says Maggie--so you're back for the holidays?Sometimes I'm not sure why I'm here, the blonde says--or even if I should be. She leaves the counter and wanders back to a table, and sits down, looking lost.

David hides against the outside Old House wall until Matthew ceases looking out the window. David gulps. Matthew goes to the front door and listens. He opens it and looks out, spotting David a few feet away from the door. I was looking for you, says the boy, holding out the bag. What are you doin' here? asks Matthew, ushering him in. I came to bring you food, says David. Where did you go just now? Matthew asks him. I went out back, says David. You were snoopin', accuses Matthew. I wasn't, protests David, I couldn't find you in here so I went outside to look. Matthew takes the bag and sets it down. I don't know whether to believe ya, he says. I'm telling the truth, insists David. Maybe, he says. Where did you go? asks David, I was looking for you, and I even called your name, but I didn't find you. Never mind where I was, says Matthew. I was only here a few minutes ago, says David, and you weren't here--and now you're here--I can't figure out how. Matthew grabs David's arm and yells, "WELL STOP FIGURING, JUST FORGET IT--and keep your nose where it belongs!" He releases him. You hurt my arm, says David. I didn't mean it, says Matthew. (Like he didn't mean to kill Malloy.) I guess I'll get going now, says David. Wait a minute, says Matthew, where ya goin'? To the house, says David. What's the rush? asks Matthew. They might be looking for me, says David. When did you start to worry about that? asks Matthew. I don't want them to send somebody out here to look for me, says David. You got somethin' on your mind, says Matthew. Nothing special, says David. I know when you got somethin' turning around in your head, says Matthew, standing. Not much, I was just wondering when you'd be leaving, that's all, says David. I told ya, says Matthew, I'm goin' when I get ready to go. That's all I was figuring, says David. You never had much luck with the truth, did ya? asks Matthew. I mean it! insists David, I was just wondering where you might be going. I ain't tellin' that to anybody! says Matthew--you sound fishy to me and I don't like it--there's somethin' goin' around in there and I can't figure it out. I bring you food, don't I? asks David--I mean, I could go to jail for that, couldn't I? You could and you will if you double-cross me, warns Matthew. (But he told him he wouldn't go to jail!) I won't, I swear it! says David. I'm gettin' edgy in here! says Matthew, I can't stand being cooped up in this place--I hate this place, wish I could tear it apart with my bare hands! Is it all right for me to leave now? asks David. Yeah, yeah, you'd better leave, agrees Matthew. OK, says David, heading for the door. But Davy, says Matthew, I don't want ya to be mad at me. I'm not, says David, I know you're nervous and everything. Good lad, says Matthew, patting David's upper arms. So I'll see you later? asks David. Don't come back again today, says Matthew, you brought enough food. OK, so I'll see you tomorrow morning? asks David. Yeah, Davy, we'll have breakfast together--so long, says Matthew. So long, says David, and leaves. Matthew closes the door and goes to the window to look out. Then he opens the bag and takes out a roll, muttering to himself that he's got to get some water. He leaves the house. David wanders through the woods. He hears someone coming and hides.

Matthew walks between the columns. We get a long shot of him heading away from the house. He passes by David without spotting him. The boy then runs back to the house and enters. He opens the secret panel and stands,staring, as his eyes behold what he finds there.

NOTES: David has found Vicki, although we didn't actually see her in this episode today. She's sitting in that chair, bound and gagged, and we'll probably see her at the beginning of the next episode. Will Matthew come back in time to find David there? Will he end up killing both of them? Matthew is definitely losing his mind, thanks to Josette's well-meant intervention, and it wouldn't surprise me if he went completely insane and murdered them both.

I already know the mysterious blonde who entered the restaurant is Laura Collins, David's mother and Roger's wife--and Burke's former girlfriend. What is she doing in town, and what new havoc will she wreak? Maggie sure is nosy, but I suspect if I had her job, I'd be asking people a million questions, too, since I tend to do it anyway. The blonde stranger asked about Liz, Roger and David. What is her connection? She seems sad, distant. She tells Maggie the story of the phoenix with almost religious fervor.

The field is now clear for Maggie to pursue Joe without obstacles, and I think they both know it. Their fun back and forth teasing reminds me of the relationship I had with my husband when we first started dating, and it's a joy to watch. Stay tuned for one of the most healthy relationships you will ever see on DS--for a while, anyway.


Episode #124 - It is dusk at Collinwood, and I am still held captive. I have lost hope, until someone whose curiosity is stronger than his sense of danger found me.

Miss Winters! babbles David, seeing Vicki trussed and gagged in a chair--what?--why are you here, I don't understand! Vicki makes noises behind the gag, and he pushes it off her mouth. I'd given up all hope! she says. I knew someone was behind this wall! exclaims David, I knew it! It's been terrible! she says. Are you all right? he asks. Yes, she says, but we have to hurry! What for? he asks. If Matthew finds you here, he'll kill both of us! says Vicki. David's eyes open wide with disbelief.

Matthew wouldn't kill us! insists David. He will, says Vicki. He wouldn't, I know he wouldn't, says David--he wouldn't try to hurt you! Please untie me, says Vicki. How did you get in here? he asks. I was looking for my wallet, she says, and he grabbed me. But that doesn't mean he wanted to hurt you! says David--he just doesn't want anyone to know where he's hiding. You've been helping him, says Vicki disapprovingly. I know, because he's my friend, says David. No he isn't, says Vicki. He is, he's my best friend, he's the only one that likes me! says David. He's dangerous, counters Vicki. No he isn't, he just acted that way because he doesn't know how to act any different, says David. He told me he was going to kill me! says Vicki. He probably just said that to make you be quiet, says David. That's not true, says Vicki--why are you standing there?--please untie me, before he comes back. But he'll be mad at me, protests David, reluctantly moving around behind her to untie her hands. No he won't, says Vicki, in fact, he's not even sure he can trust you anymore--he thinks you're becoming frightened. I'm not frightened! says David. He's afraid you'll tell somebody, says Vicki. He knows I won't, says David, trying to untie her--"The knots are so tight!" Please hurry! says Vicki desperately. I'm trying! says David. They hear what sounds like the front door slam. Is that Matthew? asks Vicki fearfully. I don't know, says David. He leaves the secret room and realizes that a shutter is banging in the wind. He reports this to Vicki. Thunder rolls. I think we're in for a storm, says David. Vicki begs him to hurry--he could come back any minute. He made it so tight! complains David, struggling with the knots. When we get back to the house, I'll call the sheriff, say Vicki. You're going to call the sheriff? asks David, upset. I have to, she says. No, he insists, if I get you out of here, you'll be safe, you won't have to tell on Matthew. He's committed a crime, says Vicki, he may commit more! But if you tell the sheriff about Matthew, says David, standing in front of her, he'll know all about how he was hiding, and that I was helping him, and that I brought him food--and I'll get in trouble! No you won't, says Vicki, because I'll tell him how you helped me.But the sheriff told me what could happen to somebody if they helped Matthew, says David--I could be sent to jail! He starts to leave. David, where are you going? asks Vicki desperately. I don't know, I don't know what to do! blathers David. Please don't leave me! pleads Vicki--you have to help me!--you have to help me! Don't talk to me! cries David, stamping his foot--I don't want to go to jail! And he leaves the secret room and closes the shelf. Please don't leave me! Vicki begs--he'll kill me!--please untie me! David wanders all over the foyer for a few moments, totally freaked out, and leaves the house. Vicki dips her head down, defeated. (How incredible that she's been found, but not rescued!)

Inn Coffee Shop - Maggie replenishes the blonde woman's water glass and asks if everything is all right. Yes, the woman replies, fine. I mean you aren't eating anything, says Maggie. I don't seem to have the appetite I thought I had, the woman says. I hate to charge you for that, says Maggie, but I'm afraid I'll have to. She tallies up the check. That's all right, the woman says, I really don't know why I came in here anyway. Maybe you just wanted to see a familiar face or place, suggests Maggie. Perhaps that was it, the woman agrees--tell me, you mentioned something about Roger Collins and an accident. That was 10 years ago, says Maggie. I don't mean to make a gossip out of you, I just wondered about it, says the woman. You won't make a gossip out of me, says Maggie, sitting down at the table, just a conversationalist--it's common knowledge around here that an innocent man went to jail because of that accident--and now the man who went to jail is back here to prove that he's innocent. Who was the man? the woman asks. A local boy, replies Maggie--Burke Devlin. Oh, I see, the woman says, I knew him a long time ago. After he got out of prison, says Maggie, he made a lot of money. Did he? the woman asks. Whether he made it crooked or straight, I don't know, says Maggie, but he's got it, all right, he's loaded--he's staying here at the hotel. Is he? the blonde asks. Mmm-hmm, says Maggie, he's taken over what we laughingly call the presidential suite. Very interesting, the woman says. How well did you know him? asks Maggie. Well enough, answers the blonde. (Biblically?) Maggie laughs. That's the way we all know him, she says--well enough to steer clean--he's got a chip on his shoulder so big, it's a wonder he can walk straight. He wasn't always that way, says the blonde. Well, I guess it will be like old home week for you, says Maggie, seeing everyone again. Yes, the woman says, old home week. You came up on the bus from Boston, says Maggie--is that where you were? No, the woman replies, taking out another cigarette. New York? asks Maggie--I've never been there, but I hear it's exciting. No, says the woman, lighting up, not New York. Further away than that? asks Maggie. Almost as far away as I could get, the woman says--Arizona. Arizona! exclaims Maggie--that's great--I keep telling myself someday I'm going to leave this town--very soon--I'd love to see Arizona--what city? Phoenix, the woman says. Phoenix! says Maggie--I like that name. The woman smiles--it's named after a mythical bird, she says, her voice sounding far away--who, when it feels its life drawing to a close, would build a funeral pyre and light it by fanning its wings and then burn itself to death--but from those ashes, the phoenix would be reborn and live on another 500 years--ancient Egyptian legend. It would be great if we could do that, comments Maggie--but maybe that's not such a great idea--you could come out worse than before. Anything would be better than... the woman says. It's not a bad idea if life has been rough on you, agrees Maggie. The important thing is to get rid of the old way of life, the woman says, find a new beginning, a new direction. And you've come back to Collinsport to be reborn? asks Maggie. Perhaps, the woman says, either that or to die again. Well, says Maggie, it's a good place to do both--except the prospect of dying here doesn't appeal to me very much--you sound as though things were rough when you were here before. It wasn't very easy, the woman says. And despite that, you came back? asks Maggie. Yes, the woman says, well, there are things that have to be done. She puffs nervously on he cigarette. I admire you for that, says Maggie, good luck with it. Thank you, the woman says. So you've traveled some, says Maggie--where were you before Phoenix? A few other cities, says the woman, but I never stayed very long--just a few days or weeks. How long were you gone from here? asks Maggie. About 10 years, the woman tells her. And you spent most of that time in Phoenix? asks Maggie.No, just the end, the woman says. (The end as in death?) Where did you spend most of your time? asks Maggie. Lightning flashes outside. It sounds as if it's coming from the northeast, the woman says. Maggie laughs. We get some of our best storms from that direction, she says--you were telling me where you spent... The woman interrupts--I'd love some more coffee. Maggie, a little perplexed at the woman's change in demeanor, stands, taking the water pitcher with her, and goes behind the counter for the coffee.

David, walking through the woods from the Old House to Collinwood, runs into Matthew. They stare at each other for a long moment.

Where you goin, Davy? asks Matthew. Home, says David. Where ya comin' from? asks Matthew. No where, replies David. You left ahead of me, says Matthew, how come you're walkin' from that way? I cut around, says David. Matthew grabs his wrist in a painful grip. Around where? he demands. I took the wrong path, says David. It isn't like you to take the wrong path, says Matthew. I wasn't watching where I was going, says David. Listen, Davy, says Matthew, kneeling, still holding his wrist--you know every inch of this property as well as I do, and every shortcut on it. Yes, says David, but as I was going through, I saw one of the sheriff's deputies searching for you. Did ya? asks Matthew. Yes, says David, and I hid for a while until he went away--because I didn't want him to be suspicious about my being here. That's good thinkin', praises Matthew--you took a shortcut and ya hid from a deputy. That's right, says David. I'll tell ya somethin', Davy, says Matthew, I don't believe ya took a shortcut and got lost and I don't believe ya hid from a deputy! I did! says David. You're lying to me, says Matthew. I'm not, says David, I swear it! You know something, doncha? Asks Matthew--ya know something special? He shakes David's wrist like a wishbone. I don't, insists David. You found out something, didn't ya? I have to get home, says David, they'll be looking for me. What did you find out? demands Matthew. You're my friend, says David--you know if I found something out, I'd tell you. I don't believe ya, says Matthew, There's somethin' about the look in your eyes that I don't believe--you'd better come back to the big house with me! No, protests David, I'd better get home! He tries to wrench himself from Matthew's grip, to no avail, as David struggles and tells him it's almost dinner time, they'll be looking for him You come with me, orders Matthew. They'll come to the Old House to search! says David. Don't you worry about that, says Matthew, nobody's gonna find me! Please, begs David, I want to go home.

Back in the secret room, Vicky tries to escape her bonds, which David apparently loosened just a bit.

You're going to stay with me, says Matthew, I ain't gonna take no chances on ya! I wouldn't tell on you, says David. Why are ya scared of me? asks Matthew. I'm not scared of you, David assures him, you're my friend. You think I'm gonna hurt ya, says Matthew. No you wouldn't hurt me, I know you wouldn't, says David. Then come on with me! commands Matthew, holding both of David's wrists in an iron-like clutch. Let go of me, pleads David, you're hurting my arms! I don't wanna hurt ya! yells Matthew, dragging him back through the woods--DON'T MAKE ME HURT YA! David wrenches free.Davy, come back! calls Matthew, but David is running from him as fast as he can. Matthew lumbers back toward the Old House with equal speed.

The blonde woman drinks coffee in the Inn shop. Sam enters and greets Maggie. Looks like a storm coming up, he says. How do you feel? she asks. In the pink, he says tiredly. You look it, she says, pouring him coffee--you got home pretty late last night--or should I say this morning. That's very reassuring, he says, I didn't think I'd gotten home at all--would you thank whoever brought me home? you brought yourself home, says Maggie, pouring another cup. Shows you what marvelous control I've got over myself, he says sourly. You want something to eat? She asks, taking down a donut. And upset this marvelous alcoholic content?--no, says Sam, not on your life. You've got to eat something, she says, putting the donut in front of him. I've got a lot of dough tied up in that little binge last night, he says, I'd spoil it if I took anything to eat until late tonight--that would just be a waste of money. Maggie looks rueful. Did you paint today? She asks. Please, he says, rubbing his temples, it kind of grabs me up here. I just want to know if you painted today, she says. I started to, he says, but the brushes were stiff, so I just ended up cleaning them, softening them. Oh, Pop, she chides. I'll be able to get up early and get a good day in, he says. Sure, she says. I did some sketching today, though, he says, pulling some paper from his pocket--I did one I even liked. Really? she asks. He shows her a picture in a small notebook. I've see that! she says. What do you mean, I only just did it, he protests. You showed it to me last week, she says. Oh, he says, slipping it back in his pocket, just trying to make you feel a little better, that's all. You made me feel worse, she tells him. Sorry, darling, he says. When are you going to pull yourself together? she asks. I'm doing it, he says, an edge to his voice--I am! All that great talent going to waste, she says. It's not going to waste, Sam assures her, I'm getting ready for a whole body of work--40, 50 canvases, maybe! Is it just the booze that's keeping you from doing it? she asks. No, says Sam, it's just, well, there are so many things going on that I'm kind of involved in. Maybe it would be a good idea if we left this town, she suggests. I don't want to do that, he says, it's the character of this town I want to paint. Maybe you'd find another place more inspiring, she says, a completely different place. Like where? he asks. I don't know, maybe even a different climate, smiles Maggie--like Phoenix, Arizona. Really, scoffs Sam, what do you know about Phoenix? Not too much, she replies, except I was just talking to someone who came back from there--that woman over there. Sam looks at the woman she indicates. She used to live around here, says Maggie, and then she travelled around a bit, and settled in Phoenix, I guess. Sam tries to get a look at the woman's face, but her back is to him. Who is that? Sam asks Maggie. I don't know her name, she answers. Something about her, says Sam--familiar. Maybe you know her, suggests Maggie--she's a local. Maybe, agrees Sam--she reminds me of someone--the hair is different--no, it couldn't be. Who do you mean? asks Maggie. No one, he says. She seems to know everyone, says Maggie--she's been asking questions. Who's she been asking about? queries Sam. The Collins family, mostly, says Maggie. Which of them has she been asking about? he asks. She seems to know all of them, says Maggie--she knows about Roger and the accident. What did she say about that? inquires Sam, disturbed. Nothing, says Maggie, she didn't seem to want to talk about it, but she knows Burke Devlin. You don't know her name? asks Sam. No, says Maggie--why don't you go over and talk to her? What else do you know about her? asks Sam. Just that she's come back after about five or six years, says Maggie--for the holidays, I guess. Where is she staying? Asks Sam. Here at the hotel, says Maggie. Let me know if you find out her name, Sam says--it's very important. He rises and starts to tie his trench coat belt. Where are you going? asks Maggie.I've got something on my mind, mutters Sam, and exits.

Vicki is working hard to free her hands, moving around in the chair, her hair hanging in strings around her face. Matthew enters the secret room and immediately notices the gag is down. How did you get that off? he demands, furious. It came off, says Vicki. It was too tight to come off, insists Matthew. I worked it off, she says. Someone was here! he says. No one, says Vicki. Who was it? asks Matthew--it was that boy, wasn't it, it was Davy, wasn't it? His hands have curled into menacing fists. No, no! cries Vicki, it wasn't! He knows somethin' doesn't he? asks Matthew, his voice rough with fear. No! screams Vicki. I dunno, I can't take anymore chances, says Matthew--I've gotta do something--have to!--have to do it now! And he holds out his hands toward Vicki, whether in supplication or threat is hard to tell.
Collinwood - David yells upstairs for Roger, but when he gets no answer, he runs into the drawing room. "Father! Father!" he calls desperately.

NOTES: Matthew is scared and desperate. He probably figures he'd better kill Vicki now and flee. Will David be able to find an adult to help him soon enough to prevent it?

It astounds me that David actually left Vicki tied up there, but when I think about it, he is so confused, he needs time to think about it all and sort it out. He stubbornly refuses to accept the fact that Matthew is mentally sick, that he killed Malloy and would kill both him and Vicki without pausing for a breath. Now, however, he finally seems to accept the fact that Matthew is dangerous and means to harm anyone in the way of his freedom. The question is, will David find anyone who can help him?

What suspense! To have David find Vicki, but refuse to free her, is an amazing twist. He's always been fearful of being in trouble, and even more so of going to jail, so his actions, while reprehensible, are expected from a scared nine year old kid.

I was terrified for David when Matthew didn't believe him. The child trusts him despite the pain Matthew has occasionally inflicted on him, and that's scary as hell. When even Burke turned him away, David really believed Matthew was his only friend. Brrrrr.

The mysterious blonde in the coffee shop really got Sam in a dither. I think he knows who she is, but isn't ready to face it yet. I feel sorry for Maggie, who just wants her father off the bottle and painting, utilizing his God-given talent. She loves him no matter what, as he does her, but he's a weak man with a messed-up conscience, and who knows when that will come to an and--when he confesses, finally, to the lies he told. Perhaps this new stranger will hasten that day.

Love, Robin

Episode #119 - The lights are burning late tonight at Collinwood, for my disappearance has caused great alarm--there are those who search for me--but their search may be in vain, because my captor has hidden me well.. They looked for me here (we see the inside of the Old House). They were so near that I wanted to scream to them from within the secret room, but my hopes are dimming now, for Matthew will surely not fail this time to take my life.

Joe walks through the woods, shining his flashlight, looking for Vicki. Coming from another direction, Burke searches, too, looking to the left and the right. Find anything? Joe asks him when they meet. Only you, says Burke. Thanks a lot, says Joe. Listen, your tracks are everywhere, says Joe--you wouldn't make a good fugitive. Want to bet on that? asks Burke. One thing I'll say for you, you must have covered a lot of ground, praises Joe. Not enough, apparently, says Burke. You also got a pretty loud voice, I could hear you all over the place, says Joe. Dogs howl. (Barnabas?)--if Vicki was nearby, she could hear you, too. She's nearby, Burke assures him, I'm sure of it--maybe she couldn't answer. She might be hurt?--lying helpless somewhere? suggests Joe. If she's lucky, replies Burke--because if Matthew's got a hold of her, there's nothing we can do. They move on.

Collinwood - The clock strikes one AM. Carolyn comes downstairs in her robe and touches Vicki's suitcase, still lying on the foyer table. She enters the drawing room, calling for her mother, but Liz, still dressed, is outside, looking around, a coat thrown over her shoulders. She comes in and Carolyn runs to her, asking if they've found Vicki yet. No, says Liz, warming herself against the cold, Joe came back for a minute, then went out again--it's been a few hours--I've made them some coffee---it's cold and damp out there. What do you think happened to her? asks Carolyn. I've thought too much about that already, says Liz, going into the drawing room. Carolyn follows. You make it sound so awful, she says--Vicki will turn up, she can take care of herself. Under normal circumstances, yes, says Liz, but if you'd seen Matthew at her throat as I did, you might not feel so confident--Vicki's a very vulnerable girl and Matthew's a very desperate man. Matthew's miles away from here, says Carolyn. I wish I could be sure of that, says Liz. He couldn't be around here, it would be too dangerous for him, says Carolyn. The sheriff said all our roads are blocked, Liz tells her, but they haven't seen him yet--he could be anywhere. But NOT here, insists Carolyn. I don't know, says Liz, he's lived in this area so long, he knows more hiding places than David! Burke will find her, says Carolyn gently. I hope so, says Liz, then looks at her daughter's moonstruck face and says, "You have a lot of faith in him, haven't you?" Shouldn't I have? asks Carolyn. You know my answer to that, says Liz. I knew this was coming! laments Carolyn. Yes, that's one redeeming feature about the obvious, says Liz--you can always depend on it--Burke is an obvious person--he's an enemy of this family and therefore an enemy of yours, too. You will never sell me that, says Carolyn. I won't have to! cries Liz--he'll do it himself--he'll hurt you badly, and it's just a question of time. I wouldn't be too sure of that, says Carolyn. It's inevitable! says Liz--Burke is dedicated to revenge--you'll find you're only his instrument! That's because you only see what's on the surface, insists Carolyn, you refuse to go beneath and find the man he really is. No, darling, that's your mistake, says Liz, and a very serious one--Burke only permits you to se the man he wants you to see--he's calculated and well-planned, and you'll find you have an important role on his plans. You've lived in this house too long, says Carolyn, everything's sinister to you. If you could just look at him objectively, says Liz, you'll see he's too old for you, you're still a young girl! That's the way you see me, of course, says Carolyn, wiping away a tear--tell me, Mother,, when will you bestow the title of woman on me? When it's a fact, says Liz. Well, it won't be a woman who bestows that title on me, it'll be a man--Burke Devlin, says Carolyn defiantly. Carolyn! says Liz. I'm sorry to be this way, but it doesn't matter if you rant and rave, lock me in my room, disinherit me--I'm going to spend my time with him--and maybe even my life.It will be a terrible life! says Liz--because he'll destroy you--that's the only thing he knows how to do! Carolyn doesn't reply, she just walks over to the fireplace, her flipped hairdo dancing.

Liz paces the drawing room while Carolyn looks through a magazine on the piano. Outside, Roger's car pulls up in front of the house; he gets out and enters. He closes the doors and removes his hat. When Liz meets him at the door, he jokes that he didn't expect a welcoming committee this time of night. He takes off his coat. Have you seen Vicki anyplace? Liz asks him. Oh, I've see that girl in many places, he says. Tonight? asks Liz anxiously. I'm merely generalizing, my dear, he says. She's vanished, I thought you might have some idea where she'd be, says Liz. Not in the slightest, says Roger, dropping his coat over Vicki's suitcase, and it doesn't interest me one bit. Oh, Roger, says Liz, following him into the drawing room--how can you be so indifferent? He pours a drink. My dear sister, he says, I have a compulsion to preserve my way of life, and that little girl does nothing but interfere with it. But this may be serious! protests Liz. Everything is serious with that girl, says Roger, annoyed. He drinks. They've searched everywhere for her! says Liz. What do you want from me, asks Roger, do you want me to go our into the cold of night and beat the bushes? (Yes, you lazy SOB, that would be nice.) I expect you to show some concern for a girl who may be in danger, says Liz. Perhaps you expect too much from me, suggests Roger. I expect you to have some compassion, she says. I reserve that only for those who deserve it, says Roger--such as you, my dear, he tells Carolyn, still reading the magazine. What an honor, she says. Although I don't know if I should even be talking to you, he says, considering the way you defy me--I suppose I'm foolish to deliver an ultimatum to a creature as wild as you are. Yes, giggles Carolyn, very foolish, since it only heightens my desire to defy you further--I spent a wonderful and memorable evening with none other than Burke Devlin. Roger glances at Liz, then back at Carolyn. Well, that doesn't speak very much for you, he says--it indicates a major shortcoming in your sense of judgment. Which proves me to be a Collins, she shoots back. Roger puts down his drink. Listen, he says, I'm going to try to appeal to your sense of intelligence, to make you understand what Devlin represents. What he represents to you is not what he represents to me, she insists. Oh, and what might that be? he asks. Fulfillment, she replies. Exactly, says Roger--fulfillment for him, but not for you--and fulfillment for him means the destruction of everything the name of Collins stands for! So my mother just told me, says Carolyn, and they both look at Liz, sitting on the sofa. I know you're fascinated by Devlin, says Roger, he's different, but that will wear off very shortly, there are many like him!--he's really quite common. Carolyn, her arms crossed over her chest,, says, "He's hardly that." She gazes into the fireplace. By common, says Roger, I mean he's predictable--you always know what he's thinking, and what his next move is going to be. If you know him so well, says Carolyn, he should be absolutely no problem for you. He's an annoyance, says Roger, and a temporary one at that--my dear, if only you knew that he's using you--you can't see it now, but you will sooner or later--and it may be too late--it will be a terrible experience for you--and it will be just as terrible for us to stand by and watch it. Have you ever considered you might be completely wrong? asks Carolyn, walking away from him. I don't have to, he says, he told me that I'm right, by letting me know his tactics--if you continue to see him, which I hope you won't, you will get to know his methods. What methods? she asks. Simply the choosing up of sides, says Roger--he will draw a line and stand on one side, that will be "for Devlin." What's the other side called? asks Carolyn. Everything and everybody--Burke Devlin against the world! says Roger. That sounds like even odds to me, says Carolyn, returning to the magazine. And then, my dear, he will tell you where to stand, warns Roger. I'll know where to stand, says Carolyn. Oh? he asks Roger--and where will that be? Wherever I choose, she says. You may have no choice, he says, if Devlin should win, your usefulness may be ended. It would be quite a surprise to you if Burke were not using me, she says. It would indeed, he says, I would have to reevaluate my whole scheme of ideas. He goes to Liz and makes a gesture that says, "I tried--your turn." Did Burke tell you about his new business venture? asks Liz. He does not discuss business with me, Carolyn says. Then you don't know that he's taken over Logans Enterprises? asks Liz. Did he really? asks Carolyn. Yes, today, Liz informs her--and he celebrate with you tonight. Logansport Enterprises, says Carolyn, a note of uncertainty in her voice--well, you've got to say this for him--he certainly does things in a grand manner. No, says Liz, that is not the grand manner--what Burke did was purely underhanded, destruction his goal. And that is pure hypocrisy, accuses Carolyn--with all you've said about him, you were still glad to see him tonight! You saw him tonight? Roger asks his sister. He came here to search for Vicki, says Liz. And you hate him so much, that you made coffee for him when he returns, says Carolyn. Burke Devlin coming into this house tonight? asks Roger, giving Liz a look of fury--just remember, whatever happens, you've brought it on yourself.

Woods - We see two pairs of feet walking over leaves--Burke and Joe searching. Before we get back, says Joe, there's something I want to say to you. Don't take too long, says Burke, pulling up his collar--I'm very fond of this climate. Listen, I was an idiot earlier tonight, says Joe. I could hardly disagree with that, says Burke. I shouldn't have swung at you, says Joe. It wasn't the swing I minded, says Burke, rubbing his jaw, it was the connection I resented. I didn't ever think I'd be apologizing to you, says Joe, That makes two of us, agrees Burke--I guess there comes a time in every man's life when he has to take a swing at somebody. Sure, says Joe, but for something important. You had an important reason, didn't you? asks Burke. I thought I did, says Joe. Do I detect a certain change in attitude about a young woman? asks Burke. You do, says Joe. Will this change benefit me? asks Burke. Has everything got to benefit you? asks Joe, annoyed. Well, says Burke, if I'm to make a profit--come on, Joe, tell me if I can expect a swing from you again. Not unless I can find a better reason than Carolyn, says Joe. I hope you don't, says Burke--so, you've given her up, huh? I don't know whether I ever had anything to give up, says Joe, she wants something, maybe it's you, maybe it isn't--I just know one thing for sure--it's not me--all the punching in the world isn't going to help me find a lost cause. That takes a lot to say, Burke tells him, I admire you for it. I'm not looking for your admiration, Joe assures him, I just want you to know how I feel. You haven't really told me how you feel, says Burke, all you've done is talk about lost causes--people who go down in lost causes are die-hards--they never really give up--I don't think you'll ever get that girl out of your mind. That will be my problem, says Joe. As my old Physics teacher said, the size of the torch is directly proportional to the heat of the flame--is it going to be a big one, Joe? No, it's not, replies the latter with a rueful smile. You'll never convince me of that, says Burke, not after the scrap we had. :Let's say to avoid any further scraps we forget the discussion entirely, says Joe.I'd like to, says Burke, but I don't think you can do it...can we continue this discussion in a warmer place? No need to continue, says Joe, I've said everything I'm going to say. And they go on.

Roger nurses his drink. Liz looks out the window. Carolyn plays Chopsticks on the piano. Liz gives her a disapproving look and Carolyn stops playing. There's a knock at the door. Carolyn goes to answer. It's Joe and Burke, reporting they didn't find a trace of Vicki. Roger, left alone in the drawing room, looks pissed off at the sound of Burke's voice. We searched just about everyplace, says Joe. You must be frozen, says Liz, come on inside. I could stand to thaw out a little, agrees Burke. They troop into the drawing room and Burke spots Roger. What do you have there? Roger demands of Burke. A weapon, says Burke, holding up the rifle. It's mine, isn't it? asks Roger. I didn't want them to go out without some protection, says Liz, sitting on the sofa. It could be dangerous in here, as we'll as outside, quips Burke, handing Roger back his rifle. If you don't mind, says Roger, the sight of you with a loaded gun is not a very comfortable picture. Doesn't do much for you, either, says Burke, hands on hips. Roger removes the shells, and Joe gives him the other gun. Thank you, says Roger, removing the bullets from that one, too--so, your search was fruitless, eh? I'm afraid so, agrees Joe. For a girl who is supposed to teach, Vicki's stupidity is quite phenomenal, says Roger. That comment was un-called for, says Burke. (And I completely agree.) Carolyn looks and listens. Quite the contrary, says Roger, it's the only honest evaluation of that girl's behavior. You don't consider Vicki to be in jeopardy, then? asks Burke. Only for myself, says Roger--of course, I don't know what to label the sight of two grown men traipsing through the woods in the middle of the night, melodramatically with their guns at the ready!--oh, really, you're too much. There's a murderer outside! Burke reminds him, pointing his thumb toward the door--out there, that's a real menace. A menace? Asks Roger, yes, that's a subject you're rather an expert on, isn't it? Yes it is, says Burke, I made a careful study of one particular menace, which I will deal with shortly. Why don't you deal with this menace immediately? suggests Roger, holding the gun loosely at his side. Burke laughs--because I want to do a proper job on him, he says, almost in Roger's ear, just as he did on me! Do you think you'll get the chance? smirks Roger. Positive, says Burke. That gives you something to look forward to, says Roger, doesn't it? With great expectation, Burke assures him. Wouldn't it be terrible if you were disappointed? asks Roger.It won't be, says Burke, because I planned everything very carefully--I've waited too long! It would be a shame to see all that go to waste, says Roger, replacing a bullet in one of the guns--and it's possible that it might--very well! He and Burke gaze at each other challengingly. (This exchange was amazing, nyah, nyah, I've got a bigger one than you, etc.)!

Liz offers coffee. You never were very discriminating about whom you feed in this house, remarks Roger. Liz invites Burke to sit down. He warms himself by the fire. Carolyn tells Liz she's going to bed now. I'll talk to you in the morning, Liz assures her. Carolyn tells Burke good night, and he says it back and tells her to sleep well. Carolyn just gives Joe a look, not wishing him good night, and sails past him. Liz asks Burke if he takes cream and sugar. Joe goes to Carolyn, who stands on the bottom step, and reminds her she didn't say good night to him. Didn't I? she asks--I could have sworn I said goodbye--rather firmly. Look, I want to talk to you for a minute, he says. Under normal circumstances, she says, I'd be delighted to listen to your apology--as it is, I'm willing to forego it. I don't intend to apologize, he says, it wasn't you I belted. What do you want? she asks, I'm not feeling well and I'm very tired. Not feeling well? he asks, what's the matter, can't you handle your liquor? I can handle anything and anyone, she says, furious. I just wanted to tell you you don't have to worry about handling me anymore, he says. Fine! says Carolyn, send me a letter to that effect. I'm sorry to see this has happened to you, says Joe--you used to be a very nice girl. (When?) I'm even nicer now, she says, it must be the company I keep.It's impossible talking to you, he complains. Have you finally realized that? she asks, I was trying to be subtle! And she flounces upstairs. (GOOD RIDDANCE, JOE!)

Roger, standing by the piano, moves one of the shells around in his hand. Joe comes in and Liz hands him a cup of black coffee, as he likes it. He thanks her. She offers sandwiches, too. Shouldn't you have served them the coffee in the kitchen? Roger sarcastically asks Liz. If I didn't dislike you so much, says Burke, I'd probably find you a very amusing person. I didn't intend to be amusing, says Roger. That's just the point, says Burke, drinking his coffee. Liz asks Burke if he has any idea where Vicki might be. If I did, I would have gone there, says Burke--have you heard anything about Matthew? No, the sheriff hasn't a clue to where he is, says Liz. I'd expect that of the sheriff, says Burke. I can't believe Matthew's gone very far, says Liz, he's not the kind of man who adjusts well to new situations. He adapted very well to being a murderer, chuckles Roger, you can say that much for him. That's why I'm so worried about Vicki, says Liz. I don't know where else to search, says Burke, Joe and I covered the entire area, didn't we, Joe? Yeah, says Joe, rubbing his forehead, we must have criss-crossed each other's paths about a dozen times. Well, we've got to find her, says Burke--I don't know where else to search. The tide was in, says Joe, maybe in the morning we can cover the beach and lower part of the cliffs. You're on, says Burke--I'd like to change into something drier and warmer--would you drop me off at the hotel? Sure, says Joe, maybe I can get some of the fishermen to come along with us tomorrow. That would be a great help, says Burke, I'll have to check the coastline up and down for miles, just in case. You seem inordinately concerned, remarks Roger. Do I? asks Burke--well I am!--and I'm sorry to say your lack of concern I resent very much--personally, if I didn't know about Matthew, you'd be number one on the list. Isn't it about time you changed into something dry? asks Roger nastily. Yes, agrees Burke, and tells Liz he'll be at the hotel; if she has any word in the next half hour, please let him know. Of course I will, says Liz. I'll be back as soon as I can, promises Burke. I hope you're not planning to make this house your search headquarters, says Roger. Not necessarily, says Burke, but I may have some other plans for it--soon! Liz tells Burke she appreciates him searching for Vicki, but not his last remark. I didn't expect you would, but it was intended for your brother, says Burke. We're talking business now, you don't have to be so polite, says Liz--anything pertaining to the cannery or this family is directed at me, she says. You're very realistic, says Burke. Yes I am, she says, it's the only way to be in business--that's why you're going to fail in your efforts to bankrupt us. Because you're realistic? asks. Yes, and because you're not, she points out. I didn't make my money on fantasy, he assures her. You didn't buy Logans Enterprises for business reasons, she says, and no one ever made money on revenge. I'll be the exception, insists Burke. Of course he will, says Roger, he knows every filthy trick in the book! Burke grabs Roger by his lapels and shoves him up against the drawing room door. Because I learned all of them from you, he says, and lets him go. Burke leaves.Roger goes to the piano and takes down the gun, clearly intending to use it. ROGER! says Liz, looking at him sternly. Roger turns away and places the gun back on the piano, struggling to get control of himself.

NOTES: I do love watching Roger and Burke snipe at each other, and that was a good one. You could tell Roger really wanted to kill Burke, and if Liz hadn't stopped him, very well might have. Of course, he'd have had to put the bullets back in the gun. Good stuff!

Carolyn, virgin? Given how cozy she's been with Joe, I figured they'd done the deed already, but when she speaks of a man turning her into a woman, I guess she means Burke, and that he would be her first. There was also Joe's sarcastic reference to her staying until tomorrow morning when he caught her in Burke's apartment. Her mother warns her about Burke, then her uncle, clearly, logically, yet she insists that she's not just going to spend time with Burke, but possibly her life. That she really believes he wants her for herself shows how young and immature she is, but I think she's in love, or thinks she is, and she's wearing blinders as far as Burke is concerned. If I read today's ep correctly, she was going to have Burke do what Joe hasn't yet done--bestow the title of woman on her.

I was glad to see Burke and Joe arrive at common ground regarding Carolyn, and pleased that Joe has officially dumped her and vice versa. He deserves better and the way she's behaving, she deserves Burke and what he's going to do to her. Joe is such a nice guy, and Carolyn's childish behavior tells me that while she might get laid, she won't deserve the title of woman until she grows up a whole lot.

Roger has not forgiven Vicki; his comments about her stupidity WERE, as Burke said, uncalled-for. I think it was cowardly and cruel of him not to be helping with the search, too, but he said it himself--he's only concerned about Roger Collins.


Episode #120 - Morning has come to Collinwood, and my bed is still empty. I might not ever sleep in that bed again, for my searchers have not yet found me, and my captor is a desperate man. Morning has come to the ghost house--after a night of terror, and the day holds no promise of salvation.

Matthew exists the secret room and gazes through the window. We hear seagulls. He returns to Vicki, who is still sitting in the chair, a gag in her mouth. There's nobody around out there, he tells Vicki, getting very close to her, nobody in sight--not a sound but the wind, the gulls and the sea--safe sounds--sounds of things that will never hurt me--it's only people I gotta worry about--people can hurt me--and you--me, I don't want to hurt ya, unless you make me--I don't like to see you with that gag on--I don't like it--I'm gonna take it off, give you a chance to see if I can trust ya--let me tell ya--you let out one sound, and I'll close your mouth forever!--and he wraps his hands around her throat.

Matthew takes the gag from Vicki's mouth and holds it around her neck, warning her that one scream, and this will fit pretty good around your throat. I promise, she says. Like all the others? he asks. No!, she says. We'll see, he says--I don't want to hear ya beggin' me for mercy, askin' me to let you go--it won't do ya any good, and it will make me mad. I won't, she says. All I want from you is to shut up and leave me alone, don't bother me--you're makin' things tough, he says. I can't help you, she assures him. I don't need your help, he says, I've got everything all figured out--for me--what'll happen to you is something else. It isn't my fault that all of these things have happened, she argues. It is! he says, everythin' was all right until you came here, months ago, when you came to Collinwood, started askin' questions, prying, snooping, botherin' everybody. You act as if I'm responsible for everything that happened! says Vicki, well those things would have happened even if I hadn't come here! That's not so, he says, pacing--too late now, we made our mistakes, you and me, only the difference is, I'm going to get away with mine, because what I did, I did for a good reason, for other people, the Collins family, I didn't do it for myself! I'll explain to everybody, she says. They wouldn't understand, he insists. I'll make them understand, she tells him. No one can help me, he says. I CAN! she says. They want to punish somebody and I'm not gonna let 'em punish me! he says--they'll never get a chance to, because they'll never find me! They'll come back here and search the way they did last night, she warns him. They can tear this place apart, stone by stone, board by board and they'll never find me! he says, I'm a lot smarter than people think I am--I'll be outta here before long--all I have to do is hole up for a little, be patient, I got a long life ahead of me! How long can you stay here? she asks--what are you going to do about food and water? He smiles. How long can I stay here?--food, water--I've got those little details all figured out, he brags--I got the best food and better water--maybe you're a little hungry, huh?--he grabs her hair and pulls it--breakfast is on its way if you behave yourself, I might let you have a little--and he lets go of her hair.

Mrs. Johnson is fixing David's breakfast. He's sitting at the kitchen table in a suit and tie, and asks her what's the matter. Everything, she says--like the mysterious disappearance of Miss Vicki Winters. She disappeared? He asks. Don't tell me you don't know about it, she says. They sent me to bed early, he complains, I didn't want to go to sleep, but I did--I remember they were asking about her--she went to Bangor, didn't she? That's what everyone thought, reports Sarah, but it turns out the last person to see her said she was going out to look for a wallet she dropped. Did they search for her? he asks. All night long, she says, pouring coffee--I could hear their voices calling her name, it had an eerie sound. Who was searching? David asks. Everyone, she says--police, the sheriff, young Joe Haskell, even Burke Devlin--that was a sight--he was right here in this house! David is disappointed--I wish I'd been awake, he says. Yes, she says, and he was really bothered by this, really worried--now when a man like Mr. Devlin is worried, I know something terrible is going on. Where could she be? he asks. If you ask me, she says, lighting a cigarette, I'd look in your aunt's crystal soup bowls for an answer---I'll tell you this, I think we've probably see the last of poor Miss Winters. No, says David, perturbed. Well, she says, puffing away, when I've seen men carrying guns, I've known death is somewhere close. Why were they carrying guns? He asks. They think old Matthew has got her, says Sarah. David drinks juice--but he wouldn't hurt her, he says. Wouldn't he? she contradicts. Matthew would hurt a fly, says David. Maybe not flies, she says, but people--you ought to be glad you're not in his clutches. I wouldn't be afraid of him, says David as she sips her coffee. Mmm, she says, that's what you say--I wouldn't want to be alone with him, would you? Why not? asks David--I trust Matthew more than I trust some other people. You trust the ghost of the widows, she says disapprovingly, you're a fine judge of character. Is that so? he asks--maybe I might know something that might surprise you. Just keep it to yourself, she says, I'm not in the mood for surprises, anyway. I wouldn't tell you anyway, he says, they really think Matthew's got her? They're searching the beaches right now, says Sarah, they think maybe her body fell from the cliff to the rocks below--of course, if it washed out to sea, they might never find her. David looks upset. They'll find her, he says. She tamps out her cigarette and says, "One way or the other." She begins clearing the breakfast dishes. David looks at her, waits until she's washing the dishes in the other room, then takes out a paper bag and begins filling it with cans. He stops when he hears her cough, then resumes, adding cornflakes to the bag. He closes the cabinets and tosses a few rolls from the basket on the table into the bag, then steals Sarah's cigarette and matches, too. She comes in and asks where he's off to. Oh, out, he replies, hiding the bag behind his back, around. You'd better stay close to the house, she advises. Maybe I'll look for Vicki, he says. Maybe by rights you should, she says, if it wasn't for you, she might not be missing right now. What do you mean? he asks. If you'd done what you were told, she wouldn't have gone looking for you, says Sarah. You mean it's my fault? asks David. She makes a non-committal sound, then asks where her cigarettes are--they were right here on the table--don't tell me I'm losing my mind--I sat right here, opposite you, put the cigarettes here, where could they be--you don't know where they are? I don't know, honest, says David--and he leaves, taking the bag with him. Sarah continues to search for her smokes on the table.

David walks toward the Old House. Matthew spies him coming through the window and quickly goes to the secret room and opens the shelf. He closes it behind him. Vicki, seeing him about to gag her again, asks if he has to. Breakfast is on the way, he says, somebody's coming with the food--I'm warning you, don't make a sound--even if you do make some noise, there's not a chance in the world the person coming with the food could help you--just remember that. He tightens the gag and exits the secret room, looking out the window again. David walks up the stairs and enters the house. Matthew sits in a chair waiting for him. Surprise, surprise, look who's here, says Matthew, smiling. David greets him.Vicki hears his voice and reacts with consternation. Sorry I'm late, says David--did you think I wasn't coming. I knew I could depend on ya, Davy, says Matthew--what have you brought me? Breakfast, says David. Ah, you picked the right time of day, says Matthew. I can't stay long, says David. I'm sorry to hear it, says Matthew, I look forward to talkin' to ya. I have to stay near the house, says David. Where's the brandy you promised me? asks Matthew. I didn't think you wanted it for breakfast, says David, making a face. That's OK, says Matthew, patting his arm, you can get it next time. There's a lot of trouble, says David hesitantly--Vicki's disappeared. She has? Asks Matthew--that's a piece of news. She's been gone since yesterday, says David. She'll turn up somewhere, Matthew assures him (like the sea)? They've looked and checked, everywhere, says David--they're afraid something's happened to her. What do they think happened? asks Matthew. They think...they think YOU have her, says David. Isn't that just like them, laughs Matthew--you see what I mean, Davy, how they want to blame me for everything. Vicki listens. Yeah, says David, that's just what they're doing, I wish I could say something, just to show them how wrong they are. Next thing you know, they'll be pinnin' every crime in the state on me! says Matthew, you can bet--forget it, they'll find her somewhere and then they'll have to admit they were wrong. If anything happened to her, says David, sitting on the crate, it would be my fault--remember yesterday she came to pick me up?--well, she dropped her wallet somewhere, and after she took me home, she went out to find it and she never came back--she didn't come here, did she? I woulda known, says Matthew, as Vicki hears this lie. She's got to be somewhere, insists David--I wish I could find her. I wish you could, too, agrees Matthew--maybe you ought to be gettin' back. And I also wish I could find something that could help prove you didn't kill Mr. Malloy, says David. I'm with ya on that, too, says Matthew, what's done is done, everything's gonna work out. You don't think my father could have her? asks David. If he could do some of the things he's already done, says Matthew, he might do anythin'--you gotta be very careful of people who kill--it gets easier as it goes along. Vicki reacts with alarm hearing this coming from Matthew.

I've got to find Vicki! says David. Why don't you go see what your father knows? suggests Matthew. I guess that's all I can do, says David. Tell me what happens, I'm anxious to find out, Matthew tells him. I'll be back later, promises David. I wouldn't go runnin' back and forth for the time bein' if I were you--everybody's lookin' for me and Miss Winters--you know what I mean? Sure, says David. Next time you bring food, says Matthew, bring it once a day from now on--if I get caught, I wouldn't want you dragged into it, get you into trouble--you're the best friend I've got, I wouldn't want to see you get into a mess because of me. I don't care much what happens to me, says David--I could die and nobody would care. (AW!) That's not true, says Matthew, putting his hands on David's shoulders--I would. You would, says David--you trust me, don't you? You know it, says Matthew. Tell me the secret, says David. Davy! Says Matthew, annoyed. You said you trust me! says David. I can't tell ya now! insists Matthew, his voice raspy. But you can, says David. I promised I'd tell ya at the proper time, says Matthew. I'll keep the secret, swears David. I told ya when I'd tell ya and it's not gonna be before that! says Matthew, temper flaring--so don't start pushing me. But I don't see why you can't tell me, pushes David. This isn't baby stuff, says Matthew, this is important! I know it is, that's why I want you to tell me! implores David.WILL YOU GET OFF MY BACK! demands Matthew. David looks upset, and Matthew apologizes, again squeezing his shoulders. I didn't mean to do that, says the ex-handyman, sorry, you made me do it--why don't we just forget it for now, and maybe tomorrow or the next day, I'll be able to tell ya. OK, says David. You better be gettin' back before they miss ya, suggests Matthew. I'll be back this afternoon, says David. You're a good lad, the best, praises Matthew. Have a good breakfast, says David. Matthew says he will. David goes back down the Old House stairs. Matthew carries the bag into the secret room and closes the shelf behind him. I told ya breakfast was on its way, he says, untying her gag--everything is al worked out. That was David! says Vicki, surprised. Good ears, he says, Davy's been takin' care of me. He shouldn't be, she says, it isn't fair. I'll tell ya what's fair, he says, whatever will save my neck is fair, I don't care what it is. What are you going to do to David? she asks. Nothin' he says, Davy's my friend, he's helpin' me out. What if he gives you some trouble? She asks. He won't, I won't let him, says Matthew. What if he does? she persists. That will be my problem, he says--feelin' hungry? She admits that she's thirsty. He says he is, too, and that he'll go to the old well. He re-fastens the gag and leaves the secret room, first looking out the window.

David is approaching the shortcut fence when he remembers the cigarettes in his pocket, and he retraces his steps, heading back to the Old House. We see Matthew leaving, walking past the huge columns.

Vicki sits in the chair, bound and gagged. She hears David come back in and call Matthew--where are you?--I brought you some cigarettes!--Matthew. Vicki calls David's name behind the gag. He hears the muffled sound and asks, "Matthew is that you?" It's Vicki she says, I'm in here. Who is it? asks David. It's Vicki, she says, her voice completely muffled--please, David, I'm ion here, David, please! David listens at the shelf hearin the female voice calling David.

Matthew walks back toward the Old House.
Vicki begs for David's help, and he listens at the shelf, his face filled with fear.

NOTES: Will David save Vicki--or will he think that's a ghost calling to him? We can make out what she's saying, but he probably can't, since the shelf is distorting her voice. It's such a shame that David feels so unloved, and that if he died, no one would care. Matthew would, of course, since it would end his easy food supply, but it's terrible the way he's using this poor, messed-up child, pushing him toward the idea that his father killed Malloy. My fear here is that Matthew will return and feel he has to kill not only Vicki now, but David, who knows he's keeping her prisoner. I was remembering the glow of Josette's portrait--is it possible she will help Vicki eventually?

I remember when I watched these shows the first time around, one of my friends wondered how and where (and if) Vicki was going to the bathroom. There's no plumbing in the Old House, but does that mean Matthew is taking her to an outhouse, giving her the use of a chamberpot, or what?

Matthew got furious with David for asking, over and over, what his secret is. Matthew doesn't like being questioned like this, and it makes one nervous for poor David's safety. Matthew is a hair-trigger kind of guy, we've known that for a long time.

Loved David's conversation with Mrs. Johnson--and the way he stole her ciggies! I'm surprised she didn't accuse him of taking them. He was the only other person there!

How will all this end? I already know, but I still consider this very suspenseful, then and now.

Love, Robin

Episode #115 - I came to this house with the hope of finding out about my past life; instead, my life was nearly taken away from me, and the man who tried to kill me is hiding in the one place no one would think to look--and he's being protected by one who does not suspect his treachery.

David enters the Old House, carrying another bag of food. He calls plaintively to Matthew, who suddenly rears up behind him and gleefully says, "Scared ya, Davy, boy, didn't I?" No you didn't, says David. I know fright when I see it, says Matthew, one thing I know, I've lived a lotta years and I've seen fright on the faces of men and women--faces I wish I could forget. It's just the way you came out so suddenly, says David. Yeah, it's the suddenness that frightens, agrees Matthew, a sick smile on his face, the unexpected--the feelin' that you don't know what's gonna happen next. David looks uncertain, perhaps beginning to wonder about Matthew. (And for the first time, he seems to be insane.)

Vicki comes downstairs with her ugly plaid suitcase and sets it down at the foot of the steps. You're all packed? asks Liz when Vicki enters the drawing room. Ready to leave, says Vicki. You've got enough money for your bus fare and other expenses? asks Liz. More than I need, Vicki assures her. You think you'll be gone longer than the weekend? Liz asks. I'm sure I won't, says Vicki. There really isn't much to see in Bangor, says Liz--of course, I haven't been there in a number of years, but I'm sure it hasn't changed much--what are you planning to do there? There are quite a few things I want to do, says Vicki--see Frank and spend some time with him, and I thought on Sunday I'd go to a concert at the conservatory. I didn't know you liked Frank that much, says Liz. I'm not going for that reason alone, says Vicki--after all that's happened to me--Matthew, the police and other things (Burke's kiss, which is probably a primary reason she's going), I just want to be alone to do some thinking and try and understand what's been happening to me and why--I don't know what it means, but right now I'm very confused and mixed up. Go to Bangor, encourages Liz, and have a good time--try to put the bad things out of your mind--forget the bad things that have happened in this house, Bill Malloy's death--Matthew the cause of it, who we trusted and was with us so long--what's happening to him?--where can he be? (Notice how much Liz still cares. She loves David despite his murderous tendencies and Matthew despite his. What a strange, forgiving woman.)

Matthew gazes down at David, his hand on his shoulder. You look nervous, Davy, observes Matthew. I'm not, says David. Ya trust me, don't ya! asks Matthew. Yes! exclaims David. Good, says Matthew, maybe you'll let an old man have his dinner. Sure, says David presenting him with the bag. Thank you, says Matthew, I didn't think they made young men like you anymore. He looks out the window and notes he doesn't see anybody. No one followed me, David assures him. You sure about that? asks Matthew. No one could have, says David--I even hid for a long time, to see if anybody was coming. I got to hand it to ya, says Matthew, setting up a table--you're a sly one. I'm too smart to let that happen, says David. I can see that, says Matthew, bringing over a chair. No one really knows how smart I am, says David,. And it's a good thing not to let people know, smiles Matthew--play dumb--it's a great game--you can pull a lot of wool that way, play tricks on everybody--that way, you get a chance to have the last laugh--and the last is the best--I guess that's what you want, eh? I guess so, says David with a small smile. Good lad, praises Matthew, you're smilin' already, waitin' for the big laugh--let me see what you brought me--a lot of food in here, he observes--I guess you want me to get my share of vitamins. (This touched me, I can't explain why.) I didn't want you to be hungry, says David. Matthew takes out a box, then a can, and shakes David's hand, telling him he'll never forget it--you've taken on a big responsibility, he tells the boy--keepin' my secret. I'm good at secrets, says David--there are lots of secrets around here--and I know them all!

And when you get to Bangor, says Liz to Vicki, leading her into the foyer, take time to think about the future. It's very hard to think about the future, says Vicki, when everything depended on the past. Vicki, darling, that's your big mistake, and perhaps mine, too, says Liz--when I think of all the years I've lived in the past... Why don't you do something about it? asks Vicki. I'm trying, says Liz, in my own way. But you aren't succeeding, are you? asks Vicki. No, I'm afraid not, says Liz, pacing away from her. I'm sorry I said that, I shouldn't have, says Vicki. No, it's quite obvious I'm not a good example of the advice I give, says Liz, slipping on a bracelet--maybe I'm a very good example of what you can become if you insist on living in the past. You shouldn't talk that was about yourself, chastises Vicki, I wish I could be more like you, to have your strength! You think I have strength? asks Liz, surprised. Yes, you do, says Vicki. Liz thinks it over--if I had strength I'd (tell you you're my daughter?)...think carefully, Vicki--the decision could be the beginning or the end. I will--about a lot of people and a lot of things, promises Vicki. Call me, says Liz, if you want to talk. Thank you for being so kind and understanding, says Vicki. You deserve those things, says Liz--goodbye--is David upstairs? I didn't see him, says Vicki. I wonder where he could be? says Liz. He could be anywhere, says Vicki, and knowing David, he usually is. I haven't seen him since lunch time, says Liz. He's probably on one of his picnics, says Vicki--I imagine to the Old House, that's his favorite haunt. I wish he were back here, says Liz. Do you want me to go and get him? asks Vicki. What about your bus? asks Liz. There's plenty of time, Vicki says. Would you mind? asks Liz, I'd feel better--it gets dark so early. Much as I hate that place, I'm sure that's where he is, says Vicki.Thank you, says Liz, heading upstairs, and have a good time. I will, says Vicki--and I'll bring David back--by the ear! Liz smiles and goes up. Vicki takes her suitcase and leaves it by the door. The camera focuses on it, lingering for a long moment.

Gobbling food from a can, Matthew praises David's good taste--you know what a man likes, he says. David smiles proudly. A hungry man will eat most anything, says Matthew--you brought a lot of food--you think they'll miss any of it? No, says David, there's plenty of food in the house, and if they do, they'll just think I'm eating it. He brings over a stool and sits at the little table with Matthew, who says, "You got it pretty well figured out, haven't ya?" I've got everything figured out, brags David. Tell me about it, says Matthew. I figured out how long you can stay here, says David. Oh? asks Matthew, scarfing up food, how long? Years, says David. (With no bathroom facilities?) You've got some imagination! gloats Matthew, slamming his hand on the table. I mean it, says David, no one would know you're here, because no one comes near the Old House--they're all too scared! You came, says Matthew, what's to stop others? I'm not afraid of anything--that's the difference, says David. There's more truth in what you're sayin' than I'm lettin' on, that's why I'm here, says Matthew--that's why I came all the way back--I know I stand a better chance here--I got one true friend here, Davy--you. I can keep bringing you food forever! says David--the perfect hide-out. It is, says Matthew, because there's something in this place that makes it absolutely impossible for somebody to find me--it's so near you can touch it--even you don't know what it is. I know everything about the Old House, says David. Show me what I'm talkin' about, challenges Matthew. About the ghosts, says David. Then you really don't know about it, chortles Matthew, good, good. Come on, what is it? asks David. Nothin' says Matthew, spooning more food from the can. Oh, come on, I want to know, pleads David. The ghosts are good enough for now, says Matthew. I have to know, says David. I'll make a deal with ya, says Matthew--take good care of me and when I'm about to leave here, I'll tell you the biggest secret about this Old House. Why can't you tell me now? begs David. Like I said, the right time, says Matthew--I know you like secrets, and this one is bigger than any you know--only you're going to have to be patient. I don't like things being kept from me, says David resentfully. This one has to be, says Matthew--well, now, this is a real feast--too bad we don't have some after dinner brandy to go with it. (A drunk homicidal maniac, good idea!) I could get some, says David, my father has lots of it, and he'd never even notice it missing. Davy, you make this place sound like the ideal retirement spot, says Matthew--you'll spoil me with these creature comforts. They hear Vicki's voice, calling David, and hastily hide the food. Matthew hides behind the wall so Vicki only sees David, who meets her at the door and stares at her with concern. Will she discover Matthew?
Do you know that you're aunt is looking for you? asks Vicki, closing the door behind her. She always is, says David. Matthew listens. What were you doing here? asks Vicki. Looking for ghosts, says David. Did you find any? Vicki asks him. I think so, says David. If anyone can find them, you can, says Vicki. They're here, all right, says David. Do you always have to come here? asks Vicki--there are better places. I like it here, says David. What's that? she asks, pointing to the floor. A crust of bread, says David. Vicki stoops to pick it up. I suppose you were just going to leave it here, she says. Her wallet drops out next to her foot, but she doesn't notice. I suppose you were just going to leave it here, says Vicki. Why not? asks David. There comes a time when a young man has to learn to pick up after himself, lectures Vicki. It'll be gone in a little while, anyway, points out David. Very clever, says Vicki, I suppose you're going to let an army of ants march off with it. Not ants--rats!--says David--they live all around here--and they eat everything--if we wait around long enough, we'll see them come out of their holes. (Smart way to get rid of her, David.) I don't think I'm going to wait around for that event, says Vicki--I have to catch a bus to Bangor, and you're wanted back at the house. I wanted to stay longer, pouts David. It's getting dark soon, says Vicki, this is no place to be. That's the time to be here, says David in a scary voice. All right, she says, annoyed. OK, I'm coming, he says, but before he leaves with Vicki, he calls, seemingly to the air, "But I'll be back tomorrow!" That's fine, says Vicki, you can stay here as long as you want tomorrow because I'll be miles away and won't have to fetch you. She looks around a moment, but misses her wallet, and after the door closes, Matthew picks it up and opens it.

Collinwood - Liz comes downstairs and dials the phone, asking for the sheriff. George, there aren't any problems here--everything's quiet--any word of Matthew?--I see, yes, I understand--you'll call me if you hear anything--I'd appreciate it--thank you. She hangs up. Vicki and David come in. You found him, Liz says. Right where I thought he'd be, says Vicki--was that the sheriff? Yes, says Liz. Have they found Matthew? asks Vicki. Not yet, not a trace, says Liz as David hoists himself up onto the foyer table--but the police have blocked all the state highway and notified police in other states (David looks smug)--they think he might be trying to leave the country, so the Canadian police are watching the border. I hope they catch him soon, says Vicki, it frightens me having him loose like this. I don't think they'll catch him, opines David.David! says Liz. He's a lot smarter than anyone thinks, says David. What makes you say that? asks Liz. I just think so, says David--maybe he's got friends hiding him someplace. (Why doesn't anyone pick up on these obvious clues from this child?) I don't know about that, but I do feel sorry for him, says Liz. Do you--why? asks David. I'd rather not talk about it now, says Liz, probably considering Vicki's feelings. Then when will you talk about it? asks David. I've got to talk to you about not letting me know where you are, and a few other things, says Liz sternly, I hope you thanked Miss Winters for taking the trouble to look for you. I didn't, he says. Well, suppose you do, says Liz. That's not necessary, says Vicki. Yes it is, insists Liz--David? I'm sorry for the time you had to take looking for me, recites David--next time, I'll try to know when to come home by myself. A very pretty speech, says Vicki, smiling, let's see if you can live up to it--I guess I'd better be going. Is there time for your bus? asks Liz. Plenty of time, says Vicki. Then for the second time, says Liz, have a pleasant weekend. I will, says Vicki, reaching into her pockets--she realizes her wallet is gone. Are you sure? asks Liz. Yes, it was in this pocket, says Vicki. When did you last see it? asks Liz. I remember when I was walking to the Old House, says Vicki, it was in my pocket then, because I was holding it. Do you know when you could have dropped it? asks Liz. Maybe when we climbed the old fence, suggests David. Of course, that's it, says Vicki--we took the shortcut back and I nearly lost my balance coming over that fence--I'll run after it and see if I can find it. Do you want me to help you? asks David. No, she says, it won't take a minute, then I'll be on my way. You sure you don't want us to help you? asks Liz. Positive, says Vicki. (Oh, Vicki, you're going to be so sorry!) If you can't find it, says Liz, let me know and I'll give you enough money for the weekend. I'll find it, says Vicki, but that's very nice of you--see you Monday. She bids both of them goodbye.

Vicki heads down the stairs at Collinwood, intent on finding her wallet.

Liz leads David into the drawing room, telling him she hopes this is a good example of the kind of trouble he causes people. It's not my fault she lost her wallet, says David. What if she hadn't gone to look for you? asks Liz, sitting at the desk. Maybe she would have lost it, says David. Really, says Liz, don't try to avoid your responsibilities. She glances over some paperwork. I'm not trying to do that, he says. Seems that way to me, says Liz. Some people think I can take on a big responsibility, says David. Really, who? asks Liz. Some people, says David evasively. (Liz is probably thinking Burke, David is thinking Matthew.) There are times when I wonder where your loyalty is, says Liz. I don't understand about loyalty, says David, sitting at the desk with her--who should I be loyal to? Basically, those who love you, she says. I don't think anybody loves me, he says. (Oh, give it up, David!) Oh, you mustn't feel that way, she says, lots of people love you--you know I love you, don't you? Yes, he says. And you know I'd love you no matter what, says Liz. I guess so, he says. That's the meaning of loyalty, she says. What about my father? he asks--do I have to be loyal to him, too? Before anyone else, says Liz. Before anyone else? asks David unhappily. He's the closest to you, points out Liz, your family comes first, then your friends. I don't know, says David, there are friend I think I like better. Who? asks Liz. Friends, he says simply. I don't think you've given your father a fair opportunity to prove how much he loves you, says Liz. He's had plenty of chances, says David. You've got to give him time! says Liz.Maybe I'd rather be loyal to somebody else, suggests David, and Liz just looks at him.

Vicki searches for her wallet by the fence, but doesn't find it. She looks in the bushes on both sides, but no luck.

I suppose it's better to be loyal to somebody, Liz tells David, rather than nobody--who have you decided to be loyal to? I didn't say anybody for sure, says David, I just said maybe--maybe there's somebody that needs me and can be loyal to me--and I to him. Sounds like a good relationship, says Liz. It does? asks David. Two people should be important to each other, says Liz. Like I could do something for him, says David, and he could do something for me? That's the idea, says Liz, there's more to it, but I think you've got the general grasp of it. How do you know when the other person is loyal? asks David. That isn't always easy to find out, says Liz, you have to judge for yourself. How do I even judge it? asks David. You have to listen to what they say, see if they mean it, but what they do, she explains. I see, says David, and they shouldn't hide things from each other? Oh, no, says Liz, they should be completely honest with each other. Even tell the most important secrets? asks David. There shouldn't be any secrets between people who trust each other, Liz tells him. No secrets, says David, almost to himself. I hope I've been helping you, says Liz. You have been, he says--now I know how to test loyalty.

Vicki approaches the Old House and goes in. She searches the floor for her wallet, instead finding muddy footprints that lead to the bookcase.Matthew appears. "Lose somethin'?" he asks, holding out her wallet. Vicki whirls around, staring at him as he comes toward her, finally stopping, holding the wallet inches from her face.

NOTES: Oh, no, what's going to happen to Vicki now that Matthew has found her? He's got a score to settle with her, at least in his mind he does! And he seems suddenly even more strange and messed up than before, jumping out at David just to frighten him. The kid is helping him, after all, misguided though he may be.

Liz talks to David about loyalty. David wants to know Matthew's secret, which we assume is the hidden room behind that bookcase. Will Matthew tell him? Or will he have a good reason not to?

They think Vicki's gone to Bangor for the weekend and won't miss her until Monday--what will Matthew do to her now that he's captured her once again?

Is the suspense killing you?


Episode #116 - Since I came to live at Collinwood, my life has been in danger several times--until a moment ago, I thought the danger had passed--only to find myself trapped in the deserted Old House by a desperate man who has already tried to murder me.

Vicki gasps and tries to flee, but Matthew grabs hold of her and warns her not to scream--it won't do ya any good if you did--nobody can hear ya. I won't, promises Vicki--what are you doing here?--I thought... You thought I was miles away from here, he finishes. She nods. That's what I wanted people to think, he says proudly, it's the last place they'd think of lookin' for me--too bad you couldn't stop your snoopin' around! Vicki shakes her head--I wasn't snooping, she says, I was just looking for the wallet I lost! Never mind why you're here! he says--you're here and you know I'm here--too bad you found out, Miss Winters. Backed against the column, prisoner of a man who has already tried to kill her, Vicki's face is filled with fear.

Vicki has turned away from Matthew, but she gazes over her shoulder at him, terrified, and asks what he's going to do. I know what I'm not going to do, he says, rubbing his hands together, I'm not going to let you leave here, let you turn me over to the sheriff. Vicki assures him she wouldn't do that. Don't say you won't! he says, I know you hate me, I know you want me to spend the rest of my life in jail. That's not true, she says. No? he asks. I don't hate you, she says, I'm afraid of you, that's all. Too bad you weren't scared earlier, he says, scared enough to stop your snoopin' round--everything that's happened to me is your fault!--nobody knew I had anything to do with Malloy's death until you started pokin' around, you got the sheriff after me--now you've found me here--I was safe enough here until a few minutes ago, now I don't know what I'm going to do! She makes a move toward the door. NO! says Matthew---I know what you're thinkin'--forget it--you ain't gonna make a run for it. She shakes her head. Do as I say or I won't be responsible for what happens, he warns her. I'll do anything you say, she says. Not safe standin' around out here, he says, come with me. Where are you taking me? she asks, and he drags her over to the bookcase and tells her she'll see.He opens the shelf and shoves her in, then goes in there with her, ignoring her cries of, "Matthew, please!"

Collinwood - Mrs. Johnson answers a knock at the door, first turning on lights in the darkened foyer. Somebody called for a cab? asks the man. That would be Miss Winters, says Sarah--I thought she left already--come in and I'll check. The man takes off his hat. Sarah calls upstairs to Vicki, several times.No, she says, I'm sorry, the young lady has left for the weekend. You sure? he says, she didn't cancel the call. She isn't in the house, says Sarah--I said goodbye to her a little while ago--she must have gotten a lift to town or else decided to take the bus, she's just not here--sorry. So am I, says the cabbie, leaving the house. Sarah closes the double doors and goes into the drawing room to close the window. We see the broken windows of the Old House, and through them, the bookcase, now Vicki's prison.

Vicki gazes around the damp brick room into which Matthew has brought her. What is this? she asks. A secret room, he says, nobody knows about it but me--not even Mz. Stoddard--they'll never find me here, nor you either. How long have you been here? asks Vicki. Since the night I ran away, he says, the night you came to my cottage. Vicki gulps--the night you tried to kill me, she says. That night, says Matthew. Then you never left Collinwood, she says. I left, he says, I took my car and drove, I musta drove over a hundred miles. Why did you come back? she asks. I couldn't think of anyplace else to go, he says, besides, this is the last place in the world they'll come lookin' for me. What if they find your car? asks Vicki, then they'll know you're someplace nearby. I've got it hidden in the woods here, where no one can find it, he says--when the search quiets down, I'll drive to a town up the coast and sign up aboard a fishing ship--they won't care who I am, I'll stay at sea the rest of my life. But it could be months before they stop searching for you, says Vicki. I can wait, he says. How will you live, how will you eat? she asks. I can get food, says Matthew, don't worry about it. How?--you can't go into the main house, she says, and if you go into town, they'll recognize you. Somebody's lookin' after me, he brags, smiling. Somebody's helping you? she asks. Ye-uh, he says. Who, someone at Collinwood? she asks. A friend!--that's all you need to know, he tells her--thought you'd turned everybody against me, but you didn't! You talk as though I made some sort of plot against you, she wails--that's just not true--I never tried to hurt you! You did hurt me! he says--you did the worst thing one person can do to another--you set friend against friend--YOU TURNED MZ STODDARD AGAINST ME! That's ridiculous, says Vicki, violently shaking her head. You made her lie for you! accuses Matthew--she tried to trick me, tried to turn me over to the sheriff--she never would have done that in the old days, before you came to Collinwood, it was all your doin'--you lied to her and she believed ya! Vicki shakes her head. Why did you do it? asks Matthew, near tears--why do you hate me? I don't hate you! Vicki assures him, and I didn't turn Mrs. Stoddard against you--I never said one word about you to her! You think I b'lieve your lies? He demands angrily--I got eyes and ears, I know what happened! you must be insane, says Vicki. DON'T SAY THAT TO ME! shouts Matthew, going for her throat, but stopping. I didn't mean it, says Vicki, tears glittering in her eyes. You're the crazy one, he says--you think I don't know what's going on?--I know what you done to me, Miss Winters, I wish I'd kilt you when I had the chance!He again encircles her throat with his hands, but she struggles, and he shoves her down on a mattress lying on the floor. She's crying hard.

Mrs. Johnson wanders the living room. Liz enters carrying a huge bouquet of flowers and a vase, asking Sarah if she's seen Carolyn--she's not in her room. I think she went out, says Sarah--I think she had a date. Why? asks Liz. She asked me to press a dress, says Sarah, and a pressed dress usually means a date. Oh, Joe, probably called and asked her to have dinner with him, says Liz, setting the vase on the piano. Could be, says Sarah. Odd, though, says Liz, putting flowers in the vase, she usually tells me where she's going. Well, says Sarah, perhaps she thought you were taking a nap and didn't want to disturb you. No, says Liz, she knew I wasn't resting, and she knew I had to work on the ledgers, I told her so. I don't know, says Sarah. I suppose it's nothing to worry about--did Vicki get off all right? asks Liz. Apparently, says Sarah--do you know, did Vicki order a taxi cab? I suppose so, says Liz, why? Because a taxi cab man came here a few minutes ago, and she'd already left. I wonder how she got to Collinsport? Asks Liz. Maybe Carolyn gave her a lift, suggests Sarah. Possibly, says Liz, but why didn't she cancel the cab? She probably forgot, says Sarah. I suppose, says Liz--I remember, she left her suitcase in the hall, I remember her putting it down--she checks and sees that it's gone--you're right, she probably did forget about the cab, probably on her way to Bangor now. The camera shows us Vicki's suitcase, with her initials VW, unnoticed by Liz, tucked into the alcove where the coats are hung up.

Here's the evening paper, Sarah tells Liz, handing it to her. ESCAPED KILLER STILL AT LARGE, proclaims the headline, and there's a large photo of Matthew on the front page. I don't even want to look at it, says Liz, it's full of nothing but Matthew.That was a terrible thing he did, remarks Sarah, gazing at the paper, I hope they find him and put him in prison for the rest of his life! I know how you feel, says Liz, I was a friend of Mr. Malloy's, too, I still can't help pitying Matthew. You pity him? asks Sarah, incredulous--the man who killed Mr. Malloy--she makes and shakes a fist. It was an accident, says Liz, he didn't mean to kill him, he thought he was protecting me. I know what he thought, says Sarah. I'm not excusing what he did, says Liz, but I can't forget his loyalty, either--I feel as if I've lost two friends--Mr. Malloy and Matthew. You consider Matthew a friend? asks Sarah. He was our caretaker for over 18 years, says Liz, and during that time, he was one of the few friends I had. The phone rings, Liz answers. It's Frank--that's odd, Liz tells him, she left here over two hours ago--no, I didn't see her go, but she said goodbye to me--and her suitcase is gone, so I know she must be on her way--perhaps she'll be on the next bus--all right, do that--I'll be here. Vicki missed her bus? Asks Sarah. Apparently so, reports Liz, that was the friend she was visiting, and he said she wasn't on the bus when it got to Bangor. She won't have too long to wait for the next one, says Sarah--I think they come about every hour. I know, says Liz, I told Mr. Garner she'd probably take the next one, but she still seems worried about her. Why, people miss buses every day of the world, says Sarah. I know, says Liz, but so much has happened to Vicki in this past week, it seems natural to worry about her. We see the front page of the newspaper.

Get up, Matthew orders Vicki. Tears run down her face. She does, moving away from him. He rubs his hands together and moves close to her. You're lucky I didn't kill ya, he says--for a moment I had a mind to. I'm sorry, she says, I didn't mean what I said, really I didn't. Better not say anything like that again if you know what's good for ya, he warns--I lose my temper easy. There's no reason for you to lose your temper, Vicki assures him--I'll do anything you say--anything! You better, he says. I will, she says, sinking into a chair, I only want to live. That's all I want, too, he says--why couldn't you have left me alone, you and everybody else?--I'm just a harmless old man, I never meant to kill anybody. I know that, says Vicki, voice thick with tears, I know you didn't set out to intentionally kill Bill Malloy--everybody knows that. What about the sheriff? Sneers Matthew--what does he think? He thinks it was an accident, says Vicki, because I told him it was, and Mrs. Stoddard did, too! Why are the police still all over the grounds? Demands Matthew--why are there blocks on the roads?--they don't go to that trouble to catch a man unless they think he's a murderer! There aren't any police on the grounds, says Vicki desperately--they left! Since when? asks Matthew, not believing her. Since you disappeared, she says, there haven't been any police here for days! Soon you'll be tellin' me is there are no more roadblocks, either! he says. There aren't any, she says, because as far as the sheriff is concerned, you're hundreds of miles away! Somebody told me a different story, he says, told me the police were all over the place--the minute I stepped out that front door, I'd be arrested. Whoever he is, he's lying, says Vicki, because you're perfectly free to go outside. Why would my friend have lied to me? asks Matthew. I don't know, says Vicki, all I know is that you can leave here and get in your car, wherever it is, and drive away, and nobody will stop you. He looks at her suspiciously, pacing, then gazes down into her hopeful face. Why are you looking at me like that? she asks. I'm trying to decide whether to believe ya or not, he says.

All right, Frank, says Liz to Frank on the phone, I'll call you back as soon as I learn anything. Vicki wasn't on the nest bus, either? asks Sarah.No, says Liz, and Mr. Garner checked with the bus company and no girl fitting Vicki's description has been on any of the buses to Bangor--he thinks she hasn't left Collinsport. What would she be doing in Collinsport? asks Sarah. She certainly wouldn't be visiting Maggie Evans or anybody, not with Mr. Garner waiting for her in Bangor, says Liz. You know, maybe Carolyn drover he to Bangor and they stopped along the way, suggests Sarah. It's possible, says Liz, but I'd better phone Joe Haskell. She does so, but he isn't there, and she asks the person at the other end of the line if he or she knows where Joe can be reached--I see--if he comes in, tell him to call Mrs. Stoddard--it's urgent, I'm trying to get in touch with him. She hangs up. No luck, says Sarah. No, says Liz, twisting he hands together, Joe isn't in and Mrs. Landry doesn't know where he can be reached. Well, says Sarah, I'll tell ya how I think we can find out of Carolyn went out on a date--Joe would have picked her up, and her car would be in the garage--if her car is gone, that means she drove Vicki to Bangor--I'll go and check. Would you? asks Liz, grateful--I'm getting terribly worried. Sarah leaves. Liz goes to the fireplace and stands there, worrying.

You're lucky, Matthew tells Vicki. Why do you say that? she asks him. I've decided to give you a chance, he says. You're going to let me go? she asks eagerly. I'm going to leave you here, he says, go outside and take a look around--if you're tellin' the truth and there are no police around, I'll head for my car and that's the last you'll ever see of me. What about me? asks Vicki--you can't leave me in this horrible room! You'll find a way to get out, he says, or someone will come here and find ya, you'll be all right. you're doing a wise thing, says Vicki--it's not safe for you to be here, believe me, it isn't. He looks at her and warns her that she'd better cooperate, and do just what he says. Anything, she swears, nodding her head. Stay here for a couple of hours at least, he says, don't move, don't make a sound, if anybody comes in, don't call out--gimme plenty of chance to get away. All right, she says. I'm trustin' ya, he says, you do just like I said or you'll be sorry. I understand, says Vicki. He gives her one last look and leaves the secret room, closing the door behind him. He first looks out the window. Vicki listens at the back of the shelf. Matthew leaves the Old House. Vicki hears the door close and begins to sob. She rubs her cold hands together, then sits back down in the chair and cries. She stands, listens at the door again, opens it, and creeps out into the drawing room. She stands there, looking around, standing amidst the filth-strewn room. She slowly walks to the door, trembling. She moves toward the door, reaching for the knob, and slowly opens it. We hear the sound of the wind. Vicki exits the Old House, looking around, but is grabbed from behind by Matthew, who presses his hand over her mouth and forcefully tosses her back inside the house.I knew I couldn't trust ya! he says, a cruel grin on his face--I knew you were lying to me--and he comes lunging toward her. Vicki screams.

NOTES: I still remember this episode, which was written by Ron Sproat, all these years after seeing it the first time. I was terror-stricken for Vicki, and wondered if he was going to kill her then and there--or perhaps do something else to her, like rape. I'm certain it was a Friday episode, and couldn't wait for Monday afternoon to come so I could see what fate befell poor Vicki. I really enjoyed the performances of Thayer David and Alexandra Moltke in this ep. They are wonderful together.

Matthew's sanity is clearly in question now. He has twisted the facts into what he wants them to be--Vicki is solely responsible for his plight, for turning Liz against him and setting the sheriff loose on him--all of which is nuts, because he is the author of his own misery, not Vicki. I guess he can't handle the fact that he put his foot through his happy life at Colllinwood, so he must find someone else to blame. Will he kill her this time?

At least the Collins household knows Vicki never made it to Bangor--and more quickly than I thought, too. I love the way Liz and Sarah work together. Mrs. Johnson seems like she's always been there, and it was good for Liz to have someone to talk to and help her at a time like this.

Matthew scared me then and does now. He seemed like basically a gentle soul, turn tiger when those he cares for are threatened. He felt Liz was threatened and warned Malloy, but killed him accidentally in the process (or was it truly an accident)? Matthew is a fascinating character, and very smart, too--he knew Vicki was using her story as a desperate ploy to escape, but he outsmarted her--and now what will happen to her?

How wondrous an actor Thayer David was, to make Matthew both sympathetic and terrifying!

Love, Robin

Episode #(110_)111 - In the past week, three attempts have been made on my life by an unknown assassin--a man who has already killed once. I have just learnt that man's identity.

Cottage - I shouldn't have told ya, that was a mistake, Matthew tells Vicki--you know I killed Malloy . I don't know that, says Vicki, I don't know anything! If I let you go, says Matthew, you'll go straight to the sheriff--you'll tell him that. I won't, I promise, says Vicki, eyes wide. I don't believe your promise! he says. I don't want to hurt you, she assures him, backing away, I just want to get out of here, I'll forget everything! You can't forget, he says, pursuing her. Oh yes I can! she says. You know the truth--you're the only one who does. But I won't tell! she vows, desperation in her eyes--I wear I won't. I might believe that if...he says. If? she asks. You were dead, he finishes. (brrrr!)

That's the only way I'll ever be safe is with you dead, Matthew says--they say dead people don't tell tales. (Bill Malloy does!) Supposing you do kill me, says Vicki, when they're at opposite sides of the table, you won't be safe. Why not? he asks. They'll find my body--and will know it was you! she says. No one ever suspected me--except you, he says. I didn't suspect you, she says. Not at all? he asks. Not for a minute, she says. You thought it was Mr. Collins all along, muses Matthew. Yes! she says, nodding furiously. Sorry you found out otherwise, he says, I don't want to kill ya, I never killed anybody before--not deliberate, anyway. What about Bill Malloy? she asks. That was an accident, he says. It was? she asks hopefully. I didn't set out to kill him, says Matthew. How did it happen? asks Vicki. We had a struggle, he fell from the rocks. What were you fighting about? asks Vicki. He was out to harm the Collins family, says Matthew, I was trying to stop him. How? she asks. I don't know, says Matthew, I just know he came to see Mz. Stoddard that night, he said he was gonna get the whole family in trouble--I knew Mz. Stoddard was plenty scared--that's why I went after him, to tell him to leave her alone, stop makin' trouble for her--not to kill him. You caught up with him at the cliff, guesses Vicki. I told Malloy I had to talk to him, he says, told him to leave Mz. Stoddard alone, but he didn't listen to me, if he'd have listened to me, he'd be alive now--he tried to walk away from me, I grabbed him, then it happened. He fell, says Vicki. Ye-uh, says Matthew--he was dead when he hit the rocks--I went down the beach and found him lying there dead, face down in the water, it was a terrible sight. Vicki creeps toward the door, as she says, "I can imagine," but he steps in front of her. Tried to wash the body out to sea, says Matthew, I figured the current would sweep it out to the middle of the ocean where nobody'd ever find it. But Roger found it, says Vicki. Yeah, he come right after Malloy died, before I had time to wash the body out to sea, says Matthew--I hid behind some rocks--he didn't see me, only Malloy. Then he was telling the truth, says Vicki, it was just an accident. I haven't got a reason for lyin' to ya, says Matthew, not now. I believe you, says Vicki, really, I do--and if I believe you, then the sheriff will, too. The sheriff's not going to know about it, says Matthew. Why, because you're going to kill me? asks Vicki. I have to now, he says. No, she says gently, because right now, all you're involved in is an accidental death--but if you kill me, you'll be guilty of murder in cold blood! If I don't kill ya, I'll go to prison, for years, maybe! he says. What's a few years compared with a murder charge? she asks--it could cost you your life! He stares at her, considering what she said.

That sheriff has been out there over 20 minutes, frets Frank to Liz in Collinwood's drawing room--why hasn't he found Vicki? Liz, sitting on the sofa, says she doesn't know. He sits beside her and tells her he should he helping them search. The sheriff was right, says Liz, he and the deputy know the grounds better than you do. It would be something, he says--sitting here waiting, doing nothing is driving me nuts!--what's taking so long? She stands and asks if he has any idea of the size of this property--if Vicki wandered off into the woods, it could be hours before they found her--she opens the window to look out--but that isn't saying she isn't going to be found. He comes over to her. You really believe that? he asks. I want to believe it, she says. So do I, he says--I would if I didn't know what's already happened--two attempts on her life--that's what really has me worried. I know, says Liz. Are there any back roads leading from this place into town? he asks. One, she says, but it's practically impassable. I know she didn't take the main road into town, I'd have passed her coming up here, he says--maybe Vicki went someplace with Carolyn. No, says Liz, I sent Carolyn to a friend's house earlier this afternoon--she was very upset about her uncle--and Vicki was with me when she left. That means she must be here on the grounds, someplace close by, says Frank, but where could she be? He paces, and Liz continues to look out the window. Someone knocks at the door and Liz rushes to answer. It's the sheriff. You haven't found her? says Frank--no trace, no nothing? No, says Patterson, not yet--I want to use the phone and get more men up here right away. He dials the foyer phone and tells Chris to round up as many men as he can and get them to Collinwood ASAP--it's an emergency--I'll explain later. Did you make a thorough search of the grounds? asks Frank. As thorough as we could, he says, we didn't go into the woods, but can't do that without more men. Did you find anything, demands Frank--a broken twig, a footprint, something that would give you some indication of where she might have gone? No, we didn't, says Patterson. Did you see that broken urn down by the Old House? asks Frank. Yes, it seemed recent, says Patterson, I didn't know what to make of that. I'm sure that Vicki's in some kind of trouble, says Frank. As soon as we get more men up here, we'll go through the grounds with a fine tooth comb, says Patterson, if she's here, we'll find her. You said that before! says Frank belligerently. What do you want me to do? asks Patterson. I'm sorry, says Frank, I know you're doing everything you can. How many buildings on the property? Patterson asks Liz. Three, she replies, this, the Old House and caretaker's cottage--then there are greenhouses, barns, stalls, sheds--why?I just don't think we should limit the search to the grounds, I think we should search the buildings, too, says Patterson. I don't think that's necessary, says Liz--she's obviously not here--Mr. Garner and I went to the Old House, she wasn't there, and I phoned the caretaker's cottage and she wasn't there, either, so I think it's a waste of time searching any of them.

Think about it, Vicki tells Matthew--think what'll happen if you kill me--the sheriff will find out, come after you, and he'll capture you and you'll have to stand trial for murder. No, he says, it won't happen that way. But it will, she says--the sheriff isn't stupid, he'll know how it happened. He didn't connect me with Malloy, says Matthew. That was an accidental death, completely different, says Vicki, this is premeditated murder--so he'll be questioning, and sooner or later, they'll question you. Why me? he asks. Because they'll find out I didn't leave Collinwood--Mrs. Stoddard will tell them--they'll know I must be somewhere here on the grounds--there are only four people here--Mrs. Stodddard, Mrs. Johnson, David, and you--she points at him--(not wise, Vicki; your concept is cunning, but this man has blinders on)--and sooner or later, they're going to come up with the right answer. They'll think you just went away, he says. Without telling anyone? she asks, creeping backward toward the door--without taking anything--who's going to believe that? You're trying to scare me, confuse me, he says, blocking her way, it's not gonna do you any good. It's not going to do you any good if you kill me, she says, you know that. I have to keep you quiet, he says, advancing toward her, I wish I didn't have to kill ya, I wished you hadn't forced me into it. Forced you into it? asks Vicki, incredulous. You wouldn't stop your meddlin', he says, I tried to stop ya, to scare ya off--that first time was the time I come to your room. So it was you, she says, backing away--what were you planning to do? Scare ya enough so you'd stop your pryin' he says--you'd stay out of things that didn't concern ya, but you wouldn't--too bad you didn't. And last night on the road, she says, it was you that tried to run me down, wasn't it? Matthew admits it. Did you want to kill me then? she asks. I could have run over you then if I wanted to, he says. But you didn't want to! she tells him. Not at the last minute, he says, I guess I had some foolish notion I'd scared ya enough to stop your snoopin' and get you out of Collinwood--I might have known you'd go straight to the sheriff. And tonight, when you dropped that urn, she says. What about it? he asks. Were you trying to kill me then? she asks. I'm not sure, he says--I thought it might hit ya. But it didn't, she says, you didn't want it to hit me. Maybe not, he says. You don't want a murder on your conscience! She says. I wouldn't kill anything unless I was forced into it! he says, pushing her down in one of the kitchen chairs--you forced me into it! You don't want to kill me, says Vicki. Stop talking! he rails at her. What are you going to do? she asks. I'm not sure, he says, dipping his head down, I have to think!--he looks at her pale, scared face.

There's only one thing I can do--kill ya! he says. No! she pleads. I haven't got any choice, he says, I can't let you go, you know too much. They'll know, she says, they'll find out! Not if they never find your body, he says. But they will! she screams. There's a little cove about two miles up the coast--they'll never find ya there, says Matthew. No, says Vicki, shaking her head in terror. You'll disappear and for a while they'll ask a lot of questions, he says, then they'll stop asking questions and I'll be safe. No, Matthew, no! she cries, rising from the chair. I wish it didn't have to be this way, he says.. She bursts into tears, and he orders her to stop crying. I can't! she wails--I can't. There's one thought that bothers me, says Liz, wrapping her arms around herself against the cold. She and Frank stand outside the front doors of Collinwood--the grounds are full of places Vicki could have stumbled into--caves under the cliffs--if she does stumble into one of those, it will be days before we find her. You don't think she'd wander into one of those places by herself, do you? he asks. It's possible, she says. I think maybe you'd better tell the sheriff this, he says, give him a list of places to search. I've lived in Collinwood all my life, she says, and I don't know the grounds that well--neither does Roger. Who does? he asks. Only one man knows the property like the back of his hand--Matthew, she says. You've already asked him to search for Vicki, says Frank. Yes, she says, and it's a bit odd--usually when I asked Matthew to do something, he does it and reports right back--it's odd that he hasn't--I'd better go in and call his cottage. She enters the house and Frank closes the double doors.

The phone rings at the cottage. Both Matthew and Vicki stand frozen, staring at it. Aren't you going to answer it? she asks him. No, he says. Why not? she asks. Because there's only one person it could be, he says--Mz. Stoddard. She runs to answer the phone, but he beats her to it, stopping her. The phone rings on. Vicki sits down, straining toward the phone, until the ringing stops. Why didn't you want to talk to her? asks Vicki. She thinks I'm out lookin' for ya, he says--that's what I want her to think. What good will that do? she asks. When I get up to the house, later tonight, I'll say I searched everywhere, says Matthew, and couldn't find ya--she'll believe me--she won't make any connection between you and me, neither will anyone else.Realizing he's right, and that she might die very soon, a hopeless expression comes over Vicki's face and her eyes fill with tears.

Frank paces the drawing room. What time is it? asks Liz. A few minutes past eight, he says. Is that all? she asks. The longer she's gone, he says, the more sure I am that Vicki's in real danger. I know, says Liz. It's not that she might be lost in the woods or trapped in a cave someplace, says Frank, sitting in another chair near her--I have a feeling someone is responsible for her disappearance--someone who's already tried to kill her on at least two different occasions. Why would anyone want to kill Vicki? asks Liz. Possibly they think she has knowledge dangerous to him or her--probably has something to do with Malloy's death--you knew Malloy very well, didn't you? We were close friends for years, she says. Who stood to benefit from his death? asks Frank. Nobody, she says, I can't think of anyone with a reason for wanting him dead--as far as I know, he didn't have any enemies. And he was on the best of terms with you and your family when he died? asks Frank. Not exactly, says Liz--he came to me a few days before he died, he also came to me the night he was killed, and said he had to make trouble for the family--he didn't say what kind, just that he had to do something I wouldn't like, and that he had to do it. Did you have any idea what he was talking about? asks Frank. I wasn't sure, says Liz hesitantly. Be honest with me, for Vicki's sake, says Frank--do you think Malloy found out something about that manslaughter case Roger was involved in 10 years ago? I thought it was possible, admits Liz. That would have given Roger a motive for wanting to see Malloy dead, says Frank. Roger didn't kill Bill Malloy, insists Liz, and he hasn't been making these threats on Vicki, and if anybody is holding her now, it's not Roger because he's in town with the police. Frank sighs. I know, and so is Sam Evans, he says--at one point I thought Evans might have killed Malloy and he's the one trying to kill Vicki because she knew too much, but that doesn't make sense now--the police are holding Evans, too. (Not in the same cell, I hope!) We're right back where we started, says Liz--nobody had a motive for killing Bill--if he was killed. She rises from her chair and goes to the window, opening it again. She gazes out. Frank joins her and asks if she can think of anyone who would want to protect her, Roger, and whole Collins family? (Bingo, Frank!) Protect me from what? she asks. Scandal, he suggests, or whatever trouble Malloy was going to cause--it would have to be somebody close to you--so close, that person would kill for you--can you think of anyone who fits that description? Liz mulls it over.

Why are you looking at me like that? Vicki asks Matthew. He takes a chair over and sits in front of her. I'm thinking, he says--the best way to kill ya--I don't want to do it, I wish I didn't have to. Nobody has to kill! she protests. Sometimes men have to protect themselves, he says. You said you'd never killed before, she reminds him, why start now? I was lyin' when I told ya I'd never killed before, I have, he admits--I killed a dog--that dog was old, I killed him to put him out of his misery. This confession relieves Vicki, who says there's a great deal of difference between killing a dog and killing a human being! He didn't suffer, not for a minute, says Matthew, I saw to that--he didn't know what had happened to him. How did you kill him? she asks. I broke his neck, says Matthew. Vicki looks away, unable to bear it. He died a peaceful death, he assures her, he didn't suffer--I'm not going to make you suffer, either. He stands. Stay away from me! she says, backing away from him. I'm sorry, he says. You're not going to kill me without a struggle! she screams shrilly--I'll kick you and scratch your face and there will be marks all over it, and everybody can see! Stop tryin' to fight me, it'll be easier for ya, he says--and grabs her around the throat. At that moment, Liz enters the cottage. Matthew! she calls, but while he removes his hands from her throat, Matthew doesn't let Vicki go. He's going to kill me! screeches Vicki--he killed Bill Malloy and he's going to kill me! Liz stares at this tableau in astonishment.

NOTES: Wasn't this episode amazing? Didn't you wish they would keep away from Liz, Patterson and Frank and keep tabs only on Vicki and Matthew? The suspense between the latter two (and isn't his Thayer David's acting amazing?) was riveting as she tried desperately to save her neck and he warred with himself about killing her--but painlessly. I see Ron Sproat wrote this episode. Matthew was alternately terrifying and sympathetic. He appears to be a gentle man with a core of violence--or is it the other way around? His description of how he killed the dog was actually sad, but to him, he did things the right way--and would give Vicki an equally merciful death. Somehow, I felt Vicki could have handled him better; she kept telling him he'd be caught, but he had a plan for strangling her, then dumping her body far away, so it was an empty threat--he might have gotten off free. Lucky for Vicki, Frank's question to Liz about who would want to protect her sent her to the right place. Will Matthew kill the woman he loves to protect himself from being punished for Malloy's murder? He did all this out of love for Liz, how far will that go?


Episode #112 - I have just lived through the most terrifying hour of my life--I have learned the identity of a murderer, and he has attempted to kill me--I would not be alive now if someone hadn't interrupted him in the act of trying to murder me.

What is this? demands Liz, what's going on? He's trying to kill me, claims Vicki, still in Matthew's grasp. Be quiet, he orders. Let Miss Winters go! orders Liz. When he doesn't do it the first time, the tells him again. This time, he releases her. He tried to kill me, says Vicki--he killed Bill Malloy and he just tried to kill me. Is that true? asks Liz. It's true, admits Matthew, shocking Liz.

Liz steps forward. I can't believe that you could kill anyone, she says wonderingly. I didn't mean to kill him, says Matthew, it was an accident--I was only tryin' to stop him from makin' trouble for ya, protect ya. Protect me? asks Liz, he was my friend! He wasn't talkin' like a friend, says Matthew, a friend doesn't make trouble for a friend. You overheard the conversation the night he came to the house, says Liz. That's why I followed him after he left the house, explains Matthew--I only wanted to tell him to leave you alone. How did he fall from the cliff? asks Liz. He lost his balance, he fell, says Matthew, after I grabbed him--I shouldn't have done that, he pulled away from me, and that's when he slipped and fell--I didn't want to kill him, I didn't mean to, you believe me, don't ya, Mz. Stoddard? Yes, she assures him. I did it for you, he says, I was only tryin' to protect ya. I understand, she says. You won't let anything happen to me, will you? asks Matthew sadly. Be careful, he's dangerous, warns Vicki. Be quiet, says Liz. It's her fault anybody had to find out, accuses Matthew. Matthew! chastises Liz. She had to keep snoopin', it's her fault, Mz. Stoddard! he insists. Keep away from me, warns Vicki. I didn't want to hurt her, but she forced me into it, he says. Listen to me, says Liz, a friendly hand on his arm, Miss Winters isn't going to hurt you. She'll go to the sheriff, says Matthew, tell him everything she knows. No she won't, says Liz, I won't let her. You won't? he asks. I won't let anything happen to you, she says. You promise? he asks. Yes, she says--you trust me, don't you? You're the only person that's ever been good to me, he says softly--I trust ya. Then you'll let me make the decision, she says. As long as you stick to your promise, he says. Have I ever gone back on my word? asks. No, he says, you're a Collins, a Collins doesn't do that. (Has he ever met Roger and David?) Then believe me when I tell you you can trust me, she says. I believe ya, he says. Good, says Liz--Vicki, go to the house. She slowly walks to the door. No! shouts Matthew, I trust you, but that doesn't mean I trust her--the minute she walks in the door, she'll phone for the sheriff. No, says Vicki, I wouldn't. No she won't, says Liz, not if I tell her not to--Vicki, go to the house, straight to your room, and don't talk to anybody. All right, agrees Vicki. No! says Matthew, barring Vicki's way, she's not leaving here--how are you going to keep her from telling what she knows? We'll keep a watch over her, Liz assures him. We will, he says. We won't let her say a word to anybody, says Liz. You're really willin' to help me, says Matthew. We're friends, aren't we? asks Liz. Aye-yuh, he says. And you just said you trusted me, she reminds him. A person has to trust somebody in this world, he says, I wouldn't have much left if I couldn't trust you. Then you'll let me make the decisions, says Liz--Vicki, we'll go to the house. Matthew blocks the doorway. NO! he bellows. Matthew, you just said you'd let me make the decisions! says Liz. (This woman has nerves of steel!) Not that one, says Matthew, back against the door. Vicki cowers in the corner. You may trust her, but I don't, says Matthew, she's not leaving my sight. All right, then, says Liz, we'll all go to the main house together. Why? he asks. Because we have to talk, make plans, says Liz. Why can't we talk here? he asks her. Because I prefer to go to the main house, she says. Why, Mz. Stoddard? he asks. Why does it matter? she asks. Who's up there? he asks. Just Mrs. Johnson and David, says Liz. That's all? he asks. That's all, she says--come on, Matthew. You're real anxious to get me back to that house, why? he asks. I'm not anxious, she says. Who's up there? demands Matthew--the sheriff?--did you call him to look for her? No, says Liz. You're a bad liar, says Matthew. Matthew! she says. You've never lied before, you shouldn't have done it now, you shouldn't have done it--and he launches himself at Liz, hands outstretched for her throat. NO! screams Vicki, and he stops, staring into the steady gaze of the only person in the world who's ever helped him.Matthew's face shudders as he drops his hands and backs away from Liz, opens the door, and leaves the cottage. Liz stares, stunned.

Foyer of Collinwood - Frank asks Patterson where his men are now. Half of them are combing the beach, says Patterson, the other half are looking in the woods. There are some caves that Mrs. Stoddard...begins Frank, but he stops when Liz and Vicki come in and the latter runs into his arms, calling his name. Where have you been, what happened? demands Frank. Matthew, he tried to kill me! says Vicki. The caretaker? asks Patterson.I got there just in time, says Liz--you'd better go after him, sheriff. Why did Matthew try to kill Miss Winters? asks Patterson. He was afraid of her, says Liz. Why? asks Patterson. He killed Bill Malloy, says Vicki, he thought that I knew! He didn't mean to kill him, it was an accident, says Liz. (Notice how fast she defends Matthew.) He admitted that to you? Patterson asks Vicki, but it's Liz who answers yes. Is he still on the property? asks Patterson. No, he ran out of the cottage, says Liz--Vicki and I waited until we heard his car drive away--he's on the road somewhere. You mean the old station wagon? asks Patterson. Yes, says Liz. I'm going to put out an alarm for his arrest, says Patterson, and goes to the phone to dial. You look like you're going to collapse, says Frank, supporting Vicki. I feel a little woozy, she says. He suggests she sit down and brings her into the drawing room and seats her on the couch. Liz asks her if she wants something to drink. I'm all right, Vicki assures her. I think you'd better have a sip of brandy, says Liz--I'll have one, too. She pours. You were wonderful, Vicki praises Liz, if it wasn't for you, I'd be dead! How did you know where Vicki was? asks Frank. I didn't have the faintest idea, says Liz--something you said made me wonder--when you asked me if I knew anyone loyal enough to maybe kill for me, it made me think of Matthew. If you suspected Matthew, why didn't you tell me? asks Frank, why did you go down to his cottage alone? I didn't suspect him, says Liz, there was just a small doubt I thought he could clear up--instead... He tried to kill me, finishes Vicki. I didn't believe it was possible! says Liz, handing Vicki the brandy. I posted a general alarm, reports Patterson (Mike R. Phone appears in shot)--the highway patrol is going to put a guard on every road leading out of here--I'm sure they're going to pick him up. I hope so, says Vicki. Patterson sits next to her and says he's going to need a complete accounting of everything that happened to her from the time she left this house. I went to the Old House to see if I could find David, says Vicki, and... And? asks Patterson, writing in his pad. And Matthew tried to kill me, says Vicki shakily. How? asks Patterson. He pushed one of those big stone urns off the roof, but it just missed me! says Vicki Did you see Matthew on the roof? Queries the sheriff. Vicki shakes her head and says no, I looked up, but I was scared to look up for too long, and then I ran to his cottage. Why did you go to his cottage, why didn't you come back here? asks Patterson. Because it was the closest place--I didn't think I would be in danger, says Vicki. Was Matthew in the cottage when you got there? he asks. No, it was empty, she says, I went to the phone to call you and that's when he came in--he stopped me, wouldn't let me use the phone, wouldn't let me call you, wouldn't let me leave, he said he didn't want a lot of police there, bothering Mrs. Stoddard. Did you suspect him then? asks Patterson. No, says Vicki, not until later--he lied to me--we were talking about the car that almost ran me down, and he knew the exact time it had happened--now that couldn't have happened unless he'd been driving that car--and that's when I guessed the truth. And Matthew realized that you knew, says Patterson. Yes, he guessed, says Vicki. What happened then? asks Patterson. He admitted everything, says Vicki, he said that he was the one responsible for all the things that had happened to me, he also admitted he killed Bill Malloy. And then he tried again to kill you? asks Patterson. Vicki nods, near tears--he tried to break my neck, and if Mrs. Stoddard hadn't come in--and then the flood of tears comes. Patterson pats her shoulder. Liz tells George that Vicki isn't in any condition to answer more questions, I can tell you the rest. Go ahead, says the sheriff. Liz sets her drink down on the table and says, I went to Matthew's cottage and found Vicki and Matthew there--it looked as if he were trying to strangle her--then Vicki screamed and said that he had killed Bill Malloy and was now trying to kill her--I told him to let go of her and he did--then he started to explain what happened the night Bill was killed--it seems he and Bill got into a struggle at the top of the cliffs--Bill slipped and was killed--he didn't mean to kill him, it was an accident. What were they struggling about? asks Patterson. They had an argument, says Liz. What about, did he say? asks George. Liz hesitates, then stands. Yes, it was about me, she says--Matthew overheard a conversation between Bill and me--he thought Bill was going to make trouble for me. What kind of trouble? Asks Patterson. He didn't know, says Liz, he thought there was going to be some kind of trouble and wanted to protect me from it--she sits--in a way, I feel responsible. Why should you? asks Patterson. Because none of this would have happened if Matthew hadn't been so loyal to me, she says. Don't blame yourself, you shouldn't! says Vicki. After he confessed, says Patterson, did he try to harm you in any way. No, says Liz. I thought for a minute he was going to, says Vicki--I thought he was going to kill her! He didn't, says Liz, instead he ran out of the cottage. Do you have any idea where he might have gone? asks Patterson. None whatsoever, says Liz. Does he have any friends or relatives who live in this area? Asks the sheriff, people who might help him, people he might try to hide with? I don't know, says Liz--I know very little about Matthew's private life, he never talked about it. I guess I'd better go back to the cottage and see if I can get some clues to his whereabouts, says Patterson. I'll go with you, volunteers Liz--that is, if you're all right, Vicki. I'm fine, she says. You're still shaking, observes Liz. I can't help it, says Vicki. It will take her a little while to get over the shock, says Frank, I'll stay with her. Liz and Patterson leave. Frank sits beside Vicki and reminds her that she should just remember she's safe now. I won't feel safe until they find him, she says, until he's caught, I'll still feel I'm in danger.

You know what we're going to do, Frank offers, we're going to get out of here--I'm going to drive you into town and buy you the biggest streak Collinsport has to offer--are you agreeable? Very agreeable, says Vicki, and they rise from the couch. Roger enters the house. Oh, it's you, he says coolly to Vicki, then asks Garner what he's doing here. Taking Vicki to dinner, says Frank. Have you heard what happened? Vicki asks Roger. Yes, he replies, it was quite a shock, wasn't it?--where's my sister. At Matthew's cottage, with the sheriff, answers Vicki. Thank you, says Roger, and turns to go. Vicki stops him. I just want to say how very sorry I am for all the things that happened, she says. Sorry?--why should you be sorry? he asks icily--for assuming I'm a homicidal maniac?--putting me through the worst experience of my life? (I think she's got you beat there, Rog.)--think nothing of it, it was nothing.I'm sorry you feel that way, says Vicki. I don't think you're being fair to Vicki, says Frank. Don't you? asks Roger--I do--and he turns and leaves. I feel awful, says Vicki. Why should you? asks Frank, why should he get up on his high horse--you had every reason in the world to suspect him. Mrs. Stoddard's been so good to me, he is her brother, says Vicki, I accused him of killing me--it's almost like I betrayed her. I'm sure Mrs. Stoddard doesn't look at it that way, he assures her. I hope not, she says. You know what you're going to do? he says--forget about Roger Collins and the whole Collins family and you're going to relax and have a good time and forget about everything that happened today. That's a pretty tall order, says Vicki. Just the same, you're going to do it, he says. That sounds like a command, she says, smiling. It is, he says, grinning back. She promises to try, and he says it's nice to see her smile. It's nice to smile, she says. Shall we go? he says. Mmm-hmm, says Vicki, I just want to leave a note for Mrs. Stoddard telling her where we are. OK, he says.

The sheriff is going through papers at Matthew's cottage. He asks Liz if she's ever heard of Walter Morgan. No, says Liz. It seems to be his brother, says Patterson--he talks in the letter about some family property, he lives in Coldwater, Maine. You think Matthew's headed for Coldwater? Asks Liz. It's certainly possible, I'd better call the highway patrol and put a double guard on roads leading over there. He dials the phone and makes it so, telling Chris what to do--you have? asks Patterson--that's probably where he's headed--I'm going back to my office now, if you want me, call me there--and do call me when you pick him up. He hangs up. What did he say? asks Liz. He said a car was seen matching the description of Matthew's station wagon, says Patterson, on highway 105 and that heads right into Coldwater. Is the car far from here? asks Liz. About 50 miles, he says, and going about 80 miles an hour--they're going to pick him up, don't worry--they'll be sure to get him. Roger enters. Efficiency from the local police force, he says sarcastically, that's a refreshing change. Hello, Patterson greets him. Liz asks Roger when he got back. A few minutes ago, he says, it's taken this long for the local constabulary to decide I'm not an ex-murderer. I'm sorry that you had to be detained, says Patterson. Of course you're sorry, says Roger--everybody's sorry, myself in particular. Patterson assures Liz he'll be in touch, and will let her know what's happening. She thanks him and he leaves. Roger removes his hat and asks her if that thank you was quite necessary--"I was arrested, you know, and I am your brother." Stop it, she says--do you know what's happening? Yes, he says, it's quite a shock--who'd have thought old Matthew was responsible for Malloy's death? He did it for me, for us, says Liz--he was trying to protect the family. At least he was loyal, whatever else he was guilty of, he says--you can't say the same for certain others of the staff--a certain little orphan governess, Miss Winters by name. What about Vicki? asks Liz. What about...? he says, in disbelief--Liz, it's her fault that I was arrested and publicly humiliated--I demand that you discharge her! I'll do no such thing, says Liz. I don't understand you, he says, why do you defend her? Vicki had perfectly good reasons for suspecting what she did, insists Liz, you brought it on yourself--you didn't have to hide evidence from the police, bury that pen! I was trying to spare you the ordeal of an investigation, he says. You weren't thinking of yourself? she asks him. I was thinking of both of us, he says, but that had nothing to do with Vicki. I'm not going to let her go, that's final, says Liz. All right, I give up, he says, I'm not going to argue with you. Good, she says. At last that nightmare is over, he says, we don't have to worry about that anymore. I don't think that's quite true, she says--aren't you forgetting about Burke? Of course I'm not forgetting about Burke, says Roger, won't he be disappointed when he learns that I had nothing to do with Malloy's death. If I know Burke, he'll also be twice as determined to destroy us, says Liz. I'm not afraid of Devlin anymore, says Roger. I'm not afraid of him, either, says Liz, but don't underestimate him--he won't stop until he's satisfied--which means we must destroy him--or be destroyed!

Frank brings Vicki home from their date. She thanks him for dinner--and everything. My pleasure, he says--feeling better? Much, she says. They each open one of the doors. It helped to get out of the house for a few hours, she says. Hoe about getting away for a weekend? He suggests--how about coming to Bangor?--I'll get you a room at the hotel and you can relax and forget this ordeal--I'll show you around town--maybe we can dig up some more about Betty Hanscomb, if you want--what do you say? I would like to get away, she admits. Then say yes, he says, smiling. I'll try to arrange it, she says. Liz joins them. I'm glad you're up, says Frank, I wanted to ask you a question--I was wondering if Vicki could have the weekend off--I'd like her to come to Bangor for a visit. If you'd like the weekend off, you can certainly have it, says Liz. I would, agrees Vicki. Good, then it's all settled, says Frank--I'll make the arrangements and call you tomorrow. Fine, says Vicki. I waited up for you, says Liz, because I wanted to tell you about Matthew--we've had news of him. The smiles disappears from Vicki's face. Have the police caught him? she asks. No, says Liz, but he was spotted on the highway, 50 miles form here, driving toward Coldwater. Are they sure it was his car? asks Vicki. Yes, says Liz, and he was headed away from Collinsport. That makes me feel a lot better, says Vicki, I was afraid he was somewhere nearby. It's a great relief for me, too, says Frank, I feel better about leaving you now knowing you're going to be safe. Vicki links her arm in his and leads him to the door, reminding him that he has a long ride back to Bangor. I'll phone you tomorrow, he says. All right, she says--and thank you again--for everything. For nothing, he says, and leaves. Vicki closes the doors. Liz tells her how sorry she is for everything that has happened to her in the past few days. You don't owe me any apology, says Vicki--I should apologize to you!--for everything I've done to Roger, going to the sheriff...You had every reason in the world for going to the sheriff and suspecting Roger, Liz assures her as they head upstairs. He doesn't seem to think so, says Vicki. He's being unreasonable, says Liz--pay no attention to him, I won't. You're very kind, says Vicki--and it's also very kind of you to wait up for me. I wanted you to know about Matthew, says Liz as they pause on the landing--I thought you'd have a better night's sleep. I will, says Vicki, I feel better knowing he isn't in the vicinity. You have nothing to be worried about, says Liz,--he's miles away from Collinsport. Vicki grins at her and they go to their respective bedrooms.

A lone, dark figure carries a lantern to the Old House.When he gets to the door, he enters. It looks like Matthew--is it?

NOTES: Looks like Matthew isn't as far away as everyone thinks! If he has doubled back and is going to hide in the Old House, Vicki isn't safe at all!

Frank must really like her, inviting her for a weekend as he has. Of course, she's to stay at the hotel and it will be completely platonic. Vicki isn't that kind of girl, at least I don't think she is.

I can't blame Roger for being pissed, as he was forced to stay in a jail cell--and perhaps even share it with Sam Evans! Horrors! Truthfully, Roger is just being snooty. He's done some pretty rotten things to Vicki since she came to Collinwood, and some punishment was in order. I'd say he and Vicki are even. I was very glad when Liz refused his order to dismiss Vicki. I'm glad she realizes that Vicki has been through a lot at the hands of the Collins family and deserves better treatment. Plus, Liz apparently agrees that the evidence against Roger DID look bad.

For a moment there, it looked like Matthew was going to murder Liz, he was so agitated, but instead, he chose to flee. I don't think he could have done it, and if by chance he did, I suspect he'd have killed himself next. I don't know why, but I can't help but feel sympathy for Matthew, murderer or not. His intentions were good, his loyalty true, and he loves Liz.

Poor Vicki hasn't had much luck lately, and one wonders how much has to happen to her before she calls it quits at Collinwood.

Love, Robin

Episode #105 - Ever since I arrived at Collinwood, this gloomy old mansion on the crest of Widows' Hill has held nameless fears for me--most of it stemming from the time I saw a dead man washed up at the foot of the cliff--a case that has been declared an accident--but still has not been marked closed by the sheriff.

In his office, Sheriff Patterson examines Bill Malloy's autopsy report (#220612). Burke comes in and smiles at him. It's an unusual hour to be paying a call, says Patterson. I'm not paying a social visit, says Burke, I'm here on business--your business. It's right neighborly of you to take such an interest in my work, remarks Patterson. Look, says Burke, I don't care who says the Malloy case is over and done with--you're going to re-open it. Afraid I can't oblige you there, Burke, says Patterson. Why not? asks Burke. Before something can be re-opened, it has to be closed, doesn't it? asks Patterson, holding the Malloy file open in his hands. Burke grins. Why, sheriff, you restore my faith in justice, after all, he says. I don't want to destroy your illusions about the inefficiencies of a small-town police department, says Patterson, putting one leg up on the desk--but you forgot one thing--I'm a native in this town, same as you--I knew everybody connected with this case, and most of all, I knew Bill Malloy. So did I, says Burke, and all the evidence in the world won't convince me he died the way the coroner said he did. Burke takes a seat across from the sheriff, who explains that this is a small town, everybody knows everybody else--a case like this one drags on and on, and finally you get a verdict of killed by person or persons unknown--what happens?--I'll tell you--people look at each other with suspicion in their hearts--and I don't want that to happen--so, we bring in a verdict that allows everyone to breathe a little easier, and meanwhile, I go on looking for evidence in my own plodding way. A giant grin splits Burke's face--all right, George, he says, I own you an apology--but I think you owe me one, too--I found someone who has concrete evidence to offer--Vicki Winters. The young governess up at Collinwood--what does she know about it? asks Patterson. I want you to ask her that tonight, says Burke. It's a little late to be paying a call up there at night, says Patterson, are you sure she knows anything? She knows enough that a half hour ago, someone tried to kill her, says Burke. Patterson looks at him, closing the file and sitting up straight.

You say that someone tried to kill Miss Winters? asks George--anyone I might know? She doesn't have any idea who it is, says Burke, but I do. You--I suppose that brings us back to the question of Roger Collins then, doesn't it? asks Patterson. Who else? asks Burke--yesterday Vicki told me she had evidence that pointed directly at Roger. She told you about it? asks Patterson--hasn't she ever heard of the sheriff's office? As you say, this is a small town outfit, says Burke--she doesn't know anything about that, she was brought up in New York--she doesn't understand your subtlety--she thinks when you say you're not interested in a case, that's what you mean. They laugh together. All right, says Patterson, I suppose I deserve that one--suppose you tell me what happened to Miss Winters. Last night, says Burke, she went to bed and locked the door; a little while later, she heard a creaking sound--someone was pushing her door open. This locked door was being pushed open? questions Patterson. Yes, whoever it was obviously had a duplicate key. That sounds logical, remarks George--was she injured? No, she screamed and frightened whoever it was away, says Burke.. I don't suppose she could identify the person, says Patterson. If she did, I wouldn't be here, Burke assures him--I'd be after that guy. Did she actually see anyone at all? asks Patterson. She saw a figure, nothing more, says Burke, but that means it wasn't the wind--it was a person! Patterson rises and asks if there were any signs of anyone breaking into the house? No, says Burke. It couldn't have been the kid, could it? asks Patterson. No, says Burke, the figure she saw was taller than David, Carolyn, even Mrs. Stoddard. Which pinpoints it pretty clearly on Roger Collins, doesn't it? asks Patterson. Can you think of anyone else? asks Burke. No, I can't, says Patterson, pouring coffee--not right off, anyway.

Liz sits on the bench in the foyer, stitching needlepoint. Roger comes in. Where have you been? she asks sourly. It's been a long time since you've waited up for me, he remarks. That doesn't answer my question, she says. I took a drive up the coast, he says, no particular destination. Where were you about half an hour ago? she asks. I think I was about half an hour's drive from home, why? he asks, sitting beside her. You didn't run into Vicki, did you? asks Liz--I mean that figuratively, of course. (LOL!) No, says Roger, what do you mean, figuratively? She was almost run over, reveals Liz--she was walking home from Collinwood (port) and was almost killed. Is she all right? asks Roger, sincerely, concerned. She was hysterical, says Liz, I gave her a sedative and sent her to bed. Roger stands, asking, was she serious about someone deliberately trying...? Roger, interrupts Liz, I think someone is trying to harm her--I wonder who it could be? she asks significantly. I wonder where Sam Evans was this evening? muses Roger, heading into the drawing room. Liz watches him sharply.

Let's get one thing straight, says the sheriff, handing Burke a cup of coffee, you'd still like to think anything bad about Roger Collins you can, wouldn't you--I don't think he's the kind of person to try anything on Vicki right there at Collinwood when he's the only tall figure around there. He didn't know she would wake up, says Burke--maybe he intended for her not to wake up at all, ever. That's a pretty serious accusation, says Patterson. Yes it is, agrees Burke--and what would you say to another attempt, on a lonely road, about half a mile from Collinwood--a car drove straight at her, no witnesses, and if she hadn't jumped in tome, she would have been killed! Reckless driving, suggests Patterson. Deliberately driving over to the wrong side of the road? asks Burke. Who knew she was going to be walking home tonight? asks Patterson. That's what I want you to find out, says Burke. Don't you think she'd be a bit more likely to tell you that than me? asks Patterson. No, says Burke, Vicki is very upset--she knows something that not only pinpoints Roger, but could convict him of Malloy's murder--now isn't that reason enough for him to want to keep her quiet, even if he has to kill her to do it? What is it that she knows? asks Patterson. It's circumstantial, says Burke reluctantly. Not good enough, says Patterson. I know I can trust you to do the right thing, says Roger, and I want you to trust me--I have a plan to bring some real evidence out in the open--it won't be hearsay--all I want you to do is play along with me. How long do we have to play this game? asks Patterson. Not long, promises Burke--it could happen tonight. At Collinwood? asks Patterson. That's where I think the answer is, replies Burke. And who is supposed to present you with this evidence? Asks Patterson.Roger Collins, says Burke. All right, says Patterson, let's go. He heads eagerly for the door, and waits for Burke, who precedes him out.

Roger drinks. Why did you ask about Sam Evans? Liz asks him. He's the only one I can think of who might possibly know more about Vicky than we do, he says. What could he possibly know about her? asks Liz. I haven't got the faintest idea, says Roger--don't you think it odd that he made a present of a portrait that he worked on years ago that bears a striking resemblance to her?There might be a superficial resemblance, nothing more, says Liz. What I'm trying to say is, whoever is trying to scare her, says Roger, or do away with her, has some connection with her past. Are you thinking of Sam Evans, says Liz, your theory is wrong. (Not Vicki's Daddy?) It isn't even a theory, says Roger, just idle speculation. Sam Evans couldn't have been the one who tried to get into her room last night, says Liz. I suppose not, agrees Roger--still, we have absolutely no tangible proof that anyone DID try. I have her word for it, says Liz, that's proof enough for me. There wasn't even a sign that anyone was in the hallway, argues Roger, and the door to the closed off section of the house was locked! There's one other possibility, says Liz--when the ghost of Bill Malloy appeared to Vicki, that door was locked also. That was nothing more than a hallucination and you know it, insists Roger. That seaweed we found on the floor wasn't any hallucination, we both saw it, says Liz. They hear a car drive up, and Liz goes to the window to see who it is. It's the sheriff's car, says Liz, would you open the door for him. Roger, looking like he's walking to an execution, hesitates as the sheriff bangs at the door.

Roger sets his booze glass down on the foyer table and opens the door to Patterson. Well, he quips, the good Sheriff of Nottingham--to what do we owe this--Burke appears next to the sheriff--oh, I was about to say to what do we owe this pleasure, but I withdraw the question. May we come in, says Patterson? You're always welcome, George, Liz assures him, but I'm quite sure Burke knows what I feel about him. I would appreciate it if you'd ask us in just the same, says the sheriff. Very well, says Liz, and leads Patterson into the drawing room. Burke and Roger exchange glances as Burke follows. Roger asks if he can offer George a drink--or is he on official duty? I'm afraid this has to be classified as duty, says Patterson, thanks just the same. I'll save you the trouble of deciding whether or not to offer me one or not, says Burke--I don't want a drink--I want to see Vicki Winters. I'm afraid that's impossible, says Liz. What do you mean?--I talked to her not half an hour ago, says Burke. When she came in, she wasn't in fit condition to talk to anybody, insists Liz, I gave her a sedative and sent her to bed--I don't think she should be awakened. What's the matter with her? asks Patterson. She was hysterical, says Liz. Do you have any idea what caused it? asks the sheriff. She said she was almost run over by a careless driver, says Liz. She told me on the phone someone tried to kill her, says Burke. Nonsense, pronounces Roger. Is it also nonsense that someone tried to break into her locked bedroom last night? Burke demands of Roger. That did happen, didn't it? asks Patterson. I don't know whether it did or not, says Roger, she could have dreamed the whole thing. Was Miss Winters in the habit of having bad dreams like that? asks Patterson. She's normally a perfectly well-adjusted girl, says Liz. Do you believe in ghosts? Roger asks Patterson. Can't say that I do, replies the latter. Miss Winters does, says Roger--she believes in a great deal of things other people don't--she hears things and sees things that other people don't hear and see. What about the pen she found? asks Burke. The pen, what pen? asks Roger. Listen carefully, says Burke, I'm glad you're here, Mrs. Stoddard, I'll only have to say it once--I gave Carolyn a silver filigreed fountain pen--Roger objected to her receiving a gift from me and took it away from her and was going to give it back to me--he had it in his pocket--he said he drove from here that night to the meeting between Malloy, San Evans and myself--somewhere along the way, he lost it--Vicki found it--at the exact spot where Bill Malloy was killed. Is that true? asks Liz. I took the pen back from Carolyn to return to Burke, says Roger, and I lost it--but I have no idea where I lost it or who found it. Vicki found it and you know it! says Burke. Yes, but someone else might have found it before Vicki and then lost it again, points out Roger. Who? demands Burke--who lost it at Lookout Point? The obvious person would be Bill Malloy, says Roger, he could have found it here at the house and carried it with him home, then lost it when he slipped and fell to his death. That is a possibility, says Patterson. It's also a possibility that Roger lost the pen at Lookout Point, says Burke, then he killed him to keep him from going to that meeting. I won't tolerate this in my house! says Liz. You'll have to tolerate it, says Burke, unless you'd like to come down to the sheriff's office. Is that what you intend to do? asks Liz--take me to the office and question me? No, says Patterson, it isn't--that wasn't what I had in mind at all. Do you deny that you told Vicki you lost the pen there? Burke asks Roger--that you made up some fantastic story about meeting Malloy, then discovering his body there?--do you deny that then you went on to the meeting and let on that you knew nothing about Bill Malloy's death? Roger smirks. Is that what she told you? asks Roger. Is that true?--is that what you told Vicki? asks Liz. Poor Miss Winters, her delusions seem to grow more and more outrageous, says Roger, of course I deny it, I said no such thing--it would be tantamount to admitting complicity in Malloy's death. (Damn straight, and you did!) It doesn't sound too good, I'll say that, agrees Patterson--I believe we have something in our statutes about accessory after the fact. That's the story you told Vicki to keep her quiet about the pen, says Burke--but that's not what really happened, is it? Of course it's not! says Roger, nothing of the sort happened--except in the girl's imagination. You're right, says Burke--Malloy wasn't dead when you got there--he wasn't dead until after you left him there. There isn't one shred of truth in anything he's saying! cries Liz--and you know it as well as I do--now either order him out of this house or take him with you when you go, right now! Burke stands behind Roger, his eyes boring into the back of the other man's head. I had to come up here to find out about Miss Winters, says Patterson apologetically. May I have a look at the pen? says Roger, I'd at least like to make sure we're talking about the same pen. You knew that was a safe question, says Burke, since you stole it from Vicki. I did? asks Roger--oh, I was under the impression that ghosts or unseen widows took it. Is that what Miss Winters thinks? asks Patterson. I told you the poor girl thinks extremely odd things, says Roger--it's quite possible that I lost a pen, and quite possible Vicki found one--but how do we know it's one and the same--I suggest Mr. Devlin produces a pen that both Vicki and Carolyn can identify. Then you'd think we'd have something to talk about, is that it? asks Burke. Isn't that a reasonable request? asks Roger. I suppose so, says Burke. Very well, says Liz, when you find the pen you can bring it here, but you can't come before.You certainly do make things simpler for me, says Burke, smiling--and reaches into his pocket to produce the matching pen--is this the pen? He asks, holding it up before Roger.

Is this the pen you're talking about? asks Burke. Where did you get it, says Roger, looking pale. I don't think that matters, says Burke. Is that the pen you lost? asks Liz. It couldn't be, insists Roger. (Because you buried it.) Why? asks Burke. I mean, it certainly resembles it, fumbles Roger, no I don't think it could be the same pen--I didn't look at it that closely, I certainly couldn't remember every single detail of a pen. Why not? asks Burke, you had plenty of time to look at it when you took it from Carolyn--when you STOLE it from Vicki. Roger asks to see it, and Burke hands it to him--no, I don't think this is the pen at all, says Roger, it's true, the resemblance was merely superficial. May I have the pen back, please? asks Burke, taking it back--I'm sure Carolyn's memory will be better than yours, I know Vicki's will. Liz, who has been staring at her brother all this time, insists that they won't disturb either girl now. That won't be necessary, agrees Patterson, but I'd appreciate it if both of them would come to my office first thing tomorrow, I'd like to see if they can make a positive identification. What good would that do? demands Roger--there must be thousands of pens like that! Not in this country, says Burke, this is the only one of its kind. Would you see to it that your daughter and Miss Winters come down to my office first thing tomorrow? Patterson asks Liz. Of course, she promises. I apologize for coming up to Collinwood at this late hour, says Patterson, but you understand how it is. Certainly, says Liz. Patterson says good night, as does Burke, who bids Roger pleasant dreams. After they've gone, Liz gazes at her brother. We see Patterson's car, light flashing on top, leaving the front door of Collinwood. Would you care to explain? Liz asks Roger sternly. No I wouldn't, he says. He goes to open the window and looks out. Why didn't you tell me about the fountain pen? Asks Liz. There was nothing to tell! says Roger--I didn't want Carolyn accepting gifts from Burke, and I told her so. Remember one thing, says Liz, before Carolyn and Vicki go to the sheriff's tomorrow, I'd going to ask some questions of my own. You won't learn one single word of truth that you haven't already, insists Roger. Carolyn won't lie to me, says Liz. Of course not, says Roger, and I'm sure Vicki wouldn't intentionally lie--it's just that she's built up this whole thing in her mind beyond all recognizable proportion! The sheriff seems to attach a great deal if importance to it. For heavens sake, leave me alone, I have to think, says Roger. You don't have to think up anymore lies, says Liz--I want the truth! They've gone, says Roger, closing the window. They'll come back, she says, you can't keep avoiding the issue. I'm not avoiding anything! says Roger--there's something I have to do right away. Roger? she asks.He goes outside and down the stairs, then into the woods, where he lifts up the rock under which he'd hidden the pen and begins to dig with a small shovel. He digs, sifting frantically through earth, and finally finds the fountain pen he'd buried. Thanks, Roger, says Burke standing behind him--you've saved us a great deal of trouble--well? he asks the sheriff triumphantly, how's that for concrete evidence?Roger stands up. Burke takes the pen from him.

NOTES: Does this mean Roger is to be arrested for Malloy's murder? He foolishly unearthed the link between Malloy's murder and himself, and whether he's guilty or innocent, he looks the former. I guess seeing the duplicate pen made him think the one he'd buried had been dug up, but he felt compelled to make sure.

Interesting that, despite the coroner's verdict, Patterson was still working on the Malloy case. He sure seemed annoyed with Burke's insistence that it was murder, and not inclined to tell him he still considered the case unclosed. I guess he had his doubts about the coroner's findings, too, knowing all the participants involved.

Roger continues to lie and lie and lie. He told Vicki the truth, why couldn't he tell the sheriff the truth? Any evidence linking him to the murder is circumstantial--but he managed to manipulate Burke's manslaughter trial so that Devlin was convicted of something he did, so perhaps he figures the law isn't trustworthy enough to accept his version of what happened.


Episode #106 - When I came to Collinwood, months ago, I never dreamed a member of the Collins family would be suspected of murder--or that I would have to testify against him.

Vicki appears at the sheriff's office, surprised to find Richard Garner waiting there with Patterson. Didn't Mrs. Stoddard tell you I'd be here? asks Garner. No, says Vicki, I didn't have a chance to say more than 10 words to her this morning--when I got up, she was talking to Carolyn and then the sheriff called and asked me to come down here. I'm acting as legal counsel for Roger, says Garner. I see, says Vicki. Sit down, says Patterson, I just want to ask you a few questions--Mr. Garner, would you mind waiting outside? It's my right as representative of my client to be present at the questioning, Garner says. All right, you can stay and hear what Miss Winters has to say, but I'm handling the questioning, warns Patterson. I understand that, says Garner. Where is Roger? asks Vicki. We're holding him, says Patterson. Has he made a statement? asks Vicki. No, he's refused to say anything, says Patterson, until Mr. Garner got here. What's going to happen? asks Vicki. I'm not in a position to say that, says Patterson, yet. You don't know? asks Vicki. No, says Patterson, right now I don't know anything, I'm just here to ask questions and you're here to answer them--what happens will depend upon your answers. Vicki and Garner exchange concerned glances.

You almost make me feel responsible for Roger, says Vicki. Your only responsibility right now is to tell me the truth, says Patterson. Garner takes a chair and sits beside Vicki. I'll do the best I can, she assures him. Good, he says--then holds out the pen--can you identify this? he asks. Yes, she says. When have you known it before? he asks. I found it on the beach at Lookout Point, she says, near the place where Mr. Malloy was killed. When did you find it? asks Patterson. A few days after he died, she replies. How many days? Asks Patterson. I'm not sure--two or three days? She says. In other words, says Garner, assuming my client had possession of the pen and dropped it on the beach, he could have dropped it any time during within the two or three day interval after Mr. Malloy died. I'm aware of that, says Patterson--would you let me handle the questioning, please? I'm sorry, says Garner. All right, says Patterson, you found the pen, then what happened? I took it back to Collinwood with me, she says. Did you find any special significance to the pen, he asks. No, she says, I thought it was pretty and it did look valuable. How long did you have the pen in your possession? asks Patterson. About a day, then it disappeared, she explains--I'd left it on the desk in David's room, and when I went back to get it, it was gone. Who else was in the house when the pen disappeared? asks the sheriff. Beside myself, says Vicki, there was Roger and David Collins--I thought David had taken it. Did Roger see the pen before it disappeared? asks Patterson. Garner interrupts--just a minute, he says, but Patterson tells Vicki to just answer the question. Yes, several times, says Vicki. Did he ever try to get the pen away from you? asks Patterson. No, says Vicki, looking at Garner--but he wouldn't have done that, because it would have looked strange. That's assuming my client is guilty and that's an unfair assumption, says Garner. I'm not assuming anything, but I am going to assume you right out of this office if can't keep quiet, cautions the sheriff. All right, says Garner. When did you realize the significance of this pen? asks Patterson. When I saw one exactly like it, in a hotel in Bangor, she says--it belonged to a Mr. Blair--he told me that Burke Devlin had given it to him and that Burke had a duplicate--I thought... You thought Burke dropped the pen on the beach? Finishes Patterson--at Lookout Point, the night Malloy was killed. I was afraid of him for a while, admits Vicki. When did you stop being afraid of him? queries the sheriff. When I found out what really happened, says Vicki, responding as much to Garner as to Patterson--Burke gave the pen to Carolyn, and Roger took it from her and lost it the night Bill Malloy died--Carolyn can tell you this. She'll have an opportunity to tell me, says Patterson, I've already phoned Collinwood and she's on her way down here now--what happened next? Roger found out that I knew about the pen, explains Vicki, Carolyn told him--then he came to me and told me his version of what happened that night--that he had been at Lookout Point that night, but had nothing to do with Bill Malloy's death--he said that when he got there, he saw Mr. Malloy, but he was already dead. Did you believe him? asks Patterson. I wanted to believe him, says Vicki, I didn't know what I believed until...things started happening to me--first of all, someone tried to get into my room in the middle of the night. Who? he asks. I don't know, she says, I remember being woken up in the middle of the night hearing footsteps outside in the hall--they stopped outside my door, then my door started to open--I had locked that door! You're positive of that? he asks. Yes I am, she says, I remember locking it--I was terrified. Then whoever it was trying to get into your room must have had a key, says Patterson. I suppose so, she says, locked doors do not open by themselves. What happened next? asks Patterson. I screamed, she says, and I heard the footsteps turn and run away--then Roger came in. What did he say to you? asks Patterson. When I told him what happened, says Vicki, turning to look at Garner again, he said that I was crazy--that no one would want to get into my room and I must have imagined the whole thing. Isn't it possible that you dreamed it all? asks Garner. No, it's not possible! cries Vicki, upset, someone tried to get into my room, I know that--and someone also tried to run me down on the road to Collinsport, I know that, too! All right, says Patterson, please try to calm down--Mr. Garner, I have warned you about interrupting for the last time! All right, says Garner. He stands and goes to look out the window. Tell me what happened last night, Patterson asks Vicki. I was walking back from Collinsport about eight o'clock, she says, and suddenly, a car appeared--it headed straight for me, tried to run me down. Did you get a glimpse of the car at all? asks Patterson. No, she says, I couldn't see anything because of the headlights. And then you ran back to Collin(s)wood, says Patterson. Yes, she says, I phoned Burke--you know the rest. And you place this incident about 8 o'clock, is that right? asks Patterson. Yes, she says. And you're sure of that? he asks. Quite sure, she says--I left Collinsport about half past seven--it's a good half hour walk back to the house. What were you doing on the road to Collinsport alone at eight o'clock at night? asks Patterson. I'd come from the Blue Whale, says Vicki, I'd spoken to Sam Evans earlier in the day, and he asked me to meet him there, he said it was urgent. What did Sam Evans have on his mind? asks Patterson. He wanted to ask me some questions, says Vicki, about Bill Malloy's death--I couldn't see what he was getting at, except when I wasn't able to answer his questions, he became upset--no, he was more than upset--he was angry. Why should he want to ask you questions about Bill Malloy? asks Patterson. I don't know, says Vicki. The sheriff thanks her and says that's all he wants to ask her--does she have anything to tell him? no, says Vicki. Garner asks Patterson if he minds if he asks Vicki a few questions. Go ahead, invites Patterson. Garner sits on the desk and looks Vicki in the eyes. You say that you didn't see this car that tried to run you down? he asks. No, she says. And you say you didn't see the person who supposedly tried to break into your bedroom? He asks. I told you I didn't, she says. Then you have no real proof that these alleged attempts on your life were made by Roger Collins? he asks.Someone tried to kill me, insists Vicki, and if it wasn't Roger, who was it?

I may have to call you back later in the day for a formal statement, Patterson tells Vicki. I understand, she says. I have no more questions, so you can go if you want, he says. Thank you, she says, and gets up to leave. Garner asks if he might have a word with her. I know that roger Collins is your client, she begins. Garner says he isn't going to mention Roger, but to tell her that his son is coming down later in the day. Frank? Asks Vicki joyfully. Yes, he's assisting me on the case and told me he wants to see you, says Garner. Has he found out anymore about Betty Hanscomb? Asks Vicki. I don't know, he didn't tell me, he simply said he was coming down and looking forward to seeing you. I'm looking forward to seeing him, too, says Vicki--I want to thank you again for seeing me when... Patterson receives word that Carolyn has arrived. She enters the office, her voice full of tears, and asks Vicki what's going on. Didn't your mother tell you? asks Vicki. She told me that Uncle Roger was being held in connection with Bill Malloy's death, says Carolyn--why?--didn't the coroner decide that was an accident? Yes, says Vicki--look, I'll explain it to you later. You don't have anything to worry about, Garner assures Carolyn. Did Uncle Roger call you? asks Carolyn. Yes, he says, I'm handling everything. I'll see you later, says Vicki, but Carolyn begs her not to go--wait for me, I want to talk to you. Vicki agrees to wait outside. Garner leads Carolyn into the main office, where Patterson asks her to sit down. What is all this? she asks the sheriff, still standing--why are you hounding my Uncle Roger? Nobody is hounding your Uncle Roger, he says, would you please explain what's going on? Patterson tells Garner. Sheriff Patterson wants to ask you a few questions, the lawyer says, just answer to the best of your ability. What questions? demands Carolyn. Patterson holds up the pen and asks if she's ever seen it before. She takes it in her hand and asks where he found it. Just answer the question, he says. Yes, that's my pen! She says--or it was until it got lost. Who gave it to you? he asks. Burke Devlin, she replies. And you say you lost it? asks Patterson. Uncle Roger lost it, she says. What was the pen doing in your Uncle Roger's possession. He took it away from me, she says, sniffing, he said I shouldn't accept presents from Burke Devlin, so he took the pen from me to return it to Burke. But he never did return it to Burke, did he, because he lost it, says Patterson. That's right, agrees Carolyn. When did he lose it? asks Patterson. On the night...Carolyn stops, unable to continue for the tears welling in her throat--on the night Bill Malloy died, she finishes--why? Are you sure it was that night? he asks. Why? she cries, why?--what's all this business about my pen--did someone find it? Yes, Miss Winters found it, says Patterson, on the beach at Lookout Point. Carolyn repeats this and says, "You think my Uncle Roger lost it there--you think he killed Bill Malloy." Her voice rises with anger, and Garner pays close attention. I don't think anything, Patterson assures her, I'm just trying to collect information. Did Vicki come to you with this wild story? asks Carolyn. She didn't come to me with a wild story, she came to me with what she knew, says Patterson. She doesn't KNOW Uncle Roger killed Bill Malloy or anyone else! insists Carolyn. And she didn't say that he did, says Patterson. She must have implied it! wails Carolyn, or why are you holding Uncle Roger? We're only holding him for questioning, so far, says Patterson. That must have been because of what Vicki told you, says Carolyn--she must have a grudge against Uncle Roger--she has no reason to say Uncle Roger or anybody else killed Bill Malloy! She has a very good reason--someone tried to kill her last night, he says--someone tried to run her down on the road from Collinsport. What? she asks, stunned. Do you know where your Uncle Roger was at 8 o'clock last night? asks Patterson. Carolyn shakes her head and says a tearful no--I was out. I'm sorry, says Patterson, patting her shoulder, there are no more questions. Carolyn, crying, tells him he can't believe Roger tried to hurt Vicki--you can't, it's not possible!--tell him, Mr. Garner, she begs the lawyer, do something.You don't have to worry, Garner says, sitting her in the chair, I'm here to protect your uncle. I don't believe any of this, sobs Carolyn, I don't believe what's going on! Garner comforts her and Patterson calls the outside office and asks that Vicki be sent back in. We're going to take care of everything, it's all right, says Garner, his arms around Carolyn. Vicki comes in, and Patterson asks her to take Carolyn home--and Miss Winters, he says--will you stay in the house and try not to be alone until we get this thing cleared up. Vicki nods. Carolyn stands and begs Vicki to tell them that Uncle Roger wouldn't try to hurt her--tell them. Let's go, says Vicki. Why won't you tell them? asks Carolyn, shaking her head--why? Come on, coaxes Carolyn, and the two women leave the sheriff's office. Patterson calls to have Roger brought in. Garner looks perturbed indeed.

Garner sits looking out the fenced window. When Roger enters, he says, "Garner, thank God you're here." He shakes Roger's hand, assuring him he got here as soon as he could. I hope you're prepared to sue for false arrest, says Roger, because that's what I intend to do the moment I get out of here--did you hear that, Sheriff? He asks Patterson. I hear you, says Patterson, you're coming in loud and clear. I'm perfectly serious, says Roger, this little escapade is going to cost you your badge! As long as I still have it, says Patterson, I'm entitled to ask you all the questions I want to--and you'd better be prepared to give the right answers. I'm prepared to answer any questions you have to ask me, insists Roger. All right--why did you bury that pen? Patterson asks. Roger hesitates, takes a deep breath, and admits that was foolish of him. You're not answering the question, points out Patterson. I buried it because I thought it would lead you and a lot of other people to the wrong set of conclusions, says Roger. Because you wanted to conceal the fact that you were on Lookout Point the night Malloy was killed, says Patterson. Yes, admits Roger. You don't have to admit anything you don't want to admit, says Garner. That's all right, says Roger, the sheriff wants the truth and I'm perfectly willing to tell it to him--I have nothing to hide. What were you doing there that night? asks Patterson. I asked Malloy to meet me there, says Roger. What for? asks Patterson. I wanted to talk to him, says Roger. About what? asks Patterson. Does that matter? Roger wants to know. Answer the question, insists the sheriff. I wanted to discuss a business matter, says Roger. On a lonely beach, at that hour of the night, asks Patterson--is that where you usually hold business meetings? It was a private matter, says Roger, I wasn't satisfied with the way Malloy was managing the cannery--it wasn't a conversation I wanted anybody to overhear. Roger sits down. All right, says Patterson, you met him--then what? I did not meet him, amends Roger, by the time I got there, he was already dead. You found him? asks Patterson Yes, he was lying face down in a few feet of water, says Roger. Are you sure he was dead? asks the sheriff. If he wasn't dead, would he have been lying face down in the water? asks Roger. All right, what happened next? asks Patterson. I went to my office, says Roger. Why didn't you telephone me? asks Patterson. Because I was confused and upset and worried and I didn't want to get involved, says Roger. Why did you lie to me the next day, asks the sheriff, why did you tell me you hadn't been near Lookout Point? For the same reason, says Roger. You didn't want to be involved, says Patterson. Yes, says Roger, and I didn't want to put my sister through the ordeal of an investigation--surely that's not a crime! Keeping information from the police, hiding evidence--yes, that is a crime, Patterson informs Roger. Well, what do you intend to do about it? asks Roger as though he's above it all. I don't know yet, says Patterson. I've told you the truth, insists Roger--I was on the beach, but I did not kill Malloy, I had no reason for killing him. No one has established a motive for murder, points out Garner. I haven't accused you of killing anybody, have I? Patterson asks Roger. Not yet, says Roger. If you will just be honest with me, you'll have nothing to worry about, says Patterson. I'm trying to be honest with you, says Roger. Do you have a complete set of keys at Collinwood? asks Patterson. That's an odd question, remarks Roger. Answer it, says Patterson. No, says Roger, I have the key to the front door and a few rooms, my sister has the rest. Do you have a key to Miss Winters' room? asks Patterson. Of course not! shouts Roger. Do you have access to your sister's keys? Asks Patterson. I see what you're getting at, says Roger, our little governess must have told you that someone was trying to break into her room--well it's ridiculous, she imagined the whole thing! Yes, but you're still not answering the question, are you? asks Patterson--do you have access to your sister's keys? If I had some deep dark reason for wanting to break into Vicki's room, I probably could have--why couldn't I? asks Roger--but do you think I would have?--the whole thing is laughable! Patterson, arms crossed over his chest, says he only has one more question--where were you last night at eight o'clock. I went for a drive, says Roger. What was your destination? Asks Patterson. I didn't have one, says Roger, I just was driving around, I wanted to think. Were you alone? asks Patterson. Yes, says Roger. Did you stop, did anyone see you? asks the sheriff. No, says Roger, I didn't stop and no one saw me--why eight o'clock--is that the time Vicki was supposed to have been run over--surely you don't think that I...? I don't think anything, says Patterson, I just asked if anyone saw you, and you'd better think before you answer--this might be very important! Roger's brow furrows. He looks at Garner. No, he says0--wait a minute--I did stop for gas, shortly after eight. Where? demands Patterson. Oh, says Roger, fumbling for it, somewhere outside Clearwater--miles from where Vicki was run down--why don't you call the station and ask the attendant--he can verify the story. All right, agrees Patterson, there aren't too many gas stations around there--we will check. Do that, says Roger, and then perhaps you will believe the rest of my story--I have told you the truth, Sheriff--the entire truth!

Collinwood drawing room - Vicki asks Carolyn if there's anything she can do for her. You can tell me none of this is happening, says Carolyn. I wish I could, says Vicki. That car on the road, asks Carolyn, it could have been an accident. Someone tried to get into my room, Vicki reminds her, that was no accident. You can't believe Uncle Roger us doing these things, says Carolyn. I don't want to believe it, says Vicki.I've know Uncle Roger all my life, says Carolyn softly, he wouldn't try to hurt you--he couldn't.

I couldn't harm my worst enemy, let alone some helpless little governess, Roger insists to Patterson. So you've told me, says the sheriff. This is all too preposterous, Roger tells Garner when the sheriff leaves the room--can't you do something? Be patient, says Garner, patting his shoulder, once the State Police have checked out your alibi, you have nothing to worry about. How long is it going to take them? Roger demands of Patterson, who is making coffee. While we're waiting, says Patterson, I'd like to ask you a few more questions about the meeting you had with Malloy. What about it? asks Roger. What was the purpose of the meeting? asks Patterson. I've already told you, says Roger, annoyed, it was a business meeting. Roger refuses coffee. A business meeting? asks Patterson, at that hour of night, on a lonely stretch of beach like that? What else would I be discussing with Malloy? asks Roger impatiently. I don't buy it, says Patterson--Burke Devlin has another theory. I know about Burke'e theories, says Roger, he's trying to pin that old manslaughter charge on me and he hasn't got a shred of proof and neither do you! What if Bill Malloy had come across some new evidence? Asks Patterson. What? asks Roger. Suppose he got some new evidence, repeats Patterson--that would give you reason for wanting him dead, wouldn't it? That's pure supposition, says Roger, not a word of truth to it! Why don't you tell me the purpose of the meeting Malloy called between you, Burke Devlin and Sam Evans on the night he died? demands Patterson. Can't you do something? Roger asks Garner, I can't take anymore of this, this whole thing is too preposterous! Someone tried to kill Miss Winters last night, that much is not preposterous, says Patterson. For all I know, says Roger, someone is trying to do away with our little governess--I only know one thing--that someone is not I!

NOTES: Attitude is everything, Roger, and yours stinks! Talking so belligerently to the sheriff is not a good idea, and you come across as so pompous and snooty! Someone has tried to get at Vicki twice, once to murder her, the other time to. . .? We can only surmise. Was it Roger? Is he lying? We know he lies a lot anyway, is this just one more?

We had Vicki responding to the sheriff's questions, calm except when Garner seemed to doubt that someone tried to harm her. We had Carolyn getting all sobby at the very idea that her uncle could do anything wrong--which we know is bogus and ill-advised on her part, but she loves her uncle and that's all there is to it. We have Roger getting nasty with the sheriff, yet telling a plausible story--even though his hiding the pen makes him look very guilty. Will the gas attendant corroborate his story of where he was when someone almost ran Vicki down?

How will Carolyn and Liz feel toward Vicki if Roger is arrested for murdering Malloy? Will she find herself on the next train back to New York?

Love, Robin