Episode #196 - A man has come to Collinwood, a man from out of the past. And with him have come memories, memories that cannot be forgotten, and fears that cannot be overcome.
Liz gazes balefully at Jason, who grins at her. "Hello, Jason," she says, sounding like someone having a bad dream. You remembered my name, he says approvingly, I thought you might have forgotten. Looking stunned, Liz assures him she didn't forget. Then my surprise is a complete success, he exults. You're the last person in the world I expect to see (or wanted to see, her tone implies). Carolyn comes in, smiling, and Jason explains that he's been talking to Liz' daughter--she's every bit the great beauty you are, Liz, you must be very, very proud. Carolyn asks her mother if he always talks like that. Yes, as I remember, says Liz coldly. Jason says he hasn't fully introduced himself to her daughter, and Liz makes the introductions. Carolyn, beaming, shakes hands with him, and asks her mother who he is. Someone I used to know, supplies Liz. Used to know, repeats Jason--now Liz, you've got to stop talking in the past. She asks what he's doing here, and he gives her a crooked smile and says, "Why Liz, surely you should know."
He asks if she got his letter from Tierra del Fuego a few months ago. She tells him she never got it. He says he still admires this room very much--there are some things that should remain unchanged, like Collinwood. It's just as it was 18 years ago, not nice, the last time he saw it, he says significantly--she remembers that night, doesn't she?--that night keeps coming into his head. Yes, says Liz, looking sick, mine, too. Jason suggests they sit down. Liz asks to be left alone with Jason and instructs Carolyn to ask Mrs. Johnson to get some coffee. Carolyn tells Jason it's been wonderful meeting him, and he says more than wonderful for him--see you soon Liz closes the doors and faces Jason. We were about to sit, he reminds her. You may sit, if you wish, she says. He interrupts what she's about to say by remarking how marvelous she looks--18 years might as well have been yesterday, she's exactly as he pictured her, except her beauty seems to have deepened. (What an operator!) She asks what he wants. Would it surprise her to know he doesn't want anything? Then what are you doing here? asks Liz. Just passing through town and just wanted to say hello, says Jason. You aren't the type who passes through a town like Collinsport, says Liz. Aw, now Liz, I think you're hurting my feelings, he chides. It's impossible to hurt your feelings, she says, what are you doing here? He'll repeat it for the second and last time--passing through town. He grins (he's a grinner!) Soon he'll be saying goodbye, farewell, au revoir, and then he'll just disappear over the horizon into the setting sun. When? she asks. Shortly, he says, standing, unless, of course, she wants him to leave this very minute--and his affable manner changes into something dark and threatening. She looks upset, and walks away from him, then says that isn't necessary, please sit down. He's glad to hear her say that--and he sits back down on the sofa. He understands how she feels? Of course, he assures her, it's a natural reaction--but he wishes she didn't have to be that way--he wishes he could feel everything is all right between them. Liz wishes that, too. You can, and will, he says, and he'll be gone before she knows it, and it might be 18 years before she sees him again--or never again. Liz is clasping her hands tightly together. Is that possible? she asks. Of course, he says--he heard she'd been in hospital. She was, but she's much better now, says Liz. Good, says Jason. He's been through a lot, too, that have made him take stock of himself, he's been checking over the pluses and minuses in his life and coming up with a great big zero. What does this have to do with me? she asks. Nothing, says Jason, except the things that happened 18 years ago are very important to him, and how he spent the rest of his time--he'd like to forget it, if possible. Liz sits down and says they agree about that. There, you see, they can get along, he says, putting his hands on either of the arms of her chair, imprisoning her there. He's smiling hugely. Well, now, he says, it wouldn't hurt you to smile a bit. Where are you staying? she asks. Glad you brought that up, he says, he's not really staying anywhere at the moment--to be perfectly frank, he was hoping for an invitation from her. You can't be serious, she says, but he says he's the most serious man alive, and she should know that--there are so many, many empty rooms in Collinwood, seems a shame to have so many empty, empty rooms. This is embarrassing, protests Liz. And the worst of it is, he says, is that you're making me feel unwelcome, and you don't want that, do you, Liz? She can't ask him to stay here! Yes you can, Liz, he says, and you will.
She looks at him, finally getting the hint.
Study - Carolyn sits down, a paper in her hand, and reads it over. Vicki enters and Carolyn explains that she's catching up on her correspondence. Vicki tells her she noticed the drawing room doors are shut--who's in there? Carolyn tells her that her mother has a dashing, handsome visitor she hasn't seen in 18 years--Jason McGuire, a friend. When did he arrive? asks Vicki. A short time ago, says Carolyn. Vicki asks if he has an Irish accent, and Carolyn says yes. It's the same man, says Vicki, she was talking to Maggie in the coffee shop earlier, and this man started a conversation with her, asking all sorts of questions about the Collinses, even about Carolyn's father. This shocks Carolyn. He wanted to know where he is, says Vicki. They would all like to know that, says Carolyn, wouldn't we? Apparently, this man is from the sea, says Vicki. That's Jason, all right, rhapsodizes Carolyn, he's fascinating. But who is he? asks Vicki. Carolyn says a friend of Mother's, and she's terribly curious about him--does Vicki suppose he could be am old flame? Vicki doesn't know. He seems like the kind of man who could carry a torch for a woman around the world several times, says Carolyn, clearly smitten, except she doubts he'd have any trouble finding another woman. (Loves older men!)
Whatever it is, she hopes Liz will find out soon why he's here--and she's sure it will be for an interesting reason! She smiles.
"You can't force your way into this house and expect to stay here!" insists Liz. Jason tells her before she says that foolishly again, she should recall the true basis of their relationship. She turns away, miserable. They are hardly strangers to each other, Jason reminds her. They have no relationship, says Liz. Some things are undeniable, says Jason. I have no intentions of backtracking 18 years, she says. No need to backtrack, says Jason, what happened 18 years ago is what we base the future on. What future? she demands. Today and tomorrow, says Jason, that's all there is to it--when two people have shared an experience, they usually owe each other something. We owe each other nothing, she says. You're making me feel like we were enemies, says Jason, and we were anything but that--they were allies. I know what we were, she says, ashamed. I don't think you do, says Jason. I think you've forgotten everything, forgotten the most important incident in your life. She hasn't forgotten, she assures him. Jason says he hasn't begged for anything in his life, and he doesn't intend to start now, but he'll tell her this--in view of what happened, and what could happen, turning him away is not the wisest thing she could do--and once again, his affable mask slips. How long will you stay? She asks. Long enough, he answers. What does that mean? It doesn't mean anything, really, he says, just tell them that I'm here for a "brief" stay. And he sits down on the sofa while she stands there looking like her world has collapsed.
Jason stirs his coffee, watching Liz pace. He wishes she wouldn't be so nervous about this, Liz, think of me as someone you'd LIKE to have as a houseguest--she doesn't have to go out of her way to entertain him. She has no intention of doing that, she tells him. See, he says, you might even get used to having me around. She'll have a room prepared for him, she says. He thought he'd just stroll around the pick one at random, says Jason, putting down his coffee cup. There's one on the main floor you can use, she says. Near the servants' quarters? He asks--no, thanks, I'm not a servant, I just might be the most important guest you've ever had. He'd like one on the second floor with a view of the ocean, please. Liz agrees. Jason chuckles and sits back down. Do we dress for dinner here? he asks. No, says Liz. Good, he says, he brought a limited wardrobe. Dinner can always be served in your room, suggests Liz. Ah, but I'm not the kind who likes to eat alone, he says, and she'll find his table manners quite up to par. She looks at him as if he's an animal who strayed into her home. Roger enters, apologizing for interrupting, but Liz is glad to have him interrupt this terrible conversation. Roger says he's continually barging into rooms. Jason says yes, there's nothing quite like the challenge of a closed door. Well, says Roger, a man after my own heart. Liz introduces them, and they shake hands. Nice to see you again, says Jason. Roger can't place him. They met only once, says Jason, 18 years ago. Where was that? asks Roger. Right here, says Jason. Liz explains to her brother that Jason was passing through town and stopped by to say hello. Roger offers him a brandy. Not now, but definitely later, says Jason. Taken aback, Roger asks, "Later?" I've asked Jason to stay over, says Liz. Stay over? asks Roger. Jason says he hopes he's not imposing. Of course not, says Roger, there is plenty of room. In that case, says Jason, he'll go collect his gear and see them all later. He grabs his cap, shakes Roger's hand, and readies to leave.
"Thank you, Liz, it was very nice of you," he says by way of a parting shot, then puts on his cap and leaves, satisfied. "Collect his gear?" wonders Roger aloud. "What is he, a transmission expert?" (bleeder valve specialist) Liz is preparing herself a cup of coffee, and says, Roger, please. Is it my imagination, asks Roger, or did I hear you say you were having him stay over? You heard what I said, she says. I thought you detested having strangers in this house, Roger reminds her. Jason isn't that much of a stranger, says Liz. He hasn't seen or heard of him before, says Roger, and that, to him, is a stranger. I happen to know him, says Liz, from years ago. Yes, 18 years I think he said, says Roger--he doesn't seem like the sort of person you would have gone out with. He was a friend of Paul's says Liz. Well, that's hardly a recommendation, remarks Roger. He was passing through town, Liz says. Yes, and stopped off to say hello, says Roger--if he has to stop over to say hello, how long will it take him to say goodbye? He's amazed she would bring a friend of Paul's into this house--how well does she know him? Well enough to invite him to stay, says Liz. Did be bring a message from Stoddard, or seen him, asks Roger. Not that I know of, says Liz. Would you please tell me what you two have in common? demands Roger. Liz stands and walks away, not answering her brother.
Liz looks out the window, and Roger says he doesn't understand her at all--if he's a friend of Paul's, he's probably as bad as Paul, or worse. Must you indict everyone? She asks. Roger says he simply wants to know the sort of person he'll be tripping over in the hallway. Liz doubts Jason will be in anyone's way. How long will he stay? Asks Roger. Not long. Could you be more specific--one night? Two? Liz isn't certain. Roger says he'll narrow it down--will he be transient or permanent? lease, Roger. Surely you discussed it! His stay will be brief, Liz assures him, that's all I can say. Carolyn and Vicki enter and Carolyn is disappointed that she didn't get to say goodbye to Jason. Don't fret, he's returning, says Roger, you'll see him again, a lot more of him. Carolyn asks her mother to translate Uncle Roger. Yes Liz, tell her what I'm saying. Liz says she invited Jason to stay over. "Stay over?" asks Vicki. How marvelous, gushes Carolyn. What's so marvelous about that? asks Roger. He's such an interesting person! says Carolyn, it will be great to have him around--how long will he be here? Not long, says Liz. Carolyn tells her uncle this really is a surprise. That your mother is having a houseguest? Asks Roger drolly. Not only that, says Carolyn, but she didn't think Liz was too happy to see Jason. Oh, says Roger. You're mistake, says Liz, I was just surprised. Looked more like shock to me, says Carolyn. "I will not be cross-examined or have my motives analyzed!" says Liz, leaping to her feet. "I invited a houseguest and that is it." Vicki begs her not to allow herself to get too excited. (Vicki, Roger and Carolyn are lined up in front of the fireplace, leaving Liz standing alone by the sofa. It underlines how isolated she must feel right now.) Roger walks over to her, assuring her they aren't attacking her. They're obviously interested and concerned about her friend, that's all. "He isn't your concern," says Liz crisply, "so you hereby have my permission to ignore him." Actually, he seemed a pleasant enough sort, says Roger sarcastically, but if that's your attitude, I might take your advice--and he leaves the room. Carolyn apologizes to her mother for causing this. Not your fault, says Liz. I've been reading meanings into things that don't exist, says Carolyn. Liz tells her to be careful, especially now, and not misinterpret what she sees and hears. I'll try, Carolyn promises, and I'm not like Uncle Roger--I'll make Jason feel welcome. No, that isn't necessary, says Liz, too sharply, then adds, more softly, I don't want you to go out of your way. Don't worry, says Carolyn, it's no trouble at all! And she leaves, too. Vicki is the only one left. She walks over to Liz and asks if there's anything she can do. No, says Liz. You should get some rest, advises Vicki. I'm beginning to feel tired, says Liz. You need to get your strength back, says Vicki. Liz agrees she's going to need all the strength she can muster. Why do you say that? asks Vicki. Liz tells her she's going to need her support. You know you have it, says the young woman. Promise me now, more than ever, says Liz, that you'll never reveal you saw me in the basement last night. Vicki assures her she's already promised that. Promise again, begs Liz, because I have to trust somebody!
Jason is in a pay phone. "Of course it's me," he says smugly, "everything is going beautifully!"
NOTES: Liz being blackmailed--but with what? What secret do she and Jason share? The chemistry between them is obvious--were they ever lovers? Is he, perhaps, Vicki's father? Speculate! Carolyn has a crush on Jason, which goes to prove she doesn't have good sense when it comes to men.
Roger was very, very nosy, too nosy. His sister owns that house, and can invite anyone she wants to stay--unless he just had a bad feeling about Jason. He'd only have been in his early 20's the first time he met Jason.
Vicki, not even a family member, is Liz' most trusted confidant. And don't they look very much alike?
Episode #197 - There is a guest at Collinwood, a guest whose smile masks the suggestion of evils past, present and future. But one only needs to look into his eyes to discover the danger that his smile cannot conceal.
Jason stands on the landing at Collinwood, surveying everything below with a proprietary air. He goes downstairs with a jaunty step and meets Liz in the foyer. She greets him coldly. He says his sleep was fine, the pillow soft, it could spoil a man. Don't let it, says Liz, it won't last long. Is that any way to greet a man in the morning? he asks, especially a guest? You may consider yourself a guest, she retorts, but you're actually an intruder. It's a good thing I'm not easily offended, he says. Liz demands to know how long he will stay. He doesn't know, he's just beginning to relax, unwind, all he can say is he might be here for quite sometime. If I were to become difficult, she asks, would it make the time shorter? If you were to become difficult, he says, you might hurt my feelings, and then I might have to do something to retaliate. Liz' eyes sparkle with hatred.
Liz asks if he intends to threaten her continually. No, he thinks she's smart enough to realize what's at stake here--no, no, their relationship from now on will grow into something really good--they might even become friends. It won't go that far, she promises. He doesn't get it, he says angrily--she was in trouble and he helped her. Going to the stairs to make sure no one is listening, Liz orders Jason into the drawing room, then shuts the doors. Why did you come back? she demands, you got what you wanted, you said you'd never come back, and now you're here. I came back because I had to, he says, I have a right to come back. You have no rights! She says. Haven't I? he asks, advancing more closely, hasn't life been pretty good to you these 18 years? No, it hasn't, she says. Don't give me that, says Jason. I have a conscience, you know, she says, her mouth turned down. Your shortcoming, says Jason. Haven't you? she asks. Now you want me to have a conscience? He asks, incredulous. Isn't that the worst thing I could have? Why? she asks. Because if I have a conscience, I'd run right through that door and go to the police. She turns away. What's the matter Liz, he asks, isn't that what you mean by conscience--isn't that what you're asking--there is no conscience then--why haven't YOU been to the police all these years? You can't answer that, can you? It's hypocrisy time at Collinwood--fine conscience you've got. Liz sits on the sofa, saying he's taking away what little self-respect she has left, leaving her nothing. Oh, now Liz, he says, sitting beside her, his tone more kind, he didn't mean to that--this is no time for name-calling, or fighting with each other--something happened here, 18 years ago, and they are stuck with it. Liz agrees, but says it doesn't make them partners. He doesn't want them to be partners, he says, he just wants a little "consideration."--she may have had to struggle with her conscience for 18 years, and maybe he did, too, but it's a lot easier to suffer in surroundings like these. You had quite enough to take care of you, she reminds him. Well, high cost of living, he says, gone with the wind--things didn't turn out quite the way he thought they would. So now you've come back for more? Liz says, looking up at him. He didn't expect her to talk so crudely. But accurately, she says. Call it what you will, he says, I'm here to take stock of myself, get my bearings--I'm broke, haven't got a penny. He tugs on the lapels of his suit jacket and points out how old it is--most of his things were stolen in Panama, this is all he has left. Why tell her? she asks. He thought she'd be more sympathetic. HOW sympathetic, she asks, knowing what's coming. Sympathetic enough, says Jason, to pick up the telephone and call the excellent haberdashery in town and tell them to expect me to come in and charge a few things. I see, says Liz, so that's how it is. It's painless, he says, and not too demanding of her. He leans close to her, and she rises from the sofa and walks away, coldly saying his presence is a demand on her. It won't be so demanding when they see eye to eye, he promises. What if we never see "eye to eye?" she demands. They will, he says, grinning, "I have faith in you."
Evans cottage - Sam dials the phone. The inevitable bottle of booze is on the table. Roger answers and Sam reminds him he needs those paintings. Roger hasn't had time to look for them. Make the time! says Sam. Roger asks who he thinks he's talking to. Roger! barks Sam, I don't intend to play games with you, or listen to your pompous speeches, I want those paintings and I want them now! Those dreadful paintings are not where I thought they were, says Roger. Try harder to find them, says Sam, because if you don't, I swear, I'll blow the whistle on you. He hangs up on Roger, who looks quite perturbed. (And now both brother and sister are blackmail victims.)
Basement - Roger, flashlight in hands, troops downstairs. He glances around, searching for Sam's paintings, presumably, shining the flashlight into nooks and crannies and amongst the books, boxes and old furniture lying down here. He spots the locked door and takes the padlock into his hand, rattling it. When it doesn't give, he walks away from it. Hearing footsteps, Roger hides. We see feet descending the stairs, and Jason comes into view. He reaches to turn on a light, then changes his mind, finally lighting a match. He almost burns his fingers, but spots the same door Roger just tried. He lights another match to check the padlock, and Roger shines the flashlight on the same thing--"Does that help?" asks Roger. "I didn't want you to strain your eyes." Jason turns to look at him, smiles. Welcome to the basement, says Roger, and Jason thanks him. What are you doing down here? asks Roger. Make a wrong left turn, bluffs Jason. Oh, you're lost, are you? asks Roger. Without a compass, says Jason. I don't believe you, says Roger. Search me, invites Jason, I don't have a compass. You're not lost, says Roger. Blinded by the flashlight, Jason asks him to turn that someplace else, please. Roger does as Jason asks. Roger wants to know why he was looking at that lock so closely, and Jason says it's very old, and he used to collect old padlocks.
It looked as thought you had every intention of adding this one to your collection, observes Roger. I switched to collecting stamps, says Jason, but still can't resist looking at an old padlock. Let's get serious, says Roger, what are you doing down here? Would you accept curiosity, says Jason--there's a door, and a nice, old, heavy padlock--it's only natural to speculate on what might be behind it. Speculate as much as you like, but it's none of your business! says Roger. Just curiosity, says Jason again. I assumed the family treasures were hidden there. A wealth of dust, perhaps, says Roger. They walk away from the door and Roger turns on the light. Let's say I accept your story, that you're a tourist, as it were, in this basement, says Roger, then tell me, why are you here--in this house. I thought your sister explained, says Jason. Not quite fully enough, says Roger. Don't make a big deal about my presence here, says Jason, I'm just doing the tourist route. Didn't you leave here 18 years ago with Paul Stoddard? queries Roger. I left at the same time as Paul, says Jason. Where is Paul? Asks Roger. Beats me, says Jason. When was the last time you saw him? interrogates Roger. 18 years ago! shouts Jason, and heads for the stairs--right here--and he points to the basement floor emphatically. What do you mean? ask Roger. He was collecting a few personal things, relates Jason, and he came down here looking for something. And you haven't seen or heard from him since then? People sometimes said they heard about him somewhere, says Jason, but it never checked out--why, are you hoping he'll return? Of course not, says Roger gruffly. They are on either side of a pile of junk. Oh, don't you want him to come back? asks Jason. No, says Roger frankly, but he's one of the most prominent loose ends we have, and I don't want my sister left dangling by him. That's the kind of man he was, not very dependable, says Jason--by the way, I heard Liz had become something of a recluse? Where did you hear that? asks Roger. In town, says Jason. Recluse is a strong word, says Roger icily. I hear she never leaves the grounds, says Jason. That's...the truth, admits Roger hesitantly. In 18 years? Asks Jason. Approximately, says Roger. Why? Roger doesn't know. Jason, arms crossed, says it's rather odd--18 years since the last time I saw her, or I should say, since the last time she saw Paul Stoddard. Roger asks, "What's it to you?" Nothing, says Jason, just an innocent bystander, it all ties up though, don't you think--her shutting herself up coincides with the time Stoddard went away. Roger gives him a dirty look (and it seems to be very sloppily edited, as though something was cut out), and suggests they go. Jason agrees--he's allergic to dust, anyway. Roger has turned off the light and is way ahead of him, heading for the stairs. By the way, says Jason, what were you doing down here? "That is my business," retorts Roger. Jason checks the padlock, then joins Roger going upstairs. We see the padlock one more time.
Liz holds a key in her hand, on a chain, and she hears a door slam and begins putting roses in a vase. Roger bursts in and tells her he's been searching the house from turrets to foundations, looking for paintings--has she seen them? What paintings, she asks. About a dozen, he says, some in frames, some not. Family portraits? She asked, most of them are hanging. No, says Roger, he picked them up about 10 years ago and not important, but he needs to have them--has she seen them? Liz doesn't remember them. I need them for personal reasons, says Roger, and he's searched everywhere except the locked room in the basement. (uh oh!) They wouldn't be there, she says, but Roger wants to check anyway--does she have the key? She doesn't know where it is. What do you mean? he asks. Angrily, she says, "I'm telling you, I don't know!" Take it easy, he says, staring at her strangely. The paintings aren't in there, she says, she knows. Roger wants to see for himself. You can't, insists Liz. Furious, Roger wants to know why she keeps telling him that--what's in that room? Some personal belongings, says Liz, and she doesn't want anyone poking around! It must be very personal and important, since it had a special padlock on it--even your guest was looking at that lock. "WHAT?" shrieks Liz. Yes, he was making himself very much at home around here, says Roger, he found him in the basement looking at the same lock we'd discussing now. Liz, agitated, walks toward the piano, leaning against it. What is it, Liz? He asks, what is there about this room, anyway? Nothing! says Liz. An unsatisfactory answer, he says, things are very strange around here, and I intend to find out what it's all about
--and he leaves the room. Liz is upset.
Sam drinks at the Blue Whale. Roger enters. Other patrons are being served by the bartender. Roger joins Sam, who notes his arms are empty--"I thought you were going to bring me something." I thought I would, too, says Roger, he doesn't know where his paintings are--he searched all over the house, everywhere--he can't locate them. Sam insists he has to be kidding. They sit at a table. Roger says he wishes he were--they were in the house. I didn't expect you to hang them, says Sam, but I didn't expect you to lose them! He didn't, says Roger, they must be around--unless someone threw them out. This horrifies Sam--how can anybody throw out paintings? Roger says he's only guessing, but it's a possibility they must be considered. Do you have any idea how much time went into those canvases? Asks Sam. Roger takes off his hat and puts it on the table--he knows, he understands! No you don't, says Sam, some of those paintings took me months to finish! Well, you shouldn't have given them away so readily, says Roger. Sam says he had to give them to him to make their transaction look legitimate--and he needs those paintings! He's been given an opportunity that may never happen again, he says intensely, you'd better come up with them. I'll try, promises Roger. This is my chance for recognition, says Sam, now, you'd better come up with the paintings, or I'll go to Burke Devlin and start talking--and I won't stop talking until you're behind bars!! Roger orders him to keep his voice down. You know I mean it, says Sam--find them!!
There's one other place they could be, says Roger, and leaves the bar. Sam drinks.
Down in the foyer, Liz joins Jason, who is leaving to go into town to try on a few suits. He assumes she phoned them to expect him? She did, she says. He assures her he'll try not to be too extravagant. She wants to talk to him in the drawing room, she says, and he hopes it won't take too long--he wants to try on some shoes, too. He holds his cap in his hands. Shall I leave the doors open, or would you like me to close them? he asks. Closed, she says. He thought she'd say that. She demands to know what he was doing in the basement. Your brother and I were socializing, he says. She asks again. "To refresh my memory!" he says, his smile gone. You were trying to open the lock, she accuses. No, he wasn't, he says, he was looking at it--quite a heavy lock, take a lot of picking to open it, but he thinks he might manage. Why would you want to open it? she asks. He doesn't, really, he was just looking over the situation, he has a big stake down there. Then why were you down there, drawing attention to it? I didn't invite Roger down there, says Jason, what was he doing down there in the first place? Looking for something, says Liz. Yes, for a moment, says Jason, I thought we were looking for the same thing, but he doesn't seem to know anything. No, he doesn't says Liz, and he won't, because I intend to keep that door locked!
Jason says to tell her the plain, honest truth, he hopes that door never gets opened--never.
Roger comes down the basement steps, holding the flashlight.
He goes over to the padlock and begins hammering away at it with a heavy tool.
NOTES: Brother and sister being blackmailed, but they don't dare confide in each other--pity. I feel Sam's desperation to jump-start his career, and Roger surely wishes he could find the paintings and get Sam--and his threats--off his back. Note how Roger is acting entirely in his own interests; even though his sister emphatically told him the paintings weren't in the locked room, his desperate drives him there.
Excellent scenes between Liz and Jason and Roger and Jason. Dennis Patrick is wonderful, superb, and I love watching him bait Liz. You can almost imagine sexual sparks flowing between them, even though she despises him for his blackmail.
Great stuff!
Love, Robin
