We're still in 1897 - where you most of you will recall Barnabas is SUPPOSED to be looking in the past for the reasons why Quentin's spirit in the present (1967) is being so troublesome and taking over David, the overacting 13 year old. Also, I found a site with a quick primer on the plot to help you catch up if you want
February 10-14: Oh, children - forgive my laxity. It's been crazy busy. Between work and reaquainting myself with my kitchen, I've been falling ever more behind on recaps, I seriously doubt I will ever get fully caught up if I keep doing those LONG daily ones so I think I'll have to go week to week. I truncated the last couple of weeks a bit so forgive me this highlights list so I can catch up and so can you :-) Feb 17-21 and Feb 24-28 to follow in the next day or so. I have my notes - I must just set them in order.
You may or may not recall that at this point
And now, back to our story in progress
Edward returns to Collinwood to find that Jamison is possessed by Petofi. We know he is possessed because he is wearing the same black gloves the Petofi always wears and he keeps doing this "Lady Macbeth wringing of the hands" business so that we keep noticing them. Actually, it's not a very Lady Mac thing comes to think of it since she was doing it from guilt and he's doing it more in evil anticipation but you get the idea. In any case, Edward comes home to the weirdness once again and is probably wishing he'd never come back. Edward and Quentin then argue about who's motives are more wretched and inadequate. I think Quentin wins when he informs Edward that:
While the two men play "top my tragedy" Jamison/Petofi kisses Beth on the cheek and she acts as if she is under Barnabas' control. Huh! Possession and madness can be transmitted through casual physical contact. Note to self, kiss no one wearing black leather gloves. Quentin follows Beth to Barnabas and is shocked SHOCKED I tell you that Barnabas would tamper with Quentin's woman in this way. I am shocked as well but more at the sexist hypocrisy of Quentin than anything else. Barnabas admits he had tampered with Quentin's woman previously (due to circumstances beyond his control - aren't they always?) and feels bad about but also swears that he had not summoned her this time. Both men are puzzled. Jamison/Petofi, not content with creating madness in the servants' hall, kisses Edward who starts to believe he is a servant looking for work. Specifically, he seems to believe he is a British valet. Quentin, worried that Trask will use Edward's condition to his own advantage, locks up Edward for his own good (and I have to assume that there is some small irony in the fact that Edward is being locked up in the tower room that once imprisoned Jenny). Jamison/Petofi commissions Charles Delaware Tate (played by Roger Davis without gloves but with a natty beret) to paint a portrait of Quentin. Jamison/Petofi kisses Charity and she starts to believe that she is Pansy Faye. Quentin kicks Charles out of the house and tells him he doesn't want a portrait.
Barnabas locks Jamison/Petofi up in the basement of the Old House - for his own good you understand and informs the prisoner that until the boy is released from this blight, he will remain locked up and useless to Petofi. I begin to see the benefits of having a dungeon in the basement and make a note to speak to my brother about a similar kind of thing for my parents new place in CT.
Trask returns to Collinwood to find Charity acting like Pansy Faye. He shakes her until her teeth rattle and she acts more like herself. She then tells him how awful things have been while he was away visiting Judith in the Nut Hut (Judith is reportedly now regressed to 10 years old and mad as a hatter). Trask, pleased that the family madness seems to be catching, wants to move fast and wants Evan to draw up papers that declare Edward and Jamison insane. Evan, still wary of all things magic and or evil, hesitates but Trask threatens blackmail and rails about Evan's participation in previous plans so Evan caves. After Trask leaves Che Handley, Evan lays down for a nap and we see Jamison/Petofi "call out" to him from the cell in the basement of the Old House (I guess Barnabas didn't count on that little trick). Under Jamison/Petofi control Evan writes a letter that admits to his and Trask's role in Minerva's death; Trask is tricked into signing the paper. Horrified by what Evan has written and that he has signed it, Trask puts the paper in the fire; after he leaves it re-appears on the desk amidst spooky and tinny music. Charity finds and reads the confession of Evan and Trask. Horrified and agahst, she asks her father what it means. He rails at her for allowing herself to be convinced by something to CLEARLY the instrument of the devil and she allows herself to be convinced that she is mistaken. Idiot girl. She's smarter in her Pansy Faye mode - and her accent is better than Pansy Faye's as well. The Pansy Faye music remains hideous. Trask again tries to destroy the confession however it re-appears later while he talks with Charles Tate about doing a portrait of Charity. Jamison(Petofi) offers to cure Quentin if he will release him. Charles starts the portrait of Quentin using a photograph and while visiting the studio of the artist; Charity sees the portrait change from Quentin to a werewolf
While Aristede chats with Charles we learn that
Jamison(Petofi) summons Aristede to the Old House to help get him released and while waiting for the dapper young man to show up, Jamison kisses Magda so she is compelled to lead them to Barnabas' coffin. It seems that Jamison/Petofi doesn't like being locked up very much and wishes to discuss that with the family vampire. They find Barnabas' coffin empty however and NO ONE is more shocked than Magda. So they make their way to the Old House to see if they can find some sign of where Barnabas might have gone. While making the set incredibly untidy and picturesquely toppling bookcases, Jamison(Petofi) finds the Collins family history book (the one from 1969 that Magda brought to the house after Barnabas told her that Vicki in 1969 took it back to 1795 and...oh never mind) Anyhow, under questioning Magda tells Jamison/Petofi that Barnabas comes from 1969. As a result, Jamison/Petofi becomes interested in escaping to the future.
Charity meanwhile is having yet another dream about Quentin's - this time about his womanizing behavior and the dream ends with him making out with and then killing some random brunette that we've never seen before. Later while out for some air, Charity finds Quentin lying in the woods next to the bloody body of the woman in her dream.
Quentin regains consciousness with the classic line reading, "Where am I? What's happened?". He's only dazed for a moment or two however because he quickly realizes that Charity has noticed not only the bloodstains on his clothes but the even larger bloodstains on the mauled young woman (who he refers to as Tessie) lying just off to the side. He demands that Charity help him back to the house and she agrees (scared witless as opposed to her normal witlessness) provided that they can send back help for the injured girl with them as well. Quentin doesn't care for this idea but he agrees and threatens Charity to keep her quiet about the circumstances in which she found him.
Charity is pacing anxiously in the foyer (so important to be in plan sight of anyone and everyone when having a tussle with one's conscience) when her father comes down and says that he must speak to her immediately. He's been thinking about this whole "gaining control of the Collins Family fortune" theme that seems to dance in and out of the show whenever they are running low on supernatural creatures. He has decided that to move things along more quickly Charity must marry Quentin right away. She refuses - with great determination and hysterical shrieking (And can you blame her? The man is an animal - literally). Jamison/Petofi bursts in and tells Trask he found a woman dying in the woods. Trask is skeptical but Charity reminds her father about Dorcas and the beast in the woods, and he is convinced. After Trask leaves, Jamison is joined by Quentin in the drawing room and suggests to Quentin that they have a treasure hunt. He leads Quentin to searches through the desk and, finding the confession, smirks and says, "So, they made Tim Shaw murder Mrs. Trask." Trask enters, carrying the dying girl. Quentin slips the paper into his coat pocket. "Call a doctor and the police", orders Trask. While Trask and Charity are sitting by the girl, she comes to and asks for Quentin. This makes Trask suspicious but since Tessie dies almost immediately, nothing comes of it. Charity accuses Quentin of her death and tries to call the police but Quentin tells Charity that he will take her father's confession to the police if she doesn't keep quiet about his role in Tessie's murder. Charity of course knows about the confession - having read it before - and agrees that she will say nothing. I suspect she'd never been convinced by her father's denials anyhow so she's already inclined to keep it quiet.
Just as Quentin is feeling a bit more on solid ground, Mrs. Filmore (who we've never seen but who we know was the caretaker of Quentin's offspring), comes and reports that the little girl is now exhibiting the same signs of imminent death that the little boy had. Desperate to save THIS child, Quentin sends word to Magda to meet him at Mrs. Fillmore's and rushes off to steal Aristede's medallion (which seems to have protected Aristede from nearly everything he has encountered) in order to protect her. The medallion fails to have any effect and Magda and Quentin pace worriedly as the baby's fever climbs higher and the crying gets weaker and weaker. Finally, Magda summons Julianka (assuming naturally that this is part of the "everyone you love will die" curse) to spare Quentin's daughter, however Jenny appears instead.
Jenny, looking as insane in the afterlife as she did in this one, agrees to save the child provided that Quentin do whatever he can to spare the baby the pain of growing up in the Collins family. He agrees, apologizes to his dead wife for the pain he and his caused her and swears that if he could do it all again, it would be different this time. Jenny doubts this and says so but she doesn't seem bitter about it and saves the child.
Trask, deciding to approach the question of Quentin from a new angle, has concluded that if Charity won't marry Quentin, Quentin must be done away with. In order to accomplish this (and continue his habit of never doing his own dirty work), Trask goes to the locked Tower room to visit Edward (who is still locked away for his own good and still thinks he is a servant). Trask works Edward up into a state and suggests that Edward kill Quentin because Quentin is the one keeping him locked up and will never let him (Edward) out of the tower room. Edward agrees that extreme circumstances make extreme action more acceptable and swooshes out to find Quentin napping in the drawing room - oh wait, close up on the brandy bottle. He's not napping. He's passed out. Anyhow, Quentin is dreaming that Jenny is dancing and singing to him and she's telling him to let the little girl go and send her far far away. The dream changes to Edward helping him pick out a tie for an evening out. In the dream, Edward is choking him with the tie and as he wakes, he finds Edward actually choking him. He's attempting to throw Edward off when Nora walks in. She is shocked to see her father (who has no idea who she is) strangling everyone's favorite uncle and she cries out, taking both men by surprise and Edward is thrown to the floor. Trask rushes in and demands to know what's happened (as if he didn't know) and Quentin VERY quick on the uptake says he knows quite well what's happened. Trask notices Nora at last and orders her up to her room but Quentin says he wants to talk with her and tells Trask to take care of Edward. Trask frowns a might frown but helps Edward up and Edward is all wounded dignity and pride (and confusion because this little girl keeps calling him "father").
Once Trask and Edward are gone, Nora rushes to Uncle Quentin for answers and hugs. "Why was Father trying to hurt you?" Nora asks. Uncle Quentin assures her that Edward didn't mean it and didn't know what he was doing. Quentin also tells Nora that it's difficult to explain exactly what's been happening but he'll answer her questions as best he can (awww - if Quentin weren't such a selfish, charming bastard, he'd be a great dad). Nora appreciates that and tells Quentin how frightened she was. "Father scared me, the way he was behaving." Quentin nods and thinks a moment. Then he asks Nora, "Did you ever read a story in which a person had a magic spell put on him?" She assures him that yes, she's read such tales many times. "Well, in a way, that's what's happened to your father. He'll be all right in a few days, when the spell ends." This makes sense to Nora but she is still worried. "What if it doesn't end?" she asks. "I'll make sure it does", says Quentin firmly. He kisses her cheek and sends her off to bed with assurances that everything will be all right. She should just leave it to him She goes off to bed, feeling better. Quentin tells himself there's only one way to end this madness. "I have to find Tim Shaw and the hand." He looks moodily into the fireplace.
Oddly enough, we are now taken to the Collinsport Inn where we see suitcases piled on the floor. In walks a very VERY elegantly dressed Tim Shaw. Hottie Tim is now Slick Tim. Still Hot but very very expensive. He opens the box containing the hand. The phone rings. He answers and after a short pause says, "Have her wait five minutes, then send her up." He opens the box, takes out the hand and smiles, then drops it into a box and wraps it with cloth, tying it up with string. Moments later, in walks the beautiful (and also expensively dressed) Amanda Harris (played by Donna McKechnie!). Amanda and Tim are clearly quite close. When she first enters, she is quite put out about having been made to wait even five minutes but he soon - um,. Persuades her into a better mood - and in between the macking we learn that
Amanda is part of the plan but it's clear that she is operating on a need to know basis only. "What are you planning to do to this man Trask?" she asks. She hastily assures him that she asks not out of curiosity, just concern for Tim. The object of her concern is deeply touched and says, "We wouldn't want to lose the meal ticket, would we?" She pouts (and I imagine the script read 'She pouts prettily' but honestly is just an average pout). "Have you always been that cynical?", she asks. "Cynical isn't the word", says Tim, "I think the more appropriate word would be practical. We have a very practical relationship, and I want to keep it that way." He kisses her as I wonder what happened to Tim and who this pod person is pretending to be him. He asks Amanda is she knows what she is supposed to do and she says she does. As she prepares to go do whatever it is that they've planned, Tim stops her and tells her to hide the wrapped box in her room. She is happy to do so though she isn't so happy when he won't tell her what's in it. I imagine she'd be even LESS happy is he said, "Oh, no big deal juts the severed hand of a 100 year old evil eastern European nobleman". But he doesn't say that so off she goes, leaving Tim to muse out loud, "Well, well, Reverend Trask, I shall be meeting you on the back road to salvation."
Amanda goes to Trask pretending to be seeking moral and spiritual guidance. She begs him to help her resist and escape a man in her past. She explains that she's come to him because she is "alone in the world and I learned in the village that you have a reputation as a good, devout person." Trask accepts the compliment and says that he's learned that faith can be the answer to most human miseries. Amanda simpers and bats her eyelashes as she admits, "I've done so many things I'm ashamed of." He rushes to comfort her. "My dear young lady." begins Trask. She shakes her head and says, "I don't deserve to be called a lady, not the way I've lived." His eyes light up and he advises her not to be so hard on herself. He says he will save her from this man and from herself - from her urges (and believe me, when he says "urges" he makes it sound JUST as filthy as it could be. He then tells Amanda, who is gazing at him with tears of gratitude in her eyes, "I can help you only if you are willing to help yourself." She grasps his hands and gushes, "Oh, Reverend Trask, I'm ready. I'll do anything you ask of me." Trask couldn't look more turned on if he tried and I am so grossed out that I am considering changing the channel just to get away from the look on his face. My god! This was on in the afternoon???? "It will not be easy, of course", he cautions her. "I intend to give you "private" instruction, which will take time." "My time is all yours", says Miss Harris. He wastes no time putting his hand on her shoulder. "We can begin now - by praying." He pushes her to her knees and kneels beside her.
Happily for me and my lunch which was close to make a re-appearance, this oogieness is interrupted by Quentin who is amused to walk in on such a scene and insists on being introduced to the attractive young woman. Trask does so reluctantly but then gets Amanda out of the house as soon as possible. "Our first period of instruction will begin tomorrow", Trask tells her as he ushers her to the front door. "I'm so grateful to you", she says, and bids Quentin good night. After she is gone, Quentin chuckles manfully and says to Trask, "I never knew your business kept you up so late, but of course when business is as attractive as she is - but I'm sure that wasn't even a consideration, since you're just a humble soul saver." Trask bristles and his tone is sharp. "I see no reason to discuss this with you. Excuse me." As he leaves, Quentin calls up the stairs after him "You mean I'm going to have to find out about the young lady all by myself?" (Um, Quentin, I don't think this is the time to start hounding around after yet another woman. What of Beth - and fiancee Angelique?) "Good night, Quentin," says Trask, going upstairs. Quentin looks quite somber as he leaves the house.
Come to think of it - where the hell IS Angelique?
Amanda has returned to the inn and reported in full to Tim. Slick Tim is delighted at the progress made in captivating Trask. Amanda would like to go out and get some air after being forced into such close company with some one as awful as Trask (so clearly she DOES have some taste. Tim isn't keen on going out and about since he'd rather no one knew he was in town but he agrees that Amanda deserves a bit a fun so off the flounce, observed by Quentin who is QUITE interested to see the two of them together.
Quentin searches Tim's room - looking for the hand but he has to be quick about it so of course he leaves things rather a mess. Tim and Amanda return from their walk and I gather it was not all Amanda had hoped for. "I'm not sure I can make it upstairs", she says sarcastically, "I'm weak from all the excitement on the Collinsport docks - where are we going tomorrow night, the local cemetery?" (Hey, Amanda, this is Dark Shadows, there are only so many sets. You just MIGHT end up there.) They enter Tim's room and behold the mess created by Quentin's search. Tim knows what the search was about and orders Amanda to go check her room. She brings Tim the box--undisturbed. He decides that the inn is no longer a safe hiding place and he must put it somewhere no one will think to look for it (which is really what he should have done in the first place but hey, he is new to the sly game so we'll give him a break.) "Give me your locket", he demands rudely. "It's mine", objects Amanda. "Tomorrow, I'll give you diamonds", Tim says angrily and he snatches the locket. She demands to know where he's going and he tells her only, "The contents of that box contain our security for the rest of our lives and I'm going to see it's put in a safe place." He leaves and Amanda has a small but ladylike hissyfit, tossing a box to the floor and glaring at the door, very very annoyed.
Nora is in bed - complete with anachronistic Raggedy Ann doll when Slick Tim knocks at her door (um - how did he get into Collinwood? Was no one in the foyer? I find that hard to believe). Nora is THRILLED to see him but she must be thrilled more quietly he says. "Don't wake anyone. I'm back, but I can't stay." Nora is saddened to hear that and wonders why he can't stay for a proper visit. He smiles and lies smoothly to the child, "I saw Charity downstairs, who told me it was way past your bedtime, but I came up without permission to see you." Liar, liar! She is glad he broke the rules to see her and says that she has missed him terribly. He asks if they are still such good friends and she assures him that they are, adding, "You saved my life and I'll never forget that." (Ah yes - the fire. Seems ages ago now). "I was in NY", says Tim, "and while there, I bought this (he takes out the necklace)--it's for you". She is so excited she can hardly contain herself and while she is overcome with gratitude, he asks her if she will do him a favor. Naturally, she is prepared to do anything she asks. He shows her the box and asks her to hide it for him. "I thought it might be a gift for Jamison", she says. "How is Jamison? asks Tim, feeling a tad guilty for not having asked in the first place. "He's not feeling very well", she says. Tim says that he's sorry to hear that though he doesn't seem very sorry. He seems VERY intent on making it clear to Nora that she must hide the box, tell no one about it and make sure she can get it when he comes back for it. She says it's no problem and really - it's such a small thing to ask her to do she doesn't mind at all. She does ask what it's all about but he says, "I can't tell you why, but I have very good reasons." He promises to come see her again soon and smiling, she bids him good night and he leaves. She takes the box and puts it on the floor of her armoire. She is about to go back to bed when she thinks hard, then opens the armoire, takes out the box and begins to open it.
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