Episode #7 - "My name is Victoria winters. The dead past drifts through the corridors of Collinwood, and settles like dust in its corners. Spurred by hope, and surrounded by fear, my search continues, as life itself continues, not only for me, but for everyone else in this strange corner of the world--people who live with their own fear, their own hopes."
Sam Evans walks rapidly towards his cottage, pulling open the white picket fence gate and heading into his home. His watch isn't working properly, too slow, too fast, not at all, he complains aloud. He picks up the phone and asks the operator what time it is. He adjusts his watch and pours a drink. "Don't rob me of my hours, they are all too few, or too many," he emotes. Roger appears from a corner and grabs Sam's hand. He orders him not to have a drink. Sam asks if Roger has taken to breaking into people's homes, and Roger defends himself--the door was unlocked, and he had to speak with him. Sam protests he will desperately need the drink while talking to Roger, and as the latter looks on in disdain, Sam pours one.
Sam raises his glass to the long, unhappy life lying ahead of both of them and drinks what he calls "the sustenance of my soul"--while lamenting that it has destroyed his talents. Roger demands to know where Sam was the previous night. Sam says even when he's there, no one is home. Roger: "Don't play games with me, Evans--I spent a couple of hours looking for you!" He grabs the bottle from his hands. "No more!" Sam: "I beg your pardon?" Roger: "Sit down!" Sam: (aggrieved) "Gimmee that bottle!" Roger: "Not until we're through talking!"
Sam: "This is my home and I'll ask you not to forget that. This might not be a fancy castle like you live in..." Roger: "Do you know that Burke Devlin has come back to town?" Sam: "Yes. Now give me the bottle." Takes it from Roger. "He arrived last night on the nine o'clock train from New York." Roger is furious to know Sam was aware that Burke had come back and didn't inform him. He wanted time to think, Sam insists, taking the bottle back from Roger. It's been 10 years of torment and anguish for both of them, Sam says. He was out walking, weeping--for Burke, Roger and for himself. Don't cry for Burke, suggests Roger, he's rich now, but Sam says money means nothing. Roger looks as if he agrees--now. "You didn't always think so," he wryly reminds Sam. What are they going to do about Burke, Roger asks. Roger tells Sam that, despite the fact that he was once a friend of Burke's, he feels Devlin is going to hurt him in some way, and he's determined to protect himself. He can handle all problems that come to him directly, but not those over which he has no control. What is Sam going to do? Don't worry, Sam assures him, wryly, You don't have to be afraid of my actions--I am what I've become--I'll do nothing."
At the Collinsport Inn, Burke reads the newspaper. Maggie, still blonde-bewigged, serves him donuts and coffee, grinning. She asks him if he wants his coffee black, with four sugars. She knows him, but he doesn't know her. "I traded in my pigtails for lipstick," she teases him, reminding him he used to take four sugars in his coffee when he came to their house. He says he doesn't like guessing games, and she reminds him he used to pose for her pop.
Smiling with recognition, he remembers Maggie Evans and comments on how she's grown. His portrait was interrupted by the trial and never finished. Ruefully, Maggie says her pop hasn't finished much of anything but bottles of booze in the last few years. She serves him coffee and notes he's reading the financial pages. He take his coffee black, no sugar these days. She gets him a donut. Vicki comes in and asks for change for three dollars. Maggie asks, "Did you come into town to get away from the ghosts and the goblins?" Burke says hello to Vicki, who responds coolly and leaves to make her call. Maggie tells Burke Vicki is brave for wanting to live at Collinwood, and comments that "You couldn't pay me a hundred bucks a day to work in that spooky joint." Burke asks her to keep his coffee hot and leaves the stool.
Roger is furious with Sam for going to Collinwood and talking to Vicki. That's NOT "not doing anything!" Sam was careful, he says. Roger: (furious) The one thing we always agreed upon was that you would never go near that house. What did you tell her?" Sam: "I wasn't sure you knew Burke was in town. I'm not too wild about myself, or about you, but I thought the least I could do was warn you." Roger: "What did you tell her?" Sam: "Nothing! Just that Sam was looking for you, that's all I said!" Roger: "Did you mention Burke's name?" Sam: "No!" Roger: "I don't believe you!" Sam, highly agitated, suggests Roger call Vicki to verify that's all he told her. Roger calls, but learns Vicki isn't home. Roger's tone to Carolyn is far more gentle and kind than his to Sam; he calls her "Kitten." An upset Roger tells Sam he's going to find Vicki before she finds Burke.
Vicki, in a phone booth, finds the line busy. She meets Burke as she exits the booth, and he greets her warmly.
Vicki and Burke share a table and coffee, served by Maggie, who warns Vicki Burke is a fire-eater. Burke assures Vicki he's harmless, yet she seems nervous in his presence. Burke asks her if she had known anyone in town before her arrival. No, she says. They arrived on the same train, met at the railroad station, and he gave her a lift in his car; therefore, chronologically, he is her oldest friend in Collinsport, and having a cup of coffee with her oldest friend is acceptable. She grins in agreement. Has she heard deep dark things about him? He doesn't wait for an answer, but explains how he spends his days robbing widows, killing infants, foreclosing all the mortgages he can...he offers her a donut. She calls him strange, and he says she is, too. Why would a young girl leave the big city to find romance, fortune and bury herself in a small town? So did he, she says. Ah, but he had a reason. What's hers? A job, she counters. He has a hard time believing she would come to a dark house to play patty cake with a woman who hasn't left the house in 18 years. She decides to try her call again. Burke apologizes for being rude and asks her to stay. She explains that the pay is very good and she's tutoring a 9-year-old boy--that's all. Turning on the charm, he asks her to sit down and stop raising controversial issues. They'll discuss the weather, Maggie's clam chowder, the best in the world. . .please. Maggie comes out and tells Vicki to let her know if Burke causes her any trouble. He asks the too-talkative Maggie to get him the weekly newspaper. "Hint, hint, hint," she teases knowing he just wants to get rid of her. Burke tells Vicki he used to model for Maggie's father, then asks about Roger Collins. Clam chowder, she reminds him. She did tell Roger Burke was back in town, and he says he and Roger used to be good friends. He wants to know if Roger was anxious to see him, and she suggests he asks him that himself. He intends to, Burke assures her.
At the front desk, Roger runs into Maggie. Maggie: "Oh, hello, Mr. Collins!" Roger: "Hello, Maggie. Maggie: "Still looking for Pop?" Roger: "No." Maggie: (resigned) "Well if you do see him, tell him to come home once in a while, will you?" Roger: "Oh, Maggie, there's a young girl, she started working for us last night--you haven't seen her, have you?" Maggie: "Sure, I just left her. She's in the restaurant." Roger: "Oh, thanks." He heads eagerly toward the restaurant. Maggie: (significantly): "She's having coffee with Burke Devlin...you remember him, don't you?" He stares nervously at the door to the restaurant, turns, and exits the hotel. Maggie, pencil poked behind her ear, gazes thoughtfully after him.
Burke is entertaining a laughing Vicki with stories of seeing ghosts in the west wing of Collinwood when he was 10. He was spanked when caught there. She denies believing Collinwood is haunted; she's not 10 anymore. She spent all night there, met all the people who live there, and she feels neither strangeness nor anything unworldly? he queries No, it's an old house, there are creaks, Vicki insists. Maggie brings the newspaper, and tells Vicki Roger was in the lobby looking for her. When he heard Vicki was with Burke, he left. Too bad, Burke says, he's always anxious to see old friends. Vicki thanks him and leaves to make her phone call.
Roger didn't say where he was going, Maggie tells Burke, but if he's going to look for him, please look for Sam, too, she asks. She thinks he was on an all-night binge, and Burke remarks he didn't know Sam even drank. Lots of changes in 10 years, Maggie says morosely.
Cottage - Sam pours a drink and comments drunkenly to himself, "The trouble with you, Sam Evans, you don't exist--at all!" The phone rings and he picks it up and says, "Sorry, but the artist is not home," then hangs up. It rings again. It's Maggie. He's fine, he assures her. She tells him Burke is on his way to see him and he hurriedly hangs up and heads for the door, which opens as Burke bursts in. Burke (smiling, friendly) "Need any good models today?" Sam: "What I need is a daughter who remembers to lock the doors!" Burke: (holding out his hand) "Hello, Sam." Sam: (drinking) "I've been drinking this evening...I'm drunk but not drunk enough yet." Burke: "Is that all you have to say to me after 10 years?" Sam: "What I have to say would split the earth apart and send it plummeting to the pits of hell!" Burke: "Still the same. You know, you haven't changed a bit." Sam: "Haven't I? Haven't I? You look at me real closely and tell me I haven't changed." Burke: "You look great! It's really good to see you again, Sam?" Sam: (sadly) "Why did you come to see me?" Burke: "For old time's sake." Sam looks sad, self-loathing.
Why did Burke return to Collinsport? he asks. To visit the old hometown, says Burke. Sam says he hasn't painted much lately. He's tired, wants a chance to rest--and he seems very guilty, He suggests Burke leave and come back another time. Puzzled by the brush-off, Burke leaves, telling Sam to take it easy. Sam locks the door and pours himself another drink, then splashes it out onto the floor with evident self-hatred.
Vicki and Maggie meet in the lobby as Vicki waits on her call. Vicki receives her phone call in the booth and asks for Miss Hopewell--it's very important, she says desperately.
NOTES: We come to know the strained relationship between Roger and Sam here. It's apparent that they share a secret that has torn their friendship apart and caused Sam to sink into alcoholism. Sam Evans is sensitive, literary a man with a poetic heart and a tortured soul. I laughed when he called to get the right time so he could set his watch. When guilt is gnawing at you, as it obviously is at Sam, time means little--and means everything.
Roger and Sam talk about money. It once meant a great deal to Sam, and we know it means everything to Roger. As a "have," what has Roger taken from Sam, a "have not"? Much, apparently. Poor Sam acts like a man who had sold his soul to the devil and is trying, unsuccessfully, to drink away his guilt over having done so.
Liked the cute recognition scene between Maggie and Burke. Maggie brings Burke up to snuff on what's been happening with Sam, telling him that her father is boozing it up and not painting much. This must speak volumes to Burke on Sam's poor state of mind.
Poor Roger really is messed up if he keeps thinking Vicki is involved in all this. He harps too much on the coincidental connection between Burke and the new tutor. Roger is upset that Sam talked to Vicki. They are hiding a terrible secret--what could it be?
Once again, Burke disarms Vicki, claiming to be a bad man--but he is trying to convince her, via reverse psychology, that he is harmless. She is very careful, however, to avoid revealing anything about herself. If he wants to know about Roger, she says--ask Roger! While she finds him charming, she is also wary, and rightly so.
It's evident from the strained visit between Sam and Burke at the cottage that they were once close friends. Sam's guilt is making him push his old friend away, and while I'm sure Burke knows exactly what role Sam played in his past, he still seems to retain a fondness for him. There was a sense of sadness and nostalgia in this scene.
Vicki's call has gone through--what will Miss Hopewell tell her? Will she know anything more about the strange house called Collinwood--and more importantly, the secretive family that has taken her into its web?
Episode #8 - Vicki's voice-over refers to Collinwood a place of hope, a place where the winds of the past can bring the answers for the future.
Liz enters Vicki's bedroom, where papers are scattered on the floor, and opens the window. She picks up the papers and glances through them. Carolyn comes in and asks if her mother is looking for Vicki--she went into town. The windows were open and the papers scattered on the floor, says Liz. Is that the letter she got from her old friends in the foundling home? asks Carolyn. How did you know? Liz asks. Vicki gave it to me to read, says Carolyn. She's led an unhappy life, poor child, comments Liz. Crummy, if you ask me, says Carolyn--you've never told me why you picked her--there she was, living in that foundling home in New York, hundreds of miles away, and suddenly you decide to bring her here. We need someone to help out, you know that, says Liz. Sure, says Carolyn, but there are dozens of girls in the area--you could have gone to Bangor or Lewiston. She was recommended, says Liz evasively--your uncle Roger knows someone in the foundling home. Did you tell Vicki that? asks Carolyn. Of course, says Liz. Did she believe you? asks Carolyn. Certainly, says Liz. I hope you're right, says Carolyn. Why do you say that? asks Liz. Because I think that's why she went into town, says Carolyn--I think she intended to call the foundling home and see if you were telling the truth--I think I'll wait outside for Joe. Looking perturbed, Liz picks up Vicki's letter and reads it again.
Vicki, on the phone at the Collinsport Inn, says she's still waiting for Miss Hopewell. Yes, this is the Director of Services, may I help you? asks Mrs. Hopewell on the other end of the line. Vicki tells her who it is, and that she's in Collinsport. Mrs. Hopewell, very pleased to hear from Vicki, asks if she's homesick--the children have all been missing her, asked about her. Give them my love, says Vicki--there's something I must talk to you about. Trouble? asks Miss Hopewell--how are things going, tell me about it. I'm not sure yet, says Vicki--a little strange--when I got the letter offering me this job, you'd never heard of Mrs. Stoddard. No, agrees Miss Hopewell, I never had. What about her brother, Roger Collins, have you ever heard of him? Not until recently, the older woman says--after you left, I made inquiries--I found someone who lived near Collinsport--she told me all about the Stoddards--and Mr. Collins--why, is anything wrong? Was it he who recommended me for the job? asks Vicki. Not as far as I know, says Miss Hopewell. Then who was it? persists Vicki. As far as I know, no one, says Miss Hopewell. That doesn't make any sense, says Vicki. I've been just as curious as you, says Miss Hopewell, I've talked to every member of the staff. And it wasn't Roger Collins? asks Vicki. No, she replies, that letter that you got from Collinsport was the first time anyone ever heard of Mrs. Stoddard, Mr. Collins or anyone connected with them
--I'm afraid that's not very much help, is it? Disappointed, Vicki says she's wrong--it's a great deal of help.
Liz stares pensively out the drawing room window. It's getting cold out there, remarks Carolyn, standing in front of the fire to get warm--you don't know why Joe insisted on coming here, do you? Liz doesn't reply. Carolyn goes over to her, puts a hand on her shoulder and asks her if it would really be so terrible if Vicki calls the foundling home. Liz says terrible, no, she supposes not, but so much more, so many years covered with dust, so many dark corners
--maybe I should never have brought her here. Why not? asks Carolyn. Because she's lost and lonely, replies Liz, because she looks in shadows. Liz closes the windows and adds, we never had a stranger living here, perhaps it was a mistake. Are you thinking of letting her go? asks Carolyn, anxious--of sending her back to New York? Would you mind? asks Liz. Yes, very much, says Carolyn--I like Vicki. So do I, agrees Liz. You talk about shadows, says Carolyn--that's all I've ever known except for the time I could get away from this dungeon--but since she's been here, I don't know, it's been different--I found someone I can talk to, right here in this house--I don't want to lose her. She's that important to you? asks Liz. She's a friend, says Carolyn. What about Joe Haskell? asks Liz. He has nothing to do with it, says Carolyn. He has, you know he has, insists Liz. I don't see why, says Carolyn. You know as well as I do, says Liz, why I brought Miss Winters here. To help take care of David, says Carolyn. Partially, agrees Liz, but mostly because of you--you and Joe. Please, begs Carolyn, not wanting to hear this. Don't you think I know how difficult it's been for you, growing up in this place? asks Liz, putting her hand on Carolyn's shoulder--darling, you know how much you mean to me--everything--and I want you to be happy--I want you to find your own life, away from this house! I told you, begins Carolyn. I know, says Liz, that you don't want to go away and leave me--and I've told you that Miss Winters is here now, to be with me, and help take care of David. But you just said you wanted to get rid of her, Carolyn reminds her. If I don't, says Liz, it will only be for you--no one else--only you. Carolyn fiddles with her necklace and shakes her head unhappily. (This whole thing seems so odd, as if Liz is using Vicki to replace her daughter so Carolyn can go live her own life.)
Liz stands before the fireplace. Joe shows up at the door bearing two bouquets of flowers behind his back. He holds them up and Liz, smiling, asks if he bought out the whole flower shop. Just about, he says, handing her one. They're my favorite, she says, thanking him. Yes I know, he says. Carolyn's in the drawing room, she says, go on in while I put these in water. (Joe is so handsome!) Joe hides the bouquet behind his back, joins Carolyn in the drawing room and teasingly says "Boo!" Carolyn is deep in thought. You still like little yellow roses? he asks. Yes, she says. He hands her the bouquet and says she's got them, compliments of ex-fisherman Joe Haskell. She takes them, grinning, and says they're lovely--he's very sweet, thank you. You can do better than that, he says, and bends down to give her a kiss; she turns her head so he catches her cheek instead. He notices the coolness. Did I hear you say something about "ex-fisherman"? she asks. Yes, he says, but that can wait--intimately, he kisses her hair, but she draws away. Look, Joe, she says, I was going into town but you asked me to wait for you--and I'm here--and I'd like to know what you wanted to tell me. Well, are you in a mood, he remarks. OK, forget it, she says, starting to leave the room. Hey, he says, drawing her back in, wait a minute, is that any way for a fella's best girl to act? I just don't feel like being teased, she tells him. OK, I'll tell you, he says, taking the flowers from her hand and seating her on the sofa. Proudly, he tells her that Mr. Malloy took him off the boats. What do you mean? asks Carolyn. You know, Mr. Malloy, who runs the fishing fleet for your mother? he quips. Joe! she says warningly. No sense of humor, he complains, sitting beside her--I got a promotion, I'm going to be working in the fleet office from now on--a checker. Joe, how wonderful! exclaims Carolyn. It's regular hours plus 25 dollars more a week--what do you think of that? he asks, grinning with pleasure. Joe I'm so happy for you, she says. Are you? he asks. He caresses her face, then kisses her, brushing a couple over her cheek, then a big one on the lips. He hugs her, calls her honey, tells her he loves her so much. Carolyn, however, doesn't seem nearly as enthused about him, and says she's just a big fat idiot, that's all. But a beautiful one, he says. They kiss again, and Carolyn is far more receptive this time. I think I'll call her Idiot, jokes Joe. Who? asks Carolyn. My boat, that's who, says Joe. They laugh together. With the extra money I'll be making, says Joe, I'll be able to save another five hundred dollars a year (money was worth a lot more back then)--I'll be able to save the down payment for the boat in the middle of next year. That's practically tomorrow! exults Carolyn. With the money I make with that boat, I'll be able to buy a second, a third a fourth! dreams Joe. Haskell Fishing Fleet, announces Carolyn, splaying out her arms in enthusiasm, the biggest thing in Collinsport! He picks her up and twirls her around. I'll buy out your mother, he says, don't worry, I'll give her a good price. And all on a 25 dollar a week raise, says Carolyn, her arms around him. Joe laughs, says oh, honey, it isn't much, but it sure does mean a lot. Maybe I can get Mother to talk Bill Malloy into making it 30, suggests Carolyn. Oh, no, says Joe, nothing doing--I did this on my own, no help, no boosts, that's the way I want to live. You're a wonderful person, she says. Thank you, ma'am, he replies, and they kiss. I do love you, she says, I really do. Then marry me, he says--sweetheart, I know I've asked you four dozen times... Joe, please, she begs. What's the matter? he asks--why does this happen, every single time? Liz walks in with a tea tray, interrupting, and Carolyn immediately offers to help her. Joe appears very frustrated. Sit down, Mother, Joe had the most wonderful news--I think I'll let him tell you, says Carolyn. Joe's disappointment shows clearly on his face.
Liz hands Joe a cup of coffee, which he passes on to Carolyn. Liz praises his wonderful news--it means he'll be able to get how own boat much sooner, doesn't it? That's just what I was telling Carolyn, says Joe. I know how much it means to you, says Liz--and to Carolyn. It was such a surprise, says Joe, I saw Mr. Malloy last night and he didn't say a thing about it--then this morning he called me off the boat, just as it was about to leave the dock, and that's when he offered me the job--just like that, right out of the blue. Carolyn's forehead wrinkles when she hears this. Liz suggests maybe Malloy didn't make his decision until this morning. Maybe I shouldn't knock my luck, says Joe, but I keep asking myself, why me?--why did he pick me?
Maybe you're asking the wrong person, says Carolyn significantly. Now, Carolyn, chides Liz. You did talk to Bill Malloy this morning, says Carolyn. I talk to him every morning, says Liz--he keeps me informed. You talked to him about Joe, didn't you? asks Carolyn. His name came up, yes, says Liz. Mrs. Stoddard, says Joe, disturbed, did you ask Mr. Malloy to give me the promotion? Goodness, Joe, she replies, if he consulted me about everything, he'd be a pretty poor manager, wouldn't he? I want to know, says Joe, rising to his feet, please. It was no surprise to you, was it, Mother? asks Carolyn. What's the matter with you two? demands Liz, is it suddenly a crime if the owner of a business approves a promotion? Approves? says Carolyn, or suggests? Approves, says Liz--Mr. Malloy called me this morning and said he was thinking of offering you the job of checker--he wanted to know what I thought of it, that's all there was to it--Mr. Malloy said he thought you were capable of handling it and I said I agreed--it had absolutely nothing to do with the fact that it would make it easier for you and Carolyn to get married! (Ah ha!) Joe and Carolyn look at Liz, now sure of her motive. I'm sorry, says Liz, I shouldn't have said that, but it is what you were thinking. Mother, says Carolyn disapprovingly. Darling, I know you both know each other, says Liz, there's no reason in the world why you... Please, please please stop trying to marry me off! begs Carolyn, standing apart from them, arms crossed over her breasts--she won't be satisfied until she has me out of the house. Don't tell me that, says Joe, throwing his arms into the air in resignation, I'm on her side. You're ganging up on me, says Carolyn humorously, playing with her necklace. We both want you to be happy, says Liz, and I don't think it can happen for you until you're out of this house. There's a knock at the door and Carolyn races to answer it, closing the doors behind her and leaning against them for a moment. I shouldn't have knocked, apologizes Vicki, I forgot I had your keys--where's your mother? In there, says Carolyn, then adds resentfully--"Deciding my future." Vicki, about to enter the drawing room, stops and thanks Carolyn for lending her the car. Aren't you going in to see her? asks Carolyn. I don't think so, says Vicki. Why not? asks Carolyn--you've been checking up on her, haven't you? Carolyn, what happened? asks Vicki. Don't tell me you've lost your nerve, says the blonde, pissed off--I thought you were the strong one--I thought I was the only one who didn't know what to do with her life! What's wrong? asks Vicki. This house, that's what's wrong, says Carolyn--no, that's not true--it's me--me, Vicki, I have a chance to get away and I'm just plain scared!
Liz comes out into the foyer to look for Carolyn, but she's not out there, nor is Vicki. Maybe she went up to her room, suggests Joe. I don't understand, says Liz. I do, he says, it's happened before--every time I talk about getting married, it's like I pushed the wrong button. It's not you, Joe, says Liz, she loves you, I'm sure of it. Just so far, he says, no further--what scares her away? The ghosts, maybe, says Liz, the famous ghosts of Collinwood--I'll see if she's upstairs. Joe says before she goes, there's something else he wants to discuss with her--a man named Burke Devlin. What about him? Liz asks, immediately on alert. You know who he is? asks Joe. He used to live in Collinsport, she says, he went away about 10 years ago, and just came back--why do you ask? Joe tells her he and Carolyn met him last night.
Carolyn didn't say anything about it, says Liz. She didn't know who he was, says Joe, we were in the Blue Whale and I kind of started a fight and Mr. Devlin broke it up--after I took Carolyn home, I went back to see him--he asked me to--he offered to pay me for information. What kind of information? asks Liz. I'm not sure, says Joe, he just wanted me to tell him anything I could about you and the rest of the family--I walked out on him, I just thought you ought to know about it. What did he think you could tell him? asks Liz. I don't know, says Joe, but he sure knew a lot about me, and you, and Miss Winters, too. Liz doesn't like this last one, and asks, "What about Miss Winters?" Just that you'd hired her, says Joe, and where she came from, and all the rest, I guess. What do you mean all the rest? demands Liz, deeply concerned. Nothing, says Joe... Carolyn enters and says she didn't mean to run out on them, she just went upstairs for a few minutes. Just what do you mean? Liz asks Joe. Just that she had come from the orphanage, says Joe, that you had written them a letter, and hired her--that's all. Are you talking about Vicki? asks Carolyn--she's back. Where is she? asks Liz. Carolyn starts to say something to her mother, but Liz excuses herself. Mother, please, says Carolyn. This is my affair right now, Liz tells her daughter, and leaves the room. What's going on here? asks Joe. Carolyn doesn't know, but every time she likes or needs someone, she seems to do her best to push them away. When Joe puts his arms around her, she flinches.
Up in Vicki's room, Vicki admits to Liz that she called Miss Hopewell, the director--she wasn't sure whether she was gong to tell Liz or not, but now it seems she has no choice. I'm not sure I like the idea of your checking up on me, says Liz. How do you think I like it? asks Vicki--but I had to know! Isn't it enough that you're here? asks Liz, that you're being paid... No one at the foundling home ever spoke to you or your brother, says Vicki sternly. Are you certain of that? asks Liz. I told you, I spoke to Miss Hopewell, says Vicki. I know, says, Liz, but did it ever occur to you that she might be mistaken? She said she checked, points out Vicki. Liz walks away, then says her daughter is very fond of Vicki--does she know that? Yes, replies Vicki. She's quite anxious for you to stay on, as I have been, says Liz--however, I want you to know you're free to leave anytime you choose. But I don't want to leave, don't you understand? asks Vicki. Liz looks at her and says, even though you think I lied to you? You make it so difficult, says Vicki. I don't mean to, says Liz, I merely want us to understand each other--your being here in this house can mean a great deal to me--in many way--for David's sake, Carolyn's, and mine--but I can't allow you to question and probe everything I say. Vicki says Miss Hopewell said...
Miss Hopewell was wrong, insists Liz, you were hired on a recommendation made to my brother, and for no other reason--there are many people connected with that foundling home, perhaps Miss Hopewell didn't contact all of them. I suppose that's true, agrees Vicki. Liz says she suggests they consider the matter ended--she really does want her to be happy here. Liz leaves the room, and Vicki looks uncertain.
Miss Hopewell orders her secretary to send this letter to Miss Victoria Winters, Collinswood, Collinsport, Maine--"Dear Victoria--I think you should know that shortly after our telephone conversation today, I received a visit from a man who said that he was a magazine writer, and finally admitted he was a private detective--oddly enough, his inquiry was almost the same as our phone conversation
--he was anxious to learn why you had been hired by the Collins family, who recommended you, and the rest of it--the detective's name was Wilbur Strake--do you know this man, or have you any idea who hired him to learn this facts about you?"
NOTES: So now Strake is investigating Vicki, huh? It's evident that Liz knows a good deal more about Vicki than she's saying, but how much? Why is she so anxious to keep her at Collinwood? One thing is for sure, she wants Vicki to let things lie, and not ask any questions. She points out how much she, Carolyn and David need her, but she makes it clear that the door is open for Vicki to go--or for her to dismiss her if she asks too many questions. This is not the Vicki who comes to say "I don't understand" throughout the series; this gal has spunk--but apparently that isn't a treasured commodity at Collinwood.
Carolyn does not want to marry Joe, that seems obvious, not so much because of her mother, but because she apparently feels he isn't the right man for her. Too bad, because he's a sweetheart, and I think Carolyn is nuts to turn him down. Then again, she's only 18, and perhaps too young to settle down. She seems like one of the young and restless, LOL. I guess I'd be resentful if my rich mother gave my boyfriend a promotion so he could be better fixed to marry me, too--no, maybe I wouldn't.
Secrets, mysteries, ghosts from the past and present--DARK SHADOWS has them all! I do love the flippy hairdo on Carolyn and sought to emulate it back then, with little success.
Love, Robin
