PEYTON PLACE Episode 133. 10-26-65 First appearance of Martin Peyton. WA: Leslie Harrington has come to Boston on an urgent mission. He has come to ask a favor of a man who has every reason to help him. And every reason to hate him. Intro: Boston harbor. Bridge. Scenes of Boston. Written by John Wilder & Jerry Ziegman and Peggy Shaw Directed by Walter Doniger Scene 1: Leslie Harrington shows up at Martin Peyton's medical clinic in Boston. The nurse at reception greets him. She dials and announces Harrington. Leslie goes to his suite, knocks and is told to come in by Hannah. He tells her that he wants to talk to Martin Peyton. Hannah says that Mr. Peyton never sees anyone without an appointment. She suggests that he can leave a number. Leslie says she leaves him no alternative but to walk in, un-announced. Leslie goes in and Hannah apologizes to Peyton for the disturbance. Peyton is in his wheelchair. Leslie tells Peyton that the only thing he cares about is getting Rodney out of jail. Peyton says that he never should have allowed Catherine to marry Leslie. Peyton says that Leslie destroyed Catherine. Leslie says that he loved Catherine and he protected her memory as long as he could. Peyton counters that Leslie is vile and corrupt. He says that he should have never made him manager of the mill. He tells Leslie to get out. He then shouts, "Get out." Scene 2: David Schuster is having breakfast with Doris. David tells her about his meeting with Theodore Dowell. He says that he will bow out if he doesn't get the approval for expenditures for upgrading and restructuring the mill. He says that he wants to be the kind of man he wants to be. Doris expresses regret that David has challenged Peyton. Scene 3: Schuster goes in the Clarion to see Elliot. He asks about Allison and Constance. Schuster acknowledges differencee, but he assures Elliot that he is concerned for Allison. Elliot tells Schuster that Allison used to write a column for Matthew Swain. He called it the "Observer." Elliot says, "We live and we learn." Elliot has been looking for a particular piece written by Allison. He asks Schuster if hea has ever been down to the Sea Wall in Frenchman's cove and the Massachusetts Bay Company in the early 1600's. Schuster says he doesn't have time. Elliot reads the poem aloud: Hail, wall. You've seen it all. The ebb and flow of days, Buttressed up, rooted deep. You know a man and his ways. So be my compass tell my course. Will I anchor here forever or will I finally sail forth. What mate will chart the seas or harbor in my hand? Or will I tack and steer alone til I sight my land? Shall I be dashed upon the rocks, with broken mast, battered beams. Are people ever really spared, Except in dreams? I'd like to be your oracle forcast the greatest good, But you'll need to know how to run, with the sun. My legs are rock and wood. I feel no pain when I wrestle with the storm, Or suffer the slack of the sea. And so I'm bereft of what pain can teach. Though I stand through eternity. You must look beyond this wall my friend Look for those things that are free. Look to the ships that conquer the deep. Look to the moving sea. In that peculiar dialog. The wall made clear my lot, A human being is forced to choose, A monument is not. Elliot tells David Schuster that he met with Mr. Banks, the man who found Allison by the side of the road. Elliot says he will use the poem as a preface to his open letter. He says that he would like Schuster's opinion on it. He says that Allison was self-conscious about her lack of experience. What kind of person committed this action? As an editor, I am prone to say, "a lesion on the body politick." But as a man I'm forced to admit that it was probably a fundamentally decent person, momentarily afraid. As Allison herself observed, the human being is forced to choose. We also know that every choice has its consequences. And choosing to remain silent is no exception. I wonder how many of us can survive the burden this kind of silence imposes. Like Allison's seawall, I'm no oracle, but I have learned that harboring guilt can only lead to the erosion of a man's soul. Schuster says that he wishes he had written it himself. Schuster asks what it would accomplish if the man came forth. Elliot says you can't forget a girl who is that much alive. Schuster offers to do anything he can, for Elliot to call him. Elliot thanks him for stopping by. Scene 4: In Doctors Hospital, Rossi goes into Allison's room to check on her. Constance comes in with him. Constance notes that Allison's face is so peaceful. Rossi spoke with Dr. Morton. Constance says that she hopes that she is pregnant. Constance says that she wants this baby. Rossi asks if Constance has told Elliot. A brief shot of Allison. Scene 5: John Fowler comes in his house and takes notice of a bowl of giant flowers in the living room. Marian is on the phone with Nancy Ogden. She says, "That was sunday a week." She finishes the call saying she will call tomorrow. She notices that John has come in. She slowly gets up and walks over and kisses him. She says that Nancy Ogden invited them for dinner. Marian says it is one of her ladies auxiliary days at the hospital. John said she called and she was not there. Marian says that when he called she was in White River at a sale. They talk about the Harrington case. And about Allison's accident. Marian goes outside, tosses her coat in the car, and rams the car deliberately into the garage post to cover up the damage caused when she hit Allison. Preview: Leslie talks with Steven Cord. Dr. Rossi talks to Rodney. Betty talks to Stella Chernak. LH: I'm now of the opinion that it might be a mistake to try for bail. SC: I think I have the right to know why, Mr. Harrington. MR: Small phrases to disguise the truth. Medical truth. Allison's condition is critical. BA: Why don't we try to make it easy on both of us. Because I don't intend to disappear for you or for anyone else. Nancy Ogden, friend of Marian Fowler, on the phone. PREV HOME NEXT