quentin collins – Page 10 – Dark Shadows Commentary

Episode 762: You called the Devil, and you got me

In December 1967, Dark Shadows was a costume drama set in the 1790s. In that month it introduced the Rev’d Mr Trask, a witch-hunter from Salem, Massachusetts, came to central Maine* to drive witchcraft out of the village of Collinsport and off the estate of Collinwood. Trask was bad at this job; wicked witch Angelique easily deceived him into blaming well-meaning governess Victoria Winters for her own crimes, leading to Vicki’s hanging and exacerbating the consequences of Angelique’s evil spells.

Now the show has relocated to the year 1897, and a descendant of Trask is among the villains. He is the Rev’d Mr Gregory Trask, and he runs a boarding school along lines dictated by his own sadistic delight in punishing innocent children.

Fans often say that while the original Trask** was a sincere believer who did harm because of his fanaticism, Gregory is a hypocrite who uses a pretense of religion to enable his perversions and his greed. I think the truth is more complicated, and more interesting, than this. In #441, the original Trask found the strangled body of a professionally agreeable lady named Maude Browning in his bed; it had been placed there to frame him for Maude’s murder. Trask’s principles, were he to follow them, would seem to imply that he should go directly to the authorities. If the worst happened and they hanged him, to the extent that he was targeted because of his Christian witness his death would win for him an everlasting crown of martyrdom. But fear got the better of Trask. He enlisted a man named Nathan Forbes to help him hide Maude’s remains, and went on from there to expand his conspiracy to suborn Nathan’s perjured testimony against Vicki. Considering the emphasis the Reformed movement put on the Ten Commandments, Trask could not have been unaware of the sinfulness of bearing false witness against a neighbor.

I think Trask’s fanaticism led him to overestimate the importance of the success of his mission in this world. It is not enough that he will be vindicated in the courts of God; God must be vindicated through Trask’s success in the courts of Massachusetts. Thus it is his very sincerity that turns Trask into a hypocrite. Eric Hoffer’s book The True Believer was one of the most influential publications of the 1960s; Trask, the fanatic-turned-hypocrite, could easily have found a home in its pages.

Gregory Trask is certainly a hypocrite. Today we hear Gregory’s wife Minerva talk about women he has dallied with over the years. Gregory comes upon Satanists Quentin Collins and Evan Hanley in the act of summoning the Devil; Gregory’s response is to blackmail Evan into using his command of the black arts to cast a spell to brainwash hapless schoolteacher Tim Shaw into murdering Minerva. We have seen in previous episodes that Gregory has plans for spinster Judith Collins and her enormous fortune; Minerva’s death, if it can be arranged just so, will leave him well-positioned to marry Judith and become the Master of Collinwood.

Trask tells Evan the price of his silence. Screenshot by Dark Shadows Before I Die.

As his ancestor’s very sincerity turned him into a hypocrite, so Gregory’s hypocrisy occasionally turns him into a sincere believer in his own powers, if not exactly in God. We saw in #735 that Gregory does not take the same pleasure in reading the Bible that he does in leafing through his “Punishment Book,” a ledger which evidently details his abuse of the children attending his school. But he does read it and quote it, and when in #726 he encountered a case of possession, he immediately and with untroubled self-assurance set to work performing an exorcism. The possession was real, and so far as Gregory could tell his exorcism was successful. He reacted to that apparent success with a serenity that betrayed no suggestion that he had ever doubted that he was the right person to cast out the spiritual forces of darkness.

As the original Trask was a stranger to the routine play-acting that makes ordinary social life bearable and therefore gave himself permission to become a party to the most horrendous deceptions, so Gregory wears his mask so tightly that his face grows to fit it. Dark Shadows was often very self-conscious about showing characters who were acting; its greatest success, vampire Barnabas Collins, won over the audience when they saw him trying desperately hard to play the role of a living man native to the twentieth century. In the Trasks, we see men who do not know that they are acting and therefore cannot manage the effect that the parts they play in everyday life have on their personalities.

Gregory does have a tight mental focus on his projects. When he goes to Evan with his blackmail demands, Evan has learned of his eye for the ladies, and is hoping to use that information to lower his price. So his opening gambit is to describe himself as a man who drifts from one idea to another as other men drift from one woman to another. Three times he says the word “woman,” in each case as the last word of a sentence, in each case about twice as loudly as the words before it. Gregory is unimpressed, and Evan realizes he doesn’t have anything definite to use against Gregory. He crumbles and agrees to Gregory’s extreme demand.

Gregory’s academic standards seem considerably less exacting than are his expectations of his co-conspirators. He mentions to Tim today that when he was a young teacher, the first class he ever taught was in elementary Latin. He challenges Tim to translate the words amo, amas, amat; Tim wearily replies “I love, you love, he loves.” “Very good!” exclaims Gregory. Traditionally the first words students learned on the first day of Latin class were amo, amas, amat, amamus, amatis, amant– I love, you love, s/he loves, we love, you (plural) love, they love. “Very good!” would seem to be an outrageously inflated appraisal to apply to someone who has merely recognized the first three of those six words.

Gregory sends Tim to Evan’s house to read a Latin document that has some bearing on a legal matter that has come up in Evan’s work as an attorney. As it happens, I went to graduate school in ancient Greek and Latin at the University of Texas at Austin, and local attorneys would sometimes call our department asking for someone to help them translate Latin they had found in old Spanish legal documents. They would usually refer those calls to the ablest Latinists among us, since the legal Latin used in the Spanish Empire in the days it ruled Texas was rather a specialized form of the language. Tim can virtually speed-read Evan’s document, suggesting that “amo, amas, amat” was not a particularly stringent test of his abilities.

*Maine was part of Massachusetts until 1821.

**Who is never given a first name. One of the Big Finish audio dramas refers to him as “Vilorus Trask” and actor Jerry Lacy once said he thought his name should have been “Orville.” Neither of those sounds like a very plausible name for a junior-grade Puritan divine of the late eighteenth century. So we are left calling him “the original Trask.” My wife, Mrs Acilius, points out that this seems to suggest that Gregory should be “the extra-crispy Trask.” Maybe he will die by fire, as others have done.

Episode 761: This is no time to try to understand anything!

In November 1968, the production staff of Dark Shadows was planning to introduce the Devil as a character. But a lot of fundamentalist Protestants and traditionalist Roman Catholics were making noise just then about the ungodly nature of network TV programming in general and of Dark Shadows in particular, so they decided to scale him back a little. In the scripts for #628 and #629, he was called “Balberith,” and in the credits he was listed as “Diabolos.” In The Dark Shadows Companion, writer Sam Hall is quoted as saying “We demoted him from the Devil to a devil, just one of Hell’s Associate Vice Presidents in Charge of Witchcraft.”

By the spring of 1969, the show had been a hit for quite a while, and the ratings were still climbing. So they could get away with things that had been off limits before. When vampire Barnabas Collins joined the cast in April 1967, ABC’s office of Standards and Practices decreed that he would have to bite his blood thrall, the luckless Willie Loomis, on the wrist rather than the neck, hoping that would keep the viewers from seeing anything homoerotic in their relationship. But when Barnabas traveled back in time to 1897 in #701, he immediately bit a man named Sandor Rákóczi on the neck, and yesterday we saw that he had bitten dimwitted servant Dirk Wilkins, again on the neck.

In this episode, a knock comes at the door while lawyer/ warlock Evan Hanley is asleep. Evan finds his friend and fellow Satanist Quentin Collins, profoundly drunk and asking for help. Quentin has been turned into a werewolf, and tomorrow night there will be another full moon. He pleads with Evan to help release him from the curse.

Evan says that he has no powers. In the course of his conversation with Quentin, it comes up that Evan is adept in black magic, and that the two of them have together managed to raise demonic spirits. So Evan suggests Quentin come back the next day for a ceremony in which they will summon “The supreme power of the underworld.” Quentin asks if Evan is referring to the Devil, and Evan affirms that he is. In the subsequent rite, Evan uses not only the word “Devil,” but says and repeats the name “Satan… Satan!”

Even Diabolos, whom I think of less as an Associate Vice President of Hell than as an assistant regional manager for upper New England in the black magic division of some company to which the Devil has outsourced some of his less urgent terrestrial operations, was irked when witches expected him to come to them. Their summoning ceremonies ended with them finding themselves in his office, which appeared to be located in space he had rented in a corner of Barnabas’ basement. So regular viewers will be skeptical of the closing cliffhanger, when a shadowed figure appears in the window at the climax of the ceremony meant to summon Old Scratch himself.

Mysterious stranger. Screenshot by Dark Shadows Before I Die.

My wife, Mrs Acilius, gives another reason to doubt that the figure really will turn out to be Satan. The most potent villains on Dark Shadows have all been female. The first supernatural menace was undead blonde fire witch Laura Murdoch Collins, who joined the show in December 1966 and transformed it from a more or less conventional soap into a thriller about the spiritual forces of darkness.

Barnabas came in Laura’s wake and brought a new audience, but the show was as slow-paced in his first months as it had been before Laura came. It was only when Barnabas teamed up with mad scientist Julia Hoffman in #291 that the plot started to move at a speed that could hold the attention of the preteen viewers Barnabas attracted.

From November 1967 to March 1968, the show was a costume drama set in the 1790s. We saw then that Barnabas became a vampire because of a curse placed on him by wicked witch Angelique. Angelique’s manic behavior kept the 1790s segment moving at breakneck speed, and the show never really slowed down again thereafter.

Late in 1968, we met the all-destroying ghost of Quentin Collins and the terrible werewolf Chris Jennings. Barnabas came to 1897 as a result of his efforts to find out what was behind these two menaces. What we have found is that they are both the products of a curse placed by another female character, Sandor’s wife, the charmingly amoral Magda.

Angelique herself has come to 1897 to plague Barnabas. Laura was present at the great estate of Collinwood in that year as well. Last week was devoted to a battle between Angelique and Laura, representing a contest between two versions of Dark Shadows. It was a foregone conclusion that Angelique would win that battle- no one believes we are going back to the sedate, atmospheric, tantalizingly spooky show that ran early in 1967. But the two women were far more compelling adversaries than were any two men who have squared off against each other on the show. If you put Satan on stage, you can’t very well top him with a bigger Big Bad, so once we see that the figure in the French windows is male, we can’t really believe that Evan and Quentin’s visitor is the one they have invited.

Episode 758: Strangled on her stories

Undead blonde fire witches Laura and Angelique are trying to destroy each other, using Laura’s son Jamison and Jamison’s uncle Quentin as their cat’s paws. At the beginning of the episode, it looks like the spell Angelique and Quentin are casting is about to incinerate Laura; at the end, it looks like the spell Laura is casting is incinerating Angelique. In between, Quentin’s sister Judith notices that something is wrong with Jamison, and suspects that whatever Quentin and Angelique are up to is the cause.

Quentin and Laura get all religioused-up asking the gods of ancient Egypt to help them against Laura. Screenshot by Dark Shadows Before I Die.

Laura is just about out of story, so we can see that she will be leaving the show soon. She has important relationships to all the characters on the show right now, so her departure will kick this segment of Dark Shadows, a costume drama set in the year 1897, into a new phase. Today’s episode is too deeply involved with the back and forth in the battle of the witches to give much indication as to what that next phase will be, but Judith’s perceptiveness suggests that whatever it is will keep up the rapid pace set in the first twelve weeks of the flashback, unencumbered by characters who slow things down by refusing to face facts.

Longtime viewers will be intrigued by variations on some familiar themes. Angelique orders Quentin to bring her a mirror and then leave the Old House on the great estate of Collinwood. Obviously she is going to use it to cast a spell that will protect her from Laura, but she refuses to tell Quentin the particulars. We know well how powerful reflections are in the universe of Dark Shadows; Wallace McBride of the Collinsport Historical Society made some very penetrating observations about how that motif was already in place in episode #1 in his 18 April 2020 post on that treasured, but now only intermittently available, site.

Later, Laura is in the drawing room at the great house on the estate about to tell Judith the secret of the mysterious Barnabas Collins, but Angelique enters, makes googly eyes at Laura, and thereby robs her of the power to speak. When the show had its first séance in #170 and #171, it was held in this room and another iteration of Laura was in attendance. It was that Laura who looked at the medium with bulging eyes when she began to speak, and that medium struggled to speak just as Laura does now. So today we see the tables turned on Laura.

Quentin and Angelique are alone for a moment in the foyer of the great house. He backs her against the portrait of Barnabas that hangs there and asks why she prefers Barnabas to him. That is a question that will have occurred to the audience. The two of them look great together and have a lot of fun together, while Barnabas hates Angelique. All she does is kill his family and friends to punish him for refusing to love her. She brushes Quentin off and orders him to go back to the Old House.

In the final scene, Quentin returns to the Old House and is baffled to find that Angelique not only got there before him, but that she has had time to play a long game of solitaire since returning from the great house. She dismisses his questions and tells him that she wants him to be with her when “it happens.” Before he can find the words to ask what she is expecting, she bursts into flames.

It seems that Angelique is in two places at once. More precisely, it seems that there are two of her, one that Quentin left in the great house, and another who was in the Old House all along waiting to be incinerated by Laura’s spells. Presumably the one in the Old House is a Doppelgänger that Angelique used the mirror to create. Nowadays, the idea of a home-made Doppelgänger fabricated to serve a specific purpose will remind many people of the 2017 season of Twin Peaks, with its concept of a “tulpa.” The Buddhist concept of the tulpa was indeed in circulation in the USA in the 1960s; Annie Besant had introduced it to the Theosophist movement, which had many followers in the Midwest, where writer Sam Hall was born. But Besant and her fans seem to have used the word in a sense closer to its original, in which people attaining Buddha-hood have the power to send copies of themselves back into the world to teach others pursuing enlightenment. Later heirs of Theosophy have tried to develop a non-Buddhist meaning for the word tulpa, but using it to refer to a lookalike that some practitioner of black magic can whip up to do a job appears to be the intellectual property of Lynch/ Frost Productions.

Be that as it may, we have seen ever since Laura was first on the show from December 1966 to March 1967 that each of the supernatural beings on Dark Shadows is a complex of related but independent phenomena, some of which may work at cross-purposes with each other. Angelique in particular seems to create another version of herself and send it out into the world each time she casts a spell. Since others of Angelique’s creatures have gone on to defy her, even trying to kill her, it must have come as a relief to know that this time the Doppelgänger would be going up in flames by nightfall.

Episode 757: All of them witches

Undead blonde fire witch Laura is in the act of driving a stake into the heart of vampire Barnabas when she is interrupted by another undead blonde fire witch, Angelique. Angelique announces that she will always be there to thwart any attempt to stake Barnabas, which rather tends to deflate the suspense inherent in having a protagonist who is a vampire. The two of them exchange threats, and Laura finds that she can hold Angelique at bay by generating the right kind of fire.

Laura leaves Barnabas’ house. His unwilling sidekick, thoroughly human witch Magda, sees her and asks what she was doing there. Laura does not answer, but Angelique enters and tells her. Angelique says that Barnabas would doubtless wreak a terrible vengeance if he found out what had happened while Magda was away. Angelique orders Magda to go to the great house of Collinwood and fetch a fourth witch, black magic enthusiast Quentin. Magda complies reluctantly.

Quentin is falling down drunk, which is not unusual. He has a better excuse than he typically does, however, since he just found out that Magda turned him into a werewolf. He is furious to see her. He says that no matter what she thinks, he will not “lie down and die!” This elicits a laugh from Magda, who points out that he can barely stand up. She tells him that Angelique has ordered him to come to Barnabas’ house, and that he cannot oppose her.

In the house, Angelique tells Quentin he must help her defend Barnabas from Laura. Quentin moans that he is in no condition to help anyone, which only makes Angelique impatient. Unlike her and Magda, Quentin does not know that Barnabas is a vampire, so Angelique keeps reminding herself to say that Barnabas has gone away for the day and that Laura will be a threat to him when he comes back tonight. Quentin tells Angelique about a trinket Laura received from some of the gods of ancient Egypt that keeps her alive, and she sends Magda to steal it from her.

Magda goes to Laura’s cottage. Magda tells Laura that she has more reason to hate Barnabas than she does, since Barnabas enslaved her husband Sandor. She wants Barnabas to be destroyed, but if Laura tells the authorities about him Sandor, too, will be killed. The dramatic date is 1897, and the state of Maine abolished the death penalty in 1887, so Magda is afraid of an extrajudicial killing rather than an execution for complicity in Barnabas’ murders.

Laura tells her that it is necessary to expose Barnabas if he is to be destroyed, but Magda tells her of another way. She says that vampires can be killed by silver bullets through the heart. Laura goes to get money for Magda to buy silver and have it made into bullets. While she is out of the room, Magda steals the trinket. It seems that Magda has given herself a chance to get rid of both Laura and Barnabas.

Once Angelique has the trinket, she tells Quentin that he will have to perform a ceremony using his copy of the Egyptian Book of the Dead. He is still heavily hungover and balks at the orders, but she gives him no choice. Once he starts his incantation, he breaks into a big smile, clasps the book to his chest, and preaches the phrases like a megachurch pastor when the collection plates are circulating. We cut to Angelique. Her expression is so admiring it is hard to tell whether the reaction is the character’s or the actress’. Angelique does some mumbo-jumbo with objects in the fireplace.

In her cottage, Laura struggles. She looks frantically for the trinket, then prays to Amun-Ra. The final shot of her is filtered to distort her image. It turns her eyes into little black coals, which is an effective visual metaphor.

Screenshot by Dark Shadows Before I Die.

Laura has been important in the history of the show and is key to this little period of the plot, but it is fairly clear that she is a short-timer now. All she cares about is taking her children away and burning them to death so that she can renew her own existence, and she keeps saying she is on a tight deadline for that project. We can be sure she won’t succeed, and even if she does she will be off the show. So she really could die, making the cliffhanger more suspenseful than usual.

Soaps classically divided the days of the week so that very little happened on Tuesday or Wednesday, Thursdays were devoted to plot mechanics setting up a big development, Fridays would show that big development and end with a memorable cliffhanger, and Mondays would resolve the cliffhanger and give a lot of recap to bring new viewers up to speed. Dark Shadows never followed this formula. These last three episodes are a case in point. #755 was all about Laura trying and failing to figure out whether Barnabas was a vampire. That was a mid-week throwaway if ever there was one, but it aired on a Friday. Yesterday she got confirmation that he was, and we ended with a fine cliffhanger with her holding the stake and mallet beside Barnabas’ open coffin. That aired on Monday, but was a perfect Thursday scene-setter. Today, a Tuesday, we have a whiz-bang battle of the witches, with new alignments and new dangers, a great Friday climax with a cliffhanger fitting for the end of any week.

Violet Welles was far and away the best writer of dialogue on Dark Shadows, and today’s script is so full of gems that even the plot summary on the Dark Shadows wiki is full of quotes. I can hardly blame the editor for that deviation from the usual format, there is so much good stuff I would have been tempted to transcribe the entire script if someone else had not already done so.

Episode 755: So many strange habits

Every character we see today is a trespasser at the great estate of Collinwood. Libertine Quentin Collins was banished from Collinwood the year before by his grandmother Edith, but came back shortly before Edith died and left the estate to his sister Judith. He then accepted $10,000 from Judith on condition that he would leave, but he did not keep his end of the bargain. Judith is too afraid of scandal to take Quentin to court for an eviction order, so he’s still living in his old room.

Judith fired maidservant Beth Chavez the other day. Beth never did leave, and now the family has given up and started giving her orders again.

Quentin and Judith’s distant cousin Barnabas was ordered to leave Collinwood forever by his father Joshua. That took place almost a hundred years before. Barnabas then became a vampire. Now he’s back, masquerading as his own imaginary great-grandson.

Quentin and Judith’s brother Edward is estranged from his wife Laura. Quentin and Laura had an affair, and she followed Quentin to Egypt upon his banishment. When she came back to Collinwood several weeks ago, Edward ordered her to leave. She threatened to make a scandal, and he caved in, agreeing to let her stay in the groundskeeper’s cottage on the property. Today she is in the great house, and Beth tells her that she has orders from Judith and Edward that she is to see to it that she leaves the house and does not come back. They quarrel, and Beth leaves her in the drawing room. Later, Laura comes back to the house and demands Beth let her back in the drawing room, and for some reason Beth feels she must comply.

The only person we see who has a legitimate reason to be in the great house is servant Dirk Wilkins. Dirk has been bewitched by Laura and now is her cat’s paw. She orders him to let himself into the Old House on the estate, where Barnabas is staying, and to steal any papers that might shed light on Barnabas. Dirk and Laura certainly know that neither Judith nor Barnabas would want them to do this, so Dirk winds up not only as a trespasser in that house, but as a burglar there.

The end of the episode takes us to an old graveyard for an even more egregious example of trespass. Dirk found an old document written by the late Ben Stokes confirming that Barnabas has a secret, but ending with Ben’s vow to take that secret “to the grave.” Laura takes this expression literally, and orders Dirk to dig up Ben’s grave. Sure enough, they find more papers hidden in the coffin.

Here it is, the secret he took to the grave! Screenshot by Dark Shadows Before I Die.

Diana Millay was a fine actress, capable of subtle psychological drama and unsurpassed at dry comedy. But her delivery of today’s opening voiceover is stunningly bad. Between her first tour of duty as Laura in December 1966-March 1967 and her current run, Dark Shadows changed from a Gothic drama aimed at adults to a supernatural thriller popular among preteens. This left little room for what she did best. She may well have been frustrated by the new situation. If so, that frustration might show in her decision to deliver the summary of the plot so far as if she were a nursery school teacher reading to a group of groggy three year olds.

Episode 752: Matters other than the law

Libertine Quentin Collins murdered his wife Jenny the other day, shortly after he learned that she was the sister of broad ethnic stereotype Magda Rákóczi. Since Quentin is convinced that Magda has magical powers, this would seem to suggest a low degree of impulse control on his part.

Magda did place a curse on Quentin, and she refuses to tell him what it is. Last night he doubled over in pain, lost consciousness, and disappeared from the great house on the estate of Collinwood. This morning he has shown up in the foyer, flat on his back, his clothing in shreds and blood all over him. His girlfriend, Jenny’s former maid Beth, found him and helped him to his room. Neither of them can figure out what happened to him overnight.

Meanwhile, Collins family attorney Evan Hanley has come to meet with Quentin’s sister Judith, who owns the estate and the Collins family’s businesses. Judith is enraged that Quentin took $10,000 from her in return for signing an agreement to leave the house and never come back, but has refused either to leave or to return the money. Evan assures Judith he will take care of the matter at once. While he is still in the drawing room, Judith answers the telephone. She learns that a young woman named Dorcas Trilling was brutally killed on the estate the night before, her body ripped apart as if by a wild animal of some kind.

Unknown to Judith, Evan and Quentin are members of a Satanist coven. Evan does call on Quentin and Beth in Quentin’s room, and he does deliver Judith’s message. He and Quentin both ask Beth to leave so they can discuss another matter. At first she resists, but finally she does go. Quentin tells him what happened the night before and that he believes Magda has cursed him. Evan sees the bloody clothing in a pile on the floor, and his face shows a grim surmise. Nonetheless, he does not tell Quentin about Dorcas.

Quentin asks Evan to help him with Magda. Evan says that he will do so, but cautions Quentin that his help will come at a very high price. Quentin asks what happened to their friendship. Evan tells him that “There is no such thing as a friend” and laughs. That must come as quite a nasty shock to Quentin. You spend time with a fellow conjuring up demons, forging wills, and working together to impoverish half your family and kill the other half, and you think you mean something to each other. But no, it just isn’t that way with Evan.

Evan calls on Magda at the Old House on the estate. Magda is coy and does not tell him anything he does not already know, but he does notice that she is wearing a pendant in the form of a pentagram. She says it is just a bit of Romani jewelry, worth only a few cents. He offers her a hundred dollars for it. She refuses, saying that it was a gift from her late mother, and offers to show him other pieces of the same type. Evan tells her that he knows the pentagram can protect against many supernatural menaces, and asks which one she is guarding against at the moment. She keeps mum.

Back in Quentin’s room, Evan chalks a pentagram all over his rug. He tells Quentin and Beth that at nightfall, they must set two black candles burning, one in each of two points of the pentagram, and Quentin must take up a position in the center of the pentagram. He must not move from this spot until daybreak.

The year is 1897, and the first vacuum cleaner wasn’t invented until 1901. It’s going to be quite a job to clean that rug. Screenshot by Dark Shadows Before I Die.

Quentin is having an anxiety attack, and refuses to cooperate with Evan’s plan. This is consistent with his character as we have seen it so far. In #710, he and Evan summoned a creature to rise from Hell and smite one of their enemies, and when a form actually started to take shape, he panicked and tried to run away. Quentin is obsessed with black magic and the occult, but when it turns out there is something to all of his spells and incantations, he cannot bring himself to face the reality of it.

Quentin declares that he wants a plan that “makes sense.” He then says they have to kill Magda. Evan replies that that is the worst thing they could possibly do. If they kill Magda, there will never be any way to lift the curse.

Later that night, Beth and Quentin are still in the room. The pains come on Quentin again. She hurriedly picks up the chalk and redraws the parts pentagram that Quentin had smudged, then sets a chair in the middle. She tries to get Quentin into that chair, but he is unable to get himself onto the seat. She turns to look for the black candles, then hears snarling and growling. She turns to the spot off camera where Quentin is, and reacts with horror. We know that Quentin is a werewolf; now she knows it, too. As the closing credits roll, it does not seem likely that she will have much chance to make use of that knowledge.

Episode 751: Your most concerned friend

Libertine Quentin Collins presents himself as maidservant Beth Chavez’ great love. He wants her to run away with him and make a new life together, and to do so right now, before the curse he brought upon himself by murdering his wife in front of Beth kicks in. She is inclined to go along with him, but he collapses in agony before they can leave her room.

Teacher Dorcas Trilling presents herself as the most faithful devotee of the Rev’d Gregory Trask, keeper of a brutal dungeon for children disguised as a boarding school called Worthington Hall. Dorcas asks Trask why he keeps her disobedient colleague Rachel Drummond on the faculty. Trask tells Dorcas that he thinks of Rachel as a thorn in his flesh. She stirs up his basest impulses. Regular viewers know how true this is- in their scenes together, Trask has not only extorted Rachel to come to work for him, but has repeatedly made it clear that he wants to force her into a sexual relationship as well. But the base impulse he admits to in his conversation with Dorcas is anger at Rachel’s wickedness. He says that he keeps her around as a way of building his resistance to the sin of wrath. Dorcas takes the bait, and declares that it makes her admire Trask all the more.

Dorcas looks at Trask with love in her eyes. Screenshot by Dark Shadows Before I Die.

Rachel presents herself as the protector of twelve year old Jamison Collins, heir presumptive to spinster Judith Collins as the owner of the great estate of Collinwood and the Collins family’s business enterprises. She slips out of Worthington Hall, which is currently operating from a house on the estate, in order to tell Judith that Trask has falsely accused Jamison of academic misconduct and is refusing to feed him until he confesses. As it happens, Trask confirmed to Dorcas that this is true, and said that by forcing Jamison to confess to something he did not do he will teach him humility. Dorcas is so far gone that this admission of loathsome injustice adds further to her admiration for Trask.

Beth presents herself as Quentin’s representative in a telephone call to the doctor. When she finds that the doctor is out, she urges his assistant to call back as soon as possible. She is about to go back to check on Quentin when Rachel comes to the great house looking for Judith or for Jamison’s father Edward. Beth tells her that they are out, and that there is an extreme emergency in progress. Rachel accompanies her to the room. They find that it is in a shambles and Quentin is gone. They return to the foyer, where the telephone rings. Beth is disappointed it is not the doctor. It is Trask, and he asks to speak to Rachel. Beth hands her the telephone.

Trask presents himself to Rachel as her “most concerned friend.” He also reminds her of his threat to frame her on charges of theft and murder, and demands she return to the school at once. As she has done before, she crumbles and rushes off. Beth watches her go with puzzlement, as others have done on those previous occasions.

Dorcas presents herself as a spy and enforcer for Trask. After Trask tells Rachel he has docked her a week’s pay for trying to feed Jamison against his orders, Rachel catches Dorcas listening at the door. Rachel leaves the room after their confrontation. We see Dorcas alone for a moment, then hear a window breaking and see her horrified reaction. We hear growling and snarling. Rachel comes in, Trask follows, and they see Dorcas’ mangled corpse. Returning viewers know that Quentin’s curse is that he has become a werewolf. Dorcas is his first victim.

Dorcas is played by Gail Strickland, who went on to have a huge career on TV in the 1970s and 1980s. Miss Strickland is a fine actress, and it is a terrible shame she wasn’t on the show more. Terrayne Crawford, who plays Beth, is good today, but she could really only project one emotion at a time. That is a grave weakness in this part of Dark Shadows, when most characters have complex motivations in almost every scene. In Miss Strickland’s hands, several scenes that were flat and tedious due to Miss Crawford’s literalist acting style would have been exciting and nuanced. Beth was originally seen as a ghost who did not speak but made an impression by her stark yet lovely features. Miss Strickland’s looks could have that effect as well as did Miss Crawford’s. Indeed, I suspect she must have attracted the producers’ attention when they were deciding between the two of them for the role of Beth.

As of this writing, every member of today’s cast is still alive. When you’re watching a show and posting about it on the 56th anniversary of its original airdate, that’s an unusual thing to see. I believe it is the first such episode we have come upon.

Episode 750: Hold back the night

Magda at Jenny’s grave. Screenshot by Dark Shadows Before I Die.

The name “Magda” was first mentioned on Dark Shadows in #642, broadcast and set in December 1968. At that time, the residents of the great house of Collinwood had noticed unaccountable goings-on, and as they often do they held a séance to appeal to the spirits of the dead for guidance. The spirit they reached in that one identified herself as Magda. She repeated two things- “My curse!” and “He must not return!” Magda said enough to suggest that she had cursed someone and regretted doing so, and that she knew that the Collinses were threatened by the return of someone from her own period, but that was all. Since the Collinses of 1968 had never heard of anyone associated with their house named Magda and could find no record of such a person, those suggestions remained vague and useless to them.

They meant a good deal more to regular viewers. We already knew that the malign ghost of Quentin Collins had appeared in a room in the long-deserted west wing of the great house, that children David Collins and Amy Jennings were falling under the ghost’s influence, and that Quentin lived at Collinwood near the end of the nineteenth century. We therefore assume that Quentin is the one who “must not return!,” and that Magda, whoever she was, must have known Quentin and therefore also have lived sometime in the 1890s.

Among the participants in the séance was Amy’s older brother, mysterious drifter Chris Jennings. Chris broke the séance off before Magda could go into enough detail to help the others. The show had long since established that the person who ends a séance prematurely is the one who harbors a dreadful secret that the voice from beyond might uncover. Even the characters have caught on to this pattern; they treat Chris with suspicion. They do not know what we do, that Chris is a werewolf. So he is indeed under a curse, and we can take it that his curse originated when Magda placed it on one of his ancestors.

Over the next few months, Quentin’s power steadily grew, and at the same time Chris’ periods in his animal form grew longer and more frequent. These two developments moved in such close tandem that we had to suspect that there was some causal relationship between them. This suspicion was reinforced when, in #683, another ghost associated with Quentin, that of a tall, thin, blonde woman named Beth, led Chris to what proved to be the unmarked grave of an infant. That infant was wearing an amulet meant to ward off werewolves. The records of the silversmith who made the amulet showed that it was commissioned and paid for in 1897 by Quentin Collins and Beth Chavez. Thus we learned that a werewolf was active in the area of Collinwood when Beth and Quentin were alive, and that they cared about a baby who died at that time. The logical inference would be that the curse under which Chris labors originated at that time, that Beth and Quentin had something to do with it, and that the baby was related to someone who became one of Chris’ ancestors.

Now, the show has become a costume drama set in 1897. Quentin and Beth are alive. Beth is a maidservant who first came to Collinwood in the train of Quentin’s estranged wife, Jenny. Quentin left Jenny and was banished from the house the previous year; word was put about that Jenny responded to the desertion by going away and leaving no forwarding address. When Quentin returned to Collinwood in #701, he was surprised to find Beth still on staff, and he set to work trying to seduce her.

In #720, Quentin discovered that Jenny had not in fact gone so far away as he and everyone else had been led to believe. She turned up and stabbed him. He then learned that Jenny had become violently insane when he left her and that his sister Judith and brother Edward had responded to her illness by locking her up in a room hidden inside the great house. They kept Beth in their employ because she was the one entrusted to care for Jenny.

Now, Beth has given in to Quentin’s charms. The other night Jenny was hiding in Beth’s room while Beth and Quentin shared a tender moment, and she reacted by coming at them with a knife. Quentin disarmed Jenny, restrained her, and then put his hands around her throat. While Beth pleaded with him to stop, he choked Jenny to death. He keeps protesting that, because Jenny at one point had a knife, this was an act of self defense, but the audience and Beth both saw what happened, and she won’t agree with him any more than we will.

Edward and Judith have decided to shield Quentin from the legal consequences of his actions, and in the village of Collinsport the will of the Collinses supersedes the laws of the state of Maine. But Quentin finds no comfort in his immunity from criminal prosecution. Just hours before he murdered Jenny, Quentin discovered that he knew nothing about her origins. He thought she was some kind of Anglo, but she was passing. She was actually a Romani woman. Her sister is one of the neighbors, broad ethnic stereotype Magda Rákóczi.

In Wednesday’s episode, Edward convinced Magda the police and courts would do nothing to punish Quentin, and so Magda threatened to place a curse on him to avenge Jenny’s death. Edward, a rational-minded modern man, dismissed Magda’s threat as “words.” But Beth and Quentin know things about the universe they occupy that Edward does not know. When Beth heard Magda’s threat, she looked wide-eyed at Quentin, walked backwards away from him, and ran off. Quentin, who is obsessed with the occult, was immediately terrified, and has been dissolving into a puddle ever since.

Yesterday, Quentin fell into a trap Magda set for him and brought a curse upon himself. Today, Magda stands with her husband Sandor by Jenny’s grave, watches the full Moon rise, and recites an incantation specifying that Quentin’s male descendants will suffer from the same curse he does. So far as Magda knows, Quentin does not yet have any descendants, male or female, and so that proviso is just an abstraction for her.

We know more than Magda does. Not only have returning viewers heard her spirit say that she regrets the curse and been led to the conclusion that it fell on Chris Jennings, but even those who are watching the show for the first time today know that Quentin and Jenny are the parents of twin infants whom Judith is paying a Mrs Fillmore to raise in her home in the village of Collinsport. Mrs Fillmore’s name was first mentioned in #707, and it comes up today when Judith is firing Beth.

Judith explains to Beth that, since Jenny is no longer around, she no longer has any work to do at Collinwood. She indicates her dissatisfaction with Beth, and says that it is only through Edward’s influence that she included a severance payment with her letter of dismissal. Beth mentions her task of taking money to Mrs Fillmore to pay her for taking care of Jenny and Quentin’s children; Judith does not see a need to retain an employee simply to carry an envelope full of cash to the village every now and then.

Beth objects that Judith is terminating her employment because she has become involved with Quentin; Judith takes that as an opportunity to castigate her for the impropriety of that relationship. Joan Bennett plays Judith’s reaction to Beth quite effectively; in a comment on Danny Horn’s post about the episode at Dark Shadows Every Day, “Rev Velveteen” writes:

I wanted to mention a Judith Collins, er, Joan Bennett acting moment I found particularly entertaining here. When she’s giving Beth the boot and the servant attempts to “innocently” inquire as to why she’s being let go, Judith turns around and gives her SUCH a look! Huge eyes, a stifled gasp, then bright pursed lips…Her expression goes from incredulous (Are you freaking KIDDING me?) to amused (Just how stupid does she think we are?) to triumphantly satisfied (Fine, we shall just both play out this little charade and I’ll soon be rid of you.) Her chin goes up as she turns away snarkily-“Let’s just say that now Jenny’s gone, your services are no longer needed,” which everyone on and off screen knows is a total lie. It’s such a sweet piece of work by Ms. Bennett, I need to keep an eye out to see if she repeats that expression because it just sums up the whole character of any Collins she plays when as the perpetual straight man, she’s faced with yet another absurd situation. And is also just stunning in that gorgeous green dress.

Comment left by “Rev Velveteen” at 12:43 am Pacific time, 25 June 2020, on Danny Horn, “Episode 750: Gypsy Ascendant,” 18 October 2015, Dark Shadows Every Day

Yesterday, Judith gave the penniless Quentin $10,000 on condition that he leave Collinwood forever and induce Sandor and Magda to do the same. Quentin had hoped to use the money to bribe them into forgoing Jenny’s vengeance, but they only pretended to take it to lure him into bringing the curse on himself. Magda contemptuously threw the cash at him after he did so.

Quentin has told Judith that Magda took the money and agreed to go. Today, Magda comes to the house to ask for Jenny’s things. Judith starts in with lecture about how she must go at once, since she and Sandor have been paid so well to leave, and Magda reveals that she did not take the money. Enraged at Quentin’s childish lie, Judith demands he return the $10,000. He tells her to sue him, and stalks off. Judith fumes, knowing that she has been cheated and that she cannot assert her rights without creating the public scandal that she fears above all else.

Quentin finds Beth packing Jenny’s things. He tells her he has to leave tonight, and announces that she will be coming with him. She responds in a mild tone that she doesn’t seem to have any say in the matter. She tells Quentin that she has lost her job, and says that she will give him her decision in the afternoon.

Sandor comes for Jenny’s things. Quentin offers him the $10,000 all for himself if he can lift the curse. He says he doesn’t know how. Quentin says he will give it all to him if only he will tell him what form the curse will take. Sandor shakes his head at Quentin’s desperation and says that knowing that would be of no benefit to him.

As night falls, Quentin goes to Beth’s room. She agrees to go with him, but insists on running a personal errand first. Even though she just told him that they have to be honest with each other, she will not tell him what it is. She is still honoring Judith and Edward’s decree that Quentin must not know that Jenny gave birth to his twin children after he left her, and that they are in Mrs Fillmore’s care.

Quentin keeps saying there is no time left to do anything but run. We might wonder why he didn’t stop by Beth’s room earlier. She is on her way out the door when Quentin cries out and collapses in severe pain. Regular viewers recognize Quentin’s pains as the same Chris had when he turned into a werewolf. When we see the rising moon and hear the baying of the hounds, we know who Chris’ forebears are, and why Magda came to regret her curse.

Episode 749: The kiss of death

In the parts of Dark Shadows set in the 1960s, Louis Edmonds plays Roger Collins, younger brother of matriarch Elizabeth Collins Stoddard. In 1966 and 1967, we saw that Roger had squandered his entire inheritance. He was reduced to living as a guest in Liz’ house and working as an employee for her business. Roger was the show’s first villain. His villainy was confined to a storyline known as “The Revenge of Burke Devlin.” That story never really caught on, and by #201 even Burke Devlin had lost interest in it. Roger receded to the margins, and for the rest of the series Edmonds’ gift for sarcastic dialogue kept the character alive as occasional comic relief.

From November 1967 to March 1968, Dark Shadows was a costume drama set in the 1790s. Edmonds, a costume drama specialist in his years on Broadway, came into his own as haughty overlord Joshua Collins. Joshua’s focus on moneymaking and his determination to preserve the glamour of the Collins family name at all costs placed him at the opposite pole from Roger, a blithe spendthrift pathologically lacking in family feeling. Joshua used his power to cover up all of the tragic and horrible events we saw in the 1790s segment, and imposed a false history in its place.

Now, the show is set in 1897. Edmonds plays Edward, the stuffy eldest brother of the adult members of the Collinses of Collinsport. Edward has Joshua’s imperious demeanor and his determination to conceal the family’s disgraces, but like Roger he finds himself penniless, dependent on his sister’s largess. Yesterday he learned that his youngest brother, libertine Quentin, had killed his estranged wife Jenny. So far, Quentin has been a breezily amoral wastrel, easily recognizable to longtime viewers as a kindred spirit of his great-nephew Roger. But Quentin shocked himself when he murdered Jenny, and he had a terrified look on his face as he tried to sneak out of the house afterward.

Edward intercepted him then and forbade him to go. Edward had learned from Quentin’s girlfriend, Jenny’s former maid Beth, what happened. Edward was in a high dudgeon about the mess Quentin had made, but did not seem particularly surprised or at all grieved. He was quite confident he would be able to hush the whole thing up, and fabricated a story about Jenny falling down the stairs and dying shortly after from a head injury.

What did shock Edward was Quentin’s revelation that Jenny was the sister of one of the neighbors, Magda Rákóczi. Magda is a member of the Romani people, an ethnicity against whom Edward and the rest of the Collinses are violently prejudiced. “You married a Gypsy!” he exclaims in utter disgust. He remained convinced that he could keep the whole thing quiet, and drilled Beth and Quentin in the lies they were to tell Magda and her husband Sandor.

Magda did not give Edward a chance to direct the little play he had written. She found physical evidence indicating Quentin had murdered Jenny, and accused him. When she threatened to go to the police, Edward asked her what she imagined the authorities would do when asked to choose between the word of a Collins and the word of a “Gypsy.” At that, Magda dropped her plan to go to the police and vowed to place a curse on Quentin. Edward dismissed that as “words,” but Quentin is deeply involved in the occult. He is helpless with fear.

Today, Edward calls on Quentin in his room. He finds that Quentin has not slept all night. He continues to regard Quentin’s fear of Magda’s curse with total contempt, but perks up when Quentin says that he has thought of a way to escape it. Returning viewers already know that there is one way wide open to Quentin to escape the curse. He can go to the police and confess that he murdered Jenny.

This, of course, is not Quentin’s idea. He wants to offer Magda $10,000. Neither he nor Edward has that kind of money, but their sister Judith, whom their grandmother chose as her sole heiress, does. Edward says that he might be able to persuade Judith to give him that sum on one condition. Their grandmother’s will left Quentin no property or income, but it did guarantee him the right to live in the great house of Collinwood as long as he might wish. If he will sign documents renouncing that right, Judith might give him the money.

Edward embarrassed by Quentin’s craven mewling. Screenshot by Dark Shadows Before I Die.

Quentin drifts off to sleep. He has a nightmare. Sandor and Magda show him Jenny’s body and tell him he can escape punishment if he blesses it. He does so, and Jenny comes back to life. She asks for a kiss. Quentin gives it, and Magda and Sandor laugh. They say that the kiss has sealed his fate- it is “the kiss of death!”

Edward returns with word that Judith will give him his $10,000, but that she has added a condition. Not only Quentin, but Sandor and Magda too, will have to leave the area forever. Quentin promises to make that happen, and signs the papers.

Meanwhile, Magda and Sandor are at home in the Old House on the grounds of the estate. Magda has mixed a potion and told Sandor that “a very old Gypsy woman” once used it to place a terrible curse on someone called “Count Petofi.” All they have to do is trick Quentin into drinking the potion, and the same curse will befall him. Sandor disdainfully replies that he had thought Magda might have come up with a plan that had a chance of working. He can’t imagine Quentin drinking anything they might give him.

They look out the window, and see Quentin coming to the house. They are pleasantly surprised that he is delivering himself. He knocks. They open the door, and he bursts in. Magda makes a great show of telling him he is not welcome and demanding he leave. He tells them about the nightmare, and says he knows that it is part of the curse. He offers them money to lift it. Magda is at first openly offended, while Sandor behaves as if he is tempted. Quentin shows them the money, and Magda plays the part of a woman succumbing to greed. She asks Jenny’s spirit to forgive her, and takes the envelope. She makes a gesture that Quentin takes to be an act of spellcasting. While she counts the money, Sandor says they will have to share a drink to complete the deal. Quentin happily agrees.

Once Quentin has taken the drink, Magda tells him that he has been fooled. The nightmare was not part of any curse, but was simply the voice of his own conscience. She tells him that the drink brought the curse on him, and that he will begin to suffer its effects tonight. She throws the money at him and tells him to take it. He reels away, dazzled by the horror of it all.

Magda’s curse shows the limits of the Collinses’ power. Their prestige and connections enable them to intimidate the authorities so that they need not worry about an insistent police investigation. But their freedom from that concern has allowed Quentin to travel so far into depravity that he has committed murder and brought a curse upon himself. When they encounter someone who will not be intimidated, their only recourse is to money. Magda’s unwillingness to sell her sister’s vengeance for any number of dollars means that the rich Judith would be as powerless against her as are the impecunious Edward and Quentin.

Not only has the Collinses’ station led Quentin to indulge himself in one vice after another until he is so far gone he cannot imagine good behavior, it has led him to assume that everyone assigned to a humbler place in the world can be bought. Sandor and Magda are quite good actors, almost as good as Thayer David and Grayson Hall, and they look very much like people who are tempted to take the bribe Quentin is offering. But even to make the offer shows a complete lack of perspicacity. Jenny has not been dead for twenty four hours, and he somehow supposes her sister is ready to bargain away her memory.

Quentin cannot say he wasn’t warned. His dream told him that Magda and Sandor would trick him into bringing the curse on himself by leading him to believe they were giving him a way to escape the curse. He is so far gone in the symptoms of his over-privileged background that he cannot even interpret this message. Thus we see that the real curse of the Collinses, the obstacle that blocks the sunlight and casts all the dark shadows that shroud them, is their wealth and power. The first ten months of the show made some feints towards developing a social drama about the relations between the Collinses in their house on the hill and the working people in the village below. The village is mentioned nowadays only as a source for victims of the various monsters bred at Collinwood, but the price everyone pays for the Collinses’ exalted position is always front and center.

Episode 748: Here in the past

Madwoman Jenny Collins is hiding in the quarters of her formerly devoted servant, Beth. Beth enters with Jenny’s estranged husband, libertine Quentin. Jenny eavesdrops as Beth tearfully tells Quentin that she was once very close to Jenny, but that now she wishes her ill, because she is in love with him. Quentin and Beth embrace, and Jenny lunges at them with a kitchen knife.

Quentin disarms Jenny and strangles her. We were introduced to Quentin as a murderous ghost haunting the great house of Collinwood in 1969, and when we first came to the year 1897 to meet him as a living being it was a matter of minutes before he was squeezing his grandmother’s throat and threatening to kill her. Quentin has been going around the house announcing for days and days that he plans to kill Jenny, so it comes as no surprise to the audience that he puts his hands around her neck even though she has already been disarmed, fights off Beth’s attempts to stop him, and keeps choking Jenny until some time after she has stopped moving. We have been well-prepared for this unambiguous image of intentional homicide.

Once Quentin has finished his work, he runs out of the room. Beth goes to the foyer and, between sobs, tells Quentin’s stuffy brother Edward that Jenny is in her room, dead.

In Beth’s room, Edward feels Jenny’s wrist and says that she is indeed dead. Once Beth has given him a few of the salient details of the murder, he declares that he has heard enough. He orders Beth to take the knife back to the kitchen and put it where it belongs. They talk briefly about Jenny and Quentin’s children, whose existence has previously only been hinted to the audience and has been denied to other characters as recently as yesterday.

We cut to the foyer. Quentin comes creeping down the stairs, holding a bag and looking from side to side. When Quentin reaches the foot of the stairs, Edward seizes the bag and orders him to stay in the house. In the drawing room, Edward tells Quentin and Beth what story they will put about to cover up the murder and save the family name. Beth is to say that she found Jenny lying at the foot of the stairs, stunned. She helped Jenny to her room, then left her there for a moment while she went to look for help. Finding no one, she came back and saw Jenny lying on the bed. When she could not wake her, she realized she had died of the injuries she sustained in her fall.

Quentin says that the story will not work. He tells Edward that earlier in the evening, Jenny’s presence at Collinwood was revealed to three more people, distant cousin Barnabas Collins and ethnic stereotypes Magda and Sandor Rákóczi. Edward says that as a member of the family, Barnabas will not question the story, and that as “Gypsies,” Sandor and Magda will do anything in return for money. Quentin says that Magda and Sandor will not be so easy to deal with. When they learned that Jenny was in the house, Magda told Quentin something which he tells Edward and Beth “None of us ever knew,” that Jenny was her sister.

Edward is thunderstruck, and exclaims “You married a Gypsy!” Yesterday it seemed that Edward and Quentin’s sister Judith, the owner of the house, had known Jenny’s origin for some time, and that it was why she locked Jenny up in the house when she went insane rather than sending her to a mental institution where Sandor and Magda might be among her visitors. And as far back as #701, it seemed likely that Beth knew secrets relating to Jenny, to Magda, and to Romani heritage. In that episode, Quentin marveled that Beth was still around Collinwood when Jenny, who had brought her to the house as her servant, had left, and Magda taunted Beth by bringing up a bit of Romani folklore and laughing “But you wouldn’t know anything about that, would you?” So while Jenny’s background is news to Quentin and Edward, it may not be true that “None of us” knew.

Magda and Sandor come to the house. On their previous visits to the great house, they have acted like servants or like stage Gypsies come to tell fortunes and sing songs. But now that the word is out about Jenny’s true identity, they come in with their heads up and look Edward in the eye. They say that they have come to see Jenny. Edward turns away from them, and says that there has been an accident. Jenny is dead. Horrified, Magda asks where she is. Edward says that she is in Beth’s room, and offers to have Beth show them the way. Magda says that she knows where it is, and that she and Sandor want to go by themselves. Edward says “Of course,” very much in the tone a gentleman uses with his equals.

In the room, Magda notices that Jenny is holding a button in her hand. She concludes that she pulled it off the coat of a man with whom she was fighting for her life. Sandor notices heavy bruising around her neck.

Meanwhile, Edward is drilling Beth and Quentin in the stories they are to tell. Beth recites the whole thing, and he tells her to remember every word. Quentin is less cooperative, but still seems to have learned his part. He tells them not to speak until they are spoken to.

Sandor and Magda enter. She asks some questions; Edward answers, and shows offense when she tries to direct them to Beth. Before he can proceed to the next act of the little drama he has prepared, letting first Beth and then Quentin corroborate his account with the stories he has given them, Magda looks at Quentin’s coat. She can see that a button is missing and that the ones that remain match the one she found in Jenny’s hand. She calls him a murderer, and says that the police will hear of it.

Edward says that Quentin might have lost the button anywhere at any time. He asks her what the authorities in the village of Collinsport would do if asked to choose between a Romani person’s word and that of a Collins. Magda drops the idea of going to the police, and tells Quentin that she will place a curse on him that will make him suffer as Jenny suffered, but that his suffering will not be subject to the release that death has brought Jenny. Quentin is terrified, Edward dismissive.

Magda tells Quentin she will curse him. Screenshot by Dark Shadows Before I Die.

From the very beginning, one of the main themes of Dark Shadows has been denial, the psychological defense mechanism. In this one, we see that denial is, among other things, the wish that time would stop moving forward. Quentin says that he is not going to go to jail for something he did not mean to do. He obviously did mean to kill Jenny, but he does not want to accept any of the consequences that follow from that act. He wants to be frozen in his comfortable, carefree life, without punishment from the law or vengeance from Magda. Edward wants the family name to be frozen in the lofty regard in which it was held before Quentin murdered Jenny.

For her part, when Magda tells Quentin it will not be possible for him to die, she is promising to give him and Edward what they want, but not in the way they want it. A curse is a way of freezing time. The suffering it brings persists, unchanged, from year to year. It cannot be explained, it cannot be escaped, it falls on one person after another whatever their deserts. Its only logic is to renew itself endlessly.