888 - The man turns around. He sports a mustache (I don't think he had one in the previous episode, so I'm going to guess they were portrayed by two different actors) Lower the light, the man asks Julia--let me see you. Not until you explain yourself, she insists. I'm meeting someone, he says. Who? she asks. Are you sure you don't know who I am? He asks. Quite sure, says Julia, and if you don't tell me who you are, I'm calling the police. I meant no harm, he says. What were you doing inside that house? she asks. Carolyn interrupts, calling to Julia, who immediately turns to speak to her. The man wanders off while the women are talking. I was concerned about how abruptly you left the house, says Carolyn. I'm glad I did, says Julia, because this man was searching...he's gone--did you see him leave? No, Carolyn responds--do you have any idea who it was? None at all, replies Julia--let's go into the house and see what he was after. Julia takes off her coat and suggests, you bolt the door while I light the candles. Carolyn does so. I have no idea what the man could have been after, says Julia--nothing seems to be disturbed, however. Perhaps your arrival prevented him from getting what he was looking for, suggests Carolyn. No, says Julia, he didn't hear me, and was leaving the house when I stopped him. Strange, says Carolyn. Julia agrees. Did you have a chance to look for Barnabas? Asks Carolyn. No point in looking for him now, says Julia, plopping herself into a chair, he's not here. I'm sure. Carolyn is puzzled--at Collinwood, you seemed so sure Barnabas was on his way back. Never tell anyone this, says Julia, but the story Stokes and I told the family about Barnabas' disappearance was true except for one thing--Barnabas didn't disappear while one of us was asleep, he simply vanished before our eyes.
Carolyn is stunned. He was still in his trance then, says Julia. Incredible, pronounces Carolyn. And when he reappears, says Julia, he can only do so in the place he DISAPPEARED--the cellar. I know he hasn't come back yet because I locked the cellar door. Carolyn reminds Julia--you're assuming when Barnabas reappears, he'll be conscious and able to leave the cellar--suppose he were to return in an unconscious state. I never thought of that, says Julia--he might be down there now! She rushes off to see, unlocking the basement and hurrying down. Carolyn, left alone upstairs, waits. Julia checks the basement, finds nothing, and returns, clearly disappointed. Carolyn, staring out the window, spots the man outside. Gasping, she runs toward the basement, calling frantically for Julia.
Julia races upstairs to the terrified Carolyn, who says, I saw a man's face outside, probably the same man you saw. They go to the window, but there's no sign of anyone. They wish they knew what the guy wanted. Julia admits, I didn't find Barnabas, but I plan to spend the night in case he does come back. Carolyn wants to stay, too--I won't go back to Collinwood with that man wandering around the woods. Julia is cool with that. It's 11:35 PM.
7:30 AM - the Old House clock chimes the half hour. Julia lies asleep in a chair. She awakens, rubs her face, stretches. Carolyn comes downstairs, they greets each other good morning, and agree that nothing happened during the night. I didn't sleep well, says Carolyn, I had a dream about Chris Jennings--we were about to be married, but just before the ceremony was beginning, he disappeared. Why did you dream about Chris? asks Julia. He called last night, says Carolyn--he said he wanted to see me tonight--he's such a strange person; I haven't heard from him since I can't remember when, and then he calls me--he seems to be two different people--did you ever get that impression? I don't know him that well, says Julia--I want to stop at Collinwood to make a phone call before we go antiquing. They head out.
Antique Shop - Philip and Megan Todd, an attractive young couple, are checking in inventory--one whale oil lamp. Once owned by Herman Melville, says Megan--MOBY DICK was born by the light of this priceless object. Wryly, Philip asks, are you going to describe it that way? Anything to drum up business! she quips. They are easy with each other, teasing, and seem very happy. One exquisite clock (with a slightly broken pendulum, says Megan), but Philip promises to fix it. Julia and Carolyn enter the shop. Megan and Philip already know Carolyn, who introduces them to Julia. I told her all about your shop, says Carolyn. Megan suggests, we should hire Carolyn to spread the word about the shop. I'll do it anyway, says Carolyn--I'm that impressed. Make yourself at home, Philip urges Julia--feel free to ask questions. While Julia browses, Carolyn asks, did you get in new stuff? We went to an auction this morning, says Megan gleefully, digging into the box. We didn't find anything spectacular, says Philip, but I did buy a painting. He shows her a landscape. I could have resisted it, says Carolyn. I'll have you know this is a genuine Charles Delaware Tate, boasts Philip. Julia immediately pays attention. I've never heard of him, says Carolyn. Philip is an authority on artists no one ever heard of, says Mega. Julia asks, is it real? I know his work well, says Philip, and signature even better. I might be interested, says Julia--how much is it? It's one of his later works, explains Philip--he did it about 20 years ago. Julia says, that's impossible, given that Tate was painting at the turn of the century. True, says Philip, but he went on painting for sometime after that--even another 50 years. I don't believe it, says Julia. You never told us of your interest in Victorian painters, comments Carolyn. Megan asks Julia, are you an admirer of Tate? Yes, says Julia, but I had no idea he'd painted anything this late--isn't it possible you're mistaken about the age? No, says Philip, check the age crackling, it's barely there. He shows her. The subject is modern but the canvas isn't. Julia asks how old Tate would be now, if still alive. He was in his late 20's at the height of his fame, says Philip, around 1900. Megan comments it would make him close to 100 years old. I doubt he's still alive, says Philip. If this painting is only 20 years old, muses Julia, he obviously still was in control of all his faculties in his 80's and not inconceivable he could still be alive. I suppose so, says Philip. Where did you find the painting? asks Julia. The Anderson Auction House in Rockport, he says. How much do you want? asks Julia. Philip and Megan exchange a hopeful smile. Julia asks, is it for sale?
Yes, says Philip--$300. I'll take it, declares Julia. Megan is delighted, Carolyn shocked. Julia takes out her pen and checkbook and requests the phone number of the auction house. By all means, says Philip. Making out the check, Julia asks, if you find anymore Tates, I would be grateful if you'd let me know. Very few of his works are in circulation, says Philip, so I'm not sure I can. He was very prolific, right? asks Julia. Perhaps someone cornered the market years ago, says Philip. Megan hugs Philip's arm, and says, we will let you know if we do--and thank you. Thank YOU, says Julia. Carolyn still looks like she's been hit over the head. When Julia asks, are you ready? Carolyn responds, "Yes, for practically anything!" ($300 was a small fortune in 1969, folks, which is why Carolyn is expressing such shock.) Good-byes are exchanged. When Julia and Carolyn are gone, Philip and Megan hug--there it is, says Philip, our first big one. This calls for a celebration, says Megan, and pours what looks like wine for both of them. "To Charles Delaware Tate," she toasts, "alive or dead." Philip wonders which it is, and they drink to their first big sale.
Julia stands in the foyer as Carolyn walks downstairs and asks, who are you looking up? I thought Tate might be listed in this, says Julia (looks like the Collins family history, but I guess it's a phone book). Why are you so preoccupied with an obscure painter? asks Carolyn. He wasn't always obscure, objects Julia. He is now, counters Carolyn. It's not really a sudden preoccupation, explains Julia--his earlier works were almost all portraits, and I'm anxious to find a particular one that gained a certain amount of fame in its time--I'm sure you never heard of it. Chuckling, Carolyn drops the subject and exits into the kitchen area, leaving Julia to "your obscure quest." Julia takes a paper from her pocket and dials the Anderson Auction House. I was referred by a Philip Todd, who bought a Tate painting at your auction house, says Julia--I'm curious to know how you came by it. An estate, she's told. Who? asks Julia. Matthew Smith is the answer. Were there any other Tate paintings? queries Julia...someone else tried to buy this one--can you tell me who? Oh, I see, thank you, you've been very helpful. Where do I go from here? Julia asks herself, there may be only one chance in a million that Tate is still alive, but I've got to find out, the painting he did of Quentin somehow helped end the werewolf curse--if Tate IS still alive, he may be able to help Chris Jennings!
Carolyn comes across the altar in the woods and gazes at it, touches it, walks around it. What is this thing? she wonders, I've never seen anything like it! No one could have built it here without our knowing about it--where did it come from? "Strange-looking thing, isn't it?" asks the man Julia met at the Old House. She gasps--who are you? Don't be frightened, he assures her, taking off his hat, I'm not going to hurt you. What are you doing in these woods? She asks. Taking a walk, he answers. Angry, Carolyn accuses, you're the man Julia saw last night--"Stay away from me!" she commands. Don't get excited, he says, trying to smooth matters, but she has backed away from him. All right, I'll stay right where I am, he says soothingly. What do you want here? she asks. I'm not sure, he replies. I don't believe that, she says curtly--this is Collins property--I advise you to leave immediately. Are you a Collins? He asks. I'm Carolyn Stoddard, she says. He gazes at her, licks his lips, remains silent. Have you lost your voice? She asks. "You're a very beautiful woman," he says. Spare me the flattery and just leave, she orders. I like your attitude, he says, smiling, you know what's yours, and I'd be willing to wager you'll fight to keep it.
"You read me well," she says, smiling. I hope we meet again, he says. I wouldn't count on it, she says. Yes, well, you don't know me, he says, and I am counting on it. He walks away. Carolyn looks after him sharply as he goes, then turns her attention back to the altar.
Antique Shop - Philip reports to a delighted Megan, this has been far and away our best day yet. They kiss. We need a customer like Dr. Hoffman every day, says Philip. Megan finishes, "And we'd be rich at the end of the year!" They embrace and exchange another smooch. Megan gets an odd look on her face and closes all the blinds in the shop. What are you doing? he asks. We should close the shop early, she answers. Wait a minute, he objects--we shouldn't carry this celebration bit too far--we might still add to our record! He puts his hands around her waist. Megan asks, do you believe in premonitions? No, he says firmly. I just had one, she says. Congratulations, he teases. I'm serious, she says. Seeing the expression on her face, he asks what's the matter. I had this strange feeling, she says--something terrible will happen to us if we stay here--we should sell the shop and leave Collinsport. Sell the shop? demands Philip. Yes, she says. We just bought it! says Philip, astounded--what's gotten into you?--you should be ecstatic!
I was, a minute ago, says Megan. You can't let one fleeting thought spoil everything, he chides, hugging her--things are just beginning to look up--we will be a big success. He kisses her cheek, but Megan looks unconvinced and troubled.
Altar - The man Julia and Carolyn met walks over, examining the altar. Suddenly, it splits apart. Thunder booms. We see the snakes...
NOTES: I loved Megan and Philip, and what will happen to them is a sad, sad story. They are so normal now, affectionate and loving, but wait...
Paul Stoddard is the mysterious man--why did they have to give it away in the credits? Shame on you, DS crew! His reaction to Carolyn was also something of a giveaway.
It's nice to see Carolyn and Julia so chummy, especially since they were once bitter enemies.
The antique shop is a really fun, fascinating set. Wonder how many treasures are there that we've already seen? It the traveling afghan hidden there somewhere?
889 - The altar parts, and between the two halves, Barnabas Collins, holding the Leviathan book, appears. "The waters shall nourish each grain of sand, wedged between ancient, sacred stones, and guide us to the threshold of a time to be and restore our flesh and bones," he recites. The time is at hand, he adds, stepping away from the altar. The altar closes, returning to its state of wholeness.
Collinwood - Julia shows Stokes her Tate painting. That's a name from the distant past, remarks the professor. I found it in a little antique shop, she says--is it genuine? Sure, says Stokes, no one seems to have copied or forged any of his paintings--why this interest in late Victorian art? Julia asks, how would I go about finding out if Tate is still alive? This puzzles Eliot--most unlikely, why do you want to know? I can't tell you now, says Julia--it's information for a friend. I'm heading out to see a patient of Dr. Reed's, says Stokes--a woman who had a traumatic shock and lost the power of speech--Sabrina Stuart. Uh, oh, says Julia to herself--her brother, Ned (whom Stokes calls a surly sort), consulted me about her. I feel you're fighting a losing battle, says Julia--I examined her carefully and it's my feeling she will never regain her powers of speech. But I have made progress, says Stokes--she can say several words and phrases, and I believe if I keep working with her, she'll at least be able to tell me what her traumatic experience was--I must go. She escorts him to the door, they shake hands, he leaves. Julia is clearly concerned. Hearing a heartbeat throbbing from Barnabas' portrait, she immediately grabs her bag and hurries to leave. Chris knocks at the door. I'm not that surprised to see you, says Julia--Carolyn told me you phoned last night. Chris is in a tizzy--I want to speak to Carolyn. You can't speak to her now, says Julia, I have some questions--why did you leave Windcliff? I was going crazy in that padded cell! Complains Chris. You can't be here, says Julia, you know that, you could change any minute without warning. Yes, says Chris bitterly, I no longer have the luxury of waiting for the full moon, but solitary confinement isn't the answer--there must be some other way. I don't want to raise any false hopes, she says, but I have learned about a man named Tate, who might help you, if he's still alive--a slim chance. How do you know about him and my problem? he asks. I can't tell you that, she says, after I find him, I'll tell you all. Even if you do find him, says Chris, we might be running out of time--Sabrina, my former fiancee, the only person who every witnessed my transformation, is still in Collinsport--if she talks, she will tell everything she knows.
Stokes sits with Sabrina--we're going to have a review, he says--what's your name? Sabrina Stuart, she answers hesitantly--I was born in Malden, PA. Good, says Stokes--you lived there until you were 20, and in that year, something happened one night. Night, repeats Sabrina. It's the last thing you remember, prods Stokes. I remember, says Sabrina, growing upset. Tell me what happened that night, and you'll be well again, says Stokes. The night Ned found me, begins Sabrina. Who is Ned? asks Stokes. My brother, she responds. You remember him finding you, says Stokes, asking what happened--what DID happen, what frightened you so? Sabrina opens her mouth, unable to say. Try to remember, he begs. Who is Carolyn Stoddard? demands Sabrina. What does that name mean to you? asks Eliot. I must see her, says Sabrina, tell her.
What do you want to tell her? asks Eliot. Sabrina looks away, unable to reply.
Carolyn, pretty in a dark blue dress, comes downstairs at Collinwood to greet Chris. Is hello the best you can do? she asks--no apology or explanation for where you've been? I had to go away, think things out, says Chris. You do too much thinking, comments Carolyn, looking at her reflection, fiddling with her hair in the mirror, but I have told you that before. You have every right to be angry with me, agrees Chris. Getting angry at you doesn't accomplish anything, she says. Should I leave? asks Chris. No, she says immediately, we should try talking. The phone rings. Carolyn answers. It's Eliot, who asks her a great favor--I'm at the Graham rest home on Shore Road, helping with a patient of Dr. Reeve's, a young woman who's had a traumatic shock--could you come here immediately?--it's difficult to explain, we've been trying to help her regain her power of speech, and tonight for no apparent reason, she spoke your name.
Old House - Julia enters. She looks around hopefully, but her back is to the stairs when Barnabas comes down. Her face suffuses with joy. "Barnabas, you ARE back!" she cries, throwing her arms around him. She hugs him, but when he returns the hug, his face is cold and joyless. Yes, Julia, I'm back, says Barnabas without inflection. Thank God! She cries--I had started giving up all hope. How devoted of you to wait for me all that time, he comments, an insincere smile on his face. How did you get back from the past? she asks. The same way I went in, he says, I-Ching. But...she begins, then says, I didn't think it possible. It was, he says, and here I am. Already thinking he's acting oddly, she smiles at him and asks, are you all right?
Is there any reason I shouldn't be? he asks. Did anything happen on the way back? she asks. No, he says. She smiles at him, then asks eagerly, what happened there--you returned because everything got resolved, right? I came back because I wanted to, he replies, a bit of petulance in his voice. What happened to Quentin, Petofi, etc., she asks. Petofi may have been killed in the fire, answers Barnabas--Quentin left to join Amanda Harris in New York. Did Quentin take his portrait with him? asks Julia. Impatiently, Barnabas rises from the chair--I'm tired, he says, we can discuss all this another time. Barnabas reaches for the Leviathan box on the mantel, taking it down. What is that? asks Julia--it wasn't there before--where did you get it? In the past, he says. Julia asks to look at it, tries to touch it, but Barnabas swivels it out of her reach--no, don't touch, he says, it's very old. Julia looks at him, eyebrows raised, perplexed and surprised.
Rest home - Carolyn tells Eliot, I couldn't refuse your request to visit Sabrina, given the circumstances--you have no idea why she spoke my name? No, says Eliot, I was hoping I'd find out. He introduces Carolyn to Sabrina. Carolyn smiles at the other woman, greeting her cordially. Alone! demands Sabrina, I must speak to Carolyn alone. It's most important that I hear what you want to tell Carolyn, says Stokes. Sabrina is insistent--alone! ALONE! Carolyn says I don't mind, if it's OK with you. He agrees to leave the room and goes out into the hall. Sabrina smiles crookedly at Carolyn, who sits down. Sabrina asks, are you really Carolyn? Yes, answers the blond. Ned, my brother, told me about you, says Sabrina--and you are in danger! What kind of danger? asks Carolyn. "Even though he loves you," says Sabrina, leaning forward in her wheelchair, "he will try to kill you!" Who? demands Carolyn.
Chris Jennings, says the other woman urgently.
This shocks Carolyn--why?--what do you know about Chris? Sabrina says, he is good, but...she can't finish. Tell me what you remember, urges Carolyn. I remember...how he looked... Where and when did you know Chris? begs Carolyn--tell me what you're talking about. She offers to get Stokes, but Sabrina grabs her hand and says, don't speak to Stokes, promise me, please! All right, says Carolyn, I'll say nothing to Stokes. Sabrina relaxes and releases Carolyn's hand. Both women are silent.
There are things that need to be resolved around here, Julia reminds Barnabas I am aware of that, he says coolly. I may have found a way to help Chris, says Julia. Yes, Chris, says Barnabas, as if he doesn't really give a damn, I assume he's still confined to the mausoleum. No, it was impossible to keep him there, says Julia--I moved him to Windcliff, but he's back here now--but today, I was given reason to believe Tate may still be alive. There's no reason to believe that's true, insists Barnabas, and even if he were alive, he'd be almost 100 and totally useless. We can't assume that, says Julia, annoyed by his attitude, we've got to make sure! Chris comes in to report, Carolyn is with Sabrina--suppose she talks? Chris notices Barnabas--I'm glad to see you, he says--how long have you been back? Earlier this evening, says Barnabas. I still desperately need your help, says Chris. We were just discussing your problem, says Julia. I was just about to give Julia my conclusion, based on my experience in the past, says Barnabas. Good, says Chris, now you can tell me. "I do so with regret," says Barnabas--"in all the time I was in the past, I found no solution for you--I'm afraid there is nothing I can possibly do." Nothing? asks Chris, devastated, exchanging looks with a startled Julia, who says, "but Barnabas, that..." Barnabas adds, coldly "I'm sorry, Chris, I must ask you to excuse me, I'm very tired." He heads upstairs. Julia offers to walk Chris back to the cottage. Outside the Old House, Chris says, Julia, Barnabas couldn't have meant that. Upset, Julia says, I don't know whether he did or not, but something has happened to him--he's undergone a frightening change--"There was no reason for him to lie to ME!" says Julia--he told me he returned to the future the same way he got to the past--via I-Ching--that would mean through the cellar, but that's not possible, since I locked the cellar door from the outside.
Chris doesn't understand, and neither does Julia--but I'm getting to the bottom of it--go back to your cottage, I've got something to do here. Chris leaves. That box, muses Julia, why did he bring it back from the past, what does it mean to him? He didn't want me to touch it--there must be something inside that will explain why Barnabas isn't himself anymore. Determinedly, she enters the house, softly closing the door behind her. She gazes upstairs, then goes to the table where the box sits. She lifts it, hearing inside the sound of heavy breathing, like an obscene telephone caller. She listens--breathing! Finding the box locked, she sees the key lying next to it and fits it into the lock...
NOTES: What's in the box? Something Pandora would understand only too well! Will Julia open it and find out what happened to Barnabas at the end of his journey to 1897? Will it harm her? How sad that Julia was so glad to see him and he behaved so coldly toward her! And poor Chris--how let down he must have felt, not just because Barnabas had no news that might help with his curse, but because this man, his friend, didn't seem in the least sorry about it!
Will Sabrina tell Carolyn why Chris is a danger to her? Stokes has made great progress with the young lady, it seems--will she remember--and tell--all?
Love, Robin
