913_914 - Julia enters Harrison Monroe's bizarre house. The door closes automatically behind her; no one is there. Julia stares around herself, asking where are you? "You will see soon enough," says the disembodied, mechanical voice. Am I speaking to Harrison Monroe? asks Julia. Keep walking straight ahead, orders the voice, do not be afraid. You are now in the anteroom, turn to your left. (Julia IS afraid, she nervously fiddles with the top button of her coat.) You shall see a door. Julia doesn't see one, but a pair of doors is suddenly illuminated. She opens them. The voice orders, sit in the chair in the center of the room--do not move from it! Julia sits--I understand, she says--when will I see you? Now, my dear lady, begins the voice. A man's figure is illuminated behind a desk. Now then, Madam, asks a man who looks exactly like Charles Delaware Tate, what message do you have for me from Charles Delaware Tate? Julia is totally stunned into muteness. Speak up, the man orders--no one in the world could care more about what Tate has to say! Julia rises. Sit down, he orders. This is unbelievable! she says, retreating back to her seat--you're not Harrison Monroe, you're Tate, but you don't look a day older than you did in 1897! How would you know, did you did exist in that year? asks the man. Yes, says Julia, I found a way to transcend time--but you have found a way to suspend time. What is your business? He asks. I need your help, she says. You're wasting your time, he says. Please let me explain, she begs. I don't care about explanations, says Tate, just solitude and peace of mind. At the turn of the century, says Julia, you did a portrait of a man named Quentin Collins--you knew he was suffering from a curse that when the moon was full, he turned into an animal--that portrait ended his curse, and you can't tell me you don't remember that.
Legend, insists Tate, no truth to it. Julia says, it's completely true and you know it; I believe the portrait has to do with why Quentin still looks young, because he is alive and living in Collinsport now. You are wasting my time, insists Tate. I will bring him here, prove it to you, says Julia. Bring no one here, orders Tate, and remove yourself! Julia rises from the chair, intending to continue to plead her case. Sit down! Tate commands--you will not come near me! Julia sits. There must be more to your secret than meets the eye, she says. Yes, agrees Tate bitterly, I spent too much time being touched and put-upon by others!--so, I have let Tate die, and now my burden is gone--that was over 10 years ago, and as Harrison Monroe, I've found solitude and no one will ever be close to me again!--good night! Where is Quentin's portrait? Asks Julia. It was destroyed in the fire 100 years ago, says Tate. I know that isn't true, says Julia. Then you know more than I do, retorts Tate, and again bids her a curt good night. There's a man in Collinsport named Chris Jennings, says Julia, a descendant of Quentin's--he suffers from the same curse--you are the only person in the world who might be able to save him. "Are you suggesting that I paint his portrait?" demands Tate. It worked for Quentin, it could work for him, points out Julia. I am incapable of painting anything, he says. I saw a painting you did a year ago, says Julia--and you've retained your youth. My YOUTH, yes, my youth, chortles Tate bitterly--I have retained my youth, survived the ravages of time, and I have become my own greatest work of art! He bursts into grotesque laughter. I don't understand, says Julia. You never will, says Tate. The spotlight on him disappears; he continues laughing. Julia stands. Mr. Tate! she cries. He continues emitting peals of laughter. We hear a howling dog. I will guide you safely out, says Tate--go and never return!
Collinwood - Liz works on correspondence at the desk in the drawing room. Roger reads the newspaper on the sofa. He asks David, who's staring out the window, what's troubling you--you've been staring into space for over an hour--it worries me when you're this quiet (perhaps he fears he's thinking about bleeder valves again). Roger stands beside his son. I'm all right, David assures him. According to Maggie, you're not, says Roger--you've been very quiet, not nearly as active as usual. I wonder what made her say that? asks David. Liz looks up, lips pursed, listening. Roger says, I don't know, but I think we should rectify it--come to Boston next week, spend a few days in the city. David quietly says, "I'd like that"--I'm tired, I'm going to sleep; I'll do my homework. Roger bids David good night; the boy heads upstairs. Maggie is right, Roger tells Liz--David hasn't been himself for a week--do you know what's troubling him? I wouldn't worry about it, says Liz--he's been moody before. This time he seems different, says Roger, and leaves Liz to her correspondence.
David, in his room, glances through the Leviathan book, turning the pages. "And this shall be followed by a period of 10 days, and as darkness settles on the 10th day, there shall come forth another manifestation, and due homage shall be bestowed by all who believe." David, exultant, rises, leaving the book on his desk.
Liz continues to work downstairs. David comes to her and says, I've been reading the book again, and read another prophecy--we must leave and pay homage to him. Liz rises, and she and David walk out together.
Roger knocks at David's door--are you asleep yet, son? He enters the empty room, sees the unslept-in bed, and becomes upset.
David uses a key to open the locked antique shop. He and Aunt Liz go in. Upstairs, we hear the heavy breathing that signals the end of the reign of Alex. The door opens...
A young blond boy, a teenager this time, exits the room. David and Liz smile at each other, and at him. The boy asks, are you surprised? David says, "Alexander, we didn't know what to expect." Don't call me that, the boy orders--and David, you should know that--Megan and Philip picked a name I didn't like--from now on, you are to call me Michael--that's my choice. We came to welcome you, says Liz. We came as soon as I read the prophecy in the book, adds David. That is as it should be, says Michael, with an obvious sense of entitlement. Feel free to come to Collinwood for whatever you may need, encourages Liz--I want to take David home. No, says Michael, David will stay here tonight. Is that wise? asks Liz--we don't want to do anything to arouse suspicion. "David WANTS to stay," insists Michael--"don't you, David?" David looks unsure, but tells Aunt Liz, I do want to stay.
I'll go back to Collinwood, says Liz. Michael grins with satisfaction.
Julia returns home. Roger races to ask her, did you see David anywhere? No, she says, why? About an hour ago, he explains, I went to say goodnight--now I can't find him anywhere--I last saw him just before he went upstairs to go to bed. Distraught, Roger heads outside to search. Julia goes upstairs to check the rooms again.
As they descend the stairs at the antique shop, Liz promises to pick up David in the morning. Michael locks the shop, then turns to David and accuses, you ran to Barnabas and told him I let Amy in the room. I only did what I had to do, says David. You shouldn't have done it, says Michael--it made me very angry. He crosses his arms over his chest. David apologizes. That isn't enough, insists Michael--I'm going to have to teach you a lesson--anyone who displeases me HAS to be punished! How? asks David nervously. How would you like to spend the night right here in the shop, all alone, where it's nice and dark? asks Michael. Frightened, David says, I don't want to stay here alone. It's just an antique shop, says Michael, there's nothing here to hurt you. Where are Megan and Philip? asks David. In their room, says Michael, and that's where they're going to stay--do you understand that? Yes, David answers. There are some rules you have to obey, says Michael--be very quiet, stay awake, and you may not call for help--no matter what happens. David gulps. Good night, David, I hope you enjoy yourself, says Michael. He heads upstairs.
Julia and Roger meet back in the foyer, neither successful at finding David. Roger wants to call the police. Liz comes in as Roger is asking for Sheriff Patterson. David is staying at the antique shop with Michael, Liz informs him. Roger and Julia exchange looks. Roger, furious, asks Liz, is what you said true?--David is spending the night with a friend in Collinsport?--how do you know that? I just dropped him there, says Liz. Roger says, "I see,"--Julia, would you excuse us? Julia says of course and heads upstairs. Roger tells Liz, I want to speak to you in the drawing room. After they go in, Julia sneaks back downstairs and listens. Roger shouts at Liz, demanding, how could you dare do such a thing without asking me--David is my son, not yours, and whether he spends the night in town with a friend is a decision for me to make, not you. I thought you'd be pleased, says Liz--I know how concerned you were about David earlier, and after you went into the study, David came downstairs and told me what was upsetting him--his little friend Alex is leaving town tomorrow and David asked me to take him to say goodbye--I saw no harm in it and didn't think you would object. Is Alex the kid who visited last week? Asks Roger--an abominable boy
--he and David aren't even the same age, and I certainly wouldn't have allowed David to spend the night in a strange house. You have nothing to worry about, Liz assures Roger about--David couldn't be in safer hands (Jack the Ripper's).
Alone in the antique shop, David hears the relentless ticking of the clocks, gazes at the stuffed, dead animals staring at him, the badger, the deer head. He walks nervously around. A clock bongs loudly. He sits in a rocker, staring around him with terror in his eyes. Blinking light illuminates the death mask Alex chased after Carolyn with. David leaps from the chair; all he can see are the scary things in the shop--the animals, seeming to glare at him, the mask, the clocks. He considers making a phone call, but remembers that's against Michael's rules. Hearing loud breathing coming from upstairs, his mouth falls open in fear.
Dawn - David, near the end of frayed nerves, bites his knuckles. Michael comes downstairs and asks David, how are you?--have you learned your lesson? I'm fine, says David--and I have. Good, says Michael, we should get along fine from now on. They hear a knock at the door. It's time to open the shop, says Michael. David raises the blind and opens the door. Julia starts to greet David, then spots Michael, who asks, did you come to buy something? Carolyn told me there were some paintings I should see, says Julia--who are you? "Michael," answers the boy. Julia introduces herself--David, I thought you were spending the night with Alex. I was, says David, but Megan took him home this morning. Julia asks Michael, are you another relative of Megan and Philip's? Yes, responds Michael, I will be staying with them a while. That's nice, remarks Julia.
When Michael raises his hand, she notices the moon shaped birthmark on his wrist and stares at it. What's the matter? Asks Michael. Nothing at all, answers Julia--when is Carolyn expected? She doesn't usually come in until afternoon, says David. I'll come back then, says Julia, and leaves. "She noticed my birthmark," says Michael--"She didn't say anything, but I knew what she was thinking. She's beginning to suspect too much, David--we must find a way to deal with her--immediately." David looks unhappy at this announcement.
NOTES: The return of Roger Davis, as Tate/Monroe! That mechanical voice fits Roger Davis all too well! Why is he still so young--and seemingly insane? He was really creepy here, but overacted as usual. Wait until you see the denouement of this little side story! You just might lose your head--I mean mind.
Alex is gone, and when you count the days, he wasn't here that much--but it seems a lot longer, LOL!
I like Michael Maitland much better as an actor, and he's kinda cute. Why do these Leviathan kids all seem to have such ugly teeth? Don't they have dental hygiene?
David's punishment in the shop seemed a lot like Megan's, but nothing really happened except that he was scared. Michael actually seemed to dole out very mild revenge here. However, his insistence on "doing" something about Julia is going to get much more scary. Look for a change in Barnabas in the not too distant future.
915 - Michael winds up a clock in the antique shop. Barnabas enters. You took a long time getting here, complains Michael. They were expecting me at Collinwood, says Barn. "Who was expecting you?" demands Michael--"Your good friend, Dr. Julia Hoffman?" Barnabas glares at him. This is no time to talk about Dr. Hoffman, why did you want to see me? asks Barn. Because we DO need to talk about Julia Hoffman, says Michael, very urgently--your friend was in here and noticed this (he gestures to the moon shaped birthmark), and knew it was the same she'd seen on Joseph and Alexander. Perturbed, Barnabas asks, are you sure? Are you questioning me? shouts Michael angrily. Barnabas doesn't reply. Michael goes on--she's a very busy lady, her mind is always working, her eyes are always wide open--well I want those eyes closed, permanently--"I want you to kill Julia Hoffman--NOW!"
Barnabas' eyes widen.
There's no reason to treat her like some kind of a special case, insists Michael--now that you serve us, you must forget all that happened before. I cannot forget that Julia risked her life for me, insists Barnabas--I cannot take her life and won't let anyone else do it, either. I don't! cries Michael, you can't let sentimentality make you careless!--she is now an ENEMY! I refuse to regard her as such, says Barnabas--neither will you, and the subject is closed. Furious, Barnabas leaves the shop. We next see him at the Old House. The Leviathan box sits between two black candles, which he lights. He lifts the box and says, "Whoever you are, wherever you are, I want you to hear me--the boy demanded that I kill a good friend--I refused!--He can demand it a hundred times, so can any member of the Leviathans in this or any other world that they occupy, the answer is still the same--I still refuse--I will not do things I cannot agree with or understand." He replaces the box on the table, attempts to snuff out the candles, and succeeds in doing so with difficulty. I must not let Michael upset me so, he tells himself--he's only a child now, a child will respond to discipline--a child cannot demand that someone be killed! He puts his nails in his mouth and adds--he has no right--no right! Barnabas gazes into the fire. What is happening to me? He leans back in his chair, and begins to dream, thinking, a child cannot demand that someone be killed, he has no right. Oberon appears before him and says, Barnabas, YOU have no right to disobey. Barnabas looks at Oberon, asking, who are you? I am one of them, says Oberon. It was your presence I felt in the room, says Barn. Yes, says Oberon, I was waiting. What do you want from me? asks Barnabas. Originally, you were not one of us, says Oberon, we made you one of us, because you alone could transport our leader through time--we hoped just the act of making you one of us would be enough, that you would be loyal to us, but you are not. You dared to break our law. How? asks Barn. Enemies must be dealt with, that is the law, answers Oberon. "I will not hurt her!" insists Barnabas--the boy is cruel! He is a true Leviathan, says Oberon, he carries in his mind and heart what we believe--you are just an outsider who must constantly prove yourself, because you will never be above suspicion. What are you saying? asks Barnabas. "Will you deal with Julia Hoffman?" demands Oberon. "No," says Barnabas firmly. I ask you to reconsider, says Oberon. "I will not--nothing will make me change my mind!" says Barnabas. Suppose we find out, says Oberon, laughing cruelly. Barnabas' forehead wrinkles in confusion and dismay.
How do you plan to force me to do something against my will? asks Barnabas. We will get to that, promises Oberon, but now, do you know who we really are? No, I don't, says Barn. Before man, in the time before he existed, we ruled, when there was only essence and intelligence, nothing more, none of the shapes human beings wear today--then there was only energy, and power. There was darkness, then man was formed, he became dominant, we had to submit, or be destroyed--some of us did, outwardly, but in our hearts, we were waiting, silent as the serpent, swift as the snake, powerful as the Leviathans. Oberon lifts the box and continues--some of them did not choose to take on what you call human shape--they went underground and kept their true shapes--demons, fiends, creatures of the night, of darkness, and of evil, smiles Oberon. He puts down the box. And what of those people you have taken over? asks Barnabas. Like yourself, says Oberon, they are not true Leviathans, they must keep proving themselves, meeting our demands--I have no high hopes for them, but they will do for a while. They WON'T do, Barnabas says--not if you keep commanding them to do things that are impossible, just as I refuse to do what... There is a rush of wind. Oberon disappears, warning Barnabas, we they shall see, Barnabas Collins, for we know a great deal about you--what you are, and what you were. Barnabas calls, where are you?--where have you gone? The candles are extinguished, leaving Barnabas in near darkness. A storm rages outside, lightning filling the room. Barnabas looks to the window. The doors blow open. He hears a loud heartbeat. He walks to the open front doors, passing a mirror, and goes outside, where the wind blows hard. The heartbeat continues, and stops. Barnabas hears the sound of a bat, the creature appears before him. His eyes widen in terror. He screams as the bat attacks him. Dreaming, Barnabas cries, "Don't let it happen again--don't!" He awakens in the chair and realizes it was a dream, so like the way it happened before...he rises from the chair, hearing thunder and lightning, the giant bat, biting him--it was a dream, only a dream made to frighten me--I will not be frightened. He puts his fingers up to his mouth like a terrified little child. How much time has passed since I went to sleep?--three, four hours? He hears a knock at the door and hesitantly goes to open it. It's Megan. He invites her in. I was sleeping, he says. I wondered all day if I should come and see you, she confesses--after you left, Michael told me what had happened--he says he wants Julia killed. Did he tell you I wouldn't permit it? asks Barn. Can you really stand up to him? asks Megan. Yes, says Barn, uncertainly. I don't think I can, says Megan nervously--when we talked, the look on his face frightened me so, it was inhuman, when he grows up, he isn't going to be like that, is he?--I mean, that capable of destruction. Barnabas, distracted, insists, this isn't the time to talk about Michael.
Megan, sounding much like Crazy Jenny, says I must, please, you're the only one I can talk to. Not now, I'm extremely tired, he says. You just said you'd been sleeping, she reminds him--you want to get rid of me--I won't go, I can't, not feeling this way. Looking ill, Barnabas urges her to go--it's starting to rain. Do I have to beg you to listen to me? cries Megan--then I will-- I am SO frightened, when I listen to him, what he says, it seems to right, but when I think about it, I know how wrong it is... Megan, cries Barnabas, I beg you, go now--please go now! I don't understand, she says, and, giving him a look of hatred, she leaves. Barnabas, tortured, asks, what's happening to me? Then he looks in the mirror--and can't see his reflection! "There's no reflection!" he says to himself. He opens his mouth wide, puts a hand to his head and moans, a terrible sound--there are fangs protruding from his mouth!
Barnabas finds himself on the docks near the Greenfield Inn, searching for a victim. Why am I here? he asks himself--this cannot be happening to me again, I know why I'm waiting, I am standing here...I will not let it happen...I will go home, I must. He turns to leave, but feels a hand on his shoulder. He turns to see a smiling face (a young, untried Marsha Mason), who smiles and asks, where are you going? Please leave me alone, I'm in a hurry, he says. Try that on someone else, she advises flirtatiously, I've been standing here, watching you looking lonesome. Why have you been watching me? he asks. Maybe I didn't have anything better to do, she says, grinning, I'm new in town, and lonesome, too. Go to the Blue Whale, he suggests, you'll find lots of friends there. He tries moving away, but she pursues him and says, "I found the friend I want." No, leave me alone, he insists. She leans her head against his shoulder, caressing it--I can be a very good friend, she promises, you'll find that out--we should both go to the Blue Whale. She teasingly touches his ear. I can't go to the Blue Whale, says Barnabas, or anywhere else except my home. Take me with you, she coos. No, he says, I'm going alone--good night. He doesn't move, however. I don't think you are going home, she says--why should you?--a man, standing alone on a dark street, a storm coming up any minute--that man is waiting for something, isn't he? Barnabas stares at her evilly, hungrily. Her face changes, showing fear. What's the matter? he asks. I don't know, suddenly you frighten me, she says. Why don't you run away, go to the Blue Whale, he asks, grinning. (He is SO scary!) No, I know what I want and I'm not going anywhere--"Come on, stop being coy," she says, "I'd love to see the inside of YOUR house." (what a come-on, baby!) Barnabas takes that as an invitation, moves in and begins unbuttoning her coat. That's much friendlier, she murmurs.
He caresses her face and closes in for the attack. "NO!" she cries, then wails in pain as he bites into her throat. Afterward, he gazes at her lying on the ground and says, I didn't mean to hurt her; I couldn't help it, I had to do it! Fangs still bared, he runs away, leaving his unconscious victim where she's fallen, blood dripping from her throat.
Barnabas returns to the Old House, falls into the chair, and seemingly into a dreaming state again. The doors open. His dock victim enters, fangs protruding from her mouth. She approaches the sleeping Barnabas, caressing his face with her hand. Oberon appears. No, cries Barnabas. "Not up to your usual standard, is she?" asks Oberon, (yes, she is, he usually goes for dock sluts, doesn't he?) but then that's no reason to shun her--after all, you made her what she is, as you will others! Barnabas, horrified, rises from his chair. I see, says Oberon, you need time to think about it--think about THIS, Barnabas, you want more?--an endless procession of nights like this--and in the days, the desperate hunt for the coffin?--the race against the impending dawn? What will happen after this night, Barnabas. "If it is to begin again," says Barnabas helplessly, "then perhaps it would be best for the dawn to find me here and destroy me--but I will not kill Julia Hoffman!" he adds passionately. That is not the issue! shouts Oberon--the issue is your disobedience!--fortunately, for the moment, Julia Hoffman need not die--but she must be dealt with, and you will do it! Go back to the darkness, Oberon orders Barnabas' victim. She reaches to Barnabas as she disappears, twisting her hands desperately toward him. So she is one of you, says Barnabas. Yes, smiles Oberon, the object of the lesson. Oberon gazes up at Barnabas' portrait, which suddenly becomes Josette's. Upset, Barnabas asks, why do I see Josette's portrait?
It's another reminder, says Oberon--do you remember your long lost love, in another time--you were supposed to meet her, but never made it. No, because you stopped me, rages Barnabas. "We stopped her, too," says Oberon, "we sent you here, we kept her as hostage, our assurance that you will continue to do exactly what we tell you!" I don't believe you! cries Barnabas--you're lying. Disobey, warns Oberon, and Josette will die the most horrible death imaginable. Barnabas is absolutely horrified. Why, we might even let you see your lady love, says Oberon mockingly, but she won't be a pretty sight. I cannot let you harm Josette, says Barnabas--do what you want. "Julia Hoffman will understand," promises Oberon. "She's a very...understanding woman--and Josette is a very beautiful one." Barnabas' nightmare ends. He rises from his chair and says to himself, "Forgive me, Julia, dear friend." He notices his reflection in the mirror. It was all a dream, he realizes--well, most of it!
NOTES: This episode was so choppy, I was wondering if it was originally this messed up, or it was further chopped by Sci Fi so they could put in more commercials. There was an abruptness to the ending of several scenes that was terribly intrusive.
Anyway, despite that, I loved this episode. From the opening scene, when Michael orders Barnabas to kill Julia, to the dream sequences in which he is once again a vampire, to the marvelous Audrey ("Feed me, I'm hungry!"), flirting with Barnabas, then telling him how much she'd love to see the inside of HIS house, to the scenes with the matter of fact Oberon, who explains the history of the Leviathans, and basically tells Barnabas he is nothing to them but a Leviathan-in-training, to his determination not to kill Julia no matter what, to his final decision and request of Julia to forgive him--this was a surreal, scary, exhilarating ride, and Jonathan Frid didn't miss a beat. The range of his emotions in this episode--crafty, evil, imploring, determined, uncertain, vampire, human--utterly amazed me. Bravo to him. Marsha Mason's appearance, for those who know the award-winning star she went on to become, is such a treat. She's really wonderful as the Leviathan/temptress/vampire-who-won't-go-away, and her performance a sheer joy to watch.
I love the new incarnation of the Leviathan Lung Brat, Michael. His imperiousness is so over the top, his demands of Barnabas so outrageous! Compared to Michael Jay's Alexander, Michael Maitland is Olivier! Don't forget, we're not supposed to like these kids; they're wicked, evil Leviathans, and each child, in his own grotesque way, is a laugh and a half in his kinglike, I-own-the-word manner.
So, the Leviathans have Barnabas by the proverbial short hairs. He cooperates, or he (1) loses Julia; (2) loses Josette, who they claim they are holding prisoner; and (3) will be turned back into a vampire. Poor guy bucks them once, and they send him these dreadful dreams. Such cold, cruel creatures!
Love, Robin
