Episode 495: A nice boy

In #134, strange and troubled boy David saw his mother Laura Murdoch Collins for the first time in years. To everyone’s surprise, not least his own, David reacted to Laura with terror. It turned out that he had good reason for this reaction, as Laura was actually an undead blonde fire witch come to lure him to his own death.

In #489, David learned that his father Roger had remarried. Like everyone else in the great house of Collinwood, David was stunned to learn that Roger had known his new wife for less than a day before he married her. Unlike the others, his speechless reaction prompted Roger to jump to the conclusion that he disliked his new stepmother. Roger scolded David and sent him to play outside until he could come back and be charming.

While outside, David had stumbled upon the new Mrs Collins kissing a man other than her husband. Later, he found her alone in the drawing room, told her what he had seen, and informed her that he would tell his father about it.

Roger’s new wife wears a black wig and calls herself Cassandra. What the audience knows, but neither Roger nor David do, is that she is actually an undead blonde witch. Roger does have a type.

The new Mrs Collins’ real name is Angelique. She has come to 1968 from the late eighteenth century to resume her punishment of Barnabas Collins, whom she turned into a vampire in their time, but who has now been freed from the symptoms of the curse. When David told Angelique/ Cassandra that he would report her misconduct to Roger, she used her magic powers to strike him dumb. When his muteness became inconvenient for her in #492, she cast another spell to erase his memory and restore his speech. To execute this spell, she took fire from the hearth and spoke words to David that caused him to drift into a trance. We remember #140, when Laura urged David to stare into the flames of this same hearth while she told the story of the Phoenix, causing him to drift into a trance. From that point on, he liked his mother very much.

Today, David meets Roger in the foyer of Collinwood. He tells his father that Angelique/ Cassandra took him into town, where she bought him a Swiss army knife. He says she would have bought him anything he wanted. Thus we learn that, though she is a wicked witch (as well as a wigged one,) Angelique/ Cassandra is in some ways a typical step-parent. When Roger says he is glad to see that David now likes Angelique/ Cassandra, David is mystified. As far as he can recall, he always liked her.

Roger sends David to answer a knock at the door. It is their distant cousin Barnabas. This is the first time we have seen David and Barnabas together since #333, when David barely escaped with his life after Barnabas caught him looking at his coffin. David now greets him quite calmly.

David leaves. In the foyer, Roger scolds Barnabas for his rudeness to Angelique/ Cassandra. Barnabas could hardly be expected to fail to recognize his old nemesis, but he has indeed shown an extreme lack of prudence in his uninhibited talks with her. Not only has he created unpleasant scenes to which Roger is bound to object, but he has also let Angelique/ Cassandra know exactly what he does and does not know about her.

Roger says that if Barnabas cannot be friendly to Angelique/ Cassandra, he shouldn’t come to the great house anymore. Barnabas asks if Roger shouldn’t ask his sister Liz, who after all owns the house, what she thinks. Roger says that will be unnecessary, since Liz has even less tolerance for rude behavior than he does. Barnabas is promising to do better when Liz runs in, frightened by a tall man she met on the grounds. Liz told the man he was on private property and directed him to leave. The man said nothing at all in response to this challenge or to her subsequent questions. He stood still and appeared to be mute until he spoke Barnabas’ name. Liz ran from him when she saw that he had a shackle attached to his leg. Roger flies into a panic, assuming that a shackled man must be dangerous and remembering that David is alone in the woods. He gets his gun, and rushes out. Barnabas accompanies him.

In the woods, David is playing Mumblety-Peg with his new knife. The tall man shows up; when David finds that the man cannot talk, he says that he is glad. He says that he often wishes no one could talk. He goes on at considerable length about the disadvantages that come with the ability to speak. He then explains to the man that you play Mumblety-Peg by dropping the knife into the ground so that it sticks there. The man becomes excited and grabs the knife. David objects and demands he return it. They struggle; David falls and hurts his ankle. David grumbles that all the man had to do was give him his knife back. The man looks alarmed and picks David up. David doesn’t like that one bit, and insists he be put down.

Roger points the gun at Adam and David.

David’s shouting brings Roger and Barnabas. Roger points his gun at the man and orders him to put David down. When the man does not move, Barnabas tells Roger not to shoot. David, in the line of fire, seconds this recommendation. Barnabas talks to the man in a soothing voice, gesturing towards the ground, and the man does set David down. David runs to Barnabas and gives him a hug.

This is the second time David has run into Barnabas’ arms. The first was in #315. David had been trapped in the hidden chamber in the old Collins family mausoleum, where Barnabas was confined in his coffin from the 1790s until 1967. Barnabas learned that David was there, suspected he might have deduced his secret, and decided to kill him. David got out of the chamber just as Barnabas was approaching it, and ran from it directly to him. He had not in fact figured out Barnabas’ secret while in the hidden chamber, but Barnabas’ behavior in the minute before someone else came along was menacing enough that David caught on that he had sinister plans for him. For the next ten weeks, his fear of Barnabas would deepen, leading him to discover the whole horrible truth about his distant relative. All that is forgotten now, evidently.

Roger jumps to the conclusion that the tall man had “tried to kill David!” He shoots him in the shoulder and runs after him with his gun, over Barnabas’ objections. Roger had been quite unconcerned with David’s well-being throughout the first year of the show. In the first months, he openly hated the boy and continually tried to persuade Liz to send him off to an institution; in #83, he coldly manipulated David into attempting to murder someone who posed a problem for him; even after other characters had begun to realize that Laura was a deadly threat to David, Roger continued to press eagerly for her to get full custody of him and take him away; and in #313, when David was trapped in the mausoleum, Roger could barely be bothered to take part in the search. Roger’s behavior will therefore be less likely to suggest to regular viewers that he is overcome with paternal feeling than that he is a panicky fool who is much too excited about an opportunity to shoot someone.

The tall man is Adam, a Frankenstein’s monster created in the procedure that caused Barnabas’ vampirism to go into remission. Though he is 6’6″, Adam is only a couple of weeks old, effectively a baby. Barnabas has been keeping him in his basement, chained to the wall in the prison cell he maintains for those times when he has abducted a pretty girl and has to keep her from running away. The opening voiceover tells us that “no man has suffered more” than Barnabas, just as we cut to Adam, despondent in his shackles. Barnabas comes in to give Adam a cup of broth and a couple of minutes of rigidly formal social interaction, then leaves him alone again. Somehow this sequence makes it difficult to sympathize as deeply with Barnabas as the narration would have us do.

Episode 493: What horrors we commit

Recovering vampire Barnabas Collins and mad scientist Julia Hoffman brought a Frankenstein’s monster to life the other day. They named him Adam, and are keeping him locked up in the prison cell hidden in the basement of Barnabas’ house. They leave Barnabas’ servant Willie in charge of Adam.

The first two days of the Adam story had their humorous moments as we saw Barnabas and Julia’s farcically total incompetence before the demands of parenthood. Today, Robert Rodan plays Adam as a 6’6″ newborn who is looking for affection and mental stimulation and finds only hostile people and brick walls. Rodan’s commitment to the part is so pure and his face is so expressive that he weighs us down with sorrow for a cruelly neglected child. Moreover, Dark Shadows is so high-concept right now with all of the monsters and black magic and mad science and dream sequences and so on that it is hard to see how it can take a pain that is so raw and make it meaningful for us in a way that will justify showing it.

There are just a couple of moments I want to remark on. In the cell with Adam, Willie smokes a cigarette. He blows smoke in Adam’s face, leading him to freak out, knock Willie unconscious, and flee from the cell to the grounds of the estate of Collinwood.

Outside the great house of Collinwood, Adam finds a toy to play with. Screenshot by Dark Shadows Before I Die.

This isn’t the first time Willie’s smoking has got him in trouble. Willie scattered cigarettes in #210, when he was trying to rob a grave in the old Collins family mausoleum. To his surprise, the coffin he opened held, not the jewels he was looking for, but Barnabas, who seized him by the throat and didn’t let him go until he had bitten and enslaved him. A few days later, in #215, Willie’s old partner in crime, seagoing con man Jason McGuire, asked Willie what he had been doing in the mausoleum. Terrified that Jason might discover Barnabas’ secret and bring the vampire’s wrath down on him, Willie denied he had been there. Jason replied that Willie had a habit of leaving cigarette butts on the edges of things. The same vice that brought Willie to the brink of disaster on that occasion has now caused Adam to panic, and Adam is clearly strong enough to kill a man with a single blow. Smoking is even more hazardous for Willie than it is for the rest of us.

In the great house of Collinwood, housekeeper Mrs Johnson is struggling with her part in “the Dream Curse.” In this curse, a person has a nightmare, is terribly distressed until they can tell a particular person about the nightmare, the person they’ve told then has the same nightmare, and the process repeats until the writers can come up with a less tedious way to fill the time on slow days. Mrs Johnson knows that it will be bad to tell the dream to the next person, and is trying not to. Julia knows all about the Dream Curse, and is herself the person who passed it on to Mrs Johnson.

Julia also has a nearly unlimited power to erase people’s memories with hypnosis, yet she doesn’t try to hypnotize Mrs Johnson into forgetting the dream. The Dream Curse is the product of a spell cast by wicked witch Angelique. Another of Angelique’s spells made Barnabas a vampire. Julia was able to hypnotize Maggie Evans, The Nicest Girl in Town, into forgetting weeks and weeks of vampiric abuse Barnabas inflicted on her, and Maggie has been her old self ever since. So, if Julia can wipe away one kind of trauma arising from Angelique’s curses, why not another? It seems like it would be worth a try.

Also, Julia is in charge of a mental hospital called Windcliff. She has used Windcliff to stash Barnabas’ victims Maggie and Willie where they wouldn’t attract the attention of the authorities. Regular viewers can hardly fail to wonder why she doesn’t think to commit Adam to Windcliff. If we must have him on the show, it would be easy enough to write a couple of lines of dialogue explaining why it would be impossible to send him away. That they don’t take the trouble to do even that is an insult to the intelligence of the audience and another reason to find the Adam storyline depressing.

Episode 492: Think of a worse place

Mad scientist Julia Hoffman and recovering vampire Barnabas Collins have created a Frankenstein’s monster and named him Adam. Adam is 6’6″ and brawny, he can walk, and he seems to have some degree of understanding of speech. Still, he is only a few hours old, and he knows nothing about the world in which he finds himself. When he throws a tantrum and smashes up lab equipment, Barnabas gets a gun and prepares to shoot him to death. Julia stops him. She injects Adam with a powerful sedative and says they should take him to the basement of Barnabas’ house and lock him up in the prison cell where Barnabas sometimes confines his victims.

Returning viewers will be puzzled by this idea. Julia is in charge of a mental hospital a hundred miles away, and has twice stashed victims of Barnabas’ there and used her powers of hypnosis to mutilate their memories so that they cannot tell the authorities about him. Adam has no memories that would threaten Barnabas’ position; all he needs is care and supervision. Of course, sending him away would stop the story, so if Barnabas suggested it the writers would have to give Julia a line to explain why it wouldn’t be possible. That would be so easy to do that it is very odd they don’t bother to do it.

At one point, Julia says “We must make him trust us.” When Barnabas asks how, she admits that she doesn’t know. I suppose the first step would be to ensure that he never learns anything at all about either of them.

Meanwhile, Barnabas’ old nemesis, wicked witch Angelique, has come back to life. Wearing a black wig and calling herself Cassandra, she has married sarcastic dandy Roger Collins, establishing herself as a resident of the great house of Collinwood and as stepmother to strange and troubled boy David. The other day, David caught Angelique/ Cassandra kissing her cat’s paw Tony. Before he could tell his father what he had seen, Angelique/ Cassandra cast a spell on David leaving him unable to speak or write. Now David’s muteness has become an inconvenience to her, so she casts another spell on him, making him forget everything from the moment before he came upon her and Tony, then restoring his power of speech.

For the first several months of Dark Shadows, David had emotional problems resulting from the hostile atmosphere in which he spent the first years of his life. Roger openly hated David, and in #83 deliberately manipulated him into making an attempt on the life of well-meaning governess Vicki. David’s mother, undead fire witch Laura Murdoch Collins, was no better, trying to lure David to his death in the flames which would consume her current form and give her new life.

The only other children on the show until now were Daniel Collins, who like David was played by David Henesy and who was the object of a murder plot by his legal guardian, and Sarah Collins. Sarah was a ghost from #255 to #364, and a living being from #366 to #415. When Sarah was alive, Angelique had abused her very cruelly. Sarah’s big brother Barnabas spurned Angelique’s advances, and Angelique published him by afflicting Sarah with a grave illness. When Angelique placed the curse that made Barnabas a vampire, she declared that it would mean the death of everyone who loved him, and she should have known that as one of those who loved him most dearly Sarah would be among the first to die.

Roger and Angelique/ Cassandra, therefore, are hardly more promising as parents than are Barnabas and Julia. David and Adam might wind up in therapy together some day.

The episode ends with a dream sequence, part of the “Dream Curse” that Angelique decreed would fill time when the writers get stuck. One character after another has the same dream, each time ending with an image that is supposed to suggest some hidden fear that character has. Today’s dreamer is housekeeper Mrs Johnson. Evidently she is afraid of video inserts, because she sees a clip from an educational film about bats. It’s an interesting image, not at all in the thoroughly stagey, vaguely stately visual style director Lela Swift established for Dark Shadows.

And behind Door #3, a Zonk! Thank you for playing “Let’s Make a Nightmare,” we hope you had a good time. Screenshot by Dark Shadows Before I Die.

Episode 491: What we do with him now is up to us

Vampires and mad scientists are both metaphors for extreme selfishness. The vampire exists only to feed on humans, gaining a night’s nourishment for himself at infinite cost to them; the mad scientist takes skills and equipment that could bring great boons to humanity and uses them only to further some perverse private whim. The Frankenstein’s monster emerges as the logical synthesis of these metaphors. As a botched resurrection and a parody of the Christian story, the Frankenstein’s monster evokes the vampire; as the helpless product of the mad scientist’s hubris, he is a child neglected and abused by a narcissistic parent, bringing home the real-world stakes of the issues raised in stories of uncanny horrors.

Mad scientist Julia Hoffman and vampire Barnabas Collins have finally got round to creating a Frankenstein’s monster of their own. His name is Adam. Julia and Barnabas had expected Barnabas to die and his “life force,” what the opening voiceover today refers to as his “spirit,” to animate Adam. They are surprised that the experiment has ended with Barnabas and Adam both alive. They are entirely bewildered about what to do with this 6′ 6″ newborn. Julia goes to her usual default, and injects him with a sedative.

Matriarch Liz comes from the great house of Collinwood to the house where Julia and Barnabas are working. She brings some information about the B plot. Barnabas makes it clear that he and Julia are deeply involved in an experiment begun by the house’s previous owner, the late Dr Lang. Liz is mystified by Barnabas’ new interest in science. She and Julia go to Collinwood, while Barnabas stays downstairs in Lang’s old consulting room. He is waiting for the dawn, wondering if the process of creating Adam cured him of the symptoms of vampirism or if he will crumble into dust when the sun rises.

In the lab upstairs, Adam regains consciousness. He plays with some of the shiny objects around him. It’s rather an odd playpen for a baby, with its electrical equipment spraying sparks, vials of boiling acid, loaded gun, and medical sharps. But he seems delighted with everything until he grabs a scalpel by the wrong end. Then he starts smashing things.

What newborn wouldn’t love that? Screenshot by Dark Shadows Before I Die

By that point, Julia is back, the sun is up, and Barnabas has learned he is human again. Julia and Barnabas hear the crashing sounds from upstairs. They try to stop Adam. He flings them aside. The episode ends with him sticking his arm out the door while they press it shut. Grayson Hall and Jonathan Frid do such a good job of playing Julia and Barnabas as farcically clueless that the sequence left me and Mrs Acilius roaring with laughter.

There is a bit of self-reference in this one. The first person Adam sees when he opens his eyes is Barnabas. When he can see Barnabas, he is calm. When he cannot, he becomes agitated and dangerous. Most of the people watching Dark Shadows at this point first tuned in because they were curious about Barnabas, and have stayed with the show because they are fascinated with him. The viewer mail whenever Barnabas was not getting enough of the spotlight to please his fans must have been unpleasant for the writing staff to read, and might have made them apprehensive of the crowds that gathered every weekday outside the studio at 442 West 54th Street. Perhaps Adam’s rampage was their nightmare dramatized.

Episode 490: We’re both alive

Dark Shadows is in one of its most “High Concept” phases today. Mad scientist Julia is trying to transfer the “life force” of recovering vampire Barnabas into a Frankenstein’s monster named Adam. She is having difficulty concentrating because she is in the grip of an elaborate spell cast by wicked witch Angelique, a “Dream Curse” in which each victim has the same nightmare, is compelled to describe it to someone they saw in the nightmare, and that person is then the next to have the nightmare.

The episode is so completely dominated by these plot elements that the writers couldn’t find time to give the characters motivations. Julia is supposed to tell the nightmare to housekeeper Mrs Johnson. Julia is busy in the house by the sea where the lab is, and there is no reason for Mrs Johnson to go there. So they just have Mrs Johnson show up without a reason. She talked with Angelique on Friday and is in a trancelike state when she enters today, inviting us to imagine Angelique cast a spell that caused her to go to Julia.

Well-meaning governess Vicki also turns up at the house by the sea. She wants to talk to Barnabas about a note he left saying that he would be going away and a man named Adam would be coming. What Vicki lacks isn’t so much a reason to be on this set as it is a reason to be on the show. For thirteen months now, whatever Barnabas is doing has been the A plot of Dark Shadows. Barnabas has systematically refused to let Vicki into his life in any substantive way. In this scene, he confirms that Vicki will not be allowed into the action when he assures her that “loving me would have been the worst mistake of your life.”

For a little while, Vicki was in a B plot about her romance with a man named Peter who insists on being called Jeff. There is no longer any obstacle to Vicki and Peter/ Jeff being together or any connection between Peter/ Jeff and any other story. Besides, Peter/ Jeff is a repellent screen presence, and if Vicki wants to spend time with him we’d frankly prefer she do it when the cameras are off. She and Barnabas do some recapping, and then she goes back to the shelf where the writers are evidently determined to keep her.

Julia conducts the procedure. There are lots of closeups of gadgets meant to suggest sophisticated medical devices. So many of these are operating in the lab that we wonder why they didn’t hook Adam up to machines that were supposed to make his heart beat and his lungs pump during the many many days he spent lying on the table in this unrefrigerated room. After all, the principle governing the inclusion of machines on this set is clearly “the more, the merrier.”

As the procedure goes on, Barnabas smiles and says with absolute delight “I’m getting weaker. I feel life slipping away from me.” Dark Shadows is already deep into its Monster Mash period, and this kind of misplaced glee is usually the keynote of dramas that are loaded with vampires and witches and Frankensteins and whatnot. But this line is the first time they’ve really sounded that note, and it will be two and a half years before the show outdoes this instance of it.

The equipment goes haywire. Screenshot by Dark Shadows Before I Die.

Some of the equipment crackles and fizzes, and there are explosions. Julia cannot continue, and leaves the room thinking the procedure has failed. Barnabas stays behind to make a speech to the lifeless body, only to see the eyes open. He realizes it is not lifeless at all. The plan was that his original body would die and he would wake up as Adam; he is puzzled that they are both alive.

Episode 488: May be human

The late Dr Eric Lang built a Frankenstein’s monster with the intention of draining the “life force” from recovering vampire Barnabas Collins into it. Wicked witch Angelique turned Barnabas into a vampire in the first place, and has returned to the scene to thwart this experiment and make Barnabas once more an undead abomination preying upon the living. Angelique struck Lang dead with one spell, and with another has started a “Dream Curse” that has for the moment compromised the ability of the senior mad scientist in town, Barnabas’ best friend Julia Hoffman, to pick up where Lang left off.

In Lang’s laboratory, Julia and Barnabas recap the plot. Under the stress of the Dream Curse, Julia is having trouble controlling her emotions. At one point she refers to her crush on Barnabas. Every time she has mentioned this before, Barnabas has been a huge jerk about it, ridiculing her and reminding him of the crimes they have committed together, including murder. This time, he is warm and kindly. His non-obnoxious response marks a significant change in their relationship.

Lang left an audio message for Julia on his tape recorder. He said that if she does the experiment and Barnabas and the Frankenstein’s monster, whose name is Adam, both live, neither Barnabas nor Adam will be a vampire. But if Adam dies, Barnabas will revert. His recovery is already hanging by a thread, as he feels ever stronger cravings for blood.

Julia and Barnabas play the tape today, but leave the room before it gets to the part with the message. Lang’s voice plays to an empty set. Addison Powell didn’t do a very good job playing Lang on screen, and he’s no better as a voice actor. Powell appeared in a number of feature films, including hits like The Thomas Crown Affair and Three Days of the Condor, but is best remembered for a series of commercials he did in the 1980s as “The Gorton’s Fisherman.” I remember those spots- I thought he was an actual fisherman they’d hired to read copy. Usually I’m uneasy with the idea of taking a job away from an actor, since I know lots of very talented people who have spent years training in that craft, never to make a living at it. But Powell was so bad I wish my original impression had been correct.

Addison Powell stealing a part from a non-professional actor.

Julia has reached out to Professor Timothy Eliot Stokes, a scholar of the occult, for help with the Dream Curse. When she met with him yesterday, she did not identify Angelique as the witch. She couldn’t tell him anything about the experiment or about Barnabas’ vampirism without confessing to her many crimes. Today, Stokes is trying to fill in the blanks Julia left so that he can help to oppose the Dream Curse. He calls on Barnabas at Lang’s house. He breaks down Barnabas’ resistance and learns that the witch is Angelique, whom he knows under her alias of Cassandra Blair Collins.

Stokes next calls on Maggie Evans, The Nicest Girl in Town, at her house. Maggie was the first person to have the dream, and she gives Stokes a detailed description of it. This gives Kathryn Leigh Scott an opportunity to look into the camera and emote, which is always worth seeing.

There are a lot of shots today using mirrors. In their post on Dark Shadows Before I Die, John and Christine Scoleri include several screenshots of these and of ambitious camera angles from other episodes.

Episode 485: His last night on Earth as himself

Mad scientists Julia Hoffman (Grayson Hall) and Eric Lang (Addison Powell) are conferring in Lang’s lab. Lang is putting the finishing touches on a Frankenstein’s monster into which he plans to transfer the “life force” of recovering vampire Barnabas Collins. Julia, Barnabas’ best friend, has been opposed to this experiment, but now has accepted that she can’t stop Barnabas and Lang from going through with it. She volunteers to assist.

Lang is having trouble concentrating because of a nightmare he had last night. Unknown to him, the nightmare was part of the Dream Curse, a dead end storyline about wicked witch Angelique sending a dream that each of a series of people will have. When the last person has the dream, Barnabas is supposed to revert to full-on vampirism.

Lang tells Julia about his nightmare. He says that she was in it. When he tells her that she did not speak, she smiles comfortably and says that that was proof that it was a dream. This is not only a genuinely funny line as Grayson Hall delivers it, but it is an extraordinary moment of self-awareness from Julia, a character who usually exists at the outer edge of heightened melodrama. It’s a shame that Addison Powell doesn’t know how to get out of Hall’s way for the half second it would take for it really to land with the audience.

Barnabas and his ex-blood thrall Willie are at home in the Old House on the great estate of Collinwood. Willie is smirking and Barnabas is rigid with embarrassment while the dogs howl outdoors. Willie laughs a little as he makes a remark about how Barnabas hasn’t changed as much as he thought he had. This exchange reminds us of the moment in #346 when Julia and well-meaning governess Vicki noticed that some fresh flowers Barnabas touched had died and shriveled up. Like the howling of the dogs when Barnabas feels bloodlust, the shriveling of the flowers was a consequence of his vampirism, effectively a bodily function that he cannot control. He squirmed when Julia and Vicki looked at him then, and he is stiff and flustered when Willie laughs at him now.

Willie is amused by Barnabas’ incontinence. Screenshot by Dark Shadows Before I Die.

Barnabas orders Willie to take a letter to matriarch Liz at the great house on the estate. It will explain that he is going away on a long trip, and that Adam Collins, a young cousin from England, will be coming to stay in the Old House. Willie is alarmed by this.

Willie asks what Barnabas will do if Liz won’t let him stay in the Old House when he is in the form of Adam. Barnabas is sure she will, and dismisses Willie’s doubts. This is an interesting sequence to regular viewers. The show has never made it clear whether Liz still owns the house or has signed it over to Barnabas. A whole year ago, in #223, Liz was talking to strange and troubled boy David as if the Old House and its contents were Barnabas’ legal property. Since then, there have been moments that tend to confirm that impression, as when Barnabas takes Liz’ keys to the house away from David and does not give them back to her, and other moments that conflict with it. Willie’s question and Barnabas’ response would seem to prove that the house still belongs to Liz.

Another question we might ask is why Barnabas doesn’t go to Liz himself. Certainly she will be unhappy that he went away without saying goodbye to her. Moreover, when he showed up at the great house in April 1967, Barnabas told Liz that he was the only survivor of the English branch of the family. Liz will be skeptical if another member of this imaginary branch presents himself and expects to take possession of a big mansion on her property. She has had unpleasant experiences with Willie, so much so that a letter he delivers seems unlikely to allay that skepticism.

When Willie gets to the great house, Angelique herself opens the door. She is living there under the name Cassandra. She has cast a spell on Liz’ brother, sarcastic dandy Roger, and married him so that she will have a residence at Collinwood while she works to restore Barnabas’ curse to its full potency. Showing his typical degree of strategic ability, Barnabas has not bothered to tell Willie about any of this.

Angelique/ Cassandra ushers Willie into the drawing room, sits him down, and chats with him. Willie answers her questions about Barnabas, not realizing that he has any more reason to be discreet with her than with anyone else. He tells her that Barnabas has been spending his days with Lang. Angelique/ Cassandra already knows that it was Lang who gave Barnabas the treatments that put his vampirism into remission and that Lang is preparing further treatments for him. Barnabas should know that she knows this, since she went to Lang’s house and tried to kill him. Willie also tells her that sometimes Barnabas doesn’t seem to have changed as much as you might expect. Angelique/ Cassandra’s reaction makes it clear this is new information to her, and that it might help her in her efforts.

The scene raises yet another question. Barnabas had expressed the hope that once the experiment was complete, Angelique would see that his old body was dead, would assume that meant that he no longer existed in any form, and that she would then go away and leave him alone. But he knows that she knows about Lang, and now he is planning to come back to Collinwood, where she lives, as another “cousin from England.” The question is this- how dumb does Barnabas think Angelique is?

Back in the lab, Lang and Julia are preparing for the experiment. Barnabas shows up. When he talks with the doctors, his face is reflected in the mirror above Lang’s creature. Not only does this suggest the idea of his personality moving into the creature’s body, it also reminds us that until Lang gave him his first course of treatment, Barnabas did not cast a reflection. The whole idea of Barnabas’ reflection will remind longtime viewers of #288, when Julia first confirmed her suspicion that Barnabas was a vampire by peeking at the mirror in her compact and not seeing him. That draws a contrast between Lang, whose initial success with Barnabas appears to be leading to disaster because his impersonal, hyper-masculine approach leaves him unable to recognize the threat Angelique poses, and Julia, whose own attempts to cure Barnabas of vampirism did not match Lang’s spectacular results, but whose femininity, as symbolized by the compact, represents a fighting chance against the forces that really govern this universe.

Barnabas reflected above Adam. Screenshot by Dark Shadows Before I Die.

Barnabas takes his place on a bed. He tells Julia he is glad she is with him, and she smiles at him with the sad tenderness of someone saying a final farewell to a loved one. As with her self-deprecating joke in the opening part of the episode, this smile shows a new side of Julia. For a time in October 1967 she tried to launch a romance with Barnabas, and he rejected her. Hall played Julia’s unrequited love in the same larger-than-life style that the rest of her action called for. Her feelings seemed to be an outgrowth of despair- she was by that point so deeply entangled with Barnabas that there was little hope she could ever make a life with anyone else, so even though he was an active vampire, she had little to lose by committing herself to him. But this sweet little exchange is played so gently that it opens a window on a more complex inner life for Julia.

As Lang starts the experiment, we cut to Angelique in the drawing room at Collinwood. She is talking to a clay figure, calling it “Dr Lang,” and saying that it cannot overcome her powers, for they were a gift to her from the Devil himself. She jabs at the clay figure. In the lab, Lang writhes in pain, interrupting the experiment.

It was not until #450 that Dark Shadows let on that there might be anything to Christianity. In that episode, good witch Bathia Mapes held Barnabas at bay by showing him a cross. Up to that point, Barnabas had many times strolled comfortably through the old cemetery north of town, where half the grave markers are in the shape of the cross, and they hadn’t bothered him a bit. The only representatives of the faith who figured in the story were repressed spinster Abigail Collins and fanatical witchfinder the Rev’d Mr Trask, both of whom were fools whom Angelique easily twisted to her own purposes. Now we have a character named Adam, a New Adam through whom a resurrection is supposed to take place, and he is wearing a headpiece that is photographed to look like a crown of thorns. Angelique’s reference to the Devil suggests that she can be defeated only through the aid of a being more powerful than the Devil, and since we haven’t heard about Ahura-Mazda or any other non-Christian deities who represented a supreme principle of good pitted against an otherwise irresistible evil, it looks like we’re drifting Jesus-ward.

The New Adam, in whom all are made alive, wears his crown. Screenshot by Dark Shadows Before I Die.

It is daring to take that direction, even if it is only for a little bit. Vampire legends are pretty obviously an inversion of the Christian story, in which a man comes back from the dead, not having destroyed the power of death once and for all, but only to die again every time the sun rises. While Jesus feeds us with his body and blood in the Eucharist and thereby invites us to share in his eternal life, the vampire feeds himself on our blood and thereby subjects us to his endlessly repeated death. That’s why Bram Stoker’s Dracula has all those crosses and communion wafers, because it is a religious story of the triumph of the promise of resurrection in Christ over the parody of that resurrection that the vampire has settled for. It also explains why Dark Shadows so studiously avoided Christian imagery for so long. Christianity is such a powerful part of the culture that once you let any of it in, it tends to take over the whole story.

There are many reasons the makers of the show would want to avoid that fate. Not least is the tendency of religions to fracture and stories based on their teachings to become sectarian. Dracula itself is an example of that; the vampire is a Hungarian nobleman from Transylvania, connected with the Szekely clan. There really was such a clan, and like other Hungarian nobles in Transylvania its members were Calvinists, supporters of the same version of Christianity that Abigail and Trask represented. Stoker was a Roman Catholic from Ireland, a country where most Protestants are Presbyterians, a tradition that grew out of Calvinism, and so his depiction of the vampire is clearly driven by sectarian animus. The Collinses have an Irish surname, settled in New England when that region was officially Calvinist, and did very well there. So it would be easy to present their troubles as a cautionary tale about Calvinism. That would seem to be a surefire way to shrink the audience drastically. Not only are there millions of Calvinists whom it would offend, there are billions of people to whom Calvinism means nothing at all, and they would be utterly bored by a denunciation of it.

The episode is daring in several other ways as well. When Barnabas and Willie were first on the show, ABC-TV’s office of Standards and Practices kept worrying that viewers might interpret their relationship, which was founded on Barnabas’ habit of sucking on Willie and swallowing his bodily fluids, as somehow homosexual. Not only is the scene between them at the Old House reminiscent of the scenes that attracted memos from that office in the spring and summer of 1967, but the whole idea of Barnabas draining his “life force” into the body of Adam would seem to invite the same concerns.

The experiment scene would only intensify such concerns. The experiment is a medical procedure that is supposed to bring a new life into the world, which by 1968 was how Americans usually thought of the process of birth. Barnabas is the patient, he is lying down, and the doctors sedate him. Thus he takes on all the medicalized marks of a mother-to-be. Julia asked Lang if the process would be painful for Barnabas; he does not disappoint, but ends the episode screaming in response to labor pains. Not only does turning Barnabas into Adam’s mother invert the expected gender performance, but it also introduces a homosexual side to Barnabas’ relationship with Lang, who is Adam’s other parent.

Somebody ought to be there telling Barnabas he’s doing great and urging him to push. Screenshot by Dark Shadows Before I Die.

Christian imagery and gender-nonconformity would have been rather a queasy combination for most Americans in 1968. That’s unusual, in historical terms. Before modern times, Christians didn’t hesitate to discuss ways that familiar gender roles break down in the relationship of humans to Christ. The “Fathers of the Church,” the prominent Christian intellectuals of the fourth and fifth centuries, talked about that all the time, going into depth not just with the image of the Church as the Bride of Christ but of each human soul, whether male or female, as one of Jesus’ wives, and of the physical contact between humans and Jesus in the Eucharist as a consummation of their marriage.

For their part, Calvinists tended to be skeptical of the physical aspect of the sacraments, but that didn’t mean that they shied away from conjugal metaphors to describe the relationship between the soul and Jesus. John Donne, like most priests in the Church of England in the 16th and early 17th centuries, was basically a Calvinist, yet his sonnet “Batter my heart, three-person’d God” is one of the most vivid and uncompromising statements of the ancient idea of an erotic dimension to Christian life that transcends the binaries between masculine and feminine, male and female. That tradition makes today’s conjunction of Christian and homoerotic themes all the bolder- imagine if Dark Shadows wrote itself into a corner where they had no choice but to explain nuptial imagery and mystical eroticism in the writings of Saint Ambrose. The whole audience could fit into a seminar room.

Closing Miscellany

Lang and Julia wear white lab coats. This is the first time Julia has worn a white coat. Her previous lab coat was light blue, which looks white on the black and white TV sets most households had in 1968, but now that the show is being produced in color they are buying costumes and props for color televisions.

The idea of a machine that would cause a person to go to sleep in one body and wake up in another was a big deal on TV in the 1960s. Just today I saw this screenshot from The Avengers on Tumblr:

This episode marks the first appearance of Robert Rodan. When Adam was a nameless heap of flesh under a blanket, he was played by a stand-in named Duane Morris. Rodan had a few small parts on TV shows in 1963 and 1964 and was in a couple of commercials between 1964 and 1968. Adam was his first, and last, recurring role on a series. In 1969, he appeared in a little-seen feature film called The Minx, then spent the rest of his life selling real estate in Southern California.

Dark Shadows and the legends of the Holy Grail

In 281 of the posts that follow, I link to comments I made on Danny Horn’s blog, “Dark Shadows Every Day.”

I added most of these comments in the months between the shutdown of live theater in March of 2020 and the completion of the blog in April of 2021. But I have added some comments since. Yesterday, I read Julius Evola’s The Mysteries of the Grail (translated by Guido Stucco; Rochester, Vermont, 1997.) Evola is not someone I agree with about things, to put it mildly, but that book describes dozens of moments from legends about the Quest for the Holy Grail that may have been in the minds of people making Dark Shadows.

In this long comment on Danny’s post about episode 559, I collect various moments in the medieval romances concerning the quest for the Holy Grail that may have inspired story points on Dark Shadows. The whole thing starts as a response to Danny’s exasperated remark about the apparently uncharacteristic infatuation of evil wizard Nicholas Blair for nice girl Maggie Evans, an infatuation that will lead to Nicholas’ downfall. I do not claim that the show does a good job of fitting this relationship into the story, but I do use it as a jumping-off point for a long catalog of similarities:

“Also, Nicholas is in love with Maggie.

“Sorry to spring it on you like that, but it’s that kind of storyline. Nicholas Blair is some kind of evil wizard man, and so far we haven’t had any indication that he’s looking for a girlfriend. In fact, he’s been mocking Angelique relentlessly for having human emotions. And yet, here we are.”

I think there’s a possible explanation for this. By the end of the 1960s, the legends of King Arthur, the Knights of the Round Table, and the Holy Grail had been in vogue for decades. New York theater people like those involved in Dark Shadows would of course have been keenly mindful of Lerner and Loewe’s CAMELOT, which was a hit on Broadway from 1960 to 1963 and which appeared as a feature film in 1967. As part of that fashion, bookstores generally would carry paperback translations of Thomas Malory’s 1453 LE MORTE D’ARTHUR and of selections from the romances about the Holy Grail written in the years 1175-1225 on which the legends of Arthur and his group were based.

Nicholas is a representative of the Devil. In Malory (especially Book 14, verses 9 and 10,) we see a theme that recurs in several of the Grail romances, that Lucifer fell from Heaven because he had conceived a passion for a mortal woman.

In fact, many of the themes of the Grail romances show up in DARK SHADOWS. The title of the novel on which the musical CAMELOT was based is THE ONCE AND FUTURE KING, harking back to a legend that King Arthur only appears to be dead- he is in suspended animation, confined to a coffin in a hidden tomb, awaiting a hero who will revive him and restore his dynasty. There are many many such figures in the Grail romances and in similar legends in Norse and Celtic myth. Obviously vampires like Dracula, Barnabas Collins, and Mamuwalde* represents a dark inversion of this legend, as do figures like The Mummy of the Universal and Hammer horror movies.

One of the more interesting of the Hidden Kings in the Grail romances is Amfortas. As the tale is told in Heinrich of Turlin’s THE CROWN, Amfortas was a king who was wounded, paralyzed and confined to a hidden coffin because of a wound he received from a sorceress he disappointed in love, the mighty Orgeluse. Sir Gawain found Amfortas and restored to him both his strength and his ability to die. Barnabas’ transformation into a vampire at the hands of Angelique recalls the wounding of Amfortas; his reemergence as a mortal man under the ministrations of Dr Lang recalls Amfortas’ restoration by Gawain.

After he is restored, Amfortas yields his kingdom to Sir Percival, marking the end of the original dynasty of the Grail. Barnabas’ attempt to replace himself with Adam, whether Adam has the face he actually has or Peter/Jeff’s face, an attempt which will eventually lead Adam to ask him “How can you hate yourself so much?,” brings this self-effacement to mind.

After his abdication, Amfortas’ wound reappears and seems to make him a leper. Again, Barnabas’ eventual return to vampirism, accompanied as it is by all the Grail-inflected imagery of the Leviathans, may have echoes of this story.

The dynasty of the Grail appears in several of the romances in connection with the figure of Joseph of Arimathea. This Joseph of Arimathea is very different from the man of the same name who appears in the New Testament. There he is a Jewish elder, a member of the Council, and a secret disciple of Jesus. In the Grail legends, Joseph is a pagan knight, who was never Jewish and is never quite Christian. He comes to be associated with Simon Peter and with Jesus’ other fisherman followers, and is known as The Rich Fisherman or the Fisher King. His dynasty rules over the Grail itself and all of its heads are known by these same titles. Again, that the Collinses are supposed to have derived their wealth from the Atlantic fisheries of Maine is not only historically plausible, since the first prosperity of upper New England came from the cod industry, but also mythically resonant, as it would make them a line of Rich Fishermen.

There is more. For a series of writings that appeared in northwestern Europe around the turn of the twelfth century, the Grail romances are startlingly cool to the whole idea of Christianity. There are no good guy priests, and the Christian imagery overlaid on the stories is so inconsistent with the traditions of the church that it must be deliberately opposed to it. Indeed, Sir Percival explicitly renounces the whole idea of serving God on his way to attain the highest honors. For its part, the church repaid the compliment by declaring that there was no such thing as the Holy Grail and denouncing the whole cycle of the romances. That the only identifiable representatives of organized Christianity in the show are the Reverends Trask, and that it is in general, as Danny says, “one of your more Satan-friendly TV shows,” is at least consistent with a connection to the Arthurian stories.

Also, when the various knights are initiated into the mysteries of the Grail, their first response is usually an overwhelming sense of nostalgia. Again, this connects us to DARK SHADOWS, where most of the characters seem to be torn between a desire to return to the past and a desire to reinvent it.

*Also known as “Blacula.”

I considered adding one more point. Throughout the Grail romances, there are moments when knights and kings fail in their missions because they fail to ask a crucial question- usually, “Where is the Grail?” Time and again watching Dark Shadows, we find ourselves frustrated with the characters for their failure to communicate with each other. This could be a sign that the writers, producers, and others were not reading the Grail romances while they were creating the show.

They may not have had to read them, or works derived from them, at all to achieve the similarities noted above. As I said, the stories were prominent enough in the English-speaking world in the twentieth century, and certainly in the New York theater world in the 1960s, that a group of creative people could be influenced by them at second-hand or third-hand. It’s a shame, though- if they’d read Wolfram of Eschenbach calling Sir Percival a tool of the Devil for his failure to ask the right question, they may have seen a way to convert the characters’ taciturnities into productive story points.

A story idea: Adam in New York

In 281 of the posts that follow, I link to comments I made on Danny Horn’s “Dark Shadows Every Day.”

In a number of these comments, I explained particular ways I had of correcting Dark Shadows in my head while I watched it. I rarely bothered telling people about times when I didn’t notice bloopers because I had put the words in the right order while hearing them, or other small corrections. I did mention times when I thought out major changes. Many of those changes could only be called fanfic.

Perhaps the most ambitious piece of fanfic I shared there, and certainly the longest, was my response to the show’s failure to resolve the story of Adam, the Frankenstein’s monster-like creature. My idea, if presented at the right time, would also have tied up the show’s most embarrassing loose end:

Here’s an idea I had today for a story that would save Vicki.

It would be a TV movie airing late in 1969. Start with a prologue set in Collinwood at that time. Adam returns, looking for Barnabas and Julia. He’s very well-spoken and accomplished now, but still socially awkward, still prone to fits of anger, and in need of help to get papers that he needs to establish a legal identity.

He finds that Barnabas and Julia are gone. He also happens upon some mumbo-jumbo that dislocates him in time and space.

It plops him down in NYC in 1945. With his facial scars, everyone assumes he’s a returning GI injured in the war. He meets a young woman, supporting herself by work at a magazine about handheld machines, trying to establish independence from her wealthy family back in Maine. This woman, played by Alexandra Moltke Isles, is Elizabeth [Collins.]*

Adam and Elizabeth slide into a love affair. She has another boyfriend, a dashing young naval officer named Paul Stoddard. Elizabeth is frustrated with both Adam and Paul; Adam refuses to talk about his background, and while Paul says many words when asked about himself, he doesn’t really give significantly more information than Adam does. Paul is slick, charming, and familiar with all the most fashionable night spots, but he does show signs of a nasty side. Besides, he rooms with a disreputable young sailor named Jason McGuire who keeps turning up at the most disconcerting moments.

For his part, Adam is sincere, passionate, and attentive, but given to quick flashes of anger. He’s just as quick to apologize and sometimes blubbers like a giant baby with remorse for his harsh words, but he’s so big and so strong that when he is carried away in his fits of anger Elizabeth can’t help but be afraid of him. Besides, he’s not a lot of fun on a Saturday night. He doesn’t have a nickel to his name, and his idea of an exciting weekend is an impromptu seminar on Freud’s TOTEM AND TABOO, followed by a couple of games of chess.

Elizabeth’s mother, played by Joan Bennett, comes to town. Mrs Collins is appalled by Adam’s scars, impatient with his refusal to discuss his background, and contemptuous of his obvious poverty. Paul’s effortless charm and sparkling wit, packaged in the naval dress uniform he makes sure he’s wearing when she first sees him, fit far more tidily into her vision of a son-in-law. Mrs Collins presses her daughter to spurn Adam and pursue Paul, and for a time Elizabeth tries to comply with her wishes.

Yet she cannot forget Adam. Paul realizes this, and sees his chance at an easy life slipping away. We see him in a dive in Greenwich Village telling Jason McGuire that Elizabeth and her inheritance are going to end up with the scar-faced scholar. He and McGuire review Adam’s weaknesses, and decide they can exploit Elizabeth’s concern about his temper. They trick her into believing that Adam is on the run from the law, having beaten his wife to death. They lead her to believe that it’s just a matter of time before his occasional verbal outbursts give way to physical abuse, and that when that happens it will be too late- he will kill her. Believing this, Elizabeth gives Paul another chance, but still cannot break things off with Adam.

Adam does not know what Paul and Jason have led Elizabeth to believe. He knows only that she has become distant from him, and that she is still seeing Paul. He becomes angry and shouts at Elizabeth. He reaches for an object; she believes it is a blunt instrument with which he will kill her. In a moment of panic, she grabs a gun she has been studying for an article the magazine has assigned her to write and shoots him. As he lies motionless on her floor, she discovers that he wasn’t reaching for a weapon at all- he was reaching for a love letter that he had written to her. She realizes that he was no threat to her, that she has shot him for no reason.

She flees to Paul and Jason’s apartment, telling them that she has killed Adam. Paul calms her and promises to take care of matters so that she will not be suspected of any crime. Paul and Jason go to her apartment and find it empty. There are bloodstains on the carpet where Adam fell, and a trail of bloodstains leading down the hallway out the front door. They follow the stains and find Adam nursing a serious, but clearly not fatal, wound. They lead Adam back to Elizabeth’s apartment. They draw on their naval training to remove the bullet, clean and dress the wound. After a conversation. Adam admits that there is no point in his pursuing Elizabeth, and he agrees to leave town. Paul gives Adam some money and promises to tell Elizabeth that he is all right and that he doesn’t hold a grudge. Adam shakes Paul’s hand and leaves.

Paul and Jason clean the bloodstains. They then return to their own apartment. On the way they exchange a look that begins as nervous, and ends with two broad grins. Elizabeth asks why they were away so long. They tell her that it takes quite a while to dispose of a corpse. She sobs. Paul holds her.

Paul and Elizabeth announce their engagement. A few weeks later, the doctor informs Elizabeth that she is pregnant. The child must be Adam’s. Paul is not interested in raising any child, and certainly not interested in splitting the estate with a child not even his own. He orders Elizabeth to give the baby up. She refuses. He points out that she wouldn’t be able to do much mothering if she were in prison for murder. She sobs. In the final scene, we see Elizabeth outside on a snowy day, holding a basket and writing a note. In voiceover, we hear the contents of the note: “Her name is Victoria. I cannot take care of her.”

*Originally I wrote “Stoddard” here.