Sons and Daughters logo
    Written by: Billie Morton    Produced by: John Holmes   Directed by: Mark Piper

Patricia is at Martin's house, where she snaps at Martin that he had no right to bring Angela there; she's confused enough as it is. Martin is standing with his back to Patricia as she continues that she wants to see her daughter. Martin reminds her that he said Angela is asleep, and he adds that Patricia can talk until she's blue in the face, but she's not getting Angela back. Changing tack, Patricia tells Martin that she realises he's upset - she would be too if somebody started spouting ridiculous lies to her; Margaret is a very warped person. She then tells Martin that what she didn't realise was that he had so little trust in her; how could he possibly believe Margaret? Martin turns to look at Patricia and asks why should he trust her? - he checked out her story; she may think he's a fool, but he's not utterly stupid. Patricia coldly says, "Aren't you?" She smiles at him, nastily, and tells him that he believed she could love him - and he lapped up all the flattery and compliments. She adds that he's not only stupid, but a joke: "The big airforce hero, using a sick, defenceless girl to get back at me." She continues that it doesn't surprise her that he left his best friend to die. Martin listens, angrily, and then tells Patricia that she had better leave. He puts his hand to his temple, but Patricia continues her attack, saying it's no wonder he's stuck behind a desk - he hasn't got the guts to handle anything else. Martin looks at her and then makes as if to strike her. Patricia hurriedly says she's leaving, but before she does so, she threatens that he can be damn sure he hasn't heard the last of this: by the time she's through, everyone - all his airforce cronies; his precious John - they'll all know what he really is - and she can't see him being too popular when that story gets around. She starts to walk out, then turns round to add, "And there's no way you're keeping Angela." Martin looks furious.

Rob and Jennifer arrive back at The Terrace, carrying their travel bags; Jennifer laughs that all she wants to do is get under the shower! Rob thanks her for coming, and Jennifer reminds him that there are to be no more long faces! She goes upstairs. Kevin comes out from the kitchen and asks Rob how it went. Rob replies that it wasn't bad, considering. They go into the dining room, and Rob asks how business has been. Kevin says, "So so." He adds that he doesn't reckon it's worth opening at night, as they've had to close early. Rob says that's fair enough, and he thanks Kevin for helping out. Kevin asks Rob if he's going to get in touch with Angela, but Rob replies that he hasn't planned to. Kevin tells him that someone's got to make the first move. Rob, though, says there aren't go to be any first moves. He starts to head for the stairs, but Kevin stops him and tells him that he's being as stupid and stubborn as he was with Lynn: he gave her a hard time - he wasn't writing to her; it only hit him when he saw how stubborn Rob was being. Rob cooly says, "Yeah, well that's you and Lynn, isn't it." He starts to go upstairs. Kevin says he was only only trying to... but Rob stops him and says he actually cheered up a bit over the last couple of days, so he wants Kevin to give it a rest. He goes upstairs.

Margaret is at Martin's house, and Martin tells her that he's made up a bed in the spare room. Margaret thanks him, and says she hopes he hasn't gone to any trouble. Martin says he hasn't; in fact, he hasn't even got anything in for dinner. Margaret asks if she should fix something, but Martin tells her that she can help herself to whatever's in the fridge - he's not hungry. Margaret asks about Angela, and Martin says she's still resting. Margaret then asks if he's spoken to Patricia. Martin just says, "Yes." Margaret smiles to herself and suggests that maybe she'll go and unpack; perhaps he'll be hungry later.

Patricia wanders into the lounge room at Toorak and throws her handbag onto the settee. She then sits down, crosses her legs and stares into space, looking worried but thoughtful.

In the flat at the back of Dural, Bert is on the 'phone, and he tells the person on the other end that he'll see them there. He hangs up as Fiona comes in and remarks on him being out of bed. She asks if he slept well, and Bert replies, "Like a baby." He adds that it was the last place he expected to wake up, though. Fiona smiles awkwardly and says he was pretty dead to the world when he arrived... She then suggests that he must be ravenous... Bert says he could kick himself for what happened and the way he carried on; he's sorry, he really is. Fiona points out that she was pretty vile herself - she didn't mean any of the things she said; it's just that he did promise her... Bert takes Fiona's hands and says he'll promise her one thing: she'll never see him like that again. Fiona smiles broadly and says that's all she wanted to hear. She hugs him. Bert quietly adds, "I wouldn't put you through it."

Jennifer is in the kitchen at The Terrace with a towel round her head, doing the wiping up while Peter washes dishes at the sink. She's telling him about Adelaide, and Peter asks her how she'd like to be a truck driver. Jennifer says, "No thanks!" She then adds that she's going to have to start looking a for job, though. Peter humorously suggests that they might be desperate enough to take her on there! Jennifer says she probably shouldn't have gone away - but she's glad she did. Peter tells her that she needed a change, that's all. Jennifer says it gave her a chance to think things over, and she's got the feeling that everything's going to be OK from now on - for both of them. Peter says he feels the same - he hasn't felt so good since he left home.

Margaret offers Martin a drink, but he declines. She then tells him that she understands how he's feeling: it's absolutely devastating to discover someone you love doesn't trust you. Martin suggests that maybe Patricia's right: maybe he is a total failure; you could hardly call his life an unqualified success - forty years... what has he got to show for it? A family he's driven away; an empty house... he's lost them, along with everything else that mattered, and any self respect he might have had; what else is there? Margaret tells him that he mustn't be so hard on himself. Martin replies that, sure, he could have gone on fooling himself as he has done for the last twelve years... if only it hadn't come out; but it has - and now he can't fool himself any more: "I left Barry to die, to save my own neck. What am I supposed to do: pretend it never happened?" Standing up, he continues that, knowing Patricia, she will tell everyone - and he couldn't face the men at the base. Margaret stands up and suggests to Martin that he should rest, and he'll feel better in the morning. Martin suddenly asks what he's doing, using a sick girl to get back at Patricia; he's starting to play her games. Margaret raises her voice and says Angela needs to get away from her, but Martin replies, "Then take her somewhere and look after her - it's got nothing to do with me anymore." Margaret tells Martin that he's depressed, but it needn't be the end of the world - he's got friends who care about him; she cares about him. Martin sourly says that at least he has one friend. Margaret continues, "I don't just want to be another friend to you..." Martin looks at her, intently, as she says, "Well, don't you see? I'm in love with you. I never stopped loving you." Martin, looking shocked, asks, "What are you talking about?" Margaret replies, "I'm talking about us. You and me." Martin, looking angry, says she can't be serious. Margaret asks why not. Martin replies that it's ridiculous. Seeing the expression on Margaret's face, he realises that she is serious, and she tells him that of course she is - she can make him far happier than than Patricia could: she could look after him; he needs her. Martin angrily says, "My God, you told me about Patricia so this would happen." Margaret insists that she did that for his sake - she didn't want Patricia to hurt him. Martin snaps that the whole thing's sick, and he tells Margaret that he wants her to leave. Margaret pleads with him that he doesn't understand. She tries to put her hands on his, but he pulls away sharply and tells her to get out of there - and take Angela with her. Margaret looks close to tears, and she says, "Martin, please, you're upset." Martin suddenly shouts very loudly, "Get out of here. I've had it with the whole damn lot of you." Margaret meekly walks out. Martin sits down, in the semi-darkness of the room, and puts his hands to his head.

Fiona, Beth, Jill and Brian are sitting in the lounge room at Dural, and Beth tells Jill that it was a lovely meal. She adds that she doesn't take after her, as she couldn't even boil an egg when she first got married! She then looks at Brian and tells him that he's doing alright for himself, as Jill will keep him well fed! Brian laughs that she'd better! Fiona, looking annoyed at the talk of the arranged marriage, offers more tea, but noone wants anything. Jill says to Fiona that she wishes she wouldn't look annoyed every time the wedding's mentioned, but Fiona says it's very hard not to. Jill looks at Beth and tells her that she and Brian are both Fiona's friends, and Fiona won't even come. Fiona suggests that they're having a nice meal, and they shouldn't spoil it. Beth, though, continues the conversation, telling Fiona that Jill would like her to be there - for support, if nothing else. Fiona sharply replies that Jill knows how she feels about the whole stupid thing. Jill starts to say it's no big deal, but Fiona interjects, "It's wrong." She quickly adds that she's sorry, but that's the way she feels; she tells Jill that she should go to Johnny and be honest with him. Brian suggests that they drop it, adding that he doesn't want Wayne or Mr. Hamilton overhearing, as enough people know about it already. He looks at Beth and quickly apologises, saying he didn't mean her. Beth humorously says she should hope not - after all, she's nearly family! Fiona gets up and says that, if they'll excuse her, she'll go and check on Bert. Jill asks her if she's coming back. Fiona replies that it depends on how he is. She turns to Beth and tells her that, if she doesn't come back, she'll see her in the morning. She goes. Beth turns to Jill and says, "Never mind, love - I'll be there - I wouldn't miss it for anything." Fiona, who has overheard this from the hall, doesn't look impressed.

A short time later, Fiona closes the door of the flat and leans against it, looking upset. She then goes over to the answerphone, to listen to the messages. The first is from someone called James Wilson, who tells Fiona that he has some papers for her to sign in connection with Ramberg, and asking her to give him a call so they can arrange a time to meet. The next message is from Bunty, who excitedly says she just wanted Fiona to know that she and Thel have settled into the new flat and would love to have her over for the evening, to catch up on the gossip. As Fiona listens, she starts tidying up a bit, and she smiles as Bunty continues that the new flat isn't as nice as the old place, but Fiona can find out for herself. Bunty hangs up and the third message then starts: "Fiona, it's Bert." Fiona stops in her tracks. Bert continues, "I'm ringing from the station; haven't got long. I didn't want to leave without saying goodbye." Fiona turns to look at the answerphone, shocked. Bert explains, "I didn't have the guts to say it to your face. I've... I suppose... I was kidding you with all that business about things getting off to a new start. But I can't kid myself. You can't dry out overnight - believe me, I've tried. I couldn't put you through all that, Fiona. You mean too much to me and I--." Fiona turns the machine off before the message can end. She has tears streaming down her face...

David is in the lounge room at the Palmers'. He turns the television on and looks at the TV guide, but all that comes up on the TV is 'snow'. David bangs it a couple of times, but no picture appears, so he turns it off. There's suddenly a knock at the front door, and David answers it to find a man standing there. The man asks David if he's Mr. David Palmer, and David says he is. The man then gives him a piece of paper and tells him that it's a summons. David asks what for. The man replies that it concerns a restraining order. David looks at it, and the man puts a copy in his own jacket pocket before walking off. David looks annoyed. He goes back inside, picks up his keys and goes out again.

The lounge room is in semi-darkness at Toorak, as Patricia goes to pour herself a drink. Someone suddenly starts pressing the front door buzzer frantically, and she answers it to find David standing there. He angrily asks what's going on, but Patricia snaps that she's not in the mood for visitors. David tells her that she's got one. He walks in and tells her that, if she thinks a bit of paper can stop him from seeing Angela, she's wrong. Patricia snaps at him to go and tell it to the magistrate: Angela's not there. David tells her to come off it, but Patricia tells him to feel free to look round: Angela's not there - she's with Martin. David asks how come. Patricia explains that she had to go away for the day, and when she got back, Angela wasn't there; Martin must have spun her some story. Quietening down, she then tells David that he could help get her back. David asks Patricia what's going on between her and Martin. Patricia tells him that they had a disagreement. She then asks David to please help her, adding that Martin is the worst person Angela could be with right now. David sarcastically laughs and says he doesn't believe her: one minute she's slapping a restraining order on him, the next minute she's asking him to help get Angela back. Patricia pleads with David to please help her - she'll cancel everything - he can see Angela whenever he likes; she's sick - she needs to be with her mother. David angrily says he'll get Angela back alright: she'll be coming back with him - restraining order or no restraining order. He storms out, leaving Patricia looking furious.

Jill enters the flat at Dural. Fiona is sitting at the table, with her head on her hands. Jill asks her if she's still mad at her. Fiona looks up, and Jill continues that she's sorry - she should never have brought it up. Fiona says, "Oh, that - no. No, you shouldn't have." She adds that Jill has made up her mind anyway - it doesn't matter what she thinks. Jill quickly says that of course it does - it just wouldn't be right if Fiona wasn't there - she needs all the support she can-- Fiona interrupts and quietly says, "Bert's gone. " Jill, looking surprised, asks what she means: where? She sits down at the table. Fiona says he didn't say - he just left a message on the answering machine. Jill says she's sure he'll be back; he's got more sense... Fiona, though, says he's got about as much sense as Jill's got. She adds, "I love him. I want him with me. It's just not fair." She cries that it's so wonderful, loving someone again. She looks at Jill and says, "For God's sake, pull yourself together before it's too late - otherwise, you're going to end up as lonely as I am." She stands up and goes to her room.

The Healy house is in almost total darkness. Martin is pacing the lounge room, slowly, wearing a light jacket. He picks up a piece of paper from the table, looks at it and then puts it in an envelope, which he seals and places on the kitchen worktop. He then removes a gun from his jacket pocket, and stares at it. He takes another look around the lounge room and then heads upstairs, where he looks in on Angela, who is fast asleep in bed...

Margaret is outside, heading up to the house, when a shot suddenly rings out. She stops in her tracks, but then starts running. She dashes into the house and cries out, "Oh, Martin..." Martin is lying on the lounge room floor, dead; the gun is on the floor, next to him. Margaret cries, "Oh, no..." She bends down next to the body and sobs, "No, no..." Appearing to think of something, she stands and runs upstairs to check on Angela. She feels the girl's pulse, and is relieved when she finds she's unharmed. Margaret herself is still crying as she closes Angela's door and goes back downstairs. She returns to the lounge room, where she stands looking at the body for several seconds. She then looks around and sees the envelope on the worktop. She opens it and reads the enclosed letter:

'To my children. I hope you can forgive me for what I'm about to do. I really feel that I have nothing left to live for. I've lost any respect you ever had for me, and I know I'll lose yours, John, when you hear of my cowardice. Peter and Jen: whether you believe it or not, your good opinion was important to me. Hope that your lives will be happy - I think that you will be better off without me. I have lived with the guilt of Barry's death for twelve years; don't think that it hasn't always been on my conscience. Whether you believe it or not, I love you all. In spite of anything that happened between us, John, I still love your mother - that's what makes it hard losing her, knowing she hates me--'

Margaret suddenly lets out a huge sob as she realises Martin had never even thought about loving her. She cries out, "I loved you..." She then screws up the letter and, appearing to think of something, puts it in her pocket. She goes and kneels by the body, and looks at it for several seconds. She then takes out a handkerchief, uses it to pick up the gun and wipes the fingerprints off the weapon, which she puts back down on the floor. Someone suddenly starts knocking at the front door, and Margaret gets up and runs out. The visitor is David, who calls out, "Anyone home?" Upstairs, Angela stirs in bed as David repeats, "Anyone home?" Finding the door open, David walks into the house, calling out, "Angela? Angela." He goes into the lounge room and looks shocked when he spots the body lying there. He stares at it and mouths, "Martin..." He bends over the body and quietly says, "Oh, cobber..." He spots the gun and picks it up. He then puts his hand to his head, horrified by what's happened. Angela suddenly appears in the doorway, and David quickly stands up and says, "Are you OK, Angie?" He tries to hold Angela's arm, but she pulls away and cries, "Leave me alone." David is still holding the gun, and, realising what Angela's thinking, says, "Oh no, Angie..." Angela looks at the body lying on the floor...


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