Episode #13 - Roger enters the drawing room and nervously faces Burke, who greets him warmly, holding out his hands in what seems to be real friendship. Roger ignores Devlin and asks Liz now long Burke's been there. Only a little while; she thought it wise to talk things over. Heartily, Burke says they have a lot of catching up to do--10 years' worth. Roger eyes him warily: "Why have you come here, Burke?" Roger asks. Burke says Roger and Liz both asked the same questions and suggests Liz explain. "He's only visiting," Liz explains--no other reason. Roger doesn't believe it. He's no fool. Liz begs Roger to listen to Burke. He agrees he will, and pours himself a drink, his face tight.

Smiling slightly, Roger says, "I'm waiting." Why so grim? Burke asks. "You think I'm responsible for your going to prison," Roger retorts. "That was 10 years ago," Burke demurs. "I want to try to forget about that." Or is it, Roger pointedly asks, if he would like him to THINK he had forgotten that?Burke asks Liz what she thinks. She just wants them to talk it all out, that's all. They were once good friends, Burke says--he wants to erase the past--he came home to see the town where he spent 20 years of his life--and to show off how successful he has become. "Now you've made it," Roger says. Burke insists he is "comfortable."--"Ten years ago, a man was killed," Burke said, "and I went to prison." "Because you were guilty," Roger reminds him, and Burke's face loses its guarded expression for a moment. He smiles like it hurts, and anger flares in his eyes. "That was the jury's decision," Burke says. Liz reminds him that there was evidence against him. Yes, there was, he said--Roger's testimony-- "I went to prison and with good behavior was released after 6 years." He has worked, traveled, seen the world, made some money, and what happened 10 years ago didn't seem important anymore. So, Roger says, you came back to say hello, visit, leave. Yes, Burke says. Why, then, Roger asks, has he been asking questions about the Collins--Joe Haskell, Vicki? He asks about Burke and Vicki meeting on the train and in the hotel restaurant--why? Because Victoria is charming, Burke says, and he didn't want to have coffee alone. That's his only motive. Roger paces and Burke watches. There is nothing more to it, he promises, staring at both Liz and Roger, who stare uncertainly back, wondering if Devlin's sincerity is real.

Vicki walks to Matthew Morgan's cottage and knocks at the huge door.When no one answers, she lets herself in and calls to him. (There is a kitchenette we never saw when it was Chris Jenning's cottage.) Matthew burst in and demands to know what she's doing there. She tries to explain, but he insists this is HIS house! He doesn't like prowlers. Vicki apologizes. She needs to talk to him. He must fix his supper, insists Morgan. She begs him for a few moments; it won't take long. He worries he might be called to the big house; he must fix his supper. She offers to help, but he refuses; he doesn't need her help or anyone else's. She can sit down and talk to him--but be quick about it!

Matthew eats dinner. Vicki asks him about Bangor, and she says she wants to know if anyone in the Collins family has any connection with anyone there. He stops her questions immediately, demanding to know if Liz knows she has come to see him. She says yes, evasively, but we can tell Vicki is lying. Matthew explains there is a Bangor-Collins connection--the Devlin trial. Burke was tried for manslaughter and sent away--and a good thing, too. She asks more questions. Matthew warns her about making trouble. The trial is old business--forget about it, he advises. He offers her some tea (gruff guy but mannerly). He doesn't know much about her, but he hates snoops. She only wants to learn about herself, she explains. When he presses her, she admits there is no connection between her past and the Devlin trials. Well, Matthew says roughly, stop asking questions about it, then! She takes him into her confidence and explains she was raised in an orphanage and knows nothing about herself. What's that got to do with Bangor, he asks, and she explains about the money that was sent to her since she was two--$50 When Mrs. Stoddard offered her the job, she made the connection, and hoped this would help her learn about herself. Adamantly, he warns her that if she has something against Mrs. Stoddard, she won't get a thing from him. She has nothing against anyone; she wants to know who she is and why that money was sent, Vicki says. Does he know anything? The only Bangor connection, he reiterates, is the Devlin trial.

Burke sincerely tells Roger, "Let bygones be bygones. Forget the trial, as I have." Roger complains it's cold and asks Liz to have Matthew bring in firewood. Roger, clearly wanting Liz out of the room, asks her to get some wood brought in or perhaps tea made. Left alone with Burke, Roger closes the door and solemnly says, "Now the truth, Burke--what brought you back here?" Burke insists he has already told him the truth. Roger counters that Burke seems to be forgetting he knows him very well--"you remember every hurt and every insult. People change in 10 year, but you haven't changed that much." "What do you want me to say--that I came up this hill to cut your heart out?" Burke queries. "That would be more honest," Roger says, "and would make me more honest with you. Let me tell you something, Burke--if you try to do anything, to me or my family, to any of us--the five years you spent in prison will seem like the best time you ever had." Burke bursts into laughter and congratulates Roger on having become a brave man. However, Burke says, he doesn't need the bravery. Burke asks about Roger's wife, and Roger's face grows dark as he responds, "That's not your affair." "Why? We were once very fond of each other," Burke reminds him. "Yes," Roger says ironically, "I know." Burke recalls that they were married the day after he was convicted, and Roger tersely nods. A kind of a victory celebration? Burke asks,and Roger says, snapping, "All RIGHT, Burke!" Devlin holds up a placating hand: "OK, OK, you're absolutely right--it is past history and we ought to forget about it. One more drink, for old time's sake?" Roger agrees, not happy at all as he pours. Burke looks speculative, and smiles.

While he sips tea, Vicki samples one of Matthew's home-baked muffins and praised his eclectic talents--baking, taking care of the house, fixing machinery, chopping wood. Sternly, he reminds her he also makes sure nothing happens to Mrs. Stoddard. She asks him how she can get to Bangor from there. Bus or train, he says, and the timetable is in the station wagon's glove compartment. He offers her more tea and says she should go to Augusta, the state capitol, instead, where Roger and Mrs. Collins lived. They never lived at Collinwood, he explains. They got married right after the trial and moved to Augusta. Roger has only been back a short time--and Roger's return is the worst thing that ever happened to this house, Matthew states sourly.

Burke questions Roger about why he returned from Bangor. This is his home, Roger says. But Liz owns the house, doesn't she--and the business? Still his home, Roger says. Burke asks Roger if Liz might be interested in selling the house and/or the business. "Of course not," Roger says, "and you should know she wouldn't..." Burke interrupts, checking his watch, saying how late it is. He must get back to town and can't stay for tea. He is leaving town in a day or two, Burke says. It's great to see him again, really. Let's try to forget the past. That's up to Burke, Roger says. Burke says he wants to discuss a business matter and asks Roger to meet him at the Blue Whale in a couple of hours. Roger says he'll think about it, and Burke says to say goodbye to Liz. He will see Roger later.

Matthew, washing the dishes while Vicki dries them, describes an incident in which the car he was driving had bad brakes. Driving down the steep hill from Collinwood, they failed; he went right over the side and was nearly killed. To stay up there, you need strong nerves and good brakes, Matthew drawls in a terrific Maine accent.The phone rings. Matthew answers. They need firewood, Liz says. He tells her he is talking to Miss Winters. Matthew's face grows furious, and Vicki knows she has been caught in her lie.He shouts at her to get out. Don't snoop around by him! Matthew orders, pointing the way out.

Vicki leaves the cottage and is getting into the car when she sees someone in the garage by Matthew's house. She finds Burke lounging around Roger's Mustang.They do meet in odd places, he says. He was admiring Roger's car (and he has a tool in his hand, which he says he found on the front seat). He's thinking of buying one himself. She asks if Mr. Collins knows he is there, and he admits no. Vicki feels Roger would mind, if he knew, and he asks her to keep it their little secret. She tells Burke how upset Roger was about their having coffee together, and he says he knows that, Roger told him. He discusses Roger's choice of upholstery, and Vicki suggests that he leave. "Little Miss Winters," he says. He is overwhelmed by her loyalty to the family she barely knows. Don't worry, he and Roger patched up their quarrel. Yes, he comments, gazing at the Mustang, he thinks he will buy one.

Liz hands Roger the tea tray, and he says Burke left 15-20 minutes ago. He was full of apologies, Roger says. Liz asks what he thinks. Roger says he would like to believe Burke's attitude it real, but it was just too easy. Liz brings up Devlin's trip to South America. Roger doesn't believe he's really going, and Liz is skeptical, too. Roger reminds her Burke is an unforgiving man. He would be happy to see Burke go, but until Burke leaves, he will be very careful.Burke and Roger should avoid seeing each other, Liz suggests. Roger explains that Burke mentioned wanting to see him about a business matter. Perhaps he does want to forget the past and be friends again, Roger muses, but he will never find out unless he accepts the invitation.

Vicki returns to Collinwood. Liz asks to speak to her. Vicki, intent on damage control, says if it's about Matthew, she really didn't think she'd mind her visiting him. Liz warns Vicki that Matthew is lonely, strange--and very loyal to her. Vicki knows. Liz says Matthew can be violent if he thinks anyone created problems for Liz. Vicki asks Liz if Roger is using his car tonight. Possibly, Liz responds, and asks why she wants to know. No reason, says Vicki, she was just wondering. Thoughtfully, Vicki trudges up the stairs.

NOTES: The initial scene with Liz, Roger and Burke is fascinating. We know Burke has had the Collins family investigated. He deliberately left the file on his phony South American deal in full view for Carolyn to read. Burke is trying to convince Roger and Liz that he means no harm and will not take revenge for being sent to prison 10 years ago. He sounds sincere. However, we are privy to what Roger and Liz are not--that Burke is showing far too much interest in a family with whom, he insists, he wants to "let bygones be bygones." There is evidently an ugly history behind this incident, something that evokes painful memories in both men. You can't blame Roger for his mistrust--and should we blame Burke for seeking revenge, which he obviously is? We don't know enough yet.

Matthew and Vicki's tentative relationship here is very fragile. He seems basically likable--but will brook no harm against Liz, whom he obviously adores, in his gruff way. He feels Roger's return was the worst thing that could have happened, but won't explain why. Yet he seems to like Vicki, too, (perhaps can even see a resemblance between Liz and Vicki??) However, when he catches her in her lie, he tosses her out as if he'd caught her holding a knife over Mrs. Stoddard. Liz later warns Vicki later about his intense loyalty, and Vicki will learn just how loyal Matthew is, to her detriment, later on.

The exchange about Roger's wife between Roger and Burke is very telling. What was the nature of the relationship between Laura and Burke, we wonder (judging by Burke's and Roger's reactions, deeper than it should have been). Why did Roger marry her the day after Burke's trial? Obviously, there are several significant layers here, mysteries about ancient relationships, that have yet to be revealed.

Burke brings up buying Collinwood and the Collins Cannery as though it were a regular business deal, but his eyes tell a different story. We sense he doesn't just want to buy these Collins-owned holdings; he wants to personally kick each family member out after initiating a hostile takeover. His motives are not casual, and his question fraught with significance that even Roger must feel.

Matthew tells Vicki that he was almost killed in a car accident on the estate, and says you need good brakes (and good nerves) as part of your survival pack at Collinwood. Shortly after Matthew tosses her out for lying to him, Vicki catches Burke in the garage with Roger's car (I do love these frequent outdoor scenes, which make you feel like Collinwood really is a huge, sprawling place) and with a tool in his hand. Did he tamper with Roger's car? Knowing how he feels and seeing the circumstantial evidence before our eyes, it sure seems like it, doesn't it? Hmmm, however...

And so, pieces of one of DARK SHADOWS' very first (and mostly non-supernatural) mysteries are presented in this pivotal episode.


Episode #14 - The dead past is still here in Collinwood, says Vicki. My past is here at Collinwood, and perhaps I will learn what it is--through the boy I tutor.

David lies in bed in his room reading a magazine called MECHANO. He tosses it away angrily and walks over to his dresser, gazing at his reflection in the mirror. He opens the top drawer and searches amongst his clothes, taking out what appears to be a part of something that looks like a large bullet.He gazes at it, opens his door, and leaves his room, searching the hallway to make sure the coast is clear. He enters Vicki's room, looks around for a moment, then opens her dresser and looks through her stuff. Vicki enters and demands to know first what he's doing there, then what's in his hand. (She is still wearing the same god-awful dress as she has for days.) He hides it behind his back, refusing to show it to her. Things get physical as she tries to get it back from him, accusing him of taking something from her. He runs to his room and closes the door, leaning back against it with a look of helplessness and fear on his face.

Vicki diligently searches her drawers, trying to figure out what David might have stolen from her. She hurries out of her room and tries to open his door, but finds it locked. She orders him to open the door right now, but he's back on his bed, on his stomach, reading a magazine. I've had enough of this nonsense, says Vicki, knocking--if you don't open the door, now, I'll get your father to do it for me. He doesn't respond. All right, says Vicki, if that's what you want. This decides him--he unlocks the door, but leaves her standing in the hall. She enters. What did you take from my room, she demands--what did you take? Nothing, he says sullenly. I don't believe you, she says, you had something in your hand, what was it? Nothing, he says. Why are you like this with me? she asks. He doesn't reply, but lies back down on his bed with the magazine. She sits on the bed with him and tells him she doesn't care what he took--the important thing is you and me--David Collins and Victoria Winters--I want to be your friend--I know what it's like to be frightened--I grew up without a home, with no one to turn to when I was lonely. I'm not lonely, he says.Well I am, she tells him--I need friends and was counting on you--when your aunt hired me, she wanted me to help you, and now I'm asking you to help me. How? he asks. Oh, I don't know--by smiling at me now and then--saying, "Vicki, let's go for a walk together"--by letting me comfort you when you're sad--and laughing with you when you're happy. You think my mother's never going to come back, he accuses her. Of course she will! Vicki assures him, and David, I know I can't take her place--I just want to be your friend, nothing more. I didn't take anything from your room, he says. All right, says Vicki. You don't believe me, do you? he asks. If that's what you say, then I'll believe you, she says. I'll prove it to you! he vows. You don't have to, she says. I'm giving you something--a present, he says. He goes to his dresser drawer to get it--I was going to surprise you when you started yelling at me. Why should you want to give me a present? asks Vicki. Because Aunt Elizabeth told me to be nice to you, that's why, he says--here--and he hands her a small shell--I found it near the water. Very pretty, she says--are you sure you want to give it to me? I said I was going to put it in your dresser drawer when you came into the room, he says--you said you wanted to be friends, didn't you? Yes, she says, smiling--thank you very much. Now can I read my magazine? he asks. Sure, she says. He returns to lying on the bed as Vicki leaves his room, shell in hand. She thanks him again. You're welcome, he says innocently. She closes the door, gazing at the shell, and David locks it behind her, a stoic look on his face. (He is lulling her into a false sense of security, and with a master's touch.)

Carolyn meets Vicki in the hallway and tells her she heard all that yelling and banging--figured it was her and the little monster--what was it all about? Vicki says she doesn't know. Carolyn notices the shell and asks where she got it. David gave it to me, says Vicki. Carolyn takes it and looks it over. A peace offering, I think, says Vicki. And you believe it, says Carolyn, handing back the shell. You believed Burke Devlin, didn't you? asks Vicki. That's different, laughs Carolyn--David's a kook--Burke Devlin's just a nice man who wants to be friends with the family. You hope, says Vicki. A clap of thunder makes Carolyn says, ruefully, looks like rain--there goes my hairdo. Vicki grins. I've got a date tonight, says Carolyn. You're not going out with Burke Devlin, are you? asks Vicki. Carolyn shakes her head and says she wishes she were.

Blue Whale - The joint is rockin' with dancers as Joe settles his tab with the bartender, apologizing for not doing it yesterday. Burke enters and asks Joe if he's keeping his credit good. Hello, Mr. Devlin, says Joe coolly, and Burke says that's a sour greeting if he's ever heard one--how about having a beer with me? Thanks, but I don't have the time, says Joe. You're not sore at me about last night, are you? asks Burke. Look, says Joe, with all that fuss yesterday, I forgot to pay my check--now I have and I'm on my way. One beer, how long will it take? asks Burke. I told you last night, says Joe, I'm not interested in your propositions--if you want to buy information about the people living in Collinwood, you'll have to go somewhere else. The bartender listens closely. I'm only offering to buy you a beer, says Burke Thanks but no thanks, says Joe, you might as well know this--I told the people up at Collinwood what you wanted. You did? asks Burke, bemused. Yes, says Joe--I don't know what you're after, but as long as it involves Carolyn or any member of her family, I want you to stay away from me. But I'm not after a thing, protests Burke. Tell it to them, says Joe.I did, says Burke, just about an hour ago--I had a long chat with Roger and his sister, and your little friend, Carolyn--we're all pals again--no fights, no fuss, no worries--Burke gazes nonchalantly at the jukebox offerings as Joe gives him a look of disbelief, then leaves.

Carolyn, checking out how she looks in her dress, admires her reflection in the mirror in Vicki's bedroom. You look beautiful, praises Vicki--where are you and Joe going? I don't know, a movie, I suppose, says Carolyn--what else is there to do in this town? You can always have a fight in the bar, suggests Vicki sarcastically. Carolyn laughs and says one was enough--that's one place she'll stay away from for a while--of course, if I thought Burke Devlin might be around to break it up again, that might be different. She has a dreamy look on her face. You really like him, don't; you? asks Vicki. Let's say he's a little different than the people you're likely to meet in Collinsport, says Carolyn--you think this hem ought to be shortened? It looks fine to me, says Vicki--I wouldn't be too eager to join the Devlin admiration society, if I were you. Stop worrying, says Carolyn, Mr. Devlin is leaving town in a couple of days, so I'll just have to be satisfied with good old Joe. Who happens to be in love with you, Vicki reminds her. Uh huh, says Carolyn, like she doesn't care--I think if I took a half inch off, it would look better--what do you think? I think love is a good deal more important than charm, says Vicki, standing up to make her point. I don't know how we got into this, says Carolyn, but let's not make a big case of this--sure, I think Devlin is attractive, charming and dynamic, and he's been around--but that's the end of it--I brought him out here to make peace with Mother and Uncle Roger and it worked--chances are, none of us will ever see him again and it couldn't matter less--period--exclamation point! Vicki smiles and says her Uncle Roger is going to see him again, Good for Uncle Roger, says Carolyn, sounding deliberately unconcerned, but then she adds, "When?" What difference does that make? asks Vicki. No difference, lies Carolyn, no difference at all. Someone knocks. Carolyn asks Vicki to be a doll and let Joe in while she changes. Why, you look great in that dress, says Vicki. I think it's a little too schoolgirlish, says Carolyn, tell him I'll be right down, will you? And she hurries from the room, leaving Vicki concerned.

Thunder rolls as Vicki goes to answer the door and invites Joe in. Carolyn said she'd be right down, says Vicki, offering to take his coat. He thanks her; she places it on the table. Joe and Vicki introduce themselves to each other. I guess we know a lot about each other, he says, after they both start to say they've each heard about the other. She smiles and says she guesses so--Carolyn says she's known him for years and years. Ever since I was a kid, says Joe--I'll never forget the first time I came up here--I was pretty scared. Of what? she asks. Don't tell me this house hasn't scared you, says Joe--I used to think there would be a spook in every corner. Did you find one? asks Vicki. No, I stopped looking when I saw Carolyn, he says, I figured flesh and blood was good enough for me--what about you, Miss Winters--do you believe in ghosts? No, I don't think so, she says. I don't either, he says, only those you see in storybooks and movies--but if you don't believe in ghosts, what do you call that thing standing behind you. Vicki turns to look, falling into his trap, then laughs and tells Joe never to do that to her again. Sorry, I couldn't resists, he says, grinning--but if you're going to go on living here, you might as well make up your mind there are no spooks, except beautiful ones that keep their dates waiting. It hasn't been too long, has it? asks Carolyn, coming downstairs now wearing a dark, sexy sheath. When you look like that, remarks Joe, one minute is too long--hi--and he kisses her when she reaches the foot of the stairs. You two been getting acquainted? asks Carolyn as Joe helps her on with her coat. Mr. Haskell's been telling me about ghosts, says Vicki. Mr. Haskell? asks Carolyn--Joe, Vicki--and don't listen to him, he wouldn't believe in a ghost if it rattled his chains under his nose--we've got 'em--ghosts and demons--(Hellmouth!?)--and nine year old monsters--am I right? I think David and I are going to get along, predicts Vicki. Lots of luck, says Carolyn, tying a scarf on he head--shall we go? she says to Joe. We'd better if we're going to make that movie, says Joe. No movie tonight, insists Carolyn, as Vicki goes to retrieve Joe's coat, I'd rather go to the Blue Whale. Your mother would shoot me if I took you back there again, says Joe. Vicki looks perturbed. Then we won't tell her, right? asks Carolyn. I think you'd be better off going to a movie, Vicki advises Carolyn. You manage your monsters, says Carolyn, I'll manage mine. You're not being too smart, warns Vicki. Joe asks what the two of them are taking about. Just girl talk, nothing important, says Carolyn--now say good night to the nice lady and let's get going. See you again soon, says Joe. Sure, have fun, says Vicki. Don't wait up for us, suggests Carolyn. I still don't think the Blue Whale's such a great idea, says Joe. Let's try it anyway, says Carolyn, hmmm? Vicki watches them leave, worried, then goes upstairs.

Vicki stops at David's door. She hears the door at the end of the hall open, then close. Who is it? she asks, but upon investigating,finds the door locked. Stop playing games with me, open the door, please, orders Vicki. I can't, David tells her from the opposite end of the hall, I don't have a key. But I...protests Vicki. You can't get in there, he tells her, it's always locked. But it was just opened, she says. It's never open, he says. But I...David, where does that door lead to? The rest of the house, he says--Aunt Elizabeth says it's been closed for more than 50 years. Does anyone ever go in there? she asks. I told you, he says, it's always locked. But it was just unlocked, I saw it open, she says. It's never open, says David, maybe it was one of the ghosts--the house if full of them, you know. Nonsense, says Vicki. It's not, he says, I've seen them--and if you stay here long enough, you'll see one, too--I have another present for you--do you like to read magazines? Sometimes, she says, as they enter her room--don't you know there's no such things as ghosts? They hate everyone here, don't you know that, he says. Now David, she says, wagging a finger at him, that's... He hands her a magazine, which he says is all about buildings and fixing things. She takes it from him and, thumbing through it says it's very sweet of him. Do you like my father? asks David Yes, I think he's a very nice man, replies Vicki. He hates you, says David. Why do you say that? she asks. I know, he says. That's not a very nice thing to say, she says. What was your father like? he asks. I told you, I don't know, says Vicki. You mean you never saw him? asks David. My father or my mother, she says. My mother's very pretty, he says. I'm sure she is, agrees Vicki. Do you know Burke Devlin? David asks her. It's awfully hard to keep up with you, says Vicki, you go from ghosts to... Did you ever meet him? asks David. Yes, says Vicki. He hates my father--did you know that? queries David. David why are you always talking about people hating other people? Because they do, says David--I bet I could be real good friends with Mr. Devlin. (Why, because Burke and David both hate Roger?)

Blue Whale - Burke watches a happy couple doing some '60s-type dancing, then sits down at a table. Joe and Carolyn come in and sit at a table. I still think we should have gone to that movie, says Joe. Don't be a party pooper, she says. Just one beer, that's all, says Joe. Some people don't know how to have a good time, she complains, and he reminds her what happened the last time they were here. Just don't punch anybody in the jaw and we'll be all right, she says. She spots Burke sitting at a corner table and grins at him. Seeing this smile directed somewhere else besides him, Joe turns to see what she's grinning at. Burke waves, and Carolyn waves back. That's all we needed, complains Joe. Isn't it funny him being here, remarks Carolyn. Nothing funny about it, says Joe, disgruntled. Maybe we should ask him to join us, she says eagerly. What's the matter with you? asks Joe, you know how Devlin and your family feel about each other. That's all fixed up now, she insists, I didn't get a chance to tell you. Joe says all he knows is he doesn't like the man. He protected you from being hurt, says Carolyn. Protected ME from being hurt? demands Joe. He broke up the fight, didn't he? asks Carolyn--funny thing is, we didn't even know who he was. I know now, says Joe, and I'd be a lot happier if I didn't have to see him again.I think you'll have to, says Carolyn, smoothing her hair. Burke comes over to their table. Hi, kids, says Burke--out on the town? Hello, Mr. Devlin, Carolyn greets him, her eyes wide with delight. I didn't expect to see you back here tonight, says Burke to Joe. Neither did I, admits the latter. Now that we are all here, says Burke, how about I buy you a cup of coffee? Joe starts to refuse, but Carolyn tells Burke that's very nice of him--as a matter of fact, why doesn't he join them? I don't want to be a fifth wheel, says Burke. That's all right, says Carolyn, we just stopped in for a drink, didn't we, Joe? Joe looks at her, then says, yeah, sure with little enthusiasm. I'll buy, volunteers Burke, sitting down with them--it certainly is better than drinking alone. Carolyn immediately focuses goo-goo eyes on him. Burke grins at her and Joe looks uncomfortable. What will you have? Burke asks them, making an expansive gesture with his hands.

Upstairs hallway - Vicki advises David to look for the nice things in people, but he says most people aren't nice. You're only nine years old, how many people have you known? she asks. Enough, he replies. Poor David, she says--I think I'll give you a present. You don't have to, he says. But I want to, she tells him--when your father goes to town tonight, I'll give him some money so he can buy some of those magazines you like--I'll wrap them up on a ribbon and give them to you first thing in the morning. David surveys her seriously. You mean my father's going into town tonight? he asks eagerly. Uh huh, says Vicki. Is he going to take the car? asks David. He's not going to walk, says Vicki. I don't want any presents--thank you, says David--and he goes into his room.

NOTES: WHAT is David up to? Reading that magazine about mechanics--and the little item he had in his room that he apparently hid in Vicki's dresser--what evil is this troubled little boy up to? His peace offering was nothing more than a smokescreen, and God knows what he's doing--and trying to pin on Vicki. He needs a raft of shrinks to help figure out his problems. His talk of hate is scarier than all ghostly apparitions--but who or what opened that door at the end of the hall?

Carolyn has a severe crush on Burke Devlin, no doubt about it, and it's already causing trouble with Joe. Her open flirtation might mean the end of their relationship, but it's clear that she doesn't return Joe's feelings and doesn't want to marry him, anyway. Burke seems OK with fanning the flame of Carolyn's admiration, too, which is not at all nice of him, given that he's claimed to like Joe.

How do you like those dancing scenes at the bar? Bring back any memories? They do for me! Did you enjoy the banter between Carolyn and Vicki as the blonde got dressed for her date? What do you think of the clothes? Vicki's dress is showing up so much, I'm growing tired of it--and I'm sure she was, too.

Love, Robin

Episode #9 - Vicki tells us that Collinwood has made her a part of its strangeness, which seems to reach out and touch everyone and everything that lives within its walls, for the past can be a prison, not only for me, but for others, for all those driven by fears of the future.

Bill Malloy enters the Collinsport Inn and calls Burke's room--I don't know if I'm fine or not, Malloy tells Devlin--I want to come up and talk to you--that's right, I'm in the lobby. Burke hangs up on him however, and Malloy leaves, annoyed.

Liz carries the tea service through the foyer. When someone knocks, she calls to Carolyn, asking if she can answer the door, but it becomes obvious she's going to have to do it herself. She sets down the tray on the foyer table. It's Bill, who greets Liz with a brusque good afternoon--he hopes he's not disturbing her. Liz says she was just putting away some tea things. Can it wait? he asks, holding up a cord-tied folder--we've got some things to discuss. We've already talked this morning, she says, but he insists there are lots of things more important than cleaning a teapot. He slips off his coat. Disturbed by his seriousness, she leads him into the drawing room and closes the doors.

Mind if I use your phone? asks Bill, handing her the folder--these need your signatures--just the usual contracts. She takes out the paperwork while he dials the phone and asks to speak to his secretary--he tells Alice he's at Mrs. Stoddard's for the next half hour if she needs him. Liz glances over the contracts and drops them on the table. They raised the price of sardines five cents a hundred cans of sardines on Nantucket, says Bill. That's why you came to see me? asks Liz--to talk about the price of sardines? I manage a business for you, Liz, he says, got to keep you informed--now just sign 'em. I could have signed these any time, she says, you didn't have to make a special trip. Might as well get 'em done, he says. It's about Burke Devlin, isn't it? she asks. A-yuh, he responds. What's he up to? asks Liz. I saw Burke last night, did you know that? asks Bill. Did you talk to him? asks Liz. Yup, he says. Why didn't you tell me when you called this morning? she asks. I wanted to think about it, Liz, some of the things he said--want to see him again, so I went to his hotel just before I came here--called Burke on the house phone--and he refused to see me. Carolyn comes in and quips, "Probably doesn't respect age and wisdom." She giggles and impishly greets him, "Hello Bill--how are things at the fish factory?" (She seems so young sometimes, really immature.) Swimming along, Princess, he replies, showing a rare sense of humor, just swimming along! Carolyn laughs and asks Liz if she called her. A couple of minutes ago, but it wasn't important, says Liz. Was it about Vicki? asks Carolyn--did you talk to her? Later, says Liz, not now, Bill and I have business matters to discuss. By the name of Burke Devlin, says Carolyn--tell me, Bill, what is this enemy of ours like? You ought to know, he says, you met him. Me? she asks. At the Blue Whale, says Bill, last night--he told me he broke up a fight and sent you home. Was that the man? asks Carolyn, delighted--I had no idea! That was the man, says Liz, annoyed, now please! Oh, sure, says Carolyn--you know, it's a funny thing--I've been hearing nothing but Burke Devlin's name around here for the past two days, until it's up to here (indicates chin)--but with all of it, there's one thing no one ever mentioned--how good-looking he is! Out! orders Malloy in mock irritation, like your mother says. Aye aye, chuckles Carolyn, and leaves. Gettin' prettier every day, remarks Malloy--when are she and young Joe Haskell going to get married? What about Burke? says Liz, ignoring his question--you said you saw him last night. You ought to get her out of this house, advises Malloy, the sooner the better, and you know it--it's bad enough you bury yourself, but a young girl like that, living in this tomb? Don't you think I know it? asks Liz angrily, don't you think I want her to leave? Then do something about it! he says--Liz, things are going to start happening in this house, and that girl is going to see dreams, ghosts, that she never even knew existed. There are no ghosts here, says Liz firmly. You can say that? he demands--you who haven't set foot off this hill in 18 years? That has nothing to do with it, she says. Every year that goes by, he says, every year you hope the ghosts will be pushed further and further back!--until they're hidden so deep, they don't matter no more--but a ghost won't die, Liz, and Burke Devlin's come back to Collinsport and you ought to get that girl out of the house! Burke can't do her any harm, says Liz. Maybe not, says Bill, but when a man's sat in prison as long as he did, and is filled with as much hate...Burke went to prison because he committed a crime, says Liz. Did he? asks Bill. Yes, says Liz determinedly. And you're saying you're not afraid of him? asks Malloy. Yes, says Liz again, but he doesn't believe her. I like you, he says, I think you're the greatest woman on the face of this earth. (Here is a man with unabashed admiration of Liz.) Why? she asks, because I'm not afraid of Burke Devlin? Because you plant your feet firm on the deck when a gale blows, Malloy says, because you hold your head up high and damn the devil, cause you don't know how to run scared--well, Liz, we'll stop him, you and me, no matter what Burke tries to do. They face each other, as though squaring off in battle.

Vicki sits writing at her desk. Carolyn knocks. When Vicki lets her in, Carolyn asks if she's still keeping the door locked. A habit, says Vicki. A good one around this place, says Carolyn--am I disturbing you? I was just writing a letter, says Vicki. Carolyn giggles and says it seems every time she pops in here, she's writing a letter--she must be loaded with friends back home. I have a few, says Vicki--did you want something special? Carolyn and Vicki gaze out the window together. Carolyn asks her if she knows it's a hundred feet from the edge of the cliff out there down to the water? Carolyn! says Vicki, not liking where this is leading. Did you also know that three people have killed themselves jumping off that cliff? asks Carolyn--there was Josette, the wife of the madman who built this place, and a couple of others--come to think of it, they were governesses, just like you. What are you trying to do, asks Vicki, smiling--frighten me again? The legend goes, Miss Winters, teases Carolyn, that the body of a third governess will be found, huddled and broken, at the foot of yonder cliff. Thanks a big bunch says Vicki. Just trying to bring you up to date so you'll have a few more stories for the kiddies, jests Carolyn, when you go back to that foundling home of yours. Just what makes you think I'm going back? asks Vicki. The way my mother came tearing up here to see you after you came back from town? asks Carolyn--don't tell me she didn't fire you! Nope, she didn't, smiles Vicki. Even though you checked on her story? asks Carolyn, pleased. Vicki shakes her head. Well, says Carolyn, Mother's slipping--unless she just intends to push you off that cliff someday. I doubt that, says Vicki, a big grin on her face. Oh, don't doubt anything around this place, says Carolyn, that's the first warning I've ever given you--she pretends to advance threateningly on Vicki, who backs away in mock fear, Carolyn says, "When the wind howls, the shutters creek, and the ghosts walk--am I frightening you?" No, replies Vicki. Disappointed, Carolyn sits on the bed and asks her why she can't be as brave as she is--she can walk into a room and kid around and say aye aye, sir, to Bill Malloy, smile a pretty smile--Vicki, it's all phony, all of it, inside I'm scared silly. Of what? asks Vicki, sitting beside her on the bed. I hate this place, I hate everything about it, says Carolyn, but when I get a chance to leave, I just don't have the courage! What chance? asks Vicki. Joe Haskell was here again today, asked me to marry him for the umpteenth time--I love Joe, but as soon as he mentions marriage, panic sets in--I start to shake. Vicki says not to worry, she's got lots of time to think about marriage. But I'm afraid it's never going to change, says Carolyn, and that's what I'm really afraid of--she laughs--just listen to me, old cry-on-the-shoulder Carolyn!--well, turn me off and throw me out, will you? It's not very easy to do either one, jokes Vicki. It's a cinch, says Carolyn, just talk about something else--tell me about Burke Devlin--greatest therapy in the world--from everything I've heard, he's about as different from Joe Haskell as anybody could be--I know you've only met him once... That's not true, amends Vicki proudly, I saw him today--we had coffee together. You did? asks Carolyn excitedly--tell me about him!--what's he really like? (Vicki seems much older than Carolyn, but the age difference is only two years. Carolyn is only 18; isn't it amazing how she differs from the last time we saw her in 1971?)

I don't think he's really vicious, Liz, says Malloy, I mean not basically--but he's a bitter man, and an angry one--and hungry. And you think he's dangerous? asks Liz. He was a hungry man 10 years ago, says Malloy, before all the trouble began--I think if he could, he would have grabbed the world 10 minutes after he was born. I understand he's wealthy now, she says. It's in your head whether you're wealthy or not, points out Bill, and the way I have him figured, until Burke Devlin owns the Collins Fishing Fleet, Cannery and house, he's going to consider himself a poor man--and that's just what I think you're going to have to face. Someone knocks at the door. Liz looks downright terrified. He asks her if she's expecting anyone. No, she says. Do you want me to go with you? he asks. Of course not, Burke (a Freudian slip), she replies, this is still my house. She goes to the foyer and regally heads to the door.

No one is there when Liz looks out, and she simply closes the doors and walks back to the drawing room. On the floor is a broken cup from the tea service she left on the table.Liz picks it up and carries it inside. Malloy is back on the phone, asking for Mr. Collins--go ahead and check, I'll wait. He covers the receiver and asks Liz who it was. No one, she says. But we heard...!--OK, he says into the phone, if he comes in, have him call me--I'm at his sister's house. He hangs up and asks Liz, what do you mean, no one?--I heard someone knock. There was no one there, Bill, she says, holding out the broken crockery--and one of my favorite teacups was shattered. How did that happen? he asks. Poltergeists, of course, says Liz, evil, mischievous spirits--Collinwood is famous for its ghosts, you know--except this one is nine years old and named David--this teacup was broken and no one was at the door--and I'm delighted. You're not making any sense, says Malloy. Liz looks at him and says it was David, not Burke--they both thought it was Burke, didn't they? Yes, admits Malloy. Well, says Liz, all your talk about hungry men, ambitions and all the rest of it--I suddenly realized I was terrified--when I heard that knock, for a moment, I didn't want to move. You were just surprised, he says, that's all. Frightened, she amends, I can't live that way--Burke Devlin is just a man who's come back to Collinsport--and I'm not going to wonder, worry and plan until I'm absolutely sure that he means us (no) harm (I think she left out that word.) Are you saying you're not going to do anything? Malloy asks, incredulous. I'm going to be Elizabeth Collins Stoddard, and not jump at every sound and tremble at every whisper, she tells him, standing tall and rigid. You mean you're not going to do anything, just sit here as you have for the last 18 years? he accuses. You'd better go back to the factory, Bill, she says. If you think I'm going to apologize for what I said, you're wrong--I've been worrying about you for so long, it's like a habit--and I don't want to see you trying to ignore Burke Devlin--because I tell you he's a dangerous man! (I get the definite impression that Bill Malloy is in love with Liz, don't you?)

Carolyn laughs, telling Vicki that Burke sounds like a marvelous man--oh, Vicki, I wish I'd been there with you! I wouldn't say marvelous is the word, says Vicki--he's charming, and very direct, and a little frightening. In what way? asks Carolyn. We'd be talking, says Vicki, and he'd be telling me stories about when he used to live here in Collinsport--all the time, underneath, he'd be asking me questions about your mother and your Uncle Roger--mostly about Roger. Did he ask about me? asks Carolyn hopefully. No, says Vicki. Are you sure? asks Carolyn, disappointed. Why the sudden interest in Burke Devlin? asks Vicki. Why not? asks the blonde--Mother's interested in him, Uncle Roger certainly is--from the minute you mentioned his name around this place, it was like someone had thrown a bomb!--and maybe a good bomb is what we all need! Liz calls Carolyn to come down. As she hurries out, Carolyn says that it would sure be a lot better than worrying about whether or not to marry Joe Haskell. (This girl is not taking marriage seriously.) She opens the door, and Liz yells up if she's upstairs--Bill's waiting, he wants to see you before he goes. Carolyn promises to be right down, but she hops back on the bed with Vicki and asks her if she knows that Devlin threatened to paddle her last night (sounds like she would have enjoyed it)--I didn't even know it was him until just a minute ago--I bet he would have done it, too. That's hardly a recommendation, says Vicki. Maybe not, agrees Carolyn, but a man like that is worth a second look, don't you think?--if you're finished your letter, I'll mail it in town for you. She sounds like she has ulterior motives, and Vicki thinks so, too. After Carolyn leaves the room, Vicki sits down at the desk and folds up her letter.

On the phone in the drawing room, Malloy is asking, come on, what's one more person?--well, she won't get in the way and it'll be fun for Jenny--stop worrying about money, your mother will pay for the whole thing--I thought that would settle it for you--I'll let you know as soon as I'm sure--all right, goodbye. He tells Liz they will take her. You're wasting your time, Bill, she won't go, predicts Liz. He says it's up to them to talk her into it--Liz knows it's the right thing to do. Maybe you're right, she says, maybe she should go out of town, at least until. . .but I know she won't. Why are you so all-fired sure about everything? He asks, it's a great trip, she'll see the country, what girl wouldn't want. . . I know my daughter, says Liz. Then where is she? he asks, I've got to get back to the office.

Vicki is sealing her letter. Carolyn comes in and asks if she's all set. Just about, says Vicki. Don't worry about a stamp, says Carolyn, whisking the letter out of Vicki's hands, I'll pick one up at the hotel.--hold the fort--and remember, stay away from the edge of that cliff. Vicki asks her what she's going to do in town. Pick up a few things, see a few friends, answers Carolyn. Why are you going to the hotel? inquires Vicki. To get a stamp for your letter, replies Carolyn.Are you sure that's the only reason? asks Vicki. What is this, an inquisition? asks Carolyn. I don't want you to do anything foolish, says Vicki. I'll try my best, says Carolyn teasingly. Wait a minute, says Vicki. Now what? asks Carolyn. I wanted to get a stamp, says Vicki, licking it and applying it to the letter--here--she hands it back to Carolyn--now you won't have to go to the hotel at all. Anything else? giggles Carolyn.

A-yuh, Princess, a trip, says Bill down in the drawing room--and believe me, you'll really be doing my niece a favor--she's been planning this thing with he daughter for a long time, but she's been trying to get me to find someone to go with her, keep her daughter company. And keep me far away from Collinsport, says Carolyn--that's it, isn't it? she asks Bill and Liz. It's a wonderful chance for you, darling, says Liz. Who's chasing me? asks Carolyn--Burke Devlin? Liz and Malloy exchange looks, and Bill assures Carolyn it's like he told her, it has nothing to do with anything but his niece and her daughter. Whose idea was it, Bill? demands Carolyn--yours or Mother's? Does it matter, Carolyn? asks Liz. Yes, replies Carolyn, because I'd like to know which one of you is scared to have me around now that Burke Devlin is in town? That has nothing to do with it, insists Bill... You and my mother have a big conference, says Carolyn, about Burke Devlin, and suddenly I'm offered a trip--well I'm not all that delicate, Bill, and no one has to wrap me on a cocoon and hide me away. What do you think you'll miss, the fireworks? asks Malloy. (He knows Carolyn well!) Bill! says Liz. Don't say it Liz, don't tell me again there's nothing wrong, he says--to Carolyn--it was my idea, because I know Devlin, and I know there'll be trouble, and I don't see anything wrong in trying to spare you some of it. How do you know I can't help? she asks. Aw, Princess, he says, you don't know anything about it. Then maybe somebody ought to tell me, says Carolyn, because I think maybe I can help. You're stubborn, he says, stubborn as your mother--I guess you were right, Liz--can't do a thing with her. Yes, you can, says Carolyn, you can give me a lift into town--and don't worry about me, Mother, remember I was brought up in this house--and that makes me an expert fighting goblins--she kisses Liz on the cheek and they smile at each other. Bill grins at Liz and shrugs, following Carolyn out. Alone, Liz says, solemnly, "Goblins."

Hotel - Carolyn enters and drops the letter into the mail slot behind the counter, then calls Burke's room. Mr. Devlin, she says, this is Carolyn Stoddard--that's right--I'm in the hotel lobby and I was wondering if I could come up to see you.

NOTES: What is Carolyn up to now? It's like watching a ladybug going into a spider's web. She's an interesting character--silly one minute, serious the next. Contrast this gal with the one who married Jeb Hawkes--what a difference from 17 to 21, huh?

Bill has obvious affection for Liz, and speaks to her more frankly than anyone else. I like that about him, and he seems to be a part of the time and place, truly from Maine. Liz and Roger, with their British accents, don't really seem to fit in.

Doesn't Vicki already seem like Carolyn's older sister? Joan Bennett insisted that Liz Stoddard was Vicki's mother, and she DOES look like her, doesn't she?


Episode #10 - Vicki admits in her intro that she's afraid.

David enters Collinwood and sneaks through the foyer. He gazes through the half opens doors of the drawing room; when the phone rings and he hears Aunt Liz comes down to answer, he hides in the corner near the kitchen entrance, in the shadows. Liz answers the phone--it's Roger--she's here, says Liz, but Carolyn went into town. David hunkers down, hiding from his aunt. I haven't the faintest idea where she went, says Liz, but I'm sure Miss Winters will still be here when you...I have no intention of locking her in her room or tying her down (really!)--if you want to talk to her, come here and do so. Liz hangs up and tells David that was his father--she suspects he'll be home soon. (He couldn't hide from Liz!) There's no need to hide behind the chair--you're much too big for small hiding places. David comes to her and asks if she's going to tell his father about the teacup. Then you did do it, she says--why, David? I didn't, he says. That's nonsense, she says, pointing to the table--it was on the tray, right here, when I came in, it was on the floor, broken. I didn't touch it, he insists. Then who did? she asks. (His hair has a cute cowlick, and his eyes are shaped like almonds.) They did, he says--I was standing right over here, and the cup was on the tray, and I saw it move all by itself--and it fell on the floor and broke! David, things don't happen that way, she says.They do here, he says, lots of things happen here--and he runs upstairs, Liz watching him.

Burke is in his hotel suite. He calls the desk and gives orders that he is to receive a phone call in exactly half an hour--I have an important appointment and I don't want to forget to leave--that's right, half an hour. He hangs up. Burke puts a huge sheath of papers into his briefcase and closes it, then rubs his chin and re-opens it. He takes out one paper and drops it on the small sofa. When he hears a knock, he puts on his suit jacket, stows the briefcase on the floor, opens the door and apologizes to Carolyn for keeping her waiting--please come in. She thanks him. How else can you tell what the monster is like? he quips--that's what you came for, isn't it? Of course not, she says, but admits she supposes so, in a way. Unless of course your uncle sent you to see me, he suggests. Uncle Roger doesn't know I'm here, she says, nor does my mother--it was entirely my own idea. Smiling, he closes the door and says, "Carolyn Stoddard in the lion's den." He invites her to sit down, he'll fix her a drink--what can she have?--sherry, ginger ale? She starts to sit on the chair, but he tells her she'll be more comfortable on the sofa and steers her there. She tells him she doesn't want anything, sits down next to the letter and thanks him. Burke sits in another chair and tells her she's his first guest. I thought you grew up in Collinsport, she says. I did, he says. Didn't you have any friends? she asks. Did, he corrects, past tense--did--10 years is a long time and I've been away--things change, people change--any other questions? Yes, she says--why is my Uncle Roger so afraid of you? Burke laughs uproariously, and Carolyn tells him she doesn't think she said anything funny. I'm sorry, he says, but that's marvelous, just marvelous--if I were wearing my hat, I'd take it off to you--you're direct, to the point, and as I say, just plain marvelous. You still haven't answered my question, she says. But there is no answer, he says--you see, there's absolutely no reason why Roger Collins should be afraid of me. I don't think you're being honest with me, she says. Miss Stoddard, he says, some people live in the past, all I care about is the future, and your uncle isn't involved in my future, not this (he snaps his fingers) much. Carolyn smiles. Now I've spoiled your fun, haven't I? he asks. What do you mean? she asks. It's hardly worth it jumping into a lake to rescue someone, then finding out they're not really drowning at all, huh? he asks. They laugh together, and he tells her on that bit of wisdom, he's fixing himself a drink--can I get you something? Maybe some ginger ale? she suggests--can I help? You stay right there, he instructs, then goes into his kitchen. Carolyn opens her purse and takes out her compact, checks her hair. At that point, she finds the letter he deliberately left and picks it up to read it. Would you like a lot of ice? he asks. That would be fine, she says, hastily putting the letter back down. Be right out, he assures her. She picks up the letter and begins to read it. She grins.Burke watches from the doorway as she does exactly what he wanted, his face eager.

When Burke brings out her drink, Carolyn is looking out the window. One ginger ale coming up, says Burke--not much of a view, is it? Carolyn says she loves it. When you've traveled as much as I have, he says, all main streets look pretty much alike. He hands her the glass--right out of the can, he says. She thanks him. I'm a bottle drinker myself, he says, when I was a kid, I used to roam these beaches looking for empty bottles, built my first fortune that way--40 cents in five hours. Not quite the same thing as half a million dollars, is it? asks Carolyn. I beg your pardon? he asks. Of course, she continues, the money isn't certain, but to get a chance at the deal, you'll have to leave here in a day or so and fly to Venezuela. How did you...? he asks, pretending to "get" what she's getting at--he snatches up his letter--Miss Stoddard, I'm not very happy about people reading my mail. Then you shouldn't leave it lying around, she says. He returns the letter to the briefcase and says he wishes she'd forget she ever saw that. How can I, she asks when it proves you were right? I haven't the faintest idea what you're talking about, he says. Uncle Roger seems to think you've come here to settle down and I don't know, create all kinds of problems for him. I told you, says Burke, I'm not interested in your uncle, not at all! How could you be, she asks, if you're thinking of leaving in a day or two? Please, says Burke, as far as you're concerned, that deal doesn't exist--and I'm here for an indefinite stay. Anything you say, she says, holding up her glass gleefully, and toasting, "To the death of the monster!" Burke lifts his glass and toasts back, repeating what she said.

David is playing with a toy robot on the table in the foyer. It walks and flashes, and he seems to enjoy it. He takes it into the drawing room and has it walk over the carpet, but then he hears his father come in, he quickly hides behind a chair. Roger comes in, calling to Liz. David is hidden from his view. Nobody's around when you want them, complains Roger, and pours himself a drink. Liz enters and chides him for doing too much of that lately. A very proper sisterly remark, he says, but I'm in no danger of becoming an alcoholic on the strength of one drink. He drains his glass, then closes the double doors. Is Miss Winters still here? he asks. Yes, up in her room, says Liz. Did you know that she was in town today? asks Roger. Yes, says Liz. Do you know why she was there? he asks. Yes, says Liz, to make a private phone call. A private meeting is more like it, says Roger, with our ubiquitous friend, Burke Devlin. Burke? asks Liz. That's right, Burke and Miss Winters, says Roger. Are you sure? asks Liz. You mean she didn't tell you about it? he asks sarcastically, well I'll tell you, Liz, Burke is filled with hate, and he's going to use every angle he can find to tear us down, including that 20-year-old girl I warned you not to bring into this house. What makes you think she can tell him anything that would harm us? asks Liz. Are you sure she can't? he asks her pointedly. Liz doesn't reply. Elizabeth, he asks, what do you know about this girl--why did you hire her? To take care of David, says Liz. Is that the real reason? asks Roger--the best way to take care of that boy would be to put him in an institution, and you know it.David listens closely, reacting with fear. How can you talk that way about your own son? demands Liz. Because it's the truth, says Roger, and you know it!

I won't permit you to speak that way about David, Liz insists. You mean you won't allow me to be honest, he says Ten years ago, she says, you and I had an agreement--after the trouble with Burke, you left Collinsport and I sent you money, every month, for 10 years, and you promised not to come back--but you are back, and this is still my house and don't you forget it. You wouldn't let me forget it, he says with a bitter smile. And there's another thing you'd better remember, she says, as David listens intently, you're here for only one reason--one reason only--David--and I cannot allow you to attack him like this because of Burke Devlin or anyone else--is that clear? She opens the double doors without waiting for a reply, and leaves the room. Roger pours himself another drink. Behind the chair, David starts his robot going. Roger hears this, finds the robot and picks it up. He stares at David and places the robot on the chair behind which David was hiding. How long have you been there? demands Roger--get to your feet and answer me. When David doesn't respond, Roger grabs him by the arm and pulls him to his feet--I told you to get to your feet! You're not going to send me away! says David, staring up at his father, who towers over him. I wish I. . .says Roger, then releases him and orders him to his room. "Aunt Elizabeth would throw you out of the house if you tried, says David triumphantly, wouldn't she? I told you to go to your room, commands Roger. She sent you away once, I heard--she sent you away! says David. All right! shouts Roger, grabbing his arm again. Everybody want to send you away! says David, everybody! What are you talking about? demands Roger. I remember the big fight you had with Mother, says David, she wanted to send you away, but she couldn't because of Burke Devlin. You shouldn't make up stories like that, says Roger. It's not a story, it's true! says David. But you know you've never heard me mention the name of Burke Devlin, until here, today, in this room, says Roger, sounding desperate. David insists he heard it lots of times when he and Mother used to fight. What else did you hear? asks Roger. Nothing, says David. I want to know what else you heard, says Roger. Let me go, says David, but Roger tightens his grip, insisting his son tell him what else he heard, every word of it! Only his name, cries David, That's all! You rotten little liar! shouts Roger, shaking him. Let me go, begs David--Mother, Mother!Liz enters and demands to know what Roger is doing to him. David runs to Liz' arms. Stay out of this, says Roger. Don't let him hurt me, David pleads with Liz. Liz assures him no one is going to hurt him. He was hiding behind a chair, says Roger--he heard every word we said. That's no reason to--David why don't you go along to your room--we'll talk about this later, says Liz. You aren't going to let him send me away, are you? asks David plaintively. Of course not, says Liz, now go along. David turns to his father and says, "I hope Burke Devlin comes back here--and I hope he gets even with you--I hope he gets even!"---and he runs from the room, his father looking dolefully after him.

Did you really travel to all those places? Carolyn asks Burke. Every one of them, he says, sure I can't get you a ginger ale? One is all I can handle, thanks, she says--you and Uncle Roger once were good friends, weren't you? Uh-huh, he says. Funny, I don't ever remember seeing you around, she says. You were very young at the time, says Burke, 10 years is a long time. What really did happen between you and Uncle Roger? she asks. I thought we decided that was past history, says Burke, gone and forgotten. Yes, says Carolyn, I know that's what you said... ...but you're still not sure I'm not trying to fool you, he says, is that it? Something like that, she agrees. The phone rings, and Burke, before answering, says, "Maybe I am." Burke picks up the phone and, holding down the cut-off buttons, tells her it's long distance--Venezuela--no, he says, talk louder, Jose, I can hardly hear you!--yes, that's better--of course I got your letter!--yes, I think I'm interested--no, there's nothing important holding me here. Carolyn listens intently, a little grin on her face. Burke continues, well, you know me Jose, I get restless--a couple of days in a place like this is about all I can stand--well, keep it alive, Jose, I'll call you in the morning--right, say hello to the Mrs.!--bye! He hangs up on his phony phone call. Sorry, says Burke, a little business deal. Then it's really true, about the deal I mean, she says. Of course it's true, says Burke--you saw the letter, didn't you? Yes, she says, but then I began to think about it. I see, says Burke, and you figured I put the letter there so that you WOULD see it--now why would I do that? So I would think you were only here for a few days, so I'd be sure you weren't visiting and not just...you know. Plotting against your family? he asks--well, you've got quite an imagination, Miss Stoddard. It's just that I heard so much about you, she says. Maybe it's all true, he suggests, how can you be sure?--maybe I am trying to trick you into thinking I'm the local boy visiting the old hometown--while all the time I'm plotting deep dark deeds of revenge against all the people that you love. You don't have to rub it in, she says. No, really, says Burke, how do you know I didn't put that letter there for you to see--how do you know I didn't arrange that phone call?--I'll tell you what I'll do--why don't you call the switchboard and ask them? Don't be silly, says Carolyn. No, says Burke, I insist, if you think that's the kind of stunt I would pull. Mr. Devlin, you're embarrassing me, objects Carolyn--please. Well, he says, I just want you to be sure I'm being honest with you. I am sure, she says. No doubts? He asks. No doubts, she agrees. Then I think it's time we got better acquainted, he says, and they smile at each other.

Collinwood - Liz lies asleep in a drawing room chair, moaning, "Ghosts...there are no ghosts here..."She opens her eyes and sees David standing there, covered with muck. David, you frightened me so, she says, awakening--I must have fallen asleep. She looks at him. His clothing is a mess, too, covered with dark splotches. You were talking, he says. Was I? she asks--where have you been?--where did you get so dirty? You were talking about ghosts, says David. I'm getting old, she says--what have you got in your hand? Where are they? asks David, where are the ghosts? Only in your mind, she replies, smiling. Like that man, Burke Devlin? he asks. No, says Liz, rising from the chair, he's very real indeed--perhaps much too real. Do you think he'd really try and...begins David. Liz tells him she'd really rather not talk about it, and again asks him what he has in his hand. Only a shell, that's all, he says, but when she asks to see it, he runs off, pounding his way upstairs, and closing the door. Carolyn returns home and greets her mother joyously. Where have you been all this time? asks Liz. With a friend, says Carolyn, and turns to look outside--you remember him, don't you?--and Burke Devlin enters the house. "Hello, Mrs. Stoddard," he says.

NOTES: So, is the devil at the gate? Burke went through an elaborate ruse to convince Carolyn of his good intentions--but we know it was all a scam. He used reverse psychology to get to her, and it worked. She's smart, but very young, and someone like Burke will eat her alive in the fish tank of life. And now, Carolyn, in all her innocence, has brought the piranha home to scout out the territory, sure she can effect a rapprochement between Devlin, Liz and Roger. Given what has happened, that's unlikely, but Carolyn has never been told what did happen, so how would she know?

Roger and David--what a depressing father and son combo they are! There is no love between them at this point, rather hatred and mistrust. The violent way Roger handles his son is horrifying, but the cruel way David baits his father about his fear regarding Burke is equally violent. They each know how to push the other's buttons, and for a child this young to do that is scarier than a whole house full of ghosts. By the way, did you believe David when he claimed a ghost broke the cup, or did he blame his mischief on a ghost? Roger's desire to put his son away is at direct odds with Liz' love for her nephew. She is determined to make him feel loved, and that's an alien feeling for poor David.

These episodes are so much more talky than what I'm used to on DS! I had the idea that the earlier episodes would be shorter, take up less space--but these two eps are the longest yet!

Love, Robin

Episode #5 - The night has passed, says Victoria, a night touched with a fear I had never known before.

Vicki has placed her suitcase on the bed. Carolyn knocks, asking her to "unlock the tower." When Vicki lets her in, Carolyn offers coffee, then spots the suitcase. What's going on here? asks Carolyn--Victoria Winters, you're quitting, aren't you? Vicki looks guilty and says she is. You've only been here one night! objects Carolyn. Seems I can't take it, admits Vicki. And here I thought I'd found a friend, says Carolyn, disappointed, but no one knows that better than I. I'll take you up on that coffee, says Vicki. The first and last breakfast at Collinwood, announces Carolyn, leading her out--I'm going to miss you, we could have been good friends. Maybe you can come visit me in New York, suggests Vicki. Are you sure you want to do this? asks Carolyn--I know how difficult it was last night. You don't know, says Vicki, but let's get that coffee. Carolyn stops her and reminds her she hasn't even met David yet--give them a chance. You're wrong, says Vicki, I did meet him--and she walks off without another word. A door opens and David comes out, gazing after the retreating Carolyn and Vicki. He goes into the latter's room and closes the door behind him.

David stares at Vicki's suitcase, his eyes filled with anger. He stands on the window seat and opens the window, looks out for a moment, then closes it. "Mother," he says sadly. "Mother."Then he looks at and traces the initials VW on Vicki's suitcase. He begins to rub them off, viciously banging his fist against it after he's succeeded in making the stick-on letters fall off.

Kitchen (yes, they do have one!) - Vicki describes to Carolyn how frightening it was to see that small white form at the top of the stairs, to talk up to it, and hear just three little words: "I hate you!" Vicki carries a plate of toast to the table. And that's when you decided to leave, says Carolyn. It wasn't just David, says Vicki, it was everything--your uncle last night... I told you, says Carolyn, once you get to know him... I know, he's charming and pleasant, says Vicki--and terrified--and maybe I am, too--that sobbing I heard last night. What sobbing? asks Carolyn, coffee cup poised at her lips. Vicki explains it was about 2 AM--didn't Carolyn hear it? No, says the other girl. I came downstairs because it woke me, says Vicki, I heard it all around me--I went into the living room and there was no one there. Maybe you were dreaming, says Carolyn. Roger, in a chipper mood (he seems to have multiple personalities to me), enters, carrying the mail, bidding "you lovely people" a good morning. He kisses Carolyn's cheek and calls her "kitten"; she pronounces his kiss delicious and offers him some of her lousy coffee. Roger looks at the mail and says he doesn't have time, he must get into town--how are you? he asks Vicki.Very well, thank you, she says formally. Vicki's sore at you, says Carolyn, sipping her coffee. Maybe a letter from home will help cheer her up a bit, says Roger, handing Vicki an envelope--ties with the past always make the future looks brighter. Vicki thanks him. Roger apologizes for last night--he had a bit of a shock and took it out on her--he's dreadfully sorry, and hopes she will forgive him--please say you will, he teases, or I'll throw myself off the cliff! Vicki chuckles and says he doesn't give her much choice, does he? We're friends then, good, says Roger--by the way, has anyone seen David around this morning, he wasn't in his room. Lucky you, remarks Carolyn. If you see him, says Roger, give him a kick for me (What kind of father is this?), there's a good girl. Vicki asks him if he heard any sobbing last night. Vicki said she heard someone crying about two in the morning, says Carolyn. Roger thinks that over, looks at Vicki and says, "Dreams...nothing but dreams." He bids them a good breakfast and goes. You see, says Carolyn, are you going to leave us just because of a dream? Vicki looks uncertain.

David has apparently replaced the initials on Vicki's suitcase, but, his gestures angry, he begins taking her clothing from the dresser and stuffing it into the suitcase.

Good news?--bad news?--anything important? Carolyn asks Vicki, who is reading her letter? Vicki says just news--the children all miss her--I'll just have time for a good long look at the view before I go upstairs and get packed. You're chicken, says Carolyn. I suppose I am, says Vicki. What kind of person comes all the way up here from New York, just to spend one night, then gives up? demands Carolyn. It was the most frightening night of my life, says Vicki, don't forget that. Hurt, Carolyn leaps from her chair and says OK, if you're really going, then hurry up about it! Vicki stands, too, and goes over to her, reminding her that yesterday, she told her to go. That was just talk, says Carolyn--oh, Vicki, I'll go out of my mind if I don't have somebody in this place... ! Vicki says if she hates it here, why doesn't she leave? Maybe I will, someday, says Carolyn--you don't know how lucky you are! Don't ever envy me, advises Vicki. Why not--when you can just pick up your bag and get out of here? asks Carolyn--you go home to a normal family, while I... Do you know where this letter came from? asks Vicki, picking it up--here--look at it, go ahead. Carolyn takes it and reads. Sure, they miss me, and I miss them, says Vicki--all 152 of them--but there isn't one of them who wouldn't give 10 years of her life to know who she is and where she comes from. OK, so you worked in a foundling home, says Carolyn--what does that have to do with it? Yes, I worked in a foundling home, says Vicki, taking back her letter, and I lived there, too, every year of my life. This startles Carolyn. That's right, says Vicki, I'm one of those kids--you know what my family was?--a cardboard box, and a piece of paper with 10 words written on it--"Her name is Victoria--I cannot take care of her." I'm sorry, says Carolyn, shaking her head, I didn't know. That's the thing about families, says Vicki, you just don't know how important they are. But couldn't you. . .I mean haven't you ever tried to find out anything? asks Carolyn. I never stop trying, says Vicki, I was even crazy enough to come up here on the chance I might find an answer--but that's over with now. Why Collinsport? asks Carolyn. Vicki sits down and explains that the foundling home was sent $50 in cash every month, the letters started coming when she was two and kept coming every single month until she was 16--none of them were signed. That doesn't make sense, says Carolyn. It didn't make sense when your mother offered me this job, either, says Vicki--I'd never heard of her, or Collinsport--everyone thought me crazy to come up here. Then why did you? asks Carolyn. The postmark on the letters was Bangor, Maine, says Vicki, which is only 50 miles from Collinsport.Oh, Vicki, that's a real stretch, points out Carolyn. When you're as desperate as I am, says Vicki, you'll grab for anything, so, don't envy me--you know where you belong, and who you are--and your name is more than just a season when you were dropped on the most convenient doorstep. Winters? asks Carolyn--Victoria Winters--I'd never have figured that one out. Yes, smiles Vicki--that's the sad story of my life, and the reason I came up here--and to pay you back for listening, I'll do the dishes--and she starts clearing the table. (Very domestic!) Carolyn looks after her, disappointed.

David is still throwing Vicki's clothing into her suitcase. He takes her dresses, hangers and all, from the closet and tosses them in, too, then takes her purse and opens it, searching.He looks outside and sees Vicki walking over the flagstones and down the stairs.

She stands on Widows' Hill, looking down. A grizzled-looking middle-aged man approaches her and touches her arm.Go home, Miss, he says--go back to New York. Resigned, Vicki asks him who he is. That's a good question, he says, one I've been trying to figure out all my life--who am I?--who are any of us?--why are we here in this green, ugly world?--your name is Victoria Winters. How do you know? she asks. When I man has cruised along these cliffs as long as I have, he says, gazed out to sea, feasted his eyes on the beauty about him and fastened his ears to the keyhole of society, he knows a great deal--you arrived last night in Collinsport, driven to the hotel by a dark, hungry man, and a taxi brought you here. Who are you, anyway? demands Vicki. Go home, he says again, once you've told Roger Collins I'm here, pack your things and go home--you will tell him, won't you? I can't, says Vicki, he's not here. Are you sure? he asks. He went to town about half an hour ago, she says. Did he say where he was going? the man asks. No, just into town, she says. Did he say when he was coming back? the man inquires anxiously. No, he didn't, she says. He'll be back, he says, and when he does, I want you to tell him I was here--tell him Sam wandered along the shore last night and came to Widows' Hill this morning. I don't know if there will be enough time, she says. Tell only him, says Sam, no one else--not another soul in that ghost-ridden house of tears. She asks what he means by that, and he replies that that's simple--you break a heart, it cries--but eternal and true--you've heard of Josette Collins?--this is where she stood--brought here from France as the bride of the man that built that house--he built it for her, gave it to her--but he couldn't give her peace--the townspeople hated her because she was a stranger--her husband's family hated her, because she was different--even the house hated her--so she would cry herself to sleep night after night, and then one day--this is where she stood--that's where she jumped--he nods toward the sea. How horrible! says Vicki passionately. House of tears, says Sam--some quiet night, if you listen real carefully, you can hear her crying her heart out with loneliness. But I...begins Vicki, then says, what I mean is, that's impossible. You heard it, guesses Sam. No, insists Vicki, of course not, there's no such thing as ghosts. But there are, he chuckles, both living and dead. Vicki closes her eyes and shakes her head, saying she doesn't believe in them. They exist, all right, he says, what do you say about Mrs. Stoddard--she hasn't been out of that house in 18 years!--is she anymore than a ghost?--they exist all right, as she does--they cry out as she does--they walk those halls and haunt it, as she does--tell Roger Collins that I was here--tell him and no one else--and Sam leaves the hill. Vicki holds her collar closed against the wind.

Vicki returns to the house(these outdoor shots are astounding!)

Carolyn, depressed, irons a blouse. Vicki comes in and Carolyn says she thought she'd be packed and gone by now. Vicki asks her why she didn't tell her about her mother. I thought you knew about my mother, says Carolyn--everyone else in town does--but you live with it, and there it is--she hasn't been off the hill since six months before I was born--but as you say, I'm lucky--I have a family. (This does not jive with later history, either; Carolyn was two when Paul Stoddard left.) Why does she do it? asks Vicki. Because of my dad, says Carolyn, he left, you know, took off, 18 years ago--and my mother, being a sensible woman, decided to do the natural thing--wait for him--and where do you wait?--at the house--logical, isn't it? You mean she's never been out, really never? asks Vicki. Slamming down the iron, Carolyn says look, why don't you just go home and stop bothering me? Vicki looks at her with sympathy and says sure--I'm sorry. She leaves the kitchen. Carolyn, in tears, turns and runs after her.
Vicki heads towards her room. Carolyn chases down the hallway after her, saying she just had a thought--18 years, he's been gone 18 years--the money!--the money you said was sent to you--it started coming 18 years ago--maybe there's a connection! Vicki shakes her head and says now who's stretching? Isn't it possible? asks Carolyn desperately--you came up here on a wild chase, maybe it means something and maybe not--are you going to leave before you have a chance to find out? I don't know, says Vicki--but thanks for thinking about it. Carolyn smiles and leaves.

Vicki enters her room and finds her suitcase on her bed, her clothing shoved in helter-skelter. She hears David's voice, piping, "Her name is Victoria--I cannot take care of her." David steps out into the window seat and faces her. She starts to ask how he... He again repeats the contents of the note found with her, and hands it to her, chanting it over and over.Where did you get that? demands Vicki, but he relentlessly chants the note's contents. She chases after him, ordering him to give her back the note, but he backs away from her, forcing her to chase him, the note behind his back. Give it to me! she screams, right now! He crumbles it up and throws it at her feet. Why did you do that? she asks. I wanted to, he retorts, his face furious. Why? she asks--do you want me to go home? They do, says David--the widows, they told me to send you home. What widows?--I don't know what you're talking about, says Vicki, upset. You're just like the rest of them, he accuses, nobody ever listens to me--nobody! He runs from he room. She stands there, looks down at the crumpled paper, and says, aloud, "Her name is Victoria. I cannot take care of her."

Vicki stares out the window. Carolyn enters, surveys the mess on the bed, and asks what happened here. "David," Vicki tells her. He's on your side, huh? quips Carolyn--looks like he wants you to go home, too--but he sure doesn't know how to pack. Vicki says she's been thinking. I know, says Carolyn--enough is enough. No, says Vicki, about the money and the 18 years. Way, way out, says Carolyn--I know--I guess it's just me trying to hold onto a friend. It is pretty far-fetched, admits Vicki. You're right, says Carolyn. And I'd be a fool to keep on staying here, says Vicki. You're right about that, too, agrees Carolyn. If I go, says Vicki, then all I have is this--she holds up the note. Maybe you'll think of another angle someday, says Carolyn. Maybe I will, says Vicki, holding the note--Carolyn, help me put those things away--I'm going to stay. You bet! exults Carolyn, delighted.

NOTES: So now we know Vicki's sad story. We've met Sam Evans, philosopher, who is looking for Roger and tells Vicki the story of Josette Collins (well, one of the stories, anyway, we will hear variations). We have met David, a sad, angry, violent little boy who misses his mother, believes in ghostly widows and does whatever he can to make Vicki know how much he wants her to go. Yet she feels needed, too, and perhaps feels that she will need them. Carolyn is surely desperate for companionship her own age, so much so that she was miserable at Vicki's decision to leave and thrilled when she made up her mind to stay. Is Vicki crazy? She's been there one night and is already terrified!


Episode #6 - Vicki's intro tells us that she knows she should go, but has decided to search, hope and wait.

Vicki ventures down into the cold, dark basement, calling to David, begging him to answer her. She bangs on a locked door, telling him it's silly to hide--there's nothing to be frightened of. She hears footsteps coming downstairs. A man appears, gazing at her malevolently.

The man and Vicki stare at each other. She asks what he wants.He approaches her, carrying a fireplace poker, which he brandishes like a weapon. He checks the lock on the door Vicki was banging on and asks what she was doing down here--who are you? Now just a minute, she protests, I wasn't doing anything... I asked you a question, Miss, he says, and you better answer me--who are you and what are you doing in the basement of this house? I wasn't snooping around, Vicki assures him. He takes her wrist and orders her to tell him the truth. You're hurting me! protests Vicki, trying to wrench her arm free. You want to hurt Mrs. Stoddard, don't you? demands the man. No! says Vicki. Suddenly Liz appears and says, "Matthew, what are you doing?" Vicki runs to her and says this crazy man... Liz asks him what's happening down here. I tried to explain, says Vicki. Just a minute, says Liz--Matthew? She was snooping around here, ma'am, says Matthew. Vicki, rubbing her wrist, asks who this man is. Liz tells her Matthew works for her--what was she doing? she asks him. Well, ma'am, he says, I was upstairs getting ready to clean out the fireplaces when I heard a noise in the basement. I was looking for David, explains Vicki. Liz looks at Vicki. Go on, says Matthew. So I figured I'd better go see what was the trouble, says Matthew, I got to the head of the stairs, there she was, trying to get in that room. I thought David might have been hiding in there, says Vicki. Liz looks at her and tells her sternly that it's only a storeroom, and always locked--no one can get in there. She sure looked like she was trying, accuses Matthew, and knowing how you feel about people snooping around, strangers. Miss winters is not a stranger, says Liz, she'll be living with us from now on. He looks startled, and asks what she will be doing. I think you'd better go upstairs and finish your work, says Liz. Yes, ma'am, he says, and leaves. What's the matter with that man, why does he act like that? asks Vicki. Because he found you someplace you weren't supposed to be, says Liz. But I was looking for David, says Vicki. Why in the basement? Asks Liz. I wanted to get started with the lessons and I couldn't find him anywhere, says Vicki. I'm positive he wouldn't come down here, says Liz. I've looked everywhere else, says Vicki, and then I thought I heard a noise down here. Liz asks Vicki to wait upstairs for her in the drawing room--there are a few things they should discuss. Of course, says Vicki, heading upstairs. I'll be up in a few minutes, Liz promises--you might check David's room again. Once Vicki is gone, Liz goes to the door and checks the padlock.She takes out a key and is about to unlock the door when she hears a sound. She investigates and finds David hiding, all scrunched up, inside a crate. He looks up at her.

David is now out of the crate. David, asks Liz, why won't you look at me?--I thought you and I were friends--why were you hiding down here? He looks sad. I wanted to, he says. But you know you're not supposed to come down to the basement, she reminds him. He looks up at her. You're going to hit me, aren't you? he asks belligerently. Of course not, she says. That's what my father would do, he says resentfully. Not while you live in this house, he won't, says Liz. He's your brother, says David, that makes it his house, too, doesn't it? She sits down and tells him it's very complicated--she doesn't like people roaming around down here and he knows it--he might knock something over and hurt himself--and she wouldn't want that to happen. SHE would, says David--why did you have to bring her up here, anyway? Miss Winters? asks Liz--were you really hiding from her?--is that why you came down here? You wouldn't understand, he says. Miss Winters is a very nice person, says Liz. She wants to hurt me, says David. That's ridiculous, insists Liz. I knew you'd say that! he says. But it is ridiculous, says Liz, she has absolutely no reason to hurt you. She wants to spy on me and find out things, says David. Stop that this instant, orders Liz. She was snooping around down here, says David, just like Matthew said. I don't believe that, says Liz. David says it's true. David, she says, putting her arms around him--poor David. She strokes his hair.

Vicki enters the drawing room, where Matthew is tending to the fireplace. She doesn't say anything. He tells her his name is Morgan, Matthew Morgan, as if he's in the army. Winters, Victoria Winters, she replies in a similar voice, her back to him. He looks at her, and she tells him she hopes they can be friends. He observers her dolefully. What's so sacred about the basement? She asks, smiling. Mrs. Stoddard don't want no one poking around down there, he says--what will you be doing around here, anyway? Taking care of David, mostly, she says, tutoring him, helping out wherever I can. Are you going to stay? he asks. Any reason why I shouldn't? she counters. He takes the bucket. You're very fond of Mrs. Stoddard, aren't you? she asks. A-yuh, he says, sounding like a Maine man. You've know her for a long time, says Vicki. Another assenting A-yuh from Matthew. And her husband, did you know him? asks Vicki. Why should you be asking about him? Matthew asks. Vicki says she heard the story of how he left her 18 years ago and how she stayed here on the hill ever since--and I wondered what kind of a man he was--if she's been waiting for him all these years, hoping he'll come back...he must have been quite a man. I don't know nothing about him, says Matthew, surly, but I do know Mrs. Stoddard's a great lady--and don't you forget it! I think she's very nice, says Vicki. He tells her to come to the window. She follows him there. Out there behind them trees where you can't see it is my house, he explains, she gave it to me--gave it for as long as I live--that's what kind of woman she is. That's wonderful, says Vicki. And she give me this job, too, for the rest of my life, she said--do you know what I was doing before?--sweeping out the floors of the cannery--wondering whether I'd be spending the rest of my days in that stink!--then she offered me this house, and the job and I've been here ever since--18 years and I've never been inside that cannery again. Vicki notes this--have you always been the only one working here? They used to have a lot of servants, but they're all gone, all of them, he says--maids, chauffeur, gardeners, all of them. Why did they leave? asks Vicki. She fired them, he says, every last one of 'em, that was just before I come here--that was the last day her husband left. He leaves the window and she follows him. Why did she do that? asks Vicki. Miss, I live out there, I do the heavy work around the place, I take care of the gardens and I mind my business, says Morgan--I hope you can do the same! Vicki looks perturbed.

Basement - I knew it was here, somewhere, says Liz, finding an old book, pretty dusty, too, it ought to be, it's been here over 20 years--here, have a look at it--the Rover Boys--I think you'll like it. She hands the book to David, and he glances through it. I have a whole crate of them, his aunt says, I'll have Matthew take them up to your room. What is it about? asks David. Adventure stories, says Liz--they belonged to your father when he was your age. David says he doesn't want them, and puts the book down. Oh, David, sighs Liz. Can't I go upstairs now? he asks. If you want to, she says, resigned--David, your father loves you, you know that. No, he doesn't, replies the little boy--he hates me. What makes you think that? asks Liz. He told me, says David (oh, how awful!)--Aunt Elizabeth, why does she have to stay? Won't you tell me why you're so afraid of Miss Winters? she asks. You wouldn't understand, sighs David. That's what you said before, says Liz--why don't you try me? Why doesn't my mother come back? asks David. Your mother's not well, says Liz, you know that. I'll bet as long as Miss Winters is here, says David, she'll never come back! Is that what you think? Asks Liz--that Miss winters will keep you away from your mother? David starts to hurry away, not wanting to answer, but Liz stops him, taking his thin shoulders in her hands--just listen to me, she says--the last thing Miss Winters would want is to keep a child away from his parents--and do you know why?--because she knows what it's like to be without a mother and father--she was brought up in an orphanage, and she was a very lonely child. How do you know? he asks. I know, is all she'll say.

Drawing room - Vicki sits on the sofa and reads AMERICA SAILS THE SEAS. Carolyn comes in, coat over her arm, and says those were the days--the ships that built this house!--I might write a book about it someday--have you seen my mother? The last I saw, she was in the basement, reveals Vicki. You didn't get a chance to talk to her, did you? asks Carolyn eagerly. About what? asks Vicki. About what? she says, exclaims Carolyn--what's the use of my having bright ideas if you don't do anything about them? The money, you mean, says Vicki--well, I can't come right out and say it! Why not? asks Carolyn--and quotes: "'Mrs. Stoddard, 18 years ago, money started coming to the orphanage for me--no one knows who sent it or why--and I just found out it was just about the time Carolyn's father disappeared--is there any connection?'"-just like that--easy! And ridiculous, says Vicki, smiling. No more ridiculous than your coming all the way up here to take care of a kookie kid--you took one big step, you might as well take two! Liz enters. Carolyn greets her mother, saying she was just looking for her. Liz says she's sorry to keep Vicki waiting, but she was having a long talk with David. You found him, says Vicki. In the basement, says Liz--she turns to Carolyn and asks her if she was about to go somewhere. Carolyn giggles and says it sounds like a signal meaning get lost. The phone rings. Liz tells her daughter if she doesn't mind, she'd like to talk to Miss Winters. When Liz goes to answer the phone, Carolyn says, "It's your chance, Vicki--grab it!" Liz tells Carolyn it's Joe Haskell--why doesn't she take it in the hall? OK, says Carolyn--oh, by the way, I was about to drive into town--do either of you want anything? Liz says no, Vicki says no thanks. Remember, says Carolyn, if you do want anything, you have to do something about it--see you. (Hint, hint.) Liz closes the doors and says, "Well, now, Miss Winters, I think we have a great many things to discuss."

Carolyn, on the phone in the hall with Joe, chuckles and asks him why he can't tell her now--she doesn't understand--sure, if it's important--oh, she's fine, having a little conference at the moment.

Drawing room - When I brought you here, says Liz, the main purpose as you know was to help with David, but it won't work if he's afraid of you. There's no reason, says Vicki. There is, in his mind, points out Liz, so it's up to all of us, especially you, to convince him he's wrong--he's had a very difficult life--his mother is...away...and will probably be away for some time--that's why David and his father came here to live--he was--is--very attached to his mother, and for some reason he sees you as a threat--I told him you knew what it was like to be separated from parents. Yes, agrees Vicki--I've been meaning to ask you about that--how much do you really know about me? I don't understand, says Liz. I don't know anything about myself, says Vicki--all I know is the name on a slip of paper pinned to a cardboard box--and the foundling home where that box was left--it's not much of a past, is it, Mrs. Stoddard? I suppose not, agrees Liz. "Her name is Victoria--I cannot take care of her," says Vicki--that's what the note said--and someone left it there, and someone also sent fifty dollars every month to help pay for my care. I see, says Liz--do you know who it was? No, says Vicki, all I know is, the money started coming just about 18 years ago. Why are you telling me all this? asks Liz. I suppose because so much seemed to have happened here just 18 years ago, says Vicki. That's true, says Liz, a great deal happened--a very great deal--you're asking a good many questions. Not really, says Vicki--everyone in town seems to know about Carolyn's father. I suppose they do, says Liz, and they love to talk, don't they--all of them--well, he left me 18 years ago, but I assure you there's no connection between that and your--how shall I put it--your monthly allowance. Then why am I here? persists Vicki. I thought that was clear, says Liz--to take care of David. I mean why me? asks Vicki--I was in the foundling home in New York and I suddenly got a letter from you offering me this job. I've already explained that, says Liz--my brother knew someone in the home--you were recommended--he was told you were very good with children. Do you know who told him that? asks Vicki. Does it matter? asks Liz. Yes, says Vicki, I'd like to send a note of thanks. I really don't think that will be necessary, says Liz. Why, because there is no such person? asks Vicki (you go, girl!) I don't like your town, says Liz, nor do I like this interrogation! I'm sorry, says Vicki, I didn't mean to be rude--but it's so important to me! Perhaps it is, says Liz, but so is a simple matter of trust--I'm telling you I know absolutely nothing about you, Miss Winters, except for the fact someone at the Hammond Foundling Home recommended you highly to my brother--those are the facts and I'll have to ask you to accept them--now if you'll excuse me, I have a number of other things to do. She leaves the room. Vicki closes the doors and picks up the phone, dialing the operator. She starts to place a collect call to the foundling home, but Carolyn interrupts, and she cancels the call. Yelling for help? asks Carolyn. No, says Vicki--can you still give me that ride downtown? The privacy of a phone booth, guesses Carolyn. No, says Vicki, I just want to pick up a few things. I want to help you, says Carolyn, but I'm not going--that call from Joe--he wants to see Mother and me--he's coming here in about an hour. Is there any other way I can get downtown? asks Vicki. There should be a bus going by in about half an hour, says Carolyn, but it's a long walk down. Vicki thanks her. Carolyn asks how things went with her mother. Vicki says she doesn't know--yet--and leaves the room. Carolyn looks disappointed.

As Vicki comes hurrying downstairs, Carolyn asks her if she knows how to drive. Told yes, she suggests Vicki save herself some walking and offers her the keys to her car--but watch the curbs going downhill, she warns--they sneak up on you. Vicki takes the keys and promises to be careful. Happy hunting, says Carolyn, and Vicki leaves.Liz exits the kitchen and asks if someone just came in. No, says Carolyn, it was just one of our ghosts--starting to rattle around a bit. And she gives her mother an odd look.

NOTES: Carolyn and Vicki both wear sleeveless dresses with big buttons that do NOT flatter either of them.

David thinks his father hates him, and it appears that Roger does. He calls him monster and indicates it's best when he's sleeping. What's the story with David's mother? He doesn't really have either of his parents, so in a way, he's as orphaned as Vicki. She surely understands how he feels. Liz is good to him, but there's apparently a lot of damage to undo.

What is Joe's big surprise? Did he accept Burke's offer of the down payment for that boat?

Is Liz telling Vicki the truth? Does she really know nothing about her, or does she know everything about her? Even when I saw the very first show, I thought how much Vicki and Liz resemble each other.

Lots of weird characters here--first we meet Sam, philosopher, wanderer, now gruff, protective Matthew Morgan, whose dedication to Liz borders on obsession. He seems to know something about that locked room in the basement, but whether he does or not, he DOES know Liz doesn't want anyone snooping around down there.

David Henesy is already a wonderful child actor, bringing David Collins to vivid life. His head looks too big for his body and his piping little voice is so sad as he expounds on his feelings about his parents.

Love, Robin

Episode #1 - Here we are. . .the very first episode of DARK SHADOWS, originally shown June 27, 1966:

We see a train speeding into the darkness, hear its whistle, then the first voice-over, spoken by Alexandra Moltke: "My name is Victoria Winters. My journey is beginning--a journey that I hope will open the doors of life to me and link my past with my future." She looks at her reflection in the window, and we see many other passengers in the car with her. A quarter moon hangs high in the sky. "A journey that will bring me to a strange, dark place"(we see the black spires of Collinwood) "to the edge of the sea high atop Widows' Hill--a house called Collinwood" (we see Elizabeth Collins Stoddard, staring out the drawing room window, which she opens) "a world I've never known, with people I've never met--people who tonight are still only shadows in my mind, but who will soon fill the days and nights of my tomorrows."

Roger Collins pours a drink and, staring into the fire, downs a swallow. He sees Liz staring out the window. "A watched pot never boils," he reminds her, "to coin a phrase." She sourly asks if he doesn't think he ought to look in on his son. He tells her the little monster is asleep, and he's delighted. At her angry look, he says, I choose my words with infinite precision. You're a fool, she says. Not one tenth the fool you are, he accuses--look at you, standing at the window looking out into the night, looking for someone who never should have been asked to come here in the first place! She'll work out very well, I'm sure, says Liz. Doing what? he demands--holding my little son's hand?--comforting you when the shutters creak?--Elizabeth, with all our ghosts, we don't need any strangers in this house, and you know it. I think I can be the judge of that, she says. But you don't even know the girl, he protests--I'm your brother, and I'm thinking only of your own welfare--why bring somebody all the way up from New York to do something we are perfectly capable of handling ourselves? Because I choose to do so, she retorts. Come to your senses, he says, annoyed, when the girl arrives, give her a month's salary and tell her to go back where she came from--why don't you open the doors and let the whole town come trooping through the house and be done with it? The girl will stay, insists Liz, marching away from the window. You are a fool, he says, yes, you are, inviting problems... The only problem I've invited is standing before me at this moment, she says coldly--I have asked Miss Winters to live here and she'll stay. He silently raises his glass in a mock toast to her. She opens the double doors and goes out into the foyer. Roger watches her, then covers his mouth with one hand and breaks his glass in his clenched fist in the other.

Train - (It's fun to see outdoor scenes of the train speeding along) - The conductor enters the car and takes Burke Devlin's ticket. He tells Burke they'll be in Collinsport in 10 minutes. Burke ignores him, but you can tell he's thinking hard. The woman sitting beside Victoria Winters warns her that it's the winters that will get her up here in Maine--they're cold and damp. The conductor tells Vicki they will be in Collinsport in 10 minutes, and she thanks him. Better have your baggage ready, he warns, only two of you getting off here, it won't be a long stop. It doesn't sound like much of a place, does it? Vicki remarks to the lady. There hasn't been a stop there in five years, the other woman tells her--that's what kind of a place it is--why are you going there, anyway? Vicki tells her it's a job. What kind of job would bring a girl like you all the way from New York? The woman asks in a gossipy tone--let me tell you something--I've been living in this part of the country all my life and I've only been in Collinsport once--just once--and that was more than enough for me! Vicki has slipped a letter out of her purse and begun to read it.

We flash back to Vicki sitting in an office with an older woman, who is reading this very letter: "Elizabeth Collins Stoddard, Collinsport, Maine"--I'm sorry, Victoria, that name doesn't mean anything to me--when did you get this letter? This morning, Vicki replies, I don't know why she should offer me the position, I've never heard of the woman. Obviously she's heard of you, says the other woman. But how? asks Vicki. I wouldn't know, says Mrs. Hoeppel. Are you sure? asks Vicki. Oh, Vicki, I've already told you, the other woman says. I've looked at a map, says Vicki--Collinsport is only 50 miles from Bangor.I see, says the other woman--surely you don't think there's any connection? I don't know what to think, says Vicki, rising from the chair, all I do know is I've spent most of my life here in the foundling home, living, working now, and suddenly I get a letter from a woman I've never seen, living in a place I've never heard of--wouldn't you say that's a little bit strange? What I would say is, she replies, is that you have an offer of a job as a companion and governess--at a very fair rate of pay--the only question you have to answer is, do you want to take the position? Mrs. Hoeppel hands her back the letter. Vicki takes it and gazes down at it.

Train - Vicki's seat mate comments that she might not like a small town after living in New York City--what is she going to do? Vicki, staring at the passing countryside, turns to look at the woman, who chides her for not having heard a word she said. Vicki apologizes--she was daydreaming. I was asking you, says the other woman, what are you going to do for fun? Next stop, Collinsport, calls the conductor, moving through the car. Oh my goodness! exclaims Vicki, rising to get her suitcase from the overhead rack. The woman offers her help, but Vicki assures her she doesn't need any, and the two women bid each other goodbye--oh, Miss, good luck, she tells Vicki! Burke Devlin stands, too, puts on his coat and takes down his suitcase and briefcase. Vicki goes down the staircase, bag in hand, and stands on the platform under a sign that says "Collinsport."

Vicki watches forlornly as the train leaves the station, stranding her God knows where. Burke Devlin is standing on the platform, too, and she walks over to him and asks if he knows if they have any taxis here. I wouldn't know what they have here--not anymore, he says.How can they expect anybody to get to town? she asks him. Broomsticks and unicorns (LOL!), he says--and chauffeured cars--one pulls up--can I give you a lift? he offers--I can take you to the hotel--you'll get a taxi there. That's very kind of you, she says, Mr...? Devlin, he says, Burke Devlin. She introduces herself and he welcome her to the beginning and the end of the world. She smiles and says she's afraid she's not going that far--only to a house called Collinwood--do you know it? He gets a weird expression on his face and says he does--very well--shall they go? They walk to his car, and both get into the back seat.

The car pulls up in front of the Collinsport Inn, and the chauffeur helps Burke and Vicki out of the car.

Burke looks around the lobby of the inn and remarks that it hasn't changed a bit--does she still want a taxi? How else can I get to Collinwood? she asks. You can take my advice, he says, take the next bus to Bangor--get a train there for New York and be home by morning. Thanks, she says, but I'll settle for the taxi. He rings the bell on the desk. The desk clerk (Conrad Bain) comes out of the restaurant and says he was just getting a cup of coffee. My name's Devlin, says Burke. What? asks the clerk, then his face lights up--Why Burke, he explodes enthusiastically, it's nice to see you! "Burke Devlin!" Burke repeats angrily, ignoring the other man's welcoming gesture--I wired for three rooms. Yes sir, says the clerk, oh yes, we're expecting you--your rooms are ready, I think I have a message for you. And I want a taxi for this girl, orders Burke. The clerk says he's sorry, he doesn't think that will be possible for a while--Harry--you know Harry, he reminds Burke. I don't know anyone, says Devlin nastily. Harry Jones, says the clerk, he runs our taxi, he's got a flat and is getting it fixed (only one in Collinsport?) How long will that take? asks Burke. The clerk starts to speak, but Vicki, sensing the tension, assures both of them she doesn't mind waiting--she's sure it won't take too long. Thank you, Miss, says the clerk, relieved. Vicki tells Burke she's come this far, she can wait another few minutes. If you want to, says Burke. The clerk hands him a message. The clerk directs Vicki to the coffee shop--he'll let her know when her taxi's here. Vicki thanks him for his kindness. Burke, crumpling up the message, asks when it was left here. The clerk says about an hour ago. Burke hands him some bills and tells him the red suitcase is Vicki's; the black ones go upstairs--and he leaves the Inn. The clerk looks at the money. What a strange man, says Vicki--you know him, don't you? The clerk nods and says yeah, since he was this high--and he indicates a child's height.

Blue Whale - A hatted man paces the bar, beer in hand. Other patrons sit at the bar, enjoying drinks. The man sits down at a table. Burke enters and sits down with him. You were supposed to meet me at the hotel, Strake, says Burke. Hello, Mr. Devlin, says the other man--have a seat--bring another beer for my friend, he directs the bartender. Burke sits down with him, saying he's not interested... Come on, says Strake, smoking a cigarette, you pay me for my work and I do it--don't begrudge a man the chance to buy his employer a drink. Let's find out what I'm paying you for, says Burke. Fair enough, says Stake, taking a paper out of his coat pocket--I should charge you double the way these people clam up--where do you want me to start? Burke is silent when Bob Rooney, the bartender, comes to the table. He's a nice fella, says Strake, smiling at Burke's discomfiture--he thinks I'm a real estate salesman, that's a laugh, isn't it?--he says this joint really starts jumping in about half an hour when the kids get here. Suppose you get started, says Burke impatiently--I want to know everything you have on the Collins family--everyone who lives in that house on the hill--and anyone who has anything to do with them. Then can I go back home to New York? asks Strake. Start talking, orders Burke.

Inn - The clerk enters the restaurant and looks in on Vicki, who is being served a rare roast beef sandwich and coffee by none other than KLS, who is wearing a short blonde wig. I'm starved, says Vicki. You are also a jerk, says Maggie Evans. Vicki stares at her, shocked--I beg your pardon. Jerk, repeats Maggie, then spells it out--J-E-R-K. Well, thanks, says Vicki. Don't mention it, says Maggie--the name is Maggie Evans, and right now I'm the last link in a long string of gossip--the sandwich rare enough for you? It's fine, says Vicki, bemused, but I still don't understand. It's like this, says Maggie--the chauffeur tells the desk clerk, who tells a housekeeper, who tells me--that you're going to work up at Collinwood--that makes you a jerk. But why? asks Vicki. Listen, honey, relates Maggie--the Collins family is the biggest thing in this town--they own the biggest cannery, the biggest fishing fleet, the biggest, darkest, gloomiest old house--and they're kooks--every one of 'em! I don't believe that, says Vicki. OK, move in there, says Maggie--but take a good look in that mirror right now--because in two months that pretty hair of yours is going to be one glorious shade of gray!Vicki grins and shakes her head--you make it sound like some old English novel with rattling chains, ghosts in the corridors... You think that's wrong? asks Maggie--I could tell you things about that house that would rock you from here all the way back to the railroad station. I'd rather not hear them, says Vicki. OK, says Maggie--there's one born every minute--but you're going to need your strength--apple pie on the house, and I won't take no for an answer. Vicki says she'll say yes, and sits there, thinking pensively, checking her dark hair in the mirror. We flash back:

Vicki remembering her friend at the foundling home asking her, "What are you trying to do, bury yourself?" Just the opposite, says Vicki. With your looks and brains, you could get a dozen jobs you want, right here in New York, says the other girl, sitting on Vicki's bed--hey, that's my slip you're packing! Vicki apologizes and hands it back to her--it's not the job, Sandy, it's the place. You've got a yen for fishing villages? asks Sandy--so go out to Long Island!--have a ball--but a no where place like Collinsport, Maine? I don't really want to go, says Vicki, but I have to. Sandy says that doesn't make any sense at all. But it's true, says Vicki, this could be the most important step I've ever taken in my whole life! Sandy rises from the bed and asks what? To me, finding me, says Vicki, staring at herself in the mirror--seeing who I really am.

Did you say you were looking for something? asks Maggie, bringing Vicki back to the present, and this mirror behind the counter she's looking into. I was thinking, says Vicki. Say, you are in trouble, remarks Maggie--talking to yourself, and you haven't even been up on the hill yet--maybe you belong in that house. Maybe I do, agrees Vicki, and sips her coffee.

Blue Whale - The big problem was the old lady, Elizabeth Stoddard, says Strake, smoking--not much I could dig up about her. Does she still run the business? asks Burke. She makes all the important decisions, if that's what you mean, replies Strake--the manager of the fishing fleet goes up to the house to see her about once a week. Does she ever go into town? asks Burke. Nope, says Strake. So, he says, that hasn't changed. The best I can learn, Mr. Devlin, is that Elizabeth Collins Stoddard hasn't left that hill in 18 years. Did you find out why? asks Burke.There are a number of stories gong around, says Strake, none of them make much sense--they'll all be in the report--personally, I think she needs a keeper. Burke smiles--perhaps she's getting one. Like who--you? asks Strake. No, a girl, says Burke, who doesn't know what she's getting into.

The thing I would do, Maggie advises Vicki, is stay here in the hotel overnight, go on up to the house in the morning, look around, then make up my mind. The clerk comes in. Well, says Vicki, I'm not sure. Maggie bending your ear? asks the clerk. Just giving her a little sound advice, says Maggie, that's all. Don't listen to her, says the clerk, she'll have you running for the hills before you have time to pack your bag--your taxi's here. Vicki thanks him. What are you going to do? asks Maggie. Exactly what I came up here to do--thanks for the pie, says Vicki. Consider it part of your last meal, advises Maggie--good luck. Vicki starts to leave. Tell me the truth, says Vicki--you were just trying to make me nervous, weren't you? Sure, says Maggie, after hesitating a moment--sure I was, honey--it'll be a ball. Vicki looks at her skeptically, then leaves. Maggie shakes her head.

The taxi drives up to the front door to Collinwood.

Vicki goes up to the door and knocks.Elizabeth opens the door and invites her in. She closes the doors. Vicki sets down her suitcase and looks around the house. We see her through the window, standing in her new home, looking quite small amidst the grandeur of Collinwood.

NOTES: So here we are introduced to the main players in our early DARK SHADOWS story--pretty Vicki Winters, summoned to take a mysterious job by a mysterious woman and on a search for her own past; Elizabeth Stoddard, regal, stunning in her dark dress and expensive jewelry; Roger Collins, droll, cruel, not a Father of the Year candidate who disapproves of Victoria Winters before she even arrives; Burke Devlin, who seems to have an antipathy for both Collinsport and Collinwood, as well as a mission that involves Strake, PI; Maggie Evans, waitress and philosopher, who warns Vicki to turn around and go home, and already seems protective and concerned for her. We see a bit of Vicki's past at the foundling home, learn of how she came to take this strange job in this desolate town as governess to David, who is described by how own father as a monster. There are little hints into as to character, all fascinating, and in stark black and white, we meet them here and get to know a bit about them. This will unfold slowly, but with far more insight into character than we've ever seen before on this show. Tomorrow, we will meet a Carolyn who will shock you!

The language sounds somewhat dated, as everyone urges people to "have a ball." This show actually holds up beautifully, given that it's over 3 decades old, but some expressions are jarring.


Episode #2 - Victoria Winters' intro tells us that she's here now, and there's no turning back. Liz gazes at Vicki sternly. Vicki apologies for being so late--she had trouble getting a taxi. Liz asks if she has her letter. Yes, says Vicki, it's in my purse. May I see it, please? asks Liz (a lack of trust)? I've never been in such a big house, says Vicki, as Liz opens the letter--how many rooms do you have? 40, but not all in use, says Liz--it's quite cold--I put on some tea--would you like to wait in the drawing room? Vicki thanks her. 40 rooms! She says, you must need a lot of people to help you take care of it. I have one man for the heavy work, we do the rest ourselves, says Liz coolly--and she heads into the kitchen area. Vicki enters the drawing room, where a fire burns, and looks around with great interest and curiosity. She stares out the window, her hand on the glass, then opens it and listens to the wind and the waves crashing below.

Liz returns with the tea tray and sees Vicki staring at the portrait over the mantel. Jeremiah Collins, my great grandfather, built Collinwood, says Liz--he was a very strong man--how often I've wished that...how do you like your tea, lemon or cream? Lemon would be fine, says Vicki, thank you--I think it's wonderful you can manage this house with only one person. The East Wing was closed over 50 years ago, says Liz, we only use part of the rest--one lump or two? One, says Vicki--are you expecting someone else? I asked my brother Roger to come down to meet you, says Liz---you're to care for his son and tutor him--she hands Vicki the tea. What kind of a boy is he? asks Vicki. You'll meet him in the morning, says Liz, after a moment's hesitation. I know, but I mean, says Vicki, is he friendly, is he inquisitive?--does he like to play games?--oh, when I was nine, I know I... David is likely to be different from any boy you've ever met, says Liz, interrupting her--oh, Roger, we're in the drawing room, she calls--Roger, I said--but he's already left, to Liz' dismay. We don't have many visitors here, says Liz, but you'll have your day off and several nights a week. I hadn't even thought about that, says Vicki. And there's my daughter, Carolyn, says Liz, you're about the same age--I'm sure you'll get along very well, she's a lovely girl.

Blue Whale - Carolyn Stoddard, blonde, pretty, dances the frug at the Blue Whale to the cheers of a host of cheering male onlookers. Her boyfriend, Joe Haskell, sits and watches uncomfortably as she struts her stuff. The bar is packed with dozen of extras. The guys clap enthusiastically, drink beer and encourage Carolyn, who appears to be really enjoying herself--and is probably pretty drunk.Burke and Strake sit at the bar, and the latter tells him he told him this joint starts jumping when the kids get here--they sure were right. Burke asks if he's positive that's Carolyn Stoddard. Real fire-eater, huh? Asks Strake. Carolyn dances her little tush off. All in the report, says Strake--all in the report. Carolyn laughs as she dances, shaking it, not breakin' it.

An cute guy plays another rockin' tune, looking hopefully in Carolyn's direction. Carolyn is sitting at a table with Joe, but he dances over to their table and asks her to dance again. Why not? she says. Joe objects, taking her arm, and she says something to Joe about not having to do something just because he's done it (the music drowned out exactly what she said). Joe says he thinks she's had enough, and her dancing companion advises Joe to go back to his beer, eh sailor boy? Joe tells the dancing Carolyn she's making an idiot out of herself, and Joe and the other guy get into it, grabbing each other by their jackets, about to trade fisticuffs. It's between me and my date, warns Joe, you let go. Carolyn intervenes, asking Joe to cut it out--let her have one dance with him. Joe and the other guy release each other, but he warns Joe he's ready for him anytime. Carolyn tells him he doesn't want to tick anybody off, and begs Joe to let her have the dance. Joe is unhappy, but he sits down, drinking his beer as Burke and Strake watch. Better luck next time, sonny, quips Strake. Who is that boy? asks Burke. Full rundown on page 20, says Strake--Joe Haskell--Mama's choice for little Carolyn--oh, I wish my wife could wiggle like that! Joe watches Carolyn dancing with another guy, who is leaping all over, and soon another guy takes the first ones, place. Carolyn hesitates for a few moments, then keeps on dancing with the replacement. Joe intervenes, taking he hand, suggesting they leave, but she insists she wants one more dance. I think we ought to go now, says Joe, but this pisses off Carolyn's dancing partner, who tells Joe that the floor is for dances only--get lost! Joe punches the guy in the belly and his friend comes after Joe, and a fight ensues.The bartender picks up the phone and dials the sheriff, and Burke stands to see the action better. At Strake's suggest that he break it up, Burke jumps into the fray, separating Joe and the others. He gives one of them a dirty look and the guy foes and sits down. Burke tells Carolyn to go home--now. She asks who he is, and he tells her he's a friend of the family--and advises her to go home before the cops get here--take her home, Haskell. Carolyn looks pissed and, hands on hips, demands to know what gives him the right to... Burke interrupts her and tells her to go home with him--before he takes her over his knee and paddles her right in the middle of the dance floor--now go on! He retreats back to the bar and Joe hands Carolyn her purse and coat. As they are leaving (and Carolyn is furious), Burke tells Joe to come back after he brings Carolyn back where she belongs--he wants to talk to him. Joe doesn't reply, but he does leave. Strake sips his beer and tells Burke the fight's over. Just beginning, says Burke, just beginning. And the crowded bar is filled with dancers.

Liz leads Vicki to her room. It has a large canopied bed. Liz closes the window, warning Vicki that the catch doesn't hold well; she'll have to be careful--she hopes she'll be comfortable. Vicki tells her it's very nice. I slept on that bed every night until. . .begins Liz, then stops and says until she was married. All we had in the orphanage were cots, plain iron cots, says Vicki. I'm sure you'll have ample drawer space, says Liz, opening the drawers in the dresser. Vicki asks Liz why she offered her the position--she's never seen her before. Does it matter? asks Liz. I'd like to know, says Vicki. Simple enough, says Liz--my brother knew someone in the foundling home where you worked--he asked for a recommendation. But I asked--they said they'd never heard of you, says Vicki. You must have asked the wrong person, says Liz smoothly. A door slams, and Liz excuses herself. (She's wearing a long, gorgeous gown, looks like fancy evening wear.)

Left alone, Vicki closes the door and sits down on her bed. She looks sad.

Carolyn returns home, mad. She crosses her arms over her breasts and calls the guy in the portrait over the mantel "Big Shot"--who told him to build this prison anyway, she asks forlornly.Liz comes in, all set to rail at Roger, but she's surprised to see Carolyn home so early. Neither did I, says Carolyn. What happened, darling, is something wrong? asks Liz Nothing, says Carolyn. Liz puts comforting hands on he daughter's shoulders. Carolyn wonders why it's impossible for her to enjoy herself? Liz offers to make some tea, but Carolyn doesn't want any cake or tea--she just wants to go to bed. Are you sure nothing's wrong? asks Liz. Oh, Mother, I'm so tired, wails Carolyn, of trying. Liz holds her.

Liz and Carolyn sit by the fire together, Carolyn on the floor, Liz on the hearth seat. That sounds horrible, says Liz, I can't understand Joe Haskell. It wasn't his fault, says Carolyn. You don't know how I worry about you, says Liz. I know, says Carolyn, but let's face it, you love this house--and that's just grand for you--but every chance I find to walk away from here and find a little brightness--how can you ask me to give it up? There are other ways, points out Liz. Carolyn grins and says when she was 10 years old, she'd dream a white knight would come along and rescue her from this dungeon--I guess white knights have gone out of style. I thought you liked Joe Haskell, says Liz--all I ever pray for is for you to be happy--Joe loves you. And I like him, says Carolyn, but he's not a white knight, Mother. We can't always get everything we want, says Liz. I'm going to try, says Carolyn--please, stop trying to marry me off--OK?--besides, how do you expect me to go away and leave you alone in this beautiful nut house? She gestures to all that's around them. I won't be, says Liz, not anymore. You mean she actually came? asks Carolyn excitedly. A few minutes ago, says Liz--she's a nice girl, you'll like her very much. Carolyn shakes her head and says all she can say for her is that she must be out of her mind.

Vicki descends the stairs, still in her coat, and listens at the drawing room doors. She gazes at the portrait above the table in the foyer. Boo! She tells it. She goes outside (yes, outside) and we hear the roar of the ocean.She walks down some steps, finally stopping at Widows' Hill, where she gazes down at the sea. Roger Collins approaches from behind. "Not planning to jump, are you?? he asks, smiling--"You wouldn't be the first, you know. She identifies him as Roger Collins, and he admits it--he's brother of Elizabeth, father of David and terribly sorry if I startled you. She tells him she's getting used to surprises. We're quite a strange crew, he says, but I think you'll find most of us rather nice--it's quite different from New York, isn't it?--they both look out over the ocean--I hope you won't be too lonely here. If I am, she says, I'll blame it on you--Mrs. Stoddard said you're the one who arranged for me to come here. Roger looks at her. You don't say, he says. It's true, isn't it? she asks. If Elizabeth says so, he smirks, then it must be true--do you know that on a cloudless day, you can see 20 miles out to sea? Vicki looks where he's pointing. As a boy I used to bring a picnic lunch out here and dream for hours. Maybe I can do the same with your son, suggests Vicki. With David? asks Roger doubtfully. Doesn't he like picnics? asks Vicki. I'm not exactly certain what he does like, says Roger, but if you intend to follow that plan, stay away from the edge. Vicki chuckles--really, Mr. Collins, she says. He tells her he much prefers Roger--and advises her to go in--he doesn't want the brightest thing in this house catching cold the first day. I'm stronger than I look, she assures him. She points out to sea and asks what those lights are. Probably a freighter on its way to Europe, he suggests. Funny, they go all those thousands of miles, and I couldn't get here from the railroad station, she says. I should have come down to meet you in the car, says Roger--I was very thoughtless. I was lucky, she says, a man got off the train with me and got a taxi for me--he said he knew you--Devlin. Roger suddenly grabs her in a painful grip. What did you say? he demands. Mr. Collins, please! she cries. Did you says Devlin? he asks--Burke Devlin? Yes, she says. Are you sure? he asks, shaking her, very upset. Of course I'm sure, she says, what is it? He runs off, Vicki calling after him. We see the water coursing over the rocks below.

Collinwood - Vicki comes in through the kitchen into the foyer. She hears someone playing the piano in the drawing room, a lugubrious tune, and goes in. Liz is playing. Vicki stands listening for a few moments. Liz bows her head over the piano, crying,and Vicki discreetly leaves and goes upstairs.

NOTES: What makes Liz cry? Why did Roger run away at the sound of Burke Devlin's name? Why is Carolyn so eager to get drunk and make a spectacle out of herself when she has a boyfriend of whom her mother approves? Or is that why she behaves like a bad little girl? She says she likes Joe, but doesn't love him, yet according to Strake's report, he's Liz' first choice for "little Carolyn."

Carolyn likes to be the center of attention, especially from males. There was something about her attitude that made you think she wasn't just dancing with these guys, but coming on to all of them. It's apparent the young guys in Collinsport enjoy watching her strut her stuff.

As for Burke Devlin, he is investigating the family--why? What are his plans for that info? He broke up the fight and sent Carolyn home, even threatening to spank her for misbehaving. She's probably at least 18, so did he have the right to do that? Whether he did or not, he took it. And why does he want to see Joe?

So, what do you think so far of the first DS episodes?

Love, Robin