Episode #35 - The hand of death brushed close to the house in Widows' Hill, then moved away, stirring the musty air with its touch, filling the corridors with the overpowering scent of fear and hatred.
David sneaks downstairs at Collinwood and ducks down on the last few stairs when the phone rings. Carolyn comes from the kitchen and answers-it's Joe--she's going to take it in the other room. David picks up the phone and listen in as Carolyn picks up in the drawing room. Do ya still love me? asks Joe, mocking a drunken voice. Joe Haskell, did you go back to the bar? Carolyn asks. No, he says, one hangover day is enough for him--she didn't answer his question. You didn't answer mine, she counters--where are you calling from? The hotel restaurant, he says I had to go up and see Burke Devlin. You apologized! She says approvingly. Joe makes an "as if" face and says heck, no--I found out he paid for my drinks, so I gave him back his money--I kind of interrupted a little party, too. What do you mean? she asks. It doesn't matter, says Joe, I just wanted to hear that you loved me. What do you mean by "a little party"? asks Carolyn. He had company, reveals Joe--Vicki Winters. In his hotel room? asks Carolyn. They were going to have dinner there, says Joe, so it looks like I don't have to worry about him and you, right? There's no such thing as Burke and me, says Carolyn--I told you that--but her face says something else. Then how about telling me you love me? he teases. I'm just not in the mood tonight, not now, says Carolyn. What are you so sore about now? asks Joe. Good night, she says, I'll talk to you tomorrow. She hangs up, obviously upset, and finds David in the foyer, the phone still off the hook. Were you listening to that conversation? She demands, hanging up the foyer phone. David doesn't reply. I asked you a question! She says, grabbing onto his arms and shaking him. Let me go! he says, fighting her off. Carolyn goes into the drawing room and slams the door.
David opens the double doors and finds his cousin staring out the window, playing with her necklace. I wasn't listening, really, he says. All right, she says. Why would I be interested in your phone call, anyway? He asks. I said all right, she tells him, her thoughts far away. What are you doing down here? she asks--I thought you were locked in your room. Aunt Elizabeth unlocked it, he says. That's too bad, she says. Do you know where my father went? Asks David. No, says Carolyn, and I don't care. Did he go into town? asks David. I said I don't know! cries Carolyn--go find Miss Winters. I wish she'd never come here, he says--why does she have to stay here, anyway? Maybe she likes the people she meets, suggests Carolyn sadly. Well I don't like her, insists David, I hate her! Do me a favor, says Carolyn, go back up to your room and leave me alone. You like Mr. Devlin, don't you? he asks. I asked you to go upstairs, she repeats. That's why you're sore, he says, because she's having dinner with him. She turns and looks at him. So you didn't listen to my phone call, did you? she asks sarcastically. You DO like him, says David, I know--I heard you telling Aunt Elizabeth and Father. What are you trying to do? she asks--start something. I bet she knows you like Mr. Devlin, says David, cunning little brat--I'll bet that's the only reason she's seeing him. Oh, David, you are a real solid 14-carat monster, she says--now get out of here! she orders. It's true, says David, taunting, everything thing I said is... GET OUT OF HERE! shrieks Carolyn, and David goes, but not before smiling over the trouble he's wrought. Carolyn, hair blowing in the wind, stares out the window.
Sam Evans, now played by David Ford, joins Joe in the coffee shop. Joe greets him warmly. Haven't seen my daughter around, have you? asks Sam. Joe says he did, a little while ago, but she had to go out and get something. Joe rubs his aching head. Hangover? Asks Sam. How did you guess? asks Joe. Old hand, confesses Sam ruefully, I've got a million recipes how to cure it--none of them work--the best thing is black coffee. My fourth cup, says Joe. That's the cure, says Sam-either cure it or drown it--do you know where Maggie went? No, but I heard someone say she'd be back in half an hour, says Joe. Sam checks his watch and says he isn't sure he can wait. How many times did you have to propose to your wife before she said yes? asks Joe. Sam laughs and claps Joe on the back, then says he never did propose--she asked me--having trouble with your girl? No trouble at all, lies Joe. Sam says if he's looking for advice, don't come to him--he doesn't even know what to do about his own life. I always figured you for a man who was doing exactly what he wanted to do, says Joe. Sam looks heavenward and laughs--a facade, my dear boy--when Maggie comes in, tell her I went up to see Burke Devlin. Mr. Evans, says Joe, as Sam walks away, be sure you know first. Sam looks at him, puzzled, and leaves.
Burke is in his hotel room, eating the double steak dinner he orders for him and Vicki. Sam knocks. Burke still chewing, seems annoyed to see him. Hope I'm not disturbing you, says Sam. Why should you be any different? asks Burke, and invites him in with a sweep of his hand--come on in. You're eating, observes Sam. Don't let that bother you, says Burke, sit down, Sam. Sam notes that the two worst times to interrupt a man are when he's sleeping or eating--I'll come back later. Don't be ridiculous, says Burke, come on, sit down--I've been expecting you--I even ordered you a steak. Adding telepathy to your other talents? Asks Sam. All right, so a young lady walked out on me, admits Burke--medium rare, a little cold, but good. Sam, hands in pockets, says he ate--you go right ahead--what lady was it--Carolyn Stoddard? What if it was? asks Burke, chewing. You've been away a long time, says Sam, maybe you've forgotten how small this town is. Burke laughs and says he always thought you artists were Bohemians--but don't let it worry you--it wasn't little Carolyn. Oh, Burke I didn't mean...says Sam--well, you know how it is--with her uncle accusing you of trying to get him killed... What did you want to see me about? asks Burke. The portrait, says Sam. If you want me to pose for you tonight, says Burke, I'm sorry. It isn't that, says Sam--Burke, what's happening with you--is the sheriff going to place you under arrest? Sam sits down. What does that have to do with the portrait? asks Burke. Nothing I guess, says Sam, I'm just interested--after all, we are friends. I always thought we were, says Burke. Uncomfortable, Sam looks away. I guess you're right, says Burke--I'm not telepathic--there is something on your mind?--tell me what it is. I don't think I can do the portrait, says Sam. Why not? asks Burke. It isn't the money, says Sam, a thousand dollars is very generous--it's just that I don't have the time right now. I didn't know you were that busy, says Burke. A couple of things came up, says Sam, an ad agency in Boston wants me to do some sketches, and...well, there are things. I'd be glad to wait, says Burke. I haven't done a portrait in years, says Sam, I don't think you'd be satisfied. I'll take my chances, Burke assures him. I don't want to see you wasting your money, insists Sam. I can afford it! says Burke. Burke, please! says Sam--just forget you asked me--can't you do that? What is it? asks Burke--you don't want to take money from a man being accused of attempted murder? That has nothing to do with it, says Sam. If you're worried about that automobile accident, says Burke, it's finished, over--I've been cleared--the people up in Collinwood know I had nothing to do with it. Is that really true? asks Sam. I'm leveling with you, says Burke, and I want you to level with me--I want you to give it to me straight--why did you decide not to do my portrait? Sam stands and asks Burke if he has a drink up here. Right through there, says Burke, pointing to the kitchen--take all the time you want, Sam--I'll be waiting. Burke resumes his meal.
The clock strikes nine. Vicki returns to Collinwood, where Carolyn waits in the foyer. You're home early, says Carolyn, clutching her necklace--I hope everything turned out as well as you expected. More or less, says Vicki--what's wrong? Not a thing, says Carolyn testily--may I have the keys to my car, please? Vicki reaches into her pocket and hands them over, thanking he very much--is there anything left over from dinner--I'm starved. Why? asks Carolyn, didn't Burke feed you well? Vicki looks at her reproachfully. I think you'll find something in the kitchen, says Carolyn, walking away into the drawing room, Vicki puts down her coat and joins her there. David comes out of his corner hiding place and stands there, thinking. Carolyn is looking through a magazine on the piano. Vicki asks her if she's angry that she met Burke. I thought you said you were hungry, says Carolyn. That can wait, insists Vicki, I want to know what's troubling you. You don't have to give me any explanations, says Carolyn, you have a perfect right to see, meet or have dinner with anyone you please. I don't think you really mean that, says Vicki. You think I'm jealous of you, don't you? asks Carolyn. You hardly know him, says Vicki--you've only met Burke once or twice, and I'd always thought of you with Joe. Let me make it very clear, says Carolyn, turning to face her, I'm not jealous at all, I was just surprised, nothing more. Surprised at what? asks Vicki. You spent so much time telling me I shouldn't trust Burke, says Carolyn, that I shouldn't believe what he tells me--even hinting I shouldn't see him again--and the next thing I know, you're in his hotel room, having dinner, and... Carolyn, you idiot! says Vicki. Carolyn makes a face and says thank you very much. It was Joe, wasn't it--he was the one who told you, says Vicki. Maybe, says Carolyn. I can assure you, says Vicki, it was all very innocent. I told you, says Carolyn, you don't owe me any explanations. But I want you to know, insists Vicki, Burke said that he might be able to help me find out something about my past. I see, says Carolyn. And that's all there was to it, says Vicki. And what about your future? asks Carolyn, snapping the magazine pages--didn't you and Burke make some plans for that, too? Now just a minute! Says Vicki--I'd better go see what's in the kitchen.
She leaves the drawing room, and Carolyn throws the magazine violently to the floor.
Sam quaffs his drink, telling Burke, believe it or not, it's his first of the day. There's plenty more in there, if you want it, says Burke. Sam refuses, saying he told Maggie he'd slow down. You also told her you'd do my portrait, Burke reminds him. I know, says Sam. What did she say when you told her you'd changed your mind? asks Sam. She doesn't know yet, Sam says, I tried to find her at the restaurant, she wasn't there. A thousand dollars, says Burke, it's a good fee! Money is only money, says Sam. You still haven't told me why you want to give it up, says Burke. I've got a right to change my mind, don't I? asks Sam. Sure you do, agrees Burke, and I have a right to know why--and don't tell me about that Boston ad business, or something like that--I happen to know you need a thousand dollars--anyway you can get it. I told you, money isn't that important, says Sam. Sure, says Burke, money is only money, but apply a little pressure... What do you mean? asks Sam. I think you know, says Burke--somebody's applying pressure--who, Roger Collins? Why should he object? asks Sam, taking a slug of his drink. I don't know, says Burke, I'm asking you. It's ridiculous, says Sam, just an oil paining, why should he care...? I've been trying to figure that one out, says Burke, while you were fixing your drink in there--if you do that portrait if me, I'll be posing for you what, 10, 20 times? About that, says Sam. That means I'll be seeing you, 10, 20 days, says Burke--I could learn a lot about you--and also about Roger Collins. Absolutely nonsense, scoffs Sam. Maybe it is, says Burke, but it sure isn't nonsense that you've been jumping like a cat ever since I came back, or that Roger Collins chased you all over town the night I arrived--what's the connection between you two, Sam? There isn't any, says the latter. I like you, says Burke, I want to believe you're telling me the truth. I am telling you the truth, says Sam, pacing. Then will you do the portrait for me, says Burke--I'll raise the ante to 1,500 dollars. Sam closes his eyes miserably.
Sure, he says, beaten, I'll do it--and he takes another big slug of his drink.
Coffee shop - Sam joins Joe, who's drinking more coffee. He asks if Maggie came back yet. No, says Joe--did you see Devlin? Yeah, I saw him, says Sam. I'd better be hitting the sack, says Joe, reaching into his pocket for money. Don't go yet, asks Sam, sit with me for a while. He sits in the stool beside Joe. Sure, says Joe, is there anything wrong? Age, says Sam--you say you're having trouble with your girl? Nothing serious, says Joe. It seems serious when it's happening, says Sam, doesn't it? I suppose so, admits Joe--all I want is to be happy. That's a simply enough goal, says Sam, and one of the most elusive--some of us never quite reach it, and when we do, it slips through our fingers and melts away--don't you let that happen--you're still young, Joe--you still got a chance--don't you let it happen!--marry your girl and take her away from here--that's the best advice I can give you! Why take her away? asks Joe--I like this town. Because she lives in Collinwood, says Sam, because she'll be torn apart like the rest of 'em--he cries out, raising his arms into the air--ahhhcck!--the destruction!--it's come to live with us--it's too late for me to escape it--but she can--and you can help her
--take her away, Joe, he says desperately, while there's still time!
Carolyn hears a door slam and finds Vicki going upstairs. She asks if she could talk to her for a minute. Vicki joins her in the drawing room. I'm sorry, says Carolyn--you were right, I was an idiot. I guess we were all under pressure, says Vicki, smiling, relieved. That doesn't excuse...what I mean is, you were right about something else, too--I was jealous of you. There's no reason to be, Vicki assures her. I know that, says Carolyn, Burke doesn't mean anything to me--I don't know, I just have to grab everything! That's a good way to end up with nothing, opines Vicki. An old maid, says Carolyn, that's what Joe said I'd be--sitting in this house with my mother--remember when I told you all the rest of us must be crazy?--I guess you'd better add me to that list now, too. I will, warns Vicki, if you don't stop feeling so sorry for yourself. Why do I act that way? asks Carolyn--what makes me go into an uproar because you see a man I hardly even know?--don't you see--how can you ever know when it's going to happen again? The next time I see Burke Devlin, jokes Vicki, I'll come back here ready for a fight. I don't see how you can joke about it, says Carolyn, tears in her voice. It's not all that serious, says Vicki. It is as long as you live here, says Carolyn--Uncle Roger barely tolerates you--and David is full of nothing but threats against you--it's not going to be any fun for you here--and if I start turning against you, for no reason at all as I just did, there won't be anyone--you'll be alone, and you'll leave, and I don't want that, I truly truly don't want that. I'm not going to leave,
Vicki assures her with a smile, and nothing is going to happen to me. I hope you're right, says Carolyn, and quickly exits the room and runs upstairs. Vicki closes the trouble doors, looking unsure. She picks up the phone and dials, asking for Burke's room--are you sure? she asks--would you ring again, he was just there a little while ago...I see...no message--thank you. She hangs up, dejected, and turns to see the doorknobs turning. Quickly, she opens the doors to find David standing there. What do you want? she asks--I asked you a question, what do you want?--all right, then don't tell me--stop it--tell me what you have to say?
You're going to be sorry you ever came here, he promises, his face cold--and he turns to give her an ugly glance before running upstairs.
NOTES: David is quite the psychotic-in-training, isn't he? It's hard to believe that he will, eventually, have a positive relationship with her, and that she will one day refer to feeling about him as if he were her little brother.
Vicki is a brave young woman. Even though Carolyn warned her that she might end up with no one in her corner at Collinwood (why didn't she mention Liz? I guess her attitude it obvious), Vicki is still determined to stick around. Why did she call Burke? Because he was the only one she feels close to right now? He, too, has warned her away from Collinwood.
I think Burke hit it squarely on the head when he suggested that the reason Sam doesn't want to paint his portrait is because of all the time they will be alone together. Sam has huge guilt about Burke, and that can only mount if they spend a lot of time together, talking, reminiscing, etc. What might Sam reveal about himself--and Roger?
Episode #36 - Vicki tells us Collinwood is quiet, but the pressure of the past few hours are still around me--pressures that might finally make it impossible for me to continue my search.
A dejected Vicki sits in the drawing room, thinking about everything that has happened. David stands on the landing, but backs away when he hears his aunt exit the kitchen. Liz stands in the foyer, thinking, her face sad. She joins Vicki, not even seeing her at first, and touches a hand to her forehead. Noting Liz' body language, Vicki quietly says her name, saying she was just sitting there. I thought you went into town, says Liz. I did, but I came back sooner than I'd expected, says Vicki. I guess we all have a lot to think about, don't we? asks Liz. I was thinking about David, says Vicki. David himself comes downstairs and, hearing his name, tunes in, listening intently. You think I ought to punish him, asks Liz, send him away. He's your nephew, says Vicki, I can't tell you what to do--but there are other problems. David creeps closer to the double doors. You brought me all the way from New York, says Vicki, you've been very kind to me. What problems? Asks Liz. I've been thinking about David--I've decided to leave Collinwood, says Vicki--I'm afraid I have no choice but to go back home. Surprisingly, David doesn't smile at this news.
Liz, perturbed, asks Vicki when she decided to leave us? A little while ago, says Vicki--it's not something I wanted to do. Then why go at all? asks Liz. Because I must, says Vicki. Are you sure it's only about David? asks Liz. Mostly, says Vicki, yes--I know I thought about leaving before, but somehow I never did it--I always thought things would straighten themselves out--but now I see it's impossible. Because it isn't easy? asks Liz--very little in life is easy, Miss winters, I should think you of all people would know that.
"You're going to be sorry you ever came here"--that's what David said to me a little while ago, Vicki tells her--standing in that doorway--those words. So you're afraid of him, too, says Liz--I shouldn't be surprised. It isn't that, says Vicki, I wasn't thinking about fear. Of course you are, says Liz--David threatened you, just as he threatened his father--and then he tampered with the brakes on his car--why shouldn't you be afraid of him--heaven knows, I am. YOU? asks Vicki in disbelief. Yes, admits Liz, but not for myself--for him--for David--she closes the doors, not seeing David standing there--won't you sit down? she invites Vicki--I know things haven't been easy for you since you came here--this house is strange and I'm sure none of us are exactly what you expected. I didn't think too much about what to expect, says Vicki. But you did come, smiles Liz, and I was pleased--there have been times I wondered if it was wise bringing a stranger here, but now...what I'm trying to say is I don't think of you as a stranger--not anymore. I'm very glad to hear that, says Vicki, but it still doesn't change the situation--I was responsible for exposing David, and he hates me for it. And now you're going to run, says Liz. not from the threat, says Vicki, but from the feeling behind it--the hatred. Hated, repeats Liz, that's all he knows, all he's ever lived with--one by one the people who should have given him love and understanding have turned their backs on him--what he needs is people who will face that hatred and make him realize it needn't exist. But it's too late, insists Vicki--how can I reach anything to a boy who thinks of me as his enemy?--he needs someone new--someone else would be far better. I don't want anyone else, says Liz, I want you to stay. Why do you want to keep me here? asks Vicki. Liz turns away and replies, "Because I choose to do so." It's not just David, is it? asks Vicki--you and I both know that almost anyone else would be better for him--that's true, isn't it? Yes, admits Liz. And you still want to keep me here, says Vicki--why? I don't think I can answer that, says Liz--it's this house--me, I suppose, Carolyn's part of it, and David father, too. The phone rings. Liz answers. I'm sorry, you'll have to speak up, I can't hear you, says Liz. We see Sam, in a phone booth, asking if Mr. Collins is home. No, says Liz, not at the moment--would you like to leave a message? Do you know when he'll be back? asks Sam. I'm not sure, says Liz. Would you tell him when he comes in...tell him that...he hangs up even as Liz is saying hello into the phone. Sam leaves the phone booth at the Inn and sits at a table in the restaurant, then covers his face with his hands, running his fingers through his hair distractedly. He looks up to find Roger looming over him, his face icy. I was just trying to get in touch with you, says Sam. Were you? asks Roger--I'm here, and whatever you had to say, it had better be convincing.
Who answered? demands Roger. I don't know, says Sam, your sister, I suppose. Did you leave your name? asks Roger. You think I'm a fool? asks Sam. Yes, I do, says Roger. you always have the polite answer, don't you, Collins? asks Sam.
Politeness is a passing phase, says Roger, and I plan to substitute something a good deal more biting if you ever again call me at my home. Your sister couldn't recognize my voice, insists Sam, she's only spoken to me a few times in her life, and that was more than 18 years ago (does Sam have anything to do with Liz's missing hubby)?--of course she buried herself in that dark and gloomy monument to pain. You are not to phone me at my home! orders Roger. All right! says Sam. And you are also not to take any portrait commissions from Burke Devlin, adds Roger. So you do know about that, says Sam. Yes, I do, says Roger, I was going to talk to you about it, but other things have intervened, says Roger. That's why I called, Sam tells him, I wanted to tell you that...Collins, I tried to get out of it, I even went to his hotel room, told him I was too busy, but he wouldn't listen. I suppose you'll just have to tell him again, won't you? says Roger. Sam says it won't do any good. Has it ever occurred to you to wonder why Devlin has suddenly decided to have his portrait done by you of all people. Has it ever occurred to you that Burke may realize that I am a very fine artist? Asks Sam. The level of your talent, says Roger, is completely beside the point. Not wait a minute, says Sam. Burke will be spending a great deal of time with you, says Roger, sitting for his portrait--and he knows it--and you two will be doing a good deal of talking, and he knows that, too. You think I'd ever say anything about...what I did to that boy 10 years ago is the shame of my life, says Sam, as if in pain--do you think I'd ever say anything about it? If you're nervous enough, troubled enough, or drunk enough, yes, says Roger. I told you I tried to talk him out of it, says Sam, but when he started with the questions, I... What kind of questions did he ask! demands Roger, livid, anxious. He wanted to know if someone was putting pressure on me, says Sam. Let me make myself perfectly clear, says Roger (before Nixon)--I once told you that I intended to protect myself in every way I could, and I meant just that--you and Burke together, hours at a time--it may be a chance you want to take, but not I. What can I do about it? asks Sam. I'll give you until morning, says Roger, by that time, I'll expect you to have canceled this portrait commission. But I tried to talk him out of it! says Sam desperately. You try again! barks Roger--otherwise, I'll have to think of some other way to handle the problem. Are you threatening me now? asks Sam. I'm asking you to protect yourself, says Roger. From Burke--or from you? asks Sam.
Back at Collinwood, Liz tells Vicki she brought her here because she thought she could help them all. How can I help? asks Vicki. Carolyn will be free to leave this house, says Liz hopefully--she'll know I'm not alone--you can bring love and understanding to David--if you leave, everything will be as it was--and Collinwood will be a house of torment and fear. Why?--am I so important? asks Vicki. To me you are, says Liz, yes--please accept that and stay. What about David? asks Vicki. Trust me, says Liz, I can handle it, I know I can. I don't see how, says Vicki. I'll talk to him I promise, says Liz, will you stay?--for a while, anyway? Vicki turns to look at her. All right, she says. At the door, David's face looks as if it's going to explode in anger.
David races away from the drawing room door as Vicki and Liz exit. I can't tell you how pleased I am with your decision, says Liz, with a smug smile. I just hope we won't both be sorry for it, says Vicki. I know I won't be, says Liz, and I'm sure you won't be, either. David appears from the doorway entrance and says, "I don't want her to stay!" Liz looks at Vicki. David again repeats to his aunt that he doesn't want her to stay. I don't think you'll have much choice in the matter, says Liz--go inside and wait for me, I want to talk to you--go on, David. He gives Vicki a long, dirty look, and says, "Remember what I said to you." We'll settle that matter right away, Liz assures Vicki as David does as he's told. Vicki tells Liz she'd like to go into town, perhaps to a movie. Vicki heads upstairs. Liz stands in the foyer, wondering what she's going to say, then, with a sigh, she joins her nephew and tells him to sit down. Why won't you let Miss winters go away? he asks. Sit down, she orders again, and he does. Because I want her to stay, insists Liz--because I think she can help all of us, including you. Well I don't! he says. Listen closely, says Liz, you made a threat to Miss Winters, and I don't want any more of that--she's going to stay here, tutor you, and you're going to cooperate--is that quite clear?
All she wants to do is get me in trouble, pouts David, arms crossed over his chest. I don't think you need her help for that, says Liz, not after what you've done. He rises from the chair and anxiously says he didn't do anything. Sit down, she says, and he does. You almost got your father killed, Liz reminds him, and that wasn't Miss Winters' fault. But I... begins David, but she warns him not to try denying it to her, not now. He sits back, angry. You hate me, just like everybody else does, he says. Liz assures him she doesn't hate him, if she did, he wouldn't still be living in her house--but she is angry with him, very angry indeed. I don't care, he says. You'd better start caring, advises Liz--the world isn't a very happy place for boys who don't care what other people think--it's lonely and cold--and I don't want you living like that. You want to send me away, just like my father does, accuses David. Annoyed, Liz asks if she hasn't already...there will be no more talk about sending him away, the accident, or any of it--that's all past--what they will discuss is the future. David rises and says, Miss Winters. Yes, says Liz, I brought her a long distance to help you--and I don't want any problems--you're going to listen to her and do as she says. What if I don't? he demands. Don't make me answer that, she says, I'm not asking much. You like her more than you like me, he says. Is that all you can say? she asks. But it's true, isn't it? he asks--you always said you loved me, isn't that what you said? Of course, I do, says Liz. Well I don't believe it, says David, wounded, not anymore! Liz rises and goes over to the boy, pulling her nephew against her chest and holding him close. Help me, Aunt Elizabeth, he pleads, holding tightly to her, help me! I'm trying, sue says, but you've got t help, too! I won't do anything else bad, I promise I won't! he cries--but you mustn't stop loving me. (Poor baby!) He looks up at her. You're my family, how could I stop? Asks Liz. Easily enough says Roger, entering the room--just look at the boy and realize what he is--a potential murderer. David's face is guarded again. Roger! chastises Liz. It's the truth, isn't it? Roger asks her, unless you prefer to ignore the truth--(with immense sarcasm) it's truly a pleasure to come home from a nice friendly chat in town to be greets by the smiling face of my beloved son! I promised Aunt Elizabeth I wouldn't do anything else bad, says David plaintively. Well, says Roger, we are fortunate, aren't we, Liz? We agreed to forget about the past, his sister tells him. The past doesn't exist for you, does it, Liz, he asks--well, it does for me, here and now--today and tomorrow--where's the rest of our happy group? Carolyn's in her room and Miss Winters went into town, explains Liz, and I think you should go to bed, she tells David. You heard the mistress of the house, didn't you? Roger asks his son--to bed! Will you go up with me? David asks his aunt. Don't tell me the devil is afraid of the shadows he lives in, says Roger cruelly to his child. That's enough, says Liz, of course I will. David follows his aunt out, but stops when Roger wishes him pleasant dreams--just keep remembering how lucky you are to be a member of our family. Without a word, David goes. Roger looks up at Jeremiah's portrait and says, bitterly, "Our family."
San sits drawing at a table in the coffee shop. He stands, discouraged, tossing the piece of chalk down on the table. Vicki enters the coffee shop as he comes back in. No one here but you and I and our private thoughts, he says confidentially. Hello, says Vicki, nervous. What brings you down from the tower on the hill? He asks. I thought I'd go to a movie, but I was too late, she says--I don't like coming in on the middle of things, do you? Well, chuckles Sam, if I had my way, which I do not, I'd much prefer the middle--neither the beginning nor the probably end is very pleasant to contemplate. He goes behind the counter and pours a cup of coffee. Isn't anyone here? asks Maggie. They had errands, he says, but they'll be back--would you like some coffee? No thank you, she says--I'd better get back to the house. you've been in Collinwood sometime now? asks Sam. Yes, says Vicki. And you know Mrs. Stoddard pretty well? he asks--what I mean is, I used to see her every once in a while, but she hasn't come down from that hill in 18 years now, and I was wondering--what is she like now--family was always very important to that woman. It still is, says Vicki. How important? asks Sam--I mean, would she help a man in trouble, even though that man...they'll protect one another, I should have known better than that. I don't understand what you mean, says Vicki. And you're a far happier girl for that, says Sam--go back to your house in the hill--go back to your ghosts and goblins--but be careful--of the thing that we all fear--of the thing that came closer to me--the night of death--death.
Roger pours himself a drink. Liz, looking disapproving, enters. Is my son all tucked in and cozy? he asks. David will never be tucked in and cozy until you change your attitude about him, says Liz--your son will be all right if... MY SON, MY SON, MY SON! explodes Roger in a paroxysm of anger--do you think nothing else matters to me in this world but David?--do as you want with him--tie him up, throw him out, kiss him, I don't care! Roger! says Liz. And even if I did care, says Roger, what difference would it make?--you'd still run things your own way, you always have! I'm only trying to help the boy, she says. How?--the way you've helped Carolyn, and me, and in some strange way, Miss Winters? he asks--you've made a wrong turn every time and you know it! I've done the best I can, she says.
And so have I, says Roger, but it hasn't been good enough--none of it has been good enough--for you or for me! What are you talking about? she asks. THIS!--Collinwood!--the Collins name! he shouts--the great dynasty you're so zealously trying to protect for my precious David!--it might disappear--it might vanish from the face of this earth, and you'd never even know!--he puts his glass down on the bar and leaves the room, going upstairs. Liz, upset, dials the phone just as Vicki returns home. Liz puts in a person to person phone call to Ned Calder--no I don't know the number--oh, and operator, if he doesn't answer, please keep trying--I don't care how late it is--keep trying and call me back. Liz hangs up. Vicki stands in the foyer, just looking at Liz, who is not yet aware of her.
NOTES: Vicki is very important to Liz; she almost sees her as a savior for the denizens of Collinwood. Why does she have so much faith in a stranger? Because she sees Vicki as a younger, more hopeful and helpful version of herself? There is so much more going on here than there appears to be. Will she be able to change David's mind about Vicki?
Sam and Roger are woven tightly together in something that happened to Burke 10 years ago. It doesn't seem to bother Roger that, everything else aside, Sam would be losing a hefty commission. Roger is far more concerned about himself than poor Sam, but judging by the horrific way Roger talks about his son, he is the center of his own universe and no one else truly exists. Kudos to Edmonds for his performance here, especially his outburst with Liz. It gave me chills.
Who is Ned Calder and why does Liz want to reach him so badly?
Odd that David didn't look happier when he overheard Vicki's announcement that she was going to leave, but he was furious when his aunt talked her into staying. His aunt has faith in Vicki's ability to help him, but he just wants her gone! Will Liz' admonition finally turn the tide with David, make him realize Vicki is good for him, not bad?
Bravo, too, to Henesy. I barely noticed him when I was 12 and watching this the first time around, but he is so seamlessly good, I am mesmerized.
Love, Robin
