Thanks, Joey! I didn't remember that.

Chris has taken his troubles to Julia. In the drawing room at Collinwood, they are looking over an old photo album. Julia tells him that strangely enough, there are no pictures of Quentin, but she doesn’t know why. She shows him pictures of the women who lived at Collinwood in 1897. He doesn’t recognize Beth from the photo--although he should, because she pointed out Quentin and Jenny’s son’s grave to him in the woods long ago, before Barnabas traveled back in time to 1897. He does recognize Jenny. In her photo she looks quite beautiful and quite sane, wearing her beautiful gown and with her hair piled up neatly. Julia tells Chris, Jenny was married to Quentin Collins. It’s time you found out that Jenny was your great-grandmother. Then I’m actually a Collins! Chris exclaims in amazement. Julia tells him the story of Quentin and Jenny’s two children, Jenny’s madness after Quentin abandoned her, and Edward’s locking her up in the tower room and sending the two children to live with a Mrs. Fillmore. Fillmore was my grandmother Lenore’s name, Chris says, confirming the story. (Was that Lenore’s adopted maiden name, or did she also marry a Fillmore, perhaps a foster brother? We will never know, but in any case it didn’t save her unfortunate grandson. She must have borne a daughter, who became Tom, Chris, and Amy’s mother.) Julia reminds him that Jenny said Chris had to find Quentin. Why should he be able to help? Chris wonders. Julia explains that the curse started with Quentin and passed to the oldest son of each generation. So Chris has an explanation of how he became a werewolf, if not a cure.

Long ago, Joe Haskell mentioned that Tom Jennings was also a cousin of his, but that seems to have been dropped.

The writers force a very smart character to do at least two very stupid things to keep the plot going: Julia wants to conduct a séance to contact Quentin (who she _knows_ isn’t dead), and she wants David to be in on it (when she _knows_ how Quentin’s ghost tormented him). She tells David that Chris desperately needs their help. Chris makes a personal appeal, and David unhappily agrees to participate. Julia thanks him and goes to get what they will need. (But since storms knock out the electricity so frequently, wouldn’t candles be stored permanently in the drawing room?)

Paul's hotel room looks a lot like Joe's room at the boarding house on Water Street. With all those colors, the mark on Paul's wrist looks more like a tattoo to me. But in any case he's a marked man.

DS Wiki says this script is by Violet Welles.

I believe we get our first look at the carriage house on the Great Estate. That's where Chris is apparently living.

In the crypt beneath the Leviathan altar, David seems unfazed by the random skeletons. Or maybe he just doesn't notice them. Or maybe, having already buried one, he's used to them.

Barnabas's experiment in electronics turns out to be torturing Philip into submission.

Barnabas promises the lovelorn Carolyn, You should forget about Chris Jennings. You will find a truer love than you ever knew with Chris Jennings--a love that will make your current feelings for him seem like the merest infatuation. In fact, I feel it is your destiny, and I trust my feelings.

What a shame that Chris doesn't get to see Jenny as Quentin did, restored to her early beauty. That's really sad. It might have made him feel a little better. If any early viewers thought a certain character wouldn't return, they must have been pleasantly surprised.

Megan has fled upstairs in fear of whoever she thinks has come to kill her--but actually, it's Julia who walks into the shop. Carolyn tells her everything about Megan and Philip and the baby. Julia tries to open the box, then examines the baby and sees a strange birthmark--but doesn't tell us where!

The Naga painting/illumination is beautiful and must have taken a lot of work.

Megan returns downstairs, calmer, but gets terrified all over again over not knowing who has the Book.

Julia meets David in the foyer. She wants him to take an urgent lime-green note to Barnabas, but very formally he tells her, I have something I have to do and it can’t wait. He leaves her wondering what is going on. She opens the envelope and rereads the note to herself: Barnabas, a person who calls himself Corey will be here at five o'clock. That person could be Quentin Collins. In the end she decides to deliver the note herself. The foyer clock reads 4:45.

At 5:15, Julia returns and hears Carolyn speaking to someone on the other side of the closed drawing room doors. The mention of Charles Delaware Tate causes her to push open the doors and rush into the room. To her surprise the visitor isn’t Quentin but the glamorous actress (definitely not Mister) Olivia Corey. The contemporary hairstyle and expensive, fur-trimmed coat cannot disguise from Julia’s sharp eyes that Olivia Corey is in fact Amanda Harris--whom she last saw in 1897. Carolyn serves tea all around as Julia says Miss Corey doesn’t want the painting, it isn’t a portrait but a landscape. Olivia asks to see the painting. Julia shows her the landscape and reiterates that it isn’t for sale. Olivia replies, I’ve broadened my interest to all of Mr. Tate’s work, and everything is for sale--sooner or later. Perhaps later, Julia says, but not now. Carolyn apologizes to Olivia, who asks her to call a cab. While Carolyn is out of the room, Julia remarks, You have a unique resemblance to Amanda Harris. Amanda Harris was my grandmother, Olivia replies, looking at Julia with new sternness. Julia promptly asks who her grandfather was, and Olivia supplies the name Langley. She adds, I find it strange that you knew my grandmother’s name, since it was never mentioned in connection with Tate’s works. I must have read it somewhere, Julia replies blandly. Olivia admires the portraits around the drawing room and says she’s interested in any from the turn of the (twentieth!) century. I’m afraid you’ll be disappointed that there are no portraits of-- Quentin Collins, Julia tells her. I’ve never heard of him, Olivia replies smoothly. After these two minutes of conversation, Carolyn announces that the cab has arrived. Olivia says her farewells and adds, Dr. Hoffman and I can learn a great deal about... art from each other.

The “something” that David has to do is revealed as he approaches the Leviathan altar in the woods. Solemnly he announces, I am one of you now. As thunder and lightning fill the air, the altar slowly divides in half. This time we see an underground opening in the stele below the carved Naga. Without hesitation, David crawls into the hole. The altar reseals itself after him.........

[The episode closing credits feature George diCenzo for the first time, as Associate Producer. He will later appear in uncredited acting roles.]

MT, your description of David's activities is far more picturesque than my notes! And yes, DS Wiki says that Violet Welles is writing these scripts but they're very unlike her 1897 ones.

Wow, Midnite, I don't know how Barn got the candles to stay upright. Must be his Leviathan power--or maybe some prepared holes in the top of the altar, lol.

Yes, Barn is particularly unlikeable so far and pretty one-dimensional. Too bad. But I will say no more for now.

Meanwhile, I'll just drink my coffee and wait for the Leviathans to show up. 

Thanks, Joey. I guess that was during the Jason McGuire story line.

Midnite, you almost had me going for a moment! 

Hitchcock chairs are a real type of early American chair and even more valuable now.

Barnabas takes Philip to the Leviathan altar in the woods. No one can see this until he is one of us, Barnabas informs Philip (and us). This is where we will perform the ceremonies--and make the sacrifices. Barnabas lights two black candles at one of the eternal braziers, sets them on the altar and summons Philip to stand at the opposite end. Philip says, I know I’ve been brought here because I failed and must be punished, but how? In time, you will find that out, Barnabas answers.

We can see the Leviathan altar--does that make us cult zombies?