|Where and When|
|Season 2, Episode 10|
|Air date||September 7, 2010|
|Written by||Drew Z. Greenberg & Andrew Kreisberg|
|Directed by||Stephen Cragg|
Where and When was the twenty-second episode in the series Warehouse 13, and the tenth episode of the show's second season.
- Eddie McClintock as Pete Lattimer
- Joanne Kelly as Myka Bering
- Saul Rubinek as Artie Nielsen
- Allison Scagliotti as Claudia Donovan
- Roberta Maxwell as Rebecca St. Clair
- Armin Shimmerman as Charlie Martin
- David Anders as Jonah Raitt
- Tricia Braun as Beth Raitt
- Alex Paxton-Beasley as Young Rebecca St. Clair
- Chad Connell as Jack Secord
- Shannon Currie as Roxanne
- Robin Archer as Junior Executive
- Lisa Ciara as Hostess
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Events begin in Green Bay Wisconsin back in 1961, where a blonde young woman is fleeing an unidentfied pursuer when a cloak and hooded figure steps out in front of her, and impales her on a long knife. The blade is clearly an artifact, as the young woman turns rapidly to glass, and the pursuer, a man followed by another woman carrying a Tesla, shouts his denial as the glass girl shatters.
Cut to a similarly shattering vase at the B&B, apparently the result of Claudia's nervousness around H.G., who, by Regent fiat and flatly against Artie's wishes, is now a full Warehouse Agent. Everyone's conflicting agendas make for a largely unproductive briefing session, the outcome of which is decided by a visitor - Rebecca St. Clair.
Rebecca brings news of a death, at the age of eighty-two and of natural causes, which doesn't seem like Warehouse business, but she explains that the man in question, originally known as Jonah Raitt, was "the one that got away" as far as she and Jack were concerned, back when they were agents in the early '60s. Raitt, according to Rebecca, was, back in 1961, the editor of "Where & When" magazine, and the man who murdered four women, including his own wife, using an artifact which turned their bodies to glass. To achieve closure, Rebecca needs the artifact retrieved, and feels considerable guilt at her earlier failure, which was caused by Raitt somehow managing to make the two agents "forget a day". Artie, not wishing to be near H.G., personally takes on the mission, and Myka, in hopes of smoothing things over between them, asks to assist him, which he, grudgingly, permits. H.G. is fascinated by the details of the time loss, 22 hours 19 minutes, and deduces that someone used her Time Machine to "take over" Jack and Rebecca for a day. "Used" is, in fact, the wrong tense, as it's what Pete and Myka are just about to do.
Myka's attempt at making peace with Artie blows up in her face, and he storms off, alone, to investigate the death, leaving Myka to rejoin the others, as they discover the workings of H.G.'s machine. It doesn't, apparently, physically travel through time itself, rather it projects the user's consciousness back in time, to inhabit a specific, targeted individual, and it functions for 1339 minutes, in other words the duration of Rebecca's "blackout". The traveler retains full awareness of their original identity, and gains no special memories or knowledge, making the impersonation challenging, to say the least. However, Pete and Myka, in Jack and Rebecca have left themselves a message which persuades Myka that this is, indeed, what they're "meant to do".
The two seats spin counter-clockwise, and so does the Wheel of Time, as Myka and Pete are sent hurtling back into Rebecca and Jack in 1961. They find themselves in their "hosts" and the Warehouse of that era, a place naturally filled with cigarettes, smokers, and alcohol, none of which are helpful to Pete especially. They are almost instantly confronted by Charlie Martin, "their Artie" as Myka asides to Pete, who wants them to stop slacking off and get back to work. Rebecca and Jack's atypical accord arouses his suspicions at first, but they manage to backtrack, and talk Charlie into letting them pursue the "glass girl case", rather than heading to Calcutta, as Mrs. Frederic has apparently instructed, to track down Man Ray's Camera. Charlie, at least, serves to give Pete and Myka, particularly, an appreciation of how much more truculent Artie could be.
The sights, sounds, smells and everyday reality of 1961 hit the two when they set off to track down the artifact, and Myka, as Pete drops her off at her new job, reminds him that here "women slap men when they get fresh." A reel-to-reel tape recorder proves to be but the foothills of the Himalayas "Rebecca" will have to conquer in her new position, but Roxanne, the artifact's third victim, steps in to help the new girl.
Pete, meanwhile, has reached the Raitt residence, and, as a Secret Service agent doing the legwork for a potential Presidential visit, sounds Mrs. Meredith Raitt out about potential artifacts. In the interim, "Rebecca's" gossiping has caught the ear of the boss, Jonah Raitt, who proceeds to chastise her, and takes Roxanne away.
Back at the Warehouse, the power drain of the machine, and concomitant outages, are beginning to cause concern, in a variety of ways. Pete is feeling the pressure of keeping future knowledge to himself, but when Jonah departs, and Roxanne straight after, he is hot on their heels, slipping away while "Rebecca" handles the casual sexism of the day.
When Artie returns prematurely from Raitt's apartment in the present, and catches Claudia hotwiring the Warehouse power supply to accommodate the time machine's needs, Rebecca fakes a medical "moment" to distract him. However, as Artie vanishes for a glass of water, she is assailed by real pain.
Pete strikes up a conversation with Jonah at the "gentlemen's club" he's gone to, and Jonah explains his philosophy of editing, that beautiful women like Jackie Kennedy "should be admired like a work of art", making him sound more and more like a guy who would turn women into glass statues.
Artie discovers, via a medication called Erlotinib, that Rebecca has terminal cancer, hence the genuine pain, increasing Artie's determination to complete the mission for her while she's still around. Pete, trailing Jonah out of the club, is offered the second-last thing he wants - cigarettes - but what matters is who's offering . . . Myka. "In disguise", she has snuck in to stop Pete messing with the timeline, and while they bicker, he drives off. They contact Charlie who confirms "Rebecca's" suspicion that Jonah needs a place for his liaisons, and tells them of a one-bedroom apartment he has rented in town.
In the Warehouse, Claudia is geting the details of H.G.'s one "less than awesome" jaunt with the machine - back to Paris, 1899, to try to save her daughter, Christina's, life. H.G. failed to change history in that particular, but apparently redefined the art of slow death for her daughter's killers.
Back in 1961, Pete and Myka catch up with Roxanne, but their warnings, understandably, sound like mad ravings, and she flees from them, straight into the arms of her killer, exactly as we saw in the opening. As the "glass girl" shatters on the pavement, Jonah pulls up in his car, and the agents realize he's not their guy.
In his office, Artie's about to reanalyze the data when a power outage makes him check the grid, and he, against Rebecca's last second warning, seconds down a micro-pulse which plays havoc with the time machine. Pete and Myka in 1961 feel the pain of the burnt-out reintegration wiring, and H.G. and Claudia scramble to find some way no to lose their friends when the hosts awaken. Artie, unfortunately, has the wrong end of the stick, and H.G. at the wrong end of a Tesla.
It tranpires that Jonah's relationships with the three victims were business, not sexual - he wanted to take over the magazine, and felt that they were underappreciated and could do so much more. If someone is looking to stop the takeover by any means necessary, and knowing what they know, "Jack" and "Rebecca" tell Jonah that they need to get to his home, and wife, immediately.
Rebecca's interference forces Artie to let H.G. try to save the duo, but he makes it clear that their deaths will be instantly followed by Helena's own.
Bursting into the Raitt house, Jonah and Myka soon realize something is terribly wrong when Meredith starts explaining how she "took care" of his other whores, and Myka grasps, almost too late, the danger she herself is now in. Meredith is packing the artifact, which turns out to be Cinderella's Glass Knife, and when Pete grabs her she transfixes his hand to the wall with it, beginning the vitrification process. Myka manages to wrench it free before it proves fatal, but this gives Meredith time to regroup, and the two women fight for the blade. In their struggle Meredith is impaled on the knife, and, as she turns to glass, she laments that Jonah didn't love her more. He wishes she might have loved him less.
With time running out at both ends of the timeline, "Jack" and "Rebecca" need to make a home movie for - themselves, and H.G. and the gang race to replace the fried wiring. The duo persuade Jonah that clearing his name in 1961 is not an option, so he will have to disappear and make a new life, taking with him, to mail, the movie that will one day lead to his being exonerated.
Eleven minutes are left on the clock as Pete and Myka head at top speed towards the 1961 version of the Warehouse, but the worsening headaches force them to stop driving and go on foot. They find themselves in an orchard, the very one Rebecca told them she and Jack woke up in after their blackout, and so the loop is almost complete. Pete and Myka rush to bury the knife, with Pete still trying to change the past by leaving Rebecca and Jack a note explaining what it is and where to find it. Rebecca in the present advocates "emergency repair method number one" and all four of them hit the machine together. Pete and Myka are brought back to the present and, in a final twist, Rebecca persuades H.G. to send her on a guaranteed one-way trip, lasting only moments, to step into herself in 1961.
Pete, in the meantime, recovers the knife, and Myka and Artie make their peace and bury their own hatchet.
Rebecca, back in herself in 1961, kisses Jack, thus starting the cycle that made the two of them a couple. Rebecca of the present passes away, and her 1961 self finds, as she would later recall, Jack kissing her in the cherry orchard.
Artifacts and Gadgets FeaturedEdit
- H.G. Wells' Time Machine: In Helena's words, the time machine is essentially a "temporal consciousness transfer engine". It has a rather psychometric effect, allowing the user to inhabit the body of someone in the past, specifically for 22 hours and 19 minutes. It is one of the main artifacts of the episode.
- Cinderella's Glass Knife: Alters a person's body chemistry; turning bones, skin and organs to glass when stabbed with the knife. The process is reversed when the knife is pulled out before complete transformation. The other main artifact of the episode.
|Warehouse 13 : Season 2|
|#01 "Time Will Tell"||#07 "For The Team"|
|#02 "Mild Mannered"||#08 "Merge With Caution"|
|#03 "Beyond Our Control"||#09 "Vendetta"|
|#04 "Age Before Beauty"||#10 "Where and When"|
|#05 "13.1"||#11 "Buried"|
|#06 "Around The Bend"||#12 "Reset"|
|"Secret Santa" (Christmas Special)|