Episode #41 - "My name is Victoria Winters. This great house called Collinwood is the only home I've ever known, and yet I've known it such a short time--a short time that terror has made ageless." "And friend has turned against friend." At the cottage, Sam Evans pensively surveys his sketch of Burke Devlin. The phone rings. Sam looks unhappily at the ringing phone, rubs his face, and drops the sketch on the sofa. He answers the phone. "Hello?" At Collinwood, on the phone in the drawing room, Roger tightly demands of Sam, "Are you alone?" Yes, Sam answers--except for the devils in his brain. Roger demands to know what kind of answer that is, then asks if Bill Malloy is still there. Sam doesn't answer, he glances uncomfortably at the room, rubbing his face, looking as if he wishes he were anywhere else. Roger, not receiving any response, demands to know if Sam is still there, and asks again if Malloy has left. "Yes, he's gone," Sam finally responds. "If you want him, you'll probably have to get him at the office." Irritated, Roger says it isn't Malloy he wants--he wants to know what happened between the two of them last night? "Nothing," Sam mutters. They merely had a few friendly drinks, is there any harm in that? "All the harm in the world," Roger says darkly. "I know how whiskey can loosen your tongue--probably blabbed everything you knew, didn't you?" Sam presses his thumb into the table next to the phone as if trying to grab hold of his emotions--and his guilt. He finally admits to Roger he doesn't know what happened. He wasn't feeling too well, and didn't pay too much attention to what Malloy was saying. "You mean you were too drunk--you couldn't remember," Roger sneers. Sam gazes angrily at the phone, places it on the table, walks away, stares at it hatefully and pours himself a drink as Roger rants, "Let me tell you something, Evans--just because you wrote a letter telling everything you know, or think you know, don't for a second imagine you're clear of everything. You're as involved as I am. Well answer me!" Sam takes a heavy swig of the drink and slowly returns to the table. Roger peevishly continues, "Evans, are you there? I haven't finished with you yet! Evans, I know we're still connected, so don't try any of your drunken tricks on me!" Decisively, Sam picks up the phone and drops it firmly back in the cradle, hanging up on Roger. At Collinwood, Roger fruitlessly pumps the cut-off button, then finally slams the phone down in fury. At the cottage, as the phone begins to ring, Sam picks up the sketch of Burke Devlin and slowly and methodically rips it up into four neat pieces. He drops them on the coffee table, gulps more of his drink, and runs his hand miserably through his hair.

Roger is on the phone still, hand impatiently perched on his hip. He drops it back in the cradle, dials, then cuts off the call with a guilty expression on his face when Liz comes in. He claims he was trying to get the office on the phone, and she asks if that isn't where he should be. He faces her and says he had a valid reason for being home--he prevented Carolyn from meeting Burke. Why would Carolyn want to meet Burke? Liz asks. He claims that question is open to the wildest of speculation and she orders him not to be silly. She asks how he prevented the meeting, and he explains how Carolyn deliberately left her ring at the restaurant, where Burke found it. Carolyn had every intention of going back to get it from him. Liz pooh poohs this idea, but Roger, grinning, asks smoothly, "When you were a girl, didn't you ever accidentally on purpose leave something behind as an excuse for returning?" Liz imperiously asks her brother if he thinks Carolyn is really interested in this man, and Roger kindly responds that it's her daughter, her problem--he has his own with his son. "Well at least your problems with David won't be financial ones," Liz says pointedly. "Oh, I see," says Roger disgustedly, "now we're going to discuss what happened to my inheritance!" He wanders to the piano, smiling, then faces her. "Well, if you must know, I spent it, but I had fun with my money, Liz, I enjoyed it--can you say the same?" Liz approaches him. "No I can't," she says, "the difference is, I still have some. I had enough money to buy up the shares in the company that you offered to the general public for sale." "Well, they were my shares, I could sell them if I wanted to," Roger says defensively. Liz retorts, "If an outsider had bought those shares, controlling interest in the Collins enterprises would have gone out of the family entirely--I couldn't allow that to happen." Roger, his hand disdainfully indicating Collinwood, says "Did it ever occur to you that you could have left this mausoleum, my dear sister, and gone out into the outside world?" "My place is here," Liz says. "I know, I know, 18 years of self-imposed imprisonment," Roger says. "And for what? Surely a departed husband isn't worth waiting for." "Why do you say departed?" Liz asks, and Roger answers, "Well, he departed from this lovely house on Widows' Hill, didn't he?" She says she has no intention of discussing Paul with him. She changes the subject and demands to know why he didn't tell her about Ned Calder's telephone call the night before. Roger, heading for the sideboard for a drink, airily says he forgot, and if it's anything important, he'll call back. Angrily, Liz informs him it was very important--Calder was returning her call. Roger demands to know what she called him about, and she says she wanted his advice. "Don't tell me you're bringing him down here to manage the plant," Roger says uneasily. Liz says it isn't Ned Calder Roger should be worrying about, but himself. Slighted, Roger leaves the drawing room and heads upstairs without a word.

Maggie returns to the cottage, where Sam is sifting through the torn pieces of Burke's sketch. Maggie greets him, slipping off her scarf. Sam mutters, "Maggie's at work--who are you?" She forgot her shopping list and decided to come home and get it. She sits on the arms of the chair. He sips his drink and asks why she didn't phone. She says she did, but mysteriously got no answer. He admits he heard the phone ringing, but was busy. She joins him on the sofa. "Doing what," she giggles, "crossword puzzles?" He hesitantly says he started a sketch, but didn't like it. Maggie pieces the torn sketch together. "It's Burke!" she says delightedly. "Pop, you caught him just right. Why did you want to destroy it?" "I had to," Sam says desperately, "I wanted to destroy it before it destroys me...Maggie, I tried to run away once--why did you stop me, why didn't you let me run away when I had a chance?" She surveys him sadly as he takes another gulp of his drink and says, smiling wanly, "Don't worry, Pop. We'll lick 'em yet."

Maggie pieces together the sketch of Burke, then gives up and takes the pieces and sets them on his work table. Worriedly, she surveys Sam, then, feigning good cheer, finds the shopping list she claims she had forgotten--she can't imagine she walked off without it. "I can," Sam says sarcastically. "It gave you a chance to come home and see if I was all right." Now that she sees he's all right, she can get back to work, right? Looking perturbed, she asks her father is there's anything she can get him. "What a question," he says, taking more of his drink, "is there anything I want?" She offers to talk about it; perhaps she can help. He shakes his head, indicating no one can help. She offers him a hot cup of coffee, and he irritably asks, "No. Why is it that all women think that a cup of coffee is a cure-all?" Maggie sits beside her father and tells him he'd be surprised if he knew how many of Collinsport's solid, upright citizens come into her restaurant in need of a hot cup of black coffee. "Maybe I should go into the blackmail business," Maggie chuckles. Sam takes it seriously. "What did you say?" he demands. "Nothing," she says, scared. "Oh, what it is, Pop? Come on, get it off your chest." He shakes his head. It's nothing. He tried to do a portrait of Burke and it didn't work out. It's been a long time since he's done one and he wanted to find out if he'd lost his touch. Maggie doesn't think that's it; she thinks it's Burke himself. "Burke?" Sam asks. "We were always good friends--why should that make any difference?" Maggie points out that Burke himself is different, and his returning to Collinsport has made everyone else different, too. Sam rubs his eyes his head and wishes Burke had never come back. "Then it is Burke that's bothering you," Maggie suggests. Sam denies anyone is bothering him, besides for himself--when he has too many drinks, he talks too much. He drains his drink. Maggie lifts the almost empty bottle of booze, and, chuckling, says that from the look of that bottle, he's recited everything he ever knew. He stands, walks. "I...hope not," he says, troubled. Maggie asks who he was doing all this talking to--Burke? No, not Burke. Distractedly, Sam says, "I like Burke...I like him very much, I hope that he likes me. I would hate anyone that did him an injustice." Maggie approaches her father. "Are you talking about what happened 10 years ago--the accident? Then it must be Roger Collins you mean." "Maggie," Sam says, voice growing ragged, thrusting his hands away from him as though warding off the evil of his conscience, "you don't know anything about it, now just let it alone!" Almost screaming, he cries, fists clenched, "Just let it alone!" He disappears into a bedroom and Maggie picks up the phone and dials, tucking her hand into her pocket and looking like she's determined to get to the bottom of this. At Collinwood, Vicki answers. Maggie tells her who it is, and Vicki cheerily identifies herself. Maggie asks to speak to Roger, it's important. Vicki suggests trying his office; he's usually there this time of day, but Maggie says she already tried, and he's not there. Maggie asks if Vicki has any idea where he is, reiterating how important it is. "I'm afraid Mr. Collins doesn't confide in me," says Vicki, half-humorously. "Miss Winters," says Roger, appearing through the double doors. Vicki indicates she's sorry, as Roger adds, "Is there any reason why I SHOULD confide in you?"Vicki holds out the phone. "It's for you," she says. Roger says if it's the office, to tell them he's on his way. "It's Maggie Evans," Vicki says. Roger asks, "Maggie Evans, for me?", looking none-too-happy. Vicki tells him Maggie said it's important. Roger takes the phone from Vicki, gazes at it, then rudely hangs it up, glaring at Vicki as if daring her to challenge his doing so..

Vicki demands, "Why did you hang up without evening talking to her?" Roger turns his back on her to leave and says he's late for the office as it is, and "I have nothing to say to Maggie Evans." Vicki follows on his heels and protests that if Roger had told her that, she could have said she was busy. Drolly, Roger asks, "Are you presuming again to teach me my manners?" Of course not, Vicki says, and he says if she is, she's wasting her talents on the wrong person--she's supposed to be tutoring David, not his father. Liz stops Roger and asks him if he knows where Carolyn might be. "Not the faintest," he says, seeming quite disinterested. She asks him to look for Carolyn in town, and he inquires, bitterly," And neglect my vital tasks at the office?--oh, dear me, no." He brushes past his sister, who glares after him as he exits. Liz goes into the drawing room and asks Vicki if the phone rang. Just a little while ago, Vicki explains, and it was for Roger. Liz laces her hands and said she'd hoped to hear from Carolyn. Vicki brightly reveals that Carolyn called her earlier and said she would be out and possibly not home for dinner. Liz wishes she could have spoken to her herself, but Vicki says Carolyn didn't want to disturb her, she just told Vicki to tell her mother that. Liz wonders (hopes) if Carolyn has a date with Joe. Vicki agrees that of course, that must be it. Vicki gushes over what a nice boy Joe seems to be, and Liz smiles and agrees. Liz speculates that Carolyn might be looking, instead, for a very clever man. Vicki assures Liz that if she's worried about Carolyn being serious about Burke Devlin, she's not; Carolyn hardly knows him. Perhaps that's what intrigues her, Liz frets, and explains that she's sure Carolyn had planned to meet Burke this afternoon, but Roger was fortunately able to stop her. Pronounces Vicki, "If Carolyn planned to meet him, I don't think anyone could stop her!" Vicki excuses herself; she must get back to David. Liz dials the phone, her face worried, and asks for Joe Haskell. We see Joe sitting in a busy-looking office, with walls of brick. He is shuffling paperwork and seems flustered to be hearing from her. "Oh, Mrs. Stoddard, I meant to call you, to apologize." She assures him there's no need, but he says, "I'm sorry I made such a fool of myself." That isn't why she's calling, she assures him, she assumed he's seeing Carolyn tonight. (The clock says it's 11:30 AM.) "To tell the truth, I haven't even talked to her," Joe says, "I'm afraid she might be a little sore at me." "Then you didn't plan on having dinner with her?" Liz asks."No, at least I don't think so," Joe says. He chuckles. "I'm not too sure about anything that happened last night, maybe I do have a date with her." Liz expresses hopes this is so. She asks if Mr. Malloy is there and Joe glances around and says he isn't. He doesn't know where he is, but he hasn't been in all day. Liz asks Joe to come by and see her when he has a chance--she'd like to talk to him. Uncertainly, Joe says, "Sure...sure, Mrs. Stoddard. 'Bye." He hangs up, looking perturbed.

Maggie is writing a note when Sam comes out of the bedroom and pours himself a drink. "Oh, what are you trying to prove, Pop?" Maggie asks him. He asks why she isn't at work and she says she's just leaving. She folds the paper and explains she was writing him a note. Perhaps he could sleep. "Sleep it off, you mean," he says sarcastically, sipping his drink. "It's not as easy as that." "What isn't?" she hastily asks. "Nothing, it needn't concern you," he quickly responds. She stands and comes around behind the couch where he stands with his drink in his hand, and tells him that's the silliest thing she's ever heard him say--"Don't you know that anything that bothers you is a concern of mine?" Sam, drinking, says there's nothing she can do about it. Tucking her hands in her pockets, Maggie says despondently, "I know that. I even tried to call Roger Collins." Sam stares at her. "You did what?" he asks, horrified. She explains she just wanted to find out what was bothering him. Disbelieving, Sam says, "You...called Roger Collins..." "Yes," Maggie admits. "Don't get into such an uproar, Pop, he wouldn't even talk to me." "Of course he wouldn't," Sam rages. "Why should he?" His voice rising with anger, he continues, "Didn't I ask you to stay out of this? Didn't I tell you that it was none of your business? You and your infernal prying are likely to be the death of me yet!" Maggie: "Pop..." Sam continues ranting, "And I'm saying that literally! For all I know you may have signed my death warrant!" Maggie tries to placate him, "Pop..." Sam, fists clenched as though he's about to strike his daughter, growls, Don't argue with me!" "I'm not," Maggie says, clearly cowed.Shaking his hand, then pointing at her, Sam cries, "Go back to your job and your fancy restaurant and just leave me in peace!" He turns away from her. Maggie says, "Pop, I can't leave you..." He interrupts, threateningly, "You do as I say, or so help me I'll..." Maggie puts a calming hand on his wrist and says, quietly, "Pop, OK, OK, I'm going, just settle down...don't aggravate yourself!" She backs away from him, heading for the door, looking very upset. At the door, she says, forlornly, like a lost little girl, "Remember--you're all I have." She turns and leaves, closing the door behind her. Sam drinks, then walks to the door and pushes the dead bolt closed, leaning his head against the door miserably.

Roger is pounding at the door, demanding, "Open up, Evans, I know you're in there, open up!" He bangs furiously at the door, over and over. Sam exits the bedroom, running a hand through his hair. "Who is it?" he asks in a low voice. "Roger Collins." "What do you want?" "I want to talk to you, don't be an idiot, open the door." Sam unlatches the dead bolt and opens the door reluctantly. Roger comes in and sarcastically inquires, "Is your phone in working order?" Sam says he knows Roger didn't come there to ask about his phone."No," Roger says, adding sarcastically, "but when I was talking to you earlier, we were somehow disconnected, and when I tried to call you back, there was no answer. Naturally, I assume that your phone was out of order." Sam goes into the living room and grabs his bottle of booze. Roger rushes over and takes it from him. "You've had enough of that," he insists. "I want you to tell me exactly what you told Bill Malloy last night." Sam tells Roger he already told him--he doesn't recall telling him anything. Roger asks if he spoke to anyone else. Sam grabs his glass and asks, "You don't think much of me, do you?" "No," Roger says. "Well," Sam says, "what we think of one another is infinitely less than we deserve." He points a finger at Roger and says, "But you got me into this!" Roger protests, "No, I didn't--your greed did!" Sam sits on the sofa and drinks. Roger adds, "And since you are in it, you've got to stay in it." Sam asks why Malloy's been pumping him. Roger says sternly, "The question is not why he was asking for information, but whether or not you gave him any." Sam is sure he told him nothing, and Roger asks what he told Maggie. Nothing, Sam asserts. Then why did she call him at his house? Roger demands. Sam says he doesn't know. "You know that she did call me?" Roger asks. Yes, Sam knows, she was just here--"She said she tried to talk to you, but you wouldn't talk to her on the phone." "Why should I--unless she has information--to give--or to sell," Roger says significantly, seating himself on the coffee table in front of Sam. Sam quickly insists Maggie doesn't know anything to say against Roger, she just wanted to know if Roger could tell her what was upsetting her father so much, that's all. "Then she's more naive than she looks," Roger says. Raising his hands in an imploring gesture, Sam says, with self-loathing, "I threatened her...do you hear what I said, I almost raised my hand to her!" "I think it might have been an excellent idea if you did!" says Roger. Sam, bristling, says, "I never thought I could hate a man as much as I do you!" Roger stands, staring down at Sam, and says, "The feeling is entirely mutual. What a pity that neither of us can do anything about it." Roger turns on his heels and opens the door. "Just remember one thing," he says as a parting shot, "I have no intention of letting your weakness carry me down." Says Sam, "You just said there was nothing we can do about it." "Perhaps I'll think of something," Roger says, and leaves, closing the door behind him. Sam rises from the sofa, drink in hand, and pours more in his glass. "Perhaps I will, too," he says.

Liz is on the phone in the drawing room, asking the operator if there's any other number where she might reach Mr. Calder. "Very well, try him there," she asks. She spots Vicki and says, "Never mind, I'll call him later," and hangs up the phone. Vicki says she didn't know Liz was on the telephone, and Liz assures her it was nothing important. Vicki says she's going into Collinsport--is there anything Mrs. Stoddard needs? No, Liz says, and asks how she's going to get there. "Walk," Vicki says. "The exercise will do me good. I don't see why you don't get out more..." Vicki catches herself and glances down, embarrassed. "I'm sorry," Vicki says softly. Liz says there's no need to apologize. She knows it seems odd she hasn't been off the grounds in all these years; Liz is sure Vicki wonders why. "I think that's your affair," Vicki says. "Yes it is," Liz agrees. "Will you be home for dinner?" Vicki says yes. Liz asks her to tell Carolyn to call her if she happens to run into her in town, and Vicki promises she will. "See you later," Vicki says. Liz closes the double doors and goes back to the phone.She dials the operator and says she wants to put in a person to person call to Ned Calder in Portland. 311-500-098. If Mr. Calder isn't there, she would like to talk to his secretary. Liz reaches the secretary. She identifies herself and asks if Mr. Calder was planning to come and see her. "I see...is there no way you can reach him? Very well. When you hear from him, ask him to call me--he has my number." There is a banging at the front door. "Tell him that it's most important. Thank you." Liz hangs up, opens the double doors, and opens the front doors. Sam Evans is standing there, and he and Liz survey each other silently.

Notes - Notice the rich man and the poor man--Roger and Sam--both deal with phone calls they don't want in the same rude way--they hang up on the offending caller. Roger assumes Maggie has information she wants to buy or sell, which is the way HE thinks, but her love for her father is something he would find alien, since he has a real lack of it for everyone in his life--and everyone for him.

You have to feel sorry for Maggie when, after her father's diatribe, she reminds him that he is all she has. His actions towards her seem terribly cruel, and you wish he would tell her what's troubling him. Somehow, you sense she would understand. Right now, both of them are being eaten alive by what he can't tell her. That she went over his head to call Roger Collins shows how very concerned she is for his welfare. She had to know she would incur his wrath in trying to pursue the truth, and the fallout was very unpleasant. Sam seems a basically good guy; Maggie is a sweetheart. You want to see them out from under Roger's oppressive yoke.

Roger and Sam make strange bedfellows. They are joined at the hip by what happened 10 years ago with Burke Devlin, and hate both each other and themselves for this enforced tie. You know Roger would be disdainful toward a poor artist under normal circumstances. Roger comes off as cold, calculating and very cruel towards Sam, whose drinking problem started with this whole ugly mess. Very sad.

We also see the bone of contention between Liz and Roger--she bought up the shares of stock he was willing to let the public purchase. He spent his inheritance having fun; she spent hers responsibly. There is much resentment between them on this point, and Roger feels contempt for his sister for doing what was right for the Collins family instead of being true to herself. You feel he hates his job, Collinwood and most of all, himself. It makes Roger look like a real bastard when he refuses to help his sister with her daughter, and yet Roger, in his own way, does seem to love Carolyn.

I repeat--Who is Ned Calder and why does Liz seem so anxious to get hold of him?

There is real tension in the last scene as Sam faces Liz. What is he planning to do--tattle on Roger? He is so hateful, you almost wish he would.


Episode #42 - One hundred and thirty years ago, the love of a man and woman built this mansion on the crest of Widows' Hill--today, fear, distrust and hatred have almost destroyed it.

Excuse me for disturbing you, says Sam, I'm looking for Roger Collins. He's not at home, says Liz, I'm his sister. Are you expecting him? asks Sam. Sometime later, says Liz--you'll probably find him at the cannery. It's a private matter, says Sam, I wouldn't want to disturb him there. Do I know you? she asks kindly. Forgive me, says Sam, I'm forgetting what little manners I have--I'm Sam Evans--the painter. I'm going to have to ask your pardon, apologizes Liz, we haven't met in some time. More than 18 years, he says, I've changed since that time. She invites him in, and he asks if she's sure he isn't disturbing her. Not at all, she assures him, and he enters Collinwood, rubbing his mouth. Perhaps I can be of help, she suggests. No, I have to see your brother, insists Sam. I told you he wasn't at home, she reminds him--if you'd care to use the phone. No, if you're sure he isn't at home, says Sam, I have to confess--I didn't want to see him at all. Who did you want to see? she asks. You, he says--I want to talk to you about your brother. I don't want to hear any gossip abut Roger, she says. This isn't gossip, it's the truth, he says. I think I'd better ask you to come back when my brother is home, she says. No, I want to talk to you alone, says Sam, a hint of desperation in his voice. I'm afraid I'll have to ask you to leave, she says. Even if my staying would help your brother out of some serious trouble? Asks Sam. A short time ago, my brother was almost killed in an automobile accident, says Liz--no trouble could be as serious as that. Even if it concerned another time, another automobile accident, says Sam, say, 10 years ago.What are you after, money? she asks. Not more money, he says. Then what do you want? she asks. TO save my soul, he says, and Liz gestures to the drawing room.

Sam looks around, entranced. Well, Mr. Evans? Liz asks. This is the first time I've ever been in this room, remarks Sam--it's beautiful. It's dark and gloomy and you know it, says Liz--please get to the point. To me, says Sam, any room that has paintings on the walls is a beautiful room--they're all ancestral portraits, aren't they? Yes, says Liz. Do you know that your husband once consulted me about doing his portrait? asks Sam. Paul? asks Liz. Yes, I remember distinctly, says Sam, it was the same size as that one over the mantelpiece--I believe I have some prelimnary sketches, if I could find them, perhaps you'd be interested in seeing them. No, I don't want to see them, says Liz, turning away. Strangely enough, someone else asked me to do a portrait with the same specifications, says Sam--well, that is, he mentioned the size he wanted--identical to that one up there (he indicates Jeremiah). You don't often find subjects in a small place like Collinsport, remarks Liz, not customers who can afford to pay the price--is it a local person? You might know him, says Sam, he used to be a friend of your brother's. You must mean Burke Devlin, says Liz with distaste--did you agree to do the portrait? Burke is a very persuasive fellow, says Sam, besides, he has an interesting face. Have you had a chance to talk to him at any great length? Asks Liz. Not yet, says Sam, but if I do the portrait, of course, it will mean several days of sittings. I wondered if he mentioned why he came back to Collinsport, asks Liz. It is his home, says Sam. I know, but a man like that who has a chance to travel, see the world, you wouldn't think he'd be content to settle in a tiny place like this. Who knows? asks Sam, he might have had the incentive to make money just so he could come back here. Why? asks Liz. I suppose he has his reasons, says Sam uncomfortably. I see people so seldom, says Liz, I'm afraid I've become a poor hostess--would you care for a drink? If you're sure it's no trouble, says Sam (probably frothing inside for one). No trouble at all, says Liz, going to the sideboard and pouring--my brother keeps quite a supply on hand--he likes to drink himself sometimes. Yes, I know, says Sam, and quickly downs the glass of booze with a sigh of relief.

Burke enters a fancy restaurant in Bangor and shakes hands with a man sitting at a table--Mr. Blair. (?) Will Bronson be joining us? asks Burke. I don't think so, says Blair--would you like to order? No, I'd like a drink, says Burke, we can talk about business later. (There is a waiter wearing a tuxedo and other patrons.) Burke orders a scotch and water, then asks Blair what he's got for him. Just what you asked me for, says Blair. Good, says Burke. I think we're not in a position to start picking up the outstanding notes that are held by the bank, says Blair. This will give me complete control of the Collins canneries, says Burke. Blair tells him that if he wants to go further, he imagines he can gain control of any property the Collins family has an interest in. Burke smiles and says he wants to go further--much further. A waiter brings over the drinks. Carolyn enters the restaurant and is seated at the table. She tells the waiter she'll order later--she's expecting someone to join her. Burke, not knowing she's come into the restaurant, sits with Blair, oblivious.

Carolyn can see Burke clearly from her vantage point. Other people enter the restaurant. Burke flips through a pad of papers that Blair has given him and asks if that's the full list. To the best of my knowledge, says Blair. Your knowledge had better be perfect, says Burke, that's what I'm paying you for. You can check it out for yourself, says Blair. The first thing I do, says Burke, is check out the people that I hire--then I leave the details to them, so I don't have to check on this--I've already checked on you. Satisfactorily, I hope? Asks Blair, sans humor. You wouldn't be sitting there if it wasn't, Burke assures him. I'm ready to move when you give the move, says Blair--I think Mr. Harris at the bank is expecting a call from me. There's no possibility of him connecting you with me? asks Burke. Not the slightest, says Blair--all he knows is that I represent a New York investment company interested in acquiring notes and mortgages--when do I start? There's not much of a rush, says Burke--part of the pleasure I get from ruining the Collins enterprises is the anticipation of doing it--he smiles. Carolyn looks at her face in her compact and puts in powder. She's smiling. The thing I like about your work is that it's thorough, says Burke, handing the other man what looks like a legal document--you never ask any questions. That's what I'm paid for, says Blair. Good, says Burke. You must have noticed that the only property that has a mortgage is the big house itself--Collinwood. Carolyn watches. I suppose pride prevented them from putting that up for hock, says Burke. Not at all, says Blair--Mr. Harris said that Mrs. Stoddard inquired about borrowing on it, but it's not an asset--more like a liability. That's interesting, says Burke. Who'd want it? asks Blair--big house like that, unless somebody wanted to turn it into a resort hotel or something--not too long ago, Mrs. Stoddard put in a petition for the property tax to be reduced--the reason for it was that half of the house is shut off and nothing used. The petition was granted, I suppose, asks Burke. Yes it was, Blair tells him. I'm not surprised, says Burke bitterly, that family owns everything there is to own in that town--except me. And you want to see that reversed, says Blair--you want to own everything that's there to own--except them. Including them, says Burke firmly--now, shall we eat?--and he turns and spots Carolyn sitting at another table--excuse me, says Burke. Hi, greets Carolyn--you surprised? Not really, he says. Wont' you sit down? she asks. Burke exchanges glances with Blair and says yes, he thinks he'd better. Carolyn gazes fondly at Burke.

Collinwood - Sam drains his drink and tells Liz he thinks he needed that, thank you very much. Now if you're sufficiently refreshed, she says, why don't you tell me why you came here to see me. I wanted to see the portraits, I've heard so much about them, says Sam. Nonsense, says Liz--I'm not a mind reader--what do you really want? Well, says Sam, I want to tell you something about your family--something I learned, you might say, accidentally. Why come to me with it? asks Liz. Who else? asks Sam. Why go to anyone? asks Liz--why not keep it to yourself? That's the trouble, he says, I've kept it too long to myself. I hardly know you, says Liz, rising and walking around the room, I certainly don't know you well enough to discuss family affairs with you. Please, begs Sam. I have no idea what you expect to gain by coming here, says Liz, her voice rising, I knew you'd sunk low, but I didn't think anyone could sink so low as to try to sell information about someone who'd done something foolish. Sam tries to interject, but Liz, on a roll now, orders him to please not interrupt. Someone knocks at the door. Liz looks disapprovingly back at Sam, who drains the last few drops from his glass. It's Joe at the door, reminding Liz she said she wanted to see him. Yes, she says, closing the doors--it's about Carolyn--have you seen her? No, says Joe, but I have a pretty good idea where she might be.

You said you knew where Carolyn went, Liz reminds him. Look, says Joe, uncomfortable, I don't want to sound like a spy. I'm worried about her, says Liz--she left word that she might not be home for dinner. And you thought she might have had a date with me, says Joe. She didn't say where she expected to dine, says Liz. Or with whom, says Joe--all right, I'll tell you--earlier, she was in the restaurant with Burke Devlin--later, a friend of mine told me he saw her in her car, on the road to Bangor. Perhaps she had some shopping to do, suggests Liz. Maybe Burke Devlin had some shopping to do, too, says Joe. What do you mean by that? asks Liz. I stopped by the hotel before I came here, says Joe, and I asked to see him--the clerk told me Mr. Devlin had gone to Bangor for the day. Do you think they arranged to meet there? asks Liz. I don't know, says Joe, upset. I'll speak to Carolyn when she gets home, says Liz. If she gets home, says Joe. I don't think it's that bad, Liz assures him--did you see Mr. Malloy? No, he hasn't been near the plant all day, says Joe. That's odd, says Liz, oh, Joe, Sam Evans is in there, will you go talk to him, close the doors, I'll see if I can get hold of Mr. Malloy--there's a drink in there if you want it. Don't even suggests it, says Joe, and goes into the drawing room with Sam. Liz dials the phone.

That's quite a coincidence, says Burke to Carolyn, you just happening to drop in here. It could have been a coincidence, she says, I come here a lot. But today it wasn't, he says. No, she admits--I followed you from Collinsport--I'm a curious girl. You certainly are, he says, very curious. I wanted to see who you were going to meet, she says. Oh, did you expect I'd come here for a rendezvous with a glamorous, sloe-eyed siren?--do I detect a slight note of jealousy? Why should I care what you do? she asks. That's a good question, he says, but I'm the one who should be asking it--why should you care what I do? I told you, she says, I simply was curious--you're the one to blame--acting so mysterious all over town. here's nothing at all mysterious about my trip to Bangor, says Burke, I came here to meet my first love--money--Mr. Blair is my banker, and since you've come this far, you might as well join us for lunch. Oh, no, I don't want to interfere with your business appointment, says Carolyn--I thought maybe afterwards. You'd be surprised how quickly I can wind up my business, he says, leading Carolyn to his other table, a dark expression on his face. He sighs.

Burke introduces Blair to Carolyn Collins Stoddard. How did you know my middle name? asks Carolyn. It had to be that, says Burke--Mr. Blair is a nefarious old swindler who I am engaged with to defraud your mother out of every single one of her vested interests. Oh, come off it, giggles Carolyn, it's nice to meet you, she says. Mr. Blair is an old friend of mine from New York, says Burke, who just invited me up here for a drink--how will that do? I'll buy that, she says. I thought you would, says Burke--and I will buy you lunch. She sits in the booth. Unfortunately, says Burke, Mr. Blair has another appointment, don't you, Mr. Blair? Yes, says the letter, checking his watch, I'm rather late now--great pleasure, Miss Stoddard. He leads Burke away from Carolyn. Burke tells him to go back to the hotel, he'll call him later. Blair agrees, then turns to Carolyn and asks her to forgive him for not joining them, but business before pleasure. Burke sits beside Carolyn, who asks him if it's possible he got rid of him so he could be alone with her. Why not? asks Burke, you're much prettier than he is. But I thought you said money was your first love, she says--and Mr. Blair must represent money. Oh, he does, my dear, says Burke, he DOES!--Mr. Blair represents more money than I'll ever see--and of course it's true I do have a fondness for the stuff, but only to buy pretty things for attractive young girls. Are you putting me on? she asks, grinning. Why on earth would I do that? he asks. I admit, I acted like a child, following you here, she says, but please don't treat me like one. Very well, Miss Stoddard, he says, how would you like to be treated? Oh, well, like a girl you really had a lunch date with, she says, Splendid, says Burke, now we shall start by ordering a splendid lunch--he takes out a pen and signs something brought over by the waiter--since you are a very special girl, he says, you shall have a very special lunch--salads, baked potato and steak, medium rare--how does that sound? Can I have French fries? asks Carolyn. Yes, I forgot, he says humorously, I'm worrying abut my age--French fries for the lady, please. The waiter leaves with the order and Burke asks Carolyn, "Will the witness answer as directed--where did you have lunch on the after noon in question, and with whom?" Right here, she laughs, with you. Is that what you're going to answer when questioned by your mother? asks Burke--your uncle, Joe Haskell and even Victoria Winters? She nods and says she'll tell the truth--unless he doesn't want her to. Always tell the truth, advises Burke, it's much better in the long run--now, to continue--how was this lunch date arranged?--did the prisoner insist?--did he drag you there against your will?--you'll note of course that I am the prisoner. Oh, she says, well, then, your honor, I must say the prisoner did none of those things--I alone am to blame--I confess and throw myself on the mercy of the court! The court recognizes the sterling qualities of the witness and as a reward, presents her with this sterling silver pen--and he hands her the pen he used to write down their order for the waiter. Carolyn laughs and says she hopes the case is dismissed--here's your pen back. That's not mine, I gave it to you, says Burke seriously. It was just in fun, says Carolyn. I never do anything in fun, says Burke, gazing at her intently, the pen is yours. I couldn't, she insists, it must have cost a lot. Do you think I would give you anything that didn't cost a lot? asks Burke, handing it back--I insists that you take it. She thanks him very much and takes it back. Yes, perhaps you can write down your innermost secrets with it, suggests Burke. I have no secrets, says Carolyn, gazing at the pen. Then you're very fortunate, says Burke. Maybe I'll use it to write down what happens to me every day--I'll start a diary, she says.You're right, says Burke, everyone should have a diary from the day they are born--the pen is yours. She examines it, takes off the cap (it's a fountain pen), replaces it.

Are you sure Mr. Malloy isn't there somewhere? asks Liz on the phone--if you see him, ask him to call Mrs. Stoddard--it's very important--thank you. Liz hangs up and enters the drawing room, where Sam stands and Joe sits. Did you find Mr. Malloy? Asks Joe. No, says Liz, I didn't. What do you want with Malloy? asks Sam. He manages my company, says Liz--is there any reason I shouldn't want to see him? No, says Sam, I guess not--if he ever tells you anything about me, don't you pay him any attention. What should he want to tell me about you? asks Liz. Nothing, I suppose, says Sam anxiously, he doesn't know one single thing! I've been very patient, says Liz--suppose you stop beating around the bush and tell me what you want. Well, says Sam. Joe asks Liz if she wants him to leave. No, says Liz, with Mr. Evan's attitude, it might be well to have a witness to what he's going to say--well, Mr. Evans? No, I can't do it, I can't! cries Sam, and leaves the house.Puzzled, Joe and Liz watch him go. Do you know what he was talking about? asks Liz. No, says Joe, while you were on the phone, he just stood there, he wouldn't say a word--do you want me to go after him, bring him back? No, says Liz, the worst part of a secret is not being able to tell anyone--Sam Evans will come back of his own accord--when he can no longer stand keeping it to himself.

NOTES: Is Liz right? Will Sam break under the weight of his secret and come back and tell? I don't know, but I suspect if she'd been kinder to him, less impatient, he would have spilled. Who could talk to someone as icy as Liz behaved toward him?

A big deal was made of Burke giving Carolyn that pen. It's going to turn up again, and again, a significant plot point. What WILL Carolyn tell everyone when she gets home? Burke is becoming predatory, wanting not just the Collins family assets, but Carolyn, too. Is he planning to break her heart? She isn't a baked potato girl, but a French fry girl. Will she be sorry she ever chased Burke to Bangor?

So Burke is moving forward on his plan to destroy the Collins family, and Blair is helping him. Interesting to have another Mr. Blair in the picture, even if it isn't our Nicholas.

I loved the restaurant set in Bangor, it looked really fancy and real. There was also a touch of realism in the two waiters, other customers, etc.--you didn't get the idea that the Collinses and their friends are the only people in the universe.

Have a great weekend!

Love, Robin

Episode #37 - It's one o'clock in the morning, barely four hours since I decided to stay in Collinwood, and now sleep refuses to come, not only for me, but for a man whose tension, hour by hour, seems to be rising closer to the surface.

Roger stands in the drawing room, distracted, scared. He bites his nail, rubs the back of his neck, then opens the double doors and wanders into the foyer. He turns on the light in the drawing room and dials Sam Evans, who sits in abject misery in a chair, drink in hand, refusing to answer the phone. Sam finally picks up, says, "You've got the wrong number," and starts to hang up. Roger first orders, then begs him not to hang up What do you want now? asks Sam. Peace of mind, complete peace of mind, says Roger softly. It's about 10 years too late for that, says Sam. I don't want epigrams from you, says Roger, I want to know what you've done about Burke. Nothing, says Sam. But you're not serious! Says Roger.I told you earlier this evening, says Sam--I tried to talk him out of having me do his portrait, but he refused--why in heaven can't you just leave it at that, accept it? You haven't talked to him again! says Roger desperately. What do you expect? demands Sam--it's one o'clock in the morning!--do you want me to rouse the man out of his sleep? I know what time it is, says Roger, call Burke now, cancel that portrait sitting. Suppose I can't? asks Sam. The hours are passing, says Roger, for both of us--don't make yours any shorter than they have to be--and he hangs up. Roger walks, his gait like that of an old man's, and spots Vicki standing in the doorway, staring at him. His eyes bulge when he sees her.

How long have you been standing in that doorway? demands Roger, horrified. I couldn't sleep, she replies, I came down to find something to read. To read or to listen? he asks. I don't understand, she says. I see, he says, innocence in a dressing gown--don't stand on the threshold of that door, poised--get in here, Miss winters! Afraid, Vicki says she's not sure she...she didn't know anyone was down in here. Now you know, he says, will you join me, please--and he pulls her into the drawing room and closes the doors. Now just suppose you tell me how long you were standing in that doorway? He asks. I just got there when you saw me, says Vicki. How much of my phone conversation did you overhear? He asks. None of it, she says, and why should I be interested in your phone conversations? Because you've been snooping and prying ever since you came here, he accuses, because you've been getting yourself involved in matters that don't concern you in the least! That's not true! says Vicki. Let me advise you, he says, the more probing you do, the sooner you'll be sent back where you came from. I think you'd better tell your sister that! says Vicki. (Go, Vicki!) My sister fells exactly the way I do, he says. Is that what you think? says Vicki--perhaps you don't know that earlier this evening, I tried to leave and she talked me out of it--I told your sister I thought she needed somebody new to take care of David--and she insisted I stay. Then Elizabeth is a...I'm sure my sister had her reasons, he says, more calmly, but they, too, can change, as circumstances change--if you did hear any of that conversation, forget it--pretend that it never existed--I'm telling you that for your own good--do I make myself clear enough? Quite clear, she assures him. Then good night, he says, stepping aside to let her leave. She goes upstairs. Roger pours another drink, already drunk, it appears.

Cottage - Sam, too, pours another drink. (All this guilt drinking going on!) Maggie comes out and asks Pop what time it is. I wouldn't know, he says. She picks up the alarm clock--quarter after one, she says--don't you think you ought to hit the sack? No, he says, taking another slug. Maggie chuckles and asks what he's doing--plugging for a non sleep long distance record? Go back to sleep, leave me alone, he says. Exactly what I intend to you, she promises, as soon as I satisfy my inherited curiosity--who called? No one, he says. The phone rang, didn't it? she asks--that's what woke me. Wrong number, says Sam. Try again, advises Maggie, I heard you talking to somebody. I was talking to our friendly local bookmaker, he says--satisfied?--go back to sleep, darling, you're getting those fatigue lines that a pretty little girl like you shouldn't have. She touches under his eyes, reminding him they run in the family, and they're not fatigue--it's worry. You think you know everything, don't you? he asks, kissing he cheek. Not everything, she says, but I do know you--I know you're a wonderful, marvelous human being, and I hate to see you torn apart the way you are. Then listen to this wonderful, marvelous human being and go back to sleep, he says, hands on her shoulders. What about you? she asks. I'll go to bed soon, he says, I promise--there's just something I have to do. Another call to your "bookmaker"? she asks. Let's just says I'd like to keep the world from falling apart sooner than it has to, he says--good night, sweetheart--and he kisses her again--don't worry. Tell me to stop breathing while you're at it, she says.

Sam wanders his studio, a piece of paper in his hand. Maggie asks him what he's got there. I thought you went back to bed, he says. You know how it is, she says, buttoning up her robe--I tried, no luck, though I'd fix myself a cup of tea--what is that, a letter? You are the nosiest person on the face of this earth, he says--yes, it's a letter, I wrote it, and it's private--now if you're going to make some tea, the door it right there to the kitchen. You are a fount of information, she says mockingly, and goes to the kitchen. She sees him tapping the letter impatiently and leaves him, unhappy. Sam slides the letter into an envelope and seals it. He writes (left-handed) on the envelope. Kettle's on, says Maggie--who are you writing to, your friendly neighborhood bookmaker? He shows her the envelope. Me, she says--this is for me? That's right, he says. But you said it was personal and private, she reminds him. That's right, he says. That doesn't make any sense, she says, you don't have to write me letters, you can talk to me anytime you want, about anything. Maggie, he says anxiously, I don't want you opening that letter, not now, I want you to put it in a safe place, keep it there--don't open it or show it to anybody, just keep it. I don't understand, she says. No questions, he says, just promise you'll do as I ask. How can I promise when I don't... Because I ASK you to, he says, slamming his fist on the table--believe me, darling, the one thing I hope is, you'll never have to open that envelope--that you'll never have to learn that...he walks away from her, pained. Learn what? she asks. The kettle screams. The kettle's boiling, he says. What did you write in this--what's in it? asks Maggie. WILL YOU TURN THAT KETTLE OFF! he shouts. Hurt, Maggie goes to the kitchen. Sam pours himself another drink. Pop, says Maggie hesitantly. I want you to keep that letter, he orders, and promise me you will never open it, unless you hear something has happened to me. What do you expect will happen to you? she asks, alarmed. Oh, my friendly bookmaker might want a pound of flesh, says Sam. Don't joke with me, she says--this has something to do with Collinwood, doesn't it? Just keep the letter, says Sam, that's all I ask. I wish that place would burn to the ground, says Maggie. That wouldn't do any good, solve any problems, he says, the ghost of the past don't live in a home, but inside each man, fight for his soul--twist it into something unrecognizable.Don't talk to me about spooks, says Maggie--no ghost could make you that afraid for your life! You don't know anything about it, he says--go get your tea, dear. No sobbing ghost could have made you write a letter! insists Maggie. I'm going to bed, he says, kissing her. It was Roger Collins, says Maggie resentfully--I know. Sam enters his bedroom without responding, and closes the door. Ghosts! says Maggie, annoyed.

The clock strikes one. The house is filled with heartbroken sobbing. Vicki comes out onto the landing and stands at the top of the stairs, asking, "Who is it?--who's there?" She goes downstairs, through the foyer and into the drawing room. Seeing no one, Vicki wanders out of the drawing room, back into the foyer, and into the kitchen. Vicki heads into the basement, where the crying pauses for a moment, then resumes. She turns on a light and goes to the mysterious locked door, from behind which the sobbing seems to be emanating. Who's in there? she asks, rattling the padlock. She heard footsteps, and we see a man's shoes coming downstairs.It's Roger, who looks rather ghostlike himself, anger pouring from his very pores.

Are you still looking for something to read? Roger demands. Vicki tells him she heard someone crying. I see, he says, and do you normally go prowling in the basement of a house when you hear someone crying? I was trying to get to sleep when I heard it, she says--I told you I heard it before. I thought I made it perfectly clear to you, he says, that I will not tolerate your constant snooping and prying. I wasn't snooping, she says--I heard crying behind that door! He gives the door a couple of tugs and tells her it's locked as she can see. But I was sure I...didn't you hear it? she asks. I have far more important things on my mind, he says, than the hysterical imaginings of a girl... It wasn't imagination, it was real, Vicki insists desperately, someone was crying, I know! From behind that locked door? he asks, not believing her. I thought it was, she says uncertainly. An old house has many strange sounds, says Roger, and if you go on staying here, you are likely to hear them over and over again, but I will not allow you to use these sounds as an excuse to go wandering where you don't belong! But didn't you hear it? persists Vicki. I don't want to talk about it anymore--I don't want you wandering through closed sections of this house--or up in the attic or down in the basement--I want you to stay where you belong!--and do what you're supposed to do--is that clear?--I don't want you to do anything else but that! The phone rings, saving Vicki from further diatribe. Vicki turns off the light and leaves the basement. The sobbing starts again.

Roger answers the phone. It's for Liz, and annoyed, Roger tells the caller that Mrs. Stoddard is asleep--who wants to speak to her?--Ned Calder?--well why didn't you say so, Ned?--do you have any idea what time it is?--I'm sorry, but Liz is asleep, and I have no intention of disturbing her. Vicki has come into the foyer and whispers, "Mr. Collins." If you want to speak to her, says Roger, I think it advisable that you call her at a more reasonable hour--good night. Now what do you want? Roger asks Vicki. If that was a Mr. Calder, says Vicki, your sister was very anxious to talk to him. Flabbergasted, Roger says, you really do know everything that goes on in this house, don't you? I heard her place a call to him earlier this evening, explains Vicki, she left word for him to call her back--she said she didn't care how late it was, it was very important that she talk to him. Were you also hired to serve my sister as a private secretary? Asks Roger incredulously. No, says Vicki. Or maybe your primary function, suggests Roger, is to teach me the proper manner in taking telephone messages. You have no right to talk to me like this! cries Vicki. I'll speak to you the way I choose--I have no intention of telling you what I want to do--if you want to go up and tell my sister this whole thing, you can--go ahead! Vicki sweeps past him without another word and heads upstairs. Miss Winters--wait, says Roger, looking up at her--please. What for? asks Vicki--another lecture on my "duties"? I'm sorry, says Roger, I didn't mean what I said--do you believe me? I'm afraid I don't, she says. Please, he begs, I want to talk to you--please?--he points to the drawing room.

Drawing room - Roger apologetically tells Vicki he's been boorish and rude and completely unfriendly. And without reason, she tells him. And I certainly wouldn't blame you if you went up and repeated everything to my sister, he says, but I'd really rather you didn't--why burden Elizabeth with our petty quarrels. It was hardly a petty quarrel, says Vicki. I know it, he says, and you're completely right, and I do deeply apologize--but lately I've had all these pressures on me from many directions--you do understand, don't you? It's still no reason to accuse me of snooping and prying, she says. Did I say all those words? He asks. Many times, she says, sitting on the sofa. Then I'm prepared to offer you a complete apology for every time, if you will, he says, sitting across from her--you see, I'm willing to go to any lengths to be restored to your good favor (he reminds me of a fawning court jester here)--I really want you to understand that when I shouted those words to you, it was just the pressures and extension of my tension, not my true feeling for you at all--you do believe me, don't you? Just what is your true feeling? she asks. That you are a charming, lovely girl who feels she's in a house of madness and who is understandable troubled by the events around her--am I correct? She smiles and nods. More than that, he says, I feel you have an innate sense of goodness that would overlook a troubled man's impulsive outbursts, and who really wants to be your friend. You have a very strange way of showing it, remarks Vicki. Let's then say simply that we've both been through the Holocaust this evening, he says, and that the calm is much the sweeter for it--you do accept my apology, don't you? I will if you'll answer one question, bargains Vicki--the sobbing, you did hear it, didn't you? Roger rises from his chair and finally admits yes. What is it--where does it come from? asks Vicki. I don't know, he replies. But you must, she says. I've heard it many times before, he says, and I honestly can't tell you where it comes from--maybe it's one of our ghosts.But it seems so real! Protests Vicki. Ghosts can seem real, he says, they can seem very, very real indeed.

NOTES: I love the way Vicki stands up to everyone. For someone so young, she has a self-confidence that is very appealing. She neither gives nor takes any crap, and I like that. Her scenes with Roger were powerful, and I was so glad she didn't kowtow to him. In her presence, fearful of her tattling on him to Liz, he seemed frail, scared, and above all, human.

Maggie is another one who won't take any crap, and she is very disturbed about this mysterious letter her father has given her--a letter he doesn't want her to open until "something" happens to him. Maggie fears that he might be dying, ill, or hiding a terrible secret. In any event, you know she won't let it rest here. She, like Vicki, is determined to get to the bottom of things. I love the father-daughter interaction here, which is so much warmer and more loving than what David and Roger share (or don't share).

Poor Vicki is the victim of Roger's guilt and anger more than once here. Will this finally mean a rapprochement between them, or is she doomed to suffer more such scenes?

Who is the sobbing ghost? Josette? Someone else? It does give one the creeps to listen to that unbearable crying--which probably every family member has heard, and simply accepts.

Ned Calder. Who is he? What does he mean to Liz? And why was Roger so nasty to him?


Episode #38 - The gray light of morning has come again to Collinwood, and the strange sounds of the night should seem thousands of miles away--yet I can still hear it in my mind--the helpless crying that filled the shadows of the great house in Widows' Hill--crying that had drawn me down musty stairs to a strange, forbidding door. . .

Drawn to the locked door, Vicki once again goes down into the basement and turns on the light. Looking for something, Miss? asks Matthew Morgan (now played by Thayer David--we lost two actors in only a few episodes, but I like the ones playing he roles now far better). Startled, Vicki whirls around with a gasp. I didn't know anyone was down here, she says. What do you want in there? he asks. Nothing--I was just wondering what was in there, she says. I thought I heard Ms. Stoddard tell you to stay out of this basement, he says. I came down to get some books for David, says Vicki, he said they were here. Ain't any books in that room, Miss, he says. I didn't think so, says Vicki, I thought while I was here, I might give it a try. You want books, he says, carton full of them in that corner--take my advice, get what you want and go back upstairs before Mrs. Stoddard finds you here. Vicki stares at the door. Over there, says Matthew, not in that room. Vicki walks over to where Matthew pointed. He looks at her sharply.

Vicki is placing books in a box when Matthew comes over and asks if she found what she's after. Not yet, says Vicki, David said there were some Rover Boys books in a carton--you wouldn't know where they were, would you? Nope, he says, I'm going upstairs, you'd better come, too. It's all right, says Vicki, I'll come up as soon as I've found them. Mrs. Stoddard wouldn't like you being down here by yourself, he says. What does she think I'm going to do? asks Vicki--run into a ghost? I don't read her mind, Miss, says Matthew, I just know what she wants and I do it--you'd better get those books of yours and come upstairs with me--unless books wasn't the only thing you're after. Do you believe in ghosts? Asks Vicki. What's that got to do with books? He asks. You've worked here for a long time, she says--have you ever heard any sobbing in the night. Josette Collins, says Matthew, almost to himself--that's who you're talking about, isn't it? You don't believe her ghost still cries here, do you? asks Vicki. Ye-ah, he says. Have you ever heard the sound? Inquires Vicki. Never been in this house late enough at night, he says--she's here, all right, you can feel her, feel all of 'em, and don't try to tell me you can't. My first night here, I heard the sobbing, says Vicki, and I heard is again last night--I thought it came from down here in the basement, so I followed the sound down here--and I'm not sure, but I think it came from behind that door. Best thing for you to do when you hear that crying is to stay in your room, advises Matthew. But what's in that room? asks Vicki. It's a storeroom, says Matthew. Do you have a key for it? she asks. Matthew abruptly grabs her by the arms and accuses her of coming down here--to do some more snooping, not for books! I came down here to find books for David! protests Vicki. Miss, the first day I met you, says Matthew, I warned you about sticking your nose in where it didn't belong--he releases her--there's lots of closed off rooms in this house--they stay closed--to you and anybody. I can't believe that sound was made by a ghost, says Vicki. You believe what you want to, says Matthew, but believe this, too--I'm not going to let anybody dig up problems for Mrs. Stoddard, not you or anybody else--not while there's anything I can do to stop it. How can my asking about that room make trouble for her? asks Vicki. I dunno, says Matthew, all I know is, she gave orders for you to stay out of this basement, so you'd better forget about those books. Liz calls down, to Matthew, asking if he's in the basement. Yes, Ma'am, he says, I'm collecting some of these old newspapers. Leave that for now, she says, come upstairs--I want to talk to you. Yes, Ma'am, he says, then goes over to tell Vicki that if she wants to know about that room, she should ask Mrs. Stoddard--she's the only one with a key--but take his advice, be like me, do your job and don't ask any questions--about anything. He leaves the basement. Vicki looks at the mysterious door.

Burke sits in the coffee shop, reading a book. Carolyn enters and grins when she sees him. A mystery story, I'll bet, she says. Hello, he says, smiling at her, rising, as a matter of fact, is it, in a way--what is the lovely Miss Stoddard doing down from her hilltop castle so early in the morning? I wanted to get something in the early mail, she says, then thought I'd drop in for coffee. I'm delighted you did, he says. Aren't you going to ask me to join you? she asks. Are you sure it's safe? He banters. It was safe enough last night for Vicki Winters, wasn't it? she asks. He looks uncomfortable. She sits and says she'll just have coffee, thank you. Not even a doughnut? Asks Burke--I've already ordered breakfast, I hate to eat while you're... I shouldn't, says Carolyn, shrugging off her trenchcoat, but I will--OK, a doughnut. Burke orders Suzy to bring over coffee and a doughnut. Carolyn looks at the cover of the book he's reading--THE COUNT OF MONTE CRISTO--I thought only kids in school read this, she comments. When I was in school, I didn't have much time for reading, says Burke--it's a good book. I remember, says Carolyn, the rich, handsome man of mystery returns to take revenge on...she stops...say, you wouldn't be the Count of Monte Cristo, would you? She's smiling. No, he says, but I'm starved--and he thanks the waitress when she puts his loaded breakfast plate in front of him, then Carolyn's doughnut. Burke Devlin, sent to prison by the cruel Collins family, says Carolyn, as if reading from a newspaper, returns to weak revenge upon them. You think that's why I'm here? asks Burke. Matter of fact, I don't, she says, unless you have deep, dark designs on my little cousin's governess. That's the second time you've mentioned Miss Winters, says Burke--I think you're trying to tell me something. Miss Winters? Asks Carolyn--do you mean she had dinner with you in your hotel room last night?--and you still don't call her Vicki? I'll get around to it, says Burke--just give me time. Carolyn says she doesn't think she will give him time--she bites into her doughnut.

Matthew stands in the foyer, looking rather out of it. Liz hands him a list of the supplies they need--she hopes he can ready her writing. Matthew gazes down at the note and fondly says he always has. It hasn't been too steady the past few days, she points out. Yeah, he says--it's Burke Devlin come back--I don't like that man, Mrs. Stoddard--I don't like what he's doin' to ya--without even mentioning what he almost did to Mrs. Collins. He hadn't done a thing to my brother, says Liz. If you say so, Ma'am, says Matthew, I'll go into town right now and get these things. Wait, says Liz--come inside, please--and she leads him into the drawing room and tells him to close the doors. Burke Devlin was not responsible for my brother's accident, reveals Liz. Then who was? asks Matthew. Liz sits. You were, she says--there was a part of the brake cylinder loose on my brother's car--you knew it--you were supposed to have it fixed--several times--but you didn't--so it fell off. That's not true, protests Matthew, hurt. I know it isn't true, says Liz, but if anyone asks, that's the story I'd like you to tell. Why? he asks. Because it's the story I told the police, she says. I just plain don't understand, he says, aggrieved, why tell a lie like that when we all know it was Burke Devlin. . . It wasn't Burke Devlin! shouts Liz--is that clear?--it wasn't Burke. Yes, Ma'am, agrees Matthew, and although he points out that this will make him look like a fool, he assures her he will do it. Liz apologizes for that, but it was all she could think of to say at the time--will you help me? You ought to know better than to ask me that, he says, with a crooked grin, of course I'll help you--anything you say, I'll help you. She rises and thanks him, calling him a good friend. I try, he says--which is more than a few others can say--that Miss Winters you brought into the house... I've asked you to try and be friends with her, Liz reminds him, please--I've asked you before. You also asked me to keep her out of the basement, didn't you? says Matthew--that's right,Ma'am, he says at her startled expression, she's down there right now, poking around, looking for who knows what--I asked her to leave, but she wouldn't.

Basement - Vicki is still searching through cartons of books. She wipes her dirty hands against each other and finds Liz standing there. I thought I told you not to come down here, an angry Liz reminds her. I was looking for books for David, says Vicki. I know, Matthew told me, says Liz--he also told me you were trying to get into that room. Did he tell you what I heard last night? asks Vicki. Yes, says Liz, but that's no excuse. There's no such thing as a ghost, says Vicki, and I heard crying--I told Matthew I thought it came from in there. I know what you told Matthew, says Liz, precisely, and I also know what I told you--not to come down here--now I believe you were looking for some books for David? Have you ever heard that sound? Asks Vicki. I've heard the wind, the floors creak, shutters bang--yes, I've also at times heard crying in the night, admits Liz. Where does it come from? asks Vicki. This house--Collinwood--says Liz, there are 40 rooms here, most not in use--and occasionally the wind blows through an open window in a deserted wing. But I've heard it down here in the basement, says Vicki. The same pipes that carry heat carry sound, says Liz. What about that room? asks Vicki. That's nothing but a storeroom, says Liz, and there's nothing in there of importance--certainly no one crying in the night--I'm the only one who has the key, so I should know--now I think that should end our discussion--what books were you looking for? The Rover Boys, says Vicki, resigned. Yes, I know exactly where they are, says Liz, and shows her. I still can't believe that sound wasn't real, says Vicki. Liz looks at her sternly. (Vicki doesn't let go of things easily, does she?)

Carolyn fiddles with a ring, pulling it off and on. Burke returns to the table and apologizes for having to make that phone call--it was Sam Evans--he's going to paint his portrait, he says proudly. I heard about it, says Carolyn. He's a funny guy, says Burke, tried to talk me out of it, even now--you wouldn't know why, would you? Me? asks Carolyn--I have enough trouble finding out why I do things without worrying about other people. He takes her hand and tells her that's a very pretty ring--is it a birth stone? Yes, she says, taking her hand from his, putting the ring back on and dropping both into her lap. Are you nervous about something? asks Burke. Of course not, she says--I'd like more coffee. All right, he says, just a minute--and he goes to the counter to request more coffees and some cream,. (An extra sits at the counter.) Well, he says what's on your agenda for today? I thought I'd leave that to you, she says--I thought I'd offer myself as a guide to show you how things have built up in the Collinsport area while you were away. You mean like the war memorial, the new housing project, new roads, and other fascinating things, says Burke. You're making fun of me, accuses Carolyn, and I don't like it. All right, serious, he says, thanks for asking me, but I'll have to take a raincheck--I'm posing for my portrait this afternoon, remember? Disappointed, she asks how about later this afternoon? No, I have a business appointment, he says. You're just trying to avoid me, says Carolyn. I don't see how I can--or want to--comments Burke as the waitress brings over more coffee. Tell me, says Burke, do you always make friends with your family's enemies? You're nobody's enemy, she assures him. How do you know? he asks--remember, the Count of Monte Cristo returns for revenge and retribution. DO you have to have a business appointment this afternoon? she asks. Yes, he says. Where? she asks. I have to drive up to Bangor, he says. Why don't I go with you? she asks. Miss Stoddard, you shock me, he teases. She makes a face and accuses him of making fun of her again--it's broad daylight--I'm not a child--and I just want to get to know you better. Why? he asks. Why, why, always why, she complains--yes or no, that's all. No, he says. Why? she asks, and they both laugh. Seriously Burke, it'll be a ball, she says--we can have lunch--I know a great place in Bangor. And you can show me the war memorial and the new housing project. I hate you, she grins, so help me, I really do.Carolyn, he says, sweet Carolyn--I'd love to spend the afternoon with you, but I have private and personal business--and a lovely girl with blonde hair would be completely out of place. She makes a face at him and says it probably has something to do with my family--besides, I'm not a little girl. Maybe not, says Burke, but you needn't make a point of proving it. That was nasty and un-called for, says Carolyn, and just for that, the next time you want to see me, you'll have to call me. She stands and takes her coat. I may surprise you and do just that, says Burke. You won't surprise me at all, says Carolyn, thanking him for the coffee and doughnut--when you decide to call me, I'll be at home, she assures him. Burke shakes his head and picks up his book--under which is the ring he took from Carolyn. He holds it up, chuckling to himself, thinking.

Vicki, arms filled with books, and Liz emerge from the kitchen area. A telephone call for me--who from? asks Liz. A Mr. Calder, says Vicki. Ned Calder?--oh, I've been waiting for that call, says Liz--why didn't you tell me? Mr. Collins answered the phone, says Vicki, it was about two in the morning and I guess he didn't want to disturb you. I was so anxious to talk to him, was there a message? Asks Liz. I don't know, says Vicki, you see, Mr. Collins and I were having a kind of an argument about my being down in the basement. You mean he was up last night when you heard that sobbing sound--what did he say? asks Liz. About the sound, nothing much, says Vicki--he said it could have been the wind, or a ghost, or--he didn't really say. Thank you very much, says Liz, now I think you ought to go upstairs and get David started on his lessons. All right, agrees Vicki, and heads upstairs. Liz goes into the drawing room and closes the doors. She dials Portland, Maine, person to person to Mr. Ned Calder.

Coffee shop - The extra pays his bill and leaves a tip, then Burke. Matthew comes in and walks past Burke without a word, ordering a coffee at the counter. Burke asks Matthew if he knows him. Ay-yuh, says Matthew. You work at Collinwood, says Burke. I want it black, says Matthew. Don't you remember me? says Burke--I'm Burke Devlin. I remember you, says Matthew coldly, the important thing is, you'd better remember me. Why is that? asks Burke. Because if you bring any trouble to Mrs. Stoddard, warns Matthew, I'm going to kill you. He turns back to his coffee. I really think you mean that, don't you? asks Burke. Ay-yuh, says Matthew. But what if they deserve trouble? asks Burke, feeling in the pocket of his vest-that would make a difference, wouldn't it? You heard what I said, Matthew reminds him.Suppose they asked for trouble? Asks Burke, for problems you want to keep away from Mrs. Stoddard? No one at Collinwood is asking for problems, says Matthew, nobody.

Carolyn returns to Collinwood, announcing herself loudly: "I'm home again!" Vicki comes to the landing, greeting her, and Carolyn runs upstairs, asking her how the tutoring business is. It will be fine once I get my pen filled, says Vicki. Carolyn Stoddard to the rescue, says the blonde, producing a pen for Vicki. If the phone rings, says Carolyn, don't anybody answer it, it will be for me--I hope. OK, says Vicki. See I just HAPPENED to leave my ring somewhere, says Carolyn, and I'm waiting for someone to call and tell me he found it--listen, if you want a whole bottle of ink, I think there's some in the study--I really have to change, I just might be taking a trip to Bangor this evening. Carolyn, calls Vicki, can I ask you a question. Anything at all! says Carolyn, ecstatic. You remember that sobbing I told you about? asks Vicki. You heard it again last night, says Carolyn. How did you know? asks Vicki. Because I heard it, too, says Carolyn--I hope you had the good sense to stay in your room--that's what I always do. But when I told you about it before, says Vicki, you told me you'd never heard it--that I must have dreamt it. From the kitchen doorway, Liz listens. I didn't want to frighten you away, admits Carolyn--but now that you're one of us--sure, that ghost lady sobs--I've heard it, off and on, for most of my life--but right now, I couldn't care less! Where does it come from? asks Vicki. Ghosts! says Carolyn, and like all the rest of us kooks here, you're just going to have to get used to it--I really must change. She leaves Vicki on the landing alone. Vicki goes downstairs and runs into Liz, who says, "I see my answers still don't satisfy you." It's not that, says Vicki, it's just so hard to believe. And you won't be satisfied, says Liz, until you're convinced there's no one hidden in that storeroom. I don't know what to say, Vicki tells her, ashamed. Here's the key, says Liz--if you doubt my word, take it and look for yourself. I didn't say I don't believe you, says Vicki. Well what ARE you saying? asks Liz--here's the key--take it, Miss Winters. Vicki gazes down at the proffered key and tells her, "I don't think that will be necessary." Vicki walks away.Liz, relieved, clutches the key--she has won another victory.

NOTES: We have Carolyn chasing Burke, thinking she's the spider and he the fly, when it's probably the other way around. Carolyn is very young, and while she thinks she knows a lot, I suspect she doesn't know much of anything--and she's heading for trouble like a moth to a flame.

Matthew adores Liz, so much so, that he's willing to take the fall for Roger's accident. Don't you love the way Liz manipulates everyone in her world from Roger to Matthew to Vicki. Here she offered the latter the key to the room she's so curious about, but Vicki decided it was better off to believe Liz and let it go.

Once again, Liz puts in a call to the mysterious Ned. Why? What is her connection to him?

I love Thayer David, and he's wonderful as Matthew, so protective and dangerous. You believe him when he threatens to kill Burke if he harms Liz, or even Vicki, and that he would do so without a moment's hesitation.

Watch out, Carolyn, you think you're the pursuer, but you are actually the pursuee!

Love, Robin

Episode #33 - It seems like years since I came here to Collinwood, where the tension holds the flow of time--but the day have passed and I'm no closer to the answers I'd hoped to find--and since I feel rooted within the panel walls of this great mansion, and in the heart of the woman who never leaves its grounds.

Liz sits alone in the darkened drawing room. Carolyn comes home and asks why she's sitting in the dark. Carolyn turns on a light and kneels in front of her mother, asking if she's all right. I'm fine, Liz assures her twice, saying she was afraid she'd get caught in the storm. So was I, says Carolyn--Mother, where's David? Upstairs in his room, says Liz. Mother? says Carolyn again, gently. I want you at least to be happy, says Liz, learning forward earnestly--please be happy!

Carolyn sits in a chair across from her mother. I wasn't here when David came home, says Liz, I was at the cottage. Playing with her necklace, Carolyn says that Burke brought David home, didn't he? How did you know that? asks Liz. When I was in town looking for David, I stopped by the hotel, says Carolyn, and I learned that David and Burke had left together--did you see Burke? No, he'd left by the time I got back, says Liz--it's so terrible! Don't, says Carolyn--did you speak to David? Yes, says Liz, I went to his room, but he wouldn't talk to me, wouldn't say a word. Then he didn't admit to tampering with the brakes on his father's car, says Carolyn. I told you, says Liz, he wouldn't speak--a nine year old boy lying on his bed, terrified. But you know now that he was responsible, says Carolyn. Yes I know, admits Liz, sighing. It's all over then, isn't it? asks Carolyn. I don't think so, her mother says, it will go on and on--Carolyn, when you were in town, did you tell anybody why David ran away. No, says Carolyn. No one must know it, no one, cautions Liz. But how do you explain what happened to the car? asks Carolyn. I've already taken care of that, says Liz, I said the brakes failed--it was an accident. What about Burke? asks Carolyn, don't you think he should know? I not interested in Burke, insists Liz. Don't you think you should be? demands Carolyn, I mean, he was almost arrested because of David. All that concerns me is my family, says Liz.I know that, says Carolyn, but there are other people, too--don't forget both you and Uncle Roger accused Burke of tampering with those brakes--you had the sheriff question him, search his room--Don't you think you owe him an apology? Please, please, begs Liz, stop worrying about Burke? Who should I worry about asks Carolyn--David? He is your cousin, Liz reminds her. Carolyn says she'd rather have one friend like Burke than 10 cousins like that little monster. Carolyn! says Liz. I'm sorry, says Carolyn. Darling, it isn't just David, it's you, all of us. We're going to be fine, Carolyn assures her. I want you to be happy, says Liz plaintively, that's all I live for! I know, says Carolyn--why don't I fix us some tea? Carolyn, don't trust him, says Liz. Who? asks Carolyn. You say Burke Devlin is a friend, her mother reminds her, but you don't know him, believe me, you don't--the fact that he wasn't the cause of this accident doesn't mean that he won't...you have a chance to lead a sane, happy life--you're the only one in this house that can do it! Mother, says Carolyn, her hands on her mother's arms, I like Burke, sure, but that doesn't mean I'm going to run away with him--of course, he hasn't asked me. Don't even joke about it, begs Liz. Carolyn says all right, no jokes--straight talk--I'm not ready to marry Joe Haskell--I know, I know--and he's in love with me--I know all that, and all about him--the person I don't know about is me.

Blue Whale - Joe holds a glass of booze and seems somewhat drunk. Do you love me? he asks the glass. Sure I love you Joe, he responds. Will you marry me? No, I won't marry you, Joe. Why won't you marry me? Because I live in a house on a hill that's why--hey, Andy, let's get some service over here--waiter! Having a little trouble? Asks Burke, coming over to his table. You're no waiter, says Joe. Watch, says Burke, grabbing the bartender by the arm and ordering a drink for his friend--and bring him a beer. How was that? asks Burke, sitting beside Joe. Other people walk from the bar to the back. Look, I am not a friend of yours, says Joe--who invited you to sit down here, anyway? I thought you might need a little ballast, says Burke. You think I'm drunk, don't you? asks Joe--isn't that right Mr. Burke "big wheel" Devlin. Well if you're not, says Burke, you're going to get there pretty fast. Someone puts a slow song on the juke. Why not? asks Joe--the whole world is coming to an end, Devlin, did you know that?--the whole rotten stinking world He looks very sad. A couple dances and dips, sans rhythm, a few feet away from them.

The bartender brings over their drinks, and Burke thanks him. Cheers, says Burke, holding out his glass for a toast. Why are you waiting around here, anyway? Asks Joe. I hate to drink alone, says Burke, saw my old friend Joe Haskell by himself at a table and I... I'm not your friend, says Joe. You could be, Burke assures him. How, by letting you steal my girl away from me? asks Joe. I'm not interested in stealing anybody's girl, says Burke. Ha! Says Joe. Cheers, says Burke, and they sip their drinks. I think you'd better make that one your last tonight, advises Burke. You're not only a girl stealer but a warden, says Joe--let me tell you something--I don't like you--I don't like your smile, the way you talk, and if you make another pass at Carolyn... Hey, you want to make me sorry I sat down with you? asks Burke. You don't like it here, go someplace else, says Joe. What's eating you? asks Burke--it isn't just Carolyn, is it? Joe sips his drink. His wife's going to have a baby, that's what's eating me, says Joe. You lost me, says Burke. His wife's going to have a baby, repeats Joe, don't you understand English?--we were going to buy a boat together. Who's we? asks Burke. This fella I work with, says Joe, wiping his face dejectedly--in a couple of months, we were going to buy this boat--him and me, in a couple of months, I'd be able to marry Carolyn--and now he tells me it's all off--unexpected expenses--his wife's going to have a baby. Why don't you buy the boat yourself? asks Burke. With what? asks Joe--take me at least another year and a half to get that kind of money--his wife's going to have a baby.Burke eyes him sympathetically and says his offer still goes. Joe gives him a dirty look. Maybe this is a little lesson for you, says Burke, marriage isn't always the answer--sometimes it gets in the way.

What makes you so sure marriage is the answer for me? asks Carolyn, pouring tea--I've got lots of time yet. The sooner you get out of this house, the better I'll like it, says Liz. You just want to get rid of me, that's all, says Carolyn. You know that isn't true, says Liz. Besides, with David gone, Carolyn reminds her, you won't need Vicki here, and you'll be all alone. She hands Liz a cup of tea. David isn't going, says Liz. You're joking, says Carolyn. Things are going on exactly as they were, says Liz, Miss Winters is going to continue tutoring David. You can't do that, insists Carolyn--it isn't safe to have him here. I think we can manage, says Liz, sipping her tea. Manage? asks Carolyn--no wonder this place is a mad house--here I am, relatively sane, and you want me to leave--but a monster who tried to kill his own father... There's no point in us trying to discuss it, says Liz. You have to! says Carolyn, what does Uncle Roger say about it? He feels exactly as I do, lies Liz. Then you're both out of your minds, says Carolyn--sorry, but what else can I think?--David's no ordinary little boy, and you know it--from the very first day he came... He's my nephew, says Liz, as though that says it all. I'm sure Jack the Ripper had an aunt, and a mother, says Carolyn--all I'm saying is, it won't be safe for any of us. Liz says if that's the way she feels, all the more reason for her to leave. That wasn't what I meant, says Carolyn. But it was what I meant, says Liz--David needs me, needs my help and protection--you don't, darling not anymore--you need a home away from here--away from...maybe you're right, perhaps this is a mad house--then leave it--marry Joe and leave! Carolyn sips her tea.

Carolyn knocks at Vicki's door. Vicki's lying on her bed, reading her "birth certificate."--come on in. I remember it by heart, says Carolyn--her name is Victoria--I can't take care of her. Vicki slips the letter back in her pocketbook. It doesn't change, says Vicki. I wonder if the person who wrote that ever knew you'd end up here? wonders Carolyn--we'll be having dinner in about half an hour. Is that what you came up here to tell me? asks Vicki. No, says Carolyn, sitting on the bed--I was just wondering how you survived all the excitement. David? asks Vicki. Carolyn nods--you know my mother insists on his staying here, says Carolyn. She told me, says Vicki. What do you think of us? asks Carolyn--you've been here a while, had a chance to see us in action--are we crazy, all of us? Of course not! says Vicki. Now think about it, says Carolyn, ticking her list off on her fingers--there's my mother, who hasn't been off the grounds in 18 years--ever since my father deserted her; there's Uncle Roger, running around like a madman, thinking Burke Devlin wants to kill him; David...and me. And what's your brand of insanity? teases Vicki. I'm not joking, says Carolyn--I'm don't even know what we are anymore, I don't see how you can even continue to stay on here. Vicki says she has to. Why, because of that note? Asks Carolyn. Vicki nods. You haven't found out one more thing about yourself since you came up here, says Carolyn.I know, says Vicki. I'm not suggesting you leave, says Carolyn--believe me, I'd hate if it you did, but...she gets off the bed--what's wrong with me?--with all of us? Has your mother been talking to you about marriage again? asks Vicki. Carolyn nods and says yes--she sits back on the bed--you want to find out who you are--so do I!--but I don't know how to go about it. I haven't been doing a very good job myself, says Vicki. But you're trying, says Carolyn, at least you try. Not hard enough, says Vicki--can I borrow your car tonight? Sure, says Carolyn. Thanks, says Vicki--there's something I have to do in town. OK, says Carolyn--I guess I'll go get ready for supper. Vicki says she wishes she could help her. So do I, says Carolyn thing that gets me is this--my mother wants me to marry Joe Haskell, but I can't help but think that the worst thing I could do to a nice guy like that would be to bring him into this nutty family.

It's the family, that's what it is, a morose Joe tells Burke, choosing a song on the jukebox--you know, if it wasn't for them sitting up in that house, Carolyn and I could be happy, you know what I mean?--happy. I thought you liked them, says Burke. They're all right, says Joe, putting on a tune--I think I want another drink--and he walks unsteadily back to the table. I think you've had enough, says Burke, almost in his face over the table. Oh, says Joe, belligerently, that's just great--Burke Devlin thinks I've had enough--did I ask you? No, but I think it anyway, says Burke. I ought to belt you right...says Joe--waiter! DO yourself a favor, advises Burke, slow down. That's all I ever do is slow down, says Joe--good old reliable me--you know what I am--a mouse. Don't sell yourself short, kid, says Burke. You think I don't know what's happening to her up on that hill?--think I don't know?--did I ever come right out and tell her--no--and do you know why--because I'm a mouse. What has happened to her? asks Burke. Sure I love you, Joe, Haskell says, just don't ask me to marry you--I've had it--I've been shoved and stepped on for the last time--right?--right!--for the last time, he repeats, and staggers out of the bar. Bring me another beer, Burke tells the bartender--put the kid's drinks on my tab. The bartender nods and carries his tray of beers to another table. Burke watches a couple dance.

Vicki puts on her coat in the foyer and tells Liz she's getting into town in Carolyn's car--I just wanted to let you know I wouldn't be here for dinner. Someone impatiently knocks at the door. Liz answers and is surprised to see a swaying Joe Haskell out there. Yes, he says, it's good old reliable Joe! You're drunk, observes Liz. I want to see Carolyn--and now, insists Joe, barging past Liz and Vicki into the foyer.

How about it? asks Joe--do I get to see Carolyn, or did you lock her up in this dungeon of yours? If you can still drive, says Liz, I suggest that you leave. With all due respect, says Joe, I've been listening to suggestions for too many years--where is she, Miss Winters?--upstairs--he starts to drift that way. Vicki tells him he's being very foolish. I'm being smart, he corrects, what I was was foolish--not saying anything. I don't think he knows what he's talking about, Liz remarks to Vicki. If Mohammed won't come to mountain, says Joe, starting to stagger upstairs. You stay right here, insists Liz. I'm sorry, Mrs. Stoddard, says Joe. Carolyn hears the ruckus and comes downstairs, asking what's going on down here--Joe, what are you doing here? Paying a visit to my girl, that's what I'm doing, he says. You're potted! (Potted?) She says with a grin. Your mother was more ladylike, she said I was drunk, he tells her--well, let's go into the council room--you too, Miss Winters--everybody!--he heads for the drawing room and Carolyn runs in there, too. I don't know what you're trying to do, she says. Sit down, orders Joe. I think that you're the one that ought to sit down, says Carolyn, hands on hips. You're funny, you know that, you're a very funny girl, says Joe--also a very sad girl. What do you want? asks Liz. Joe turns to her and says I want you to know what you did to her, that's what I want. Me? asks Liz. Joe, listen to me, says Carolyn... No, you listen to me! says Joe--do you know when you're going to get married?--never--it isn't me, it isn't anybody--it's you, old spinster you, sitting in your dungeon, keeping your mother company. I insist that you leave, says Liz, her voice cold. I will, says Joe, but not until I've said what I came to say. I think I ought to go, says Vicki to Liz, her voice uncomfortable. No, you stay, insists Joe, you hear this--you want to live in this house, you ought to hear what it does to you--you know why she doesn't want to marry me?--because she's scared to marry anybody. That's not true! says Carolyn. Oh yes it is, says Joe--you laugh and you make jokes and run around like crazy, but inside you're shaking like a rabbit--and do you know why?--because of her--and he turns to Liz again. That's enough! says Liz. I haven't finished, says Joe--Carolyn, look at your mother, she's been sitting in this house for 18 years--she's never even gone off this hill since the day your father walked out on her. That is no concern of yours! insists Carolyn.Oh yes it is! cries Joe--Mrs. Stoddard, I love your daughter and I want to get married--but she won't because she sees what it did to you--put you in a prison--a big, rotten prison--he turns and nearly falls, but grabs hold of the armoire for support. Joe! cries Carolyn, and she and Carolyn run to help him. I'm all right, he assures them--you did it to her, says Joe to Liz, you did it to her. I think you'd better sit down, says Vicki, as she and Carolyn help Joe to the sofa. He holds his head like it hurts. Maybe just for a minute, he agrees as they seat him. It's a prison, Miss winters, says Joe, if you stay here, you'll be as nuts as the rest of them. Sit quietly, advises Vicki. Only trouble is, says Joe, see, I'm stuck--I love her--and I'm stuck--and he tilts his head to one side and passes out. He's out cold, says Vicki. Carolyn tells her mother that what Joe said isn't true. Liz turns away, as if ashamed. Vicki, whatever got into him? Carolyn asks. He loves you, says Vicki, I think I'd better go into town now--and she leaves. Carolyn looks at her mother, who stands, sad-faced. Carolyn sits beside Joe and tells him it isn't true--none of what you said is true.

Blue Whale - Burke drinks his beer and reads some papers as a couple gyrates in front of him. He takes a hit of his cigarette and smiles up at someone who joins him. Miss Winters, he says, rising, this is a surprise. Oh? she says. I didn't know you ever came into here, he says. I don't, she says, this is my first time. You looking for someone? he asks. I found him, she replies--may I sit down.Of course, he says, and pulls out the chair for her. She surveys him with nervous determination.

NOTES: So what is our Vicki doing, jumping into the lion's den to meet Burke Devlin? Surely she knows how much the family would object, but she borrowed Carolyn's car and went anyway. She has a good reason, as you will soon see, but you've got to admire this girl's pluck. I like her!

I like Burke, too, he's a good guy, basically, and has good reasons for his anger. He was great with David, a most difficult kid, which says a lot for him, and even though Joe professed to hate him, he still talked with him about his problems. Joe was probably almost as upset about his friend's wife being pregnant because HE, Joe, wants a wife and children, too--with Carolyn.. It wasn't just the loss of the boat.

Once again, we have Carolyn agreeing with Roger, that David should be sent away for the sake of the family. But because he IS family, and she loves him, Liz won't hear of it. Plus, she lied to Carolyn and said that Roger feels as she does. He didn't, but Liz left out that little detail, manipulating everything her way.

Loved the way Joe got drunk and stormed Collinwood. I think he would have been more credible if he'd been sober, but he's probably right about Carolyn not wanting to marry him because she's scared, having seen what happened to her mother. Liz believed it, too, you could tell. What a sad, messed-up family!


Episode #34 - "My name is Victoria Winters. I began my search in Collinwood, there in the great mansion on Widows' Hill, surrounded by the ghosts of the past. I had hoped to unlock the secrets of my beginning, but the key has not yet been found--and the search goes on, carrying me to a meeting with a man I wasn't sure I could trust."

The strains of calming music from the Blue Whale jukebox play in the background. Vicki and Burke are in deep, earnest conversation at a table topped with a checkered tablecloth. "Satisfied?" Vicki asks Burke, who has been smiling at her. "Very much," he responds. She informs him she doesn't like being stared at, and he says she's much too pretty not to be used to it by now. "How did you find me?" he asks. She says it wasn't very difficult, she went to his hotel, where he'd left word he'd be at the Blue Whale. "I never thought you'd come," he said. "Neither did I," she responds, bemused. What made her change her mind? he asks. "Inches, feet, miles," she says. What does that mean? he asks. She came all the way from New York to Maine to learn something about her past, and hasn't yet. She's traveled so many miles, she points out, and "if you can help, I'd be foolish not to come ashore a distance from Collinwood to hear." Burke says ironically, "Miss Winter, the distance between here and Collinwood is a good deal farther than you think."

Bob delivers a drink to Vicki. "Happy discoveries," Burke says, raising his glass of beer to her sherry. She toasts back. He never figured her for the "sherry type." She says she didn't know there was such a thing. Oh, yes, he says--Mrs. Stoddard is the sherry type. Carolyn, though she'd like to think of herself as something stronger, is strictly soda. "And what am I?" Vicki demands flirtatiously, smiling. "I'm not sure," Burke says, "it's a toss-up between a chocolate malt and champagne." "That's quite a range," says Vicki, grinning hugely, obviously enjoying his description of her. "Maybe we can find out which it is over dinner," suggests Burke, an eager spark in his eyes. He assures her she can get the best lobster in the world there. She says she isn't hungry, and he offers steamed clams. She doesn't want to think about dinner at the moment--forestalling her refusal, he says if she's worried about calories, they can skip the butter sauce, tastes just as good without it. "Actually, it's me I'm worried about," says Vicki. "The champagne you...or the malted you?" he challenges her. Neither--she says she's concerned about the letter from the Hammond Foundling Home, where she was raised..."but then you know about that, don't you?" Yes, he admits. She explains that the letter says a private detective had been making inquiries about her. That's right, Burke says, and he hired him. Why? she asks. He wants to discuss it over dinner. "You said you have that private detective's report!" she reproaches him. He does--in his hotel room. "But you knew that's why I'd be coming!" she protests. "Miss Winters, Miss Winters!" he cries. When he originally asked her out for dinner, she refused, he reminds her. She knows, she says, angry with herself. He suggests since the lobsters are here and the report in his hotel room, why not first things first? "I'd rather go to your hotel room," she says forthrightly, staring into his eyes. "Do you mean that?" he asks. "Of course I do," she responds, standing. "Shall we go?" Burke rises, too. "Miss Winters, you amaze me," he says, grinning."I want to see that report, Mr. Devlin," she says insistently, "and if we have to go to your hotel room, then that's where we'll go." He drapes her coat over her shoulder and says, "Champagne...definitely champagne."

(Scene not summarized.)

Joe sits on the sofa, holding his aching head, sipping a cup of coffee, and hesitantly asks Carolyn what he said to her mother. Just a few friendly little things, she teases, like, "She ruined my life by bringing me up in this house." "Oh, boy," Joe moans, holding his head, "I think I'll kill myself." She orders him to finish the coffee first, and he laments that he doesn't know how he could have said those things. "Because you meant them, Joe," she says candidly. He insists he was just plain drunk and suggests her mother must be pretty sore at him. "Yup," she says with mock reproach. He says he's sorry, and she points out that everyone has to blow off steam once in a while. He nods ruefully. He explains to her how the guy he was going to buy the boat with backed out, and, feeling sorry for himself, he left work and headed straight for the bar. She leaves the seat by the fireplace and sits beside him on the couch, telling him how sorry she is for his unfortunate turn of luck. "I don't know, Carolyn," Joe says, "everything seems to be going wrong--the boat, you...I made an idiot of myself." He apologizes again. Carolyn grins tolerantly and says he's said it all. He tells her he ran into Burke Devlin in the bar and told him off too--and he's NOT sorry about that! "You really made a night of it--didn't you?" she asks, still smiling like he's a naughty boy. He looks away.

Burke lets Vicki into his hotel suite and suggests she make herself comfortable. He takes her coat and asked if her friends call her Vicki. Yes, she says, sitting on the sofa. He asks if THEY can pretend they are friends, just for the night? He'd like to have dinner sent up. Vicki reminds him she came up to read a report. He asks if she believes in eating--or is it that she's afraid of being up there too long? Vicki smiles. "I'm not afraid of you, Mr. Devlin," she says. He says she needn't be, and offers her steak or lobster--and reminds her the name is Burke. Sticking to the subject at hand, Vicki asks, "Burke, why did you have that report made?" Curiosity, he says. She questions him about his curiosity about her--he never heard of her before she came to Collinsport. He asks if she wants him to level with her, and she says, "Please." He explains that she went to work for the Collins family, and he has "kind of an interest in them." She wants to know what that has to do with her--she was hired as a governess and isn't a family member. Burke wants to know why the report bothers he so much, and she insists it doesn't. Burke says it's almost as though she has something to hide. She wishes she did--she's not afraid of what his detective learned about her, it's just the opposite--"I want those answers more than you do!" Chastened by her honesty and determination, Burke says, "I'll get the report." He heads towards the back room.

Back at Collinwood, Joe rises painfully from the couch and surveys the painting over the fireplace of one of the Collins ancestors. Carolyn comes in with more coffee and a sandwich and tells him that guy has him beat by a mile--that was her great-grandfather, and his sober days were more rare than his drunken ones. Joe says he isn't hungry, but Carolyn insists he eat the sandwich anyway--and have some more coffee. He clutches the mantle, grins sheepishly and says, "I guess you still love me anyway, don't you?" She settles back on the sofa, gives him a brilliant smile, and says, "Shut up and have the sandwich." "Yes, ma'am," Joe agrees, and joins her on the sofa. He sips more coffee and she asks him how much booze he drank. He can't remember. "Uh, oh," he says, causing her to ask him who else he told off. It's not that--he forgot to pay for his drinks. He resolves to stop off on his way home and pay his tab. She asks him to make it a quick stop, and, smiling, he suggests she's worried about him. Counting on her fingers, she humorously reminds him he made speeches to her, her mother, Vicki and Burke--that's enough for one night! He doesn't know, if Devlin's in the bar, he might find a few more things to say to him. Growing serious, she says that if Burke is still there, she would prefer Joe apologize to him. He says, "You must be joking," and she assures him Burke's really a very nice person. Joe tells her for what he said to the others, he's truly sorry, but what he said to Burke Devlin--"I'm delighted." Carolyn eyes him unhappily and teasingly says he's really horrible. No, he's honest, Joe maintains, how can she expect him to like a man who tried to kill Roger.Carolyn tells Joe that's not true, even her uncle knows Burke had nothing to do with his car's brake failure. When Joe asks who did, she shrugs and says, "Nobody, it was all an accident!" That doesn't change a thing, Joe says, he still doesn't like Devlin. Carolyn asks why, and Joe says, boyishly," He tried to make a pass at you, that's why." Carolyn asks, "You aren't really jealous of him, are you?" "Shouldn't I be?" he counters. Carolyn leans forward and kisses him tenderly. He caresses her face and returns the kiss. "Maybe not," Joe says, and kisses her more passionately. She touches his cheek and says, "Joe, do me a favor--apologize to Burke." "Nope," he says firmly. "For me?" she asks softly, caressing his cheek. "No," Joe says, "that's why I won't do it--because of you." Carolyn insists Burke doesn't care about her, she's nothing to him. Joe reminds her she's a member of the family, isn't she? He's got his hooks out, can't she see that? She shakes her head and says she doesn't believe it. "Then you're a bigger..." he starts to retort, then shuts up. "Oh, no, no, no, I've done enough damage for one night," he says. "Look, Carolyn, I don't like him, I don't trust him, why don't we just leave it at that, huh?" She gazes back at him, not happy, but agreeing.

Burke is on the phone in his room, ordering two steaks, medium rare, two salads, two black coffees. He offers Vicki dessert, but she, looking through the report, refuses. He hangs up and, hand tucked into his suit coat like Napoleon, asks if she's found any help in what she's read. Nothing she didn't already know, she says disappointedly, and he asks if she's sure. "I asked the same questions," Vicki explains. "Why did Mrs. Stoddard hire me when she'd never heard of me? Why bring me in particular all the way from New York?" And what did they tell her, Burke asks eagerly, seating himself next to Vicki. "Exactly what they told your detective," she says. That no one in the foundling home had ever heard of Collinwood or anyone connected with it." He asks what the people in Collinwood have told her, and she grins and asks, "More curiosity?" He eyes her with some heat and says she came up to his room to learn more about her past. "I don't know what that means, exactly, but if I can help in any way...if there's anything I can do, here I am." "Especially if what you learn can be harmful to the Collins family," she says defensively. He says he can't blame her for not trusting him, he's sure Roger Collins has see to that, but, "Believe me, Vicki, I'm not thinking about them, not at all." She asks why he's so concerned about her and he responds, "Well, we all have our searches, we're all looking for answers. She says that's no reason, and he answers, "Maybe you're the reason, Vicki. Just you." She rises and walks away, saying she doesn't see how he can help. He reminds her he grew up in Collinsport and knows a lot of people. She turns to him and sternly says she doesn't want to be involved in his quarrel with Roger Collins. Why should she? Burke asks. "Because I live in his house, and because I know what he thinks of you." Burke rises and faces her. "What do YOU think of me, Vicki?" She turns her eyes from his and says, "I'm not sure." He says he doesn't know whether he can help her or not, there are no guarantees, but he's willing to try. The rest is up to her.She looks directly at him and says it's a very long story. "I'm a very patient man," he says gently.

Burke holds the note left with the infant Victoria and reads it aloud: "Her name is Victoria. I can't take care of her." This was the beginning, he asks. She explains that "Winters" was given to her at the foundling home, for the season she was left there. Nothing else but that note, and a cardboard box, Vicki says. "And me." She smiles. "Sounds like East Lynn, doesn't it?" Not when it's real, he says. "Oh, it's real, all right," she said. "The Hammond Foundling Home--my mother, father...everything!" "Poor kid," he murmurs. She assures him it wasn't that bad--he doesn't know how many children grow up in the world without knowing any ties. "I guess I was lucky--I started getting mail." From who? He asks, and she says she doesn't know--"It started coming when I was two years old, an envelope every month, 50 dollars in cash, no return address, no signature, just the money--every month without fail, until I was 16." Burke asks, "And you don't know who it was?" and Vicki replies, "That's why I'm here in Collinsport." She realizes the connection is very slim, but Vicki rises, walks and says thoughtfully, then vehemently, "Most people take their parents for granted, but when you grow up, not knowing who they are, it becomes the most important thing in your life. All those years, when those letters kept coming, all I ever dreamed about was that someone knew who I was...someone cared about me...all I wanted to do was find them." She faces Burke and adds, "That's all I ever wanted." "But why here?" Burke asks, and Vicki explains about the postmark on the envelope--Bangor, Maine. The foundling home made inquiries about them, but got no answers, and Vicki couldn't afford to go to Bangor to look for this unknown person. When she received the letter from Mrs. Stoddard offering her the job in Collinsport, she began to wonder. She had never heard of her. "And you would think there was a connection," Burke suggests. "Probably not, Vicki says sadly, but she had to try. Collinsport is only 50 miles from Bangor. "And I wanted to learn why a woman who didn't know me would be interested enough to offer me a position in her own house." "And did you get an answer?" Burke asks. "I got AN answer--I was told at Collinwood that I was recommended by an anonymous donor to the foundling home. When I asked who she was, Vicki says ruefully, "I was told she preferred to REMAIN anonymous. So, I'm no closer to the answers than I was when I first came here. Maybe there are none...maybe it's just like looking for the end of the rainbow." Burke asks if she went to Bangor, and she says she hasn't had time to breathe. She walked into a whirlpool. Burke asks how important this is to her--really? He warns her that some unpleasant things are going to be happening at Collinwood. Vicki ventures the opinion that it couldn't get any worse, and he warns her that what she has seen is just a ripple--she hasn't touched the whirlpool, but it is there. "Are you telling me I should leave?" she asks, and he answers, "Yes." She insists she can't, and her determination makes him smile and respond, gently, "Then I guess I'll have to help you."

There's a knock at the door. "Dinner!" Burke proclaims, he had nearly forgotten about it. He sends Vicki to wash her hands and after she leaves the room, opens the door to Joe Haskell, who greets him, "Hello, Devlin." Burke observes Joe doesn't look like a piece of steak, and asks why he didn't use the house phone downstairs. Joe steps in and sees the lady's pocketbook on the coffee table. Joe apologizes for breaking in on something and reaches into his pocket, saying he just stopped by to give him some money because Burke paid his bar bill. Burke insists he forget it, but Joe shakes his head and says, "I don't want you paying for my drinks, let's get that straight." Vicki comes in, saying she forgot her purse, and says hello to Joe (caught!) "Hello, Miss Winters" Joe says back, seeming surprised to see her. It's an award moment all around.Burke suggests to Joe, who hasn't taken his eyes off Vicki, that if he's going to give him some money, do it. Joe hands him eight bucks plus tip, suggests, "Have a pleasant dinner" as if he doesn't really mean it, and leaves. Vicki looks uncomfortable, and Burke reminds her, "Remember, Vicki, I warned you about the whirlpool."

Burke is helping Vicki on with her coat, asking how he's going to handle two steaks. She apologizes; she's just not very hungry. "It was Joe, wasn't it?" he asks. She says she didn't want to get involved in his quarrel with the Collinses, and she meant it. "But why run?" he asks. "Please," she says, "I think it would be best." She smiles gently at him and thanks him for listening. He assures her he meant what he said about helping. She tells him he's very kind, and he says he has an ulterior motive--he wants a rain check on that dinner. "It's a promise," she says, smiling. "Good night." He sees her out, closing the door behind her. It's obvious he is smitten--and suddenly torn. Vicki is getting under his skin, and he's already worried how it's going to affect his unsavory plans for the Collins family.

NOTES: I thoroughly enjoyed this episode. The banter between Burke and Vicki is priceless, and I loved the discussion of her as a cross between a malt and champagne. Since the Vicki I remember from the series is something of a wimp, and everyone always talks about how "virginal" she is, it struck me as plucky that she was willing to go to Burke's hotel room. Even in 1966, the delineation of what "good girls" do and don't do was very clear, and if someone saw Vicki in Burke's apartment (which Joe did), ugly speculation would ensue. Aware of all this, Vicki went anyway. She was determined to see the report Burke had promised to show her, and if it meant compromising her reputation, to hell with it! I admired her determination, tenacity and the way she flirted with Burke. Someone suggested to me that Vicki was in way over her head with Burke Devlin, but I don't know if I disagree. Innocence is very disarming, and you sense that Burke very much likes Victoria Winters already and wants to protect her from men like him!

The scenes with Joe and Carolyn were also charming, cute, and funny. While I dislike the idea that Joe, disappointed because his friend's wife was pregnant and could no longer buy the boat with him, ran right to the bar to drown his sorrows, I realize that was what unhappy men (and women) often did back then. That's how people ended up alcoholics--too much pressure sent folks straight to the liquor bottle. Pity. The thing is, what he said to everyone in his drunken state was true. In my opinion, he shouldn't apologize to any of them. Taking it back doesn't change anything. The honesty would really have helped everyone; apologizing disarms Joe's salient points. Notice that Carolyn won't say she loves him back, and it's obvious she really doesn't. He's a nice guy, but not what she wants. Pity she doesn't realize what a great guy she has in Joe Haskell. He would have made a terrific husband for her. Whether she would have made him an equally good wife is the best argument against this pairing. Joe should not have backed down from his feelings to Liz regarding Carolyn. He's right.

Vicki's discussion with Burke about herself as a girl growing up in a foundling home is honest and poignant. You can almost see him falling in love with her already, despite himself, and it's nice to observe how Vicki rounds the hard edges in the prickly Burke. You already feel that they are good for each other. Of course, she feels awkward at being "caught" in Burke's room by Joe, despite her innocent reason for being there. Poor Burke orders dinner for both of them (he lobbied so hard for her to join him for dinner, and lost her anyway; that was sad). I hated to see him disappointed. Joe's disapproval of Vicki being in Burke's room was palpable, but he has no reason to go tattling on her. Will he? We'll see. We know Burke's "whirlpool" warning is right on!

I had more fun with this show than any thus far. We learned a lot about Carolyn, Joe, Burke and Vicki, and the interaction of the two couples was fascinating to watch.

Love, Robin

Episode 29 - The boy I had been brought here to tutor has not yet been found, and the faint whisper of fear is slowly becoming louder--fear that grips the heart of a woman who suspects a truth she cannot bear to face..

Liz looks out the window, but anxiously turns when she hears the front door open and close. It's Carolyn, who says it's only me. You took so long, says Liz. I covered everything, says Carolyn, including all the hiding places I knew when I was a kid--she joins her mother in the drawing room and says they just have to face the fact that David's found a corner they don't know about, or decided to hit the road. Liz, holding herself as if cold, says it's no time to be funny. I wasn't being funny, says Carolyn--I asked Matthew to go down the old road and see what he could find. David's only nine, he wouldn't run into the dark, insists Liz. They both gaze out the window. It wasn't dark when he left, says Carolyn--besides, if I were in his spot, I might have done the same thing. If anything happens to him, says Liz--Carolyn, I love David. He's a horror, and you know it, says Carolyn. I won't have you talking that way! says Liz. Anyone who'd tamper with the brakes on his own father's car and try to get him killed, says Carolyn. Stop it! orders Liz. You know it's true, says Carolyn, Vicki found... I told you top stop it, orders Liz, I don't care what Miss winters says she found--I only care about David. I'm sure he'll turn up, Carolyn assures her. If he doesn't, says Liz, if anything happens, I'll never forgive Miss Winters--never! (Strange attitude, Liz, Vicki just forced you to face the truth.)

Collinsport Inn - Burke enters his room and is about to close his door when David appears in the doorway. What are you supposed to be, a door stop? Asks Burke. I've been waiting to talk to you, says David. If you're a salesman, says Burke, I don't want a thing. I've been waiting almost two hours, complains David. In that case, you'd better come in, says Burke--I admire persistence--do you know what that word means, David? David asks how he knows his name? You're a very famous fellow, says Burke, the disappearing David Collins--the boy who vanished in the restaurant when his father was looking for him--tell me something, where were you hiding? In the phone booth, admits David. Burke laughs--a born spy, eh?--tell me something else--why did you try to sneak into my room. I didn't, lies David. OK, says Burke, patting his shoulder, whatever you say--make yourself comfortable--sit down. I was walking along your floor, looking to see which room was yours, explains David--and then the door was open. Yes, the chambermaid was inside, says Burke. I just looked inside, says David, I didn't steal anything--are you gonna call my family and tell them I'm here? Do you want me to? asks Burke No! says David. Then I won't, says Burke. Promise? asks David. Cross my heart, Burke assures him--sit down, Dave--I'll fix you a Burke Devlin special, a concoction you'll really like--then we can talk. Burke starts to hear to the kitchen. I bet there's a phone in there, says David. Let me tell you something, says Burke, kneeling so they are face to face--I've broken lots of promises in my time, to doctors, lawyers, firemen, even an Indian chief--but to a nine year old boy--never. He goes into the kitchen. David fishes the bleeder valve out of his pocket and stands examining it. If you want to wash up or anything, says Burke, interrupting him and forcing him to hide it behind his back, pointing, it's right through there. I'm OK, thanks, says David. Burke returns to the kitchen. David hides the valve under the cushions of Burke's couch and sits down on it, looking scared.

Liz returns to Collinwood and Vicki meets her in the foyer, asking if there's any word yet. No, says Liz. Carolyn said Matthew was going down to the road to see if he can find him, says Vicki. I just came back from his cottage, says Liz--he hasn't returned yet. Have you thought about calling the police? asks Vicki. Liz looks at her and doesn't reply. Don't you think it would be a good idea? Asks Vicki. What story do you want me to tell them? asks Liz sarcastically, the same story you told me?--that my nephew is responsible for his father's accident? She goes into the drawing room after giving Vicki a severe look. I'm only worried about David, insists Vicki. And you should be, says Liz--if I weren't for you, David never would have left the house--I engaged you to care for David, not to drive him away! I didn't, says Vicki. Come on, says Liz, why do you think he's gone? (Liz is living in denial.) Because I found the valve in his dresser drawer, says Vicki, because I told him what I'd learned. Because you accused him of a horrible crime, says Liz, because you told him he was guilty of trying to injure his own father! but it's true, says Vicki. The only truth I can see, says Liz, because of your accusations, David is no longer here--I'd like you to go, please--I'd like to be alone. Don't you believe that I found that valve? Demands Vicki--do you think I'd lie about a thing like that? I asked you to go, says Liz, now please. Vicki exits the drawing room. Liz looks as if she's about to explode into tears, anger or both.

Vicki swings open the window in her room. Carolyn knocks, asking if she wants some company. Vicki greets her unenthusiastically. Welcome to the bottom of the pit, says Carolyn, there's nothing I like better than a nice, cheery, greeting--"Oh, hi, Carolyn." That's the way I feel, says Vicki. Look, the little boy will come back, all will be forgiven and life will go on, says Carolyn--you can take my word for it. Don't count on it, says Vicki. You're in a mood, says Carolyn. Thunder rumbles. Looks like we're in for a storm, says Carolyn. Vicki says she wishes she'd never found that valve. If you're worry about David, don't, advises Carolyn, smiling--when there's thunder, he'll come chasing home--we haven't had a real storm since you've been here, have we? Vicki shakes her head--no. Prepare yourself for an education--you think the place is spooky now--wait till the power fails--Collinwood by candlelight--all the ghosts waiting to pounce. What did you want? asks Vicki, annoyed. Carolyn closes the window and says you mean you wish I'd shut up and get out of here. It's just that I'm a little tired, says Vicki. OK, says Carolyn--oh, Vicki, don't blame yourself for David--he was a problem long before any of us ever heard of you. All right, says Vicki. Look at it this way, says Carolyn, if you hadn't found that valve, Burke Devlin would still be on the hook--my Uncle Roger and my mother would still be trying to put him away for something he had nothing to do with. I know all that, says Vicki. Then what's eating you? asks Carolyn. It doesn't matter, says Vicki. It matters very much, says Carolyn--I thought we were friends, you and I--tell me--what's tearing you apart? Your mother, says Vicki.

"To your mother," Burke toasts, clinking his glass with David's, and sitting beside him--she and I were very close friends, did you know that? No, says David. We were, he says--your father, your mother and I--three pals together--that was a long time ago--before they were married. I thought you hated my father, says David. Try your drink, suggests Burke. My father hates you, says David. Try it, says Burke, ignoring his remarks, see if you like it. It's good, says David. Sure, a couple of fruit juices, says Burke, I used to love it when I was a kid--OK, talk!--you didn't come down here for anything but a talk, did you?--let's hear what you have to say. It's not important, says David, rising from the couch, I think I'll go. Oh no, says Burke, you came all the way down here and spent two hours out there, not to tell me it's not important. It wasn't, says David. How did you get here, anyway? Asks Burke. I hitchhiked, says David proudly. Hey, you're quite a guy, praises Burke, come on, tell me what's on your mind. You're different, says David--the way my father used to talk about you, I thought you'd be... With horns and a tail and fire coming out of my mouth? quips Burke--he laughs--let me tell you something--I used to have them, but no anymore--the horns kept poking holes in my hat and with the tail, I could never sit down. And talking to people you'd burn them! says David with a smile. Yes, says Burke, to a crisp, with all that fire coming out of my mouth. I bet you couldn't even eat ice cream, teases David, it always melted! Burke laughs and says bread--nothing but toast, all day! David stands and, talking like a circus announcer, says "Come and see him, ladies and gentlemen, the one and only spectacular Burke Devlin, the human devil!" And his good friend, David Collins, says Burke--the boy who has nothing to say--and the price of admission is only--hey, what are we going to charge 'em, Davy boy? A hundred million dollars! Says David. Wow, says Burke, that sounds like a round sum--when I was a kid, that's what I wanted more than anything in the world--one hundred million dollars. Did you ever get it? asks David. Not yet, says Burke, but I found something much more important--a good friend--you are going to be my friend, aren't you, David? The boy dips his head down, looking ashamed.

Drawing room, Collinwood - So help me, Mother, I don't understand you, says Carolyn--Vicki--don't you realize what you said to her? I don't think I need a lecture from my own daughter, says Liz. I've just come from her room--how could you even hint that you didn't believe her story? If Miss Winters has any complaints to make, let her come to me with them, says Liz.Miss Winters is sitting in her room wishing she'd never seen the inside of Collinwood, says Carolyn angrily. Liz rises and says, "Perhaps that's what I wish--did you ever think of that?" But WHY? demands Carolyn--because she discovered my precious cousin isn't an angel?--you know how David and his father get along; no one had to tell you that. Listen to me, insists Liz, I know what the situation is with David and his father--that there's very little liking between them. Little liking? repeats Carolyn--they hate each other and you know it!--David was deathly afraid Uncle Roger was going to send him away! I don't care how strongly he felt, says Liz, David is only child, and children don't deliberately try to injure, perhaps kill, their own parents!. Don't they? asks Carolyn. Thunder rumbles. Let me tell you something, says Carolyn, if I had met my father when I was David's age, I might have been tempted to take the nearest rock and heave it... That's ridiculous, says Liz. Do you think I never dreamed of killing him? asks Carolyn--the man who walked out on you before I was even born?--left you alone in this house to sit for the rest of your life--well David didn't just dream, he did something about it, and you can't just wish it away by telling Vicki she lied to you. I never said that, says Liz. Vicki said she found the valve in David's dresser drawer and you didn't believe her, says Carolyn. I have to be sure! insists Liz. And the magazine, adds Carolyn, with the full description... What do you want to do? demands Liz--destroy David? I want you to face the truth, says Carolyn. What truth? Asks Liz, sitting down--the magazine was in Miss Winters' room, don't forget that--and anyone reading it would know how to remove a brake valve. Of course, but David gave it to her, says Carolyn. I only have her word for it, says Liz stubbornly--just as I only have her word that she did find the valve. Carolyn kneels to look up at her mother. Why do you want to accuse David? asks Liz--isn't it equally possible that Miss Winters could have removed the valve? Do you really believe that? asks Carolyn. No, admits Liz. I know you're upset about David, says Carolyn, but striking out at other people isn't going to bring him back. But HOW could he have done it, how? asks Liz--I don't believe what I've said about Miss Winters, it's just that...what's happening to us?--what's happening to all of us? She touches Carolyn's shoulder, and her daughter covers her hand with her own. We'll survive, Carolyn assures her--we have for almost 300 years--I don't think a few extra problems will make that much difference! The phone rings. Carolyn rises to her feet to answer it. It's Maggie, asking about David. He hasn't come home yet, says Carolyn. Maggie apparently tells her that David was spotted in the coffee shop, and Carolyn covers the phone and tells her mother David was there about three-quarters of an hour ago. In town? asks Liz. She wanted to know if he'd come home yet, says Carolyn. Liz takes the phone and tells Maggie she's David's aunt--why didn't you call as soon as you'd seen the boy?...I see...all right, thank you very much. Liz dials the phone, explaining to Carolyn that she phoned Roger, but David was already gone by the time he got there. At least you know he reached town! says Carolyn excitedly. If I could just reach Uncle Roger, says Liz--why don't they answer? Wouldn't the office be closed by now? asks Carolyn. Liz hands up and tells Carolyn to drive into town and look for David--phone her if she does--and drive carefully. Carolyn leaves. "Please, God, let him be all right," says Liz, "just let him be all right."

Vicki sits on her window seat, gazing out at the estate. Liz knocks at her door. Vicki lets her in. Liz says she wanted to be sure her windows were tightly shut; she thinks there's going to be a storm. Liz leans out to close them herself. I can take care of that, protests Vicki. It's no bother, says Liz, closing the windows. Carolyn's gone to town, says Liz--we had a call, David's there, she's gone to try and find him. Then he's all right, says Vicki eagerly. As far as we know, says Liz, looking at her hands--I'm a foolish woman, and I say many foolish things--I want to apologize for the way I talked to you. I know how worried you must have been, says Vicki. Worried?--yes I was, and still am, says Liz, but I'm afraid I was trying to deny reality--and trying to make you suffer for it. I'm sure David will be all right, Vicki assures her.I hope so, says Liz, he belongs to this house, and there's no peace here, not for me, or Carolyn, or poor little David--and I'm not sure there ever can be peace.

As long as I can remember, David tells Burke, he always hated me, and I never knew why. Maybe you're wrong, suggests Burke--my father was strict with me, but that didn't mean he hated me. Did he ever say he was going to send you away? asks David . Burke grins, and says yes, once, when he used his best pipe for soap bubbles. Did he do it? asks David. No, he bought me a soap bubble pipe instead, says Burke. David nods and sadly says, I wish my father were like you. Burke pats his hair for a second, then gets up from the sofa. He asks David to tell him the truth--why did he come up here? Because I wanted to do something, says David. What? Burke asks. What you said--I wanted to see what you looked like, says David. Is that what you want me to believe? asks Burke. What other reason would I have? asks David. That's why I'm asking you, says Burke. It's the truth, says David--my father and mother used to argue all the time, and it was mainly about you. (OH?) Is that so? asks Burke. They'd yell and scream and I'd hide, says David, and I decided I'd come and see what you looked like sometime. Burke nods and says, I see--Davy, you and I--he sits beside him--are very much alike, did you know that? Are we? asks David. Yes, says Burke, we both know what we want and go and get it, and don't let anybody or anything stand in our way. David thinks about that. I don't know what you mean, says David. I have a hunch you that you do, says Burke, who rises from the sofa and looks out the window--oh, Davy, he says, come and look at this--I want to show you something--David joins him--look at those clouds, says Burke--we're going to have a granddaddy of an electrical storm--don't you think you ought to go home before it gets started. OK, says David. No objections anymore? asks Burke. No, not if you'll go with me, says David. It's a deal, agrees Burke, and they shake hands, eliciting a chuckle from Burke--go on in and get washed up, says Burke, his hands on David's shoulders, so your Aunt Elizabeth won't think I dragged you through a mud puddle. I can wash when I get home, says David. Hey, go in there and wash, do as I say--beat it--and he smacks David's behind, sending him on his way.Burke looks at the closed bathroom door and retrieves from the sofa the bleeder valve.

NOTES: Wow! Burke apparently knew that David had planted the bleeder valve in his sofa, yet he was so kind to him. He listened to him, shared with him! Doesn't Burke get along splendidly with David and vice versa? This is the way Roger should be treating his son--but isn't. No wonder David is so resentful and tried to kill him. David loves positive attention; he was having such a great time with Maggie before she (in his eyes at least) ratted him out. It's also interesting to learn that Burke, Roger and Roger's wife were "good friends" at one time. Why, we wonder, were Roger and his wife constantly arguing about Burke? This revelation will come eventually, and perhaps reveal why Roger seems to care so little for his son.

Liz is wrong about David, and deep down probably knows it, but can't accept it. Vicki is a stranger to her at this point; she still calls her Miss Winters. It isn't surprising that she's treating Vicki so badly, but if the latter IS her daughter, she's going way overboard. Vicki is as much her kin as David, more so! At least Liz came and apologized, and I really liked the way Carolyn stood up to her mother on Vicki's behalf. It appears Liz has finally accepted that David did do this heinous thing.

Imagine how much easier the Collinses life would have been if they'd all been equipped with cell phones?


Episode #30 - A brewing storm buffets Collinwood and angry spirits from the dead past seem to pound against its walls, demanding admission, says Vicki--there is no sound in the house, nothing but the echo of thunder and the whine of the rising wind. Yet the emptiness seems alive with fear and tension that build on a fearful terrifying fact--I am alone.

Vicki enters the drawing room and closes the window. The thunder booms, and the doors close by themselves. Nervous, Vicki looks around the room, which grows dark as the power fails. She finds she doors locked, and she is unable to get out. (She didn't get hysterical, bravo!) She takes a match from a box on the mantle and lights a candle on the piano. She hears the sound of a door opening and a figure stands in the doorway.Who is it?--who's there? demands Vicki, terrified. The figure abruptly disappears, and Vicki stand there, shivering

Eerie music plays to great effect as Vicki wipes nervous palms on her shirt. The power comes back on and she blows out the candle. She walks slowly toward the open doors, the candlestick in her hand--just n case (which is probably used often as a weapon on DS). She starts to ascend the stairs but hears a door slam. Roger enters through the kitchen. Vicki asks if he just came in. Yes, he says, looks like I just managed to miss the storm. When the lights went out, says Vicki, voice shaking, I saw someone standing in the doorway. Must have been me, he says, I was on my way to the basement to replace a fuse. He goes into the drawing room to pour a drink. Vicki asks if he's sure--she called out and no one answered. Roger says he didn't hear a thing--where is everyone? Out looking for David, she answers. The wandering son is still among the missing, eh? asks Roger, his face cold. Your sister went to Matthew's cottage to see if he found him yet, says Vicki. Spare me the details, says Roger. Aren't you worried? she asks, he's only a little boy! I worried about him for nine years, says Roger, at the moment I have far more pressing problems--where is Caroline (yes, he pronounced it that way)--is she part of the search party, too? Yes, says Vicki, she's gone into town--we heard David was there. He was there, all right, agrees Roger, in the hotel restaurant, but disappeared by the time I got there. Did you say you knew where he was? asks Vicki. They telephoned me, says Roger--Davod tried to break into Burke's room--that's a combination, isn't it?--my son and Burke Devlin--the two people in the world I despise the most. (Brrr, that's cold!) Vicki tells him he has no reason to dislike Burke. Of course not, he just tried to kill me, that's all, says Roger bitterly--when my sister comes in, tell her I'm upstairs. But it wasn't him, it was David! proclaims Vicki. Stunned Roger turns to look at her.What did you say? he asks,. It's true, says Vicki, I found the valve hidden in David's room--that's why he ran away--I locked it in my dresser but he managed to get it back. David? asks Roger. I know it's not easy to believe, says Vicki. It's impossible to believe, insists Roger, the person who tampered with my car is Burke Devlin, and I know it!

Burke, holding the bleeder valve in his hand, looks out his hotel room window. He smiles ruefully. David comes out of the bathroom and Burke stows the valve in his pocket. Looks like the storm's getting worse, Burke says. That's too bad, says David. Are you afraid of lightning? asks Burke. Uh-uh, says David, and Burke, approving, says he didn't, either, when he was a kid--but he had a dog that used to hide under the bed. I never had a dog, says David. Every kid should have a dog, says Burke, a mutt to run around after him, look up to him--I'll tell you, if I'm here any longer, I'll buy you one, OK? Would you really? asks David, pathetically grateful. Good friends call each other by their first names, says Burke--I'll talk to your father, if it's OK with him, I'll get you one. Disappointed, David smacks his hand against his thigh--he wouldn't let me have anything! the boy says resentfully. Burke pats his shoulder and says they will see about that--now he has to see about getting him home. Mr. Devlin? asks David. Burke, the man reminds him. David gazes up at the tall man and says, "You know something, Burke, you're nice--I mean really nice." Burke pats his shoulder, bows, and says, "Thank you, Mr. Collins." David, the boy reminds him. Burke chuckles and repeats, "David." He picks up the phone and orders his car sent around front. David, deciding Burke is a friend after all, is digging into the sofa cushions, trying to find his planted evidence. He jumps up when Burke hangs up the phone. Let's get going, says Burke. When David doesn't reply, he asks him if he forgot something. My coat, David says, and grabs it from the back of the sofa. Come on, your family will be worried, says Burke. David gives a last look into the room, regretting what he did. Burke puts an arm around him and they leave.

Burke's car - Rain pours down (real water!) and the wipers beat noisily back and forth as Burke drives, asking David if he's worried, scared to go home? No...yes, says David--I guess so. Ever run away before? asks Burke. No, says David. It's not so bad, says Burke, they'll yell at you, send you to bed without your dinner, and by tomorrow it will all be forgotten.No it won't, says David. I ran away once, says Burke, I sneaked onto a coastal freighter going down to Boston--there was a terrible storm, I got seasick--thought I was going to die--It's much better to be home in a nice warm bed and have them yell at you. David considers this. Burke, he says, did you really mean what you said, about being friends? Yes I did, he says seriously. Can we go back to your hotel room, says David--I think I left something there--it's important. So is getting you home, says Burke--where was it, I'll get it for you. Please, I have to go back! insists David--please! Sorry, says Burke, driving faster--what did you forget? Nothing, says David.

Vicki and Roger are in her room, where she is recounting the story of the valve. And then you say you brought the valve in here? he asks her. She nods and says yes, and locked it in this drawer, and went downstairs to tell your sister about it. What did you do with the key? asks Roger. I put it in my pockets, says Vicki, I found out later this dresser has a mate in Carolyn's room and the keys are identical. Where was David all this time? asks Roger. I don't know, says Vicki, but when I got back here, the valve was gone, and so was David. I see, says Roger, dejected. I'm terribly sorry, says Vicki. Yes, Miss Winters, he says, are you sure it was the valve from my car? You showed me the drawing from it yourself, says Vicki. Yes, it's true, he says--I knew David was a bright boy, I didn't know he'd be able to do a thing like this. He gave me a magazine, says Vicki, going into her desk--insisting it was a present--I think you'll find the answer in here--she opens the magazine to show him the breakdown diagram of a an automobile master brake cylinder--how to take care of it--how to take it apart and put it together. Roger looks at the article and says it's funny--he doesn't know whether to thank or hate her for this. (Liz hated her for a while there.) I know how you must feel, says Vicki. Do you? he asks--it's true, David and I had arguments--I never liked the boy--I never pretended I did--but to deliberately...we never know what monsters we create, do we (or what monsters create us, Roger!) They hear a knock at the door. Perhaps someone's found David, suggests Vicki joyfully. She runs to leave her room while Roger glances again at the article, his face somber.

Vicki, followed a few steps behind by Roger, opens the door. It's Burke, with David in tow. Anyone looking for a lost boy? asks Burke. What are you doing here? demands Roger. I brought your boy home, says Burke, encouraging David to enter the foyer--go on in, David, before you change your mind. Where have you been? asks Vicki. Where did you find him? asks Roger. Wandering, says Burke. Wandering where? asks Roger--I heard that he tried to get into your room--is that true?--is it true, David? he demands harshly. The boy's frightened, points out Burke. Answer me, David! barks Roger--he should be frightened--have you been with Mr. Devlin all this time? If you mean for the last 15 minutes, yes, says Burke--I was driving through town, saw him walking along, picked him up--the storm is getting ready to break (David is fascinated by this lie)--when he told me who he was, I brought him up here. All right, thank you very much, says Roger--go inside, David, I want to talk to you, orders Roger--when David doesn't move, Roger commands him to come in here--and I mean now! As if heading for his doom, David goes into the drawing room with his father, who closes the door. Is that the Collinwood version of the woodshed? Burke asks Vicki. I don't think so, says Vicki. I remember I ran away from home once, says Burke--my old man beat me so hard, his hands were raw for two weeks (is this another lie? He told David how nice his father was). Vicki tells him they all appreciate him bringing David back, but she thinks he should leave now. I don't think so, says Burke--I've got a hunch I'd like to know what's going on in that room--and I'm just curious enough to stick around and find out.

Are you trying to tell me that valve wasn't hidden in your room? asks Roger. It was a lie, she lied about it! insists David. I suppose you know I could have been killed! says Roger. I didn't have anything to do with it, says David. Then why did you run away? asks Roger. Because of Miss Winters, says the boy, she made me run away. Why would she do that? asks Roger. She hates me, she told all those lies about me! cries David--she said I fooled with the brakes so the car wouldn't work? If it wasn't true, says Roger, you could have stayed here and told me so. You wouldn't have believed me anyway, he says, pouting--she's a grownup, I'm only a kid--you'd always believe her. He distractedly bangs on a couple of piano keys. Roger sits on the bench and asks why Miss Winters would want to lie about a thing like that? David plays more discordant keys. Roger tells him to stop that and look at him--what earthly reason would she have for saying she found the valve in your room if it wasn't true? Because she's maybe trying to kill you herself! says the boy.Stop it! demands Roger. David, eyes wide, goes on--I'll bet she went out to the car when no one was looking--and took that valve--when you got hurt she got scared! (Sounds like his own story.) I said stop it! says Roger. It was HER, Father, not me, says David. Empty your pockets, orders Roger, twice--or shall I do it for you. David does so, taking out an amazing bunch of things. What did you do with the valve? Asks Roger. I never had it, says David. Did you throw it away, asks Roger--did you get so frightened, you decided to throw it away? Where's Aunt Elizabeth, I want to talk to her! wails David. She won't help you now, get that through your head, says Roger--when a boy tries to kill his own father, there's no help for him--no help at all! Thunder rumbles.

Great old clock, says Burke, gazing up at the grandfather clock in the foyer--it's almost 200 years old, did you know that? Vicki rises from the chair she's been sitting in and says he really should go. Probably one of the first pieces of furniture brought into this house, says Burke--I bet it saw some strange sights in its day. Please go, begs Vicki. Do you remember what I told you the night I met you--the night we both got off the train and I drove you into town? he asks--I didn't even know you then, but you told me you were coming up here to work--remember I told you to get on that train and go back where you came from? Yes, says Vicki. A while ago, you told me to leave, he says--I want to give you the same advice--there's something going on in that room, and if my guess is right, you're living in a madhouse--and you'd better get out of here while you still can. Thunder rolls. Vicki looks anxiously at the closed doors.
Look at this! shouts Roger, roughly pulling David around to face him and showing him the magazine--it's yours, isn't it? I don't know, says the boy. You used it, didn't you, says Roger, pulling David's arm, you used it to learn how to tamper with my brakes? David tries to squirm from his father's grasp and asks where he got it. That doesn't matter, says Roger. Pulling away from his father, David demands to know where he got it. Exactly where you left it, says Roger, in Miss winters' room. I never put it there, insists David. Now listen! says Roger, then calms down. She just wants to get me in trouble, says David. You have an answer for everything, don't you? asks Roger--it doesn't matter who takes the blame for this, does it? I didn't do it, says David petulantly, she made up a whole thing about it! We'll soon find out about this, says Roger, and opens the double doors. He asks Burke what he's still doing here. I'm talking to Miss winters, waiting to say goodbye, says Burke. All right, goodbye, says Roger curtly--would you step in here, please, he asks Vicki. Roger hasn't closed the doors, and Burke stands and watches this tableau. David looks very small. All right, Miss Winters, says Roger, there he is--he says nothing you said is true. It's pointless to lie, Vicki tells David. We've already been through this, says Roger, now tell me--did you find that valve in his room? Of course I did, says Vicki. Exactly where was it? asks Roger. I've already told you--in his dresser drawer under some clothes, says Vicki--I would never have found it if I hadn't been looking for a letter that was taken from me. That's why you're making it up, says David--because I tool your stupid letter! I'm not making up a thing and you know it, says Vicki. It's a lie, he says, everything you said about me is a lie--you just want to get me in trouble--well I don't care what you say, I never had that valve, I never took it--now leave me alone! It's useless to pretend, Vicki tells him, putting her hands on his shoulders--are you trying to tell me I lied? You did, didn't you? says David. How many times did you tell me that you hated your father--that he wanted to send you away and you were going to get even with him? I never meant it, says David. You meant to go to that garage, he says take the valve from the car--maybe you didn't know how serious it could be, but just the same... I didn't take that valve--if you don't believe me, look over here--this is all the stuff that was in my pockets. Then you must have thrown it away, insists Vicki. I DIDN'T! cries David. Excuse me, says Burke, joining them in the room. I thought I asked you to leave, says Roger. I know, says Burke, but I thought I might be able to help--is this what you've been looking for--and he holds up the valve for them to see. David looks guilty--and frightened.

NOTES: Will Burke rat David out? Somehow, I doubt it. He genuinely likes the kid, probably sees a lot of himself in him. (There's more I can say, but I will hold my tongue until we get to that.)

I've got to give David credit for dogged persistence! He is sticking by his story that he wasn't guilty and that's that! Yes, he's a bad boy, but we saw how he blossomed under Burke's kind, fatherly attention. David needs love, and Roger has admitted more than once that he doesn't feel that for his son. Pity, too.

That scene with Vicki seeing a figure in the doorway actually elicited chills from me, something the later DS episodes rarely did. When a mysterious figure appeared, it always turned out to be a flesh and blood someone, but not this time. Creepy!

Henesy continues to amaze me with his acting talent. His scenes with Ryan and Edmonds were fantastic, filled with pathos, humor and darn good acting.

Love, Robin

Episode #25 - A letter has arrived that has once again raised the specter of my past, intrudes upon my present and heightens the growing fears of a nine year old boy. David creeps into Vicki's room and closes the door. He checks the mantel for something, feeling around, then goes to the desk and finds the letter she received from the foundling home. Roger enters and catches David, demanding to know what he's doing. The boy is holding the letter and envelope behind his back. David just looks at him, and Roger asks what he's got there. Nothing, says David, but Roger insists he hand it over. Roger looks at it quickly, then asks if Miss winters gave him permission to read this letter. I didn't think she'd care, the boy replies. I see, said Roger, you didn't think she'd care that you broke into her room and... David flees. Roger orders him to come back here, but the boy continues to run, his father in pursuit.

Roger forces his way into David's room. What do you mean running off when I'm talking to you? asks Roger--I have enough on my mind without having to cope with your nonsense! I wasn't going to read her old letter, says David. I have something to explain to you, says Roger--this is addressed to Miss Winters, it's private, and reading it without her permission is the same as stealing. David looks up at him, then asks petulantly, why don't you put me in jail? Don't get fresh with me, young man, says Roger.That's what you'd like to do, isn't it? asks David. I'm trying to explain something to you, says Roger, and it has nothing to do with going to jail. The person that made your car crash--you want to send him to jail, don't you? asks David. We're talking about this letter, says Roger--why were you so anxious to read it? Because, says the boy. Not an answer! insists Roger--David, I'm waiting for an answer! I thought there was something it about me, says David. What makes you think that the Hammond Foundling Home would write to Miss Winters about you? You want to get rid of me, accuses David--you'd tell them to send me away! Let's not get into that again, says Roger. You said you wanted to send me away, didn't you? asks David. If you don't stop breaking into people's rooms, and reading their mail, says Roger, I may have no choice--tell em that you'll never do it again! What for? asks David--you'll never believe me anyway! Roger hears the phone ringing. Get back to your schoolwork, he orders his son. David's face is filled with fury. (You can't win with this kid, he has a comeback for everything.)

Liz answers the phone in the drawing room. Oh, I see, she says--are all the papers ready for his signature?--fine, I'll tell him--goodbye. She hangs up. Vicki enters. Liz asks if David's lessons are finished for the day. I want to talk to you about him, says Vicki. I'm sure it can wait, says Liz. Ever since your brother's accident, he's been acting very strangely, says Vicki. Naturally, his father was almost killed, says Liz. When the sheriff was here, says Vicki, he seemed to think HE was going to get arrested. Liz says she can't worry about every fantasy of an imaginative boy. What if it's more than fantasy? Asks Vicki--I don't know how to say this, but you and Mr. Collins both seemed to know who tampered with your brakes. Yes, Burke Devlin, says Liz--the sheriff is probably with him right now. Vicki says that even the sheriff suggested they think of someone else who might want to kill her brother. There is no one else, insists Liz. Except my loving son, of course, says Roger, entering the room--was that the sheriff? No, the insurance people, says Liz--what are you doing with Miss Winters' letter? I rescued this from David, says Roger--you'd think that sheriff would have something to report by now. What would David want with it? asks Vicki. Just foolishness, that's all, says Roger--his latest is that he thinks I want to send him to jail. Vicki reacts. I'd keep this under lock and key if I were you, advises Roger--if it's important to you. Hasn't Mrs. Stoddard spoken to you about it? asks Vicki, surprised. No, replies Roger. Liz rises from the chair and says she thinks they should have this discussion later. But I want... begins Vicki, but Liz pushes her to the door, insisting later--go upstairs and finish David's lessons. Liz ushers Vicki out and closes the doors. Roger says he must admire her, she really has a neat way of managing people. I hope I can do as well with you, she says in her grande dame way.

Vicki knocks at David's door and enters. He's lying on his bed, reading MECHANO magazine again. I thought you'd be studying, remarks Vicki. I am, says David. All right, she says, let's get back to work. She sits at the desk and he sits there, too. We were studying about the early history of Maine, she says, flipping through the pages. My father told you about the letter, didn't he? asks David. I'd like to forget about it, if you don't mind, she says. I knew he would, says David, he just loves to get me in trouble. Nobody gets you in trouble but yourself, says Vicki. I kinda knew you'd stick to his side, remarks David. We were talking about the first French settlement in Maine, I think, says Vicki. Grown-ups always stick together, says David. I agree with your father when he's right, says Vicki--and I disagree with him when he's wrong, and that's the way it is. What's so important about that letter, anyway? Asks David. Maybe it's just as important to me as those magazines are to you, she suggests. What magazines? he asks, She retrieves the magazines from the bed, saying he learns a lot from them--how to fix things, break them, put them together--and take them apart (oh, yeah, go, Vicki!). Sure, agrees David. Vicki asks why he was so afraid of the sheriff. Who said? asks David. You thought he'd come here to arrest you, didn't you? asks Vicki. Why should he, I didn't do anything! says David hastily. Then why are you always talking about going to jail? queries Vicki. David rises from his chair. You're just like my father, he says, you want to get me in trouble, too, just because I read your stupid letter. This has nothing to do with my letter, says Vicki. I bet it was all about me, says David--you and my father are trying to send me to that place. Vicki says the foundling home is only for children who don't have parents--your father couldn't send you there even if he wanted to. I don't believe it, says David. Let's get back to work, says Vicki. You don't believe me!--why should I believe you? demands David--I didn't have anything to do with my father's car!I don't remember accusing you, David, says Vicki evenly. (GOT HIM!)

So that's what the famous letter was about, says Roger to Liz in the drawing room. That's right, says Liz, someone had a private detective make inquiries about Miss Winters. What do you mean, somebody? asks Roger, it was Burke Devlin. Very likely, agrees Liz. It should be easy enough to find out, says Roger, all we have to do is give the sheriff the name of the detective and he can check through New York. I don't want him to know anything about it, says Liz. Ridiculous! says Roger--it would prove that Burke didn't come back here just to be friends--if he's trying to dig up information on a girl you've engaged... I don't want the sheriff or anyone else prying into our personal affairs, insists Liz. Personal affairs! scoffs Roger, Burke tampers with the brakes on my car, I almost get killed, and you talk to me about personal affairs! My mind is made up, she insists. That doesn't make sense, says Roger. From the moment she walked into this house, says Liz, Miss Winters has been wondering why I engaged her--why I chose a woman I've never heard of and brought her all the way up here from New York to take care of your son--I did my best to find an answer for her--and I hoped it was settled once and for all--but now I'm afraid it will start it up all over again. What does that have to do with my accident? he asks (for Roger, it's all about HIM!). Nothing, says Liz, that's precisely my point--my reasons for engaging Miss Winters have absolutely nothing to do with your accident--and I don't want any further questioning of them by you, the sheriff, and particularly Miss Winters. (Liz, Liz, what ARE you hiding?)

You may be able to manage some people, Roger tells Liz, but you can't control an entire world--if a private detective made inquiries about Miss Winters once, what's to prevent him from doing it again? Liz looks at him and says according to the letter, the detective was satisfied that he couldn't get any information from the foundling home--I'm not worried about him, it's if the sheriff starts stirring things up. What is bothering you? asks Roger. Miss Winters, says Liz--she's going to start prying again, wondering again--want answers again. You think she's the only one, Liz? asks Roger.Liz makes a face. Don't you think I've been wondering about her? asks Roger. I imagine you have, says Liz. Why did you reach out all the way from Collinsport to a foundling home in New York? he asks--why did you suddenly decide to engage that girl? Because she seemed to be well-qualified to take care of David, says Liz. But how could you know this? wonders Roger, you haven't been out of this house for 18 years--how could you know about a girl who was a total stranger when she walked in here? All I know is what you told me, says Liz. Me? asks Roger, perplexed. That's right, says Liz--you recommended her to me. Roger bursts into laughter. Did I say something amusing? Asks Liz. Oh come on, says Roger, I never heard of the girl until you told me she was on her way here. Perhaps you've forgotten, then, persists Liz. Now you're not making any sense, says Roger--how could I forget something I never knew. I engaged Miss Winters, says Liz, because you told me someone at the foundling home told you she was excellent with children--that is what I've told her in the past, and that's what you're going to tell her. Roger nods. I see, he says. She'll undoubtedly ask you the person who recommended her, says Liz--you'll have to prepare an answer for that she can't check on. And what about my answer? asks Roger. I've already told you, she says. You've told me hocus pocus, he says, now I want the truth--why did you engage her? That's a private matter, she says. It must be pretty important for you to go to all this trouble, comments Roger. I said it's private, says Liz. Sure it is, agrees Roger, until some private detective digs up the truth--Liz, don't you understand--if it's important enough for Burke to find out about it, don't you think I have a right to know? It has nothing to do with you, she says again. (Ima Fly begins a journey around Liz' face.) You want me to lie for you, don't you? he asks. I asked you to tell Miss Winters a certain story, that's all I'm asking you to do, she says. What if I refuse? asks Roger. She lifts her eyebrows. You won't, she says. Don't be too sure, Liz, he warns her, you think you rule my life... You want to stay in this house, she says, rising, either you do as I want you to do, or you pack your things and leave--tomorrow. Is it that important? he asks. My reason for engaging Miss Winters is private, insists Liz--it will remain private--and I'll expect your cooperation in keeping it that way. (How regal, solemn and determined she is, and how skillfully she manipulated her brother into doing exactly what she wants without answering one of his questions!)

David's room - The important thing for you to remember, says Vicki, is that when the French left their colony at St. Croix Island, the English sent settlers in 1607 and the settled at the mouth of the Kennebeck River--do you remember the name of that settlement? Fort St. George? Asks David. Very good, praises Vicki, grinning. He smiles back, pleased. He apologizes for calling her a liar. She suggests they forget about that conversation. David says he knows if there was something in the letter about me, you would have said so. I'd rather not talk about it, says Vicki, if you don't mind. It's just that I don't want you to think I don't believe you, he says. (He'd have been great in the Home Alone movies, wouldn't he?) All right, says Vicki, fine. Just like I want you to believe me, he says--I don't lie, really I don't (no, and Richard Nixon wasn't a crook). Roger enters and says he hopes he isn't interrupting them. No, we were just having a discussion about honesty, says Vicki. Oh, says Roger, in regard to playing with peoples' property that don't belong to you? No, just in general, chuckles Vicki. Do you still have that letter with you? asks Roger. No, she says, if you like, I can get it from my room. No, he says, I just want to discuss it with you, that is, if my son would give us permission for a while. I think he'd be delighted, says Vicki, grinning at David, and rises from the chair. David asks his father if he heard from the sheriff yet--he just wanted to know if he arrested Mr. Devlin yet. You couldn't be more anxious than me, says Roger, and invites Vicki downstairs. They leave. David follows behind them, closing his door behind him.

David enters Vicki's room and begins searching through all her drawers. He finds her letter and opens it.

Drawing room - My sister tells me this letter has raised several questions in your mind, says Roger to Vicki--specifically, you were wondering about someone who hired a lawyer--or a detective, rather (another good save, Louis!) to find out why you were elected for this position, is that right? Yes, says Vicki. You know, of course, says Roger, that we think Burke Devlin is behind these inquiries. Why? asks Vicki, what would he learn? That's exactly the point, says Roger--nothing. Then why would he bother? she asks. You know the situation here, he says, that Burke's reason for coming back to Collinsport was to harm me and my family--he would try to learn anything at all that might be damaging--for tampering with the brakes in my car, I assure you was far more fruitful than prying into your past. If he did tamper with them says Vicki. Of course he did, says Roger, just as he hired a detective to find out all he could about you--I certainly wouldn't have helped him remove the bleeder valve from my car, but I could have told him everything about you. You mean because you knew the person who recommended me for the job, says Vicki. That's right, he says. Your sister told me about it my first day here, she says shrewdly, I mentioned it to you then, you must have forgotten about it. I guess so, he says, embarrassed at being caught in an obvious lie. I haven't, she says, I remember your reaction at the time--you acted as if you never heard of it before. (Yeah, Vicki!) I suppose I had something else on my mind, he says. I suppose your sister must have had something else on her mind, too, says Vicki, when she told me that same story. Why do you call it a story, as though it's not the truth? asks Roger. I checked with the foundling home, says Vicki, perhaps you didn't know that--just like that detective did--and I know that no one at the foundling home had ever heard of you or your sister. Of course they hadn't, says Roger. But you just said, she points out. He interrupts her, saying he told her she had been recommended to him, it's true, but not by anyone living in the foundling home--you know the home is supported by donations, don't you?--and I'm sure you know many of the donors prefer to remain anonymous. Well, yes, says Vicki. There's a woman in New York, he says, when the problem arose--I can't tell you her name--that we needed someone for David, I contacted her--apparently you had impressed her more than once. Can't you tell em her name? asks Vicki. I'm afraid not, says Roger. But...objects Vicki. The phone rings, it's Carter (not seen or heard), who tells Roger he saw Devlin. Of course he'd deny it! says Roger angrily, I told you that!--you didn't let it go at that, did you?--of course I expected you to arrest him, why do you think I called you in on this?--I can't tell you how to run the police department in this town--but I don't intend to wait!--I want something done! He hangs up and tells Vicki he didn't do a thing--all he did was talk to Devlin. Perhaps he saw no reason to arrest him, suggests Vicki. No reason! says Roger--I'm going to have a talk with that sheriff. We're not through with our talk, Vicki reminds him.Miss Winters, he says, forget about that letter--tear it up, throw it away, just forget about it--and he leaves. Vicki starts to follow him, stops, sighs.

Vicki goes to her room, deep in thought. She opens her dresser to find her letter, but it's gone. David! she says aloud, furious, and rushes to his room. He's not there, but she searches the desk, on top and inside, looking for her letter. She looks through his shelves and through some magazines and books, but doesn't find it. In his dresser drawer, however, buried under clothing,she finds the missing bleeder valve and clutches it in her hand, her eyes huge.

NOTES: Vicki has found evidence that David, not Burke, tampered with his father's car! What will she do with it? How will he react when he learns she found it--and it's his own fault because he foolishly stole her letter? This was excellent, a real cliffhanger here!

Roger didn't do a great job of putting Vicki off the scent of searching her identity. He lied to her the other day, now he has this pat story--conveniently with an anonymous donor whose name he can't reveal. She's a bright gal and she's not fooled, neither by him or Liz. You sense she's going to keep digging.

So, what big, terrible secret is Liz hiding not just from the world, but from her own brother? Did she have a baby daughter out of wedlock 20 years ago? Couldn't she admit such a transgression to her own brother?

Vicki has now figured out that David was the one who attempted to murder his own father. She's cleverly put together the clues, including the magazines he's been reading, and knows he has learned to do or undo things. Even Roger said a child could have taken off that valve. Problem is, no one wants to listen to her because they are too wrapped up in their own troubles. How will David react when he finds out his tutor KNOWS?


Episode #26 - Vicki speaks of tensions hiding in the house. The door at the end of the upstairs hall opens, slowly, squeaking, and David exits. He closes it, making sure it's locked. He is looking at Vicki's letter, but she catches him. She says his name twice, her disappointment evident. I suppose you want your old letter, he says--go on, take it, it's what you were looking for--why you were in my room? Your father could have been killed, says Vicki. What are you talking about? asks David--all I did was take your old letter. Why did you do it? she asks--why? I just wanted to read it, he says plaintively. Not the letter, says Vicki, the valve--the part that was removed from your father's car--why did you do it? I didn't! he cries. Look! she says, holding out the valve in her hand--look at it, David, I found it in your room! He stares at it, his mind already beginning to whirl with lies and excuses.

David asks where she got it. I told you, in your room, she says. You're lying, he says.I found it in your dresser drawer when I was looking for my letter, she says. You're lying! he wails--I never had it! Why did you do it? asks Vicki again, her tone hushed and horrified. I didn't! the boy insists--you just want to get me in trouble because I wanted to read your letter. This valve was taken out of your father's car and the brakes failed and he was almost killed! says Vicki. I don't care, says David, I didn't do anything! She walks away from him. He asks what she's going to do. Show this to your aunt, she says. You can't! he says. I'm going to! she says. Give it to me, he says, grabbing her hand and trying to pry the valve out of it. They struggle and he says he wants it. You're hurting me! she objects, and ends up running away from him and trying to close him out of her room while he pushes at her door from the other side. Stop it! she orders over and over, running away from him. He physically fights with her, telling her, "I want it!" The valve drops but she is the one who retrieves it and locks it in the top of her dresser, in a small drawer. You get out of here, she demands. David faces her. I'm warning you, she says. No, he says, I want that valve! Look, she says. Give it to me! he says. First let me show you where I found it, she says. It didn't come from my room, he insists. Let me show you where I found it, she says, then I'll give you the key. All right, he says, and precedes her out the door. I came in her and I couldn't find my letter, she says, so I knew you'd taken it, so I went into your room and I looked for it...once he is out of her room, Vicki closes the door on him, then locks him out. You lied to me, says the desperate child, banging on her door, let me in!

Roger goes to Carter's office. I've been waiting for you, says the constable. Are you clairvoyant? Asks Roger. No, chuckles Carter, I just figured that when I told you I hadn't made any arrests yet, you'd come storming in here--have a seat. I didn't expect you to visit Devlin, I expected you to charge him with attempted murder, says Roger. I know you did, says Carter--how about some coffee--I just remembered I hadn't had any lunch yet. He tried to kill me and you know it, says Roger, he removed that bleeder valve from my car--we have a witness who saw! Carter picks up the phone and asks Harry if he can get him a ham on rye and a container of coffee--is Roger sure he can't get him anything? Quite sure, says Roger. Carter hangs up and explains that he knows what evidence is--trouble is, he wants a case that can stand up in court--and they don't have that kind of case--not on Burke Devlin.

Vicki asks David if he's still out there. He doesn't reply. Your father will be coming home soon, she reminds him--do you hear me?

Roger sits impatiently on the opposite side of Carter's desk. When the constable comes back with his lunch, Roger tells him he always thought him good at his job. I do my best, says Carter. But you took no action against Burke Devlin? asks Roger. Sometimes a man has to use his own judgment, says Carter, opening his sandwich--I forgot to tell him no mustard--oh, well. Do you think you can forget your stomach for one minute? Asks Roger.Carter tells him he thinks he ought to calm down. A man tries to kill me, says Roger, you let him walk the streets, then tell me to calm down--what do you want him to do, try again--I might not be so lucky next time. If we picked him up on what we've got, says Carter, he'd be back on the street in an hour--take my word for it. I don't believe that, insists Roger. What have we got? Asks Carter--somebody removed the bleeder valve from your car--the car wouldn't stop and you ran off the road, right? Not somebody, Burke Devlin, says Roger. Let's look into that, says Carter--10 years ago, he made threats against your life--10 years later, your son's tutor saw him standing by your car with a wrench in his hand--now that's not very much. Especially since Burke has become very successful, says Roger significantly. Carter chews, sips his coffee and looks at Roger, then says, you know something, I never liked mustard on ham. What are you worried about? asks Roger--you afraid Burke can afford a big time lawyer and make you look bad? The only worry I've got, says Carter, is doing the job the best I can. Sure, says Roger, breaking up fights in the local bar and handing out traffic tickets--this is a little bit more, Mr. Carter--perhaps you're not up to it. (Zing!) I think maybe you'd better spell that out, suggests Carter. Our family has lived in this town for almost 300 years, says Roger, we built Collinsport--half the jobs here come from our cannery and fishing fleet--and when we elect a man for sheriff, we expect him to do a little more than fix traffic lights. Carter looks as if he's bitten into a lemon. Carter says that sounds fair enough. Then don't sit back there and tell me about evidence, says Roger, find some way to get Devlin behind bars or next time you're up for re-election, the town may think you've been around long enough to deserve a rest. I see, says Carter, if you think I'm going to manufacturer evidence, just to suit you, maybe you'd better find yourself another man. (I like you, sheriff, don't let the rich guy bully you!) Wait a minute, says Roger, I didn't say that. Sure! says Carter, I'm just a small town sheriff--we don't get many murders or attempted murders around here--but you go back to that family of yours, to your fishing fleet and cannery and spread the word--whatever crimes we do get are going to be handled according to the law! That doesn't mean... says Roger. It just means I'm going to take action when I think it's proper, says Carter, and not when it suits you. I want you to take every step you can! says Roger. That's exactly what I have been doing, says Carter. Have you searched Devlin's room? asks Roger. Why, what do you think I'll find? Demands Carter. The bleeder valve, says Roger, if you found that in his room, then you would know he's guilty. Anybody who would hang onto that valve, says Carter, would be either a fool or a psychotic, and I don't think Burke Devlin is either.

David keeps trying Vicki's door, and finally goes away. Vicki exits her room and cautiously walks into the hallway.

Liz enters the house and looks at the clock. David comes racing downstairs, his coat on, and runs past his aunt, who takes hold of the struggling child and asks where he's going. Let me go! he demands--I have to get away. You're not going anywhere until you tell me what's wrong! says Liz. It's her, he says, Miss Winters--she tried to hurt me! Liz looks at him in puzzlement.

Liz and David enter the drawing room and she asks him to explain that statement. Please, Aunt Elizabeth, he says. You made an accusation against Miss Winters, says Liz, and you're not leaving until I get a full explanation. David says she tried to hurt him, that's all--she grabbed at me and pulled me into her room--I was lucky to get away. Miss Winters never seemed like that sort of person, remarks Liz. Nobody believes me! laments David. What did you do? she asks--when he doesn't reply, she insists he must have done something. I took her stupid letter she got today! he says--I borrowed it, just to see what it was about, and she got mad. I don't blame her for being angry, says Liz, but I find it hard to believe she hit you. Well she did, he says, falling into her embrace, I'm scared, she hates me and is going to make up all kinds of stories about me. What kind of stories? Asks Liz, looking into his face. Anything, just so she'll get me in trouble. Suppose we find out from her, suggests Liz. I don't want to see her, insists David. If she's as terrible as you say she is, I think we'd better talk to her, don't you? asks Liz. But she'll lie, says David, I bet she'll ever try to blame ME for my father's accident! (Clever kid!) That's ridiculous, says Liz. She will--you wait and see, he says--please, don't make it... Vicki enters the room. I was wondering where you'd gone to, she says. David said you two have had some sort of trouble, says Liz. Did he tell you what it was about? asks Vicki.Something about your letter, says Liz. I see, says Vicki--Mrs. Stoddard, I'd like to talk to you alone. David said you tried to hit him, says Liz--is that true? I'd rather discuss that with you in private, says Vicki. Liz tells David to wait outside. But she'll tell lies, objects David. I don't think so, says Vicki. David starts to leave and tells Vicki, "She won't believe you--you wait and see--she won't believe you at all!" I told you to wait outside, orders Liz. All I did was take her letter! says David. We'll see, says Liz, and closes the door after David exits. She stands against it, looking at Vicki.

Roger paces the sheriff's office. Carter enters and says that didn't take long, did it? Long enough, says Roger. You're never satisfied, are you? asks Carter--here I agree to search Devlin's room for a valve that can't possible be there, I get a search warrant in record time, and you're still unhappy. How soon are you going over? asks Roger. A couple of minutes, says Carter, as soon as I finish this damn sandwich--my advice to you is to go on back to your office--if I need you, I'll get in touch with you. He picks up the phone and dials. Roger says he trusts he intends to go through the place very carefully. Just as if tomorrow is election day, says Carter. (Whomp! This guy has a great sense of humor!) Apparently calling the Inn, Carter asks if Burke Devlin is in his room--he did, huh, when was that?--thanks. He left his room half an hour ago, says Carter, won't be back for four or five hours--I don't see any reason for you hanging around any longer. The phone rings and Carter answers. It's Mrs. Turner--how are you?--he did, eh?--that's good news--do me a favor--keep him tied up from now on--thanks for calling--he hangs up and explains to Roger that Mrs. Turner thought someone stole her dog--just showed up--another headache he doesn't have to worry about. Carter gets himself some water and asks Roger if there's something else he'd like to say. I thought I'd go with you, says Roger. Carter drinks. Where, in the search, the cop asks. Yes, says Roger. I don't see any badge on you, says Carter, tapping Roger's lapel. What has that got to do with it? asks Roger. Just that the warrant is made out to a sworn officer of the law, elected or appointed, says Carter, I don't remember that you're either one--why don't you go back to your job and let me do mine? Don't forget, says Roger, this is not a lost dog you're after. I'll keep it in mind, says Carter. Roger leaves. Carter picks up the phone again and asks Harry if he heard anymore from New York about Burke Devlin--call him back and give him another nudge--I don't care what you tell him, just tell...forget it, I'm in a lousy mood--pressures, Harry, pressures. He picks up his sandwich and looks at it. Mustard, he says, and tosses it in the trash can. He gets his hat and other gear and leaves the police station.

David listens intently on the foyer side of the door. Inside, Liz asks Vicki what happened. After I went to my room and found my letter missing, says Vicki, I thought David might have taken it. Go on, says Liz. I went to his room and he was gone, so I started to look for my letter. Did you find it? asks Liz. The letter, no, says Vicki--Mrs. Stoddard, I don't know how to tell you this, but... David said you hurt him--is that true? asks Liz. No, says Vicki,. I hope you're being honest, Miss winters, says Liz, because I won't tolerate... It was David that tried to hurt me, says Vicki. Liz says that's nonsense. He was like a madman, he chase me into my room, says Vicki, and if I hadn't gotten him out and locked the door, I... I know this sounds ridiculous, but I was afraid to leave my room until I knew he was gone. He's just a child, insists Liz. I know, says Vicki, that's why when I started to think about, it made it even harder to believe--you know how he's been so afraid that his father's going to send him away? I think you'd better tell me exactly what you're talking about, says Liz. The accident, says Vicki. I see, says Liz--funny, David said you'd blame that on him. I know how fond you are of him, says Vicki, which makes it all the more difficult... There's no need for it to be difficult, says Liz, both my brother and I know who caused the accident. (Just show her the valve, Vicki!) I know what you think, begins Vicki, but the phone interrupts. It's Roger. David picks up the phone extension in the foyer and listens. There's nothing I can do, says Liz, I've known Jonas Carter a long time and he's a intelligent, responsible man--I'm sure he'll do his best--all right, I'll see you tonight. She hangs up, as does David. The sheriff's going to search Burke's room, Liz tells Vicki--if he should happen to find the missing valve, I assume that would end our discussion. He won't find it, says Vicki. Why are you so sure of that? asks Liz. Because I have it, says Vicki, I found it in David's dresser drawer.I don't believe you, says a shocked Liz. You think I wanted to believe it? asks Vicki--but it was there, hidden, I found it when I was looking for my letter. Why did he have it? asks Liz, desperation in her voice. Why did you think Burke Devlin had it? asks Vicki. Liz thinks that over. All that was needed to take the valve from that car was a wrench or a pair of pliers, says Vicki, I remember Mr. Collins saying even a child could do it. Stop it, orders Liz. I'm sorry, says Vicki. Do you know what you're saying? demands Liz--do you want me to believe David would deliberately try to kill or injure his father? All I know is the valve was there and when David saw that I had it, he became frantic, says Vicki. He couldn't have don it, insists Liz. He's a troubled boy, says Vicki gently--you told me that yourself. You must have made a mistake, says Liz desperately, I'm positive that you're wrong. It's in my dresser drawer, says Vicki, would you like to see it. Liz says yes, after a moment's thought. Vicki says she'll get it for her, and after a moment's hesitation, Liz goes up with her, preceding her to the stairs.

Vicki's room - I'm sure one piece of mechanical equipment looks very much like another, remarks Liz. I couldn't mistake this, says Vicki, sliding the key into the drawer's lock--Mr. Collins showed me a drawing of it. We'll see, says Liz, clearly reluctant to believe David capable of such a thing. I had to keep it locked up because David was so anxious....begins Vicki. Just open the drawer! orders Liz. Vicki does so, but she can't find the valve. What's the matter? asks Liz.It's gone, says Vicki. Liz looks at her with triumph.

NOTES: How desperate David was when he found out she had found where he'd hidden the valve he'd taken from his father's car! How determined to wrench it from her grasp! He lied and lied, insisting he didn't do it, but he did, and now she knows!

Loved the exchanged between Roger and Carter. I wondered when Roger would pull out the "big guns" card, reminding him that he is a Collins and Carter a mere elected official who could lose the next election. Carter is only willing to play the game so far, however, and you have to respect him for that. He won't allow Roger to bully him into planting evidence of Burke's guilt, but they reached a compromise--a search warrant for Burke's room. Carter is right, though, a sensible attempted murderer would get rid of such evidence, but a nine year old boy will keep it around forever--perhaps wanting to be discovered?

Excellent scenes between David and Vicki, who really got physical there. But Liz is already having a hard time accepting this, even with the evidence Vicki claims to have found in her nephew's dresser--which is now missing, since Master David must have found and stolen it back. Perhaps she'd rather believe Vicki is lying than accept the idea that her nephew wanted to kill his own father, but she's got to know David better than that by now.

Love, Robin

Episode #21 - Vicki: The great house sits quietly on its crest, and the events of a shattering night seem almost like a vague memory of a forgotten dream--but it was no dream, and there's no forgetting a man had almost been killed.

Kitchen - Vicki and Carolyn gaze at the coffeepot. Will it perk faster if we stare at it? asks Carolyn. Vicki chuckles and says she was just thinking. What about, the meaning of life? asks Carolyn. No, death, says Vicki--well, what do you want, toast or cereal? (There's a non sequiteur if ever I heard one). Toast, and I'll fix it, says Carolyn, taking out slices of bread--you were hired to be a governess in this house, not a cook--what do you mean, death? Have you seen your uncle this morning? asks Vicki. No, replies Carolyn, not since the accident. It wasn't an accident, Vicki says. I don't believe that, insists Carolyn. It's true, says Vicki, her voice ragged, someone tried to kill him! Carolyn says that's just what her mother said last night--next thing Vicki will tell her, it was Burke. I didn't say that, Vicki tells her, all I know is that it happened and it might happen again. Hearing the catch in her voice, Carolyn stares at her.

Carolyn, seated at the kitchen table, asks Vicki what a bleeder valve is. Vicki brings over the coffee pot and says she never heard of one herself, it's got something to do with the brakes. And someone removed this valve thing from Uncle Roger's car while it was still in the garage? asks Carolyn That's right, says Vicki, whoever did it wanted the brakes to fail part way down the hill, and that's just what happened. It's just so hard to believe, remarks Carolyn. It's a fact, says Vicki, you have to face that--someone tried to kill your uncle and might try again. What I mean is, couldn't this thing have fallen off the car instead of someone taking it off? asks Carolyn. You're still thinking about Burke Devlin, aren't you? asks Vicki. I didn't say that, protests Carolyn, shaking her head. Last night I told your uncle I went into the garage, explains Vicki, and saw Devlin there with a wrench in his hand--that's right, says Vicki at Carolyn's surprised reaction--now I didn't see him remove any valve or anything like that, but he was there, and right after he asked your uncle to drive into town to meet him. This upsets Carolyn--my mother was right, she says--how big a fool can I be, arguing with my mother over a man who could...I guess I'm just a lousy judge of character, that's all. Maybe, says Vicki. How can you say maybe? asks the blonde. Because I'm not sure myself, says Vicki--I've been up half the night thinking about Devlin--do you know what he said to me?--he told me to go home, back to New York, while I still could get out of this mess. You saw Burke last night? asks Carolyn. Yes, says Vicki, after I told your uncle about seeing him in the garage, we went to his hotel room--all I wanted to do was to come up here, do a job and maybe find out something. What about Burke? interrupts Carolyn--what happened? Your uncle accused him of trying to kill him and he denied it and said he hadn't touched the car. How could he deny it? asks Carolyn, you saw him with the wrench. He said he found that on the front seat of the car, says Vicki. Did Uncle Roger believe him? asks Carolyn.No, says Vicki, but that's why I stayed up half the night--you see, I did (believe him). Oh, Vicki, says Carolyn passionately, I hope you're right!

Collinsport Inn - Burke stretches out on the sofa with a cup of coffee and the paper. To his displeasure, Bill Malloy comes knocking. Isn't it a little early for social calls? complains Burke. Bill says it's not social. Oh, I see, says Devlin, couldn't you have let me finish my breakfast, don't you think? Bill tells him to go ahead and finish, it won't bother him. Thank you very much, says Burke sarcastically, picking up his coffee and toast. Last time I tried to get up here, I used the house phone, says Bill--you wouldn't see me--I wasn't going to be turned away this morning. Burke chews and asks Malloy if he still manages the Collins Fishing Fleet and Cannery. Yes, says Malloy. Why don't you go into your office and let me eat my breakfast in peace? suggests Burke. I'll get there, Bill assures him--finish your breakfast--then you and I are going to talk. Sounds ominous, says Burke.If that's what you call attempted murder, agrees Bill. Burke drains his coffee cup and looks at him, making a face.

Bill wanders the living room, arms crossed over his chest. Burke offers him coffee--there's plenty left. Nope, says Malloy, pacing. Burke continues to eat and says it wasn't bad for a lukewarm meal--but he always thought the condemned man got steak and strawberry shortcake. Are you through with the jokes? asks Bill. Yes, let's get this over with, says Burke--I had nothing to do with that business with Roger Collins' car. The brakes were tampered with, did you know that? asks Bill. M-hmm, says Burke, lighting a cigarette, I went over all that with Roger, if you want to know anything about it, ask him. I'm askin' you, insists Malloy. Why are you so interested? asks Burke--Roger was in the car, not you. Let's get something straight, says Malloy--anything that touches that family interests me--anything! I had nothing to do with that car, says Burke. You're filled with hate, says Bill, because of something you think that whole family did to you, and you won't be satisfied until you've torn 'em all apart. You're all wrong, insists Burke. Don't hand me that business you handed them--the past is over, bygones are bygones and all that malarkey, says Bill, I don't buy it, not from you, them or anyone! It happens to be true, says Burke, smoking. I'll tell you what's true, says Malloy, the things you said the day you were convicted of manslaughter--that you'd come back here someday and take over everything they own--the house, the fishing fleet, the cannery, everything. I was a kid then, says Burke. You're not kid now, says Bill. That's just it, says Burke, right now, today, that family means nothing to me--they're just some people I used to know a long time ago, that's all. That's all, repeats Malloy. Yes, says Burke--and if that's all you want to know, you'll have to excuse me--I'm going to get dressed. Bill asks Burke if he ever heard of a man named Wilbur Strake? Who? asks Burke. You heard me, says Bill, spelling the last name--he checked in here just two weeks before you arrived, checked out again a couple of hours after you registered--he was here for two weeks, talking to people, asking questions--said he was interested in local real estate. What about him? asks Burke. The thing he didn't say was that he worked for you, says Bill. He didn't, states Burke. Nope, says Bill, another thing he didn't say was he wasn't a real estate man, but a private detective. Burke smokes, says he'll get dressed and be right back. I'll wait, says Bill, and sits down to do so. (Honest, hard-working, probing--Bill Malloy is quite the man.)

Liz, dressed in an attractive suit, enters the kitchen where Carolyn is putting away dishes. Liz asks about Vicki. She went up to her room, says Carolyn, noting the envelope in her mother's hand--is that for her? Yes, from the foundling home, says Liz. They look at the letter. Special delivery, notes Carolyn--what could be that important? Liz tells her that's Miss Winters' business--see to it that she gets it, won't you? Liz leaves the letter on the table. Carolyn asks her where Uncle Roger is. He went to town to see the insurance people about his car, says Liz. Then he's all right, says Carolyn with relief. Much better this morning, says Liz. Did he tell you about last night? asks Carolyn--I mean about going to see Burke? Yes, says Liz, he told me all about it. Vicki doesn't think Burke was responsible for what happened to the car, points out Carolyn. I'm not interested n what Miss winters thinks, says Liz sternly. But isn't it just possible she's right? asks Carolyn, distressed. Vicki enters and Liz tells her that her letter is on the table. Vicki thanks her and goes to get the letter. Carolyn wants to ask more questions about Burke, but Liz tells her she refuses to discuss it. But, objects Carolyn--Liz, however, has gone. Vicki opens her letter. Carolyn asks her if she's sure Burke was telling the truth. How can I be sure? asks Vicki. You said you believe him, Carolyn says. I believed him, agrees Vicki, but I could be wrong. You can't be! wails Carolyn--if Burke is guilty, then so am I. That's silly, objects Vicki. I brought him up here, didn't I? says Carolyn, I was the one who brought him to this house, you just can't be wrong about him, you can't! (God forbid little Carolyn has brought this plague down on their heads. I guess, in her mind, it's all about her.) Vicki sits down with he and says when she was six years old, in the foundling home, one of the attendants there played a cruel trick on her--the woman told her that her parents were coming to take her home--even then she knew it wasn't true, but she believed her--you can't imagine how excited I was!--a mother and father!--no one had a mother and father--I was something very special--for two weeks I looked for them...I'm still looking (that is a sad story). This is different, insists Carolyn. You want my opinion about Devlin to be fact, says Vicki, don't count on it--when I was six years old, I closed my mind, and by doing that, the disappointment was much greater--don't let it happen to you. (Vicki is not clueless here, she's damned insightful.)

Drawing room - Liz answers the phone. It's Mr. Carter, constable, and Liz wants to know what time he can get here--that'll be fine, says Liz, my brother will be back here by then--very good, thanks for calling. That was the constable, Liz reports to Carolyn, he's going to be here later this morning. Carolyn, playing with her necklace, asks if Burke is going to be arrested. Don't you think he should be? asks Liz. If he's guilty, he should be, agrees Carolyn, but Vicki saw him last night... So did Uncle Roger, interrupts Liz--I'm no more anxious to persecute an innocent man than you are--but the facts are very clear to me, as they are to Uncle Roger. I know! says Carolyn, but... Burke is a very clever man, says Liz, sitting beside her daughter on the sofa--perhaps as you said he did convince Miss Winters--but your Uncle Roger knows him better than she does. But he could still be wrong! cries Carolyn. Somebody tampered with Uncle Roger's car, says Liz--if Burke didn't do it, who did?--who else would want to see him dead or injured? (Check with the fruit of Roger's loins!) I don't know, sighs Carolyn. You, me, David, Matthew--or do you think it was Miss Winters? asks Liz. That's ridiculous, says Carolyn. No more ridiculous than your trying to defend a man who's obviously responsible, says Liz. She answers the phone, apparently speaking to a reporter. If you've already spoken to my brother, says Liz, there's nothing more I can add...police?--why would he want to involve the police?--it was really an unfortunate accident--I'm sorry we can't provide you with a better story. Reporter? asks Carolyn, resigned. Someone who saw Roger in town, says Liz--I really do think you should go away for a while. I thought we settled that, says Carolyn. That was before this, says Liz, sitting beside Carolyn again--darling, you have no idea what it's going to be like--Devlin's going to fight--he's going to bring up everything from the past that he can--that was just one phone call--there are going to be dozens of them! Even if you're right, says Carolyn, what harm can come of it, why do we have to hide. Does it matter? asks Liz--can't you just please me and go away from this mess? Is it Uncle Roger? asks Carolyn--is there something I don't know? There's nothing, says Liz evasively, except the unpleasantness an angry man can create. You're afraid of something, says Carolyn, and it's much more than this accident. Not true, says Liz. You talk about digging something out of the past, begins Carolyn... I remember how difficult it was for you when you went to school and came home crying because the children made fun of you, says Liz--Carolyn's mother is a witch--I haven't forgotten how you used to sob. I survived, says Carolyn ruefully. I hated myself for making you suffer, says Liz, but this is going to be worse--Burke will see to that! Why should he? asks Carolyn--what is there to say?--that you haven't been out of the house for 18 years--everyone knows that. Carolyn, please! begs Liz. I'm not going anywhere, insists Carolyn, I'm staying right here, with you. Vicki enters the drawing room. Besides, adds Carolyn, if Vicki's hunch is right, Burke isn't causing any trouble. Well if he isn't, says Vicki, letter in hand, somebody else is--Mrs. Stoddard, I think you ought to read this letter.

Liz looks up at Vicki after reading the letter. Vicki tells Carolyn it's from Mrs. Hopewell, director of Services at the founding home where she grew up. Vicki sits beside Liz on the sofa and asks her what she thinks. Carolyn asks to read it. Might as well, says Vicki. Carolyn takes and reads the letter. Liz asks Vicki if she's ever heard of Wilbur Strake before. No, says Vicki. Hey, a private eye! says Carolyn with a chuckle, what do you know? Yes, says Vicki--do you have any idea who might have hired this man to ask these questions about me? No, says Liz. Unless it has something to do with what you were talking about says Carolyn--Mother felt Burke might try to dig up something about our past. This has nothing to do with that, insists Liz. It sure sounds like it, says Carolyn, reading, "He was anxious to learn the details of your securing your position"--he means with us, of course, "why you were hired by the Collins family, who recommended you, and all the rest of it"--whatever that means.Liz looks around nervously. What she means is, says Vicki, he wanted to know why your mother hired me in particular when she never heard of me before. I've already answered that question, haven't I? asks Liz, forehead furrowed. Yes, says Vicki, you said your brother was the one who made the recommendation, but... Miss Winters, says Liz, rising from the couch, I thought we settled this matter. Maybe you have, says Carolyn, but someone else hasn't--(to Vicki) Don't you have any idea who might be this interested in you? I thought your mother might know, says Vicki--do you think Burke Devlin hired this man? I suppose it's possible, says Liz. Why would he want to know about me? asks Vicki. I can't answer that, I don't know, says Liz, now flanked by Carolyn and Vicki. You think Burke Devlin was responsible for the car accident, don't you? asks Vicki. Yes, says Liz. Then you must also think, says Vicki, that the only reason he came back here was to harm your brother and you. Yes, agrees Liz. Well, then, it's logical the only reason he'd hire someone to make these inquiries is if the results would be harmful to you, doesn't that make sense? Miss Winters, asks Liz, are you asking me whether or not I'm trying to hide something about you and your past? Yes, says Vicki (forthright, spunky girl!) Liz walks away and says the answer is no. Vicki tries to question her further, but Liz sails out of the room, repeating, "I'm sorry, I don't know." Vicki watches her leave. Face it, says Carolyn, you're not even sure Burke Devlin hired this Wilbur Strake. (Vicki makes some very valid points, and Liz is obviously hiding something--is the Vicki's mama?)

Burke's hotel room - Where did you learn about Strake? Burke asks Bill. Sister of a man who works at the cannery--she's a chamber maid here, says Bill. Burke chuckles and says he's certainly glad he keeps his briefcase locked. Bill asks if he's still trying to tell him he didn't come back to town because of Roger Collins. Yes, says Burke. Nobody hires a private detective to tell him the weather is going to be good or the hotel rooms are comfortable, says Malloy. But they do hire them for business reasons, says Burke. Come off it, says Bill. I'm a businessman, says Burke, I've used Strake dozens of times--anytime I'm interested in a new area of investment--I have him check it out. Bill makes a dissenting sound. Believe it--don't believe it, says Burke--it's a fact--when I decided to come up to Collinsport, I decided to see if I could make a little money on the trip--there's a cannery for sale in Logansport, you've heard about that, haven't you? Sure, says Bill. I thought I'd look into that, says Burke--there's a lot more to buying a business than looking into the profit and sales sheets--there's the attitude of the people in the community--that's Strake's job. He sure asks a lot of questions about the Collins family, says Bill. They own a cannery, don't they? asks Burke--and now if you'll excuse me, I have some papers to look over--and he holds open the door for Malloy. You're a pretty smooth talker, says Bill--all with words. I'm telling you the truth--you can believe it or not, says Burke--that's your choice--come up and see me again. I may do that, says Bill, and leaves.Burke picks up the phone and asks to put in a call to NYC--Lexington 20098. (What is that?) And hurry it up, will you, it's important, says Burke.

Burke taps a letter on his coffee table. The phone rings, it's the operator, putting through Bronson--this is Burke Devlin--I'm just fine, says Burke--I want you to catch the first plane up to Bangor tonight--yes--Bangor Airport--call me from there when the get there--things are starting to happen--and I want to get moving fast.

NOTES: Who is Bronson? What part is he supposed to play here?

Bill Malloy is the Collins family watchdog. He really looks out for their interests, business and personal! I like him--he's brave, unflinching, caring and thorough. The Collinses are fortunate to have him in their corner.

Vicki again tried to get Liz to admit something. She's hiding something for sure, but what is it?

Do they seem a bit coffee crazy here? Later in the series, they're always drinking, but rarely coffee; here it seems to be almost an obsession.


Episode #22 - Vicki: I'm more certain than ever that somehow, the mystery of my past is entwined with the mystery of Collinwood itself, a mystery that echoes through all of Collinsport, reaching out to others as well--people who are searching for answers of their own.

Cottage - Maggie sits in a chair reading the paper, drinking coffee. Burke knocks and asks to borrow a cup of sugar. It's a little early, isn't it? asks Maggie. It's after 10, he points out, I thought you'd be at work by now. My late morning, she says, adding unenthusiastically--might as well come in. Thanks, he says--is your dad home? No, she says--I've been reading about Roger Collins' accident last night--did you hear about it? Several times, says Burke--do you know where your father is? He should be home anytime, she says--what did you want to see him about? I'd rather tell him, says Burke--hey, is that good coffee I smell? Is it about the accident last night? asks Maggie. Why should I want to see Sam Evans about Roger Collins' car driving off the road? asks Burke. Maggie says she just felt that. . .can I get you a cup of coffee? If it's not too much trouble, says Burke. Just make yourself comfortable, she says, I'll get a fresh cup for me, too. He tells her the accident wasn't an accident at all--attempted murder, they say. Maggie, jolted, drops her cup on the floor, where is shatters. (Why such a strong reaction for Magster?)

Maggie brings over coffee for herself and Burke, who tells her it's a fact--somebody tampered with the brakes on Roger's car. Are the police doing anything about it? asks Maggie, gazing at the newspaper. Not that I know of, says Burke, taking a sip of coffee and going mmmmm--why doesn't she make coffee like this at the restaurant? Don't you think the Collins family will call the police? asks Maggie. Why are you so interested? asks Burke. Curious, says Maggie, that's all.Do you always break chinaware when you're curious? he asks. You've been away from this town for 10 years, she reminds him--you forget what a hick joint it really is--let's face it, we don't have attempted murders every day. Except at 10 year intervals, huh? he asks. Uncomfortable, she says she didn't mean that. That's OK, he says, my crime was manslaughter, anyway--you do cook a good cup of coffee. Thanks, she says--how long are you going to be in town? I don't know, he says, just long enough to get a few things done. Like what? she asks. You're getting curious again, he warns--watch out, you might drop another cup. Sipping her coffee, she asks if this has anything to do with he father. That's entirely up to him, says Burke, by the way, where has he gone? He's not a young man, says Maggie, edgy, and he's been terribly upset ever since... Ever since when? asks Burke. It doesn't matter, she says--you asked where my father went--he decided to do some work this morning--got up, packed his paints and easel and went up on the cliffs--said he wanted to check the morning sunrise. He hasn't done much painting lately, has he? asks Burke. He picks up odd jobs now and then, says Maggie, hugging one of her father's sketch pads, one from an ad agency in Bangor, and one is Boston--he's still good, she says defensively, he has a lot of years of very fine work ahead of him. You make it look like I was trying to take those years away from him, says Burke, rising from the couch and going to her. I didn't mean that, she says. What did you mean? he asks. Nothing, she says evasively, I...just worry about him, that's all. I see, says Burke. I'll get you a refill, OK? she asks, and takes his cup. Sure, he says.

Collinsport coffee shop - The waitress pours a cup of coffee. (Time for a drinking game--every time anyone says or does something with coffee, take a sip of the beverage of your choice, coffee optional.) Sam enters and sits down at a table. On the phone, Roger tells Liz the car is all settled--he just spent an hour with the insurance man--everything will be taken care of--what about the Constable--did you hear from him?--I see--I'll be back in time, I just stopped for a cup of coffee. Roger exits the booth and sits down at another table with a cup of coffee and the newspaper. At the counter, Sam spots Roger and asks Suzy, the waitress, to change his order to a couple of doughnuts and bring them over to Mr. Collins' table like a good girl. You got room for a hungry artist? asks Sam, bringing his cup over to Roger's table. What do you want? asks Roger coldly. Peace, tranquillity, a chance to sit down and talk--may I? asks Sam. I'd rather you stayed away from me, says Roger. There's a few things I have to know, insists Sam, sitting at the table anyway. Look, Evans, begins Roger. The smiling waitress brings over the doughnuts, and Sam says it's the sunrise he was after--the delicate play of the light and shad...as soon as Suzy is out of earshot, Sam asks, "You saw Burke Devlin last night, didn't you?" How did you find out about that? asks Roger. What difference does that make? asks Sam--did he have anything to do with your accident?Roger drinks his coffee, not responding. Sam continues, reminding Roger that they are tied together in this, heaven help them, but they are--and he has to know what happened! (Another reference to their being tied together--what is this evil bond?)

Roger says he threw it all in Burke's face, went up to his room and told him he knew what he'd done--and Burke laughed--I told him that right after he told me to meet him in town, he was seen with a wrench in his hand. Was that true? asks Sam. Do you think I'd lie about it? asks Roger. Sam says yes, he might--they lied to protect themselves, he certainly knows it--I do, God knows, I've lived with it long enough. He's not going to be protected, says Roger, I can tell you that--I was willing to give him a chance last night, but not anymore. A chance? asks Sam--what do you mean? I was going to make a deal with him, says Roger--if he agreed to leave Collinsport and never come back, I was going to forget the whole thing, but it got beyond that point. You're going to involve the police? asks Sam. I'm going to see that he's put right back behind bars where he came from, says Roger smugly. Sam asks if he thinks that's wise. Do I? demands Roger--Evans, he tried to kill me--do you want me to wait until he does it again?--or maybe that's what you would like. That's nonsense, says Sam. Is it? asks Roger--you and I, we're the only two who knew what really happened 10 years ago--you and I--with one of us dead, the other wouldn't have to worry--and don't tell me you haven't thought of that before. Sam looks nervous.

Cottage - Burke carries a sketch of a woman to an easel. Maggie comes out, coffee pot in hand, and tells him she made a fresh pot. I thought you'd skipped out the back door, quips Burke. I only run from enemies, she says. Are you sure I'm a friend? he asks. Aren't you? she asks. I always thought I was, he says--but the way you were talking a little while ago, I'm not too sure. They both glance at the painting on the easel. Your mother was a very beautiful woman, says Burke. Yes, she was, agrees Maggie, sadly. She carries the pot to the coffee table. Burke asks if Sam still does portraits. Once in a while, she says, pouring--you never told me why you came back to Collinsport. Are you just making conversation, or are you really interested? he asks. All I know is, she says, handing him another cup of coffee, if I'd gone through what you did, I'd never want to see this place again. You're not as forgiving as I am, he says--I don't hate anybody. Do you really mean that? she asks. What makes you think I have something against your father? asks Burke. I wasn't talking about him, says Maggie. Then who? asks Burke--ever since I came into his room, you've been about to say something, which you actually haven't said. I guess I'm a jerk, that's all, she says. No, chuckles Burke, your dad and I have always been close friends, and there's no reason we still shouldn't be--I used to model for him when I was a kid--then I went to prison--as a matter of fact, I do have something against him. What's that? asks Maggie. I wrote to him several times while doing my time, and he never answered, says Burke. Maggie laughs. But you can't hate a man for that, says Burke--as a matter of fact, I can't imagine old Sam doing anything that would make me hate him. Sam, artist accouterments under his arm, bangs his way into the house, commenting on how great it was out there. He spots Burke and immediately looks fearful. Hello, Sam, says Burke, we were just talking about you--did you get your sunrise? Just a few sketches, says Sam--what did you mean--you were talking about me? Burke was just saying how fond he is of you, says Maggie. Oh? asks Sam, putting down his stuff. Are you hungry, Pop? asks Maggie--I just made a fresh pot of coffee. No I just had some, says Sam--so--you're fond of me, are you, Burke--is that why you came to see Maggie--tell her that? Not really, says Burke, she says that she thinks I have a grudge against you--you still do portraits every now and then? What else did she tell you? asks Sam. Calm down, says Burke. What were you two talking about? asks Sam. It was nothing important, says Maggie. What are you trying to do, Sam demands of his daughter--create problems?--stir up trouble? Relax, says Burke, she was just worried about you. You have no right, Sam angrily tells his daughter, to spread my history right in front of Burke--whatever is said, any discussion we have in this house is private--Burke had absolutely no connection with any of this, is that clear?--look, my problems are my own, they don't involve Burke or anyone else. I wouldn't count on that, warns Burke. Sam looks at him. I mean, says Burke, what are friends for--if you're in a jam, maybe I can help. No, I don't think so, says Sam. Maggie apologizes--she didn't think it would upset him that much. He opens a bottle of booze and takes her hand in his. You're such a fool, he tells her, when a man comes to pry, you don't unlock all the cupboards! Burke accuses Sam of being unfair. Sam says he's tired and going to lie down. Wait a minute, says Burke. I was up very early this morning, says Sam, unzipping his jacket, I'm tired and going to lay down and rest. What makes you think I came here to pry? asks Burke--I'm not interested in your private life. What did you come here for? asks Sam. I want to model for you again, says Burke--and I don't expect to be paid this time. I don't understand, says Sam. What would you charge me to do my portrait? asks Burke. Are you serious? Asks Sam.Would a thousand dollars be enough? asks Burke. (That was a LOT of money back then!) Get yourself another artist, says Sam. Don't be a fool! Maggie begs her father, taking his hands in her own, of course he'll do it, she tells Burke. Maggie, look, says Sam. You'll do it, Pop! insists Maggie, let's face it, a commission like that doesn't come along every time. You don't understand! he protests, and she says they can use the money and he knows it. Are you sure you want me to do this? asks Sam, I haven't done a portrait in a long time. I've been hanging around all morning! says Burke heartily, just waiting to spring it on you as a surprise--I want a nice, good one to go over a mantelpiece--you know the one I mean--as a matter of fact, you've been out to the Collins house, haven't you? This gives Sam uneasy pause, and he stares at Burke--yes, he says. What I want is something about the same size as the portraits that hang in the drawing room, says Burke--I want to be able to fit it in--right there--it has to be about so big, by so big--simple, the way they would do it, from the waist up... (Planning on taking over Collinwood, are we?)

The camera focuses on one of those very portraits as we join Carolyn in the drawing room, who answers the phone--hi, Joe! She greets her boyfriend--no, I haven't seen him yet, but Mother says he's much better this morning--you know my Uncle Roger--a little thing like an automobile crash wouldn't get him down--she giggles--I don't know about lunch, actually, I was waiting for Uncle Roger to come home so I could say hello--I'll tell you what, if I can make it, I'll call you from the hotel restaurant, how about that?--OK, bye-bye. Roger enters the drawing room and, smiling, Carolyn asks, "How's the wounded man?" Roger wants to know if that was the constable. Not unless Joe Haskell's changed jobs, she jokes, looking at his arm--how are you feeling? Fine, says Roger--do you know if the constable's gotten here yet? Haven't seen him, she says--how long do you have to wear that sling?--or is it just a prop to make you look dashing? Roger grins and smirks, suggesting to "Kitten" that they find out. He takes off the sling and tests the arm, proclaiming it a little sore--but he'll survive--there, he says, hanging the sling around her neck--my badge of honor, all yours! They laugh together and she tells him she's glad it wasn't anymore more serious. That makes two of us, he says. The phone rings. Roger answers and learns that the constable is on his way and will be here in 10 minutes--and then, things are really going to move, predicts Burke. Are you really going to have Burke Devlin arrested? Asks Carolyn. Not only arrested, says Roger, but indicted, tried and convicted--what do you think of that? I'm not sure, says Carolyn. Roger isn't one bit pleased to hear this reply.

What do you mean, you're not sure? demands Roger--the man tried to kill me, didn't he? I know that's what it looks like, admits Carolyn. Looks like? asks Roger, outraged, do me a favor, just don't talk to me anymore about it, I don't want to get angry with you--is Miss Winters around? upstairs tutoring David, says Carolyn--Uncle Roger... I'd better tell her the constable's on his way, says Roger, hurrying to the stairs, he'll want to talk to her, too. Carolyn follows him--she just wants to say one thing--Vicki told me what happened last night, that Burke denied having anything to do with your car--she also told me she believes him. I see, says Roger--well I was in that same room and I didn't believe him. But isn't it possible, couldn't he be telling the truth? asks Carolyn. Why are you so concerned? asks Roger, you hardly know the man. Because...she says, I was the one who brought him up to the house--if Burke did tamper with your car, I'm the one who made it possible.No one is blaming you, Roger assures her. Couldn't you be wrong--couldn't it be somebody else? she asks. Kitten, there IS nobody else! says Roger--from the night Burke arrived in Collinsport I've been waiting for something to happen, and now it has--and I'm going to make him pay for it. Even if you're wrong? asks Carolyn. You just go on having dates with boyfriends and let me take care of Devlin, orders Roger--he's been in my hair for too long now, and now that I've found a chance to get rid of him, I don't care what you or Miss Victoria Winters or anybody else thinks--he came into town, my car crashed, and that's all I need! Except, says Carolyn, proof that he did it! Don't talk to me about proof, says Roger--that man's been tormenting me for 10 years--and I've lived with it--well, it will be over soon now, proof or not proof. Proof or no proof! Cries Carolyn--you're talking about sending a man to prison! You're absolutely right, agrees Roger. IF he's guilty, not just because you want to get rid of him! says Carolyn. That's not what I meant, says Roger. I don't care if it's Burke Devlin or Jack the Ripper, wails Carolyn, I don't want to think that you'd be responsible for such a thing! Listen to me, begs Roger, I'm not a monster, you ought to know me well enough for that. I thought I did, she says. I just lost my temper and said a few foolish things--does that make me a monster? That depends on how much of it you meant, says Carolyn. All I meant was, says Roger, putting an arm around her and leading her back into the drawing room, that I seriously believe that Burke tried to kill me--right or wrong, it's what I believe, simple as that--when a man commits a crime, he would be sentenced--doesn't that make sense? Yes, but...she begins. Carolyn, there are no buts! Explodes Roger, only facts--and justice--that's what I'm really after, justice. She apologizes to him, saying she shouldn't have said what she did. We're all upset, he says, pouring himself a drink--was that phone call from Joe a date? Yes, he wants to meet me for lunch, she says, but I thought the constable was coming... Why don't you run along? says Roger, unless you don't trust me to do the right thing. He drinks and she grins, asking him not to do the right thing. She takes the sling off her neck and hands it back to him. He kisses her cheek. She smiles and leaves the room. Roger squeezes the sling in his hand. Justice! He says.

Maggie exits her bedroom in the cottage. She breezes by Sam, who sketches Burke, who is sitting on a stool. Us working girls have got to earn a living, she says, hey, Pop, she teases, you're slow, I thought you'd be finished by now. You know it's going to take at least a couple of weeks, he says. Some artists have no sense of humor, she says--I'll see you around, Burke. The men laugh and Burke offers to drive her. Maggie smiles and thanks him. Burke promises to give Sam a call when he wants to get started. You bet, says Sam, but there's one thing I don't understand. What's that? asks Burke. How am I going to have the time--when you first came to Collinsport, you said you were only staying a couple of days. I change my plans, says Burke. I figured you had, says Sam. Shall we? Burke asks Maggie, and they leave. Sam looks perturbed.

NOTES: They have much more subtle, psychological cliffhangers in DS now--this last one just showed Sam looking worried. No murders to end these shows! It's quite a change, but I'm getting used to it.

Burke DOES have ulterior motives for being in Collinsport. One of his plans it to own Collinwood, where he will hang his big, Collins-sized portrait. He's pretty transparent, isn't he? I think Sam has a hunch about it, too. Maggie encouraged Sam to take the fortune Burke offers, but what will having Burke pose for him do to Sam, who already feels guilty about whatever he and Roger did to Devlin?

Vicki and Carolyn believe Burke is innocent, Roger and Liz are certain he's guilty. We know the truth. Will they ever learn that the one person they haven't even considered--David--was the one who tried to send his father to a fiery death in his car? Pretty scary stuff! This incident is already pitting family members against each other, something Burke would probably be pleased about if he knew--anything to keep the Collinses off balance!

Love, Robin

Episode #17 - There is no sound in Collinwood, only the strangeness of the people around me--the woman who has brought me here, who has not left her house in 18 years (we see Liz going upstairs). The strangeness of a small boy, and the devils that torment him. (We see David asleep, moaning, "I didn't, I didn't!") He flings himself all over the bed, muttering the same thing, and finally awakens with a fierce "NO!" He rises from bed and goes to the window, standing on a chair so he can open it and look out. Liz runs in. For the love of God, David! she cries, pulling him down from the table, "Wake up!" He struggles in her grasp, saying he has to get away, and tries to get back to the window. She again begs him to wake up, shaking him. I didn't, I didn't! he wails.He climbs back into bed and pleads with her to help him. It's only a dream, she assures him. I didn't kill him! yells David, I didn't mean to kill him! Liz holds him in her arms and caresses his hair, comforting him. (Guilt, thy name is David.)

Office of D. Reeves, MD - Bill Malloy thumbs through a magazine and rises from a seat in the waiting room, his face impatient. The doctor, who has a delightful Maine twang, comes out and tells him Roger is dressing, that he was lucky--is Malloy taking him home?--he'll be ready in 15 minutes, he has a few things to clear up with him, insurance forms, all that nonsense. Bill asks if he can stretch it to half an hour; he wants to go back and look at that wreck again. Go ahead, says the doc, I'm not going anywhere, unless Lucy Cameron decides to have her baby ahead of time. I'll be back in half an hour, says Malloy. What do you expect to see? Doc Reeves asks--a wreck is a wreck. Not this one, Doc, says Bill brusquely. The doctor joins Roger in the examining room. He helps him on with his jacket after Roger admits to needing some help putting it on. His left wrist and forehead are bandaged. Doc Reeves advises him to ask his sister or someone else in the house to help him get dressed for a while. I can't stand being treated like an invalid, complains Roger. Invalid? asks the doc, maybe you don't realize just how lucky you are--a few stitches in your forehead, contusions, one arm bruised and sprained--by all the rules, I should have been signing a death certificate instead of helping you into a jacket. Sorry to be breaking the rules, quips Roger, as the doctor fashions a sling for him. That's all right, I got a bigger fee this way, says Reeves. (I love this guy's slick medical humor.) He tells Roger to hold his arm up and ties the sling around his neck. When those brakes went, says Roger, I thought for sure I'd end up on a slab. How does that feel? asks the doc. All right, says Roger--how long do I have to wear this thing? A day or two, just to ease up on any sprain--you'll know when to take it off--I'm going to give you a couple of pills before you go to bed tonight--ease up on the pain--and then I want you to get right home, get into bed, as soon as Malloy gets back here. Isn't Malloy waiting outside? asks Roger. He'll be back here, says the doc--said he wanted to get another look at the wreck. Oh, says Roger. Anything special about this one? asks the Doc. What do you mean? asks Roger. Malloy seemed to intimate...begins Reeves. Intimate what? demands Roger. The fact is, says Reeves, I think that all you people livin' in the big house havin' to go up and down that hill would be pretty darn sure your brakes were in good working order. They were, says Roger. Give ya a couple of extra in case you need some tomorrow night, says Reeves, doling out some additional pills. Roger takes them and thanks him. Then how come you went over the edge? asks Reeves. I told you, when I pulled out of the garage, the brakes were acting fine, says Roger, and they continued to work all right until I got about halfway down the hill, then the pedal went right to the floorboard--I tried to keep it on the road but I couldn't make it when I got to that big curve about a hundred miles--hundred miles?--it seemed like a hundred miles (a classic Roger blooper and save!)--a hundred feet from the bottom of the hill--then I went right over the edge of the hill--then Malloy came along. Yes, he told me, says the doctor, he was on his way up to the house--might as well get on with these forms--lucky thing Malloy wasn't walkin' up that hill--we might have had another death. Roger stares at him and suspiciously asks what he means--another death? Reeves says it seems that fellow he treated 10 years ago when he and Burke Devlin... I had nothing to do with that, insists Roger.Never said you did, says Reeves. Doctor, Burke Devlin was sent to prison for killing that man--it had nothing to do with me, says Roger. I know, says Reeves, I was at the trial--well, shall we get on with it? Roger glances at him, not at all pleased.

David lies in bed, awake. The noisy wind blows open his window. That frightens him and he calls for Aunt Liz, who runs right in and closes the window--she didn't close it tightly enough, she says--you aren't afraid of a little wind, are you? Stay in here with me, please? he begs. You couldn't get me out of here if you tried to, she assures him, dropping a comforting hand to his shoulder--see if you can go back to sleep. (This woman is exactly what this child needs, a loving, kind person who believes him, trusts him, and cares for him.) He slides back under the covers. Don't turn the light out, he says. There's nothing to be afraid of, she says, sitting in his bed, I'm here. I want the light on, he insists. All right, she says, try to sleep. He closes his eyes, but soon opens them and asks when his father will be back. Soon, she says, he's gone to the doctor. You won't tell him about my nightmare, will you? he asks. Not if you don't want me to, she promises, but there's nothing to be ashamed of, even grownups have nightmares sometimes--close your eyes and see if you can go to sleep. He settles down, but soon his eyes open again. What did I say, when I was dreaming? he asks. Just a lot of nonsense, she says. He sits up, anxious. What was it, I want to know? he says. Then will you go back to sleep? she asks. I'll try, he says. It seems you were dreaming about having a fight with someone and they were hurt, she explains. Who? he asks. It doesn't matter, she says, the important thing is for you to forget about it and go back to sleep. Did I say who was hurt? he asks. No, you just kept saying, "I didn't mean to kill him," over and over again, she says--come on, it was just a bad dream, try to sleep. He lies down for just a moment, then gets on his knees and goes to Liz. You won't let anyone hurt me, will you? he asks her. Of course not, she croons. Do you promise, he says. Of course I do, it was only a dream! She caresses his face. David puts his hand up to his face and says he doesn't think he can sleep. She suggests he put on his robe; they'll go down and wait for his father and Malloy. He digs his feet into his slippers.

Malloy returns to Reeves' office and knocks at the door. He enters and joins Roger and the doctor. It certainly was a fast half hour, says Reeves, I barely got this stuff finished. I saw what I wanted to see, says Bill. Hanky panky? asks the doctor. Didn't say that, says Malloy to Roger, I just said I saw what I wanted to see. Someday I'm going to write a book about Down-Easterners, myself included, says Reeves, I'm going to write about all those words that never get said. I don't know what you're talking about, says Malloy. I'm a freak around here, says Reeves, putting on his jacket, that's what I'm talkin' about--I open up and tell people what I'm thinkin'--for instance, me and Mr. Collins just had a chat about his old friend, Burke Devlin. What about him? asks Malloy. Am I through, Doctor? asks Roger. See what I mean? says the doctor--as soon as the conversation gets onto important things, we hold up a sign: no trespassing. (I adore this doctor's honesty.) Some things are nobody's else's affair, says Malloy. That's all an illusion, says Reeves, in this case, anyway--it was a public trial 10 years ago, wasn't there--and now Burke Devlin's back--do you honestly believe there's not one person in this town that knows why? I can't worry about what people think, says Roger. No, no, I know, you can't do that, says the doctor, all you can do is roll downhill in a car and get yourself nearly killed. (nervy medico.) His phone rings, and he tells Roger he's well enough to go home, but he must go right to bed. It's Mr. Cameron on the phone, and Doc asks how his wife is. (Wonder if she's having that baby?) Bill and Roger leave the office. Well? asks Roger. I went to the car, says Bill. I KNOW that, says Roger--did you find out what caused the accident? Ay-yuh, says Bill, but it wasn't an accident, Roger. Are you sure? asks Roger. Positive, absolutely no question about it, says Malloy.

Reeves waiting room - Malloy has drawn a picture for Roger of what looks almost like a thick bullet with a screw at one end. This is what it looks like, says Malloy--it's a bleeder valve--do you know much about cars? You put the key in the ignition and the car starts, turn it off and the car stops, says Roger--that's about it. (Didn't Roger take auto mechanics in school?) Showing Roger a drawn diagram, Malloy explains the brakes run on hydraulic fluid and there's a master cylinder under the hood--the fluid's in there--when you step on the brake pedal, what you're doin' is forcing the fluid from the master cylinder to the separate cylinders on each brake, and that's what stops the car. Where does this piece come in? asks Roger. This piece, the bleeder valve, explains Malloy, was missing, and left a little hole where it should have been--and every time you stepped on the brake pedal, you forced a stream of hydraulic fluid out of that hole--do that a dozen times, there's no fluid left at all.That's exactly what happened, says Roger--the brakes were working fine until I got about halfway down that hill. That's the way it must have been planned. I've got to be sure about this, says Roger--could this piece have come off by itself? Never heard of it happen, says Bill. Is it hard to remove? asks Roger. Easy with a wrench or a pair of pliers, says Malloy. Then that's it, says Roger--Devlin came to the house this afternoon and made arrangements for me to meet him in town tonight--what was to prevent him from going to the garage and tampering with my car to make sure I didn't get down that hill? Malloy rises from his chair and says it's possible, but neither of them can prove it. Agitated, Roger says not yet. Slow down, says Malloy. Do you think I'm going to let it go at that? demands Roger, I was almost killed--I don't give a damn about proof--I'm going to go to Burke and make him admit it himself! What are you going to do--beat it out of him with one arm? asks Bill. You two still here? asks the doctor, joining them--I told you to go home and get some rest! I'm taking him home right now, says Malloy. Look, Bill, says Roger. It can wait until tomorrow, Malloy says. Except birthin', says Reeves--I've got one right now that can't wait to get into this world--you think it's worth it? I'll tell you tomorrow, says Roger, thanking the doctor, who puts on his hat, and, bag in hand, turns off the light and leaves.

Drawing room - Standing before his portrait, Liz tells David that Isaac was a brave man, sailing on the ocean in a small ship--does David know when that was? My father tells me 1690, says David That's right, agrees Liz--he landed right near here in Frenchman's Bay, and he came to Collinsport and liked it and decided to stay--only it wasn't called Collinsport then, because there was nothing here except the harbor, and trees and lots of fish--Isaac Collins, imagine having a town named after you? Distracted, David asks if she heard a car. She says he hasn't been listening to one word she's said. I'm sure I heard something, he says anxiously, opening the window. There's no one out there, says Liz. Are you sure my father wasn't badly hurt? asks David. That's what I was told, says Liz, I want you to stop worrying about it. He asks if she hated her father. Of course not, she says, I loved him very, very much. How did you feel when he died? asks David. Such a strange question, remarks Liz, I told you he wasn't badly hurt. Did you cry? asks David. Yes, she says. Did you have nightmares? he asks. I don't remember, she says, it was over 20 years ago. I bet you didn't, he says resentfully, I bet if you love your father, you never have nightmares. David, she says, holding his shoulders, everything's going to work out all right for you, I know it will if you'll just be patient. The car pulls up. I don't want to see him! says David. I told you he wasn't badly hurt, says Liz. I don't want to see him! cries David, and runs to the stairs.

Roger and Bill enter Collinwood. Remember, says Roger to Malloy, don't tell my sister about that valve. You can't keep it a secret forever, insists Bill. Just tonight, says Roger, I want to do this in my own way. Liz opens the double doors and Roger greets her heartily, saying the soldier is home from the war. He kisses her cheek, and she asks if he's really all right. Nothing that a stiff drink won't cure, Roger assures her, and Bill says he wouldn't mind a short one. But your arm, says Liz, you didn't tell me about it. Malloy says it didn't start to act up until they were on their way to the doctor. Just a sprain, Liz, says Roger, it's kind of heroic, don't you think?--let's see about that drink. They enter the drawing room and Bill closes the doors behind them. From the corner of the foyer, David watches, then sneaks to the doors and listens.
I'm a pretty good driver, Roger tells Liz, but I couldn't make that last curve without brakes, so over I went--the doctor said I'd live and that's the whole sad story. Not quite, says Liz, you think Burke Devlin had anything to do with this? Roger and Malloy exchange glances and Roger, a peculiar smile on his face, asks her what makes her asks that. Miss Winters told me she saw Burke looking at your car earlier this evening, says Liz. Roger puts down his drink, amazed--what did I tell you? he asks Malloy. You can't prove he tampered with it, says Bill. Do you think I'm going to let it go at that?--to Liz--I was going to charge up to Burke and accuse him, but he talked me out of it. We have a constable in town, Bill reminds him, to handle things like that. Don't you think you ought to call him? asks Liz. I will, says Roger, is Miss Winters here, upstairs in her room? Liz rises from the sofa. You're not going to do anything foolish, are you? she asks her brother. I'm through being foolish, says Roger, I'm going to be very sensible--why don't you do the same--go upstairs and try to get some sleep--we've all had a rough night. What will you do? asks Liz. Oh, I might have another drink, says Roger, raising his glass, commune with my ancestors, mediate over my past mistakes and try to think of a way to correct them--he drinks. Correcting mistakes doesn't mean making others, warns Liz--you were almost killed tonight--don't forget that. I have no intention of forgetting it, not ever, Roger assures her--he kisses her cheek and wishes her pleasant dreams. Liz gazes at him suspiciously. I'll run along myself, says Malloy. Are you sure you'll be all right? asks Liz. Perfectly sure, says Roger. All right, says Liz, and asks to speak to Bill for few moments before he leaves. Sure, says Bill. Roger wanders over to Isaac's portrait--well, what would you do if somebody tried to kill you? he asks, and drinks.

Malloy enters the drawing room to say good night to Roger, who asks what Liz wanted. She asked me to check in town, see if I could find Carolyn, says Bill. Did she ask anything about me? asks Roger. She was a little afraid you might try something, says Malloy, but I told her not to worry, that you were just going to have a drink and go to bed. Not true, says Roger. Bill starts to warn him, but Roger says there's a girl upstairs who saw Burke standing by his car--doesn't Bill think he should at least talk to her? Sure, but wait until morning, says Bill. Good night, Bill, thanks for everything, says Roger--and drinks. Good night, says Bill, resigned, already knowing his advice isn't going to be taken. Roger puts down his drink on the foyer table and looks upstairs, then determinedly walks up. David watches, looking up at the landing, staring into the camera with gigantic eyes.

NOTES: Is Roger going to grill Vicki about what she saw? He isn't going to be gentle about it, that much you can be sure of. He's too upset and angry.

David felt guilty about what he did--his nightmare attests to that. He is actually glad he didn't succeed in patricide. Is there hope for this sad, demented child?

The performances thus far as so good. I marvel over David Henesy's David, he's as seamless an actor as I've ever seen; he doesn't even seem to be acting! Nancy Barrett is great as Carolyn, alternately child and bitch; Mitchell Ryan as Burke is enigmatic and exciting; Louis Edmonds shines as the semi-evil Roger and the sly humor is so much fun. Joan Bennett, regal yet motherly, is beautiful, strong and riveting.


Episode #18 - David listens to his father's footsteps heading upstairs. The boy stands in the foyer, fearful and tormented, according to Vicki's intro, listening to those footsteps receding away from him.

In Vicki's room, a window bangs in the wind and awakens her. She settles back against her pillow until the insistent clatter forces her out of bed. (She wears simple pajamas, not a fancy nightie.) She closes the banging window, then gets back into bed. She hears a knock at her door, and Roger's soft voice asking if she's awake. She puts on a light and asks who's at her door (the big bad wolf?). Roger says he hates to disturb her, but he must talk to her. It's very late, she protests. Roger says he knows, but it's very important, please. I'm not dressed, she says. I'll wait for you downstairs in the drawing room, he says, please hurry. He walks away from her door.

David, still standing in the foyer, hears his father coming downstairs and hastily hides in the dark corner. Roger comes downstairs slowly, not seeing David, and goes into the drawing room. David joins his father in the drawing room, asking him if it hurts. What are you doing up so late? asks Roger. I couldn't sleep, says the boy.Worried about me, I suppose, says Roger. Yes, I wanted you to know I'm sorry, says David. Sorry for what--that I survived? Asks Roger. (ooh, low blow!) David gives him a look of hatred. Roger admits that was a bit cruel of him, please accept my apology. Roger sits down on the sofa, head in hand. Does it hurt? repeats David. A little, the arm especially, says Roger. What happened--is it broken? Asks David. No, just a sprain, it will be better in a day or two, says Roger. They look at each other a moment. All right, is there anything else? asks Roger. Why do you want to talk to Miss Winters? asks David. That's not your affair, says Roger. It's abut the accident, isn't it? asks David--you think she knows whose fault it is. What makes you believe I think it was anybody's fault? asks Roger. I know, says David you said someone fooled with the brakes and that's why the automobile crashed. I know something, too, young man, says Roger, I know that I don't like little boys listening at keyholes. I wanted to find out what happened, says David. All right, now you know, says Roger--the car ran off the edge of the road--I sprained my arm and cut my forehead--now you run along to bed. Do you know who did it? asks David. I have no patience for this! says Roger. You were almost killed, David reminds him--don't you think I have a right to know? The only thing you have any right to know is that it's past your bedtime, says Roger, now get to bed, right now. You don't even care if I am sorry, accuses David. Just get to bed! says Roger, and leave me alone--that's all I care about. (I feel so sorry for these two.) Maybe I'm not sorry at all, says David, maybe I wish you'd... Roger stands up threateningly, and David runs from the room.

Vicki, in a robe now, brushes her hair. David knocks at her door. She thinks it's Roger again, and tells him she told him she would come down as soon as she. She's surprised to see David, and asks what he's doing up so late. Can I talk to you? he asks. Sure, come on in, she says. He does, and she closes the door. I don't have much time, your father is waiting for me downstairs, she explains. I know, I just saw him, the boy says. He's all right, isn't he? she asks. Sure, he's all right, says David. Then what's the matter? she asks. I tried to tell him I'm sorry, says David resentfully, but he wouldn't listen! Is that all? asks Vicki. He yelled at me and told me to go to bed, complains David. Look at me, says Vicki--your father was almost killed--I'm sure he must be very upset, just as you are. I wanted to apologize, that's all, says David. But there's no reason for you to apologize, says Vicki, believe me--I know what's bothering you--you told me you wished your father would die, and he almost did, and now you think it's your fault. It's not true, says David, it's not my fault, and I had nothing to do with it Then why are you so upset? asks Vicki. You don't believe me, do you? he asks her--nobody believes me! Nobody is accusing you anything, says Vicki, no one but yourself. He looks at her sadly.

Roger looks upstairs, impatiently awaiting Vicki. He checks his watch.

David glances through Vicki's window. Vicki tells him she's sure there isn't a child in this world who hasn't said what he did at one time or another--it's nothing to be unhappy about--can't you understand that--just because you said you wished he was dead... I had nothing to do with it! blares David. Then why are you so upset? she asks--if your father shouted at you, I'm sure he didn't mean it--just as you didn't mean what you said. He looks at her. She says he'd better go to bed now. She sits in a chair and he asks what she's going to tell his father. About you, not a thing, she promises. What are you going to tell him about the accident? asks David. If he asks me, she says, I'll tell him what I know, which is nothing--go on. He shuffles toward the door, but looks at her again. I have no more time, she says, your father is waiting for me. What if it wasn't an accident? Asks David. Then I guess your father will have to go to the police, she says. and what will they do? asks David anxiously. What police do, says Vicki--try and find the person responsible and arrest him. Would they put him in jail? Asks David, gulping. If he's guilty, she says, he should be put in jail--and now you should be put in bed--go on, David. She turns back, but she says she has no more time. I just want to know one thing, he says--if you knew who did it, would you tell? That's a silly question, of course I would, she says.Even if it meant he had to go to jail? Asks David. You father was almost killed, says Vicki, it's a terrible thing for anyone to do. He wants to send me away--don't you think that's terrible? demands the boy. It's not true, says Vicki, and it has nothing to do with it. It's the same thing, insists David, sending someone away!--that's all you can think about, you and my father--you're both the same!--and he leaves her room and goes into his own, closing the door.

Drawing room - Roger tells Vicki that he's afraid his son's emotional state doesn't concern him at the moment--I know that may sound callous to you, but what does concern me is that a man wanted me to meet him in town, knowing that I had to use my car to get there--I drove my car earlier today, and the brakes were in perfect condition--when I went to keep the appointment, they failed. Do you know why? asks Vicki. Yes, says Roger, and I also know why and who caused them to fail--but knowing it and proving it are two different things--that's why I wanted to talk to you. How can I help? she asks. You said you saw Burke Devlin standing in my garage earlier this evening, Roger reminds her. Yes, says Vicki. He was looking at the car, is that what you says? asks Roger. Yes, says Vicki, he told me he was thinking of buying one like it. He could scarcely have told you he was tampering with my brakes, says Roger, anymore than he could tell me that his suggestion I meet him in town was an invitation to an accident. Vicki asks if he's sure it was Devlin. If I wasn't sure, he replies, I wouldn't be bothering you like this--I know it's late, and I know you're very tired, but it's very important you remember everything that happened when you saw Burke in the garage. Well, she says, I went to the station wagon to get some times tables, I was told they were in the glove compartment--and I heard a car door slam. Are you sure it was a door? he asks. I think so, why? she asks. He shows her Malloy's sketch of the part removed from his car--it's a bleeder valve, and that doesn't mean anything except that Devlin lifted the hood of my car and removed this part from what they call the master brake cylinder. I'm afraid I don't know enough about cars, begins Vicki. All you have to know, says Roger, is that this part, without it, would cause the brakes to not function in about two minutes--about the sound that you heard--could it have been the hood slamming down instead of the door? Vicki says she supposes so--would a special instrument be needed to get that out of the car? A pair of pliers, that's all, says Roger--even a child could do it. A wrench? Asks Vicki. Yes, why? asks Roger. When I went to the garage to see who it was and saw Mr. Devlin standing there, he was holding a wrench in his hand, reveals Vicki.

David takes a toy car down from the shelf and plays with it, on a table, and the floor. He suddenly steps on it, crushing it.

You saw Devlin standing at my car with a wrench in his hand and you didn't mention it? rails Roger. The man told me he found the wrench on the car seat and there was no reason not to believe him, says Vicki. Do you still believe him? asks Roger angrily. Look, I was going to say something to your sister when I came into the house, says Vicki, but as I said, it seemed so silly--and when I heard how friendly Mr. Devlin has been, I guess I just forgot about it. Even after you heard about this so-called accident? Demands Roger. I didn't know it wasn't an accident until you told me about the valve thing, says Vicki. For your information, says Roger, I drove the car earlier today and did not leave a wrench on the front seat, not did I return to the car and put one on the front seat. I'm so sorry, says Vicki--I suppose I should have said something--is there anything I can do? There's a great deal you can d, he says, please sit down. She does, on the sofa. Is there anything you haven't mentioned, other than this wrench? Asks Roger. No, says Vicki, she's quite sure--she heard the car door slam. Or the engine hood, says Roger. Yes, she agrees, and I went in the direction of the sound and saw Devlin standing there. With the wrench? Says Roger. Yes, she says--I told him I was looking for time table and then I asked if Roger knew he was there, because I didn't know if you'd patched up your quarrel then. Obviously, says Roger, we haven't--what did he say to that? He said that you didn't know, but wouldn't mind, says Vicki, and then he told me he was looking at the car because he was thinking of buying one like it. Was he holding the wrench all this time? asks Roger. I don't, she says...wait a minute, I do remember, he threw it on the workbench! That's probably where he got it, says Roger--now, about his hands--were they dirty? I don't know, she says, I don't remember. This could be very important, he says. I really don't remember, she says, I didn't pay any attention to his hands. Did he seem upset? asks Roger, was he concerned that you'd found him there? No, I remember that very well, says Vicki, he seemed very calm and pleasant, not concerned at all.I see, says Roger, well, he's going to be concerned, very concerned--don't go away, Miss Winter. He dials the phone, calling Burke's hotel. Burke isn't there. Roger says he'll call later. He's not there, he tells Vicki, but he will be soon. What are you going to do? asks Vicki. Wait outside the hotel, says Roger, and wait for him to go in--when he does, I'm going right to his room and throw this whole thing right in his face! Vicki asks if he wouldn't be better off getting the police. I intend to, says Roger, but only after I have enjoyed seeing Burke and forcing him to tell me the truth--you'd better get dressed. Me? she asks, what for? I don't want to give him the chance to deny he ever had that wrench, says Roger, I want you standing beside me all the time. I'm sorry, says Vicki, but I... You just asked me if there was anything you could do to help, this is it! he says. I know, but...she says. You won't have to go to his room unless it's absolutely necessary, says Roger, you can wait in the lobby, but I may need you--don't let me down now! Vicki heads upstairs, giving him a look first.

David examines his crushed car. He stands on a chair and opens the window, tosses something out, then closes it. He looks in his dresser drawer, takes something out, and closes that.

In her room, Vicki is getting dressed when she sees her doorknob turning. She quickly opens her door and finds David standing there. He immediately runs away, into his room, and hides something under his pillow, then goes to stand by his desk Vicki enters and asks what it is this time--another present? She faces him and says she doesn't want to have to lock her door every time she goes out. You can lock it, he says, I don't care. But I do, she tells him, aren't we friends anymore? What did you tell em father? he asks. It had nothing to do with you, says Vicki--we talked about the accident, nothing else. (Isn't she putting anything together here? This kid is acting as guilty as Capone, for God's sake! And even Roger said a child could do it!) Is he going to call the police? asks David. Maybe, says Vicki--why should that bother you? (Why, indeed?) I just wanted to know, that's all! says David. Why are you so worried and upset? asks Vicki. Where are you going? David asks her. Into town with your father, she says. To the police? he asks. Maybe, I don't know, says Vicki. David walks away from her. How can we be friends if you won't tell me what's wrong? asks Vicki. I don't wanna be friends, he says. All right, she says, we'll talk about it in the morning. I wrecked the car, he says. WHAT? she asks. One of my models, he says, I crushed it and threw it out the window. That was a silly thing to do, she says. Why don't you call the police and have me arrested? He asks. Because it's easier to buy you a new car, says Vicki. Why can't HE buy a new car? demands David, why does he have to call the police? I think you're just too young to understand, says Vicki I understand, all right, says David resentfully, I know... Roger has entered the room, reminding David that he told him to go to sleep. It was my fault, says Vicki, we were having a little talk. Can't it wait until morning? asks Roger, I was wondering what had happened to you. He was very upset, says Vicki. He'll be more upset if he's not asleep in 10 minutes, says Roger--now get in that bed right now! David does so, kneeling, not lying down. Don't you glare at me, young man, orders Roger, I'm in no mood for your nonsense!--are you ready? He asks Vicki. I just have to get my coat, she says. I'll meet you downstairs, please hurry, he says. Vicki gives David a sympathetic look and tells him to try and get some sleep--good night. I hate him, David says, crouching on his bed. Vicki looks at him helplessly and sighs, not knowing what else to say, and leaves his room.

Vicki joins Roger down in the foyer. He sarcastically asks if his son is properly tucked in. She apologizes for taking so long, but she was very worried about him. Spare me the details, he says, I'm only worried about my own problems--are you ready? I should think he'd be one of your problems, too! says Vicki indignantly. Not tonight, says Roger, tonight I'm only interested in what happened to that car--and it doesn't involve David at all. He ushers her out. On the foyer table, we see the drawing of the bleeder vale.

We return to David's room, where he holds that very bleeder valve in his hand.He closes his fist over it for a moment, then tucks it into his dresser amongst his clothes.

NOTES: It certainly appears that David is the culprit who removed the bleeder valve and attempted to kill his own father, doesn't it? Yet he seemed terribly guilty at the thought that he'd actually murdered his father--and terrified at the thought of getting caught (note his fear of the mention of the police). Yet he flattened out one of his own toy cars, then tossed it out the window. Trying to excise his own guilt, or just trying to mentally kill his father since his real effort failed? This is quite an amazing role and Henesy is wringing every bit of emotion from it with the ability of an actor many years his senior.

They are trying to make Roger both witty and cruel here, and succeeding. He's a selfish man whose only concern is his own business; that he has a child with many problems doesn't seem to concern or faze him. Sad family. Thank God for Vicki and Liz; with his mother out of the picture, David needs someone to care about him, and even though he continues to push her away, Vicki is there for him. Good gal.

Bill Malloy is a major character here, not just foreman at the cannery, but Liz and Roger's confidant, too, and Carolyn's almost uncle. He adores her, that's obvious. He went to see Burke on his own, trying to find out what he wants, but Devlin refused to see him. Does he have romantic designs on Liz? She needs someone to care about her, too.

Love, Robin