Episode #81 - For 18 years, most of this great house has been closed off, 18 years during which the servant staff has consisted of only one man--a man whose continued devotion to the Collins family has been the driving force of a narrow, lonely life.
Matthew walks out of Collinwood.
We see him entering the Collinsport Inn coffee shop, where Burke sits reading the paper. Matthew orders black coffee and joins Burke at his table. I figured I'd have my coffee with ya, he tells Burke, who says he doesn't remember inviting him to sit down. I figured we ought to talk, you and me, says Matthew. The last time we talked, says Burke, you put your big paws around my throat. I shouldn't have done that, says Matthew, ashamed--I'm sorry. Don't bother apologizing, says Burke, just find another table. The waitress brings over Matthew's coffee, and cigarette smoke spills out of Burke's mouth as he tells him to go to another table or the counter--anywhere but here. You're a rich man, says Matthew. What do you want, a hand-out? asks Burke. (nasty!) I don't need money, says Matthew, stirring his coffee, Mz. Stoddard takes care of me--I got my job and my house and will have them both for the rest of my life. Good for you, says Burke sarcastically. You have money, all you'll ever need, says Matthew--why do you have to have Collinwood, too?
Burke asks him if he really wants him to answer that question. Ay-yuh, says Matthew, I heard you want to own Collinwood--Mz. Stoddard will never sell, don't you know that? Let me give you a little free business advice, says Burke, there's nothing in this world that's not for sale, not at the proper time for the proper price. Not Collinwood, says Matthew, never. Never is a long, long time, says Burke, and calls for the waitress. Why do you want it? asks Matthew, because of Bill Malloy? That's one of the reasons, yes, says Burke. You still think he was murdered? asks Matthew. YES! says Burke. The waitress refills Burke's cup, and both men are silent. The coroner said Malloy's death was an accident, says Matthew, why can't that be the end of it? Because I don't agree with the coroner, says Burke. It's the law, says Matthew, it should be over--Malloy was a good man, should be mourned decent, not with more threats, more violence. You talking to me about threats and violence? demands Burke. I said I was sorry for what I did, says Matthew. Fine, says Burke, then when I'm through with Collinwood, I'll apologize. Suzie brings over the check and Burke signs for it. I'm not smart like you, says Matthew, but I know you can't go on the way you are without somebody gettin' hurt. It's not gonna be me, says Burke, not this time--but you needn't worry--what happened to Mrs. Johnson won't happen to you. What do you mean? asks Matthew. When Bill was killed, Mrs. Johnson lost her job, Burke reminds him, but whatever happens to Collinwood, you don't have to worry--I'll even get you a housekeeper so you don't have to work so hard. Matthew, furious, rises to his feet and tells Burke that the house will burn down before he'll live in it! It will make a lovely blaze, won't it? asks Burke, and Matthew stomps away. I heard a rumor around town that Mrs. Stoddard was thinking of hiring a housekeeper, says Burke, standing beside Matthew--is that true? Matthew says he's got nothing to talk to him about. I didn't really believe it anyway, says Burke tamping out his cigarette--Mrs. Stoddard would never let another stranger come live in that house. You really think you know her, says Matthew--well, she called Mz. Johnson up today--that's how much you know her--she's coming to Collinwood for an interview and might wind up living there--Mr. Malloy's housekeeper--but not you, Devlin
--never you. He leaves. Burke goes into the phone booth and dials--Mrs. Johnson, he says, this is Burke--I heard all about it--why didn't you call me and tell me?--I don't care what you thought--I want you to keep me informed on this!--all right--but be sure and contact me as soon as the interview is over--let me know how it went. (Is Burke planning to pay her for info?)
At Collinwood, in the drawing room, Liz tells Matthew that she would prefer he avoid seeing Burke Devlin--I think it would be better for all of us. He was there, says Matthew, I just sat and talked to him, that's all--there wasn't any trouble. Are you sure? she asks. I promised him after the last time didn't I? says Matthew--and I don't break my word to ya. I'm sorry, says Liz, it's just that you know I consider you part of the family, and I don't want any of us to provoke unnecessary violence. What if Devlin starts it? he asks. We'll take care of that problem if and when it happens, says Liz. Yes, ma'am, says Matthew, I'd better get started on the hedges. I want you to know one thing, says Liz--I intend to do everything possible to keep Burke from hurting any of us--I want life at Collinwood to go on as if he didn't exist--there will be no changes. What about Mz. Johnson? asks Matthew. I haven't made a decision about that yet, says Liz, but if I do engage her, life will be much easier. I know it's none of my business, says Matthew, but are you sure you want another stranger in the house? I'm not sure, she admits, but she does need a job. She's got family, a daughter, says Matthew, she could live with her, couldn't she? Do you object to my having someone here to help me? asks Liz, amused. We've managed all these years, haven't we? asks Matthew. And we've both grown older, she says--why don't we leave it this way--we'll see what happens--and if I do engage her, and I may, it will be because I think it best. Yes, ma'am, he says, and leaves the room.
Collinwood, morning - A cab drives up.
Matthew, clipping hedges, stares at it, not pleased at all.
Liz answers the door to Sarah Johnson. It's been a long time, says Liz--strange how the years go by and it takes a tragedy to bring people together--Bill...Mr. Malloy spoke of you so often, and you and I have had so many telephone conversations that it doesn't seem as if I haven't seen you all these years. I have felt extremely close to this family for a long long time, says Sarah. Shall we go into the drawing room? asks Liz. Sarah thanks her. What a lovely room, says Sarah, admiring the drawing room. You've never been here before, have you? asks Liz. Mr. Malloy talked about this room a lot, says Sarah, but of course he was never much good at describing things like furniture. No, agrees Liz, boats were more in his line--I'm sure I don't have to tell you what a loss his death has been. Are you getting someone to replace him at the cannery? asks Sarah. Eventually, I suppose, says Liz, but I wasn't thinking of the cannery, I was thinking of the tragedy of losing a dear, close friend--you were very fond of him, too, weren't you? Yes, Ma'am, says Sarah, fervently. They sit down. As you know, says Liz, I haven't had any permanent help here since Matthew Morgan, for a good many years--and there was a time when the house was full of servants. Yes, Mr. Malloy often spoke of those times, says Sarah--even on the night that he...night he died. She's overcome, and says she's sorry--she can't realize he's gone. We must accept these things, says Liz. He was a good person, he needn't have died, says Sarah. We can't always control accidents, says Liz. You do think it was an accident? asks Sarah. Don't you? asks Liz. I think it could have been prevented, says Sarah--I'm sorry, I came here to speak about a position, not to talk of Mr. Malloy. They a re connected, I suppose, says Liz--Mr. Malloy always spoke so highly of you, when I began considering hiring a housekeeper for Collinwood, you were the first person who came to my mind. I appreciate that, says Sarah. What I want is someone to do the cooking and help with the general housecleaning--not all of Collinwood, you understand--most of it's closed off. I know, says Sarah. This would be an important step for me, says Liz--bringing someone into the house--and it's a decision neither one of us should consider lightly. I know Mr. Malloy would be delighted if I were working here, says Sarah. There are four people beside myself living in this house, says Liz--and there are many pressures and tensions. If you're referring to Burke Devlin, says Mrs. Johnson, I'm very well aware of his attitude. Liz looks at her--how well do you know him? she asks. Scarcely at all, says Sarah, and that's just the way I want to keep it. I'll be perfectly frank with you, says Liz, we live our own lives here--what we say and do and how we live is out concern and ours alone. I'll be equally frank with you, if I may, says Sarah, I'm not a gossip, I respect other people's privacy, I hope they respect mine--and in the almost 20 years I worked for Mr. Malloy, I never repeated a word I heard in his home. I'd like to show you the rest of the house, says Liz--we'll go upstairs first. Sarah takes a long look around the drawing room before following Liz upstairs.
Liz and Sarah exit the kitchen. That's about it, says Liz, do you have any questions? None at the moment, says Sarah. Was the salary I suggested satisfactory? asks Liz. Oh, it's more than fair, says Sarah. When could you start? asks Liz. Anytime, says Sarah, I could start today if you wish. Matthew enters the house and asks Liz if she wanted him for anything. Not just now, says Liz--you know Mrs. Johnson? Yes, he says--I understand you may be coming to work up here. I think that's up to Mrs. Stoddard, says Sarah. I'd like to think about it a bit more, says Liz--she asks Matthew to take Mrs. Johnson back to town--I'll call you when I make my decision. Sarah tells Liz she loves this house and would enjoy working here--I want you to know that. That's a good beginning, says Liz, thank you very much for coming. I hope to come back to stay, says Liz--goodbye. Liz bids her goodbye and goes into the drawing room. She looks at the portrait above the mantel, then sits in a chair, leans her head on her hand, and ponders what to do.
I really should have had lunch before I came to Collinwood, says Sarah, as she and Matthew enter the coffee shop, but I really was too excited for that. You sure you want to go to work up there? asks Matthew. Sarah sits at a table and he joins her. Are you having lunch, too? she asks. Nope, he says, I didn't finish what I was saying. I heard all the stories of the legends and ghosts, she says, and it still hasn't changed my mind. They're there, he says, the ghosts--it's not just talk. You don't seem very anxious for me to work at Collinwood, why is that? she asks. You've been working so long, he says, your daughter can take care of you now--why do you want to take another job? I see no reason to give you explanations, she says haughtily. They're my family up on the hill, he says, just same as if I was born to them--I don't want nothing or nobody to hurt them. Why tell me that? she asks. I just want you to know how I feel, that's all, he says. Maybe I should tell you how I feel then, she says--it's true, I could go live with my daughter, but I'd be nothing, just a shadow in someone else's house--I can't live that way--you understand that, don't you? I s'pose, he says. That's not really what's worrying you, she says, what's worrying you is that if I came to Collinwood, would I be loyal to the family or not--that's it, isn't it? Ay-yuh, he says. That needn't bother you, she says, I was tremendously fond of Mr. Malloy, more fond than you'll ever know--and his first loyalty was to Mrs. Stoddard and the people up at Collinwood, wasn't it? I don't want to talk about him, says Matthew. I do, says Sarah, because I want to behave exactly as he would want me to--so if I went to work up there, I'd become part of them
--live with them, work with them, certainly not do any harm to them, I want you to be assured of that. Just so you know how I feel, he says, rising and standing behind his chair. You know, she says to him, Mrs. Stoddard is very fortunate having someone as loyal as you to care for her. Not only her, says Matthew, everybody in that family--all of 'em. And he leaves. Sarah opens her pocketbook as the waitress brings over a menu. I'll order later, she tells her. She goes to the phone booth and calls Burke, dialing four numbers. She tells him she's just been up to Collinwood and wants to come up to see him, please. She hangs up. Sarah looks around.
Sarah goes to Burke's door and knocks. He lets her in and asks when she starts the job. I'm not sure if I even will start or not, she says. Didn't she offer you a job? he asks. She said she'd let me know, says Sarah. What went wrong? demands Burke. Nothing, she says, she's just hesitant about taking someone else into the house--I can't force her to hire me. Everything was set up, says Burke resentfully, I got Carolyn to ask her mother to hire you for the job, even made Carolyn think it was her own idea--everything was settled--Mrs. Stoddard swallowed the bait--she calls you up there to hire you for the job and you've loused it up! I went up to Collinwood on an interview! says Sarah--and I didn't louse it up as you so crudely put it!--I don't like your tone, or you--good day. He runs around in front of her to prevent her leaving. I want to know what happened, he says--does Mrs. Stoddard suspect any connection between you and me? She suspects nothing, says Sarah, she was much too busy being the Grande dame for that--explaining to me how special he family was and showing me around the ancestral palace--and that's all--look, I'm not a fool--and I don't like being talked to as if I were. I know, I'm sorry, he says, but this is important to me. It's important to me, too, she says, I'm just as anxious as you are to uncover Mr. Malloy's murderer. When did Mrs. Stoddard say she'd call? asks Burke. She didn't say, says Sarah. Then it might be today, says Burke. Possible, she agrees. Don't you think you should go home and wait for the call? advises Burke. All right, she says--now you want me to call you as soon as she phones? I won't be here for a while, he says, I'm going to Lookout Point--that's right, where Bill Malloy was murdered. What do you expect to find there? she asks.
The same thing we expect to find at Collinwood--some kind of small clue, some proof, some evidence, that Bill Malloy was murdered. She leaves. (Burke really does bully everyone, but I loved the way Mrs. J put him in his place.)
Liz sits in the drawing room, playing with her necklace the way Carolyn does when distracted. Matthew comes in and tells Liz he left Sarah at the restaurant. What am I going to do about Mrs. Johnson? asks Liz. Ma'am? he asks. We could use more help here, says Liz, heaven knows you do more than enough work. I haven't complained, he says with a smile. I know you haven't, she says, but she seems like an efficient, well-balanced sort of person, and Mr. Malloy WAS very fond of her. I'm sure whatever you decide will be for the best, he says. Liz doesn't look sure, but she goes to the phone and dials Mrs. Johnson, telling her she's been thinking the whole matter over, and has made a decision--she'd like her to come to start working for them as soon as it's convenient for her. Matthew plainly doesn't like this. I'm pleased, too, says Liz, I'm sure it will be the best thing for all of us--fine--just call when you're ready and I'll have Matthew pick up your luggage--bye. She hangs up.
Well, she says to Matthew, that's done--I hope I haven't made a mistake.
NOTES: So Burke and Sarah's plan worked--Mrs. Johnson is hired as housekeeper to Collinwood and spy for Burke. Should prove quite interesting. Sarah's obvious love for her former employer is both lovely and depressing. She was in love with him, it's so apparent, and cares so much, she wants to help uncover the soul who murdered Bill. In many ways, she and Matthew are alike. We know she doesn't really like Burke, and his attitude toward her when he thought she didn't get the job was nasty. There is a possibility that she will come to like the Collinses so much, she will renege on her agreement with Burke. When she met Liz, I got the impression that these were two rivals for Bill's affection. Too bad neither of them went for it, he was a nice guy. How will Sarah Johnson affect the Collins household? She's a highly principaled woman; on whose side will she eventually fall?
Episode #82 - In spite of a coroner's decision, a critical question is still being asked, even in Collinwood--was a man's death accidental, or was he murdered?--a question that continues to occupy the mind of a strange and troubled boy.
David is gazing into his crystal ball when Vicki comes in, books in her arms. You won't find the answers to your math problems in there, she tells him. I could if I wanted to, he says. I'd just as soon you wrote them down on paper, she says. In a minute, he says. What are you looking for? she asks. Things, he says. You save it till later, she says, moving the crystal ball off the stack of books it sat on--I came up here to help you with you work, not to watch you play with that toy. I told you a hundred million times, it's not a toy! rails David--it's a genuine crystal ball and I can see anything I really want to see in it! Except your math problems, she says--let's get started. You think math is more important than catching a murderer? he demands. Let's not start that again, she says. Just because my father is being nice to you now, you think he can kill somebody and not get caught, he says. No, I don't want to discuss this nonsense with you, she insists--turn to page 25 and do the first problem. Even if the coroner says Mr. Malloy wasn't murdered, doesn't make it true! says David. You're the only one who thinks that, says Vicki.
What about Burke Devlin?--he knows my father killed Mr. Malloy--and he's going to prove it! insists David.
Burke enters the coffee shop and asks Sheriff Patterson, who is sitting at a table, reading a book, if he minds if he joins him. The sheriff indicates he does mind, but it won't do him any good. Burke sits down and asks what he's reading. Educational literature, a detective story, says Patterson. Learn anything? asks Burke. There's this scene in here, says Patterson, about this detective who's sitting in a restaurant trying to relax for a few minutes, and this guy comes along and makes such a pest of himself, that the detective picks him up and throws him out the window. You wouldn't be trying to tell me something, would you, sheriff? asks Burke, smoking a cigarette. What do you want? asks Patterson. Conversation, rest, says Burke--I'm a little tired, I took a long walk up to Lookout Point and back this afternoon. What did you go up there for? asks Patterson. Did you search that area thoroughly? asks Burke. Why? asks Patterson. Suppose someone had something in his pocket, says Burke, say, for instance, a fountain pen, and he leaves the house, has this pen in his pocket, is going to a certain meeting--but when he gets to the meeting, he finds he doesn't have the pen--what would be the logical conclusion? Are we playing 20 Questions now? asks Patterson. It would be that he lost the pen on the way, wouldn't it? asks Burke. OK, he lost it, says Patterson, what's the point? A silver, filigreed fountain pen, lost the night Bill Malloy died, says Burke. Is that what you went to Lookout Point to find? asks Patterson. Yes, says Burke, but I didn't find it. So what do you want from me? asks Patterson. Did you search that area thoroughly? asks Burke. Yes, says the sheriff. And you didn't find the pen? asks Burke. No, says Patterson, resuming his reading. This may be important, says Burke. Patterson sighs and says he went over every rock and crevice at Lookout Point, all I came up with was a couple of dozen empty beer cans and a few other odds and ends, but no fountain pen, not even a little yellow crayon. Did you search the beach? asks Burke. There was no need to, insists Patterson, Malloy fell off that the top of that cliff at high tide--there was no exposed beach that night. But there were heavy rains right afterward, says Burke--if it got stuck in a crevice, it could have washed out to the beach. What do you want from me? asks Patterson. I want you to realize, replies Burke, that Roger Collins killed Bill Malloy. Is he the man who had this mysterious, filigreed, disappearing fountain pen? asks Patterson. Yes, says Burke. And do you know he lost it at Lookout Point? asks Patterson. No, admits Burke, but it's a possibility.
There was no murder, when are you going to understand that? asks Patterson, and I don't want to hear anymore about searches or fountain pens, huh?--the case is closed. And he shakes his head.
If there are 48 apples, says David, and in each dozen there's 12, that makes four dozen, right? Very good, says Vicki, now do the next one. I'm tired, he complains, and points to a notebook she's holding--what's in there? Some extra problems for you to do when you're finished these, she says. More problems? He asks--what do you think I am, a slave? No, she says, smiling, but your math isn't as strong as it could be. Let's see how hard they are, he says, opening the book. Her pen falls to the floor. We'll talk about those when you finish the ones in your exercise book, she says, now would you pick up my pen? All right, he says; he retrieves and twirls the silver filigreed pen in his fingers--this is cool, he says, where did you get it? I found it, she says, let's see what you can do with that problem. He works on it, and we see the pen sitting on top of a book.
Back at the coffee shop, the waitress refills Burke and George's cups of coffee. Don't you have anyplace else to go? asks the sheriff. No, says Burke. That's too bad, says Patterson. Roger Collins had that pen in his possession the night he left the house, says Burke, but he didn't have it when he got to the meeting--so that means he must have lost it along the way. Or at his home before he left his house, says Patterson. Don't you think you should question him about it? asks Burke. No I don't, the case is closed, insists Patterson. But you can reopen a case with new evidence, says Burke. There isn't new evidence! Says Patterson. Aren't you even going to ask him about it? says Burke. About what? asks Patterson, a fountain pen and a hare-brained notion of yours? Ask Roger Collins where he lost that pen, says Burke. I don't care where or even if he lost it, says Patterson, I told you before, I searched Lookout Point from top to bottom. But not the beach, says Burke. No, says Patterson, I didn't--call me a lousy cop, call me anything you want--just get off my back about this, will you, and stay off? All I want to do is find out who killed Bill Malloy, says Burke. The coroner brought in a decision of accidental death, says Patterson, and that settled it--there's no reason in the world for me to ask anybody about anything. Sure, says Burke, it's more comfortable for you to sit here and drink your coffee--enjoy it, sheriff, make sure it's hot and enjoy your coffee. I give up! says Patterson, standing and putting on his jacket. Don't leave for my sake, says Burke. No, for my own, says Patterson, before I throw a punch I'll be sorry for later. He claps his hat on his head. Fountain pens, he says sarcastically to Burke, and leaves.
We see that pen on the David's desk as Vicki explains to him that he made a mistake in multiplication--eight times eight is sixty-four, not sixty-five. Big deal! Says David, it's close. Close isn't good enough, you have to be perfect, says Vicki. Nobody's perfect, says David, taking his crystal ball and sitting on the bed with it, you told me that yourself. That had nothing to do with math, she says. I bet Mrs. Johnson doesn't know what 8 times 8 is, says David. Mrs. Johnson? Asks Vicki. She was Mr. Malloy's housekeeper and she's coming to work for us, says David. Who told you? asks Vicki. I heard my Aunt Elizabeth phone her, says David--you know what else I know? I know what you don't know, says Vicki, and that's math--now let's get back to work--tackle the next problem. He returns to the desk and boasts that he's going to be a millionaire when he grows up. Then you'd better learn to add up your money, suggests Vicki--next problem! I'm going into partnership with Burke, says David--and he and I are going to own half the world. Which half? She asks. You don't believe me, he says, but Burke and I are real good friends--you know what he told me? No, what? she asks. He said he wouldn't hurt anybody that he likes, replies David--so you'd better start trying to get me to like you! How, by skipping math homework? She asks. Yes! he says. No such luck, Vicki laughs--besides, no one can hurt me, because I've got a fairy godmother. That's kid stuff, scoffs David. How else do you think I can walk along the beach and find a beautiful pen like this? she asks, showing him the pen. Roger enters the room at this moment. Did you really find it? asks David. Of course,, she says, I was walking along, just thinking, and I happened to look down and there it was. So, this is how you do homework, says Roger, discussing walks along the beach. I was just telling David how I happened to find this pen, explains Vicki. Oh, says Roger, the pen--you mentioned it to me, didn't you--may I see it? Of course, says Vicki, handing it over--I wonder if I shouldn't advertise in the local lost and found. Roger looks the pen over. That's crazy, says David, someone will take it from you. It is lovely, agrees Roger--I'd keep it, it probably fell off some passing pleasure boat and washed ashore--consider it the ocean's gift to you. If it were mine, says David, I wouldn't let anyone take it from me! The phone rings. I don't think anyone's downstairs, says Roger, I'd better go answer the phone. He leaves the room. David stops him, reminding him he's taking Miss Winters' pen.
Oh, yes, says Roger, I'm sorry--he gives it back. I'd hate to lose my gift from the sea, she teases. Yes, of course, he says, and leaves. Back to math, says Vicki, where were we? We were talking about your pen, he says. I'll tell you all about that after we get through with the last problem, she says--now eight time eight is what? Sixty-four, he replies. And nine times eight? She asks. Seventy-two, he says. She nods.
Roger comes downstairs and answers the phone--it's Burke, who wants Roger to meet him at the Blue Whale. Roger doesn't think they have anything to talk about. I'll expect you here in 10 minutes, says Burke. You can wait 10 hours as far as I'm concerned, Roger tells him. Don't be so abrupt, says Burke--all I want is something of mine you happen to have. What's that? asks Roger. My fountain pen--you will bring it with you, won't you? asks Burke--and hangs up. Roger, perturbed, gazes at the phone, then upstairs.
Collinsport - Roger's car drives up in front of the Inn, and he gets out and enters the restaurant. Burke is sitting at a table. You're even faster than I thought, says Burke, checking his watch--nine minutes, 20 seconds. Just what is it you want? asks Roger. Sit down, invites Burke. Roger does so, removing his hat. I want me pen, says Burke, the one I have Carolyn as a gift--you didn't approve--you took it from her and said you'd give it back to me--may I have it, please? I'm afraid not, says Roger--I've lost it. Would you mind telling me where and when you lost it? asks Burke. This is nonsense, says Roger, rising from the chair--I'm sorry, but I'll be glad to buy you another pen to replace it--that's the best I can do. Burke stands, too, and says he thinks he can do better than that. What is this?--I lost a fountain pen, that's all, says Roger, it's not a major crime. Suppose I tell you where you lost it, what then? asks Burke. I'd say you were clairvoyant, says Roger. It didn't occur to me until today, says Burke--but when I thought of it I went to Lookout Point to see if I could find it. Why look there of all places? asks Roger. Because Carolyn told me you had that pen when you left your house, says Burke--it was in your pocket--because you met Bill Malloy at Lookout Point. You're mad, says Roger. Bill received a phone call at 10:30 that night, outlines Burke--it was probably from you--you told him to meet you at Lookout Point to discuss calling off the meeting--he refused and you killed him! I'm desperately bored with this endless conversation! Says Roger, turning to walk out. Burke pursues him and says, "You want to stop it, give me the pen!" Roger again tells him he lost it. If all you did that night was drive from your house to the office, it shouldn't be difficult to find, says Burke--it's probably in your car. I've already looked, says Roger. I see, says Burke, and you didn't find it there. That's right, says Roger. What do you suggest happened to it? demands Burke. What are you trying to do--build some sort of ridiculous murder case against me out of thin air? Asks Roger--or perhaps I should say out of some silver fountain pen?--you're wasting your time, both yours and mine! Patterson joins them in the Inn's foyer and asks what's going on here. I was talking to Roger about that pen, explains Burke. When are you going to come off it? asks the sheriff--you know he just made me so mad a little while ago, says Patterson to Roger, I left without paying my check. I would appreciate it if you would tell him to leave me and my family alone, says Roger. I told you before, says Patterson, Burke, the Malloy case is closed, and that's final--and he goes into the coffee shop.
Roger starts to leave, but Burke grabs his arm, drawing him back. I'm going to tell you what I think, says Burke--I think you lost that pen at Lookout Point and somebody found it--I don't know who it was, bur someone--and sooner or later the person who has it is going to realize what it means--and then everything is going to come tumbling down around your head! Burke leaves. Roger looks quite upset. He goes into the restaurant, nods at George, and leaves through the coffee shop exit. Patterson stands there, shaking his head over this ugly business.
In David's room, the latter says this pen really is a beauty. Vicki, grading his math, shushes him. It must be worth a thousand dollars! Says David. All right, not too bad, says Vicki, only two mistakes. Nobody's perfect, says David. We'll go over those two tomorrow, she says. Tell me the truth, did you really find it? he asks. Yes, she says, and it's not worth a thousand dollars. A hundred, opines David. I don't know, I doubt it, she says. I wish I had a pen like that, he says. Maybe I'll give it to you someday, she says. You will? he asks--really? If you do your lessons and work hard, she says. He makes a disdainful face--OK, forget it, he says, I knew there was a catch to it. I wonder who it belonged to? says Vicki. Some king, says David--where did you find it? I don't think I should tell you, she says. Why not--you told me it was on a beach, he reminds her. You might go run down and pick up all the others that are there, she says. There are more? He asks eagerly. Thousands of them, she says--scattered all over the beach like silver dust--big ones, tiny ones, giant ones, fat ones, thin ones, all different sizes and shapes. But I'm serious, he says, annoyed. I'll tell you how to find it, she says, look in your crystal ball. You don't think I can, he says. Roger enters and asks Vicki if she's through with David's lessons. Yes, she says. Come down to the drawing room, I want to talk to you for a moment, he asks. Of course, says Vicki, and leaves with him. David gazes at the pen, fascinated.
Drawing room - Roger asks Vicki to sit down and closes the doors. He says he's going to come right to the point--does she remember the conversation they had, shortly ago, about her leaving Collinwood? To work for your friends in Florida, she recalls. Yes, says Roger, I told you it would come as a welcome change for you. And I said I didn't want to leave, she says. But since then we've become much more friendly, he says, sitting beside her, and I have become proportionately more concerned for your welfare. I still haven't changed my mind, she says. That phone call a while ago was from Burke, says Roger--he asked me to meet him in town and I did. What does that have to do with my leaving? Asks Vicki. He has made another threat against us, says Roger. Burke's quarrel is with you and your sister, says Vicki, not me. Don't you understand, you live here with us, that's all that matters to Burke, says Roger. How can he hurt me, I don't own anything here? How can you be so stubborn? demands Roger, rising from the couch--look, Vicki, I think my sister was wrong in persuading you to stay on here. I don't want to seem ungrateful, says Vicki, but... Listen to me, begs Roger, just leave--if it will help, I'll give you two or three thousand dollars to make up for all you've gone through. David darts into the room, calling Vicki. I know the answer, he says, I know it. This is a private conversation, says Roger. But it's important, insists David. It will have to wait! Says Roger. It doesn't matter, says Vicki--I do appreciate your offer, but I'm going to stay. You won't change your mind? he asks. I don't think so, she says. He leaves the room, his face dark. David gives him a look, then closes the doors. Roger goes upstairs.
I didn't want my father to hear, says David, about the pen--I want it to be our secret--just yours and mine. What secret? She asks. I know where you found it, he says. I told you, it was on the beach, she reminds him. Yes, but you didn't say what beach, he says, and I know--it was Lookout Point! How did you find that out? asks Vicki. I did what you told me to do, he says, I saw it in my crystal ball. It was just a lucky guess, she says. NO it wasn't, he says, my crystal ball told me you found it at Lookout Point, and that's where you did!
Roger sits at David's desk, the pen inches from his hands. He picks it up,
looks at it, and tucks it into his pocket, then quietly sneaks from the room.
NOTES: OK, so what is the big deal here? The writers are doing everything possible to make us believe Roger killed Malloy and lost the pen at Lookout Point. Did he? And if not, why all this subterfuge? He was trying so hard to get Vicki--and that blasted pen--out of Collinsport and down to Florida--why?
David is such a hoot. I love his theory on math that close is good enough. I had the same feeling at his age. He and Vicki do seem to be getting along much better--he was willing to share his secret about the pen with her--just the two of them. That's progress!
Burke is pissing off the sheriff, and something tells me Patterson is going to put up with only so much of this before demanding evidence--or he'll kick Burke out of town. Burke is becoming way too overbearing, and Roger was well within his rights to complain he was being harassed.
I seem to recall this pen thing dragged on and on!
Love, Robin
