brazil – Dark Shadows Commentary

Episode 364: Barnabas, Barnabas

Vampire Barnabas Collins has been part of Dark Shadows at least since we first saw his portrait on the wall of the great house of Collinwood in #204, more properly since they went to great lengths to make it look like there was a portrait on that spot in #195. He is now the main force driving the action of the show, and pretty much the only reason people are tuning in to watch it. The ghost of Barnabas’ ten year old sister, Sarah, first appeared in #255; ever since, we’ve been waiting for the two of them to meet. At the end of yesterday’s installment, they finally did.

Barnabas was in his living room, trying to choke the life out of his only friend and would-be lover, mad scientist Julia Hoffman. Sarah materialized, and he let Julia go.

This echoes a scene in #341. Barnabas and Julia were in the act of murdering her medical school classmate and onetime friend, Dave Woodard, when Woodard claimed to see Sarah. At that, Barnabas almost let Woodard escape. Only when Julia called out “Stop him!” did Barnabas take hold of Woodard and kill him. Not only is he murdering a good-guy character, he has coerced Julia into taking part in the crime and will gloat over her new status as a murderer. But in the middle of all that loathsome cruelty, we see a flash of his longing for his baby sister. It is a tribute to actor Jonathan Frid that we can feel Barnabas’ loneliness and want to like him even in the middle of one of the character’s very darkest moments.

This time, Sarah really is there, and she really does stop a murder. There is a puzzle as to why. In #360 and #361, Julia knew that Barnabas wanted to destroy her, and appealed to Sarah for help. Sarah refused, saying that she liked Dr Woodard and knew what Julia did to him. We heard Sarah’s “London Bridge” theme on the soundtrack during the murder of Woodard, so it is clear that she witnessed that crime. But if she can stop Barnabas killing Julia, why couldn’t she stop him killing Woodard?

Today is only the second time Sarah has appeared to more than one person at a time. When Barnabas’ ex-victim Maggie Evans, The Nicest Girl in Town, wanted to escape from the hospital where Julia was keeping her locked up in #294, both she and her nurse could see and hear Sarah. Maybe it is difficult for Sarah to manifest herself to two people, and impossible for her to show herself to three. In that case, Julia’s presence would have stopped Sarah from saving Woodard.

It’s also possible that Sarah can’t do anything that will lead to Barnabas’ capture. She has appeared to many people and given all of them clues about the strange goings-on, but she has referred directly to Barnabas only when speaking to his partners in crime Willie and Julia. Time and again she has stopped short of giving information that would expose her big brother. When Barnabas and Julia moved against Woodard, he was calling the sheriff. Woodard might have placed himself beyond Sarah’s protection when he picked up the telephone.

Indeed, if Barnabas does kill Julia now, he will probably be caught. Julia has given a notebook full of incriminating evidence about Barnabas to a local attorney to be handed over to the authorities in case anything happens to her. Besides, everyone knows she spends a great deal of time at Barnabas’ house, so if she suddenly goes missing he will be investigated. By preventing Barnabas from killing Julia, Sarah is protecting him from exposure.

Sarah tells Barnabas that he taught her the first lessons she ever received in morality, and that he has now forgotten them himself. He begs her to stay, showing at length the vulnerability and need that have been so effective at recruiting our sympathy when we have glimpsed them before. She says she will never appear to him again, not until he learns to be good. We’ve known him long enough to know that this will be an extremely long wait.

Barnabas begs Sarah to stay while Julia looks on. Screenshot by Dark Shadows Before I Die.

Sarah vanishes. Julia sees her friend shattered. She approaches him. She addresses him, for the first time, as “Barnabas, Barnabas.” He recoils from her. He does not renew his attempt to strangle her, but he does tell her in the coldest imaginable voice that he could kill her as easily as he could crush a moth. It hasn’t been two minutes since his little sister reduced him to tears, and he has snapped back into his place as death itself.

“Barnabas, Barnabas.” Screenshot by Dark Shadows Before I Die.

Some say that Barnabas’ frequent references to his longing for Sarah during these weeks are meant to make him easier for the audience to sympathize with. I think this scene shows that the opposite is more nearly the case. They’ve undercut every other ground for liking Barnabas, leaving us only his love for Sarah. When we see that not even a visit from Sarah can thaw him out for any length of time, not only do we have to give up any hope that there is a nice guy hidden inside him, but we also hear the door slamming shut on any possibility that his character will develop in a way that will surprise us. Since he is the show, the closing of that door means that Dark Shadows 2.0 is all but over.

In the great house, matriarch Liz breaks the news to well-meaning governess Vicki learns that the authorities in Brazil have identified one of the corpses found in the wreckage of an airplane that crashed outside Belem as that of Vicki’s depressing fiancé, Burke Devlin. It has been clear for some time that Burke probably died in that crash, so Liz is worried that Vicki’s refusal to accept their verdict is a sign that she is in an unhealthy denial about the facts of the situation.

In the first 25 weeks of Dark Shadows, Burke was a major figure, the arch-nemesis of the Collins family. His storyline never really took off, though, and when undead fire witch Laura Murdoch Collins was on the show from #126-191 his issues were all absorbed into her arc. He formally renounced his grudge against the Collinses in #201, and has been surplus to requirements ever since.

There is just one thing I wish they had done differently about Burke’s death. During the early period of the show, there was a story about high-born ne’er-do-well Roger Collins trying desperately to hide a custom-made filigreed fountain pen of Burke’s. That dragged on for months, and dominated 21 whole episodes. It would have been a nice Easter egg for those of us who sat through those not-very-interesting installments if Liz had said the authorities were able to identify Burke’s body in part because that pen was on it.

There is a bit of intentional comedy this time that works very well. Telling Barnabas of Vicki’s refusal to accept Burke’s death, Liz exclaims “She can’t go on loving a dead man all her life!” Barnabas is clearly offended by this remark, quite understandably since he is deceased himself. He responds that “It has been known to happen.” But he manages to keep cool enough that Liz doesn’t notice.

“It has been known to happen.” Screenshot by Dark Shadows Before I Die.

Closing Miscellany

This episode marks the last appearance of Sharon Smyth as the ghost of Sarah Collins.

Episode 1-274 of Dark Shadows each began with the words “My name is Victoria Winters,” delivered in voiceover by Alexandra Moltke Isles and leading into a few sentences vaguely related to the plot of the show. Beginning with #275, these voiceovers might be delivered by any actress with a speaking parts in that episode, and do not involve their character’s names. Many are written in the first person, however, as is today’s:

There has been a homecoming in the great house of Collinwood, and those who have returned have found that very little has changed. We still live within a ring of fear, a fear that is generated by the one who lives in the Old House, where on this night a kind of madness prevails, a madness that will lead to the threat of murder.

Every time this happens, the Dark Shadows wiki complains that “by this time in the series, the narrations are no longer spoken in character.” That complaint might have made sense if only a few of the episodes since #275 included first person pronouns, but dozens of them do. So we would have to say that they often are spoken in character, but that it isn’t always clear who the character is. The wiki editors will be glad from now on, because this is the last time a narrator says “we.”

Episode 345: That place in Brazil

In Dark Shadows #3, man of mystery Burke Devlin mentioned that he started on the path to riches when he was in a bar in South America. Since then, he has mentioned his business interests on that continent several times, and the old standard “Brazil” has emerged as his informal theme song. Yesterday’s episode, one of the finest in the series, called back to the early days of the show several times, and today they close the loop on Burke’s connection to Brazil. His plane crashes in that country, and he dies there.

We learn of Burke’s fatal accident when housekeeper Mrs Johnson tells her employer, Elizabeth Collins Stoddard, that she has heard a radio report of an aviation disaster in Brazil. Mrs Johnson first came to work in Liz’ home, the great house of Collinwood, in #81. At that time Burke had sworn to wreak a terrible vengeance on the Collinses and Mrs Johnson was his secret agent. Burke renounced his quest for vengeance in #201, which was just as well, since it was never very interesting anyway. But they never told us that he had stopped paying Mrs Johnson or that she had stopped funneling information to him. So viewers who have been watching all along may wonder if she really did just happen to be listening when the radio announced that a Varig flight had gone down outside Belém. Maybe she was in touch with some associate of Burke’s who told her more than she could repeat to Liz. Or maybe not, but in any case it is satisfying to be reminded of the connection.

Burke was engaged to marry one of Collinwood’s residents, well-meaning governess Vicki. When she is told that Burke is missing and presumed dead, Vicki declares that she is certain he will come back. Vicki was originally the audience’s point of view character, an outsider to whom everything we did not know had to be explained. We now know many things she does not, but in this declaration she once more seems to be closer to us than to the other characters in her knowledge. She knows, as we do, that she lives in a soap opera and no major character is likely to stay dead permanently, especially not when his death is supposed to be the result of a plane crash in a faraway jungle.

On the other hand, Burke has been fading in importance for a long time. After his revenge story fizzled, he never really found a new reason to be on the show. His relationship with Vicki might have made things happen when he was still in conflict with the Collinses. She would then have found herself torn between her lover and the family that had all but adopted her. But once Burke and the Collinses patched things up, there was no obstacle between him and Vicki. In the last few days, it has seemed that she might even be able to stay in the house and keep her job after marrying him. There has been a theme where Burke tried to gaslight Vicki out of believing in supernatural phenomena that he himself had plenty of evidence to suppose were real, but that was less a storyline than a speed bump. Burke’s part was recast after the charismatic Mitch Ryan showed up for #252 too drunk to work; since then he has been played by the woefully miscast Anthony George, and it has been obvious that the character needed to be written out of the show before he did permanent damage to George’s career. So maybe Burke won’t come back after all.

Meanwhile, in the Old House on the same estate, vampire Barnabas Collins is moping around while mad scientist Julia Hoffman works on her notes about her attempt to turn him into a real boy. When she asks if there is anything she can do to lighten his mood, he sarcastically suggests that they play a game of cards or of cribbage. She’s up for either one, but he says that he won’t be happy until Vicki comes to him. He doesn’t know about Burke’s accident, but has somehow convinced himself that Vicki’s personality will eventually disappear and be replaced with that of his long-lost love Josette, and that as Josette she will be his bride. Barnabas goes on so long about how wonderful it will be when the Josettified Vicki is in the house that we start to wonder just how the two of them will pass the time. The day may come when Barnabas is glad of a cribbage board.

Julia only recently committed her first murder. She and Barnabas killed her old medical school classmate Dave Woodard a week ago, and she is still reeling from the shock of it. One thing she has settled on is the fact that she is going to be linked to Barnabas for the rest of her life. It doesn’t seem likely that she will ever be able to tell anyone else about Woodard, and being a murderer is, like it or not, an important part of her identity. So no one other than Barnabas can ever really know her. She’s making the best of this by trying to fall in love with him, but his sick obsession with reenacting the plot of the 1932 film The Mummy with himself in the Boris Karloff role and a woman in her early twenties in Zita Johanns’ double role as the dead princess and her reincarnation would seem to leave her at an impasse.

Julia presses Barnabas about his relationship with Josette. When he keeps insisting that the Josettified Vicki will come to him of her own free will, she asks if the original Josette ever did that. Barnabas’ silent grimace answers her question. She goes on to ask why Josette is so important to him if he was never very important to her. He says he will explain it all to her, but that they must have the proper setting. He leads her to the place of Josette’s death, the cliff at Widows’ Hill.

Barnabas has given us at least two versions of his relationship with Josette. In #212, he gave a speech to her portrait which implied that she was his grandmother, and that she sided with his father her son when he and Barnabas had a fateful clash. Soon after, Josette was retconned into Barnabas’ lost love. In #236, Barnabas was trying to brainwash Maggie Evans, The Nicest Girl in Town, into thinking that she was Josette. He told her then that he had sailed with Josette from her home in the French West Indies to Collinwood, where she was to marry his uncle Jeremiah Collins. It was his task to teach her English on the voyage. Aboard ship, they fell in love. This reenactment of the tale of Tristan and Isolde ended as sadly as did the original, though the particulars of the story were not the same.

Now, Barnabas tells Julia that he met Josette for the first time when she arrived at Collinwood. He had taken no interest in his uncle’s betrothed until he saw her, but was stunned by her beauty and quickly fell in love with her. He found himself compelled to be “her good and faithful friend Barnabas,” a position he found humiliating. As a vampire, Barnabas is a metaphor for selfishness and cruelty, and so it is hardly surprising that he confines Julia to the same position with regard to himself and that he openly delights in her humiliation. It is a bit dizzying that she expresses so much sympathy for him, telling him in this scene that he never seems more human than when he talks about Josette.

In telling this latest version of the story, Barnabas says that as Josette came to feel that her youth was wasted on the elderly Jeremiah, it dawned on him that there was a way he could offer her eternal youth. This harks back to #233, when Barnabas told Vicki and Liz’ daughter Carolyn the story of Josette’s death, that she leapt off the cliff because she was being pursued by her lover. So we are to assume that Josette killed herself rather than let Barnabas turn her into a vampire. But it might suggest more than that. Whenever Barnabas met Josette, and whether it was aboard ship or on her arrival, he was not yet a vampire. We have not heard how he turned into one. Perhaps he involved himself in some kind of black magic in an attempt to keep himself and Josette young forever, and as a result he became a vampire and she fled from him to her death.

Vicki shows up and tells Barnabas and Julia about Burke. They are stunned. Julia’s reflex is to lean in and touch Vicki’s arm, Barnabas’ is to stagger back.

Barnabas quickly senses opportunity, and he shoos Julia away. He says that she was complaining of the cold and that for the sake of her health she ought not to stay. She is so obviously humiliated that only Vicki’s absorption in her own distress keeps her from noticing.

Barnabas plays the “good and faithful friend,” and Vicki looks over the edge of the cliff. She talks about the widows who have thrown themselves to their deaths from it over the years. She says that she had at first assumed that they were just “make-believe creatures,” but that if she thought Burke were really gone she would throw herself after them. Barnabas grabs her and urges her to stop such talk.

As this goes on, we hear the “Widows’ Wail,” a sound effect prominent in the early months of the show that the uninitiated mistake for wind, but that indicates something terrible is about to happen. When Vicki and Burke had their final conversation yesterday, they heard it, and he refused to admit its meaning. Vicki and Barnabas hear it now. The Widows bewail upcoming disasters, and Burke is already dead. Barnabas tells Vicki that she will be a bride very soon, and she nods and repeats, “A bride… very soon.” As she does, the Wail sounds louder than before.

Closing Miscellany

This episode includes one of the most famous bloopers in the entire series. When Liz is on the telephone getting the news about Burke’s plane crash, she refers to “That place in Brazil… (long pause)… (separate, equally long pause)… (fidget)… (different kind of pause)… Belém!” It is a wonder to behold.

This episode was taped on 16 October 1967. On the 28th of that month, Alexandra Moltke married Philip Isles. So, whether or not Vicki was going to become “a bride very soon,” her player was. The wedding announcement in The New York Times doesn’t mention Dark Shadows; it does mention that “Mrs David Ford” was part of the bridal party. That Mrs David Ford was Nancy Barrett, who played Carolyn, and her Mr Ford played Maggie’s father Sam.

From The New York Times, 29 October 1967

Neither Mrs Isles’ marriage to Philip nor Miss Barrett’s to David Ford lasted very long. Mrs Isles is still known as Mrs Isles, even though she was married to a doctor named Alfred Jaretzki for 33 years, ending with his death in 2014. By the time she met Jaretzki, she was a nationally known documentary filmmaker, and there is her son Adam Isles, the father of her three grandchildren and a former high official of the US government. So I suppose it made sense to stick with that name. In any case, I doubt very much that the widows were wailing for her.

My wife, Mrs Acilius, mentioned that even though we have seen the whole series before, she fully expected Barnabas to push Julia off the cliff. The episode pulled her in so completely that she didn’t stop to tell herself that she would have remembered if he’d done that.

Episode 307: A man and a woman

Maggie Evans, The Nicest Girl in Town, can’t stand being cooped up in her house all the time waiting for the person who abducted her and held her prisoner to be identified. Since she has amnesia covering the entire period of her captivity, her father Sam and her boyfriend Joe have to recap the whole storyline to her before they agree to go with her to the local tavern, The Blue Whale, where they can meet with other people who will help them recap the storyline that followed.

At the Blue Whale, a couple stands at the jukebox and play the theme from “A Man and a Woman.” We see that Bob the Bartender is back on duty. The other day, someone else was in his place, so it’s a relief to know that he’s still around.

Joe enters, and finds well-meaning governess Vicki alone at a table. He joins her, and she explains that she is waiting for her depressing fiancé Burke. Joe explains that he is waiting for Maggie and Sam. They start recapping while Bob brings them drinks and the couple dances. The couple must be out-of-towners- they aren’t good dancers, exactly, but neither are they doing the Collinsport Convulsion.

Maggie and Sam arrive. “A Man and a Woman” continues to play while everyone compares notes about a mysterious little girl named Sarah who seems to have had some connection with Maggie during the time she was missing. Everyone tells everything they know, except Vicki. This is odd- Vicki is the one who brought up the topic of the little girl and who keeps pressing it forward, but she does not mention that she saw Sarah at the top of the stairs in the house occupied by courtly gentleman Barnabas Collins.

Burke enters. Maggie, Sam, and Joe excuse themselves. Burke has been so dreary in recent weeks that it’s hardly surprising Maggie would rather resume hiding in her house than be around him.

Vicki is upset with Burke. Barnabas complained to her yesterday that Burke was having him investigated. She demands that he shut the investigation down at once, issuing an ultimatum that she will end their engagement if he does not. Burke sounds smarter than he has in months as he explains his reasons for thinking there is something sinister about Barnabas. Unlike all the scenes where Burke was angrily asserting that Vicki was crazy for saying that she had seen and heard things we had also seen and heard, Vicki stands her ground. She won’t give an inch, and she immediately comes up with plausible explanations for all of Burke’s observations.

When Burke starts talking, the background music shifts from “A Man and a Woman” to “Brazil.” We have heard this tune behind Burke at the Blue Whale many times; it really is his theme song. When it plays, we know that we’re supposed to focus on him. When he starts talking about Maggie, it shifts again, to one of the “Blue Whale” dance tunes Robert Cobert wrote for the show. That tells us that Burke is no longer the subject- instead, we are paying attention to the overall story of Dark Shadows.

As it happens, returning viewers know that Burke is right about Barnabas and Vicki is wrong. We also know why Vicki didn’t volunteer that she saw Sarah at Barnabas’ house- she does not want to cast any suspicion on her friend. But we also know that the Dark Shadows has been fun since Barnabas joined the cast, and that no stories are going on that do not center on him. If Barnabas is caught, there won’t be a show for us to watch. Besides, it’s great to see Vicki finally standing up to Burke, even if it isn’t on one of the many occasions when he is wrong. Nor is Anthony George even struggling to play him. He is a cold actor who is at a loss when Burke is supposed to be reacting ferociously to provocations or exuding passion in love scenes, but this scene is right up his alley, with Burke cool, forceful, and intelligent. Alexandra Moltke Isles gets a real workout having to dominate the scene when George is in his wheelhouse, and she pulls it off admirably.

Episode 213: Meeting for the first time

We begin in the drawing room of the great house of Collinwood, where reclusive matriarch Liz and seagoing con man Jason are shouting at each other. Jason showed up and started blackmailing Liz when the last interesting storyline ended four weeks ago, and she is so fed up with the whole thing she doesn’t even bother to close the door when they’re yelling about her terrible secret. Liz’ daughter, flighty heiress Carolyn, comes in and overhears a chunk of the quarrel. She demands to know what it’s all about. Liz tries to fob her off with an obvious lie. Carolyn stalks off, frustrated that her mother won’t tell her what is happening.

Carolyn tries to figure out what’s going on with her mother and Jason

Carolyn goes to the local tavern, The Blue Whale. There, she meets two other characters who don’t have any particular reason to be on the show right now. One of them is dashing action hero Burke Devlin, whose quest to avenge himself on Carolyn’s family drove much of the action in the early months of the show, gradually fizzled out, and came to an abrupt conclusion in #201.

Burke, Carolyn, and Joe at The Blue Whale. Screenshot by Dark Shadows Before I Die

With Burke is hardworking young fisherman Joe. When Dark Shadows started, Joe and Carolyn were dating, and there were a bunch of scenes about how their relationship wasn’t working. Since they were already terminally bored with each other the first time we saw them, this was never much of a story. Now Joe is seeing Maggie, The Nicest Girl in Town. Joe and Maggie are relaxed and happy together, and they want to get married. During the Revenge of Burke Devlin story, there was the prospect that Maggie’s father’s connection with Burke’s plans would get in their way. Now that’s all over, and nobody’s stopping them from getting on with their lives.

Burke, Joe, and Carolyn hang around the tavern for most of the episode and apologize to each other for what they did and said back in the days when they were principals in ongoing narrative threads. Meanwhile, the jukebox keeps going, playing a wider assortment of music than we’ve ever heard from it. In addition to several pieces by Robert Cobert, including an orchestral bit I don’t think we’ve heard before, we hear Les and Larry Elgart’s versions of a tune by Gerry and the Pacemakers and of “Brazil.” This latter is something of a signature of Burke’s. He has often talked about his business interests in South America, and “Brazil” usually plays when a scene at The Blue Whale focuses on him. In his conversation with Carolyn, he behaves as if he is at home and she is his guest, even escorting her to the door when she leaves. As he shows her out, “Brazil” swells on the soundtrack.

Carolyn returns to Collinwood. The drawing room doors are closed now, but Liz and Jason are so loud that she can tell they are still having the same quarrel they were having when she left. Carolyn goes into the room and tells her what she couldn’t help overhearing. Liz tells another transparent lie, then leaves.

Liz is still visible on the stairs when Carolyn asks Jason what they were really talking about. When she presses him for answers, Jason tells Carolyn that if she doesn’t stop asking questions, her mother could get into serious trouble. We’ve seen Jason threaten Liz many, many times, but this is the first time he has shown his nasty side to another member of the family.

Episode 168: The uninvited

We see more of the exterior of the cottage on the grounds of the estate of Collinwood than we have before when dashing action hero Burke Devlin bangs on the door and demands that its current resident, blonde fire witch Laura Murdoch Collins, let him in. Laura eventually gives in. Then, they sit around recapping previous episodes for about ten minutes.

Through the window, we see Laura by the fire

Not only is Laura reluctant to open the door to Burke, she also takes every opportunity to urge him to cool his enthusiasm for her. Most notably, when he tells her that he doesn’t like the way visiting psychologist Dr Guthrie is asking questions about her, Laura gives a plausible explanation for Guthrie’s behavior. Guthrie is trying to figure out why reclusive matriarch Liz fell into a catatonic state. He knows that the new thing in Liz’ life at the time of her attack was a conflict with Laura. Since Liz can’t talk, Laura says it’s reasonable that he’s asking other people about that conflict.

We saw Laura cast a spell that caused Liz’ condition, and we’ve seen her use her magical powers to influence others. But we’ve never seen her do any such thing concerning Burke. For all we know, his devotion to her might be entirely native to his psychology. Even if she is exercising control over him, that may be perfectly natural. Burke has strong feelings for Laura and she knows him well, so she may be able to manipulate him without resort to sorcery. So it is by no means clear what Laura wants Burke to do about Guthrie. Maybe she is tricking Burke into confronting Guthrie, or maybe she sincerely wants him to leave Guthrie alone.

As the next scene opens, Guthrie arrives at the local tavern, The Blue Whale. Guthrie sees drunken artist Sam Evans at the bar. He tells Sam that Burke called him and asked to meet him there. Burke isn’t there yet, but we hear the jukebox play a few measures of Les and Larry Elgart’s recording of “Brasil.” In #3, Burke sat in the tavern and told hardworking young fisherman Joe that he got rich because of something that happened in South America, and we heard several more references to Burke’s connections to that continent in the first couple of months of the show. So that bit of music might suggest to regular viewers that The Blue Whale is Burke’s territory, at least as far as Dr Guthrie is concerned.

Sam tells Guthrie the story of the fire in which he injured his hands. That’s odd- less than a week ago, in #164, Sam unburdened himself of all sorts of things in a conversation that began when Guthrie noticed evidence of that fire. It’s hard to believe he wouldn’t have told him what he tells him today, that he thinks Laura somehow started the fire and made him stick his hands in the flames even though she was far away.

Burke shows up and Guthrie follows him to a table. Burke puts on a menacing demeanor. Guthrie quickly turns the conversation into a therapy session, and Burke falls into the role of hostile patient. Guthrie does leave the tavern when Burke dismisses him, so it remains Burke’s territory, but Burke looks like a fool. He looks even sillier when he goes to Sam and starts giving orders, none of which Sam shows the slightest inclination to follow. If Laura did want Burke to stay off the front lines of her conflict with Guthrie and the rest, perhaps it is because she knew that his efforts would end up like this.

Guthrie goes to Laura’s cottage and invites her to participate in a séance he is organizing. She declines. He tells her he wants to contact the ghost of Josette Collins. We know that Laura and Josette are adversaries, so her reaction to this is interesting to watch. It is possible that Guthrie tells her about it because he wants to test her reaction. She is startled, becomes nervous, and turns away from him, while he watches her intently.