Our cold open this episode is somewhat rough, and might merit a trigger warning for sexual violence.
We open in an attractive park at night, with romantic lighting throughout, with various couples out on a date, including Marcus, a popular boy at high school, and Rachel, a classmate who wants to be a figure skater. Marcus talks her into a race through the woods, an alleged shortcut to the concert they’re going to attend, and stops in a clearing, where he makes it very clear that he would rather have sex. She declines, and then three other boys show up and hold her down while Marcus takes out a knife and orders her to comply, with only one of the boys, Scott, showing any indication that he doesn’t want to be there. Rachel manages to struggle away and run, only to be hit by a car and badly mangled by it in her attempt to escape.

A year later we find Rachel, now quadriplegic, being urged by her mother to “move on with her life” instead of wallowing in her anger. The two go to a yard sale, and while her mother is distracted, a stock Sinister Old Man gives Rachel an antique wheel-chair, claiming that it cured him when he was paralyzed. Meanwhile, at the shop, Micki and Johnny have two relatively easy retrievals scheduled, an umbrella and a wheel-chair, when Micki receives a telegram from Jack telling her that he’s tracked down the Shard of Medusa (previously) and needs her help, leaving Johnny to put away the just recovered umbrella and find the wheel-chair on his own. He arrives at the previous owner’s house just too late to recover it, as Rachel has had her mother set it up in her room and place her in it so that she can watch the world out her window. While doing so, Rachel leaves her body in an apparent bit of astral projection (possibly, her degree of corporealness is never made entirely clear), and goes to hunt down the boys who assaulted her, finding them breaking into the school to steal tests. She corners one of the boys in the chem lab, scaring him into knocking over a shelf of chemicals, which gruesomely burn him to death. As she runs away, she is cornered by the Sinister Old Man, who tells her, in essence, to keep killing in order to let the chair heal her, and when she returns to her body, she discovers that she can move her fingers again.

The next day, Johnny tracks down Rachel, who is refusing her mother’s request to have the doctor investigate her miraculous recover, and speaks to her mother about possibly buying back the wheel-chair. Her mother, despite her obvious unease over Rachel’s obsession with the chair, refuses, so Johnny goes to the local high-school to get more information on Rachel, further blurring the question of how old Johnny is supposed to be since no one bats an eye at this grown man asking questions about a teenage girl. In any case, Scott tells Johnny the whole story about Rachel’s accident and Marcus masterminding the rape attempt, and that Rachel appears to be somehow getting back at them now, to absolutely no sympathy for their plight from Johnny. Scott next meets up with Marcus, and says he wants to go to the police in the hopes it will save them from Rachel, but Marcus threatens to kill Scott if he tries, and reminds them that “it’s our word against hers” which I suppose answers the question of how the investigation into Rachel’s injury went. Johnny tracks down the third remaining boy, Ed, and arrives just in time to see Rachel push him off the roof of the building. When she returns home, she has movement in her arms and neck again, and outside her house the Sinister Old Man smiles approvingly.

Later that night, Marcus breaks into Rachel’s house and threatens her unless she stops whatever is causing his friends to die. Johnny shows up, roughs him up, and scares him off, before moving to take the wheel-chair himself. Rachel begs him not to, refusing to listen to his protestations that the chair is evil and costing her her soul, while she insists that the boys deserve to die for what they did to her. The Sinister Old Man stops Johnny from leaving the house, and warns him that Marcus will return, so if Johnny takes the chair she’ll have no way to defend herself, and in any case, it’s not up to Johnny to decide who lives, who dies, and if Rachel should risk her soul in the first place. Reluctantly, Johnny lets the Sinister Old Man take the chair back to Rachel. While Johnny is, presumably, driving home, Scott makes his way to Curious Goods, where he’s has been found by Rachel, who wasted no time projecting herself out again. Rachel tricks Scott into thinking they’re going to have sex, and then drops the shop’s chandelier lamp onto him, killing him, with Johnny again arriving too late to do more than witness Rachel escaping. At her home, Rachel’s mother demands an explanation for what’s going on, and when told that Rachel is using the chair to heal herself by killing, pulls her away from the chair. Rachel attempts to stab her mother with the knife Marcus left behind when he broke in. Marcus, who was hiding in the house again, knocks Rachel’s mother out and stalks toward Rachel, who is crawling for the chair. The two struggle back and forth, and in the end Rachel pulls Marcus down the stairs, which kills both of them. Johnny takes the chair back to the shop, where the Sinister Old Man attempts to buy it back from him, gloating that no matter what Johnny does evil will always win, laughing as he leaves while Johnny fruitlessly attempts to destroy the chair.

Usually when the show attempts a sympathetic villain, one whose use of the cursed antique could maybe be seen as justified, it doesn’t really work. This episode mostly avoids that problem by very strongly implying that the Sinister Old Man is the real villain of the piece, manipulating Rachel into using the chair and tricking Johnny into doubting himself and the necessity of containing the cursed objects. The episode is also well balanced between the guest cast and Steven Monarque, and there’s a lot of good character development for Johnny now that he’s being asked to carry the story on his own. The rape elements of the story are mostly handled tastefully, with the creative limits of 80s syndicated tv probably deserving the bulk of the credit, since at multiple points it seems like the show creator’s really want to do a riff on I Spit On Your Grave and other rape-revenge films.

A Very Robey 80s

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