For purely selfish reasons, Tim shouts, No, you can't kill her! Then he rushes off to Collinwood. But does he offer Amanda a crumb of comfort? No. She already knows he just wants someone he can use. He brutally reminds her about the created man's fate, then tells her that she has no right to live any kind of life than the life she is living now. Quentin hears Tim trying to drag her away and intervenes. No sooner has he gotten her settled with a brandy (of course) than Charles comes charging in and breaks the news to Quentin that he created Amanda. Quentin is skeptical, even when Charles tells him that his (Q.'s) curse has been transferred to his portrait. If anything happens to the portrait, he warns, you will revert to what you were at the next full moon! This gives Quentin pause, then concedes, All right--it may be true about my portrait, but Petofi was responsible for that, not you. I painted, Charles reminds him. I did what Petofi wanted me to do, but my ability is right here in my hands. Does it seem a bit more credible now? No, Quentin replies. It’s not the same thing at all. It’s one thing to apply black magic to someone’s portrait. It’s quite another to paint someone and have them come to life! But I’ve done it, Charles insists. Have you told Amanda any of this? Quentin asks. I’ve told her everything! Charles shouts. Stepping close to Charles, Quentin says sternly, I am warning you, Tate, now, if you come back here and bother her again, I will have you certified a lunatic! He stomps out, leaving Charles alone in the drawing room.
But Charles goes straight upstairs to Amanda's room--how does he know where it is? He warns her that Quentin will leave her as soon as he realizes that what Charles told him is true.
After Charles leaves, Amanda starts crying again as she reaches under the bed for her suitcase and starts packing her belongings. Quentin finds her in this state. Was that Tate I just saw? he asks. Yes, it was, she replies. What are you doing? he asks. I am leaving Collinwood--alone, she replies. I know why, Quentin says. Tate told me everything. I didn’t believe a word, and I hope you don’t, either. I don’t know, Amanda says unhappily. Setting his hands on her shoulders, Quentin tells her, Listen to me! Even if it were true, it wouldn’t change my feelings for you! But what if it were true? Amanda asks miserably. But it’s not true, Quentin insists. We’d always have doubts, Amanda says. I wouldn’t, he assures her. Oh, but if you ever did.… she says. I never will, he promises her. Will you go away with me now? They hold each other close as she replies, Whatever you say. They kiss passionately, then smile at one another. Quentin says, In the meantime, you’d better finish packing. There’s a train leaving for New York at six p.m. tomorrow evening, and we will be on it. I’ll take care of the arrangements. I think I should leave Collinwood first, Amanda says. I have Trask to worry about, and you have Angelique. We’d better not see each other for the next twenty-four hours, Quentin says, until everything is ready. I’ll go back to the inn, Amanda says. No, Quentin replies, I have a better place in mind--the old rectory. The woman staying there will be happy to put you up until you’re ready to leave. I’ll meet you at the station tomorrow at a quarter to six. I’m very happy now, Amanda says at last, and they kiss.
Meanwhile, Charles has found Quentin’s rooms. He slips in quietly, closing the door behind him. He spots the portrait in its cloth wrapping. (On the frame is the plaque that formerly appeared only on the werewolf version.) As he uncovers the portrait and gazes at it, he thinks to himself, Amanda Harris is mine, Quentin. You can try to take her from me, but you will not succeed--not without this portrait. If the portrait should be destroyed, you will be cursed again, Quentin! And if it becomes necessary, I _will_ destroy it! He removes the painting from its frame and exits with his prize....
