david collins – Page 6 – Dark Shadows Commentary

Episode 431: Never learn to leave the past alone

In #70, the deserted Old House on the great estate of Collinwood was introduced as the favorite hangout of strange and troubled boy David Collins (David Henesy.) Several adult characters tried to keep him away from the house, notably crazed handyman Matthew Morgan (Thayer David,) and Willie Loomis, servant to David’s distant cousin, vampire Barnabas Collins. David’s visits to the house precipitated a number of crises, including one that began when he found that Barnabas and Willie kept the cellar door locked and became intensely curious as to why. We knew that they did this to conceal Barnabas’ coffin at the foot of the stairs. That was when the show was set in 1967.

Today, young Daniel Collins (David Henesy) is introduced as a boy whose favorite hangout is the deserted Old House on the great estate of Collinwood. He finds much put-upon servant Ben Stokes locking the cellar door. Ben is the friend and accomplice of Daniel’s second cousin, vampire Barnabas Collins. Daniel is intensely curious as to why Ben is locking the door. We know that it is to conceal Barnabas’ coffin at the foot of the stairs. Now the show is set in 1796.

Ben initially responds to Daniel’s curiosity with the same angry bluster Willie had used in his efforts to keep David away from the house. By the end of their scene together, he has engaged Daniel in conversation, as Matthew often did with David. Daniel confides in Ben that he is planning to run away. Ben points out that Daniel is in no way prepared to strike out on his own, and persuades him to go back to the great house and to make a list of the things he will need. Combining Willie’s responsibility for protecting Barnabas with Matthew’s ability to persuade a boy that he is his friend, Ben seems well-positioned to keep Daniel from coming into conflict with the vampire in the family.

Ben wins Daniel over. Screenshot by Dark Shadows Before I Die.

Back in the great house, repressed spinster Abigail Collins, Barnabas’ aunt, finds Daniel’s list and asks him what it is. He evades that question. As it happens, it is not the one she most urgently wants answered. She sits him down in the drawing room and asks him about a charm bracelet she had found somewhere around the house.

Daniel confirms that the bracelet belonged to Victoria Winters, the governess who used to teach him and Barnabas’ little sister Sarah. Vicki is now standing trial on charges of witchcraft. Sarah is dead, and Abigail is convinced that Vicki’s evil spells caused her death, among many other recent tragedies. The bracelet seems to Abigail to be evidence against Vicki. Abigail points to a charm in the shape of a devil and asks Daniel what Vicki told him about it. He says blandly that Vicki told him and Sarah that it was a devil. She asks him if Vicki instructed him and Sarah to fall to their knees and worship the Devil, and he reacts scornfully, asking who ever heard of worshiping a devil.

Daniel shocks Abigail. Screenshot by Dark Shadows Before I Die.

Abigail presses Daniel for more information about Vicki. He keeps talking about how much he and Sarah liked her, and tries to paint her in a favorable light. He tells Abigail that Vicki used to say that the day would come when people could fly through the air, covering hundreds of miles in a single hour, that there would be machines that would pick up voices traveling through the air and make them audible with the turn of a dial, and that other machines would be able to solve arithmetic problems. We know that Vicki is a time-traveler displaced from the 1960s and that she is describing airplanes, radio, and electronic calculators, and we further know that her time-travel was not the result of a spell she cast, but that Sarah’s ghost yanked her back in time. But Abigail interprets her stories as promises of rewards from the Devil, and most of those whom Vicki has told of her chronological dislocation have taken it to be a confession that she is a witch.

It dawns on Daniel that everything he is saying in his attempt to defend Vicki is making matters worse for her. David Henesy does a marvelous job showing us how miserable this makes Daniel. Abigail tells him he must go with her to Vicki’s trial tomorrow and repeat to the judges what he has told her. He resists the idea. She breaks off their conversation to announce she will go to the Old House. Daniel has told her that he saw Ben locking the cellar door, and she has jumped to the conclusion that he was hiding evidence against Vicki behind it. Daniel pleads with her not to go, but she insists.

We cut to the front door of the Old House, where Abigail encounters Ben. He begs her not to go in. She accuses him of being in league with Vicki and declares that his own trial will begin before long. Ben may have been able to soft-soap Daniel, but Abigail responds with hostility no matter what he says. Finally, he watches her go in. She has said that whatever happens to her inside will be her own responsibility; after she is gone, Ben echoes this statement, a savage note of satisfaction in his voice.

Abigail unlocks the cellar door, goes down the stairs, and sees the coffin. Of course, it is sunset; of course, she is just in time to see the coffin open and Barnabas rise. She watches in terror. Clarice Blackburn does an extraordinary job of acting in the closeup of Abigail’s reaction; she gives the purest possible look of fear, and her scream is perfectly open and smooth.

Abigail screams. Screenshot by Dark Shadows Before I Die.

Barnabas looks at her and asks “Abigail, what are you doing here?” The audience can’t be in much doubt how their reunion will end, though we will have to wait until tomorrow to see just what happens between them.

Dark Shadows was made with very little advance planning, though we do know that they had settled on the name “Daniel Collins” for David Henesy’s character well before the 1795 segment began. In #350, three full weeks before Vicki starts her uncertain and frightening journey to the past, heiress Carolyn slips and calls David “Daniel.” So it is inexplicable that they’ve waited until the segment has been going for more than thirteen weeks before bringing Daniel in. Vicki and David’s relationship was the only thing on the show that consistently worked in 1966, and David’s scenes with Sarah were among the highlights of 1967. So when in #372 haughty overlord Joshua tells Vicki that she will be tutoring both his daughter Sarah and his young cousin Daniel, the audience would have been excited to see the three of them together.

Presumably the makers of the show were unsure how long they would be able to stay in the eighteenth century before the ratings started to suffer and they came under pressure to get back to a contemporary setting. That might explain why they wanted to keep the number of characters to a minimum, so that they would be able to show the four necessary events- Sarah’s death, Barnabas’ transformation into a vampire, Josette’s leap from Widows’ Hill, and the chaining of Barnabas in his coffin- without starting a lot of threads they would have to hasten away and leave dangling. Even so, there were plenty of longueurs in the first weeks when they could have fitted in a few scenes of Daniel and Sarah together, if they had had the time to plan them.

As it happened, the ratings were great for the eighteenth century segment, so they were under no pressure at all to go back to the 1960s. But the breakneck pace of the early weeks and the lack of detailed planning has come back to haunt them. Three of the four big points have all been covered. All that is left is to chain Barnabas in his coffin and to send Vicki home, and they can do both of those things in any one episode. They are going to have their work cut out for them to fill the remaining time with stories that are anything like as interesting as some of those they passed up because they didn’t realize they would have time to tell them. The result will be that, while the last few weeks of the eighteenth century segment feature some great moments and several Genuinely Good Episodes, they also involve a lot of disappointment for the audience.

Episode 363: Very honorable guy

When Dark Shadows debuted in June 1966, it was a Gothic romance in which characters sometimes equivocated about whether they were using the word “ghost” metaphorically to refer to present troubles caused by past conflicts or literally to refer to things that go bump in the night.

That version of the series ended with the story of undead fire witch Laura Murdoch Collins. In Laura’s months on the show, her arc absorbed such major plot elements as the conflict between high-born ne’er-do-well Roger Collins and local man Burke Devlin, the psychological problems of strange and troubled boy David, David’s relationship with his well-meaning governess Vicki, and the tensions between the ancient and esteemed Collins family and the working class people of the town of Collinsport. By the time Laura went up in smoke in #191 and #192, there was no life remaining in any open narrative thread, and Dark Shadows 1.0 was at an end.

Dark Shadows 2.0 launched in #193 with the introduction of seagoing con man Jason McGuire. Jason was an in-betweener who would tie up the loose ends remaining from the 25 weeks before Laura joined the gallery of characters and facilitate the introduction of Laura’s successor as a major supernatural menace, vampire Barnabas Collins. Jason kept himself busy blackmailing reclusive matriarch Elizabeth Collins Stoddard, his sidekick Willie Loomis accidentally released Barnabas, and the show kept dropping hints that when Liz finally stood up to Jason all of the original secrets would be laid bare.

The makers of Dark Shadows didn’t do much advance planning, so they kept Jason on the show for 13 weeks after Barnabas premiered while they tried to come up with some other way to fill the time. When Jason’s plan finally blew up in his face, they even left some of the old secrets still buried, most notably the question of where Vicki originally came from.

Barnabas finally killed Jason in #275, and he hasn’t been mentioned in a while. But he is not forgotten. As we open today, lawyer Tony Peterson has caught heiress Carolyn Collins Stoddard in his office, rummaging through his safe. Tony has been dating Carolyn and is clearly very much attracted to her. He invites her to tell him a story that will give him an excuse not to call the police. She has to think fast to come up with one, and what she settles on is a version of the story of Jason and Liz.

Tony knows that Carolyn was trying to steal a notebook that he had put in his safe. This notebook was the property of his newest client, Julia Hoffman, a permanent guest at the great house of Collinwood. Carolyn tells Tony that Julia was blackmailing Liz. The notebook, she claims, is a diary kept by a man with whom Liz had an affair, and it contains proof that the man was Carolyn’s father. Julia knew the man and knew that he was planning to come to Collinwood to squeeze money out of Liz in return for his silence, but he died before he could do so. Julia took the diary and picked up where he left off.

Since Tony’s professional ethics will not allow him to be a party to blackmail, this is the one story that could give him a plausible reason not to report Carolyn’s crime to the police. It also gives him a reason to feel sorry for the Collinses, whom he hated when we first saw him, removing an obstacle to the possibility he might fall in love with Carolyn.

The echo of the Jason/ Liz story in the image of Liz forced to accept a blackmailer as a member of the household offers a great deal more than narrative convenience to regular viewers. The audience knew what Jason was threatening to tell if Liz did not submit to his demands, but the characters did not. One idea that some among them seemed to suspect was that Jason was Vicki’s father and Liz was her mother. Indeed, the makers of the show did plan to explain Vicki’s paternity at the end of the blackmail arc, a plan they abandoned so late that the climactic episode runs some minutes short. When Carolyn brings up the idea of her mother being blackmailed to keep it secret that she bore a child out of wedlock, those of us who have been watching all along will realize that she was among those who suspected that this was the secret that gave Jason his hold over her.

The audience knows that there will be no romance between Tony and Carolyn, because we know that she is Barnabas’ blood thrall. Barnabas sent her after Julia’s notebook, because it contains the records of an experiment in which she tried to cure him of vampirism. It would expose him were it to fall into the hands of the authorities. Since Barnabas wants to rid himself of Julia, perhaps by killing her, perhaps by driving her totally insane, he cannot leave such a document out of his possession.

Dark Shadows has come to as much of a dead end now as it had when Laura’s arc was ending. None of the ongoing stories has room for more than a few steps of further development, and if they keep running through those steps at the current pace everything will be resolved in a couple of days. Bringing up Jason, whose introduction marked the beginning of Dark Shadows 2.0, leads us to wonder if they have something up their sleeves that will launch Dark Shadows 3.0.

Tony takes Carolyn home to Collinwood, where he confronts Julia. He tells her what Carolyn told him. She denies it, and says that she will write a letter entrusting the notebook to him to remain unread unless something happens to her, in which case he will read it and hand it over to the authorities. That satisfies him that he isn’t a party to blackmail, and he agrees to her terms.

For the last couple of days, Barnabas has been using black magic in an attempt to break Julia’s grip on sanity. Her clear thinking and calm demeanor in this scene prove that this attempt has failed. The only open question in the only ongoing conflict is, therefore, whether Barnabas will try to murder Julia. She is such a valuable character that it is hard to feel any real suspense about whether he will succeed in killing her, but there is a chance that he will make an attempt.

David and Vicki have come home from a trip to Boston. David enters the drawing room, sees Julia, and greets her. She can barely pay attention to him long enough to say hello. He asks if she is all right; again, she is clearly not at all focused on him. She excuses herself, saying she has to go to Barnabas’ house.

David’s relationships to the other characters were the engine that drove Dark Shadows 1.0, and when Barnabas began to pose a danger to David that same engine accelerated the pace of Dark Shadows 2.0. Julia has been central to the plot for some time; that she can’t be bothered to take any notice of David tells us that that engine has fallen apart. Whatever they are planning to do next week, David won’t be at the heart of it.

David leaves the drawing room. He gets as far as the foyer. There, he sees his friend, the ghost of Barnabas’ ten year old sister Sarah. He tells Sarah that he has been on a trip. She asks where he went. He says he went to China. “Oh,” she responds, blandly. “You’re not impressed?” “No, my father’s friends used to go to China on their ships.” “Well, I didn’t really go to China. I went to Boston.” “BOSTON!!!” Sarah exclaims. “I went to Boston once!” She’s electrified. It’s adorable beyond belief.

Suddenly, Sarah looks disturbed and says she has to go. David asks why, and she says there is trouble brewing at the Old House. Again, David has been sidelined. If there is going to be any more action, it will have to come from fresh sources.

The Old House is Barnabas’ house, and that’s where we go next. We see Julia arriving there. She tells Barnabas that Vicki is back. He is mildly interested. She then tells him that she has seen Sarah. Barnabas longs to see Sarah, and is tormented that she will appear to others but not to him. He accuses Julia of lying. She insists that she is not, and taunts him with Sarah’s refusal to appear to him. He grabs Julia by the throat. He has done this before as a threat, but this time it looks like he really means to strangle her. Before he can, a wind blows the door open and the candles out, and Sarah walks in. She approaches her brother, glaring at him.

Sarah has had it with Barnabas. Screenshot by Dark Shadows Before I Die.

Episode 348: A matter of fact

We open on a new set, the bedroom of heiress Carolyn Collins Stoddard in the great house of Collinwood. Dark Shadows has been in color since #295 in August. Though directors Lela Swift and John Sedwick were both ambitious visual artists, they haven’t been able to do much with color so far. With Carolyn’s bedroom, Swift and the staging team have accomplished one of their first real essays in color. It is composed mostly of shades of yellow, pink, and orange.

The color schemes of the other interiors we’ve seen up to this point run the gamut from sedate to subdued to drab to dank, so we already know we are in a unique space. The only other room in Collinwood that might have matched this one for brightness was the kitchen, but we haven’t seen that since #208.

Carolyn’s young cousin, strange and troubled boy David, lets himself into her room. He touches her, and she awakes with a scream. He explains that he just dropped in to make sure she wasn’t dead. When she turns on the light, the screen is so bright that I reflexively squinted, a reaction I’d never before had to an image on Dark Shadows.

David can’t quite explain why he was afraid Carolyn might be dead, but he does insist that she take an antique toy soldier, saying that she will be safe if she keeps it with her. Carolyn’s mother, matriarch Liz, comes into the room to investigate Carolyn’s scream. Liz wonders what David is doing there. Carolyn hastens to say that he was just making sure she was all right.

David goes, and Carolyn tells Liz she doesn’t think anything can be done for him at home. Liz is reluctant to send him away. Regular viewers will not be surprised by this. We know that Liz took David and his father, her ne’er-do-well brother Roger, into Collinwood at the beginning of the summer of 1966 and summoned her unacknowledged daughter, well-meaning governess Vicki, to come look after David starting with #1 on 27 June 1966, so that her conviction that the family ought to look after him got the whole show started. Nonetheless, Liz is so disturbed by David’s unusual statements and depressive affect that she agrees that he needs residential care.

We cut to the Old House on the estate. Vampire Barnabas Collins is sitting in a basement room where mad scientist Julia Hoffman maintains a laboratory. The room is full of electrical equipment, a bit odd since the Old House has no electricity; the laboratory itself is lit by flaming torches. But if we’ve ever seen a Universal Studios production from the 1930s, we know that where you find a mad scientist, you will find electrical currents, so naturally things start buzzing when Julia flips a switch.

Julia is trying to implement a medical cure for Barnabas’ vampirism. In the first shot of this scene, we see a visual metaphor for that project. Barnabas, an uncanny being, is confined to a small space in the middle of an elaborate collection of technology. If Julia succeeds, the supernatural will be vanquished altogether and scientific rationality will fill the whole world. The color scheme emphasizes the contrast between Julia’s optimistic goal and the terrain on which she operates. The walls and floor are dominated by the grays and browns of the basement, but the frames and tubing of her equipment are a bright metallic hue, light plays on the glass components, and the intense greens, reds, and blues of the potions are distributed in a slightly unbalanced, lively pattern. The irregular shapes of the frames and tubing emphasize this pattern, and contrast with the solid gray of the floor and the even grid of the brickwork on the walls.

This image not only represents Julia’s plans, but also one of the major themes the show is exploring at this period. Too many characters have encountered too much evidence of supernatural forces and beings for anyone to simply deny that such things exist. But even those who have been most heavily exposed to them keep reverting to a naturalistic frame of reference. Sure, Julia spends all her time hanging around with a vampire and has encountered a couple of ghosts, but she’s determined to ring all of those phenomena around with scientific explanations and technological interventions until they yield to rational control.

Julia’s project has hit its first major setback, as the latest treatment led Barnabas’ hands to age dramatically. He expresses the fear that time will catch up with him, and his apparent age will soon catch up with his actual age, something like 200 years. Julia’s hope that her experiment will not only free Barnabas of his curse, but found a new kind of medicine that will free everyone else of aging and death, will thus be defeated.

Barnabas gives a remarkable little speech about the situation he finds himself in:

I’ve been granted privileges given to few other men… For most men, time moves slowly, so very slowly. They don’t even realize it. But time has revealed itself to me in a very special way. Time is a rushing, howling wind raging past me, withering me in one relentless blast and then continues on. I have been sitting here passively, submissive to its rage, watching its work. Listen. Time, howling, withering.

Writer Joe Caldwell has a fine sense of what actors can do, and this odd little bit of purple prose is right in Jonathan Frid’s wheelhouse. It doesn’t make a whole lot of sense, but the sound of his voice delivering it is so gorgeous it may as well be Shakespeare. Well, maybe not Shakespeare, but Ben Jonson at least.

It is possible to read this speech as a programmatic statement. Daytime soap operas of the 1960s were famously slow-paced; the old joke was that a viewer saw an episode that ended with a character hearing a telephone ring, missed four months of the show, and tuned back in to see the episode that started with the same character saying “Hello.” Even by the standards of the period, the first months of Dark Shadows were notoriously leisurely, with action often as not playing out in real time. When we are watching the 21 episodes centering on Roger’s attempts to find a fountain pen he misplaced, it is indeed the case that “time moves slowly, so very slowly.” But those days are behind us. The show is whipping through plot points at a pace that many prime time series contemporary with it would have had a hard time matching.

If the speech is programmatic, it is also autobiographical on the part of the screenwriter. A fast pace promises excitement for the viewers, but makes life hard for a writing staff that never numbered more than three. Indeed, this is the last episode Joe Caldwell will write for two and a half years. Perhaps he felt the demands of the new pace as “a relentless blast” withering his talents, and had to bow out.

We return to Carolyn’s room. She is in front of her mirror, contemplating the toy soldier. She hears the strains of “London Bridge” playing on a wooden flute, which she has learned is a sign that the ghost of ten year old Sarah Collins is present. Carolyn grew up in this haunted house, so it may not be entirely surprising that her response is to lean back and enjoy the music. But she sits up when Sarah manifests herself in visible form.

Sarah speaks, and Carolyn sees her reflected in her mirror. The following scene is so extraordinary I’m going to transcribe all of the dialogue:

Sarah: David must have given you that.

Carolyn: Sarah!

Sarah: He told you my name.

Carolyn: Sarah, how did you get in here?

Sarah: Didn’t David tell you?

Carolyn: Tell me what?

Sarah: All about me.

Carolyn: I’m not sure I understand.

Sarah: I think I’m a ghost. Matter of fact, I’m sure I am.

This is the first time Sarah has described herself in any terms, certainly the first time she has called herself a ghost. Her coyness about herself had left David confused about what she was; it was not until #325 that he finally concluded that she was a ghost. After that, she became more forthright with him. When he wasn’t sure what she was, she would wait until she was out of his line of sight to appear and disappear. But in #327, she fades away while he’s looking right at her.

Coming out to David not only allowed Sarah to relax around him, but has led her to discard her coyness altogether. She is startlingly blunt with Carolyn as this conversation goes on:

Carolyn: B-but- I don’t believe in-

Sarah: Yes you do. Or I wouldn’t have been able to come here. You’re not afraid of me, are you?

Carolyn: No…

Sarah: If you are, I understand.

This is the first confirmation that Sarah can appear only to those who are prepared to believe in her. It’s true that most of the people who have seen and heard her- David; Maggie Evans, The Nicest Girl in Town; Maggie’s father Sam; Vicki; Barnabas; Julia; Barnabas’ sometime blood thrall Willie; and local physician Dave Woodard- have either had extensive contact with the supernatural or had reasoned their way to the conclusion that she existed. But she also showed herself to Maggie’s nurse at the mental hospital Julia runs, and we don’t know anything about her background or beliefs. And local man Burke Devlin heard Sarah when she and David were talking in #327. While Burke has had plenty of contact with supernatural beings and in the early days of Dark Shadows, when he was fun, was willing to believe in them, he was at that point tearing around bellowing that there were no such things as ghosts. So this is new and unexpected information.

Carolyn’s denial that Sarah frightens her is given in a trembling voice that shows it to be a lie. Still, she isn’t as frightened as she might be. The other day, in #344, Carolyn was in David’s room when Sarah manifested there, not in the visible form of a little girl, but as the sound of “London Bridge” and as information appearing in David’s mind about Burke’s imminent death. Carolyn was terrified of Sarah when she came that way.

Carolyn: Well, what do you want?

Sarah: Don’t send David away.

Carolyn: How do you know about that?

Sarah: I don’t know, I just do.

At this point, we see Carolyn’s fear fading. She is starting to react to Sarah as if she really were a ten year old girl.

Carolyn: But Sarah, we have to send David away. It’s the only way we can help him.

Sarah: But if you send David away, I won’t have anyone to play with.

Carolyn: Well, maybe it isn’t good for David to play with you.

Sarah: Why do you say that?

Carolyn: Because it leads him into believing all sorts of things that aren’t true.

Sarah: How do you know they’re not true?

Carolyn: Well, they’re just not, they couldn’t be.

Sarah: He wasn’t lying about me, was he?

Carolyn: No.

Sarah: Well.. then maybe David is acting the way he is because no one will believe him.

Carolyn: But… it isn’t possible.

Sarah: People say I’m not possible, but I am. Why doesn’t that make the rest possible?

Carolyn: Sarah, maybe you don’t know the stories David’s been telling!

Sarah: Why do you think that?

Carolyn: Because they’re too fantastic! And besides, they’ve all been proved false.

Sarah: How do you know they’ve been proved false?

Carolyn: Sarah, are you trying to tell me that Barnabas actually slee-

This exchange is the ultimate example of a character accepting the existence of a particular supernatural being and then snapping back into a frame of reference that does not allow for supernatural beings. Carolyn knows that Sarah is a ghost, and starts arguing with her about how fantastic the world is permitted to be.

There comes a knock at the door. Carolyn turns away from Sarah to look at the door, and when she looks back, Sarah has vanished. Regular viewers know that Sarah was Barnabas’ little sister, that she wants to keep him from doing horrible things to people she likes, but that she will not say anything against him. So when Carolyn says Barnabas’ name, we know that Sarah is about to vanish.

Sarah’s part is an outstanding example of writing to an actor’s abilities, even more so than was Barnabas’ speech. Caldwell knew that Jonathan Frid had a flair for making flowery gibberish appealing, because that is what he has been doing the whole time he’s been on Dark Shadows. What Sharon Smyth has been doing well as Sarah is being a cutie pie and creating a vague and mysterious impression. When she has more than a few lines to deliver, things tend to get very wobbly. Today, she has to maintain a commanding tone and an adult demeanor throughout an extended patch of rapid-fire dialogue. Absolutely nothing we have seen on screen would suggest that she could handle that. But she pulls it off, more than competently. There are a few glances at the teleprompter, but at no point does she break out of the patient and authoritative manner she has to adopt. It is an impressive job of acting by any standard.

The person at Carolyn’s door is Liz. Liz is Dark Shadows‘ queen of denial. Viewers who have been with the show from the beginning have seen a few cracks in her facade of disbelief in the supernatural. In #10, she dozed off in the drawing room and started talking in her sleep about ghosts. When Vicki insisted to her in #127 that she had seen a ghost, Liz said she believed her. And in #280 and #281, Liz reluctantly agreed to participate in a séance, and afterward agreed that Vicki had been possessed by a spirit. But even in those moments Liz was fighting to keep the topic of ghosts at bay, and the rest of the time she has presented a blank wall to any attempt to face facts about the strange goings-on. So it is not surprising that Carolyn tells her mother she was talking to herself while tidying up her room.

Having talked Liz into sending David away, she now has to talk her back out of it. She manages to get her to agree to wait a few days. “London Bridge” plays. Carolyn reacts to it, Liz does not.

In his room, a distraught David is looking at a mobile. Its whimsical black and white markings suggest a puzzle and make a stark contrast with the vivid colors around them.*

Carolyn comes in. She brings the toy soldier and tells David she doesn’t think she will need it. He insists that she will, but she explains that Sarah visited her and now she believes him and knows how to help him. David is horrified by this. He says that Sarah visited Dr Woodard, that Woodard believed him, and that led to his death. He begs Carolyn not to believe him and claims to have been lying. He sobs and clutches her.

Back in the Old House, Julia prepares to give Barnabas another treatment. He snaps at her. She tells him that whatever happens, she wants him to know that she always wished him well. That prompts him to unload a further stream of sour remarks about her competence and intentions. Julia carries out the treatments, only to find that the aged appearance of Barnabas’ hands has spread to his head.

In his post about this episode on Dark Shadows Every Day, Danny Horn puts it well when he says that “This is just good soap opera construction. People that we care about, facing terrible danger, and desperate to help each other.” He’s referring specifically to the scenes between David and Carolyn and Liz, but it applies to everyone. We care not only about the good people in the great house (well, they’ve been relatively good, lately,) but also about Barnabas and Julia, evil people who are the terrible danger David and Carolyn and Liz are facing, but who make the show fun to watch. We care about Sarah too, and she’s desperately trying to accomplish exactly the result we most want to see, an outcome in which David, Barnabas, and everyone else we enjoy watching stays on the show.

*Evidently this mobile was a commercially produced item. One of the commenters on Danny Horn’s Dark Shadows Every Day reports having had one like it as a child.

Episode 344: Listen to the music, listen!

Strange and troubled boy David Collins is sitting on his bed. The ghost of his cousin Sarah is with him, playing “London Bridge” on her flute. She has told him that local physician Dave Woodard is dead, and he is depressed. She explains that she thought she had to tell him.

Sarah says she thinks that Woodard’s death was a terrible one and that it shouldn’t have happened. She denies knowing any more than that, and when David presses her for further information she becomes uncomfortable and vanishes.

David’s aunt, matriarch Liz, comes into his room to break the news to him about Woodard. She is startled to find that he already knows. She is distressed at his attitude of complete resignation. Woodard was the only adult who believed all of the facts about the supernatural menace looming over the great estate of Collinwood and the town of Collinsport that David and Sarah have shared with each other, and when David last saw him Woodard was trying to do something about that menace. David takes Woodard’s death as the end of all hope.

Downstairs, Liz meets her daughter Carolyn and well-meaning governess Vicki. She tells them how sad David is, and Carolyn goes up to see him. She starts talking about imaginary friends, and David asks if she means Sarah. Carolyn says that she doesn’t think Sarah is imaginary, and David replies “You don’t have to pretend. I don’t care.” He isn’t the least bit angry with her- he means exactly what he says when he tells her he doesn’t care how she feels about him.

Viewers who have been with the show from the beginning could see that reaction coming. For the first 24 weeks or so, Carolyn was a flighty heiress, a self-centered young woman who took no interest at all in her little cousin. Since then they have discarded that theme and Carolyn has become a mature and caring person. She and David have had some moments where she has seemed like a big sister. Still, she is still far less involved with him than is Vicki, and David doesn’t have any hopes that even Vicki will listen to him when he tells the truth about the strange goings-on. So when David says “I don’t care,” Carolyn is hit by a freight train that we’ve seen coming for a long time.

This new Carolyn won’t give up on David. She confides that when she was nine years old, she had a friend named Randy, a little boy who always wore a red sweater and who may or may not have existed. Carolyn admits that Randy may have been a ghost, and there is a moment when, as Danny Horn puts it on his Dark Shadows Every Day, “David stands up, and he looks at her, as if they’re really seeing each other for the first time in a long while.” The first time ever, I’d say- David and his father Roger only moved into the house a month or so before the show started, and by that time Carolyn was the character we first saw.

This isn’t the first time the audience has seen this side of Carolyn. In the opening weeks of Dark Shadows, she was one of several characters who had brief conversations with Vicki about the legendary ghosts of Collinwood, and she was the most persistent about laughing those legends off. But before the show had been on the air for five weeks, Carolyn admitted to Vicki that the legends were all true, and that she had tried to downplay them only because she liked Vicki and wanted her to stay.

That development is recapitulated in this scene. Where Vicki had reacted with confusion, telling herself that she ought to be concerned about Carolyn’s mental health but unable to quash a sickly feeling that she might be right, David reacts with wonderment. He is beyond trying to do anything about the horrors that he knows are in progress, let alone appealing to anyone to join him in fighting them, but we can see him absorbing the information that Carolyn is not at all the person she had led him to believe she was.

Once Carolyn stops pretending she does not believe in ghosts, we see why she and the other adults in the family are so insistent about keeping the door shut on the supernatural back-world behind the main action. “London Bridge” starts playing on the soundtrack; Carolyn and David can both hear it. As it goes on, David declares that something terrible is about to happen. It will be an accident- no one will cause it, no one wants it to happen. But it can’t be stopped. Carolyn asks how he knows, and he says he just does.

David communes with the spirits. Screenshot by Dark Shadows Before I Die.

The little girl we saw in the opening is Sarah, but in this moment we realize she is not the whole of Sarah. The girl is only one manifestation of an unfathomably vast complex of phenomena. The world in which the action appears to be taking place is a tiny, fragile thing by comparison with forces like Sarah. If the characters stray from their little paths of denial and evasion the whole thing may at any moment dissolve altogether, thrusting the back-world into the foreground and leaving them adrift. After a few minutes of David’s soothsaying, Carolyn protests that “None of this is real, it can’t be!” But it’s too late- she knows that it is all too real, and the world of love affairs and hotels and motorcycles and dress shops and restaurants in which she has spent the last 69 weeks trying to find a place is a dream from which she is already starting to awaken.

Meanwhile, Vicki and her depressing fiancé Burke have declined Liz’ offer to live in the west wing of Collinwood when they are married. Liz had hoped to keep Vicki around so that she could help with David. When Burke asks if he should talk to David, Liz tells him not to bother. Carolyn already talked to him, Liz explains, and so far from calming David down she got herself upset too.

That response would suggest that Liz wants to tranquilize David, not to communicate with him. On the heels of the scene between David and Carolyn, it tells us more. Liz has lived in Collinwood longer than anyone, and she has struggled harder than anyone to keep the non-supernatural fore-world in operation. After Carolyn’s experiment in facing facts comes so close to sweeping the “logical explanations” away once and for all, we can see what Liz is trying to protect by keeping David quiet.

Burke is leaving the house, about to go on a business trip to South America, when David emerges from his room and says goodbye. David’s tone makes it clear that it is a final farewell. Burke keeps telling David that he will come back, but David is certain that Burke will die. Burke is shocked by David’s attitude, and says that perhaps they should live in the west wing after all. Vicki is thrilled by the idea.

Burke and Vicki go to a terrace outside the house. There, they hear the wind whistling through the rocks along the shore. On Vicki’s first night in the house, she heard from Liz’ brother Roger the legend of “The Widows’ Wail,” according to which this sound is a warning from the spirits of the widows who haunt the area. In those days, Vicki had little patience for ghost stories, and the “Widows’ Wail” seemed to be the easiest of all the legends to dismiss. But the wind blows every night, and she’s only heard it make that sound on a handful of occasions, usually right before something terrible happens. She’s also seen multiple ghosts, done battle with a humanoid Phoenix, and encountered what anyone with access to old movies would recognize as evidence that a vampire is operating in the vicinity. So she hears the Widows’ Wail the same way regular viewers of the show do, as the sound of the supernatural back-world blasting through and knocking everything else down.

Vicki hears the Widows’ Wail. Screenshot by Dark Shadows Before I Die.

When Vicki pleads with Burke not to go to South America, he replies “Don’t tell me you’re starting to believe all that stuff!” For months now, Burke has been gaslighting Vicki, pretending that she is crazy for believing in supernatural phenomena, including phenomena he himself witnessed and previously acknowledged. But hearing the Widows’ Wail, which was a prominent topic in the early days, and seeing the black and white imagery of the kinescope, we can remember a more appealing version of Burke. Back then, Burke was one of several longtime residents of Collinsport who used the word “ghost” figuratively in conversation with Vicki, each time prompting her to exclaim “Surely you don’t believe in ghosts!?,” to which he would reply that it was entirely possible that there were literal ghosts at Collinwood. For a moment, we see that Burke, and forget the gaslighting abuser. That moment lasts just long enough that we can share David’s sorrow and Vicki’s terror at Burke’s imminent death.

Episode 335: The imaginary Barnabas

Gordon Russell’s script contains an interesting scene. A psychiatrist brought in to examine strange and troubled boy David Collins gives a little speech attributing David’s fear of his cousin Barnabas to various unresolved traumas he has recently experienced. This speech sounds very plausible to the adults who listen to it, and might go some way towards explaining the appeal of Dark Shadows to its audience. But we know that David’s fears are entirely rational and that Barnabas really is a vampire. When the psychiatrist mentions that Barnabas had fangs in one of David’s dreams, family doctor Dave Woodard catches up with us and realizes that Barnabas really does have fangs and that he used them to inflict bite marks on some of his patients.

Episode 335 of Dark Shadows was a scab job done during the October 1967 National Association of Broadcast Employees and Technicians strike. In March of that year, at a time when Dark Shadows was at rock bottom in the ratings, the actors stayed out in support of the announcers and newscasters when they went on strike, and the show survived even though it went dark by the time the strike ended. Now, the vampire story is pulling in more viewers every week, making it a valuable property to ABC. But it is at this time that executive producer Dan Curtis told the cast that he would pay their union fines if they crossed the NABET picket line, and most of them did, with network executives and their stooges handling the equipment.

Sad to say, only two cast members did the right thing by the technicians. Robert Gerringer, who played Woodard, was one of those. Even if he had been a good actor, the scab stealing food from the mouths of Robert Gerringer’s children wouldn’t have been able to deliver on the moment when Woodard figures out that Barnabas is a vampire- we need Gerringer for that. He is the person we’ve grown used to seeing in the part, and his self-consciously soap operatic style of acting sets him apart from the rest of the cast and highlights the weirdness of this story playing out on a daytime serial in 1967.

But the scab isn’t a good actor. His most memorable moment comes when Joan Bennett, as matriarch Liz, bobbles a line, and he corrects her. She flashes a look of anger, but what does she expect? What she is doing is no better than what he is- if anything, it’s worse, because she was a big star and could have called a halt to the whole filthy disgrace if she’d lived up to her obligations as a member of AFTRA.

I’m writing this in September 2023, month three of the SAG-AFTRA actors’ strike and month five of the Writer’s Guild of America strike, so I’m even angrier about the whole thing than I usually would be. But I always find it hard to watch material produced under these conditions.

The character of Maggie Evans wasn’t in any of the episodes produced during the strike, so Kathryn Leigh Scott wasn’t involved in breaking it. She is walking a picket line today, and in her column she wrote about the particular issues at stake in the 2023 strikes. Different matters hung in the balance in 1967, but it’s always true that we live in a society, for the love of God, and if working people don’t stick together they don’t have anything.

Two actors who were too young to know better. Screenshot by Dark Shadows Before I Die.

Episode 333: Why are you lying?

A few days after Dark Shadows began, we learned that high-born ne’er-do-well Roger Collins had squandered his entire inheritance. He and his son, strange and troubled boy David, then moved into Roger’s childhood home, the great house of Collinwood. The house belongs to Roger’s sister Liz. Roger lives there as her guest, and draws a salary from her business as an employee.

Time and again, Liz tells Roger that he must behave himself; time and again, she shields him from the consequences of his actions. Liz may want to believe that she is a model of adult authority, but in fact their relationship is one of Bossy Big Sister and Bratty Little Brother.

Liz extends that enabling behavior to the rest of the family. In episode #10, David overheard Roger in the drawing room, telling Liz that he wanted to send him away to school. Liz refused, because she saw that as Roger’s attempt to resign his responsibilities as a father. For his part, David reacted by tampering with the brakes on Roger’s car so that they would fail when he was driving down a steep hill and kill him. His murder plan failed. When Liz discovered it in #32 she lied to the sheriff in order to keep the whole thing quiet, and a few days later she ordered the family’s handyman to take the blame for the crash.

David had no big sister. Liz’ daughter Carolyn would later become a surrogate sister to him, but through the first months of the show she took no interest at all in her cousin. David spent his time with his well-meaning governess, Vicki. David was certainly bratty towards Vicki, trying to frame her for his attempt on Roger’s life in #27, and making an attempt on hers in #84. But while Vicki was glad to be sisterly towards David, she did not fall into the same pattern with him that traps Liz and Roger. She listened to him patiently, and enforced rules firmly. In response, David not only stopped committing crimes against Vicki, but when his mother, undead fire witch Laura Murdoch Collins, tried to claim him, he chose life with Vicki over death with her. Episode #191, the last installment of Dark Shadows 1.0, ends with David in Vicki’s arms, his new mother consoling him for the loss of his original mother.

Roger and Liz are minor characters in Dark Shadows 2.0, and Vicki is fast fading into the background as well. But #332 and #333 take us back to the first weeks. Yesterday, David again overheard his father in the drawing room saying he wanted to send him away to “a special school” where psychotherapy can cure him of his weird ideas. But Vicki’s influence has realigned David from evil to good, so that instead of trying to kill his father, he tries to collect evidence that his ideas are not a product of mental illness. In that effort, he went to the Old House on the estate and came upon the coffin in which his cousin Barnabas Collins, a vampire, rests during the day. Barnabas found him there and was closing in on him when mad scientist Julia Hoffman came into the house.

Julia and Barnabas are at the center of the show now, and they reproduce Liz and Roger’s Bossy Big Sister/ Bratty Little Brother dynamic. When Barnabas announces that someone or other “must die!,” Julia talks him out of doing anything to bring that death about. Sometimes she threatens to expose him, sometimes she promises to cure him of vampirism, sometimes she wears him down with lists of the practical difficulties of the murders he would like to commit.

But Julia also conceals and destroys evidence of Barnabas’ crimes. She induces grave amnesia in his victim Maggie Evans, and lets his sorely bedraggled blood thrall Willie Loomis take the blame for abducting Maggie. In fact, she very nearly killed Willie when it looked like he might not go down quietly. She may have rescued David today, but she protects Barnabas all the time, and it seems to be just a matter of time before she becomes an active participant in a murder for his sake.

Back in the great house, local man Burke Devlin is conferring with Dave Woodard, MD. Burke says that he is worried about David’s “fantasies,” to which Woodard replies “If they are fantasies.” Woodard is coming to believe that Barnabas is an uncanny being responsible for Maggie’s abduction and the other troubles the town of Collinsport has seen recently, and he takes everything David says very seriously. When David comes home and announces that he found the coffin, that Barnabas tried to kill him, and that Barnabas is a dead thing that can move around at night, Woodard listens intently.

Julia comes in, as does Roger. Julia dismisses all of David’s assertions. She claims to have seen Barnabas’ basement, and to know that there is no coffin there. David looks at Julia, and asks in an oddly calm voice “Why are you lying?” Roger is appalled at this question, but Woodard studies David carefully as he asks it and studies Julia’s reaction just as closely afterward.

In #331, Woodard gave David a sleeping pill and asked him questions about the strange goings-on. Robert Gerringer and David Henesy played that scene marvelously. Gerringer showed Woodard’s struggle, as a man of science, to come to terms with a set of facts that made logical sense only in a world where supernatural forces are at work, while Mr Henesy showed David’s desperation to find a responsible adult who will listen to what he knows. Gerringer also showed Woodard’s tender affection for David, tugging the covers of his bed over him when he fell asleep. As Woodard watches David today, we see the same intellectual crisis and the same tenderness that he played then.

Roger demands David apologize to Julia. He will not. Woodard says they ought to go look at Barnabas’ basement and see if there really is a coffin there. Roger is horrified by the implied insult to his cousin, and forbids any such thing. Burke points out that Roger is in no position to forbid it, and accompanies Woodard to the Old House.

There, Barnabas presents himself as shocked that Burke and Woodard want to search his basement. Woodard is polite about the whole thing, but Burke is an utter swine, declaring that they won’t leave until Barnabas submits to their demand. This is not the first time returning viewers have seen Burke impose himself as an unwanted house-guest, and it doesn’t get more attractive the more we see it. When Barnabas orders them to leave, Burke says they will come back “with a search warrant!” Even under the law codes of soap opera land, this would seem to be an empty threat- neither of them is a police officer, and while it may be eccentric to keep a vacant coffin in your basement I can’t think of a reason to suppose it would be a crime. Watching this scene, my wife, Mrs Acilius, said that Burke is so obnoxious that he makes us root for Barnabas despite everything we know.

Burke and Woodard start to go, and Barnabas relents. He takes them to the basement. The coffin is usually in the main area at the foot of the stairs, but when the three of them get there some crates and a trunk are stacked up on that spot.

Burke goes down a little corridor and sees nothing there, either.

Burke and Woodard are embarrassed, and Barnabas grins. We know that he had moved the coffin so that when someone came to check out David’s story they would see nothing, and that his resistance to Burke and Woodard’s requests to search was put on for effect. Barnabas spends most of his time with other people pretending to be a living man born in the twentieth century; his grin is that of an actor who finds he has given a particularly convincing performance.

We had seen corridors in the basement when Barnabas was holding Maggie prisoner there. We saw them most prominently in the episode that ended with her escape, #260. In that one, they looked very extensive. He had kept Maggie in a prison cell at the end of one of those corridors. That cell had been there since Barnabas’ time as a living being in a previous century, but none of the many people who had visited the basement before Barnabas moved in, including Burke in #118, had seen the cell. So there must be quite a bit of space down there that only Barnabas knows about, but he has chosen to put his most embarrassing possession in the one place no one coming to the basement could fail to notice. It’s like the old days, when you’d go to visit a single guy at home and find that he had left sexually explicit magazines or videos on his coffee table.

Episode 332: Worse than a nightmare

Strange and troubled boy David Collins stands outside the drawing room at the great house of Collinwood and overhears his father, Roger, talking with permanent house-guest Julia Hoffman. Roger and Julia are discussing David’s fear of his cousin, old world gentleman Barnabas Collins, and his belief that Barnabas is hiding something terrible in the basement of his home in the Old House on the estate. Roger takes it for granted that Barnabas is above reproach, and has therefore concluded that David is suffering from some sort of mental disorder. Julia encourages Roger in this conclusion, and urges him to send David away to boarding school. Roger is amenable to this idea, but tells Julia that his sister, matriarch Liz, will never allow it.

The last time David overheard his father in the drawing room saying he wanted to send him away to school, he attempted to murder him. But that was in episode #10, almost fifteen months ago. Since then, David has been through a lot, and has decided he wants to align himself with good against evil. So he doesn’t try to kill Roger this time. Instead, he steals a set of keys to Barnabas’ house that Liz keeps in her study and sets off to gather evidence with which he can prove himself right.

Returning viewers will recall that David’s friend, the ghost of ten year old Sarah, has repeatedly warned him not to go near the Old House, and especially to stay away from the basement. David remembers her words, but makes his way into Barnabas’ basement regardless. There, he sees an open coffin. While David is looking the other way, Barnabas comes up behind the lid and slams it shut. David turns, and Barnabas glares at him. Since Barnabas is a vampire who has spent quite a bit of time thinking of killing David, this would seem to leave the boy in something of a pickle.

David caught in the act. Screenshot by Dark Shadows Before I Die.

Closing Miscellany

There are three firsts in this episode, all relating to voice acting. This is the first time Alexandra Moltke Isles appears in an episode but does not read the opening voiceover. Sharon Smyth appears only through the pre-recorded voice of Sarah; her name does appear in the closing credits, the first time a performer is credited for something other than an on-camera appearance. And the closing titles end with Grayson Hall saying “Dark Shadows is a Dan Curtis Production,” the first time someone other than an ABC staff announcer* has delivered that line.

*Usually Bob Lloyd, though someone else filled in for Lloyd in #156 and #167.

Episode 331: Not always sure of the answers

Strange and troubled boy David Collins is at his wit’s end. A bat entered his room and menaced him. He can’t even convince the adults in the great house of Collinwood that the bat existed. Still less can he get a hearing for his correct surmises that his cousin, courtly gentleman Barnabas Collins, used magical powers to send the bat against him.

David’s aunt and father call the family doctor, addled quack Dave Woodard. Woodard gives David a sleeping pill, waits a few minutes, and starts asking him questions. David tells him about his friend, mysterious girl Sarah. He asks if Woodard believes that Sarah is a ghost. Several times, the audience has seen Woodard wrestle with evidence pointing in this direction, so we know that he is telling the truth when he answers David’s question with “I don’t know what I believe.” Robert Gerringer does a fine job of acting today, and draws the audience into Woodard’s struggle to come to terms with the idea that he lives in a world where supernatural forces are at work.

Later, Sarah wakes David up. She says she’s angry with him. In her last apparition, she specifically told him to stay away from Barnabas’ house, but the very next morning he went there, sneaked in through a window, and was trying to get into the basement when Barnabas’ co-conspirator Julia Hoffman caught him. He keeps asking for more information, and she complains that he asks too many questions. She keeps insisting that he stay away from Barnabas’ house.

The messenger. Screenshot by Dark Shadows Before I Die.

Sarah gives David an antique toy soldier and tells him to keep it with him. She says it belonged to someone who played with it long ago, and that it will keep David safe as long as he has it with him. Returning viewers know that Sarah is the ghost of Barnabas’ sister, so the “someone” must be Barnabas himself. Also, we saw Sarah give a doll of her own to Maggie Evans, The Nicest Girl in Town, with the same instructions, so we know this is her usual mode of operation.

When Sarah is complaining that David asks too many questions, she says that she isn’t always sure of the answers. This makes an interesting contrast with Woodard’s earlier remark that she seems to know everything. It also brings up a mystery from recent episodes. In #325, David had a dream in which Sarah led him to a basement where they saw Barnabas rise from a coffin. This must have been a dream visitation, since it includes information only she would have. But in #327, David sees Sarah in the woods and surprises her when he tells her about the dream. Later in that same episode, she makes it clear that she does not want him to know the information he gained from it.

The sight of Sarah in the corner of David’s room, lit from below, might cast the minds of regular viewers back to the first supernatural being to make an entrance in that spot. David’s mother, undead fire witch Laura Murdoch Collins, drove the story from #126 to #191. In the early part of the Laura arc, the show made a great deal out of the uncertainty about how the various events and appearances associated with her related to each other. There was a more or less substantial, apparently living woman who comes to stay in the cottage on the estate of Collinwood; an image of the same woman that occasionally flickers on the lawn of the estate; and a scorched corpse in the morgue in Phoenix, Arizona. These three, and an undetermined number of other phenomena, might all be aspects of the same being, or they may not. They may be pursuing the same objective, or they may be working at cross-purposes. They may be organs of a single mind, or they may be entirely unaware of each other. As the story went on, Laura became an ever-more dynamic personality, but it was never made altogether clear just how many of her there were.

The difference between the Sarah who led David to Barnabas in his dream and the Sarah who demands that he stay away from Barnabas when he is awake raises the same question. Sarah used to be a little girl, and she still looks and sounds like one. But she isn’t really that, nor is she anything else that belongs in our world anymore, and she can’t be expected to follow any rules we can understand. She is a focal point around which uncanny phenomena gather, and through which information passes into our world from an alien plane of existence. Sarah is not only a messenger- she is herself the message.

The uncertainty Sarah admits to today, along with our uncertainty about how her various manifestations fit with each other, show that David is wrong if he finds her a reassuring presence. She is part of a world in which the living have no place, and her irruption into David’s experience thrusts him into the company of the dead. David cannot fully understand Sarah’s world, much less control it. If he keeps trying to find his own way to safety, he will quickly meet his doom.

Episode 327: Snap! Like that.

For the last eight weeks, Dark Shadows has been presenting a riddle about strange and troubled boy David Collins. In #288, he wondered if mysterious little girl Sarah might be a ghost. Since then, he has seen her several times, and every time she has given fresh evidence to corroborate that hypothesis. When he isn’t with Sarah, David is either looking for her or fielding questions from adults who are anxious to make contact with her, and in the course of every search and every question he finds still more reason to suppose that she is a ghost. David had always been the first character to believe in ghosts, yet he kept resisting the obvious conclusion that Sarah was one.

Friday, David had a dream in which Sarah told him that she died when she was ten years old. In that same dream, David saw his cousin Barnabas rise from a coffin, greet Sarah warmly, and threaten him with his cane. Yesterday, David woke up and told his well-meaning governess Vicki that he now understood everything about Sarah, because he knew that she was a ghost. Vicki listened carefully to his dream. Much to his frustration, she tried to talk him out of taking it literally. But today, when David is out of earshot, Vicki twice shows the other adults that she regards David’s dream with the utmost seriousness.

In the drawing room of the great house of Collinwood, mad scientist Julia Hoffman tries to hypnotize David so that he will stop making trouble for her co-conspirator Barnabas. Before she can induce the trance, David recognizes her medallion as the one a faceless woman held before his face in the dream. He flees from Julia and calls out for Vicki.

Vicki and matriarch Liz ask Julia what happened. Julia tries to play dumb, but Vicki recognizes her medallion both as the one David described when he was telling her about his dream and as the one Julia showed her and Maggie Evans, The Nicest Girl in Town, when she dropped in on them at Maggie’s house in #298. During that visit, Vicki briefly left Julia and Maggie alone together. Before she left the room, Maggie was about to remember who abducted her and held her prisoner; after she came back, Maggie’s amnesia had returned in full force. During the interval, Julia had used the medallion to do a little emergency hypnosis, restoring the memory block that keeps Maggie from identifying Barnabas as her captor and as a vampire. Julia has reason to squirm when she realizes that Vicki has connected the medallion both with that incident and with David’s dream.

Vicki goes to David’s room to again try to talk him out of a supernatural reading of his dream. She finds him gazing into his crystal ball, looking for Sarah. He pleads with her to allow him to go look for Sarah. She resists, but he tells her that he saw Sarah in the crystal ball and that it won’t take him long to find her. He promises to tell Vicki what he and Sarah talk about. She lets him go, on condition that he be back within an hour.

The riddle of David’s long refusal to acknowledge that Sarah is a ghost is matched by the riddle of Vicki’s attitude. She has seen and interacted with ghosts on many occasions, a fact that is no secret from David. Both her recognition of Julia’s medallion and her acceptance of David’s claim to have seen Sarah in the crystal ball show that she knows she is operating in a world where supernatural forces are at work. Yet she keeps urging David back into “logical explanation”-land. Perhaps she has read Henry James’ “The Turn of the Screw,” and doesn’t want there to be any ambiguity about whether the boy saw the ghosts himself or his crazy governess put the idea into his head.

David goes to the woods, hears the familiar strains of “London Bridge,” and sees Sarah. She tells him that she knows he saw her in his crystal ball. When he asks how she knows he was looking into his crystal ball, she answers only “I know lots of things.” He asks her about his dream; apparently that is not among the things she knows about, because it all comes as news to her. David tells her that in his dream, she told him that she was very sick when she was ten years old. She excitedly replies “That’s true!” He then says that she told him she died of that sickness. Even now, after the dream, after telling Vicki that Sarah is a ghost and shouting with frustration when she won’t agree, he follows up the idea that Sarah has died with “That isn’t true, is it, Sarah?”

Before Sarah can answer, Vicki’s depressing boyfriend Burke lumbers onto the scene. He hears David and Sarah’s voices and shouts “David!” Sarah then becomes alarmed and declares she has to go away. David asks her to stay, and goes to tell Burke to wait. By the time they turn around, Sarah has vanished.

Burke used to be an interesting character, back when he was a dashing action hero played by the charismatic Mitch Ryan. In fact, he was the one who gave David the crystal ball in the first place, back in #48. But he hasn’t had much to do on the show since his major storyline evaporated in #201, and now he is played by Anthony George, an actor whose cool, understated approach was the exact opposite of Ryan’s tendency to red-hot, larger than life reactions. In the scripts written by Ron Sproat, the part of Burke still depends on Ryan’s strengths, and George is entirely at sea with it. Today, Gordon Russell’s script takes advantage both of George’s actual abilities and of the dimwitted impression he has made previously.

David tells Burke that he doesn’t think Sarah will talk to anyone other than him from now on, not because she is shy, but because she doesn’t want anyone else to know that she is a ghost. Burke gives David a smug little speech about how foolish it is to believe in ghosts. David asks how Sarah got away so fast. Burke admits he doesn’t know. David gives Burke some details about Sarah’s way of vanishing into thin air, and he is left speechless.

“You don’t know much about Sarah, do you?” Screenshot by Dark Shadows Before I Die.

Back in the drawing room, Burke tells Vicki and Liz that David thinks Sarah is a ghost. Liz reflexively asks if he ought to be taken to a doctor. Burke suavely says that he doesn’t believe it is as serious as all that, that David is just letting his imagination run away with him.

Vicki speaks up. She says that she disagrees with Burke on two points. First, she thinks the matter is very serious. Second, she doesn’t believe it has anything to do with David’s imagination. Sarah really is a ghost.

Burke starts giving another sanctimonious speech about how one oughtn’t to believe in ghosts. Some weeks ago, Sproat and recently-departed, never-lamented writer Malcolm Marmorstein had given Burke some angry speeches in which he demanded Vicki stop taking the supernatural seriously. Those speeches would have marked Burke as bad news had Mitch Ryan delivered them, but at least they might have suggested that he was going to become an interesting villain- coming from an actor as cold as Anthony George, they were just pointless nastiness. Vicki’s attempts to comply with Burke’s gaslighting campaign also did a lot of damage to her character in the audience’s eyes, presenting her as weak-willed and empty-headed.

But today, Gordon Russell doesn’t write Burke as a loudmouth or Vicki as an aspiring doormat. Instead, he lets George make a reasonable-sounding case in the quiet, detached manner in which he excelled, and he has Vicki surprise him with an equally quiet but unyielding disagreement. She tells Burke to hire all the private investigators he likes to use and tell them to search for Sarah. If they can produce the girl in the flesh, she will admit that she is mistaken. But she tells Burke that won’t happen, because “David is right- that little girl is a ghost.”

If we remember Vicki’s earlier attempts to submit to Burke’s gaslighting, this scene answers the riddle about her. She knows that there are a lot of Burkes and a lot of Lizzes in this world, and that if you want to get along with them you have to be able to present yourself as someone who doesn’t believe in ghosts. She is trying to teach David how to play the role of the practical-minded fellow who takes it for granted that what we can see in the plain light of day is all we have to concern ourselves with. If she and the other adults can shelter him from enough of the uncanny doings that she knows full well are afoot all around them, perhaps he might get through his childhood actually being something like that fellow. It worked out that way when David’s mother, undead fire witch Laura Murdoch Collins, came to Collinwood to claim him- the storyline around her drew him deeper and deeper into the world of the occult, but once Vicki had rescued him and it was all over he didn’t remember anything about that side of it.

Upstairs, David is trying to sleep. Sarah appears in the corner of his room, lit from below. Laura stood on the same spot, in the same lighting, when she visited David while he slept in #150. His mother had called his name in a whispering voice and had a subtle message for him, but Sarah yells “David!” and says she’s ready to answer more questions.

“You said you had more questions to ask me.” Screenshot by Dark Shadows Before I Die.

David doesn’t ask her if she died. Perhaps when he told Burke that she doesn’t want anyone to know that she is a ghost, he meant that he has realized it is a sensitive subject for her. He does ask about the coffin he saw in his dream. She says she doesn’t know what he’s talking about. He says it was in a room that he felt he’d been in before, and she says maybe it was. He says he doesn’t know where it is, and she tells him that’s good- she doesn’t want him going anywhere near it.

David keeps talking about the coffin, and it dawns on him that it is in the basement of Barnabas’ house. She insists that he stay away from Barnabas’ house, that it isn’t safe for him there. She won’t answer any of his questions about that, but she keeps insisting that he stay away from Barnabas’ house.

David asks Sarah if Barnabas’ servant Willie really was the man who abducted Maggie, as the police think. Sarah answers, “Oh no, poor Willie only went to Maggie’s house to warn her.” David asks what he was trying to warn Maggie of, and Sarah says that she has to go away. She repeats that he must stay away from Barnabas’ house. He pleads with her to stay, but she dematerializes in front of him. This is the first time we’ve seen a ghost vanish in this way since #85, when the ghost of Bill Malloy appeared to Vicki, sang a sea shanty, and then disappeared. It’s also the first time Sarah has let David see her dematerialize. Evidently, she’s more relaxed about these things now that she’s out to him.

Closing Miscellany

There is a particularly funny blooper 14 minutes and 20 seconds into the episode, when Burke comes out of the door that leads to the bedrooms at Collinwood, an off-camera voice calls out “Go in!,” he turns around, goes back in the door, then comes out again with exactly the same expression on his face.

Burke and Vicki have a little conversation about why Julia spends so much time at Barnabas’ house. Burke guesses Julia might have “a mad crush on Barnabas.” Vicki reacts as if this is absurd. The same idea had occurred to Julia’s old acquaintance Dave Woodard, MD, in #324, and Julia had been delighted to find that she had inadvertently acquired a cover story. That Burke came up with the notion independently leads us to wonder if we will be hearing more about it, and that Vicki regards it as so self-evidently preposterous reminds us of the times she has seemed more interested in Barnabas than in Burke. Perhaps the Vicki/ Burke/ Barnabas love triangle has a future after all.

Episode 324: They shot the wrong man

The Collinsport police have solved the case of the abduction of Maggie Evans, The Nicest Girl in Town. The investigation has been stalled for months, because Maggie is suffering from amnesia covering the entire period of her captivity. So the authorities spread a rumor that Maggie’s memory was returning, camped out on her lawn, shot the first guy who strayed onto the property, and declared him to be the culprit.

Though this method would appear to be impeccably scientific, strange and troubled boy David Collins is unconvinced. The wounded man is the luckless Willie Loomis, servant of David’s cousin, old world gentleman Barnabas Collins. David is sure that Willie wouldn’t hurt anyone, and has developed an intense aversion to Barnabas.

David troubled. Screenshot by Dark Shadows Before I Die.

David’s aunt, matriarch Elizabeth Collins Stoddard, is discussing this situation with his well-meaning governess Vicki. Liz mentions that Willie originally came to the estate of Collinwood as a friend of seagoing con man Jason McGuire. She says that she is prepared to believe any bad thing about any friend of Jason’s.

This is the third day in a row we have heard Jason’s name mentioned. That marks quite a departure from recent months of the show. In #275, Barnabas killed Jason, and in #276 he forced Willie to help him bury the body. He was forgotten, apparently forever, shortly thereafter.

It is not clear at all where the show is heading. A few weeks ago, David learned that the secret chamber where Jason is buried exists, that Barnabas and Willie know about it, and that there is something hidden in it that makes Willie uncomfortable. Barnabas knows that David has been in the chamber, and is thinking of killing him. So perhaps the next storyline will involve Barnabas trying to do away with David lest Jason’s death be discovered.

Bolstering that expectation is the fact that Willie has survived the shooting. When he was first shot, day before yesterday, the police said he had five bullets in his back and that only a miracle could keep him alive. Yesterday, we heard that he was in a coma and that the preliminary medical report on his case gave him virtually no chance of living. Today, his doctor, addled quack Dave Woodard, tells his medical colleague Julia Hoffman that the odds are a hundred to one against Willie seeing another day. Experienced soap opera viewers will know that when a man has been declared dead so many times, he will be with the series for years to come. Willie does feel bad about what happened to Jason, so if David manages to lead the authorities to the secret chamber, that might bring matters to a head.

The scene between Woodard and Julia marks an interesting first. Julia is, among other things, a psychiatrist, and Maggie was her patient for a time. Woodard believes that she is at Collinwood in order to find out who abducted Maggie. He is surprised she plans to stay on now that Willie has been named. She claims that she is trying to keep her cover story intact, that she is an historian studying the old families of New England. This doesn’t make much sense to him, but he doesn’t expect it to- he thinks he knows her real motive. He thinks she is in love with Barnabas. Julia smiles, and doesn’t deny it.

Julia the lover. Screenshot by Dark Shadows Before I Die.

Returning viewers know that Julia’s actual motives are infinitely less wholesome. She is a mad scientist, and Barnabas is a vampire. She is conducting an experimental treatment which, if successful, will relieve him of that condition. For the sake of that experiment, she has become Barnabas’ accomplice. She induced Maggie’s amnesia, she has lied to everyone she has met, including the sheriff, and she is happy that Willie is likely to die and take the blame for Barnabas’ crimes. Woodard’s idea that she is in love with Barnabas delights her because it helps conceal her true role. It also starts us wondering if it is the beginning of a story in which the two of them avoid awkward questions by pretending to be a couple, then perhaps really do fall in love.