Episode #39 - Strands of fear seem to bind Collinwood to much of the outside world, fear I don't quite understand, that reaches down to others and holds them in its grip--a grip that draws more and more tightly every minute.
Sam, coffee in hand, looks at his latest painting--worth a few hundred dollars, anyway, he says ruefully, aloud. Roger knocks at the door. You're earlier than I expected, says Sam. I told you I'd be here first thing in the morning, Roger reminds him. Yes, says Sam. Is Maggie here? asks Roger. No, says Sam. Did you get in touch with Burke? asks Roger. No, says Sam. Evans, I warned you... begins Roger. I heard the warning, says Sam, I listened very carefully--nothing I could do--I told you that last night--except what I started to do this morning--add up the sum total of my worldly possessions. I told you I didn't want Burke coming here, says Roger--I expected you to have done something about it by now. You just expected the impossible! says Sam. Roger, hands on hips, looks angry. Burke is a man of independent thought, says Sam--there's nothing on the face of this earth I can do to dissuade him! I don't want him connecting you and me in any way! protests Roger. I'm afraid it's too late for that, says Sam, gazing out the window. No it's not! says Roger. What I mean is, says Sam, pointing out the window, Burke's car just pulled up the driveway. Roger, looking like a cornered rabbit, stares at Sam.
I can't let Burke find me here, says Roger. He'll see your car, says Sam. I didn't bring it, I walked from town, says Roger. Duck out the back way, suggests Sam. And leave you two alone--not on your life! says Roger. Hearing the knock at the door, Roger physically stops Sam--don't answer it, he says, he'll think you're not here. That won't do, says Sam--he called me this morning, he knows I'm here--I've got to open that door. What's in there? asks Roger, pointing to the back of the house--bedrooms? Yes, says Sam. Roger goes into one of the bedrooms, ordering Sam to get rid of Burke--he doesn't care how, just get rid of him. Wiping his face nervously, Sam opens the door. I was beginning to think you'd forgotten our appointment, says Burke. Come on in, says Sam. I'd hate to have gone and gotten myself pretty for nothing, says Burke. I was lying down, says Sam. Aren't you feeling well? asks Burke. Headache, says Sam. You aren't going to try to cancel out again? asks Burke. Well, I'm a little shaky, says Sam--my hand isn't as steady as it ought to be--suppose we put it off for some other time. Like when? asks Burke, as Roger listens from the opposite side of the door. I don't know, maybe next week, suggests Sam--I could do more justice to it then. What if your hand is still shaky next week? asks Burke, holding up his hands and smiling--then you'll put it off again--and again--no dice, Sam. But what difference does it make to you? asks Sam. I have a yen to have my portrait painted, says Burke, and I'm not sure where I'll be next week--or you, either, for that matter. What makes you think I won't be here? asks Sam. Last night, says Burke, you came up to my hotel room and tried to talk me out of this whole business--I asked you then if somebody was putting pressure on you... I told you... begins Sam. I know you told me it was your own decision, says Burke--and then when I suggested that maybe Roger Collins didn't want you and me spending any time together, you jumped as if I'd stuck a pin in you. That's nothing to do with Collins, says Sam. That's what you told me, says Burke, and I'd like to believe it--but I came here, ready to pose, and now you're trying to talk me out of it again. Sam rubs his beard and tells Burke he just doesn't understand. I like you, Sam, says Burke, I always have--and I want to understand--why don't you want to earn the $1500 I want to pay you?--you still say nobody's pressuring you? Roger listens. Why don't you answer me? demands Burke--who's pressuring you? Nobody, says Sam. Then let's get started, says Burke--where do you want me to sit? Sam, beaten, says over there on the stool. Do you still start with the charcoal sketches? Asks Burke. Yes, replies Sam. How about a fee? asks Burke--I could give you a little advance--how about $500?--I could write you a check. Burke, I... begins Sam--$1500 is too much, says Sam, a thousand will be fine. No, we've got a deal, says Burke, I want to stick to it--besides, I'm sure I'll get my money's worth. Sam looks a little sick at this.
Collinwood - Liz, sitting on the sofa in the drawing room, asks Bill Malloy if it's really worth the investment. No question about it, says Bill, that new machinery will raise the cannery's speed by 20%. How many people put out of work? asks Liz. None, Bill assures her. You sure? she asks, signing off on the paperwork. You pay me to manage a cannery, he says, and I know how you feel about people losing jobs, so don't worry about it. Worry dismissed, says Liz. Besides, says Bill, taking the pen back, you have enough on your mind between your brother and Burke Devlin. Yes, she agrees. I don't know if you know this, says Bill, but Burke's been making a few inquiries about your business properties. What do you mean? she asks. Mortgages, notes, the rest of it, says Bill--and not only on the cannery and fishing fleet, on everything you own. Are you sure of that? she asks. 100%?--no, says Bill--50% sure, yes--that's one of the main reasons I came up here today--to let you know. What reason would he have? asks Liz. Moby Dick, says Bill, Captain Ahab chasing after the great white whale that chewed his leg off--he went after it for years, not just to get a leg back, but to destroy it, all of it--that's all he ever thought of--destroying the thing that hurt him! Captain Ahab was a madman, says Liz. Single minded, like Burke, says Bill--and when someone starts checkin' up, trying to find out how much money you owe, I think it makes sense to figure he's behind it. And you're not really sure, says Liz. If we wait until he shows his hand, says Bill, it might be too late--I've been having trouble sleeping lately, thinking about you, about that young man tearing after you for something you never did
--I want to stop him!--I want you to give me your permission to do whatever I can to stop him!
I've told you before, says Liz, I'm not afraid of Burke! The phone rings. I know, says Bill, but--that's probably for me, I told the office I was coming here. Then you might as well answer it, says Liz. Bill does, it's for Liz--person to person, from Portland. Ned Calder! Says Liz excitedly. Why would Ned be calling here? asks Bill. Because I asked him to, says Liz, smiling--yes, this is she--hello, Ned, how are you?--I'm all right--the reason I phoned is, I'd like you to come back to work for me. Arms crossed, Bill listens. Right now--as soon as you can, says Liz--I know you have another job, but Ned, it's important--I wouldn't have asked you if it weren't--all right, that's all I want you to do--think about it--but quickly, please--goodbye. So you're not afraid of Burke, are ya? asks Bill--a few months ago when Ned Calder said he didn't want to work for you any longer, I remember you telling me you hoped you'd never see him again. Would you object if he came back? asks Liz. Object? repeats Bill, no, indeed--he's a good man, smart, fast, just the one to deal with a character like Burke. That's what I thought, too, says Liz. But you're not afraid of Burke, says Bill. Bill, please, says Liz. The man was your business manager for more than 15 years, Bill reminds her, and then he quits--you practically begged him to come back, did you know that? I merely asked him to think about it, she says. Put it any way you want, says Bill, it tells me the pressures are really closing in on you--and that's just what I was afraid of. All right, says Liz, so Burke does worry me--if Ned could help, why shouldn't I ask him to come back? No reason, says Bill, no reason at all--so that's why I'm telling you this, right now--with or without your permission, I'm going to stop Burke cold--and today!
Burke sits posing for Sam, who, sketching, tells him to hold still. Can I talk? asks Burke. If you don't move, says Sam. Have you ever been up to Collinwood? asks Burke. Once, a long time ago, says Sam, lost in his work. Did you ever wonder what it would be like to live in a place like that? asks Burke. Once, a long time ago, repeats Sam. A strange family up there, remarks Burke--them against the world--they don't care who gets hurt. I always thought Elizabeth Stoddard was a pretty nice woman, says Sam (how nice, Sam, exactly HOW nice?) What about her brother, Roger? asks Burke. Sam stops drawing for a moment, and mutters that he hardly knew him. Did you know him 10 years ago? asks Burke.
Roger listens. Ten years ago, Sam, the time of my trial, says Burke--did you know him then? Sam rises from his chair and says he isn't going to get anywhere with this sketch if Burke keeps talking so much. Let's take a break, suggests Burke--I'm all stiff, anyway--so you hardly know Roger Collins, is that what you're telling me? All you seem to be talking to me about is Roger Collins, says Sam. Can you blame me for being interested? Asks Burke--he played an important role in my life--even helped me into prison--but then you know about that, don't you? Why don't we talk about something else? suggests Sam, uncomfortable--he nods to the booze bottle--how about a drink? No thanks, says Burke. I'm going to have one, says Sam. Think that's wise, with such a bad headache? asks Burke. I haven't had a headache in years, begins Sam, then realizes his gaffe--oh, so help me, Burke, I can't remember half the things I do-why don't we please forget about sitting for a while, until some other time--he drinks down his booze. Time for your next headache? asks Burke. Cut it out, says Sam, drinking some more. All right, agrees Burke, we'll pick it up tomorrow--I want a little more time tomorrow--he glances at the sketchpad--I don't want this project to take a year. Neither do I, says Sam, draining his glass. Great, says Burke, where can I wash my hands, right through here? He heads for the door behind which Roger hides, and Sam hastily stops him, saying that Maggie has her stockings hanging all over the place--use the kitchen sink--it's right through there. You wouldn't have a lady love hidden in the bedroom, would you? asks Burke. Sure, laughs, Sam--ten of 'em. Burke laughs and heads for the kitchen. Sam drinks some more. The phone rings and he quietly answers hello--oh, I see, yes, he's here, just a minute--Burke, it's for you. Oh, thanks, says Burke, taking the phone. How did anybody know you were here? asks Sam. Easy, says Burke, I left word at the hotel--hello?--hey, Mr., Malloy--I wasn't planning to--sure, if it's important, 10 minutes, hotel restaurant--OK--I guess we'll have to pick up our little conversation tomorrow, Sam--same time as usual? Sam wipes his mouth with the back of his hand and says sure, sure. Watch out for those headaches, says Burke, and leaves. Roger exits the bedroom. He's gone, says Sam. Evans, I could quite easily kill you, threatens Roger. The bandage is gone from his forehead, revealing stitches. Sam looks at him.
Roger downs a drink of his own. Sam stands at the door, staring at him. Roger joins him and says, "Well?" He's gone--at least his car is, says Sam. But he'll be back tomorrow, says Roger. You heard, what can I do? asks Sam. Yes, I heard the questions he asked about you and about me, says Roger, displeased. Questions don't mean a thing, says Sam, their only points of value are their answers, and I didn't give him any--I'm sure you heard that, too. How can I be certain you won't give him any answers tomorrow, or the next day? demands Roger. What do you expect me to do, leave town? asks Sam. Yes, says Roger. It might surprise you to know that I considered exactly that tactic a long time ago, thought it over carefully, from every angle, and I came to the conclusion that it would be absolutely no good. Why not? asks Roger--if Burke can't find you, he can't question you. Sorry, says Sam. I'll help you, says Roger with a trace of humanity, I'll give you some money. Money! says Sam--think I'd take money from you? You weren't so touchy 10 years ago, Roger reminds him. True, says Sam, but that part's over now. Now listen to be carefully, bids Roger, he will be coming back here over and over again, and each time, he will pry a little more deeply, each time you will answer a little more differently, until the pattern fits, and then it will be over for both of us. And running away will solve both those problems? asks Sam. Of course, says Roger, I think I can raise about five thousand dollars. Only five, huh? asks Sam--last time we did business, did it, it was fifteen. I might let you have six, says Roger--you can go to California, start painting again--just think, Evans, you could pack up your paints and easel... And my conscience, too, says Sam, aren't you forgetting that?--can I pack that up or leave it here?
I don't think you realize how important this matter is to me, says Roger. Burke will come back again and I will paint his portrait, says Sam--and I will say nothing!--now if you'll excuse me, I'm going in here and wash my hands. (Feel dirty, Sam?)
Collinsport Inn coffee shop - Fancy enough for you, Mr. Malloy? Burke asks Bill. Sit down, says Malloy. You interrupted my portrait posing, says Burke--I hope you know that. Is that what you were doing at Evan's place? Asks Bill. Yes, when it's finished, perhaps I'll give it to Mrs. Stoddard, says Burke--how do you think my face would looking hanging at Collinwood? You'll never make it, says Bill. You don't think I'm serious, do you? asks Burke. Just what I wanted to talk to you about, says Bill. My portrait? asks Burke. Collinwood, the Collins family, Liz Stoddard, says Bill, leaning forward--you want to buy 'em out, don't you? Whatever put that idea into your head? asks Burke. It's the truth, you and I know it, so let's not talk around it anymore, advises Malloy--you're a bitter man, Burke, and maybe you have reason to be, but I'm not gonna let you punish that whole family. What do you want from me? asks Burke. A little honesty, says Malloy--you think the Collins family railroaded you into prison, that's true, isn't it? I never made a secret of that, says Burke. And now you want to pay 'em back, make 'em suffer, that's true, also, isn't it? asks Bill. You're doing the talking, points out Burke. I'll make a deal with you, says Malloy--if you'll promise to leave town, I'll do my level best to clear you
--prove you never committed that crime 10 years ago. Are you serious? Asks Burke. What do you think, son? asks Malloy. (How far apart in age could these two be?)
You want to make a deal with me? demands Burke--you puzzle me, you really do. I want an answer, says Bill--if I help you, will you leave that family alone? Why? asks Burke. Because what I have in my mind will help everyone, says Bill, by getting you out of their hair--by stopping you from trying to buy them out or whatever you have in mind. You really think that's what I'm here to do? asks Burke. I know that's what you're here to do, says Malloy, now give me an answer--will you swear to stay out of town and stop digging at that family if I help you? Are you sure you can? asks Burke. I think so, yes, says Malloy--but I want you to promise to stay away from Liz, Carolyn and David--all three of them! Roger grins--I notice you didn't mention Roger. You noticed right, says Bill--what's your answer? I'll have to think about it, says Burke. You do that, advises Bill--I've got some people to talk to--and he leaves.
Roger slugs down another drink, looking unhappy. Why don't you leave? asks Sam. Because I don't think you've understood a word I've said, Roger tells him. That's clear enough,, says Sam. Obviously not, says Roger, since you decided not to avoid Burke nor leave Collinsport. I told you, says Sam, I...I know you told me, says Roger--now I have something to tell you, and this is it--my freedom and my future are at stake, and they are both very important to me--and if you're presence continues to threaten them, I will take every action necessary to protect myself--do I make myself perfectly clear. I have something to tell you, says Roger, I was expecting you to make this threat, so last night, I wrote a letter--about you, me, everything that happened 10 years ago--full details, everything. Who did you write it to? asks Roger, alarmed. That doesn't matter, says Sam, what's important is, if anything happens to me, anything at all, that person will open that letter, and your freedom and future will be lost, gone, down the drain. I don't believe you! says Roger. Then why don't you put it to the test, suggests Sam, wait until sometime late at night when I'm walking along a lonely road and you get in your car and aim your headlights at me... You're lying! accuses Roger, furious, you wouldn't dare write a letter like that! I've got nothing to lose at all, says Sam--you had your hooks in me last night, I knew that, so it's just added insurance. Who has that letter, who did you give it to? demands Roger. If I told you that, says Sam, it would be like not paying the premium. I'm warning you, says Roger, I want to know who has that letter! Sam chuckles--why don't you ask around? he suggests--ask your sister, or Bill Malloy, or that new woman up on the hill? Did I hear my name mentioned, says Bill, standing in the doorway of Sam's cottage
--"Shouldn't keep your door open, Sam, if you don't want company." And Bill looks from Sam to Roger and back again.
NOTES: Bill is determined to protect David, Liz and Carolyn--but willing to feed Roger to the sharks, it seems--has he come to the cottage at just the right moment? Did he overhear anything important? How does he plan to prove Burke's innocence if not through the two men responsible for ending him to prison? It's apparent that, 10 years ago, Burke gave Sam $15,000 to help put Burke away in prison. What more is there to this secret that is tormenting these four men? Sam has his insurance polity--the letter he gave Maggie--Roger has his threats, and even softened up enough to offer Sam the money to go to the opposite coast and escape everything but the demon of his own conscience.
Sam has begun Burke's portrait, and what Roger fears, and overhears, has already happened--Burke plans to whittle down the already conscience-stricken Sam's misery to the point that he reveals what Roger is so anxious not be revealed, whatever that is.
Now Bill, who adores the Collins family as if it were his own, has stepped in to forestall what he is sure is Burke's nefarious plans to take over the family business, the house, and ruin the Collinses in revenge for the injustice done against them. Bill is as ruthless as Burke, and you sense he will willingly sacrifice Roger, for whom he doesn't have one bit of concern.
Now Bill is facing Roger and Sam--will he drag the truth out of them and get Burke off the Collins family once and for all?
Episode #40 - Here in Collinwood, I sit in a quiet room, teaching the son of a frightened man, a man who seems to be imperiled by constantly growing fear.
Hello, Bill greets Roger and Sam. Don't you know before coming into a man's house? asks Sam. I did, but you two were making so much noise in here, you couldn't hear me, says Bill--you want privacy, you should keep your door locked--where's your car, Roger?--I didn't see it. I left it in town, says Roger. You mean you walked out here? asks Bill, amazed. What are you doing here? asks Roger, cutting to the chase. Bill, arms crossed over his chest, says nothing much, just driving by, thought I'd drop in on Sam for a cup of coffee--sure didn't expect to run into a windmill. We were just having a friendly argument, that's all, says Roger. I see, says Bill--how about that coffee, Sam?--or do you and Roger want me to leave, so you can keep going at it. Oh, no, no reason, says Sam, nothing very important--sure I got a pot on the stove, I'll bring it right in. Sam goes to the kitchen. Nice guy, Sam, always liked him, says Bill to Roger. Why are you here asks the latter. I told you, coffee, replies Bill. Since when does the manager of our cannery go around town looking for coffee this time of day?--you should be down at the plant. Funny thing, just what I was thinking about you, says Bill--and I can't help asking myself a simple little question. Coffee's on, says Sam, handing Bill a cup. Bill thanks him--can't help asking myself WHY? says Bill, taking a slug of coffee--"Good coffee, Sam!" laughs Bill. "Nice and strong!"
So you wanted Sam to do a paintin' for you, is that it? Bill asks Roger. That's what I just told you, says Roger, annoyed. Looks like business is picking up for you, Bill tells Sam, who chuckles and says he could do one for Bill if he wants one. Between Roger and Burke, you'll be running out of paint! Laughs Bill--ran into Burke this morning, and he told me you started on his portrait this morning. That's right, says Sam. You bump into him while he was here? asks Bill. No, says Roger coolly. There goes another theory, says Bill, you see, I figure that's what you two were arguing about--Burke Devlin. Burke? asks Roger--why should we b arguing about him--Evans and I were discussing the price of a painting I wanted. Bill laughs insincerely. What's so funny? asks Roger. Sam, you get into that big a stew with everybody who wants to buy one of your paintings, you'll never make a sale. He didn't want to pay my price, says Sam. So you yell at each other, says Bill
--I never figured you for doing business that way, Roger--a painting, all that noise about a painting--he drinks his coffee and asks for more. Sure, says Sam, and offers Roger some, too. No, I'm going back to the plant, says Roger--will you give me a lift to my car?--it's parked in front of the hotel? Sorry, says Bill, I'm not leaving yet--I'm just dying for a second cup of coffee. Sure thing, says Sam. I'll see you at the office, says Bill--unless you're afraid of leaving me alone with Sam. Why should I be? asks Roger--I'll talk to you later, Malloy--and he leaves. Bill locks the door after him, then examines the charcoal sketch of Burke. Had to heat it up a bit, says Sam--Collins gone? Yeah, thanks, says Bill, that the sketch you're doing of Burke? Yes, says Sam. You and me been friends for a long time, Bill reminds him. Thirty years, says Sam. I remember your wife, says Bill, I felt real bad when she died, Sam--that woman was so proud of you, it hurt! Why DID you come here? asks Sam. Because of Burke, says Bill.
Burke, sitting in the Inn's phone booth, Carolyn's ring in one hand, dials Collinwood. Carolyn, still in a robe, runs downstairs and answers. Burke Devlin! she says--what a surprise--I never expected you to call!--who did you want to talk to, my mother? I want to talk to you and you know it, says Burke--it's about your ring. You mean you found it? she asks--oh, how marvelous!--I've been searching frantically, everywhere--believe me, that's a very precious ring to me and I was so upset when I found it was missing. All right, says Burke, you've made your point--how do you suggest I go about getting it back to you. I thought you might have some ideas on that subject, she says, grinning. Well, as I told you, I'm driving to Bangor this morning, he says, I could drop it off on my way. That would take you out of your way, she says, I wouldn't dream of it. I don't mind, he assures her. But I do, she says--what time are you leaving for Bangor? About one o'clock, he says. I'll meet you in the restaurant about one thirty, she says--you can give me the ring then--OK? If you insist, he says. I do, says Carolyn--bye--see you then! She hangs up, looking self-satisfied, licking her lips.
Just how much do you know about him? Bill asks Sam, gazing at the sketch of Burke. He's a very rich man now, says Sam, offered me a very good price to do his portrait, that's about it--it will be a difficult commission now. Why do you say that? asks Bill. I don't know Burke very well, says Sam--sure, I can capture his likeness well enough, but the essence of the man--why the questions? Never quite figured out how an artist works, says Bill, and to a man on the outside, like me, it's pretty interestin'. You're not on the outside, says Sam, never have been? Are you? asks Bill. I don't know what you mean, says Sam. This is a small town, points out Bill--anything anybody does affects everybody else--me, you, everybody--and especially the family that lives in Collinwood. What's that got to do with me? asks Sam--I haven't been in that big, dark house for more than 18 years now. (Could HE be Vicki's papa?) Ye-ah, says Bill, but some of them have come down here. Roger told you he came down here because he was interested in buying a painting, says Sam. Was he telling me the truth? asks Bill. What other reason would he have? asks Sam. Bill drinks his coffee and says he's tired of coffee--how about a drink? Sam wants to know why he thinks Roger Collins came here if it wasn't about a painting. And I'm asking you to join me in a drink, says Bill. You say what you want to say, points out Sam, then you shut up--maddening, Bill. Make it a stiff one, says Bill. I didn't know you imbibed so early in the day, says Sam, pouring a drink. This could be a very special day, chuckles Bill. Sam hands him a drink and lifts his own for Bill's toast of "Cheers." A painting, that's all he wanted, says Sam. Let's forget about Roger Collins and talk about Burke, suggests Malloy--he's come a long way--the poor kid--his old man used to repair lobster pots for a livin'--now he's worth I don't know how much money--that should make him a happy man, don't you think? I never had that much money, says Sam, so I wouldn't know--he slugs down his entire drink. How about a refill? Asks Bill. What about you? asks Sam, you haven't even touched yours. I'm a slow drinker, always have been, says Bill--never would even try to keep up with an old rummy like you. I wasn't always a rummy, says Sam, stung. I was only kidding, says Malloy, handing Sam another drink--what should we drink to? there was a time when I...yesterday, says Sam, a long time ago--and he drinks.
Back in the phone booth, Burke tells Bronson he'll be leaving here pretty soon--I'll meet you for lunch at your hotel--no, I can't leave now--I have to see a very persistent young lady--yeah, that's right--goodbye. He leaves the booth and greets Roger, who has just entered the restaurant. I'm fine, thanks, says Roger. I thought you'd be at your office, working, at this time of day, says Burke. I don't think that's any concern of yours, says Roger, sitting at the counter. I don't think that's any way to talk to the man who brought your wandering son home to the castle last night, says Burke--how is David? Fine, says Roger shortly. Still playing at being the amateur mechanic? Asks Burke, sitting beside him. If you don't mind, says Roger, I'm not in the mood for chit chat. Even about your old friend, Sam Evans? asks Burke. Roger asks the waitress for a cup of coffee. He is a friend of yours, isn't he? asks Burke. Sam Evans and I barely know each other, says Roger. Funny, I kinda thought you've been seeing a good deal of each other lately, says Burke, checking his watch. I'm considering buying one of his paintings, says Roger, and that's... (he notices the ring Burke is twirling in his hand)--where did you get that? This? asks Burke--pretty, isn't it? I asked you where you got it, asks Roger. From your charming niece, says Burke. She GAVE you her ring--just GAVE it to you? asks Roger, incredulous. Not exactly, says Burke--let's say she just left it with me. That was my gift to her on her 16th birthday, says Roger. Let me congratulate you on your excellent taste, says Burke, gazing down at the ring--don't worry, she didn't give it away--we had coffee together, and she left it on the table--and she's coming here to pick it up.
Suppose I save her the trouble, says Roger, holding out his hand for the ring. I don't think she would like that, says Burke. Give me the ring, says Roger, and I'll return it to her. Burke hands the ring over to Roger--it's out of my hands, says Burke. And keep it that way, says Roger--and I'm not talking about rings, Burke, I'm talking about my family--David, Carolyn, all of them--I want you to keep away from them. What if they don't want to keep away from me? smiles Burke--ever thought of that?--good morning, Roger--and he leaves. Roger stares down at the ring, pissed off.
Roger returns home just as Carolyn is running downstairs. What are you doing home this time of day? she asks her uncle. Roger, taking off his coat, complains that everyone seems to be keeping track of his working hours today. Forget I asked you, she says, kissing his cheek--see you later. Just a minute, Kitten, he says. I really don't have time, she says, I have this big date. Let's just let Burke Devlin wonder what happened to you, he suggests. Carolyn follows him into the drawing room and asks how he knew. That you were meeting Burke Devlin? asks Roger--that's simple enough, Kitten--I saw him in the hotel restaurant, and he told me--and told me why--here is your ring--he holds it out--I suppose the meeting won't be necessary now, am I correct?
She puts it on her hand and says, I suppose so. You're unhappy about that, aren't you? asks Roger. Yes, she admits, because I like Burke. Have you any feeling for me? he asks. She sits beside him on the sofa and says, "You know I do." Then don't make matters worse than they are, he says--I don't want you to see Burke--that's all I ask of you. Are you forgetting I have a mind of my own? she asks. That's not the point, says Roger. What IS? she asks--both you and my mother tell me what to do and what not to do--but no reason!--just orders--yes, ma'am, no sir--and that's it--well, not for me, maybe I can't help you at all, but I am certainly going to try--and she marches out. Roger watches her, his face a mask of displeasure.
Collinsport Inn - Carolyn enters through the screen door and joins Burke at his table in the restaurant. I'm here, she says, grinning. So you are, he says, putting down his paper--I was beginning to think you wouldn't show up. I had to get my ring back, didn't I? she asks. Your ring--what ring? He asks. Oh, Burke, she mock-chastises, the ring I left here earlier this morning. Yes, yes, your ring! He says, checking his pockets, where did I put it?--I think I must have lost it, too--unless... he takes her purse and opens it. What are you doing? she asks. I'm looking for a most elusive and important little ring, he says, taking it out of her purse and handing it to her. She makes a face and takes it back--all right, so I had it with me, she pouts--big deal. Good old Uncle Roger, says Burke. I tried, anyway, she says. I knew you would, he says--I've been waiting for you. You think you know everything, don't you? she asks him. No, but I know that you didn't just happen to leave your ring on the table, says Burke--it's an old play, older than you or I. All right, she admits, so I'm not as good at hidden movements as you are. Me?--hidden? Asks Burke. Yes, she says, I really don't think you've been as honest with me or anyone else. Oh? he asks--in what way? Why did you come back to town? she asks. For a visit, he says. Why are you going to Bangor? She asks. On business, he replies. Nothing to do with my family? she asks. No, he says. Then why can't I go with you? she demands. Burke laughs. Oh, Carolyn, Carolyn, he says--didn't your Uncle Roger just give you a lecture on not seeing me? Answer my question, she says.
You are a stubborn girl, he says, but I'm just as stubborn--you can't come--and now if you'll excuse me, I'm going up to my room. How soon will you be leaving? She asks. Fifteen minutes, answers Burke--watch out for that ring--and he leaves. Annoyed, she leaves the table and goes into the phone booth, dialing Collinwood and getting Vicki. Do me a favor, she asks--tell my mother I might not be home for dinner tonight--that's right, a date!--a big date--I'll see you later. Carolyn exits the Inn, gets into her car and drives away.
Cottage - Bill has been plying Sam with plenty of booze. I had real talent once, says Sam drunkenly. You're still a darn good artist, Bill assures him. Thanks, says Sam, laughing--you know what I think you're doing?--trying to get me drunk, that's what you're doing. I thought all you great artists could hold your liquor, chuckles Bill. Great artists, scoffs Sam, hah! It looks like a darn good paintin' to me, says Malloy. Sam drinks and wipes his mouth with his hand--sure it is, he says--you know when I did this--more than 10 years ago--before I began to shrivel up. You can paint just as good now, says Bill. You think so--not true, Bill, old friend, says Sam, not true--I'm a sad, frightened man who's losing his sad, frightened soul--you can't paint without a soul. What are you scared of? asks Bill. Everything, everybody, I'm even afraid of myself, says Sam, drinking. Who's going to hurt you? asks Bill. They come down from the hill to torment me, says Sam, tear me apart with their shrieks and moanings--I don't know where to turn! What hill? Demands Bill--are you talking about Collinwood? Even in my sleep, says Sam, I can hear him whispering in my ear--"I'm going to kill you"--that's what he saiys--I'm going to kill you--maybe I ought to let him do it and get it over it. You're too good for that, Sam, says Bill, you have to protect yourself! I need another drink, says Sam, holding out his empty glass, and Bill quickly pours him more. Who's threatened to kill you? asks Bill--was it Roger Collins? Run away, he said, says Sam--where could I run?--you tell me--where could I run? You don't have to run, not from Roger Collins, Bill assures him. How can you say that? demands Sam--did you hear the things he was saying to me?--he drinks and laughs--arguing about a painting--that's funny--very funny. Then it is Roger? demands Bill. Sam sinks into a chair and tells Bill he's very tired. Don't go to sleep, says Bill, shaking him, you hear me, don't go to sleep--if you go to sleep, he'll come back, do what he says! Sam wipes his face with his hand--no, he won't, he says. Sam, wake up, begs Bill, shaking him, wake up and tell me why you're so afraid of him--tell me!
He's afraid of me, too, exults Sam--the great Roger Collins is afraid of poor Sam Evans. Tell me why is Roger Collins afraid of you? asks Sam. Ask him, he'll tell you, says Sam. I will, says Bill, but I'm asking you right now. You're a good friend, says Sam, a very good friend--if I tell you something--a secret--do you promise not to breathe a word of it to another living creature? About Roger? asks Bill. Yeah, says Sam--I'm the only thing that stands between Roger Collins and a prison sentence--only thing--he drinks and settles down, dropping the glass on the floor. Bill shakes him, to no avail--Sam is officially passed out. Bill covers Sam with a blanket, puts on his coat and leaves the cottage, giving Sam a final glance before going.
NOTES: Bill gets Sam drunk, hoping he'll be more likely to spill so information, and now Bill knows that, whatever Sam knows, it can put Roger in jail.
Carolyn is after Burke, and you'll notice she keeps referring to their relationship as a "date." She's supposedly close to engaged to Joe, but she's chasing after this older, mysterious man who fascinates her, despite all warnings. She really is just a kid, and Burke caught her in her attempt to meet with him to get her ring back. She even hid it, pretending she hadn't gotten it back, when she knew her uncle had already returned it to her. It appears that, despite Burke's refusal to take her, Carolyn is chasing him to Bangor. What will the repercussions be? Stay tuned!
Sam is one tortured man--and an alcoholic. Somehow, in this politically-correct world, it seemed wrong to me for Bill to deliberately get him drunk to wrest information from him.
Love, Robin
