Week of: 
Nov 11-15  |  Nov 18-22  |  Dec 16-20  |  Jan 2 - Jan 10 | Jan 13-17  |  Jan 20-24  |  Jan 27-31Feb 3-7  |  Feb 10-14Feb 17-21Feb 24-28

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


Monday Nov 18: Today's episode features a very special guest star - the teleprompter. There's always some moment in an episode when you know the performer is using it but this episode must have been ENTIRELY last minute because practically no one can go two lines in a row without the damned thing. As a result, no one is really looking at the person they are talking to - no matter how critical the conversation. It makes for some GREAT pauses.
You never know what you'll find wandering the cemeteries at night - especially at Collinwood. But if I'd been having mysterious premonitions all week (in ancient languages I don't know) about my mother and then had a dream where I'm wandering cemeteries at night and run into my mother, I can't imagine being as shocked as Nora is when she stumbles across Laura amidst the gravestones. Maybe she's just shocked that the fog machine doesn't seem to be working. Their reunion is joyful. Laura's horrified reaction to the news that the children are to be sent away to school is everything Nora could have wished. Laura, covering the first of many long pauses with what I assume is supposed to be a loving perusal of her daughters face, urges Nora to run home and tell Jamison but no one else. Nora, demonstrating that she isn't quite the dolt her brother is, worries that if she does goes back her mother will disappear again but Laura promises. And like all good parents, backs it up with a bribe - a scarab she has pinned on her dress. She describes it as a "special good luck charm". Nora is shocked (she really is Edward's daughter, isn't she?) that the scarab has the same kind of symbols she made in her drawing earlier that day. Laura asks about the drawing and Nora tells her "Father was very angry at me. He thought Quentin had taught me." The mention of Quentin unsettles Laura a good deal but Nora is too taken up with the new gift to notice and is anxious to get back to Collinwood to give Jamison the good news. Laura sees her off, once again stressing that she is to tell no one but Jamison.

Jamison, having discovered the delights of eavesdropping, is still at it and he hears Edward on the phone with Trask making arrangements for the children to be sent away after the weekend. Jamison is off like a shot and I'll lay you any odds you like that he's on his way to whine to Uncle Quentin. Edward rings off but looks troubled.

I was right! Jamison turns to Quentin like a needle to true north and they decide that since they can't change Edward's mind, it would be best to keep Trask away. They agree to meet at the cottage and perform the ritual that Quentin says will make Trask so scared of Collinwood, he won't ever come there again. While they stand there smiling together and the moment gets longer, I'm wondering which of them forgot their lines. Oops! Neither on - Nora knocks at the door, looking for Jamison. Quentin leaves to go "get the things ready" he says pointedly and instructs Jamison to meet him the foyer in an hour. Jamison tells his sister he isn't in the mood to play but she says that's not why she wanted to talk to him. She tells him (while looking over his shoulder) about her meeting with their mother. Jamison looks skeptical - but not as shocked as you might expect what with his parentage and all - and refuses to take her seriously. As you might expect, this infuriates Nora and she follows him to the landing where they have a clearer view of the teleprompter and proceed to argue as siblings have argued for millennia.

Royally peeved and determined to show that she is right, Nora shows him the scarab and tells him what Laura said about it. Edward overhears this last and reminds Nora that she wasn't to speak of her mother again. As a punishment, both are confined to their rooms for the day. Jamison protests that he didn't do anything! (in all fairness to the idiot, he's right). He says he had plans for the day and when asked about it - well, what's he gonna say? Oh nothing. Uncle Quentin and I were going to perform a black magic ceremony on the neighborhood man of God after committing theft. Then maybe a game of catch?" So he lies, "Quentin was going to take me on a hike." Edward sighs. "Why must you always do things with Quentin?" says Edward, frustrated. "Because no one else ever asks me," says the little boy sadly. (Awwwww! Sad. And I promptly forgive Jamison for being a dolt and having a bad comb over) Edward doesn't react to this at all - clearly heartless or unable to see his line - and sends both children upstairs. He is left gazing into the fire and soon Quentin enters, quipping, "Oh come on, Edward, it can't be that bad-or can it?" Edward informs him that everything will be fine once the children are away and out from under bad influences. Quentin seems amused and points out "Not the least of which is Jamison's inordinate affection for me. Still, since you would never ask for my opinion I'm going to volunteer it - Your children will be better off with Simon Legree than that so-called Reverend Trask!" Quentin leaves. Edward is angry. And I'm wondering about the "so-called". Am I to understand that Trask is NOT a reverend? Has Quentin been snooping? Excellent work Quentin.

The children - in the way that children have - have not done as they were told and are in Quentin's room when he walks in. Jamison tugs on Quentin's sleeve and promptly forgets his line. He gazes around looking for the teleprompter and then proceeds to apologize for not waiting in the foyer as instructed. Quentin assures him that's all right-their little game is strictly for men (I bet), so Nora can't play (Sexist!) and Jamison explains that he can't play either since they've both been sent to their rooms. The fact that they are currently NOT in their rooms seems to be ignored. Quentin notices Nora fidgeting with the scarab and when he gets a good look at it, FREAKS out. Panicked, he paws through papers on his desk, finds a book, opens it, and compares the brooch to the page. He rushes out! Jamison and Nora exchange looks.

The foyer - scene of endless family dramas both big and small - once again takes center stage. There is a knock at the door and in true Collinwood tradition, someone is RIGHT there to answer it. Edward crosses, opens and gasps! LAURA! He is appalled, furious, outraged. She is appealing, thoughtful and deeply contrite. Despite everything she did - and she's sooooo sorry and ashamed - she had to come back because this is where she belongs - with Edward and the children. Edward declares that she gave up her right to him and the children when she ran off with Quentin. She is sure the children want to see her but Edward points out (as I somehow KNEW he would) that what they want is quite beside the point. "How can you say that?" She is incredulous! And continues to plead that she wants a second chance on any terms he dictates. She swears she's learned her lesson (I wonder what sort of tutor Quentin was). Edward remains unmoved. She breaks into tears. He waits until she's done, finds a clear sightline to the teleprompter and tells her to wait here. He'll be back with "several thousand dollars to give her, but she must promise to leave and never come back. He leaves her alone in the drawing room and seconds later, Quentin, scarab in hand, races in. He is STUNNED. Laura, not at all phased, greets him airily. Quentin stares at her in total disbelief. "No, you're dead! I saw you die!" he says in hushed, terrified tones. "How bizarre", she comments, taking her place as Queen of Snark. He insists that he saw her burned to death on a sacrificial pyre (what on EARTH was he doing out there in Egypt I wonder?) She points out that he probably imagined it - what with his being so wrapped up in occult nonsense when they were - insert dramatic pause - together. She then tells him that she's come back to ask Edward for a second chance. Quentin finds this hilarious. And guess who walks in just at that moment?

Edward joins them and immediately sees the worst - the worst hair, the worst mutton chops, the WORST eye make up on Laura - but Quentin is quick to disclaim any knowledge of Laura's plans or even that he had the slightest idea she was here. Edward doesn't believe it. He's sure Quentin sent for Laura and says so at great length once he finds his mark behind the sofa. Quentin, having memorized his lines, speaks directly to Edward and says, "Are you finished? I didn't send for her, don't want her here, or in Collinsport. The sooner you send her away, the better off all of us will be." Precisely what Edward intends he informs them. He hands her an envelope full of money and orders her to take it and leave. She again insists that she's changed and gives him back the envelope to prove it. Then glancing off camera and slightly to the left, she says, "Resign yourself to the reality of the situation. I'm back to stay, and there is nothing that you or anyone else can do to make me leave." Laura insists she and Edward speak privately in Edward's study. Laura leads the way and as he follows, Edward tells Quentin to not let anyone know Laura is here. Quentin assures him of that and once they are gone, Quentin takes the scarab from his pocket and ponders it.

Now in the study, Laura says, "I'm looking forward to being mistress of Collinwood again." (so much for giving the money back, eh Edward). Edward explains that there has been a changing of the guard and that Judith is now in that position. This displeases Laura and I get the distinct impression that there is no sisterly bond between the two women. Still, she says she can be content being Mrs. Edward Collins. Edward insists that it's impossible and Laura points out that she can cause a MAJOR scandal for him if he doesn't let he stay around. She'll tell everyone that she wasn't on an extended vacation or was ill and had to be put in the hospital like he told everyone. She'll tell the truth - that she ran off with Quentin. Edward looks furious. "How many people know that?" she asks pointedly. Edward is trapped and he knows it. He tells her she can stay at Collinwood temporarily until I can arrange to have a cottage prepared for her. "You will stay in the cottage and we will each go our separate ways. I will explain our arrangement to the children." Laura asks to see them but Edward puts her off. She leaves to fetch her things from the Inn in town. Edward waits until she is gone and then calls Trask. He says he doesn't want to wait. That the children must leave NOW.

Still in the drawing room, Quentin is griping to Rachel but Laura's return and she doesn't quite understand why he's so distressed over it (or why the teleprompter has moved to the right). He promised to explain about Laura someday. He notably does not offer to explain the teleprompter. "In the meantime, excuse me, I need a drink or several." (I wouldn't have been surprised to see Quentin carry the sherry bottle out with him but in this family, they've probably got booze all over the house

The Foyer. A land unchanged by time. A place unknown for - oh, sorry. Yes, Rachel is in the foyer so we know that soon there will be a knock at the door. And lo! There is.  It's Tim "30 Days in the Cupboard" Shaw, from Worthington Hall. He looks like an older, heavier Arquette and shows just about as much talent. They're thrilled to see each other. Then Tim drops the bomb he's here to get the Collins children and take them to the school. We discover (through Rachel's breathlessly shocked demands to know "why, why why") that Tim was blackmailed into returning to the school because he accidentally killed Trask's brother-in-law the night he and Rachel escaped the 'Hell That Was Worthington Hall' and as a result Trask forced him to come back and teach. They argue about whether he should have let it happen and he gets defensive. Tim coldly asks her to have the children to come down. She leaves him, furious. Tim just looks sad.

Cottage - Quentin, obviously very drunk, drinks some more, calling to Angelique. "Please come to me now!" he begs. "You said if I ever needed you, I could summon you. Well, I'm summoning you-appear to me!" He's an adorable drunk and wavers around the room with a good deal of grace.

Tim waits in the foyer. Rachel comes in from outside and tells him the children and their luggage are in the carriage. I am pleased to hear that Edward has told Rachel to stick around for another week or two until they see how it works out at the school. At least he has considered the possibility that the kids will be better off at home. Tim goes out and Rachel is very upset.

Quentin sits by the fireplace, slouched in a sad, drunk way and tells Angelique (via the floo network - sorry wrong story - the fireplace) that she made him a promise, and she owes it to him to keep it. (Oh Quentin, how many women have said the same of you eh? Payback's a bitch my mutton-headed sweetheart). He sways around, pissed off. Laura comes in, asking if he's taken to talking to himself. He demands to know what she's doing there and she tells him about her deal with Edward and the cottage. Quentin, pouting repeats his new refrain "You're dead, aren't you? Answer!" She asks how she can possibly answer a question like that. She has a point. And with him griping her arms like that she can't turn to see the teleprompter so even if she wanted to answer, she couldn't see what to say. He says he'll have to answer it himself (being tall he can see the teleprompter), and grabs her by the throat. She says he's hurting her and to stop. "Hurting you?" he asks, "I'm going to do far more than hurt you-if you aren't dead now, you will be, very soon!" And he tightens his grip on her throat as her eyes widen.

Tuesday Nov 19: This episode should be called "Déjà TV vu" - the strange feeling I've seen this all before in a previous episode.

Quentin abruptly releases Laura, who you will recall he is trying to strangle to death. He's kind of - glowing and is clearly in a good deal of pain. (**Note to self**: no spicy Chinese before murder). Laura seems to enjoy Quentin's pain and when he begs her to help him, she actually laughs in his face. She reads of the cue cards how he betrayed and abandoned her in Alexandria. "When the fire priests dragged me, screaming, to the sacrificial altar I cried 'Help me, Quentin!' and I remember the priest asking why I was crying to Quentin for help-when he's the one who betrayed me?" (OK, now I am really wondering just what the hell Quentin was up to in Egypt. Maybe he WAS a spy for the police). Quentin says he had to or they'd have killed him. She laughs and as she leaves, assures him, "Dying is not so bad, Quentin, once you get used to the idea!" Quentin sinks to the floor of the cottage - again but this time with more heartburn and less blood.

At Collinwood, Barnabas hears Rachel saying, on the phone (the phone in the FOYER) with Trask begging him to leave her alone and not speak to the Collins family about her. Barnabas grabs the phone out of her hand and hangs up on Trask. He can't understand why she's even bothering with the man. Rachel explains that Trask thinks she's a thief and repeats more tales of horror from Worthington Hall. Barnabas who seemed interested at first, seems to be not listening and for a moment, I fear we are about to embark on another episode of 'How the Teleprompter Turns', but it turns out that in this case, it was a dramatic pause and he is "acting distracted" for a reason. When Rachel asks what she should do about Trask, he seems far away. He says they'll talk about it later but he's gotta go. He races off, leaving her confused and perturbed.

Quentin lies attractively on the floor, his face comfortably pillowed by the ever-growing mutton chop sideburns and Angelique standing over him. It's about time Miss Black-Hearted Blonde showed up. The poor thing - drunk, confused, frightened - was calling and calling and then the wrong black-hearted blonde showed up. Still, Angie seems to feel bad about that because she's got one hand up to her forehead, as if trying to concentrate. Or hold her head up. Or smooth away age lines. As Barnabas enters, she snipes about how long it took him to get there. He spies Quentin on the floor and asks if he's dead. (It's a good question too because with Quentin, one never really knows). Barnabas, who seems to have made a true mess of things by this trip back into the past, says - again - this isn't the way Quentin's supposed to die either. She says he's practically dead - again - and that she can save him - again - if Barnabas resumes their marriage - again. She also points out that she - not Trask - saved Quentin before, by restoring his soul to his body. I refrain from pointing out that the two had only separated because of Angelique in the first place. Just to show that she's a good gal, she says that Barnabas doesn't have to introduce her as his wife immediately and she'll just be his fiancée, for now. He looks less than delighted but agrees. As soon as he has introduced her around, Quentin will recover. They exit the cottage together; Angelique gives a triumphant giggle. (**Note to self** - if I ever become an evil spirit bent on malicious destruction and mayhem for those who have slighted or harmed me, I will cultivate a more diabolical laugh then the girlish giggle I have just heard).

Laura is in the drawing room pacing - again - when Rachel enters and introduces herself. She also informs Laura that the children have been sent away and it looks like Laura gets faint. Rachel asks what's wrong. Laura orders her out and appears to pass out, a fly buzzing over her face. She calls to the sun God, Ra, asking that her veins be filled with fire-without you, I cannot live. We see an urn with fire burning inside it appear, then fade away into her chest.

Rachel answers a knock at the door. It's Barnabas and Angelique. He stutters through the introduction and Angelique takes malicious delight in making him include the fiancée detail. Rachel is - well, for lack of a better word, shocked. Angelique shows great interest in the house and asks if Rachel can show her around. After all, she is "sure that you and I would have a great deal in common." Rachel excuses herself and leaves the house. Angelique comments on Rachel's lack of manners and Barnabas gives her what is commonly referred to as "a look".

Outside, Rachel sits on a bench, miserable. When Barnabas comes out, her mood doesn't improve. She feels stupid she says assuming they were friends. He assures her of his friendship and possibly hopes to offer her more sometime in the future. Rachel is taken aback. Barnabas attempt to explain without explaining and makes things worse.

Angelique is back at the cottage and brings Quentin back from the brink of death - again. He sits up; blinking his big blue eyes and asks what happened. "Your health is rather shaky these days", says Angelique, challenging Laura as the Queen of Snark. Angelique then informs Quentin that she, not Laura did this to him (I am no more confused than I have been yet during this show and that says something). She says it was all for Barnabas in a way. Quentin shares my confusion but because he is right there and has a script, he can address his confusion and perhaps get an answer. "What do you have to do with me?" he asks. "A great deal", reveals Angelique. "Barnabas and I are engaged." (again, I say to myself). Quentin adopts the official Collins Family look of shock, and then quickly recovers to ask, "Aren't you a rather odd choice for Barnabas' bride to be?" He is King Of Snark and I worship him. She turns to go and he grabs her arm. She warns him not to make a habit of that and he apologizes prettily, saying he only wants a favor (what was bringing you back from the dead - twice if not a favor.) He asks if she can help get rid of Laura and tells her about the pyre, the scarab etc. Angelique seems intrigued by the challenge and agrees to help. She looks pensively into the fire, hand to her mouth, and sees the urn with the flame inside. She tells Quentin that if he puts it out, Laura will wither away and die.

As Quentin searches Laura's darkened room, she walks in. Then the light goes on and then she touches the switch. Odd. She demands to know what he's doing there. He says he is searching for letters he wrote her while they were involved. Laura is hysterical at the thought that she might have kept them. She really laughs herself stupid over it. Judith knocks and enters just in time to see Quentin about to shake the giggles out of Laura. Judith apologizes saying that no one answered so she just walked in. She was gonna ask how Laura was feeling but clearly, observes Judith, she is well enough to "entertain." (Judith may not be the most popular one in the family but she has her share of Snark and with a glass or two of sherry in her, she's a party!) Quentin hastens to tell his sister "it" involved family business. Judith feels "it" should be taking place in the drawing room. (I feel Judith is really coming into her own. Pity about the gown.) Quentin leaves, slamming the door (and shaking the walls) behind him. Judith and Laura snipe at each other in way "the pretty girl" and "the obedient girl" have done throughout time. In an attempt to unsettle Judith and win the argument (which started about the children and school but somehow became HIGHLY personal), Laura asks her about Jenny, "Since there's so much family concern in this house." Judith says she has no idea how Jenny is or where she is. "After all", says Judith, "she had no reason to stay here after you ran off with her husband". Judith leaves and in a moment Laura opens a desk and finds her precious urn. She holds it up and rubs it, looking relieved and happy.

Meanwhile Quentin has asked Magda to help Laura move to the cottage and while assisting to look for a small, Egyptian urn. Magda asks the age-old question "what's in it for me?" and they agree on terms.

Quentin returns to the house, where Judith sharply calls his name. "Oui, mon capitaine," he says humorously (a rake, a bounder AND multilingual. He's the best) "How can I help you?" he asks. "Black your boots, polish your brass?" (QUENTIN! Oh, he said brass. Never mind.) Judith doesn't see the charm I do and simply warns him to keep away from Laura. He tells her about the letters. He is afraid Laura will use to blackmail Edward. Judith can't imagine why Quentin would care - after all, she points out that the two of them never cared for each other. Quentin puts it in stronger terms and says that while he hates Edward he hates Laura even more.

Rachel comes to Laura's room to ask how Laura is feeling and ask her to intercede on the children's behalf about leaving Worthington Hall. Laura laughs at the thought of having any influence and says she'll worry about it after she moves into the cottage. Rachel becomes rather strident and says she is afraid the children will die at the school. Laura tells her she has an interesting imagination. Rachel leaves but luckily, she left Laura in time to answer the front door (you know, I know they no longer need a governess but perhaps Rachel could stay on just to answer the door. Beth and Dirk are never around to do it.) She opens the door to a very grim looking woman that she clearly knows. It's Minerva Trask come to fetch her back. Rachel refuses and Minerva tells her that she must - not only is she a thief but murderess too. Well, if that's the case, she sounds like an ideal addition to the staff at Worthington.

Laura is still - um, fondling her urn when someone knocks. It's Magda offering to help her move. Laura agrees. Magda notices the urn but makes a point of admiring a dress and asks if Laura will give it to her when she gets tired of it. Laura says she will think about it.

Minerva tells Rachel that she holds Rachel partially responsible for what happened to Simon (see earlier episode about Tim's blackmail) and they argue. Judith enters and is introduced. Minerva says they really want Rachel back at the school but how they must hurry because she must get home to fix the Reverend's custards. Judith murmurs how lucky he is to have her for a wife. Minerva smiles and says that it's all working out well. Rachel will even be back in time for the wedding between Tim and Charity. Rachel looks stunned and with Minerva urging her to hurry and pack, she races upstairs, clearly miserable and confused.

As Magda exits Laura's room, Rachel races past her (such precise timing - it's practically an episode of 24). Rachel poor out her troubles to Magda, who is ALL sorts of helpful today - for a price naturally. Magda tells Rachel - again - that she must still face the enemy that is still at Collinwood but that she will help the distressed woman get away. "But you must be brave" Magda warns.

Minerva is in the drawing room wondering what's taking Rachel so long and Judith goes to check while wondering why Rachel doesn't seem so keen on the idea. Laura enters and meets Minerva who bores her senseless talking about good works and her dreams for her daughter's matrimonial future. Laura smiles and says her dreams for her daughter are quite different.

Magda has brought Rachel to the mausoleum and explains that arrangements for transportation will take a little time. Meanwhile Rachel is to give Magda her garnet necklace to turn into case and will hide in the secret room until things are ready. She opens the secret panel. Rachel looks inside, hand to her mouth, horrified, gasping.

Wednesday Nov 20: SHOCKING! An entire hour with no Barnabas, no Quentin and no Angelique. Is it even worth it? Sigh. For the sake of completeness -

Rachel enters the tomb with a comment I would take as snarky, ironic or sarcastic if I thought she were capable of any of those "I don't understand the Collinses". Honey, what you don't know would fill VOLUMES. Magda says she will get Barnabas to keep Rachel company but at Rachel's reaction, Magda guesses that she's met Angelique. "You're well rid of Barnabas", Magda says. "If you knew everything about him, you would understand. They deserve each other (Magda, Queen of Understandment - and festively colored garb)

Meanwhile, at Worthington Hall: Jamison has handed in a blank sheet of paper - as a stand against The Man. And I beam with pride since I didn't believe Jamison had that kinda sass in him. When Tim (who's wearing glasses to show that he is smart and the teacher) says he doesn't know what to do about this attitude, Jamison suggests that he tell Trask. He's aiming to get kicked out so he and Nora can go back to Rachel. Tim asks about Rachel's time at Collinwood and JUST as the boys are bonding, in walks Trouble (which starts with T and that stands for TRASK)! Trask orders Jamison out and proceeds to tell Tim (who I must say is looking mighty adorable in a "rumpled, look how sensitive I am" way) that Minerva has returned with word that Rachel has refused to return and has run away. Tim is told that he - in the guise of friendship will find her and bring her back. He refuses and really, I can't express how really - well, downright hot he looks the more vehement he gets. He's by far the most contemporary looking one on the show so far too so perhaps that helps. Tim is opposed but his backbone is pretty squishy so he ends up going. As Trask leaves, he finds Jamison eavesdropping (OK, he did pick up one or two bad habits at home). Trask is furious and says he will be punished. But he says it with a grin that makes me worry about my little frock coated comb-over cutie.

Having sent Hottie Tim on his way betray and destroy a friend, Trask brings Jamison back into the classroom and the cameraman returns from boozing it up at lunch. Well, OK, I don't KNOW that the cameraman was drinking but for some reason, this whole scene is shot to that everyone's head is slightly chopped off (like bad holiday snaps). Trask locks the boy in a large closet so he can "be alone to contemplate the error of his ways". As Trask exits, Jamison is clearly freaked and starts pleading "I didn't know all the rules, I haven't been here long enough, it isn't fair to punish me for something I didn't know. . .sir? Sir?" Jamison surveys his prison and begs for help, from someone.

Tim comes looking for Barnabas, assuming that as Rachel's friend, he'd know where she is. Magda says Barnabas is away and besides, he and Rachel aren't friends anymore. Tim explains that he's looking for Rachel and wants to help her get away. When he sees Magda with Rachel's brooch, he guesses they are going to pawn it for "get away" cash and offers money himself. He says he's got plenty at the school and he'll go and fetch it. Magda reluctantly agrees to ask Rachel if it's ok and he should go get the money and bring in back in the meantime.

Hottie Tim, makes remarkable time and gets back to tell Trask that Rachel and Barnabas are no longer friends so he's failed and can he now be let off the hook. Trask ain't buying it and demands the whole story. We don't see it occur but I am sure that Hottie Tim caves under pressure. He's hot but weak.

Magda is asking Rachel whether to bring Tim. Rachel thinks this over and decides that even though Hottie Tim went back to Worthington, he wouldn't do anything to hurt her - he couldn't have changed that much so she tells Magda yes.

Magda leads Tim to the mausoleum and leaves him there to fetch Rachel out while she goes and gets the carriage. Oh and Magda gives Hottie Tim the brooch and says to give it back to Rachel too. Awe, Magda has a soft spot for Rachel. Tim enters the mausoleum. Rachel, pacing the room, hears the door opening. Tim comes in. She runs into his arms and hugs him. She then gasps. At first I think Tim has coped a feel (and really, is that bad?) but then we see Trask, in his tall, black hat, inside the gate. "Good evening, Miss Drummond," he greets her, smiling. Hottie Tim is a TRAITOR! And I no longer think he's hot. OK, he's still hot but he's untrustworthy.

Trask tells Tim to leave him alone with Rachel. Tim refuses and the men actually circle a bit and Tim pulls Trask away from Rachel as Trask takes her arm. He shouts that Trask will NOT touch Rachel if he has anything to say about. Trask orders him out and says that after tonight, Rachel can't trust Tim and that is what Tim is so upset about. Tim leaves, saying he'll be right outside and Trask starts in on why Rachel should come back. He tries to embrace her at one point - oddly, starting with her throat - and she whirls away. The threats of jail actually don't work but he quickly shifts to using the children being at school to pressure her. "They miss you", coaxes Trask. He then pauses and says "Perhaps our maker has chosen you as some strange instrument of change for me." She scoffs. "You don't believe that anymore than I do," she says. "Perhaps we were meant to change each other", leers Trask, again attempting to touch her. When she again pulls away, he gives her a simple choice - the school or jail and if she picks jail, she won't be able to protect the children she professes to care so much about.

Meanwhile Laura, in not-so-basic black - really stunning gown - magically lights 3 candles with a gesture of her fingers. She calls to Nora to find the flame and you will hear my voice clearly." We then see Nora at the school, in nightclothes, stands on the stairs. She wanders down slowly, entranced, opens the doors to the schoolroom and goes to the fireplace. It's the FLOO NETWORK! "In the fire", chants Laura, "come to the fire, look into the fire, you will see my face in the flames."

Nora does as she's told, but she doesn't see her mother at first. Laura tells her to come closer, closer closer. Finally, Nora spots her mother's face. Nora now stands dangerously close to the fire. "Trust me", says Laura. "Come closer." As she steps even closer, Tim, who's taken off his jacket and is even HOTTER than before, interrupts Nora and calls her name, breaking the spell. Tim promises to make everything all right (Oh baby!). Trask and Rachel enter. Nora throws herself into Rachel's arms; sure her governess has come for her. Trask leaves them to talk and Rachel tells Nora, "Your mother did send me, in a way. She knew I was returning to the school to teach." Nora is delighted. Rachel hugs her, telling her, that's terribly important because it means she was right to come. Trask comes back in to "take the child upstairs and put her to bed. Rachel would prefer to do it but Trask insists and leaves Rachel to hear Tim's apology to her for his betrayal. According to Trask, Timothy is "filled with shame. I swear he pauses JUST like that. Tim says Trask has succeeded in coming between us. Rachel orders him never to speak to her again. He explains that Trask accuses both in Simon's death, so it's worse than they thought. Since Trask is determined they share the guilt, they'll figure it out together. The lean in to each other and the fade has them very very close. But, it's scene-shiftus-interruptus and we fade to -

Trask's study. Someone knocks. It's Laura. Her dialogue is SOOOO fabulous, I've GOT to share it. She immediately starts in "Are no servants at Worthington Hall. I'm not accustomed to letting myself in." He is stunned and asks who she is. She tells him she is Laura Collins and she's come for my children. "You must be Trask", she says. "Reverend Trask", he corrects pointedly. "Anyone can call themselves anything", she says. "I knew a Brooklyn woman who called herself a Countess". Trask prattles on about being entrusted with small souls and guarding them etc. He also points out that he was told Mrs. Collins was away. "You should keep more in touch", she says reproachfully. "Minerva made no mention of your return when she came back from Collinwood this afternoon", he says. "How odd", muses Laura, "I thought Minerva a great gossip". Trask is scandalized! And refuses to get the children. Laura tells him she is sorry he has made such an unwise decision. "My children won't spend one more night in this school", she vows, leaving.

Trask has sent for Rachel and they again argue about the children and whether that woman was Laura. Rachel sees smoke coming from under the door. There's a fire. "The children!" cries Rachel. And though she and Trask both looked shocked, neither one make a move. Nora, trapped in flames and smoke, calls for her mother to help her. She coughs as the flames go higher.

Thursday Nov 21: Today we learn that not only is Laura more than she seems, but we learn also that she is a tramp. On with our show.

When we last left the show, Nora was trapped in a room at Worthington Hall behind a wall of flame. As she cries for help, she sees Laura who insists that she can't come in and get her and that Nora must come through the flame to her. Luckily, Hottie Tim (looking hotter than ever - literally) arrives and dashes to the rescue. The three flee outside and we see a HILARIOUS - what looks like a clay model of a building being consumed by flames. Tim assures Laura that Jamison and all the other children got out, thanks to Trask and Rachel (who I gather recovered from their frozen state and got to work herding the little ones out)

Back at Collinwood, Quentin is still searching for the urn that holds the secret to destroying Laura but he can't find it. He and Magda are conferring about what to do next when Hottie Tim, Nora and Laura come bursting in with the news about the fire. Um - folks, I hate to be a pest but where's Jamison? Quentin (clearly reading my mind despite being fictional and of another time period twice over) asks where Jamison is and they assure him he's OK but is spending the night in Rockport with some of the others. Both Nora and Laura are exhausted and Laura tells Quentin to let Edward know what happened when he returns from Collinsport (Edward is always running off to somewhere. No wonder those kids lack discipline). Magda offers to take Nora up to bed and help Laura get settled right after.

Laura is not only not ready for bed but heading towards the French doors to the patio. Before she can leave, Quentin comments that the fire seems like a rather a bizarre way of getting the children back home again. When she demands to know what that means, he points out that fire has played such an important part in your life this past year he just thought it was worth noting. She orders him out as Magda enters with the tea tray. As Quentin and Magda leave, they run into Tim in the hall. Quentin asks him about the fire but he can't really tell Quentin much beyond feeling lucky everyone got out alive.

Laura is once again heading towards the doors when Tim comes in. He starts asking questions about the fire but Laura distracts him from his quest for information by standing very close to him and speaking very very breathily about how she intends to tell Trask how brave Tim was and how she wants him to be properly rewarded (wink wink, nudge nudge) for saving their lives. He says it's not necessary and he leaves hurriedly. I think Hottie Tim may be - um - well, inexperienced. Finally, Laura exits the house. Nora sees her leave and follows and Magda sees Nora.

Quentin sees Magda standing in the doorway and wants to know why she too didn't follow Laura. He's SURE Laura has gone for the urn. Magda advises him to stay put. She points out that if Laura wants to be alone, she'll send Nora back and we can get the info from her about where Laura went. Quentin thinks Magda is 'da bomb' and smiles happily.

Nora comes upon her mother just as Laura is about to open her urn, hidden in the weather vane of the gazebo. Laura is so startled that she drops her bracelet. She had to work pretty hard to get it to drop and I suspect the actress had a few choice words for props afterwards but suffice to say that the snake bracelet fell to the ground RIGHT WHERE THE URN HAD BEEN HIDDEN. Nora, after demanding to know why Laura didn't come say goodnight, demands to know what's behind Laura's back. She's a demanding child. Laura puts her off - promising to tell her a secret story about the urn and Nora leaves. Laura lifts up the urn and calls out to some fire gods to renew her strength.

Still peering out the front door, Magda reports to Quentin that Nora is returning alone and that it is best if she handles the girl so he ducks into the other room. Magda kneels and says to Nora, "Your mother will be very upset that you left the house." Nora says it's OK, that she just saw her mother in the garden gazebo and wanted to be left alone. Magda takes Nora upstairs to bed. Quentin, who has overheard all, is pleased. They both go to the gazebo and search.

Laura, having returned to the house, sits down in the drawing room, seemingly pleased.

Somehow - though honestly I can't tell how - the snake bracelet gives Quentin a clue and he find the urn! Quentin is beside himself with glee. I think what he does could under certain circumstances be called a jig. Magda thinks it looks worthless but Quentin explains that it contains a life giving flame that Laura cannot survive without (he's been reading up you see). "How will it happen?" he wonders, snapping his fingers. "Just like that? Or will the energy be slowly drained out of her?" Magda looks put off by his attitude. "We will know soon enough", says Quentin, dousing the flame in the urn with sand. "Goodbye, Laura!" he says laughing.

Laura looks wildly around. "NO!" she cries. She's still staggering around the drawing room when Judith enters. Judith wants to call for a doctor, but before doing so rushes off to get her sister in law some tea (and I notice that the tea tray from earlier has grown legs and walked off). When she returns, the drawing room is empty and the front doors are open. Quentin enters. Judith asks if he saw Laura, who just left the house. She orders him to go find her! "Did she do something naughty?" asks Quentin. Judith insists that he help and is appalled by his refusal but she says she expects nothing less of him.

Laura practically collapses into the gazebo and finds the urn gone. Dirk, and his magnificent black leather gloves, arrives. Apparently, Dirk (or the gloves) saw her leave and followed her since she seemed so unwell (It's amazing to me that in a house that size, someone is always seeing someone else leave). She orders him to come closer and leans her body against his, causing him to say, embarrassed, "Mrs. Collins!" He is shocked. Or pleased. Or both but I suspect mostly shocked. Dirk urges Laura to let him take her to Collinwood - "someone might come and see us." (and my gloves and I have an understanding) "Don't be embarrassed", she urges. Dirk says he can hardly help it. "You're going to be the one", she says. He doesn't know what she's talking about. "You will help me", says Laura, "and come to me when I summon you." Dirk backs away from the seemingly amorous Mrs. Collins. "You will come to me when I need you", she says desperately. "I'm sorry", says Dirk emphatically, "but I'm taking you back to Collinwood." And just short of carrying her, he does.

Quentin and Judith are in the drawing room when Dirk helps Laura in. Quentin assures Laura that a doctor is coming and all will be well. Judith spats out that Quentin is a hypocrite and he scolds her for name calling at a time of crisis. He says he feels he ought to help Laura upstairs to make up for his earlier attitude and so he does. Judith invites Dirk into the drawing room and asks where he found Laura. He reports that she was in the garden and though he thought at first she'd been drinking, he now thinks she is delirious. Judith again thanks him for his help.

Quentin helps Laura into bed asks her "How do you feel now? Too weak to talk? What happened?" he asks. He draws the blankets up as she accuses him of already knowing what's happened and of being at fault. "You're trying to kill me," she accuses. "Now that is a very strong accusation. Tell me", he says, tucking in the blankets and stroking her arm, "do you have any way of proving that?" She assures him that she'll find a way and he will pay. "I don't think you have that much time left", he whispers to her. He's very close, almost in bed with her. She raises her head and he suggests not exerting herself. He reminds her of how she left him dying at the cottage and remarks "Now I do believe that one bad turn does deserve another?" He moves to kiss her mouth but she turns away. He grabs her face and forces a kiss on her mouth. "Why, your lips are ice cold," he notes. "Goodbye, Laura." And after a last caress of her face and shoulder, Quentin leaves.

Laura gazes at her bedroom fire and calls for Dirk to come to her and as she speaks about how he will be possessed by "the master" to assist her we see Dirk entering Collinwood, walk through the foyer and into the drawing room. He is spellbound by the fire in the fireplace. He seems to hear Laura's voice and then speaking in a foreign language about Amen-Ra; Laura responds in the same language. "Come to me," she begs, over and over. "I don't want to die, I can't die, not now, not here!" Dirk walks from the drawing room.

This may be the weirdest scene I've yet to witness in this show. Laura is on the floor of her bedroom unconscious. Dirk enters, picks her up and carries her to the bed. I thought he was out of it completely but he says something about "speaking foreign words that make no sense." So he seems to be aware that he's doing things under some influence. She grabs his lapels and drags him closer, toppling him into bed with her pretty much. . Dirk says he shouldn't be there but when she asks if he wants to leave he says he'd rather stay and help her - but he can't remember why. "Look deep in your soul", Laura urges. "You'll know you must do something, there's very little time." She's practically panting. He's confused. "I don't know what to do", he says desperately. I swear if I didn't know better, I would swear a virgin (or Hottie Tim) was being deflowered. He suddenly looks like a clue has hit him and draws her into his arms, calling out her name - and suddenly he's very hoarse. "You do have the power", she cries. "Only you can restore me!" He's shaking his head as if to clear it. "It's impossible," he says. She says he should tap in the heat of eternal life (is THAT what they call it these days?). He holds her closely, promising he will never let her go. She urges him to "Use your power." And we get a very tight close up on them going horizontal.

Friday Nov 22: When we last left Dark Shadows (and I apologize for the delay), Laura and Dirk were getting down with the mumbo jumbo so Laura wouldn't die like the fire from her urn.

Quentin heads upstairs but just as he is about to break free of the Foyer of Significance, there's a knock at the door--it's Jamison and Charity and Jamison is a quivering mass of jumpiness He had a dream about his mother dying and when he refused to calm down, Charity brought him home. Quentin suggests Jamison go get a cup of tea to calm down and Jamison sensibly and thoughtfully points out that it's the middle of the night and that no one will be in the kitchen. Pish-tosh, says Quentin. OK, he didn't really say pish-tosh but that was the essence of what he said. What Quentin actually tells him is "Wake someone up to get it for you. Someday you'll be master of Collinwood, and everyone will have to do your bidding." This intrigues Jamison, who says right-o (or something that means much the same) and goes to rouse the servants. Quentin explains to Charity that Laura is actually on the verge of death and asks her to help prepare the boy for the shock. Quentin's concern for the boy touches Charity (and look! So is Quentin himself - you scamp!). Quentin informs her that he intends to devote his life to Jamison and sees Jamison as his chance at redemption. Charity is nearly overcome with the beauty of that sentiment and asks how grave Laura's situation is. "That poor lady", says Quentin, "may be dead by now." From the landing, there's a giggle, and Laura herself, obviously nowhere NEAR death and restored by her romp with Dirk says, "As usual, Quentin, you are wrong-the poor lady never felt better!" And she giggles hilariously. Almost like she's drunk.

Charity is puzzled, Quentin is stone-faced but Jamison, returning from the kitchen, is thrilled! He runs to his mother's arms, comb-over flopping happily. "I had a horrible dream about you", he says, "but Quentin told me everything was all right." Laura takes her son into the drawing room for a little talk, closing the doors RIGHT on Quentin who then tries to take it out on Miss Trask. Charity isn't paying attention however. She's too busy staring at Barnabas' portrait Quentin notices her scrutiny. She doesn't know what he apologized for, and she drifts out the front doors.

Jamison tells his mother how happy he is that she's back and she explains that she can't stay for long - someone at Collinwood wants to hurt her. "They can't", Jamison assures her. "One day, very soon, I'll be master of this house and no one will dare lay a hand on you." (Wow, he got used to that idea fast. I can only imagine what the scene is like in the Collinwood kitchen right now) Laura concedes that is true for the future but for now, she must go. Jamison chirps happily that Quentin will help. "He'll do anything I ask," the boy assures her. Laura is VERY disturbed by this Quentin-focus Jamison is demonstrating and says they need to talk more later after he is read for bed. When she flings open the doors, Quentin is right there. She marches upstairs haughtily. Jamison promises his uncle he will speak to him later. Quentin looks pissed.

Barnabas is at home in another gorgeous dressing gown that would look far better on Quentin (or me for that matter) when Charity knocks at his door. She's not sure why she came but he says he understands that they have a bond and she felt drawn. They both talk lingeringly about the bond between them and I start feeling rather ill. Happily for my stomach, delicate as it is, they change the subject and speak of the school fire. Soon however, they are back to making goo-goo eyes at each other and I am very confused. I know why SHE'S making eyes. She's in thrall from the bite. But why is HE making eyes? She doesn't look like Josette after all and that is his modis operedni. Then she randomly asks for a mirror. " I want to look into one, because in your world, I feel that I, too, am beautiful." Barnabas seems taken aback by this request and so am I. Where on earth did it come from? Clearly they need her to know later that he doesn't have one but this line drops in there so awkwardly, it's beyond belief. So to cover what may have been missed lines or just nausea at the scene he is being asked to play, Barnabas reverts to wretched sentiment and assures her "You are beautiful. You need no mirror to know that. Look into my eyes and you will see." She turns to him, eyes wide and mind blank. The camera pulls in on her ecstatic face . . . and I come very close to retching all over the new coffee table.

Dirk is once again (or perhaps still) in Laura's room expressing confusion and disbelief that Laura could need his help. (I suspect she just covets the gloves - as I do) but she insists that he does help and must do so again by calling into the fire for an amulet to protect her while she battles Quentin. Dirk and his gloves (I wonder if he kept them on while hmmm) do as she asks, speaking in a foreign language again, and a beetle-like scarab appears in the flames. Laura reaches down and takes it from the fireplace just as Jamison knocks at the door. Laura hides the scarab in her pocket. Jamison gives Dirk a significant look - the kind you would normally see in The Foyer and says pointedly to his mother "I thought you would be alone". She explains that Dirk was helping her with something and Jamison orders Dirk to go quite huffily. Laura is appalled that he would speak to Dirk that way and even more appalled when Jamison says "Quentin says servants must know their proper place." Laura then tells Jamison that his favorite uncle is the one trying to kill her and Jamison is stunned.

The coo-fest at the Old House is still going on. Barnabas wants to take Charity to Collinwood where she can spend the night and she's OK with that but wants to stay and - um - talk a bit. She muses about how different her bond with Barnabas is from the one she has with Tim (I guess we are lucky she recalls having a fiancé at all). Barnabas is hanging on her every word (with an occasional glance at her neck) She describes feeling as if she can only be happy doing anything Barnabas wants her to do. "Anything at all she emphasizes. Barnabas just looks as pleased as can be and again, I begin to feel woozily ill. "Oh, Barnabas," she whispers as I reach for the remote defensively, "make me happy." She turns to face him, his fangs are bared. "I will," he promises and sinks his fangs into her throat. (ACK! I hit mute instead of off)

Quentin catches Jamison running down the stairs and says they need to talk. He is worried and asks if everything is all right. Jamison assures him that everything is jim-dandy because one day he (Jamison) will be - you guessed it - master of Collinwood and everyone in it will have to do as he says. Quentin agrees (and I wonder if he isn't regretting bringing this up in the first place). Jamison then smiles a sneaky smile reminiscent of the Grinch but less green and Karloffy and asks, "Do you know what I want you to do, Quentin?" Quentin, once again playing the fun uncle, kind of snaps to attention with a jaunty grin, "Tell me what it is and I'll do it." Jamison steps back and lets loose "I want you to get out of my sight and stay out of my sight!" Quentin is confused, hurt and worried all at once and his muttonchops fairly quiver with emotion as he bleats "Why?" Jamison continues to rage, "I'll tell you why--because I HATE you!" Horrified, Quentin stares at his nephew. As he tries to reason with him, Laura comes down stairs and sends Jamison away. He's not keen on leaving her alone with Quentin but she assures her son it's all right, kisses his cheek and watches him go upstairs.

In the drawing room, Quentin and Laura argue about who has Jamison's best interests and heart and by golly, I am coming down on the side of the sideburns. The argument gets heated and suddenly Dirk bursts in to attack Quentin. Laura stops him in time for Quentin to sneer adorably about the level she has fallen to "One of the servants? You surprise me, Laura. You've always pretended to be such a lady." Dirk again goes to attack Quentin, but Laura tells him Quentin is leaving and Quentin does, leaving Dirk and Laura to "warm" themselves in the drawing room along. Just as things are "heating up", there is a knock at the door. Dirk answers. It's Barnabas and Charity. Barnabas says he found her wandering in a daze, Dirk promises to see to it Charity gets a room. At this, Laura enters annoyed and says she thought Charity was going back to town. As Charity is explaining, Barnabas stares at Laura, astounded. She introduces herself to him, but he doesn't respond. Gulping, he covers with a smile and says he'd just not been told how young and beautiful she was. More chitchat and then Laura heads upstairs with Dirk (who SAYS he's gonna get Charity's room read) Charity follows Barnabas into the drawing room and asks what's the matter. "It can't be!" he whispered. "I saw her, heard her voice, touched her hand-but that woman has been dead for over 100 years!"

Charity and Barnabas discuss this frightening turn of events until Angelique shows up. "Oh there you are", she says. "And there you are," he echoes unhappily. "And there she is," says Angelique, looking at Charity "Quite a cozy little threesome." It's HILARIOUS. Angelique introduces herself as Barnabas' fiancée and Charity rushes out blithering about being confused and ashamed. She didn't feel this way about her OWN engagement so I am a tad confused myself. Angelique again reminds Barnabas to keep his mind on the task at hand and not make Trask a problem. I would be wholeheartedly on Angelique side except for the fact that her dress is blindingly ugly - red velvet and purple taffeta. As he tries to leave, she stops him and says, "For your own sake, as well as what you're trying to do here, spend your time with girls down at the docks, girls with no names, no homes, no hopes--and most of all, no fathers." (Now that is a generous fiancé)

Charity dreams that it's her wedding day and Angelique appears at her bedside to help her dress. Charity protests that the veil is black and Angelique explains that it must be when you are marrying death. "Help me!" Charity begs a man we cannot see. Barnabas turns and bares his fangs. Charity screams; Angelique laughs. Charity awakens in her bed, screaming for real. Charity feels her throat where Barnabas has marked her. Judith knocks at her door, saying it's four o'clock in the afternoon. When she opens the drapes to let in the afternoon sun, Charity protests the abrupt light in the room. Deciding that Charity is simply exhausted from bringing Jamison back last night after the shock of the fire, Judith encourages the girl o rest until her father comes. This upsets Charity but Judith says Rev. Trask is coming because she asked him, not to fetch Charity per se. Charity lies back against the pillows.

Angelique answers the door at Collinwood. It's Trask. She greets him as if she knows him (and as if she has any place answering the door at all - is she staying there? Hasn't she just arrived?). They chat of things like weddings and Charity. Angelique suggests Trask hurry Charity's wedding along and then excuses herself, leaving him puzzled. Judith comes downstairs and tells him Charity is sleeping. He is shocked to hear this as Charity knows how he feels about sloth but Judith explains that with the shock of the fire, etc. The girl was feeling a bit run down. Judith tells Trask that she has something important to discuss with him and won't he follow her into the drawing room? He says, "My dear lady, I would follow you anywhere." (He leers and I wonder where the crap-o-meter is). She expresses dismay that Trask lost his life work in the fire and also says that she wants to help him rebuild. She offers him not only money for the rebuilding but the use of one of the buildings on the estate to set up a temporary school. Trask is flabbergasted and I'm with the Reverend. Who is this and what has she done with the real, grasping, 'mine, mine, it's all mine' Judith? She says it's nothing, the least she can do. "I'm just offering money", she says, "and when one has it, it's not difficult to offer." Trask then suggests she is trying to find peace that the money will not give. She looks away and he realizes he embarrassed her but says that if she would look upon him as a friend (he practically winks), he would be honored to help her ease her burden. "I see there are problems in your heart and soul that must be uncovered, talked about to a dear friend-and I'm going to be that friend!" She expresses her overwhelming admiration for him - he's so uncomplaining, despite hardships and ill health. The ill health catches him off guard and he asks what she has heard. She mentions that Minerva had spoken of it while she was at Collinwood. "How strange of Minerva", he remarks, "since she is the one who is in ill-health. Increasingly ill health." (He states the last with a creepy "light bulb just went off above his head" emphasis and I think Ms Minerva better watch her step).

Barnabas wakes in the coffin and sits up. He calls to Charity. "I need you. There is much to be done. Hurry, my dear, hurry!" Judith and Trask go to Charity's room and discover that she is gone!

Barnabas is in the basement of the Old House looking through a trunk when Charity comes down - in her dressing gown and slippers. She apologizes for acting so foolish before when she met Angelique but having had time to think about it, she has decided that neither fiancé matters a whit. "Because of this special thing we have between us," he says. The smile and each other and I pray we aren't gonna have to make Charity happy again. We GET IT already. Now, let's move on. Turning to the trunk, he explains that it once belonged to his uncle Jeremiah. He shows Charity a picture of Jeremiah's first wife, Laura Stockbridge and guess who it is! You guessed it! Laura Collins! Charity asks if he's sure because after all - how could this be possible. "Yes," says Barnabas, "the day she came to Collinwood, she was wearing a bright orange riding habit. No one else could wear it, but on her, it was magnificent. I remember the first time I saw her, I was a child of 10 and I thought there could never be no more beautiful woman as long as I lived." Charity asks, "When you were 10 years old?" Charity is doing math in her head while he continues "She was like a flame, coming toward the house that day in her bright orange riding habit. How ironic that fire should kill her." Charity is horrified to hear of a woman who dies in flames and yet is still here - and young and unhurt 100 years later. She starts to freak at the implication of it all but Barnabas calms her down, gets her under control by talking about their "bond" and she agrees that she's OK and will stay and help figure this whole Laura conundrum out.

Back in the Foyer of Significant Exchanges Trask is railing about Charity having vanished. He's not worried. He's pissed. He seems to see it as willfulness and devilry (oh, Daddy - if you only knew) Judith suggests he's being harsh with Charity and is about to get Dirk to help search the grounds when Charity walks in. Trask sternly demands answers, details and explanations. She starts to reply, but instead falls to the floor in a faint. Trask rushes to her side. The first thing he finds, and Judith witnesses, are the fresh fang marks on her throat!

And that is all they are showing until the middle of DECEMBER! Gack. I may have to make up Dark Shadows Interim Fun in the meantime

Back to top

Have a suggestion, comment, praise (in particular)? Drop me a note. Reproduction or use of any of this site for profit sternly frowned upon.
(c) Modern Parlance