DC borrows from "Death Takes a Holiday," as the dapper Mr. Best gives Amanda seven more days to get Quentin to remember her.
Meanwhile, Julia wonders why all the photos of Quentin have been removed from the family albums.
Carolyn is in the foyer when someone knocks at the door. She admits Sabrina Stewart, still in her oddly mismatched clothes, her hair still stark white. Her movements are awkward, as if she hasn’t had much physical activity in a long time. The moon, the moon! Sabrina says. You must come! Carolyn is inclined to phone the nursing home, but Sabrina begs Carolyn to come with her. You must _see_! she insists. Carolyn gets her coat and a flashlight, and Sabrina leads her away from the house.
Julia returns to Amanda, who says nothing about Mr. Best. Julia vows that they will make Quentin remember.
Somehow Sabrina and Carolyn are able to get into Charles Delaware Tate's house and stand in the living room. They hear the werewolf howling far away, and Sabrina freaks out. The door opens-- but it's Julia. Sabrina accuses her of protecting "him." Julia silently shakes her head, but Sabrina becomes hysterical, and Julia slaps her then hugs her. Carolyn is shocked, but Julia tells her to take Sabrina back to Collinwood. Sabrina is crying now, defeated, and Carolyn gently leads her away.
After the girls leave, Julia begins going through Charles Delaware Tate’s desk. Eventually she finds a letter typed on the inevitable yellow paper. She compares it with another that seems to be identical and reads it to herself: Dear Sir: For many years I have been trying to find a large Tate canvas which disappeared following a fire at the turn of the century. (Just before the fire in the studio, he painted over Quentin’s portrait, Julia recalls to herself, then continues reading.) The painting was titled “A View of South Wales.” It is of paramount importance that I find the painting. Would you took kindly check your records and see if your gallery has had the painting at any time. If so, would you kindly advise me of who the purchaser was. Money is no object. I must have the painting to complete my Charles Delaware Tate collection. Very truly yours, Harrison Monroe. Reading the letter inspires Julia to search even harder.
Back at Collinwood, Carolyn tells Sabrina, You warned me that Chris would kill me. Did he kill that man tonight? No, not Chris! Sabrina says with great difficulty. Tell me about Chris, Carolyn says gently. You love Chris, Sabrina says. Carolyn can now reply, No. I don't know that I ever did. I know now that I never will. Believe me. But you love him. Yes, I love him! Sabrina declares and starts crying all over again.
Julia has brought a bill of sale to show Amanda. On July 19, 1968, the Mannix Gallery in New York sold “A View of South Wales” to a Mr. Schuyler Rumson of Little Windward Island, Maine. Quentin’s portrait is only fifty miles away! Julia realizes. How do you know it’s Quentin’s painting? Amanda asks. It has to be, Julia replies. Why else would Tate have sent out all those form letters to all those galleries? Schuyler Rumson is in New York, Amanda says. He is a famous magazine publisher. I’ve already tried to call him, Julia replies. He and his wife will be at the island tomorrow, and I plan to be there too.
Schuyler Rumson’s house is a stately neoclassical affair, with large columns in front and a balcony above. In the comfortable, wood-paneled living room, Schuyler Rumson (welcome, Geoffrey Scott!) himself is on the phone while Julia waits nearby. When he hangs up, she apologizes for intruding. He thinks she is here on business, but she explains that she wants to see the painting. You drove fifty miles and hired a launch just to look at a painting, Schuyler marvels. It’s important, explains Julia. You must be a true art lover, Schuyler comments approvingly. He steps over to a painting in an ornate gold frame. (Strangely, this “View of South Wales” looks just like the one Julia bought at the Todds’ shop--did Tate paint the same scene twice?) Julia thinks to herself, It is the right size, but I can’t tell if there is anything beneath the landscape--I must get it to Professor Osmund. She and Schuyler talk about the painting for a moment and agree it isn’t one of Tate’s best, done late in life. May I borrow it for a show I’m arranging? Julia asks. You’ll have to speak to my wife about it, Schuyler replies. It is her favorite painting, lord knows why--she has exquisite taste in everything else. Julia asks if she can see Mrs. Rumson. You can, Schuyler replies--in seven and a half minutes, when she is due to arrive. Tonight is our six-month anniversary. He is hinting that Julia should leave, but he eventually caves in and lets her wait. Let me show you a portrait of my wife, he says graciously--the most beautiful painting, of course, he adds proudly. He leads her to a small gallery adjacent to the drawing room and turns up the lights. He stops in front of the portrait, which depicts a blond woman in a plain green gown. Julia can’t keep from with shock and recognition. That’s her, Schuyler says proudly. That is my Angelique.........
