Isn't this the point where DC et al. realized how popular Quentin was, so they had to come up with a way to extend the 1897 story.

It sure does take a lot of time for Tim to realize that the Hand has moved on. His lines are pretty awkward--maybe he lapsed back into pedantic schoolteacher mode in his agitation.

Poor Jamison. Now he's possessed yet again, this time by David. It's really touching to see how devoted to him Quentin really is--although I'm sure poor Nora could have used a share of that affection too.

The scene leading up to Quentin's psychic attempt to reach Barnabas is highly interesting. J/David assumes that he (D.) is dead now and that he and Quentin will hang out together for all eternity. I don't think Quentin realizes what the future has in store for him (at least for now), but Selby conveys his terror very well.

Yah, Tim. He still has quite a bit to learn.

We see the Eagle/Blue Whale once in 1840/1841PT. Kendrick Young meets Gerard Stiles there. As in 1840/1841RT, Gerard has psychic powers, and Kendrick hires him in an attempt to find out what happened to his (K.'s) sister Stella.

In the perverse Collins universe, it doesn't make sense that the hand would deteriorate while detached. In fact, it was still very powerful even in that state: It freed Charity from Barnabas, showed everyone their true natures, and somehow provided Tim with all that wealth and those fine threads.

Long ago, Barnabas referred to time as rushing and roaring past him. I guess he didn't mean when he was waiting for things. While still trapped in the coffin, he must have awakened and spent every night tormented by the knowledge that he couldn't escape. 

Carrying the wooden casket, J/P stumbles out of Collinwood and into a storm as his deadline approaches.

Meanwhile, Aristede waits at the mill while the count himself lies on a sofa, looking oddly vulnerable without his glasses. Meanwhile, J/P collapses in the woods.

Quentin finds J/P and is delighted to see the hand again. Although he collapses again, J/P is annoyed when Quentin calls him Jamison.

At the mill, Aristede consults his watch, then paces the main room worriedly. Time! We have no time, he frets. What if Jamison doesn’t find the hand? Then he reveals his deepest fear to us: What will I do without Victor? I’ll have to fend for myself! He goes back into the inner room, where Petofi is still lying on the couch. Aristede kneels beside him, stroking his hair. Suddenly the count lifts his left hand to his chest.

Barnabas meets J/P and Quentin at the cottage. He too is delighted to see the hand. The delirious J/P raves enough for Barnabas to realize that he is actually the count. Through clever questioning, Barn and Quentin learn that the real count is at the mill. They also realize that without the hand, the count will die--and so will Jamison. Telling Quentin to wait, Barn hurries out--without the hand.

At the mill, Petofi again raises his hand to his chest. Aristede stops his pacing and tells the count, I’m going to Collinwood to find the boy and bring back the hand--I promise! What he doesn’t know is that Barnabas has just arrived and is looking about the outer room. Aristede opens the inner door, sees Barnabas, and quietly shuts the door to make sure he’s wearing his cross. When he comes out, he greets Barnabas and adds sarcastically, I apologize for the accommodations. We don’t get visitors very often. It’s not what we are used to. [Presumably he means more luxurious accommodations.] I must see the count, Barnabas says bluntly. He isn’t here, Aristede replies. Barnabas wants to see for himself, but Aristede takes out the cross, holds it up and tells Barnabas, Leave--now. Barnabas flinches away from the cross but tells Aristede, I offer you another choice. The hand--I know where it is. _I_ have it now! Aristede’s eyes widen in surprise.

During the commercial break, Aristede seems to have recovered his composure. He and Barnabas argue about the hand, with Barnabas carefully not looking at the cross all the while. Finally Aristede puts the cross away. Barn wants the count to stop possessing Jamison. Aristede wants the hand. I must get a promise from Petofi, Barnabas repeats. Even a flicker of an eye or a hand raised that he will cure Quentin and end this reign of terror at Collinwood. I will promise that, Aristede assures him. I refuse to accept your word, Barnabas says bluntly. I want to talk to Petofi. You must trust me, Aristede replies, or the child will die. Barnabas thinks a moment and unhappily agrees. I'll get the hand, he tells Aristede. Hurry, Aristede urges him. I know, Barnabas says and leaves. Aristede looks equally worried.

At the cottage, Quentin kneels beside Jamison. You've got to live, you've got to, Quentin pleads. Can you hear me? Can you? Listen, please, you're the only one I've ever loved, cared for in this whole place. You know that, don't you? Keep on trying, don't give in to it--please don't.  Barnabas returns and tells Quentin, We must give Petofi the hand. Petofi is dying too, and Aristede has promised to end the curse if we end Petofi’s first. Quentin’s previous acquaintance with Aristede doesn’t incline him to be so trusting, and he says, We can’t trust Aristede or Petofi. I can’t let Jamison die, Barnabas protests. He will recover as Petofi does. Stay with Jamison until he’s well, he instructs Quentin. Then come to the mill, and we will then force Petofi to cure you. Barnabas picks up the casket as Quentin frets, Petofi may cure himself, then leave Collinwood before we can stop him. I won’t allow that, Barnabas declares as he leaves again. Quentin turns back to Jamison.

At the old mill, kneeling beside his master, Aristede tells him, Barnabas is bringing the hand. You must stay alive until he comes. He hears the door open and closeand goes outside. Barnabas insists on giving the hand to Petofi himself. That’s impossible, Aristede argues. Give it to me! Unhappily, Barnabas gives him the casket, which Aristede opens to check the contents. Wait here, he tells Barnabas. Don’t come after me into the room, or you might affect what must happen. Barnabas reluctantly promises to stay outside. Aristede enters the inner room and declares, I have the hand. He opens the casket and takes out the hand in both of his as if he were about to crown a king. Lifting it above his head, he intones, Mighty hand that touched the face of the Sphinx, hand of infinite power come home at last, heal this man, force breath into his body, make his heart strong, for without you, he cannot live. If he dies what was begun in the forest of Aujedon will end, for his body is your body, and his mind is your mind, his life, your life! Heal him!

 He places the hand on Petofi’s chest.

In the outer room, Barnabas waits anxiously, knowing that more than Jamison’s life hangs in the balance. Aristede emerges and tells him, I did what Petofi told me to do. He knew he'd get the hand, Barnabas sighs. Well, Aristede says, it's safe to say he hoped it would turn out in his hands (?) He offers Barnabas some tea, knowing perfectly well that Barnabas can take no human food or drink. No, Barnabas says. Ignoring him, Aristede pours and tells him, This is a special blend of the finest Chinese leaves, made especially for his excellency. I want no tea! Barnabas snaps. Aristede tastes the tea but complains, It's gotten a bit cold. Barnabas asks irritably, How can you sit sipping tea with what's going on with Petofi? I can do nothing about it, Aristede says calmly. What _is_ happening? Barnabas. I'm not privy to all my master's secrets, Aristede replies primly. I've seen the hand work--seen it change people in an instant, Barnabas says. The hand knows what it must do, Aristede replies. Barnabas says impatiently, I'm going in there. No, says Aristede, you won't--for Jamison's sake. Just sit down and wait. It's all you can do now. Barnabas sits. He and Aristede exchange stares.

At the cottage, Quentin waits anxiously. He is looking out the window when he hears J/P moaning and hurries to his side. Help me! J/P begs him. How? Quentin asks. The hand! J/P says. Why doesn't it move from my chest? There's nothing on your chest, Quentin tells him. Why is it still there, why is it where Aristede placed it? J/P asks feverishly. You must come to your senses, Quentin urges him. Oh, hand! Hand that was once mine, help me! J/P implores. Help me before it is too late! Has it lost its power? he wonders. Lie back and be quiet, Quentin tells him. Why doesn't it do as I say? J/P asks. Why? He sinks back onto the sofa.

Aristede lays out some very old playing cards for a game of solitaire. It's been an hour since you went into the room, Barnabas notes. I wasn’t told how long it would take, Aristede replies. Petofi has died--I know it, Barnabas laments. And if he has, Jamison has, too, and my mission here-- He stops himself just in time, but Aristede pounces: Your mission--what is it? Tell me about it--perhaps it will make the time go by. Never! Barnabas growls. Perhaps you'll change your mind, Aristede says. One of us should go check on Petofi, Barnabas insists. I have my orders, Aristede replies. f you're so concerned, why don't you go to Jamison?

Quentin checks J/P--looks up in alarm. He has almost no pulse at all! Quentin exclaims. He’s dying! God, don’t let him die! Don’t let that happen, please, he cries desperately.

Aristede deals himself another hand. I’m going into the other room, Barnabas exclaims. One of us must! he cries! I'll use force, if necessary, Aristede warns him--get away from the door. We haven't heard anything in over an hour, Barnabas argues. There is some plan here! Has Petofi disappeared with the hand? If he has, I will kill you! You are a most suspicious person, Aristede comments. You have made me that way, Barnabas snarls! I am going in there! No! Aristede shouts. He grabs Barnabas’s arms, but Barnabas grabs Aristede’s shoulders and pushes him backward and onto the sofa. The next moment, they hear gloating laughter. A moment later, Petofi emerges, to all appearances hale and well. It is mine! Mine again! he declares triumphantly. He holds up his right hand--now reattached to his wrist!...

I think this is the first scene with Quentin and Nora. I'm sure that Quentin has Lenore in mind when dealing with Nora.

Poor Edward! Failing to kill Quentin is probably his first failure as a butler, and now he has to pay.

Yes, welcome (I guess) Donna McKechnie. Clearly Tim and Amanda are in a business partnership, but it seems they enjoy each other's company in more ways than one. Whatever we may think of Amanda, the scenes with her and Tim are well done. When Amanda complains about being cooped up in her room, Tim reminds her that the past two weeks have been profitable for her, so I suppose we can infer that he's been away for that long and maybe another couple of days to find a suitable accomplice.

Amanda really pours it on in her meeting with Trask. Ha ha ha! But how quickly Quentin forgets Beth. He still has a ways to go.

Once Amanda returns to the inn, she wants to go out. Tim grudgingly agrees to a walk down by the docks--exciting!

Quentin enters the lobby of the hotel (which will be unchanged all the way until Chris Jennings’s arrival in 1969). There is no desk clerk (and perhaps won’t be until Mr. Wells in 1966, played by Conrad Bain!). Quentin hears someone coming downstairs and hides. He sees Amanda leave with Tim Shaw, now also wearing a handsome gray top hat. (There is a phone on the front desk as well as the phone in Tim’s room. But in 1897, the lobby phone would have been the only one in the whole building!)

After his unsuccessful search, Quentin looks around at the mess. Suddenly he hears Tim tell Amanda, I’m sorry you’re bored. But once my plan is accomplished, we’ll have more money than we’ll know what to do with. Before he’s done saying this sentence, Quentin--who must be more than unusually agile--has escaped out the (upper-story) window.

Tim turns out to be quite the user as he leaves the hand with Nora. He's wrapped it in a box, and it does look very enticing.....

Kudos to all involved in this wonderfully written (by Violet Welles), beautifully acted episode. Quentin is about to learn what is possibly the most painful lesson of his life.

Jenny is wearing a pale pink satin dress, her hair smoothly piled atop her head. Quentin (whose collar is fastened in this reshoot of the teaser) and Magda can only stare at her. Jenny calls the medallion evil and throws it to the floor. We were desperate, Quentin pleads. We didn’t know what to do, Magda adds. You got to save her, Jenny! Jenny picks up the (invisible, bundled-up) baby; cradling the child close, she walks around the room singing All the Pretty Little Horses. With what emotions we can only imagine, Quentin watches his only glimpse of the family life he might have enjoyed but so carelessly threw away. Jenny tells the baby, When you wake, you will be well, healthy and well--and you will stay well, I will see to it. Quentin steps closer to thank her, but she already has a faraway look. Quentin adds softly, I’m sorry for the way things were between us. If I could do it all again, it would be different. No, Jenny answers somberly, not different for me--but different for her. Settling Lenore back in her cradle, she adds, There’s one way to prove your love, one way to keep her safe. Tell me what it is! Quentin begs her. But Jenny is already starting to fade away as she answers, I have so little time. Tell me! Quentin repeats. She will be safer than I was, Jenny says, safer than my dead son was. There is a way. Look into your heart and you will know, she tells him and disappears from view. Look into my heart, Quentin repeats as he and Magda check the baby, who is now sleeping peacefully. I know what Jenny wants me to do! Quentin says confidently.

Welcome comic relief as Trask visits Edward in the Tower Room. Still thinking he's the perfect "gentleman's gentleman," Edward boasts (modestly) about his excellent work for the late earl of Hampshire. Trask tries to get Edward to sign a paper saying that he (Trask) is Jamison's legal guardian. He takes the paper and starts to read it before Trask can stop him. You don’t have to read it, Trask says hastily. I must, Edward answers, and it's good that I am, because it contains a serious error. It says you are to be my son’s legal guardian, but that’s impossible. I have no son. This paper will help fight our mutual enemies, Trask insists. We’ll have to find another way of fighting them, sir, Edward answers mildly as he hands back the document. Yes, Trask answers heavily, I’m afraid we will. Not to worry, sir, Edward says cheerfully as he straightens his coat. Often the earl would get confused, but I’d set him straight, just as I did you--but of course I never told anyone. Trask is irritated at having been beaten, but Edward merely beams at him.

Magda and Quentin return to Collinwood. Quentin tells Trask that he wants the nursery opened, so that Lenore can live at Collinwood. Trask makes the usual objections--affronting Magda with sneers at Quentin's "gypsy offspring"--and insists that he's the Master of Collinwood. Quentin reminds him about the terms of Edith's will. That’s true, Trask allows, but your daughter won’t stay. The terms of the will give you a home, but it says nothing about your children. You can’t keep her out! Quentin says angrily. Legally, I am the Master of Collinwood, Trask huffs. Quentin seizes him by the lapels and rages, Well, I don’t care! She’s my daughter and she belongs here! She is a Collins! Magda watches, her lips pressed together in anger. You used the wrong argument to persuade me, Trask tells him haughtily. I have burden enough with the Collinses already here. One more is too many. What is the _right_ number of Collinses for you at Collinwood? Quentin retorts. I’m only trying to help your poor, unfortunate family, Trask says piously. We don’t want your help, Quentin tells him and adds with heavy sarcasm, This “poor, unfortunate” family hasn’t dwindled away yet. There’s still enough of us left to defeat you. Defeat me and you defeat yourself, Trask says. Do you think you can convince me of that? Quentin asks. Do you think I’m so stupid that I don’t know what you’re doing? No, Trask answers, I don’t think you’re stupid, just misguided, wicked, sinful, wild. Thank you, Quentin says sarcastically. I’m going to see Edward, my brother. Cain and Abel were brothers too, Trask says nastily. Quentin retorts, I know  Edward and I haven’t acted much like brothers before. But I’ll bet even Cain and Abel would have behaved much better toward each other if they’d had a common enemy to fights. With a laugh, Quentin sprints up the stairs. Trask tells Magda, I saw Judith at the sanitarium. She thinks she’s a child again, but she misses her brothers. Soon she’ll have Edward there to keep her company, he gloats.

Quentin is Edward's next visitor. Quentin is pleased that Trask went away thwarted, but his luck ends there. It’s going to take all our guile and cunning and sanity to defeat Trask, Quentin tells him. Do you realize that? Edward only stares at him in confusion (good bit by Edmonds). No, he answers himself wearily, you don’t realize anything.

Trask returns, and Edward complains that Quentin tormented him--something that "gentlemen" like him often do to servants. (Makes me wonder if Quentin did this before too.) Why am I here? he asks suddenly. How long must I stay? You must stay as long as Quentin says you must, Trask replies heartlessly. And how long will that be? Edward asks. It depends on how well you do your job, Trask replies, adding, I'm going to take a great chance and give you a job to do--I hope you can do it. I always try my best, Edward assures him. I want you to kill Quentin, Trask says point blank. Edward is shocked. You don't realize the gravity of your situation, Trask tells him. Quentin is never going to release you--never! Edward is infuriated.

Coatless and tieless, Quentin is stretched out on the drawing-room sofa with his music for company. A drink and a nearly empty bottle are within reach, and an ashtray is piled high (even though Quentin never smokes on screen!). Eventually he falls asleep, and in a dream he hears Jenny’s voice, then sees her rocking Lenore’s cradle and singing All the Pretty Little Horses one last time. Quentin gets up and goes to her. Jenny finishes the song, then tells Quentin, She’s sleeping peacefully now. She’s as beautiful as her mother, Quentin says. Yes, she is, Jenny agrees with a smile. As Quentin moves beside her, she tells him, I’m sorry for you, Quentin. It won’t be easy for you to give her up. I’m taking her back to Collinwood, Quentin protests. After she was born, Jenny says, _he_ [i.e., Edward] took her away. I was mad, but I knew he took her away. I was mad, but I knew she must not stay at Collinwood. She belongs here, Quentin insists. No, Jenny replies, there’s no happiness for anyone at Collinwood. There never has been. There can be none for her. Nothing will happen to her, Quentin promises. Jenny pleads, Don’t imprison a gypsy child behind such high walls. She’s my daughter, Quentin protests, I love her. Jenny tells him sternly, Prove your love--give her up. I can’t, Quentin pleads. You lied to me so many times, Jenny says reproachfully. Now you’re lying to me again. I never lied to you, Quentin insists. You said you would do anything to keep her safe, Jenny reminds him. And I will, he vows. There’s only way one way to keep her safe, Jenny says as she walks away from him into the shadows. Give her up. Let her go. Do not lock her behind prison walls. Gypsies die in prison--let her go! Quentin begs Jenny, Don't leave her alone. Jenny’s last words to him are, Leave her alone! Give her up! Prove your love and give her up! She fades from Quentin’s view forever.

I don’t know what to do! Quentin calls out to her. Suddenly Edward is there in his dream. One must always do the right thing, Edward says primly. It takes the right person to do the right things. When the wrong person does the right thing, it's wrong. Do you follow me? he asks as he helps Quentin into his jacket. Something is the matter, Edward continues when Quentin doesn’t reply. It’s almost dinnertime, and you aren’t dressed. I only care about my daughter, Quentin says (getting there!). She isn’t the right kind of daughter, Edward says, his mouth turning down with distaste. Don’t waste time thinking about her, not when it’s so late. It’s almost dinnertime. Very handsome, he says appraisingly as he puts the finishing touches on Quentin’s jacket (although properly Quentin should be wearing a tuxedo). I’ve taken the liberty of choosing your tie, Edward adds, showing it to Quentin. I thought a long time about it--I wanted you to look just right. He puts it around Quentin’s neck, then ties it. It’s too tight, Quentin protests. No--I’m doing the job just right, Edward insists as he pulls it tighter.

Gasping for breath, Quentin wakes up to find that he really is gasping for breath because his brother is leaning over the sofa, hands really wrapped around his throat....

Maybe Samantha and Gerard ran off together in PT, since that was impossible in RT.

I love the writing for Quentin in this part of the story and of course Selby's wonderful characterization. Wowee.