Yes, in this episode one is brought right smack up against the fact that Petofi's plan is bonkers. I just hope there's a good big chamber pot in Quentin's room for Beth. Petofi needs learn the difference between the future and the past. Barnabas went back to the past and found his 1897 body there waiting for him because it had been there in the first place. Apparently Barnabas evicted his 1897 mind from that body and took up residence, and it's a wonder his 1897 mind didn't hop into somebody else's body when Petofi playing musical chairs with minds and bodies at Collinwood, but that's another subject altogether. The point is, who is the caretaker of Quentin's body on the morning of October 28, 1969, before Petofi comes to take possession of it? I'd like to think the caretaker gets paid for his trouble, but with Petofi you can't be sure. And of course there are more problems, but enough is enough.
How lucky for Barnabas that today was indeed Quentin's birthday! I daresay Barnabas would have come up with something else if it hadn't been - but how very convenient for him. I don't suppose the Collins family gave Quentin Halloween-themed birthday parties when he was a child. They would have been too high-toned for that sort of thing.
Tate becomes less and less attractive every time we see him. Oh, by the way, I made a mistake yesterday: I said Petofi's fingers came near Tate's hair. In fact they touched it. In his misery, you see, Tate is losing all sense of self-preservation. I'd like to see more of Tate's real heartache. I'd like to see him look upon beauty and be unable to talk about anything else and be dying to paint it but unable to do so - but we don't get any of that. It's not so very surprising, though. He wasn't an artist in the first place: his talent was just grafted onto him.
