denise nickerson – Dark Shadows Commentary

Episode 958: A house of lies

The residents of the estate of Collinwood are divided. Matriarch Elizabeth Collins Stoddard, her nephew David Collins, and their distant cousin, eleven year old Amy Jennings, have been brought under the power of the Leviathan People, an unseen race of Elder Gods who mean to retake the Earth from humankind. Liz has invited the harbinger of the Leviathans, a shape-shifting monster who in his human form is a young man who once revealed he wanted to be known as Jabe, to live in the carriage house on the estate. Jabe’s onetime foster mother Megan Todd is living as Liz’ guest in the main house.

The main house is also home to mad scientist Julia Hoffman and governess Maggie Evans, who have ranged themselves against the Leviathans. Yesterday Jabe was about to kill Maggie when he saw something outside Collinwood’s Tower Room that scared him off. Wanting to know what it was Jabe was afraid of, Julia went to the scene to investigate, and found Jabe lurking there. Before he could attack her, the mysterious presence returned, and Jabe ran off. Today, we see the presence- it is a dark shadow. It makes perfect sense that a reminder of which show he is on would terrify Jabe. The writers keep painting his character into a corner so that he won’t be able to continue once the current storyline ends.

Julia sees a dark shadow. Screenshot by Dark Shadows Before I Die.

The shadow appears to be that of a slim man wearing a comically oversized hat and a cape. The only character who dressed that way was painter Charles Delaware Tate. Tate was killed by a werewolf in #922. It seems unlikely that Tate’s ghost would haunt Jabe, since werewolves and Leviathans are each other’s implacable enemies. Granted, the Leviathans are also hostile to humans, but Tate was always something of a post-humanist himself. For a while he had magical powers that he used to blur the boundary between humans and their portraits, and in his later years he tried to replace himself with a robot. Besides, Tate was always such a jerk to every individual person he met that it is difficult to imagine him taking much trouble to defend humanity in the mass.

Jabe has murdered three people so far. He raised one of these, Sheriff Davenport, from the dead. He made Davenport into a peculiarly garrulous zombie and forced him to do his bidding. I don’t know of any stories where the same person manifests after death as both a zombie and a ghost, but then I’m no expert on tales of the supernatural. So I guess the shade could be Davenport’s.

Jabe also murdered Paul Stoddard, Liz’ ex-husband and father of her daughter Carolyn. Last week Jabe was afraid Paul’s ghost would come after him, so he dug his body up and burned it. Today we hear that the village of Collinsport is buzzing with talk about the fact that Paul’s body went missing. So Paul is a possibility. The third victim, Maine state police investigator Lawrence Guthrie, was a one-time character. It would seem a bit late to start developing him now.

At the end of the episode, the ghost appears to David in the form of a man hanging from the ceiling. We get a clear look at the ghost’s trouser legs and boots. This rules out, not only Davenport, Paul, and Guthrie, but almost all characters from the parts of Dark Shadows set in contemporary times. The only women who have worn trousers were Carolyn, in a couple of 1966 episodes, and Megan. Both of them are still alive. The only man who wore boots was motorcycle enthusiast Buzz, who dated Carolyn for a little while in 1967. Those longtime viewers who remember Buzz might be amused if it were to turn out that he was the Leviathans’ mightiest foe.

“If you FEEL it… Sit it!” Screenshot by Dark Shadows Before I Die.

This episode also features Roger Collins, who is Liz’ brother and David’s father. Roger meets his distant cousin Quentin Collins. From December 1968 to September 1969, Quentin was a ghost who haunted Collinwood, rendering the place uninhabitable and killing David. There was a time travel story going on for most of that period, and in September 1897 events played out differently than they had the first time through. The result of that difference was that Quentin did not die. The haunting broke and David came back to life on the anniversary of the change. Some magic spells cast on him have kept Quentin alive and apparently twenty nine years old ever since, but the haunting still happened and Roger’s memory of it gives him a shock when he sees the living Quentin. He quickly composes himself; he has already heard of Quentin’s claim to be his own great-grandson, and accepts it cheerfully.

Amy is Quentin’s actual great-granddaughter, and she is not so easily persuaded. Both as a living being in the 1890s and as a ghost in the 1960s, Quentin was obsessed with a phonograph recording of a sickly little waltz and inflicted endless replays of it on the residents of Collinwood. While Quentin and Roger are chatting in the drawing room, she starts playing the waltz. Amy asks Quentin if he likes it. He zones out, and after a long interval declares that he likes it very much. She says she is going to play it again, and Roger forbids her.

Amy says she doesn’t have anything to do. Roger puts his hand on her shoulder, tells her that the house is full of good books, and marches her off to find one. I had remembered this scene with David as the one Roger takes to the library, and moreover had remembered it as their last scene together. When the show started, Roger was a villain and David was a budding psychopath, so it would have been touching to end their story on this note of loving paternal firmness.

Later, Amy goes upstairs to David’s room. David has for several weeks been using a wheelchair because of a broken leg, but it hasn’t occurred to anyone to move him to one of the vacant rooms on the first floor. She tells him about Quentin, and he tells her to get the sacred book of the Leviathan people from its hiding place on the top shelf of his bookcase. They search the book for guidance. Just as they find something promising, they feel a ghostly chill. The book flies off David’s desk and bursts into flames. The ghost has done its work; David observes that “The chill is gone.”

David keeps ordering Amy around the whole time they are on together. This is quite a change from the beginning of Amy’s time on the show, in the early days of Quentin’s haunting, when they bickered like an old married couple and took turns being the one in charge. Since then, Amy has been in steep decline, absent from the cast and unmentioned for months at a time. Indeed, today is the last episode in which Denise Nickerson will appear only as Amy Jennings. Amy will make two brief appearances in upcoming episodes where Nickerson plays another character, but this is the end of the road for her as a significant presence on the show. She started so strong and Nickerson was so talented that it is very sad to see her go like this. The chill is gone, baby.

Roger doesn’t know about the Leviathans, but he has caught on that something very strange is going on. He goes to the Old House on the estate, home to his distant cousin Barnabas Collins. He finds Quentin there. Quentin tells him Barnabas is not in. Roger tells Quentin about the strange goings-on, and Quentin says that he can explain them. He warns Roger that the knowledge he is about to impart to him will put him in deadly jeopardy.

Once Roger has heard the story, he says he wants to take David and flee. Quentin tells him this will not work- the Leviathans will kill both of them if they try it. All they can do is fight them. Roger is unconvinced of their chances, but does not have a better idea.

Roger was one of the last characters to hold out against the evidence that the show had become a supernatural thriller. Even after he was forced to accept that he was up against uncanny forces of evil, he would snap back to “Surely there is a logical explanation!” mode the minute the danger had passed. That changed when Quentin’s ghost forced the family out of the main house in #694. When he accepts Quentin’s story today, we can see that it will no longer be Roger’s function to slow the story down. That is good news and bad news- Dark Shadows long had too many speed bumps, and like all of Louis Edmonds’ characters, Roger is too delightful to be related to such a lowly rank. But not since he ceased to be a villain in #201 have the writers come up with anything else for him to do. We may be losing Roger altogether before much longer.

Episode 956: Your ol’ William

Today we see Willie Loomis, much-put-upon servant of old world gentleman Barnabas Collins, for the first time since #696. We have heard no explanation of where he has been during the year in between. Long before his absence began, in #537, Barnabas’ friend Julia Hoffman had offered Willie a job at Windcliff, a mental hospital which she controls and where he was once a patient. Maybe he went off to work there.

Willie makes his first entrance today in conversation with Amy Jennings, a child who was herself a patient at Windcliff until she moved to the great house on the estate of Collinwood in #639. Willie knows Amy and expects her to know him, presumably from the time they overlapped on the estate, though perhaps they may have met at the hospital as well. Amy lets Willie in the house, but is in a hurry to go outside. He asks where she is going at such a late hour; she says that she left her bicycle outside and has to put it away before it starts raining.

Next we see Willie, he is on the telephone, making kissing noises. “Oh, oh, well you know, I can’t help it, precious. Oh, I mean your ol’ William, he wants to be with you so bad, but I just gotta wait. Well, sure I’ll hurry, I’ll get back as soon as I can.” Willie has always been much given to referring to himself in the third person, even in his first week on the show, when he was played by James Hall. This is the first time he has called himself “William,” and the first time we have had evidence that there is a woman anywhere in the world who reciprocates his romantic feelings.

Matriarch Elizabeth Collins Stoddard enters. Liz had unpleasant dealings with Willie in his early days, and like most other people in and around Collinsport believes that he abducted Maggie Evans,The Nicest Girl in Town, and held her prisoner in May and June of 1967. She is disgusted to see him in her house. He tells her that Barnabas and Julia asked him to come to Collinwood. He says that he went to the Old House on the estate, where Barnabas lives, and that he is not at home. He asks if Julia still lives in the great house; Liz says that she does, but that she isn’t in at the moment. Maggie is the governess at Collinwood now, and is in the minority of Collinsporters who don’t believe Willie was her kidnapper. She doesn’t know what happened to her in that period, since Julia used her magical power of hypnosis to wipe Maggie’s mind clear of the memories of the period to cover up the fact that Barnabas was the guilty party. Nonetheless, she is sure Willie was not to blame, and she considers him a friend. Willie asks to see Maggie, and Liz says that she, also, is out. He tells Liz he is getting married; she could not be less interested.

Liz and Amy meet in the drawing room and confer about Maggie. They have locked her in the room on top of the great house’s tower, because she is opposed to a conspiracy they are involved in. Amy says that she has told their leader about Maggie, and that he is on his way to take care of Maggie. The leader is a shape-shifting monster. Liz says she hopes he won’t come in the form he assumes when he is in his room, because that would involve killing Maggie. They have managed to frame someone else for the murders the monster has already committed, so if he kills Maggie it will reveal that that man is innocent.

Willie overhears the end of this conversation, and Liz and Amy realize he has overheard them. He sneaks up to the tower room to free Maggie. He gets into the room, but Amy closes and locks it, trapping them inside. Amy makes her signature move, looking directly into the camera and smiling at the audience. We hear the monster approaching, and Willie and Maggie clutch at each other.

Denise Nickerson was good at lots of things, especially playing Creepy Little Kid.

Episode 949: Not that Quentin Collins

Ten year old Amy Jennings is at home in the great house on the estate of Collinwood. Evidently she’s in a literal mood- she’s in the drawing room, so she’s drawing. Heiress Carolyn Collins Stoddard sees Amy’s work and asks why she is doing it. Amy says she thinks the design is “pretty”; Carolyn replies that “pretty” is the last thing she would call it. That may seem rather rude, but as Amy hasn’t been seen since #912 I suppose she’ll take what she can get.

The design is one which on Dark Shadows is called simply a Naga. It is the secret emblem of a secret cult serving the Leviathan People, a race of Elder Gods. Secret cultist Megan Todd wears the Naga on a large pendant around her neck; Megan’s husband, secret cultist Philip, wears it on a shining ring; Carolyn’s mother, secret cultist Elizabeth Collins Stoddard, wears it as an oversized broach. Amy herself is a secret member of the secret cult, but she hasn’t yet acquired any conspicuous jewelry emblazoned with the secret symbol, leaving her to do her own artwork. Carolyn wonders aloud why so many people are so preoccupied with the design.

Quentin Collins enters. Amy is terrified. Starting in December 1968, Quentin’s ghost haunted Collinwood. By March, the house was uninhabitable and strange and troubled boy David Collins was near death. Old world gentleman Barnabas Collins tried some mumbo-jumbo in hopes of communicating with Quentin; he came unstuck in time and found himself in the year 1897, where he remained for eight months. While Barnabas was flailing about in the late Victorian era, time continued to pass in 1969, and Quentin’s obsession of David finally killed him in September. But a sequence of events with which Barnabas had a tenuous connection changed the circumstances on the night in September 1897 when Quentin originally died, causing him to survive. That night, as it happened, was exactly 72 years before David’s death. On Dark Shadows, anniversaries have the power that laws of nature have in our world, so that caused the haunting to break and David to come back to life. Due to a series of spells cast on him during Barnabas’ sojourn in the past, Quentin is still alive and still apparently in his late twenties in 1970. But the haunting still happened between December 1968 and September 1969, and everyone who lived through it still remembers it.

Quentin has introduced himself to Carolyn as his own great-grandson. Since Carolyn never actually saw his ghost, she is willing to accept this. But Amy had more dealings with the ghost than anyone but David, and it is obvious to her that they are one and the same. She clings to Carolyn.

Amy knows a Quentin when she sees one. Screenshot by Dark Shadows Before I Die.

Carolyn laughs at Amy’s fear and tells her that this Quentin is not the ghost, but is “a cousin of ours.” This is intriguing to regular viewers. It was during the 1897 segment that the audience learned that Quentin was the great-grandfather of Amy and her brother Chris, and just a few weeks ago that Chris learned about that relationship. It is through their descent from Quentin that Amy and Chris are cousins to Carolyn. So if Amy knows she is a Collins, she must have been told that the ghost that tormented her and David was that of her great-grandfather. A scene in which someone gave her that information might have been a good use of Denise Nickerson’s considerable acting talent, but they didn’t bother to produce one.

Quentin tells Carolyn to leave him alone with Amy. Still chuckling, she complies. Once they are alone in the drawing room, Quentin kneels and touches Amy’s face, assuring her that he is “not that Quentin Collins.” David Selby brought immense charm to the role of Quentin, so this scene isn’t as revolting as it might have been, but it is still pretty bad, and we can’t be surprised that Amy is not satisfied.

Amy goes to the village of Collinsport to seek guidance from her spiritual advisor. He is a shape-shifting monster from beyond space and time who usually takes the form of a very tall young man. When he first assumed that form, he invited people to “Call me Jabe,” but no one did. They call him “Jeb” instead, and he answers to it.

Jabe lives in a room above Megan and Philip’s antique shop, and when Amy enters the shop she finds him looking after the place. Apparently shape-shifting monsters from beyond space and time aren’t above doing a little work in retail now and then. She tells Jabe about her encounter with Quentin, and then tells him about a dream she had. In the dream, she went into the long-disused room where she and David first met Quentin. Quentin’s theme song, a sickly little waltz, was playing; she exclaims “It was terrible!” Longtime viewers know the feeling. The tune played incessantly during the “Haunting of Collinwood” period, and when they went back to 1897 characters kept complaining to the living Quentin that he was making them miserable by playing it on his phonograph all the time.

In the dream, Quentin appeared to Amy wearing the nineteenth century clothing and the angry scowl that he wore when he was a ghost. But when he was a ghost, he never spoke words the audience could hear. The only exception was a dream sequence in #767, when Quentin’s ghost spoke to David. That was also the only other dream sequence to be presented as this one is, in flashback as the dreamer is recounting it after the fact. That sequence marked a watershed, the first attempt to explain how Quentin the cranky ghost emerged from Quentin the charming scoundrel we had got to know in the 1897 segment.

This episode, also, has to do with the relationship between these two iterations of Quentin. Amy tells Jabe that Quentin’s ghost in the dream warned her against him by name, and says that she is therefore convinced that the living man she met in the drawing room today is in some way identical to the ghost who haunted the house for those ten months. Amy’s dream marks the final appearance of Quentin’s ghost, but we can see the ghost will not be forgotten.

A state police investigator named Lawrence Guthrie is in town looking into two murders Jabe has committed, those of Carolyn’s father Paul and of a law enforcement officer whose gravestone revealed that his given name was “Sheriff Davenport” (we never learn what Mr Davenport’s title was.) Jabe orders Philip to kill Guthrie. Philip calls Guthrie and asks him to come to the antique shop when Jabe will be out. Once Guthrie is there, Philip tells him that the upstairs room where Jabe stays is an important part of the story of the murders. He shows Guthrie into the room. He stays outside, and locks Guthrie in. Guthrie encounters Jabe there in his true form; Jabe kills him. This is quite effectively handled. My wife, Mrs Acilius, was completely caught off guard by the killing. She believed Philip really was trying to break free of the Leviathan cult, and wondered what Guthrie was supposed to find in the room.

Neither Jabe nor Philip is an especially well-developed character, but Christopher Bernau and Christopher Pennock were both fine actors, and they play off each other very well today. It is a tribute to their performances that Guthrie’s death scene comes as a surprise.

At the end, Quentin is at Collinwood trying to tell Carolyn that it was Jabe who killed her father and Mr S. Davenport. Inexplicably, Carolyn is interested in dating Jabe, and is unwilling to listen to this. Jabe bursts in and announces that there has been another murder, that the murderer is in custody, and that he has confessed to it and to the killings of Paul and Sheriff. That murderer, Jabe says, is Philip. That’s another surprise- after the murder of Guthrie, Jabe did tell Philip that he had another task to perform, and once we hear that he has confessed to the killings it makes perfect sense that that would have been what Jabe meant. But I don’t think anyone could have predicted it. It makes for a strong ending.

Danny Horn’s post about this episode on his great blog Dark Shadows Every Day is a lovely little bit of fanfic proceeding from the assumption that Lawrence Guthrie is the brother of Dr Peter Guthrie, the parapsychologist whom undead blonde fire witch Laura Murdoch Collins killed in March 1967.

The closing credits again misspell writer Violet Welles’ name as “Wells.” They started doing that last week, around the same time the misspelling of wardrobe house Ohrbach’s as “Orhbach’s,” a frequent goof in the show’s first year, reappeared after a long absence.

Episode 893: We serve him now

Heiress Carolyn Collins Stoddard is sitting at a table in the Blue Whale, a tavern. A man who refused to give his name when she caught him trespassing on her property invites himself to sit down with her. She objects to this. He identifies himself as her father, the long-missing Paul Stoddard. She objects far more strenuously to that. Not only did Paul leave the family when Carolyn was an infant, he and his friend Jason McGuire faked his death. Jason convinced Carolyn’s mother, Liz, that she had killed Paul and he had buried the corpse in the basement. In response, Liz immured herself in the house for nineteen years. Only after Jason came back and was blackmailing Liz into marrying him did the truth come out and Liz break free of her reclusive ways.

Paul tells Carolyn that he didn’t know Jason told Liz that she had killed him. Longtime viewers may suspect this is a lie, not least because Paul and Jason are both played by Dennis Patrick. Nonetheless, Carolyn falls for it. Soon she is agreeing to sound Liz out to see how she might react were she to hear that Paul had returned. He walks her home to the great house on the estate of Collinwood. He can’t go in, but gives her a goodnight kiss on the forehead.

Carolyn’s young cousin, strange and troubled boy David Collins, sees Paul kissing her. When she goes inside, he asks who her new boyfriend is. Carolyn is vexed. She refuses to tell David anything, and sends him to bed.

Carolyn’s friend Philip Todd comes to the door. He tells her that he and his wife Megan want Carolyn to work at their antique shop in the village. It may seem rather odd for the keeper of a little shop to go to a vast mansion and ask the daughter of its proprietor to take a job as his assistant, but Carolyn loves the shop and was volunteering there yesterday. She agrees happily, and mentions that a man might be leaving messages for her there.

In the shop the next morning, Carolyn sees that Megan has a baby. Megan says it is her sister’s son. Carolyn asks his name. Megan thinks for quite a while before coming up with “Joseph!”

Carolyn is alone in the shop when David comes in with his friend and fellow resident of Collinwood, Amy Jennings. We haven’t seen Amy since #835; that in turn was her first appearance since #700. For eight months, from #701 to #884, Dark Shadows was set in the year 1897, with only a few brief glimpses of the 1960s. In the 1897 segment, Denise Nickerson played Nora Collins, whose own final appearance was in #859. Both Nora and Amy had long absences from the cast, and were usually unmentioned while they were away. So we’ve been afraid that we wouldn’t see Amy or any other Nickerson character again. It’s good to have her back. She even pulls her signature move and gives a meaningful look directly into the camera at one point.

Amy and David see a doll that longtime viewers will recognize as Samantha, favorite plaything of the late Sarah Collins both when we saw her as a living being in the 1790s from November 1967 to March 1968 and before that, when she was a ghost haunting Collinwood and its environs in 1967. There are also a couple of toy soldiers from “The Regiment,” which Sarah’s brother Barnabas played with when he was a young boy and which Sarah gave to people in 1967 as protection against Barnabas, who was at that time a vampire. Barnabas did sell a bunch of things to Megan and Philip the other day, but neither Samantha nor the members of The Regiment were in Barnabas’ possession when last we saw them. Presumably the camera lingers on the toys, not because we are supposed to know how Philip and Megan got them, but because we are supposed to be pleased with ourselves for recognizing them.

Paul comes into the shop. David recognizes him as the man he saw kissing Carolyn. Carolyn addresses Paul as “Mr Prescott,” sends him into a back room, and hustles the children out of the shop. She tells Paul who David is, and explains that he saw them together, complicating their plans.

When Carolyn was minding the shop yesterday, her friend Maggie noticed an old book on a table. Neither of them knew what it was, but viewers knew it was an object of great importance to a cult into which Philip and Megan have been inducted. It seemed inexplicable that they would leave it on a table in their shop, as if it were for sale. We get a hint today as to what they may have been thinking. In his room at Collinwood, David shows Amy that he has stolen the book. She asks why he would want it. He explains that Carolyn said that if they damaged anything in the shop, his father, Roger, would have to pay for it, and he creased a page in the book. David’s fear that his father would punish him drove several stories in the early months of the show. Roger has mellowed enormously since then, but evidently David is still so afraid of him that he will make a bad situation worse rather than face his wrath.

Indeed, many major storylines have begun with David. The 1897 flashback started because Barnabas was trying to keep a ghost from killing David, as the 1790s segment started when David’s governess Vicki participated in a séance meant to solve a mystery concerning him. For that matter, the whole show started when Vicki was summoned to Collinwood to take charge of David’s education. David doesn’t always have a lot to do in the stories, and when they are over it is often as not forgotten that he was in peril when they began. But he is so often the catalyst that we can suppose that David was supposed to find the book so that the current story could move into its major phase.

If that was the intention, Megan and Philip didn’t know about it. When they discover that the book is gone from the shop, they fly into a panic and declare that whoever took it must be killed. It may turn out that the mysterious forces behind the cult want David to become involved and that they created a situation in which he would find the book and take it with him, but if so, those forces are operating outside the cognizance of anyone in today’s episode.

Episode 859: Not this grownup

Nine year old Nora Collins enters the drawing room of the great house of Collinwood. She walks in on her father, the stuffy but lovable Edward, embracing Kitty Soames, the dowager countess of Hampshire. She gives them a dirty look and says she supposes Edward is too busy to join her in a game of checkers. He says he does have to run an errand, but suggests that Nora play with Kitty.

Kitty is eager to ingratiate herself with Nora, who clearly wants nothing to do with her. Nora asks, in an icy voice, if the reason Kitty wants to be her friend is that she is planning to marry her father. Returning viewers suspect she is right. Kitty and Edward have more in common than they know. Both are penniless, each is sure the other is very rich, and each imagines marriage to the other will solve all their problems. Kitty can’t very well level with Nora about this, so she claims that the women in the Collins family, being outnumbered by the men, have to stick together. Nora does not hide her distaste at Kitty’s inclusion of herself among the women of the family. Kitty asks Nora if she wants her father to be happy. Nora drills her eyes into Kitty’s face and says in a firm, flat voice “I want that.”

Nora asks Kitty if she is just letting her win at checkers. While she is asking this, Nora moves twice in one turn and takes three of Kitty’s pieces. Kitty watches this without protest and denies that she is letting her win. She then says she wants to concede the game and listen to whatever information Nora is willing to share about the family.

Nora is not impressed with Her Ladyship. Screenshot by Dark Shadows Before I Die.

Edward comes back from his errand to find Nora packing up the checkers and the board. He asks if she enjoyed her game with Kitty. Not looking up, Nora says they never finished it. Kitty hastens back in and asks if she wants to finish it now. Edward points out that it is getting close to Nora’s bedtime. He kisses her, and bids her say goodnight to Lady Hampshire. Kitty asks Nora to call her by her first name. Nora pointedly says “Good night, Lady Hampshire.”

It doesn’t show in her scenes with Nora, but Kitty seems to be suffering from a severe mental health crisis. Returning viewers know that the ghost of Josette Collins is taking possession of her, and suspect that she will turn out to be a reincarnation of Josette. Edward knows enough about the supernatural doings on the estate of Collinwood that he might give Kitty the benefit of the doubt when, for example, she comes running in today and is shrieking about a haunted house, a vanishing woman, and a curse that follows her everywhere. But she is so often so highly distraught that Nora must have noticed that she is not right in the head, and she can hardly look forward to having such a person as a stepmother.

Shortly before Nora enters, Edward calls Kitty “Katie.” This is a small enough slip of the tongue, but Kathryn Leigh Scott’s friends call her Katie, so it is a case of an actor’s name in place of the character’s. I think I can see Louis Edmonds blush a little when he realizes what he has done.

This episode marks the final appearance of Nora, and very nearly the last time we will hear Nora’s name. I think she was badly underused, disappointingly so after the outstanding work Denise Nickerson did as Amy Jennings in the months leading up to the segment set in 1897. She will be back later, in other parts.

Director Henry Kaplan was not much of a visual artist, and his deficiencies are particularly glaring today. Especially during Kitty and Nora’s first scene, the camera keeps drifting up to the actors until we see a randomly selected two-thirds of their faces in extreme closeup. Once the shot excludes the eyes or the mouth, it abruptly pulls back. Even the successfully framed closeups are rarely in focus, and you can forget about finding coherent visual storytelling in any kind of shot other than a closeup. The actors themselves do a good job, in spite of Kaplan’s notoriously unpleasant behavior towards them, but aside from a few evocative facial expressions, most of them by Nickerson, it may as well have been a radio play.

Episode 816: David Collins, who lives in the year 1969

From December 1968 to through February 1969, strange and troubled boy David Collins (David Henesy) and his friend Amy Jennings (Denise Nickerson) were falling under the power of the malign ghost of Quentin Collins. Occasionally the children were possessed by the spirits of David’s grandfather Jamison and great-aunt Nora; at other times they were possessed by Quentin’s own spirit and that of Quentin’s sometime lover, maidservant Beth. In those same days, Amy’s brother Chris (Don Briscoe) was suffering from a curse that made him a werewolf.

As Quentin’s power over David and Amy grew, so did the frequency and duration of Chris’ spells in lupine form. By #700, Quentin so dominated the great house on the estate of Collinwood that its residents fled to the Old House on the estate, home of their distant cousin Barnabas Collins. David, entirely possessed by Jamison, was close to death. For his part, Chris was stuck in wolf form, apparently permanently, and Barnabas had locked him in a secret room in the old Collins family mausoleum.

Desperate to remedy the situation, Barnabas and his associate, occult expert Timothy Eliot Stokes (Thayer David,) searched Quentin’s old room in the long-deserted west wing of the great house. They found some I Ching wands there. Under Stokes’ direction, Barnabas threw the wands, meditated on them, and found himself transported back in time to 1897. In that year, Quentin, Beth, Jamison, and Nora are alive, and Barnabas is a vampire.

Barnabas had no idea what led Quentin to become a malevolent ghost or what first brought the werewolf curse on Chris, but he had reason to believe that 1897 was an important year in the events leading up to both of those unhappy circumstances. So once he arrived in that period, he spent his nights meddling in all the affairs of the Collins family he found there. Vampires are not problem-solvers; their function in a story is to create problems that other characters will have to solve. So all of Barnabas’ well-intentioned interventions backfired badly. Even disregarding the many murders he committed for his own selfish ends, including the murder of Quentin’s brother Carl Collins, his trip would by any standard have to be considered a disaster.

Now, evil sorcerer Count Petofi (Thayer David) has found that Barnabas is a visitor from the future and is determined to go with him when he returns to 1969. When he demanded Barnabas tell him his secret, Barnabas quite truthfully told him he had no idea what was going on when he found himself transported from one period to another. Petofi did not believe him, and is trying to extort the information he wants by summoning the spirit of David to come from 1969 and possess Jamison (David Henesy) in 1897.

Not only is this an intriguing reversal of the 1968-1969 story in which the ghost of Quentin caused Jamison’s spirit to possess David, it also picks up on some recent hints that they might retcon the whole “Haunting of Collinwood” story to put Quentin’s ghost under the control of Petofi. Even if he can’t hitch a ride with Barnabas, perhaps Petofi will find a way to use Quentin to go back to 1969 with us.

Nora (Denise Nickerson) is with her brother Jamison when the possession takes hold. She is puzzled that he insists on calling her “Amy” and himself “David” and that he tells her to call Quentin on the telephone, even though he is in the house. When Quentin shows up, he recognizes the name David Collins from something Barnabas has told him about the future. But Barnabas has not told Quentin that he is fated to become a family-annihilating ghost, and so Quentin cannot understand how David knows who he is.

Meanwhile, a man named Tim Shaw (Don Briscoe) comes to the house and visits Nora in her room. Tim is Amy’s former teacher, and she considers him a friend. She does not know that since she first knew him, he has lost his moral compass, found the severed Hand of Count Petofi, stolen it, and used its magical powers to make a small fortune in New York City. Evidently all working-class Collinsport boys get rich quick when they go to NYC. In 1961, ex-fisherman Burke Devlin got out of prison and went to that city. By the time he returned to Collinsport in 1966, Burke was a big-time corporate raider who had to think for a moment when David Collins asked him if he’d already made his first $100,000,000. He answered “Not yet.” If he’d had the Hand, no doubt he would have passed that milestone long before.

A couple of days ago, Tim asked Nora to hide a box for him. Unknown to her, the box contained the Hand. Tim asks Nora to return the box to him. She tells him Jamison has it, and he flies into a rage. He gets very rough with her. Briscoe and Nickerson were both good actors, and we’ve seen them share tender moments both as Nora and Tim and as Amy and Chris, so the resulting scene is as uncomfortable as it needs to be to show us that Tim is no longer the long-suffering nice guy we once knew. Moreover, longtime viewers who recognize Tim’s echo of Burke and remember that Burke, though sometimes villainous, was always good with David, will be shocked that Tim does not mirror the earlier character’s consistent soft spot for children.

Tim roughs Nora up. Screenshot by Dark Shadows Before I Die.

Tim goes downstairs and sees Quentin coming out of the drawing room. He demands to see Jamison. Quentin tells him that Jamison is ill, and it will be impossible for anyone to talk to him. Tim starts to get ugly about it, and Quentin cuts him off, saying that Jamison doesn’t have the Hand. Tim is shocked that Quentin knows about the Hand, but recovers sufficiently to ask who does. Quentin cheerfully tells Tim that if he goes to the abandoned mill at the end of the North Road, he will find his onetime acquaintance Aristide, and that Aristide will direct him to the man who has the Hand.

Tim knows Aristide only slightly, but he has a grudge against him. Aristide attacked Tim’s girlfriend Amanda and demanded she tell him where the Hand was. Even after he realized Amanda did not know what he was talking about, he beat her and threatened to kill her, forcing her to tell him whatever she did know that would help him retrace Tim’s steps. When Tim found Amanda, Aristide had left her unconscious, and Tim feared at first she might be dead.

We cut to the hideout in the mill, where Tim is waiting with a pistol and thinking that he would be justified in killing Aristide for what he did to Amanda. When Aristide comes, Tim holds him at gunpoint and demands the Hand be returned to him. Aristide tells him that is not possible. They quarrel until another man enters. It is Petofi, who shows Tim that the Hand has resumed its place at the end of his right arm.

That suffices to show Tim that the Hand is no longer available to him. Petofi tells him he should consider himself lucky that the Hand, which followed no one’s commands, chose to make him rich and happy. Tim says he is not happy, and will not be until he can take revenge on the hypocritical Rev’d Gregory Trask and lawyer/ Satanist Evan Hanley. This again reminds longtime viewers of Burke, whose original goal in returning to Collinsport was to wreak vengeance on Roger Collins. As Trask and Evan involved Tim in a homicide when he was not in his right mind and tried to make him alone pay the legal penalty for it, so Roger killed someone with Burke’s car while Burke was passed out drunk in the back seat and saw to it that the court concluded that Burke was driving.

Petofi laughs and congratulates Tim on his choice of enemies. Tim brightens and asks if Petofi will join with him in bringing Trask and Evan down. Petofi explains that he does nothing without a price. Tim says he has a lot of money, and Petofi says he doesn’t have any use for money. Petofi brings up Amanda, only to say that he doesn’t have a use for her either, at least not at the moment. He sends Tim along his way.

Aristide is talking when Petofi dismisses him. He tells him that two visitors are coming, and that he wants to be alone when they arrive. He will not explain further, and so Aristide is in rather a huff when he leaves.

The visitors are Quentin and Jamison/ David. Quentin is carrying his nephew/ great-great-nephew. He demands that Petofi cure Jamison of the possession, which seems to be killing him. Petofi refuses. When Jamison/ David calls Quentin by name, Petofi asks him how a boy who lives in 1969 knows who he is. Quentin’s bewildered reaction leaves us wondering how he will respond if Barnabas ever tells him just why he went to the past.

In the opening teaser, Petofi stood over the coffin in which he has trapped Barnabas. He told Aristide that he and Barnabas have been at war for what even he, at his immense age, considers to be a very long time. He says that they are now engaged in the final battle of that war.

Petofi’s remarks make absolutely no sense whatever in the context of what we have seen. It has been clear so far that Petofi’s presence at Collinwood is an accident, that Barnabas never heard of him before, and that Petofi only just learned that Barnabas has traveled through time. Many of the oddest dead ends on the show were left over from advance plans that hadn’t worked out; so when they were drawing up broad outlines six months before taping, or when they were writing episode summaries (called “flimsies”) thirteen weeks before, they would often include ideas that depended on story points that they never got around to making happen or characters who never worked out. Once in a while, the writers tasked with filling in the flimsies wouldn’t be able to make up a complete 22 minute script without incorporating some of this irrelevant material. So perhaps at some point in the planning process they meant to have stories about Barnabas going back to the eighteenth century and fighting Petofi there. They may still have been kicking that idea around when they shot this installment.

Danny Horn closes his post about this episode at Dark Shadows Every Day with this little poem, which he attributes to Petofi (though it may remind some of Puck from Shakespeare’s Midsummer Night’s Dream):

If Dark Shadows has offended,
Think but this, and all is mended —
That you have but slumbered here
While these visions did appear.
And now, a word from All Temperature Cheer.

Danny Horn, “Episode 816: Midsummer,” posted 1 February 2016 at Dark Shadows Every Day.

Episode 807: An award-winning performance, wouldn’t you say?

From #1 to #274, each episode of Dark Shadows began with a voiceover narration by Alexandra Moltke Isles, usually in character as well-meaning governess Vicki. This identified Vicki with our point of view and suggested that she would sooner or later learn everything we knew.

Jonathan Frid joined the cast as vampire Barnabas Collins in #211, and quickly became the show’s great breakout star. If the upright Vicki found out what we knew about Barnabas, one of them would have to be destroyed. Vicki was the favorite of longtime viewers and Barnabas was attracting new ones, so that was out of the question. Therefore, other members of the cast started taking turns reading the voiceovers, and doing so not as their characters, but in the role of External Narrator.

Today marks the first time Frid himself reads the narration. His training first in Canada, then at Britain’s Royal Academy of Dramatic Arts, and later at Yale School of Drama prepared Frid well in the art of dramatic reading, and in later years he would concentrate on that aspect of his craft. Several of his colleagues are his equals in these voiceovers- I would particularly mention Kathryn Leigh Scott, whose conception of The Narrator is always arresting, and Thayer David, who could consistently achieve the most difficult of all effects in voice acting, a perfectly simple reading. So I can’t say I wish Frid had done all of them, but he is always good, and today’s performance is among his most gorgeous.

The action opens on a set known to longtime viewers as the Evans cottage, where from 1966 to 1968 artist Sam Evans and his daughter Maggie served as Dark Shadows‘ principal representatives of the working class of the village of Collinsport. In those days, it was on this set that we saw how the misdeeds of the ancient and esteemed Collins family had consequences that spilled out of the estate of Collinwood and warped the lives of people trying to make a more or less honest living nearby.

Now the dramatic date is 1897, and Sam hasn’t been born yet. But the cottage is already an artist’s studio. It is temporarily occupied by the nationally famous Charles Delaware Tate, who is painting a portrait of rakish libertine Quentin Collins at the behest of evil sorcerer Count Petofi. Charity Trask, a resident of the great house of Collinwood, is visiting Tate in the cottage when she sees the face in the portrait change from that of Quentin. It takes on a great deal of fur and long fangs, and reminds Charity of a wolf.

By the time Tate looks at the painting again, it has resumed its normal appearance. He tells Charity that the transformation must have been in her imagination. She is willing to consider the possibility, but we know better. Quentin is a werewolf, a condition Petofi knows how to cure. Portraits on Dark Shadows have had supernatural qualities at least since #70, including portraits we saw Sam execute on this set in 1966, 1967, and 1968, and the show has borrowed from The Picture of Dorian Gray before. Moreover, Tate’s reaction to Charity is one of barely controlled panic. Nancy Barrett has to ramp up Charity’s own emotional distress to the limit to make it plausible she would not notice Tate’s extreme agitation. Perhaps if Tate were played by a better actor than the ever-disappointing Roger Davis, his response might have been ambiguous enough that Miss Barrett could keep the tone a bit lower, but his unequivocal display of alarm leaves her nowhere to go but over the top.

Mr Davis was under no obligation to play the scene transparently, since Tate later goes to Petofi’s henchman Aristide and lays out in so many words his precise relationship to Petofi’s operations and his knowledge of them. Tate’s career is his reward for selling his soul to Petofi, and he has already experienced great sorrow as a result of that bargain. Tate knows that the portrait changed to reflect the full Moon’s influence on Quentin and that Petofi is currently in possession of twelve year old Jamison Collins. Aristide tells us that Petofi’s own body is in suspended animation while he acts through Jamison. He also says that it was in 1797 that Petofi’s right hand was cut off, and that if he does not reclaim the hand in a few weeks, by the date of the one hundredth anniversary of the amputation, he will die and so will Tate.

Jamison/ Petofi is in the prison cell in the basement of the Old House on the estate of Collinwood. Barnabas has traveled back in time from the 1960s with some vaguely good intentions and is hanging around 1897 causing one disaster after another. Now, he is doing battle with Petofi and has locked him, in the form of Jamison, in the cell. Barnabas’ reluctant sidekick, broad ethnic stereotype Magda Rákóczi, guards Jamison/ Petofi during the day. Early in the episode, Jamison/ Petofi calls Magda and pleads with her to release him. He tells her that he is “just a little boy” and that she is a “rather heartless creature.” She says she wishes he were a little boy again, but that she isn’t stupid and he won’t fool her. Indeed, the phrase “rather heartless creature” and Jamison/ Petofi’s manner in delivering it sound so much like Thayer David as Petofi that they hardly count as an attempt to deceive Magda.

Later, Jamison/ Petofi casts a spell to summon Aristide, then calls to Magda again. When Magda arrives, Jamison/ Petofi gives himself a better script than the one from which he had acted in his previous scene with her. He pretends not to remember how he got into the cell and to be shocked that Magda knows he is there. Perhaps the utter transparency of his earlier pleadings was an attempt to get Magda to underestimate his abilities as a trickster.

In #803, we saw that when Petofi took possession of him Jamison’s right hand disappeared from his wrist, matching Petofi’s own mutilated condition. When Jamison/ Petofi feigns the amnesia that might come upon recovery from possession, we might therefore expect Magda to demand that he remove his gloves to prove that he is himself again. But he plays the part of Jamison so convincingly that we are not really surprised he does fool Magda. She goes into the cell, embraces Jamison/ Petofi, and he kisses her on the cheek. It is this kiss that spreads his magical power, and she realizes too late that she has been had.

Aristide arrives a moment later, and Jamison/ Petofi calls his portrayal of an innocent boy “an award-winning performance.” Indeed, if there had been daytime Emmys in 1969, David Henesy might have won one for his portrayal of Thayer David playing Petofi playing Jamison.

Aristide wants to kill Magda; Jamison/ Petofi forbids this. Under his power, she announces that she is responsible for all the evil that has happened in 1897. She was responsible for releasing Barnabas and therefore for all the murders and other harm he has done; she made Quentin a werewolf, and is to blame for his killings in his lupine form and for the curse his descendants will inherit; she stole Petofi’s severed hand and is at fault for the deaths of Rroma maiden Julianka and of her own husband Sandor that resulted from the hand’s presence. She even takes the blame for Quentin’s murder of her sister Jenny, the act for which the werewolf curse was meant as vengeance. Magda says she must be punished. Jamison/ Petofi tells her that he is not interested in punishing her. He has another use in mind for Magda She will lead him and Aristide to Barnabas’ coffin today, and they will destroy him.

Longtime viewers will perk up twice when Aristide says that Petofi lost his hand in 1797 and that he has exactly one hundred years to recover it. From December 1966 to March 1967, Dark Shadows’ first supernatural menace was undead blonde fire witch Laura Murdoch Collins, who at intervals of exactly one hundred years incinerated herself and a young son of hers, who was always named David, in an unholy ceremony that renewed her existence, but not that of the Davids. Since the usual laws of nature don’t apply, the show needs some other causal mechanism to create suspense, and anniversaries will do as well as anything else. Another iteration of Laura was on earlier in the 1897 segment. It was fun to see her again, but they could shoehorn her into that year only by retconning away the one hundred year pattern in her immolations. It’s reassuring in a way to see that Petofi is bringing centenaries back.

The date 1797 is also significant. It was in 1796 that Barnabas died and became a vampire. We flashed back to that period for the show’s first costume drama segment in November 1967 to March 1968, and Barnabas went back to 1796 for a week in January 1969. So we may go back again some day, and if Petofi was alive and in his prime in 1797, we might run into him there.

Barnabas and Petofi are not the only characters from the 1790s who might be on the minds of attentive longtime viewers. Barnabas’ little sister Sarah died in 1796, and as a ghost was an extremely important part of the show from June to November 1967. We’ve been getting reminders of Sarah for the last several days. In #792 wicked witch Angelique produced a toy soldier of Barnabas’ that Sarah gave to strange and troubled boy David in #331. In #805, Charity found Sarah’s recorder, a prop that often served as Sarah’s calling card in 1967, and talked about learning to play it. And today, we see a portrait standing on the floor of the Evans cottage, a set which Sarah visited in #260, depicting a girl wearing a bonnet very much like the one Sarah wore as a ghost in 1967 and a pink dress just like the one she wore when we saw her as a living being in the flashback to the 1790s.

I wonder if, when they were making up the flimsies for this part of the show, they had thought of reintroducing Sarah. That would have required a recasting of the part- Sharon Smyth was noticeably older when we saw Sarah die in January 1968 than she was when Sarah was a ghost in June 1967, and by now we would wonder what she has been eating in the afterlife that has made her get so much taller. Besides, Miss Smyth* had stopped acting by this point.

The process of planning the stories was in two stages, a rough sketching of themes six months in advance, and a capsule of each episode written thirteen weeks ahead of time. There was a lot of flexibility when it came to putting those plans into effect. Some stories that were supposed to end within thirteen weeks were extended over years, while others that were expected to be a big deal petered out before they got going. In an interview preserved by Danny Horn at his great blog Dark Shadows Every Day, writer Violet Welles said that many of the moments on the show that made the least sense were those written when the plans hadn’t worked out: “toward the end of the cycle, you’d have characters who were really not a lot of interest who had to play scenes with other characters who really didn’t have a lot of interest, dealing with things that basically didn’t concern them. Those were hard to write.”

This episode was taped on 25 July 1969; thirteen weeks before that was 21 May. Six months before was 25 January. By 25 January, Denise Nickerson had been on the show for two months as Amy Jennings. Nickerson was actually born on 1 April 1957, but they several times say that Amy is nine years old. When the show goes to 1897, Nickerson plays Nora Collins, who is also nine. On 19 May, Nickerson taped #761, the last episode she would appear in until #782. She is currently in the middle of a second long absence from 1897, unseen between #783 and #812. Her characters were so important in the months leading up to the 1897 segment and she played them so well that we wonder what they were thinking leaving her in the background so long.

Maybe they were thinking of bringing her back as Sarah. Nickerson didn’t look all that much like Sharon Smyth, and was a far more accomplished young actress than was Miss Smyth, but she did have brown hair, and the show prioritized hair color above all else in recasting parts. For example, two actresses followed Mrs Isles in the role of Vicki, neither of whom had much in common with her either in acting style or in looks, but who both had black hair. So perhaps there was a time when they intended to travel between 1897 and the 1790s and to meet Sarah, played by Denise Nickerson. If Nickerson were still alive, perhaps someone would ask her if she posed for the portrait that is standing on the floor of the Evans cottage today.

*She’s been using her married name for decades now, but when talking about her as a child it’s pretty weird to refer to her as “Mrs Lentz.” Since I use surnames for people associated with the making of the show and attach courtesy titles to surnames of living people, I have to call her “Miss Smyth.”

Episode 756: A bizarre activity for a beautiful woman

Undead blonde fire witch Laura Murdoch Collins realizes that Barnabas Collins is a vampire, and that when he was alive he was the “strange, dreamy boy with sad eyes” she was fond of in the 1760s, when she was married to his uncle. Laura and Barnabas confront each other in a graveyard at the beginning of the episode; she tells him he is not human. He passes up the opportunity to reply “So few people are, these days.” At the end of the episode, Laura and her witless henchman Dirk let themselves into Barnabas’ house after dawn. She has a mallet and stake, he has a pistol to ensure no one interferes.

It means something to longtime viewers that we end today with Laura poised to destroy Barnabas. It was Laura who cleared the way for Barnabas’ first introduction. She was the show’s first supernatural menace when she was on from December 1966 to March 1967, and her story was structured very much like Bram Stoker’s Dracula. That was successful enough that the following month they introduced Barnabas as Dracula Mark II. That Laura knew Barnabas in the 1760s when she was already what she is and he was still a boy also nods to this history.

Laura went up in smoke in March 1967, when the show took place in a contemporary setting, and reappeared in April 1969, when it was a costume drama set in 1897. In the interval, Dark Shadows changed from a slow-paced, moody Gothic drama meant for an audience largely consisting of people who were fans of Joan Bennett’s in the 1930’s to a slam-bang supernatural thriller with a huge following among preteens. In her first tour as Laura, Diana Millay could focus on her strengths in dry comedy and subtle psychological drama. This time around, she recognizes the new demographic and plays Laura like a villain on Batman. At times it seems odd that Dirk isn’t wearing a jumpsuit with his name stenciled on it.

Perhaps when she hits the stake with the mallet, the word “Whack!” will be printed in a bubble on the screen. Screenshot by Dark Shadows Before I Die.

Meanwhile, Barnabas materializes inside a classroom at a school where Laura’s nine-year old daughter Nora is alone. Nora tells Barnabas that she is not happy at the school and that she and her twelve year old brother Jamison want to leave with their mother. Barnabas tells her to “Look into my eyes!” and he puts the zap on her. When he is done, he tells her that their conversation will be their secret. She smiles, looks directly into the camera, and tells the audience “I like secrets!” Denise Nickerson had a talent for delivering lines to the camera, and ever since she joined the show in November 1968 they’ve had her do that quite often. Rather too often, I’m sorry to say- it can chill the audience to see a character who is so disconnected from everyone else that they just start talking to us if the effect is used sparingly, but they have her do it so frequently that it has lost its force by now.

Nora and Jamison’s school is a miserable place, less a center of learning than a dungeon where the sadistic Rev’d Gregory Trask gleefully inflicts unwarranted and cruel punishments on both children and teachers. Trask’s daughter Charity is a member of the faculty, and since #727 she has also been Barnabas’ blood thrall. In #753, we saw Charity acting as her father’s second in command at the school, enforcing a particularly vicious sanction against Jamison. It did not then seem that her subjection to Barnabas had modified her role in her father’s operation at all.

When Charity enters and finds Barnabas with Nora, her two enslavements come into conflict. Barnabas tells her that Laura will be coming to the school to see Nora soon, and orders her to let her in. Charity is very confused and starts talking about her father and his rules. Barnabas bites her, leaving her more tranquil but quite weak.

Laura knocks on the door. Charity finds that Barnabas has vanished, and lets her in. She demands to see Nora, saying that she will take her away. Charity says that no relatives are allowed to visit the children at night, and that she will need permission from others to allow Laura to take Nora. Laura insists, and eventually Charity complies. She sends Nora down, and brings her packed suitcase. But Nora has told her mother that she does not want to go. We saw in 1967 that Laura’s children must go with her willingly if she is to perform her evil mission, and so she has to yield. She looks at the collar Charity has drawn up to cover her neck, and says that she will not tell her father that two of Nora’s relatives have visited her tonight.

Some of the actors have trouble with the names “Laura” and “Nora” today. It really was a mistake to give Nickerson’s character a name that rhymes with “Laura.” In #354, set in 1967, matriarch Elizabeth Collins Stoddard told her daughter Carolyn that “Aunt Catherine” would be overjoyed to host her in her home in Boston, and that this never-before mentioned aunt gives wonderful parties attended by men Carolyn’s own age. Catherine cannot have been Elizabeth’s sister or a member of Carolyn’s father’s family; she must be Elizabeth’s own aunt. Nora is the only one of Elizabeth’s aunts we ever hear about, and she would have been 79 in 1967. As a grande dame of Boston society, she might still have been giving big parties featuring people of all ages, and so naming the character “Catherine” would have closed that loop.

It would also have opened the door for another story to add some action to the rather slow period leading up to the 1897 flashback. Aunt Catherine could have come to Collinwood from Boston in 1969 and met the evil ghost of the roguish Quentin Collins. Recognizing her favorite uncle but knowing that he came to a dark and mysterious end, that would have set up a confrontation that might have led to an enigmatic conclusion. Quentin killed other adults who knew about him, but his relationship with Catherine would have made it maladroit to bring their encounter to so straightforward a climax. Better to have her disappear inexplicably. That disappearance would be followed by signs that the disturbances in the house had suddenly grown far more dangerous. We would wonder if Catherine had joined with Quentin as another evil spirit, or if the two of them were doing battle in some unseen realm and inflicting collateral damage in the world of the living.

I have an idea who they should have cast as Aunt Catherine. Isabella Hoopes played dying matriarch Edith Collins at the beginning of the 1897 segment, and she was great fun. Had we been introduced to Hoopes as the spry and sophisticated Aunt Catherine, her turn as Edith would have been even richer. When Quentin chokes and threatens to kill Edith, we would try to read their interaction as a clue to what happened between him and Catherine before her disappearance. When Edith haunts Quentin after her death, we would look for clues as to what happened to Catherine after her disappearance. And of course Nickerson’s role as Catherine’s younger self would have gained another dimension, not only as we watch her interactions with Quentin, but also as we compare her personality at the age of nine to that of the octogenarian we had met previously.

I even have some dialogue Catherine could have exchanged with the Collinses of 1969:

Catherine: Roger, I hear you have married again. Will you present me to your wife this time? I must admit I took it rather personally that I could never meet Laura.

Roger: I’m sorry, Aunt Catherine. Cassandra and I have already gone our separate ways.

Catherine: Oh, I’m the one who should be sorry- it was tactless of me not to know… We Collinses have never have had much luck in marriage, have we?

Elizabeth: You and Uncle Ambrose were happy.

Catherine: Yes. Happy… But there wasn’t much luck to that. After all, he was my fourth husband and I was his third wife. We simply applied the lessons of experience.

Carolyn: So there is hope. After your disappointments, you found your grand passion.

Catherine (a look of frank disbelief on her face): Not exactly. (Pause.) Carolyn, your mother told me some time ago you were the one involved in a grand passion. His name is- what- Bud?

Carolyn: Buzz?

Catherine: Yes, Buzz. I should have remembered that, I once knew a Navy flyer who went by that name. If your Uncle Roger won’t be introducing me to anyone, will you at least present me to Buzz?

Carolyn: Oh, it ended between me and Buzz some time back. He’s left town.

Catherine: Ah, too bad. I’d have liked to meet another Buzz, the one I knew was so elegant.

Elizabeth: This one was hardly elegant. He rode a motorcycle, and that was his whole life. He always wore leather clothing and dark glasses, with a long beard and a ragged mop of hair. You never saw the like, Aunt Catherine.

Catherine: On the contrary, I have seen the like every often. Just such men make up your cousin William’s preferred milieu.

Carolyn (laughing): I once told mother I was going to marry Buzz, but that was an empty threat. Buzz isn’t the sort of man who really wants a wife.

Catherine: Neither is William.

(Elizabeth, Roger, and Carolyn fall silent. After a moment, they all start talking at once.)

Elizabeth: Have you seen-

Roger: How is old Mr-

Carolyn: Was your trip-

(They fall silent again. Another awkward pause ensues.)

Elizabeth: Do you know that there is another Collins at Collinwood?

Catherine: Oh?

Elizabeth: Yes, a distant cousin of ours, from England. His name is Barnabas Collins.

Catherine (furrows her brow): Barnabas Collins? Named for the man in the foyer?

Elizabeth: Yes, the portrait is of his ancestor.

Catherine: How odd. When I was a girl, I asked the old people around here about all of the portraits. They were happy to go on at length about all the others, but they were always tongue-tied when we got to that one. Left me with the impression there was something exceptionally sinister about it, or about the man. Of course that only piqued my curiosity.

Carolyn (suddenly defensive): There is certainly nothing sinister about our Barnabas!

Catherine: Nothing sinister? Are you sure he is a Collins?

(Roger and Elizabeth chuckle, Carolyn flushes.)

Elizabeth: Oh, he is a Collins, all right. He’s quite an expert on the family’s past. I’m sure the two of you would have a great deal to talk about.

Catherine: I’m sure. But I would rather choose another topic. At my age I can’t forget that I will soon be part of the past. I would like to keep my eyes on the future while I still have one.

This scene would have left longtime viewers with some suspense-generating questions. Why did Roger’s wife Laura go out of her way to avoid Catherine? Who were the “old people” at Collinwood in Catherine’s childhood? What did they know about Barnabas? Further, Laura and Buzz were so emblematic of two of the early phases of Dark Shadows that involving Catherine in a conversation referring to both of them would promise that she will be woven in with the whole narrative structure of the show.

Moreover, seeing a Collins who had spent decades far from Collinwood might give us a fresh perspective on the main characters. We see only those whose minds and hearts have been deformed by the many curses that loom over the estate. Meeting one who has been outside their influence for so long would suggest what it has cost the others to stay on the estate. We might then feel anew the tragedy that we have been taking for granted.

Episode 729: A tired family

Libertine Quentin Collins has learned that his estranged wife, madwoman Jenny, is being kept locked up somewhere in the great house of Collinwood. He learned this when Jenny escaped and stabbed him. He also learned that his brother, stuffy Edward, and maidservant Beth Chavez are involved in the plot to keep Jenny in confinement. He spends time today trying to find out where Jenny is, openly telling both Beth and Edward that when he finds her, he will kill her.

Edward is estranged from his own wife, and just yesterday we learned that her name is Laura. Evidently she is the same sort of creature as we came to know from December 1966 to March 1967. In those days Dark Shadows was set in contemporary times, and Edward’s grandson Roger Collins was dismayed at the return of his estranged wife, who was also named Laura. That Laura was an undead blonde fire witch, a humanoid Phoenix who sought to be incinerated with her son, strange and troubled boy David Collins, so that her own life could be renewed.

Today, the year is 1897 and Edward and Laura’s nine year old daughter Nora is convinced that her mother will return after a year when she has been away and it has been forbidden to mention her name. Nora has a vision of Laura’s face in the fireplace, a vision of flames in the corridor, and a dream in which she meets Laura in the woods outside the house. At the end of the episode she wakes up, sneaks out to the woods, and finds the cloak Laura was wearing in her dream lying on the ground.

All of this is recapped from previous episodes, but actors David Selby, Louis Edmonds, and Denise Nickerson make it worth watching. As Beth, Terrayne Crawford is stiff and literal, and her awkward performance does detract from her scenes. But everyone else is so good that you don’t notice her weaknesses too much.

This episode marks the second time we hear the name “Mrs Fillmore.” In #707, we learned that Beth took substantial sums of money into the village of Collinsport to a lady of that name as part of the plot to cover up Jenny’s presence in the house. Today Beth has to remind Edward of that fact, and Quentin looks through the envelope with hundreds of dollars in banknotes meant for Mrs Fillmore.

When Nora screams that there is a fire in the upstairs hallway, Edward and Beth run towards it. Quentin just sulks in the drawing room; evidently the idea that the house is on fire bores him. By the time Beth and Edward get upstairs, the flames Nora saw have vanished, and nothing is burned. She swears that there was a fire, they cannot believe her. This echoes #400, when wicked witch Angelique cast a spell that caused time-traveling governess Vicki to see flames in her room in the Old House on the estate, and subsequently Vicki’s friends were puzzled that there was no indication there of anything burned. That confusion led to trouble for Vicki, and longtime viewers can imagine it is a sign of trouble for Nora as well.

Yesterday, Nora drew a series of Egyptian hieroglyphics saying that her mother was coming home. At the beginning of her dream, a maniacal Edward holds an oversized copy of that drawing and rips it up, declaring Laura will never be back. The oversized drawing harks back all the way to episode #722, when Nora’s governess, neurotic intellectual Rachel Drummond, had a dream in which the daffy Carl Collins held a gigantic pocket watch. That was a striking enough image that not even the Vaseline almost entirely covering the lens could ruin it. But today even less of the picture is legible, and the gambit isn’t fresh anymore. Louis Edmonds does do a fine job of laughing maniacally, though, I will grant that.

The picture really does look like that, and it is supposed to look like that. Director Henry Kaplan was not much of a visual artist. Screenshot by Dark Shadows Before I Die.

Episode 728: Mother is coming home

Repressed patrician Edward Collins enters his study in the great house on the estate of Collinwood and finds his brother, libertine Quentin, riffling through his desk. Quentin does not feel an obligation to apologize for going through Edward’s things since Edward is among the conspirators holding Quentin’s estranged wife, madwoman Jenny, prisoner somewhere in the house. Quentin learned that Jenny was around only when she escaped from her cell and stabbed him. He is looking for information about where she is now so that she will not get another chance at him. Edward says that Quentin does not need to know where Jenny is, since he is confident she will not escape again.

Quentin is not at all reassured by Edward’s promise. He brings up another topic, Edward’s own estranged wife. For the first several weeks of the portion of Dark Shadows set in the year 1897, the audience was led to believe that Jenny was Edward’s wife, and the mother of his children, twelve year old Jamison and nine year old Nora. When we found out that Jenny was Quentin’s wife, we wondered not only who Edward was married to, but also whether Jenny had borne children by Quentin. After all, she is obsessed with her “babies,” and in #707 we learned that the enterprise of concealing Jenny’s presence in the house involved taking substantial sums of money into the village of Collinsport and giving them to a Mrs Fillmore. Perhaps Mrs Fillmore is taking care of Jenny and Quentin’s children.

Today, Quentin mentions that Edward’s wife, whom Edward said in #705 and says again today “no longer exists” as far as he is concerned, is named Laura. This rings a very loud bell for longtime viewers. The first supernatural menace to dominate the plot of Dark Shadows was Laura Murdoch Collins, estranged wife of high-born ne’er-do-well Roger Collins. That Laura was on the show from December 1966 to March 1967. In the first week of the show, newly hired governess Vicki was surprised to learn that Roger’s wife was still alive, and was told in no uncertain terms that she was not to be discussed. In #705, during the first week of the 1897 portion, newly hired governess Rachel Drummond was surprised to learn that Edward’s wife was still alive, and was told in no uncertain terms that she was not to be discussed. Like Roger, Edward is played by Louis Edmonds. When we learn that Edward’s wife, too, is named Laura, we can only assume that she, too will prove to be an undead fire witch out to incinerate her children for the sake of her own immortality.

Quentin reminds Edward that Laura followed him the year before when he was banished from Collinwood. Indeed, Laura followed Quentin all the way to Alexandria, Egypt. The other day, Quentin admitted to Jamison that he had been a police spy in that city. Edward does not want to hear about any of it.

Nora enters. She asks Edward if she can use his desk to draw with crayons. Edward says that he was just leaving, and she can do what she wants. Quentin stays behind with her for a moment. Nora asks her uncle if he thinks her mother will come back. He looks uncomfortable, says he doesn’t know, and exits.

Barnabas Collins, a distant cousin recently arrived from someplace far away, enters. He looks at what Nora has drawn and recognizes Egyptian hieroglyphics. He asks if she copied them out of a book; she says that they just popped into her head. He says he wonders what they mean; she looks directly into the camera and tells the audience she knows exactly what they mean. They say that her mother is coming home soon. And indeed, they do include actual hieroglyphic symbols for “Mother,” “Come,” and “Home.”

Nora is quite the scribe. Screenshot by Dark Shadows Before I Die.

Nora starts talking about her mother. Barnabas encourages her to continue with the topic, and Edward enters. Edward is quite stern with Barnabas; he had made it clear that his wife was not to be discussed with anyone in the house, least of all with his children. Barnabas explains that Nora brought her mother up. He goes on to show Edward the drawing and tell him that he finds it profoundly disturbing. Edward accepts that as a sufficient excuse for going along with Nora while she talks about her mother, but he attributes the drawing to Quentin’s influence.

Whenever we saw Laura alone indoors during the “Phoenix” storyline, she was staring blankly into a fire burning in a hearth. She kept urging her son, strange and troubled boy David, to join her in this pastime, and every time he did we were led to believe that she had taken a sizable step towards her terrible goal. Now we see Nora in the drawing room, staring into the fire that always burns in its hearth.

Nora hears gurgling noises, like indistinct voices rising from below or behind the fire. Frightened, she runs into the foyer, into her father’s arms. She tries to explain to Edward what she heard, and he insists there is nothing to be afraid of. He carries her into the drawing room, where he declares they will look into the fire together and will both realize that nothing out of the ordinary is going on. His plan fails when Nora sees a face wearing a blonde wig starting to take shape in the flames. Nora cries out that it is her mother’s face. We pan to Edward. He is also looking into the fire, and he looks shocked. We wonder whether he is shocked because he can also see the face, or if he is merely alarmed by Nora’s reaction.

Roger and his sister Liz, the adults in the generation of Collinses who live at Collinwood in the 1960s, are Jamison’s children. So Edward and Laura are their grandparents. If this Laura is indeed the same immortal humanoid Phoenix who was David’s mother, Roger therefore married his own grandmother. In #313, Roger had a line about his “ancestors,” which Louis Edmonds bobbled. When he said “incestors,” he giggled, repeated the misspoken word, then corrected himself, calling the maximum possible attention to his error. Many fans bring that rather bizarre blooper up when we come to this story. The writing staff picked up ideas wherever they could, and I suppose the cast’s line difficulties might have been as good a source as any.