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.
