Dark Shadows 11/27/96
Judy Phillips
Dark Shadows
Wednesday November 27, 1996 Episodes 832 & 833
Episode 832 by Judy Phillips
Trask watches his watch until Quentin experiences the pains of transformation,
but... this time, Quentin says, it's a little different than usual. Suddenly,
he announces that the pain is gone. Trask doesn't like this turn of events at
all. He decides his watch must be wrong, and runs upstairs to see if the moon
has really risen or what's going on. Quentin stares at his hands, amazed that
they haven't sprouted fur. He's still doing this when Trask returns. Quentin
says he can tell just by looking at Trask that the moon has indeed risen. Trask
is not happy; Quentin is. He asks to be let out. Trask says no way, he can't
do that because Quentin is the werewolf. Quentin facetiously conveys the
message that Trask has no proof of this now, and would never get anyone to
believe him if he were to try to tell the story. Trask finally gives in and
lets Quentin out of the cell, though he's really, really not in a good mood
about this.
At the Collinsport Inn, Amanda tells Tim that she wants to get out of
Collinsport, and she wants nothing further to do with Trask. Tim tries to
flatter her into going along with his plans. Meanwhile out in the woods, Trask
decides to get rid of his signed confession to Minerva's murder once and for all
by burying it.
At Collinwood, Petofi tells Quentin he'd like to have an audience with him.
Quentin is opposed to this idea, so he tries to strangle Petofi. Petofi's right
hand easily breaks the stranglehold, then he straightens his tie and states that
Quentin is really hot blooded, but oh so very charming. After that compliment,
Quentin begins to suspect that Petofi might have had something to do with his
not transforming tonight, so they go into the drawing room to discuss the matter
over drinks. The drinking part goes really well, but the discussing part
doesn't, due to the fact that Petofi chooses not to reveal anything important.
Quentin finally decides that Petofi really doesn't know anything about what
happened - or what didn't happen, tonight. Petofi's response to that is just
you wait and see what
happens next.
Amanda and Tim are still arguing over whether or not she's going to move into
Collinwood. Tim tries to use the luxuries of Collinwood to persuade her. She
replies that she doesn't care about luxuries, well, at least that's not all she
cares about. To prove this point she rips a diamond bracelet off of her arm and
throws it on the floor, then she throws her arms around Tim and says she just
wants to go away with him. He says they will go away, after they do what he set
out to do, then he picks up the bracelet and tells her not to throw such
valuable stuff around like that. Ultimately the bracelet works to convince
Amanda to at least consider going along with Tim's wishes.
Later, Amanda is at Collinwood telling Trask more stories about the man in New
York. Trask paws at her and offers to go to the Inn to get her belongings. She
makes up a bunch of excuses and eventually succeeds in getting him to let her
take care of that herself. Trask leaves to get a room ready for her, and she
goes to the phone and calls Tim. She tells him that she really, really, really,
really, doesn't want to live at Collinwood. She hangs up abruptly when she
hears Trask returning to the drawing room. She is surprised however, to
discover that it's not Trask, but rather hot blooded and charming Quentin
entering the room. He plunges into a heavily romantic conversation which lasts
about two minutes, then he excuses himself and leaves the room. Amanda runs to
the phone, calls Tim, and tells him that all of the sudden she's changed her
mind, and she really, really, really, really wants to live at Collinwood. Trask
enters the room just as she's hanging up, and she tells him she was talking to
the manager of the Inn, who's bringing her luggage right over.
Quentin goes upstairs, and gets himself depressed thinking about how under
normal circumstances, having met Amanda during a full moon, she'd be dead by
now. He decides he's just got to figure out what happened to prevent the
transformation tonight. He goes into his room and notices his portrait sitting
there, covered. He uncovers it, and he's horrified to discover that unlike
himself, his image in the portrait has in fact transformed into the werewolf.
Episode 833 by Judy Phillips
Charles is at his studio looking with concern and confusion at his portrait of
Amanda. He puts it down, then Quentin shows up. He enters without bothering to
knock, narrowly escapes tripping on the step, then starts throwing accusations
around. He accuses Charles of painting a portrait of a wolf. Charles says no
way, all he painted was a portrait of Quentin. He shows Quentin sketches of the
portrait to prove it. Quentin looks confused and upset when he looks at the
sketches (undoubtedly because he knows he's really a lot better looking than
this), and he asks more questions. Charles mentions Petofi, and Quentin says
now they're getting somewhere. Charles mentions that Charity once thought she
saw a wolf in this particular portrait, but it was probably her imagination
then, like it's Quentin's imagination now. Quentin informs Charles that they
are going to Collinwood right now to look at the portrait and see just who's
imagining what.
Charity/Pansy descends the Collinwood staircase, looking rather bored, until she
hears Quentin's music coming from the drawing room. She checks her makeup and
goes into the room, but she's quite unhappy to discover that it's Amanda who's
playing the gramophone. She tells Amanda she has no right to be listening to
"his" music. Amanda informs Charity that she meant no harm, and since she lives
here she was just making herself at home. Upon learning that Trask invited
Amanda to move in, Charity beckons Trask to the drawing room (at the top of her
lungs.) Trask comes in and tells Charity it's true, Amanda is here at his
request, then he drags Charity up to her room. She screams for Quentin to help
her as she's being hauled up the stairs, and Amanda is left in the drawing room
to wonder how she ever got into this situation.
Quentin and Charles arrive in Quentin's room, where the portrait is still in its
lupine form. Charles doesn't get it. Quentin says then he'll ask Petofi; he
should know. Charles says that's fine with him. Quentin warns him not to say
anything about this to anybody. Charles leaves, and Quentin covers the portrait
because he's getting really tired of looking at it.
Trask is back in the drawing room telling Amanda that Charity is the poor
unfortunate victim of some devilish scheme. He sees Charles coming downstairs
and tells Amanda he's got to leave for a minute but he'll be right back. He
asks Charles what he's doing here. Charles says he came because he's ready to
paint the portrait of Charity. Trask says there's been a change of plans about
that, because Charity isn't quite herself these days. He suddenly gets a light
bulb over his head, and says there is someone else who Charles could paint
instead. He takes Charles into the drawing room and introduces him to Amanda.
Charles tries to be calm, and he admits that he's seen Amanda at the Inn. Trask
tells Amanda that Charles is going to paint her portrait. He then leaves so
artist and model can get to know each other. Charles approaches Amanda and asks
her if she feels like they've seen each other before. She says no, not really.
She remembers Count Petofi mentioning Charles's name before though. Charles
says he's got a lot of questions for her, starting with when she was born. She
doesn't like this question, but she says she has this weird feeling that she
actually should try to tell him why.
Upstairs, Trask and Charity are arguing about Amanda's presence in the house.
Charity says either Amanda goes, or she does. Trask says she wouldn't dare.
Charity says just watch me. Trask leaves after getting tired of listening to
her, then she starts packing.
In the drawing room, Amanda admits to Charles that she doesn't know anything
about herself. She explains that all she remembers is a day when she saw a
newspaper lying on the street. She says she picked the paper up and tried
desperately to find a clue in it as to who she was, or what life had been like
before that date. Charles asks her what date that was, and she tells him March
11, 1895. When he hears this, Charles says he's got to go right this minute, he
can't explain, but he'll be back. He leaves the house, Amanda follows him to
the foyer, and she wishes she hadn't done that when Charity comes downstairs and
talks mean to her again. She says she's leaving, but she'll be back, and she
warns that Amanda will be very unhappy here.
Charles goes to his studio and searches through his sketches, until he finds the
very first one he ever sketched of Amanda. The date on it is March 11, 1895.
He wonders if this is just a coincidence, or what. He tells himself he's got to
get his mind off of all this, so he decides to try sketching something else
besides Amanda for a change.
Quentin enters the drawing room while Amanda is still there. She tells him she
was waiting for Charles Tate, and Quentin instantly tells her that Charles is
all wrong for her. He starts up the gramophone, and Amanda tells him that she's
heard that this is his song. He asks her to dance, she accepts, then he ends up
reciting the words to the song to her. Before he finishes he decides this is
getting boring, so he kisses her instead. Trask enters the drawing room in time
to witness this, and he objects to it, loudly. Quentin takes the blame, and
Trask tells him to just shut up and get out. Quentin kisses Amanda's hand and
exits, then Trask angrily tells Amanda that she will never be alone with Quentin
again.
Charles is painting a still life, and he decides it needs something more than
he's got on the table. He paints a vase in amongst the fruit and plants, then
looks up and sees that the vase he's just painted, is now sitting on the table.
NOTE: Dark Shadows will not be aired on The Sci Fi Channel Thursday and Friday
November 28th and 29th.