Yesterday, fake Shemp Burke Devlin tested his hypothesis that old world gentleman Barnabas Collins abducted Maggie Evens, The Nicest Girl in Town, and held her prisoner during the period covered by her current amnesia. On the one hand, he found that Maggie was perfectly relaxed when Barnabas visited her recently, and that she regards him only as a mildly pleasant acquaintance. There would seem to be no way she could have this reaction to someone who had subjected her to such an ordeal. On the other hand, he found that a melody she seems to remember hearing during her captivity might have come from a music box that was in Barnabas’ possession at the time. Since he has also found that the only person Barnabas will admit to having known before his arrival in the town of Collinsport lived over 130 years ago, he seems to be willing to consider that the resolution to this paradox might require a supernatural element.
Since we know that Barnabas is a vampire and have been frustrated with Burke’s recent angry denials of the existence of supernatural phenomena he previously knew all about, that episode felt like a breakthrough. Lately Barnabas has been harmless and all the non-villain characters have been clueless, leaving the show adrift. Maybe Burke will restart the vampire story. Maybe he will again become the dashing action hero he was when the charismatic Mitch Ryan played him in the first year of Dark Shadows, and maybe his investigation will precipitate a crisis that will bring the Barnabas arc to an exciting climax.
That hope shrivels to nothing in the first minutes of today’s outing. We begin with Burke knocking on the door of Barnabas’ house. When sorely bedraggled blood thrall Willie Loomis tells Burke that Barnabas isn’t in, Burke says that he knows he is. Willie asks why he thinks he knows this, and Burke says that he’s been hiding behind a tree for hours staring at the front door. Burke is supposed to be a rich guy- it would be one thing if he’d hired private detectives to hide behind trees, but that he chose to spend his time doing that himself makes him look ridiculous. He pushes past Willie and declares that he won’t let Willie keep him out of the house. So before the opening titles roll, we’ve seen Burke as an unstable man who alternately cowers in the dark and perpetrates home invasions.
After Burke shouts Barnabas’ name a couple of times, he tells Willie he knows Barnabas is there because he never saw him come out of the front door. Willie says he might have gone out the back door. Burke’s response to that is “Maybe.” With that, Burke blows his last shred of credibility as an action hero. He presses Willie with some questions about Barnabas’ business interests; usually when characters ask about that, I think a suitable send-off for Burke would be a story where Barnabas bites him, enslaves him, and uses his money and connections to put some substance behind his pretense to be an independently wealthy cousin from the Collins family’s long-lost English branch. But when we see Burke being such a total schmuck as he is in this sequence, it’s hard to imagine he could be of any use to anyone, or to care very much how they go about writing him off the show.
That “Maybe” is such a preposterous anticlimax that I wonder if it is a sign of some politics behind the scenes. Long after the show was made, writer Malcolm Marmorstein remembered executive producer Dan Curtis wanting to end the vampire storyline around this time and to give the show over to an arc about Burke and well-meaning governess Vicki getting married and moving into a long-vacant “house by the sea.” There have been a few vague stabs at getting such a story off the ground- Burke and Vicki are engaged now, and he is in the process of buying such a house. But the vampire story was so much the biggest ratings draw the show has had that it is hard to imagine Curtis really wanted to scrap it- more likely he wanted to have more than one story going at a time, as soap operas usually do. In any case, the “house by the sea” bits have been so dull that it feels like the writers are simply refusing to develop the theme, and Ron Sproat’s script today could hardly fail to do lasting damage to Burke. So perhaps there is a sneaky kind of revolt in progress.
Meanwhile, visiting mad scientist Julia Hoffman and strange and troubled boy David Collins have left the great house of Collinwood to take a walk in the woods. They are looking for David’s friend, the ghost of nine year old Sarah Collins. Sarah leaves belongings of hers as tokens of her presence; these objects linger in physical existence until she reclaims them, after which they vanish when she vanishes. Some Dark Shadows fans put a lot of energy into saying that this aspect of Sarah “doesn’t make any sense!” To which I reply, she’s a ghost. All you can expect is that the story will tell you what the rules are and will follow them consistently. Not only does Sarah follow this rule consistently, but the ghosts of Bill Malloy and of Josette Collins had both previously left things lying around the house for people to find. Most recently, Sarah left her bonnet in the house, and now David and Julia are on a quest to return it to her.
David takes Julia to a clearing in the woods where he has encountered Sarah before. We hear “London Bridge” on the soundtrack, the musical cue telling us that Sarah is present, but she does not appear. David and Julia look around and don’t see her. David thinks he hears someone nearby to their left. They look that way, but don’t see anyone. They turn back, and find that the bonnet is gone.
This little scene captures some of the feeling of live theater that gave the early episodes of Dark Shadows such a special quality. I particularly like the low camera angle on David and Julia, as if we are looking up at a stage.
Later, Julia goes to Barnabas’ house. She and Willie talk about Burke’s visit. Julia muses about the need to provide Barnabas a more complete cover story to keep Burke at bay. This is the first staff meeting we see between Julia and Willie. Until this scene, the only conversations we’ve seen between two people who knew that Barnabas was a vampire were between Willie and Maggie during her captivity, and only a sharply limited number of things could happen during those conversations. Willie would tell Maggie to submit to Barnabas, either sorrowfully or angrily. Maggie would either express defiance openly, pretend to be cooperative, or give nonresponsive answers that suggested she was losing her mind. Combine those attitudes, and you have six possible interactions. Sometimes the characters would change attitudes in mid-scene, multiplying the number of possible interactions, but no matter how you mix and match you still end with Maggie in the same fix she was in at the beginning. But when both characters have some measure of personal autonomy and both are invested in helping Barnabas keep his secret, the number of possible interactions is very large and the number of possible outcomes is infinite. So this is an exciting scene.
We end in The Blue Whale tavern, where Burke asks Vicki to stay away from Barnabas for reasons he refuses to explain. The only interesting thing about this scene is that Bob O’Connell does not appear in the background as Bob the Bartender. Some other uncredited extra is pouring today.
Dark Shadows Commentary 
