Dark Shadows COL May 1, 2003 #1
EPISODE 918 January 2, 1970
SciFi Number 694
Narrator: David Selby
Timeline: 1970
RunTime=21:24

Cast:Elizabeth Collins Stoddard Joan Bennett
Chris Jennings Don Briscoe
Charles Delaware Tate Roger Davis
Dr. Julia Hoffman Grayson Hall
David Collins David Henesy
Grant Douglas(aka Quentin Collins) David Selby

- Elizabeth plans to kill Julia, but she is unable to bring herself to do it. Julia finds that Grant(Quentin) is not a werewolf. Chris takes Grant(Quentin) to see Charles Tate. Chris finds that Tate is a dummy.

EpInfo Found At: http://www.darkshadows.com/cgi-bin/eg.pl

Blow by Blow Narrative 918 by David M. Martin
---------------------------------------------
PARTIALLY EDITED BUT KINDA-ROUGH...
Typed from recording I watched. Expect
some spelling, grammar and typo errors.
<My comments in angle brackets>


VOICEOVER: The night of the full moon has ended with the morning and for Paul Stoddard's hopes for escape have ended too. Elizabeth has brought him back from the police station secure that no one believed a word of his accusations. Now, with Paul incapable of struggling, the members of Barnabas' cult must deal with yet another member of the household who is dangerous to them.


SCENE: Collinwood Exterior in Daylight: Dissolve to the Upstairs Hallway: We are focused on the door to Paul Stoddard's room. Elizabeth Stoddard steps out of the room and walks over to David Collins who is waiting in the hall outside.


DAVID: How is he?

ELIZABETH: He is almost asleep. Don't worry, Mrs. Johnson won't leave him until he is sleeping. There will be no more danger from him.

DAVID: (close-up) Barnabas says that you did well. He also says that you are to leave him here and not move him until Barnabas tell to do.

ELIZABETH: (two shot) I will do as he says of course.

DAVID: Barnabas also asked me to remind you that Julia Hoffman is your responsibility. (close-up) What are you going to do about her?

ELIZABETH: (close-up, smiles) Kill her! (extreme close-up)


TITLES: ...la de daaaa de da da deeee di daaaaa...


SCENE: Collinwood: Drawing Room: We are focused in close-up on an ornate clock on the side of the room farthest from the fireplace. The time is 9:30 AM We pull back and pan around the drawing room to reveal that Julia Hoffman is seated on the sofa and reading newspapers. She is searching for something and seems upset. She looks away from the paper and thinks to herself. "Nothing in the papers. Nothing about something horrible or anyone seeing any mysterious animal." She walks over to the fireplace and stares into the flames. "Whatever Quentin did last night nobody has heard about it yet. But somebody has to know something." She walks over and closes the drawing room doors, steps over to the phone table and dials. "... Miss Corey's room please... Good morning it's Dr. Hoffman. Miss Corey do you know if Grant Douglas came in at all last night?... Well perhaps he's in his room) now... Yes please call me back. Thank you." She hangs up the phone as we zoom in for a close-up of her as she thinks to herself. "Perhaps he is in his room. He has got to be." She walks back over and sits down the sofa, picks up the paper and begins reading.


ACTION: The music takes an ominous turn as we change views to a close-up of the handles of the doors to the drawing room. The doors open and we change views to outside in the foyer looking through the crack in the doors at Julia on the sofa. We pull back to reveal that it was Elizabeth who opened the doors. Quietly she pulls them closed. She has a large sack hung over one arm. She fishes in the sack and removes a pistol. She looks across the foyer and points the pistol somewhere around the mirror.


ACTION: The phone rings and we change views to the drawing room as Julia gets up to answer. "Hello?... Yes?... Oh, Miss Corey... He hasn't come back yet?... Yes, yes I would appreciate knowing when he does. Thank you." She hangs up the phone and thinks to herself. "He hasn't come back yet because he couldn't come back. The full moon turned him into an animal; with no mind, no memory, only the need to kill." She walks back to the center of the room as she continues. "I knew that, when I saw his room in a shambles. This must mean that Charles Tate's portrait of him didn't have the power I thought."


ACTION: As Julia is thinking this to herself Elizabeth pushes the drawing room doors open and steps into the room behind her. Without noticing Julia continues thinking. "How will I help Chris at all? Oh, am I..." she notices Elizabeth behind her and turns around. Elizabeth has been fishing in the bag she is holding.


ELIZABETH: (smiles) Julia is something the matter? You seem so deep in thought.

JULIA: Yes something is the matter.

ELIZABETH: What?

JULIA: Nothing I need bother you about. (steps past her over toward the door)

ELIZABETH: Have you stopped confiding in me because you found me so unsympathetic about Michael?

JULIA: You weren't unsympathetic about Michael.

ELIZABETH: What then?

JULIA: (steps toward the window) It just that I thought you were a little disturbed by it.

ELIZABETH: (close-up) Did you know that Paul forced Professor Stokes to take him to the police last night?

JULIA: No I didn't.

ELIZABETH: (steps over to the phone table and reaches into the bag) Well Stokes phoned me of course.

JULIA: (standing facing the window) I wish he would let me try to help.

ELIZABETH: So do I but he absolutely refuses. (removes a box wrapped in gold paper from the bag) He is terrified of you.

JULIA: (turns to face her) He is terrified of so many things. I have the feeling that the reason for his terror lies in the antique shop. I don't know what it is yet but I will find out. Then perhaps I can help him. (steps to the sofa and begins gathering up the newspaper)

ELIZABETH: (zoom in for a close-up of the bag she is holding, slowly removes the pistol from the bag)

JULIA: (straightens the papers and places them on the bench in front of the fireplace) <Oh yeah that's a great place to stack newspaper.>

ELIZABETH: (mid-distance pulls the pistol up and points it at Julia, hesitates for a moment then breaks down and returns it to the bag, upset, turns and starts to exit the room)

JULIA: (turns toward her as she leaves) Elizabeth? Are you all right? (steps over to the door to join her) Where are you going?

ELIZABETH: (turns back toward Julia) I just remembered something. (backs into the foyer and closes the doors)


ACTION: We pull back into the foyer with Elizabeth as she leans against the door jamb and reacts with horror at what she just about did. We pan around the room to reveal that David is standing on the stairs and looking at her. He comes down and she walks over to the foot of the stairs to join him. He turns toward her with his arms crossed over his chest.


ELIZABETH: (still carrying the bag) I... I kept remembering thinks she had said. Things that she had done for us... all of us. I just couldn't go through with it.

DAVID: (pauses for a long moment before he says anything) I see.

ELIZABETH: Do you? Then tell me what to do?

DAVID: No Elizabeth the book is there. It can give you strength to put the past out of your mind. We must think only of the time that is coming. (steps over and places his hands on her arms) The book is there to guide us.

ELIZABETH: (steps around him and goes upstairs)


ACTION: Back in the drawing room, Julia pours herself a brandy and walks over toward the window lost in thought about Elizabeth. Chris Jennings bursts into the room and rushes over to her. His coat collar is messed up, tie untied, hair mussed up.


JULIA: Chris... Chris what are you doing here?

CHRIS: I got tired of my cage at Wyncliffe doctor.

JULIA: You have got to get back before the moon rises.

CHRIS: I'm sorry doctor. I have different plans for tonight.

JULIA: What are you talking about?

CHRIS: You and I are going to pay a visit to Mr. Charles Delaware Tate. I can no longer be both a man and an animal.

JULIA: There must be hope for you somewhere. There is hope for you! (returns brandy glass to the cabinet) Oh Chris, Charles Delaware Tate is not the answer for you. That man is not capable of helping anyone. Forget him. (steps back over to him) Now go back to Wyncliffe and sooner or later I will have the answer for you and Quentin.

CHRIS: (steps away from her, still upset) Quentin and me. If he is Quentin!

JULIA: Oh yes he is. That is one thing I have learned.

CHRIS: (turns to face her) What do you mean?

JULIA: (walks over to him) Mr. Grant Douglas disappeared last night from his motel room. No one knows where he is or what he is doing.

CHRIS: So now Grant Douglas least of all. (walks over to the fireplace) The spirit of Jenny Collins said to me, "Find Quentin Collins and you'll be all right." Well, maybe I should just forget about that too!

JULIA: No I'm not so soon sure of that Chris. For awhile, in some ways, he did overcome the werewolf curse. Perhaps when he regains his memory he will know something that can help.

CHRIS: You don't believe that Julia. You say maybe he has overcome the curse, in fact your terrified that he hasn't overcome anything at all! (walks over to her very angry)

JULIA: Yes you're right. I am terrified. If only I knew where he was.


SCENE: Collinsport Inn: Olivia Corey's Suite: We are looking at the door through the glass on the room divider. Grant Douglas, looking very messed up. enters the room and closes the door. He leans for a moment against the door jamb and calls out to Olivia. He calls out again as he walks over and tosses his coat on the couch. He pours himself a drink and sits down in the chair in front of the couch.


Fade to black for commercial: Buy this, You need that, Bla Bla Bla...


SCENE: Collinwood: Drawing Room: David and Elizabeth have come to the drawing room to read from the book of the Leviathan. David, holding the book looks down at it for a moment as jungle music starts up in the soundtrack. He leans his head back and closes his eyes and begins to breathe heavily. He looks back down at the book and reads out loud to Elizabeth who is standing beside him. "For the people of Leviathan, all others are enemies. But the enemies of Leviathan must not die by the hand of Leviathan but their own kind themselves must end their existence on the earth if they have stolen from the people of Leviathan. In that way their spirits shall not return to war against us."


ELIZABETH: (seems to be entranced) What does that mean?

DAVID: (hugs the book close to himself) That means that you are a true Leviathan. Something inside of you kept you from killing Julia. Something kept you from disobeying the book.

ELIZABETH: No that's not true. (zoom in for close-up) I wasn't thinking of the book or the Leviathan. I was thinking of her... of our friendship.

DAVID: No it wasn't that at all. It was Leviathan. You knew somehow that if you killed her her spirit would come back to war against us. You knew because you are one of us. We do not kill because the spirit of the dead enemy is more dangerous than the enemy himself. It is all in the book Aunt Elizabeth. Everything that we must know. Everything that we must do is in this book. (looks down at the book)


SCENE: Collinsport Inn: Olivia Corey's Room: We start with a close-up of the liquor bottle in grants hand. He is still seated in the chair where we saw earlier and has a glass in his hands. We pull back as he picks the bottle up and stumbles over to the liquor cabinet to replace it. He uncorks the next bottle and pours himself another drink. It is at this point that Julia Hoffman steps into the hotel room., "Miss Corey..." she is astonished to see Grant and closes the door and walks over to him.


JULIA: You!

GRANT: Brilliant Dr. Hoffman. (gestures toward her with his glass)

JULIA: You weren't in your room all last night.

GRANT: Equally brilliant Dr. Hoffman.

JULIA: Where were you?

GRANT: What are you my doctor or my keeper? Do I have to check-in with you every night? (screaming at her, angry)

JULIA: (says nothing in reply, stares at him)

GRANT: Stop staring at me like that. I am not an animal in a cage.

JULIA: (still does not respond, stares at him... Finally) No you're not an animal in a cage. Whatever happened it wasn't your fault.

GRANT: It was my fault. I didn't have to hit the guy.

JULIA: What are you saying?

GRANT: Last night... I got in a fight at the High Hat Lounge. A guy kept staring at the girl I was with.

JULIA: You were at the High Hat Lounge in Portland last night?

GRANT: Yes unless they moved it.

JULIA: What were you doing there?

GRANT: I went there to find out what I could about Grant Douglas.

JULIA: What did you find out?

GRANT: Not much. (laughs, steps back to liquor cabinet for another drink) He seems to be a reclusive fellow that boy. But I did find out a few things about Frederick Thorne.

JULIA: Frederick Thorne?

GRANT: That's right. I kept asking questions and a guy recognized locker key that I had. So he sent me to the right storage house. (crosses the room and picks up a large folded envelope from his coat on the couch, hands it to Julia) I found what I had put in the locker.

JULIA: (opens the envelope)

GRANT: No I will save you a lot of time. There are a few letters in there; frantic letters from a girl to Thorne as to why he abandoned her so quickly. His driver's license which clearly means that he didn't intend to drive anymore.

JULIA: (begins removing items from the envelope and looking at them)

GRANT: Listen I said that I would save you the time. He was born in 1942.

JULIA: (looks at a newspaper clipping)

GRANT: Oh yes, there was a photograph. It was cut out of the newspaper. A photograph of Olivia Corey. Now why doctor why?

JULIA: I don't know. (walks in a small circle looking at all of the things in her hands) Are you sure that you went to the High Hat Lounge last night? (sits down the sofa)

GRANT: Am I sure? (steps over to the fireplace) Where in God's name do you think I was? What do you think I was doing? (shouting) What do you suspect I was doing? Or should I say Quentin Collins?

JULIA: (does not reply, looks down at her feet)

GRANT: Now what kind of a man is this Quentin Collins to make you run in here as if there were no tomorrow?

JULIA: (still does not answer)

GRANT: Well? COME ON!! Come on doctor stand up and tell me.

JULIA: (stands up and backs slowly away from him)

GRANT: Well, what's the matter? (rushes over to her) The fact that I got into a fight last night; does that change your image of me? Is that it?

JULIA: (grabs her purse and hands him the envelope) Nothing, nothing has changed my image of you. Excuse me. (exits the room)


SCENE: Collinwood: Drawing Room: Chris Jennings is pacing back and forth in front of the fireplace. He walks over to the phone table where Julia is speaking on the phone. "... I see... Thank you very much." She hangs up the phone.


CHRIS: Well?

JULIA: Grant Douglas was at the High Hat Lounge last night and did get into a fight around midnight.

CHRIS: So, whoever he is, he is not a werewolf. No.

JULIA: It's strange, they seemed to accept him so naturally as Grant Douglas.

CHRIS: Well Julia, Julia, he isn't.

JULIA: The portrait worked so it still exists.

CHRIS: (smiles)


Fade to black for commercial: Buy this, You need that, Bla Bla Bla...


SCENE: Collinsport Inn: Olivia Corey's Suite: Grant Douglas is still drinking and wandering around the room. There is a knock on the door and he yells out, "Come in!" Chris Jennings steps into the hotel room and closes the door.


CHRIS: I am Chris Jennings. Dr. Hoffman introduced us at the hospital. I need your help. (seems to be in a hurry)

GRANT: (stops him on the shoulder, steps over to the fireplace)

CHRIS: (follows him) I am desperate. I don't have time to explain but will you help me?

GRANT: (laughs and turns toward him) Are you sure that you haven't been getting into the whiskey supply? You wouldn't be the only one. (steps over and pours himself another drink)

CHRIS: I in stone cold sober and perfectly serious. (joins him at the whiskey table) I want you to go with me to meet Charles Delaware Tate.

GRANT: To see who?

CHRIS: Charles Delaware Tate. He's a painter, he is old. He is a recluse, he won't see me if I go by myself.

GRANT: Well, what difference would my being there make? I don't even know who he is. (steps away from him)

CHRIS: He knows Quentin Collins.

GRANT: Quentin Collins. (slowly turns to face him) Mr. Jennings... (makes an upside down fist with his right hand) Do you know that I have had enough of Quentin Collins to last me for 10 lifetimes? (shouting, angry, turns and walks over to the door) And I don't need to hear any more about him from a decrepit old hermit.

CHRIS: (steps over to him again) Not even if it helps you to find out who you are? Or, don't you care?

GRANT: I care. I want to know who I am more than I want anything in this world. I am telling you that I am not Quentin Collins.

CHRIS: (steps backward but says nothing)

GRANT: (turns toward him and laughs) All right... all right. Now look, I will go with you. If it will help you to get in I will say that I am Quentin Collins but that's it.

CHRIS: Okay. Okay... because when we get there, I want to do the talking.


SCENE: Collinwood: Foyer: We start with an extreme close-up of the portrait of Barnabas on the wall to the right to the front doors. We pull back to reveal that Elizabeth is staring at the portrait. As we continue to pull back we can see David Collins standing facing to the side. Elizabeth turns back toward him.


ELIZABETH: I failed him. He told me to deal with Julia and I haven't.

DAVID: (steps over and looks at the portrait) You will. Oh yes you will when the time is right. (turns and looks into her eyes)

ELIZABETH: I wish I knew when that was.

DAVID: You will. In the meantime I have got to go and talk with Barnabas to make sure that he is not angry with you. (exits the house)

ELIZABETH: (turns back to stare at the portrait)


SCENE: Corinth Bay: Residence of Charles Delaware Tate: We are outside the door and focused in close-up on a loudspeaker which is mounted above and to the right. A voice comes out of the loudspeaker. "Go away! I said go away. I wish to see no one." We pull back from the loudspeaker to reveal that Chris Jennings and grant Douglas are standing in front of the door.


GRANT: You will see me Mr. Tate.

C.D.TATE: Why should I?

GRANT: Because... I am Quentin Collins.


ACTION: Abruptly the door opens and they both into the house. We change views to the inner room as they push the door open and step inside. We can see Charles Tate seated at his desk facing the door. We are looking from behind him so that we see only the top of his head above the chair.


C.D.TATE: Stay where you are both of you. Don't come any closer. That's right just stand there. (we change to a mid-distance shot up him from in front as he looks up at them) Now let me take a good look at you. Liar! Liar!

GRANT: What?

C.D.TATE: You are not Quentin Collins. You are young man.

GRANT: Yes, so are you. (turns to face Chris) You told me he was old.

C.D.TATE: Yes yes old in years... old in years but there are ways of remaining young if one has true genius and one is a true artist. That's right Quentin. You see, I called you Quentin. I called you Quentin because you are merely a another example of the genius of Charles Delaware Tate. My genius!

GRANT: Do you know him? You think I'm Quentin?

C.D.TATE: How could I ever forget you?

GRANT: What do you mean?

C.D.TATE: You took Amanda Harris from me.

GRANT: Who is Amanda Harris?

C.D.TATE: (laughs his demented laugh)

GRANT: What's the matter? Why are you laughing?

C.D.TATE: (continues to laugh) It's true love after all!

GRANT: (shouts over him) Stop that laughing!

C.D.TATE: (continues to laugh) I always knew that she was a fool but...

GRANT: (picks up the vase from the bookshelf behind him and hurls it at Tate) Stop that!


ACTION: We change views to show the vase shattering against Tate's body. Grant does not notices because he is covering his ears to block out the laughter. Finally, over Chris's protests, Grant rushes from the house. Chris steps up closer to the desk looking at Tate who continues to laugh. Suddenly Tate's body collapses over on the desk and his head rolls off onto the floor. Chris reaches down and picks up the dummies head and we change to a close-up of it to make it clear that it is Charles Delaware Tate.


Fade to black: Roll Ending Credits: Shrink credits so nothing can be read: Next on SciFi - Bla Bla Bla ...