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December 2, 1969
|We have 21 images of Dark Shadows 910|
- In their time, those who live in the great house at Collinwood have been plagued by many mysteries. On this night, Julia Hoffman ponders the identity of a mysterious stranger who recently arrived in Collinsport. She is certain that the man, suffering from amnesia, is really Quentin Collins. But her efforts to prove it have been thwarted by another mysterious figure, a woman named Olivia Corey.
Olivia brings Grant to her hotel room. She is constantly staring at Grant, and she asks if he recognizes her. Grant says if she knows him, she will have to tell her where and when they met. Olivia merely says "it was a very long time ago."
Olivia is frustrated that Grant doesn't recognize her. Grant decides to leave, but Olivia tells him she will do whatever it takes to help him regain his memory and convinces him to stay.
At Collinwood, Elizabeth enters the drawing room and sees Julia. Elizabeth tells her she is very concerned over Paul's behavior. As they are talking, there is a knock on the front door. It's Chris, who has the Tate painting and x-rays. Julia informs him that Grant went off with Olivia, and they both wonder why she is so interested in him. Chris shows her the x-ray, and realizes there is a portrait underneath the landscape.
Chris and Julia decide the must find out who's portrait is underneath the landscape before Olivia can get her hands on the Tate painting. She calls Professor Stokes, and he says he knows someone who can remove the top layer of the painting. She tells Stokes she will have Chris bring him the painting.
At Olivia's hotel room, Olivia is still trying to help Grant regain his memory. He seems to momentarily remember a tune of music, but the memory quickly goes away. Julia then shows up, and asks to speak with Olivia alone. Julia wants to know why she brought Grant to her hotel room. She doesn't say exactly why, but she agrees to cooperate with Julia.
Chris meets with Stokes and the man who will analyze the painting. He tells Chris that Tate died about ten years ago, which worries Chris.
Olivia agrees to let Grant leave with Julia for the time being. Grant refuses to believe he might be someone who was born almost a hundred years ago, but decides to head to Collinwood anyway.
Julia and Grant arrive at Collinwood. Grant remarks that it is a very nice house, but nothing rings a bell to him. He gazes at the portrait of Barnabas before heading upstairs.
At Stokes' office, Stokes tells Chris that the writing samples between Amanda and Olivia are very similar, but he wants a few more days to look over them to be sure. Eventually, the landscape layer is removed from the Tate painting, revealing a portrait of Amanda Harris.
Back at Collinwood, Julia takes Grant through the West Wing and into Quentin's room. She starts to play Quentin's music, in hopes that Grant will regain his memory.
Memorable quotes Edit
Dramatis personae Edit
- Joan Bennett as Elizabeth Collins Stoddard
- Grayson Hall as Julia Hoffman
- Don Briscoe as Chris Jennings
- David Selby as Grant Douglas
- Thayer David as Timothy Eliot Stokes
- Donna McKechnie as Olivia Corey
- Ronald Dawson as Henry Osmond
Background information and notes Edit
- A dark vertical band can be seen on the left of screen affecting one camera.
- Henry Osmond at the university is an expert in painting restoration.
- Charles Delaware Tate's landscapes are considered inferior; he kept painting right until the end of his life. His portraits are rare and quite valuable. Osmond believes Tate died 10 years ago.
- Quentin Collins was born in 1870.
- The portrait of Amanda Harris portrait is shown to be under the landscape A View of South Wales.
- Amanda's portrait is shown to be intact in this episode, which Tate painted over. However, the last time it appearance, it was bricked up with Gregory Trask in Quentin's room, who upon finding it destroyed it. (It was established in 820 that Tate painted multiple pictures of Amanda. In 912, Julia confirms that there were indeed multiple Tate portraits of Amanda. The two that we have seen are exactly alike, so apparently Tate was not inspired to show her in different poses or with different expressions.)
- Why isn't Amanda's portrait aged like Quentin's was later shown to be in 932? (Amanda youthfulness isn't linked to the portrait; instead, the pact she made with Mr. Best prevents her from aging, as seen in 922.)