Tag: roxanne drew

Episode 1124: Where the bodies are buried

Desmond Collins has fallen under the influence of an evil spirit emanating from a severed head he bought in Macau, and is now trying to find the body that used to be attached to the head. Lamar Trask is an evil spirit unto himself, and is trying to find the body of his late father, fanatical witchfinder the Rev’d Mr Trask.

It is not clear what the severed head is hoping will come of a reunion with its body, though longtime viewers will remember the last time a body part was reconnected to its original possessor. Evil sorcerer Count Petofi stuck his hand back on the end of his arm in #814. As separate entities, Petofi and the hand both wielded considerable magical powers. Reunited, they seemed to be unstoppable.

What Lamar wants is much clearer. He believes that his father was murdered in the 1790s, 45 years ago. He hopes that the killer might still be alive and that he will be able to take revenge.

As it happens, Lamar is right about what happened to his father. Vampire Barnabas Collins walled Trask up in his basement and left him to die there. Barnabas is back on the estate of Collinwood, having been sealed in his coffin in 1796, freed in 1967, and dislocated in time in 1970. It might be just for Lamar to expose Barnabas and destroy him, but it would also ruin the show. Besides, Lamar and his father are both hilariously obnoxious, so it wouldn’t occur to anyone to root for them.

Lamar persuades Cockney showgirl/ mentalist Leticia Faye to hold a letter from his late father while she goes into a trance. She has a vision of the Old House on the grounds of Collinwood. Lamar interprets this to mean that his father’s remains are there. Barnabas interrupts this scene and reproves Lamar for taking advantage of Leticia. He might have pointed out that what Leticia was doing is by any definition witchcraft, and have gone on to point out that the Rev’d Mr Trask would be horrified that his son would participate in it. But that would put Lamar on the defensive, and the function of a Trask is always to attack.

The Collinses think that Barnabas left for England in the 1790s and died there. They also believe that he and his fellow time traveler, mad scientist Julia Hoffman, are the offspring of that original Barnabas come to visit their late father’s birthplace. The other day, Daniel Collins, master of Collinwood, invited Barnabas to stay in the Old House as long as he liked. So Barnabas does not have to sit still for Lamar’s attack later, when he goes home to the Old House and finds him poking around. Lamar explicitly says that he is looking for his father’s remains. Knowing that they are behind a brick wall which has attracted no one’s notice in the decades for which it has stood, Barnabas is quite relaxed about this search. He tells Lamar that he is risking his good name by taking Leticia’s visions so seriously, and tells him to leave the house.

Desmond and Leticia live under the same roof. She is his mother’s permanent guest in their home, a mansion known as Rose Cottage. But unlike Lamar, Desmond does not turn to Leticia for guidance today. At the beginning of the episode, she walked into the room where he keeps the head, exclaimed about the evil present there, and fainted. So he gives her a wide berth for the rest of the day.

Instead, Desmond calls in Otis Greene, who was associated with the head in 1803. The head possessed Otis, as it is taking possession of Desmond, and led him to commit four brutal murders. Otis confessed to those murders and asked to be punished, but his talk about the head led the court to exercise a leniency extraordinary for the period and to set aside criminal charges, instead committing him to an asylum. Released from there about ten years ago, Otis has established himself as a successful antique dealer.

Otis enters and at once begins admiring Desmond’s furniture and telling him about the prices it would fetch in his shop. He looks at one chair and says that he knows a collector who would pay the fantastic sum of $100 for it, equivalent to many thousands of dollars in 2026. Desmond says he is not interested in selling the chair, and directs Otis’ attention to a table that belonged to someone associated with a witchcraft trial.

Desmond questions Otis. Screenshot by Dark Shadows Before I Die.

Otis is played by Abe Vigoda, his second role on Dark Shadows. Vigoda’s first character made his entrance in #684 expressing admiration for the fine things around him, as Otis admires Desmond’s furniture today. That was Ezra Braithwaite, a silversmith. Ezra was brought on to provide information that would lead to the ghost of a man from his own past. Ezra did answer some questions, but the ghost killed him before he could make an exit.

Evidently writer Sam Hall remembers Ezra. Not only does Otis make the same entrance as Ezra, but like Ezra he is there to talk about his past. He tells Desmond that his grandfather was the executioner in the town of Bedford, and that his work brought a curse on the family. Desmond shows Otis the head, and he is shattered at the sight of it. Desmond demands to know where the body is. Otis resists answering, but is quickly overwhelmed with chest pains. Desmond screams in his ear, and he starts gasping out cryptic remarks. “The noose, a ring of gold, the stairs, top of the hill, direct line, an unmarked stone.” He falls dead, and Desmond vows that the hidden body will be found.

Unfortunately, this marks Abe Vigoda’s final appearance on Dark Shadows. Vigoda’s first television role came in 1949, when he was 28 years old. He played a character identified as “Old Man on Train” in an installment of Studio One. He went on playing old men on television, in movies, and on Broadway until his death in 2016. His most famous feature film role was that of doomed capo Sal Tessio in The Godfather (1972,) and his biggest TV part was as Detective Philip K. Fish on the series Barney Miller and its spin-off Fish (1977-1978.) He once sat on a panel of cast members at a Dark Shadows convention. When it was his turn to talk, he said “My name is Abe Vigoda. I played Otis Greene on Dark Shadows. I don’t remember much about it,” and passed the microphone to the next person.

Episode 1116: Her temperature could rise

Friday’s episode ended with one of the most effective scenes in all of Dark Shadows. Vampire Barnabas Collins summoned his latest victim, Roxanne Drew, to the gazebo on the grounds of the estate of Collinwood. Roxanne looked at Barnabas adoringly and told him she was willing to die for him. He took her up on this. He bit her, draining her body of blood and letting it fall to the floor of the gazebo. He told her that her corpse would be found in the morning and that her family would grieve for her during the day. At dusk, she would rise as a vampire and would belong to him forever. He walked away from the gazebo, leaving her body lying there. Jonathan Frid and Donna Wandrey showed the full terror of this unimaginably cruel scene. The result chills the audience as deeply as anything they have shown us.

Today, it turns out Roxanne isn’t dead after all. That gives Roxanne’s sister Samantha a chance to find her, and Barnabas’ friends Julia Hoffman and Ben Stokes a chance to hide Roxanne from Samantha and to keep her from dying. When Barnabas finds out what Julia is doing, he moves to attack her, but collapses in the nick of time.

Julia uses some medical equipment she has improvised to give Roxanne a blood transfusion. Screenshot by Dark Shadows Before I Die.

There is also some activity involving Samantha and the evil Gerard Stiles, but that’s basically it. They can’t all be gems of course, but last week was a such bright spot that these twenty two minutes of busywork come as a big disappointment. We can only hope the show gets back up to speed soon!

Episode 1115: The woman in question

The year is 1840. Vampire Barnabas Collins summons his latest victim, Roxanne Drew. They meet at the gazebo on the grounds of the estate of Collinwood. He says he has a way they can be together forever. She says she would die for him. That’s what he had in mind. He bites her, drains her body of blood, and lets her fall to the floor of the gazebo. He tells her corpse that it will be found tomorrow, and that Roxanne will be mourned. The following night, she will rise as a vampire. He walks off, leaving her.

Roxanne, left like a cat leaves a mouse for its people to find.

Roxanne’s sister Samantha also has a new relationship, and may also be murdered as a result. Her husband, whose name is Quentin Collins, is missing and presumed dead after a shipwreck. Quentin and Samantha’s son Tad was with his father and is also missing. Quentin’s friend Gerard Stiles has been a guest at the great house of Collinwood for some time. We saw the other day that Samantha turns to Gerard when she needs comforting, and they kiss today.

After Gerard and Samantha’s love scene, Gerard is alone in the drawing room with Quentin’s brother Gabriel. He is in the act of walking out on Gabriel when Gabriel addresses him as “Mr Miller.” Gabriel leafs through a stack of papers about the life of crime Gerard led under his original name, Ivan Miller. Gerard grabs the papers from Gabriel. Gabriel clutches at Gerard’s arm and squeezes it so hard Gerard falls to his knees. Gerard is stunned by Gabriel’s strength. Gabriel gets around by pushing himself in a manual wheelchair, which does indeed build the muscles in the arms and upper back, so it is a believable moment.

Gabriel then hands Gerard the papers and says that they are his copy. He has another copy stashed where it will go to the authorities should any harm befall him. He says that he will hold them back provided Gerard makes himself useful to him. First he dispatches Gerard to acquire a large packet of arsenic. Then he tells Gerard that his next duty will be to poison Samantha with the arsenic a little bit at a time, so that she dies a painful, lingering death. Gerard says that he would rather just leave Collinwood and make a fresh start somewhere else rather than do that. Gabriel says that since Samantha’s death will make him the heir to his terminally ill father’s vast estate, he will be able to pay Gerard very handsomely for the task. He offers him 10% of the Collins fortune. Since Gerard apparently murdered a woman in Portugal a few years back, Gabriel is quite sure he will not be squeamish about murdering another woman, especially when he stands to profit so richly. Gerard says they have a deal.

In #1077, set in 1970, another Quentin Collins was reading the family history when he learned for the first time that he had a “grand uncle” who lived in 1840 who was also named Quentin Collins. Not even the family history mentioned Tad’s name. Since that Quentin was born in 1870 (though he looked much younger than his hundred years,) we could take it that neither Grand Uncle Quentin nor his widow was the one through whom ownership of the Collins family wealth passed to the other generations we have seen. Indeed, longtime viewers may recall that in #701 and #702, set in 1897, Quentin’s very elderly grandmother Edith Collins reminisced on her deathbed about her husband Gabriel. So we know that Gabriel and Edith are the parents of a son who will sire that other Quentin and his siblings, among them Edward Collins, whose son Jamison will go on to be the father of Elizabeth Collins Stoddard and Roger Collins, the adults at the great house in the 1960s.

As of this day in 1840, however, Gabriel’s father Daniel Collins has named his son Quentin his sole heir, with Tad in second place and Samantha in third. Told that Quentin and his son are dead, Daniel has refused to rewrite the will in Gabriel’s favor. Early in the episode, Samantha tells Gabriel that when Daniel dies, it will be up to her to take care of him and his wife, and that she will do so provided they behave themselves. Knowing that it does not work out that way, we can believe Gerard will actually carry out the assignment Gabriel gives him today.

The disappearance of Quentin and Samantha from the Collins family’s memory by the late nineteenth century is only the first of four reasons we might believe Gabriel’s plan will come to fruition. The second is the casting of Samantha. Virginia Vestoff was a splendid actress whose performance lets a great deal of fresh air into every scene she appears in. However, Samantha is Vestoff’s first role on Dark Shadows. If she were a member of the show’s established repertory company, we might be confident that Gerard will disappoint Gabriel and let her live. But first timers, even spectacularly talented ones with solid backgrounds on Broadway and in daytime television, often turn out to be short-timers. So her presence adds to the suspense about her character’s future.

The third reason is an echo of the circumstances of one of Dark Shadows‘ most prominent on-screen murders. In 1967, Barnabas coerced his associate, mad scientist Julia Hoffman, into preparing a lethal injection for her old friend Dave Woodard, who was threatening to expose their crimes. As Gerard brings the arsenic to Gabriel today, only to be shocked to hear that he will have to commit the murder himself, so Julia offered the hypodermic to Barnabas, only to be told that she would administer the deadly shot. The murder of Woodard actually came off, so longtime viewers have another reason to expect that Samantha, too, might die. And of course that Gabriel pulls the same maneuver on Gerard that Barnabas pulled on Julia shows that they really are members of the same family and that they are bearers of that family’s curse.

The fourth reason grows from what we have seen of the future of Collinwood. In segments set in 1970 and 1995, we have seen that Gerard’s ghost will destroy Collinwood and rule over its uninhabitable ruins for decades after. Today that starts to make sense. If Gabriel’s descendants own the house and hold their position in the community as the result of a hideous crime their ancestor committed through Gerard, then it is fitting that Gerard should be the face of the long-delayed reckoning for that crime.

I should mention that Vestoff is not alone in giving an excellent performance today. Christopher Pennock was pretty hard to take when he first joined the show as monstrous man-child Jabez Hawkes in #935; he moved well, but he delivered his dialogue with so much bombast that he stood out even among the cast of Dark Shadows. He was noticeably better as Jekyll/ Hyde characters Dr Cyrus Longworth and John Yaeger from #985, but still enunciated his lines too self-consciously to really draw the audience in. As astrologer Sebastian Shaw from #1073, he was a little more natural, but Sebastian was such a poorly conceived character that he couldn’t really show his stuff.

As Gabriel, Pennock finally comes into his own. He is smooth as silk in Gabriel’s scenes with Gerard today; it’s a pleasure to listen to him sidle his way from one syllable to the next. He’s just as pitch-perfect projecting Gabriel’s humiliation and uncontrolled rage in his scene with Samantha as he is at the opposite end of the emotional spectrum with Gerard. Certainly Vestoff and James Storm are first-rate scene partners; they may deserve a share of the credit for Pennock’s fine work. Or maybe he just needed to sit down, I don’t know.

It’s no news to fans of Dark Shadows that Jonathan Frid was capable of great work. He’s been on top form this week. The other day, Barnabas’ aged friend Ben Stokes told him a bizarre story, to which Barnabas replied “You’re mad, old man.” No actor could deliver Henry V’s dismissal of Falstaff, “I know thee not, old man” more heart-breakingly than Frid delivers that line. And watching his face as Roxanne falls dead in Barnabas’ arms, you can feel the terror and the awe of the moment. The murders sometimes come so thick and fast on Dark Shadows that watching them we can feel like we are seeing the coyote raise yet another the mushroom cloud at the end of his fall after failing to catch the roadrunner, and Barnabas himself often takes killing very lightly. But there is nothing cartoonish about what he does to Roxanne.

Episode 1114: I am the stranger

In June, Dark Shadows was set in an alternate universe to which vampire Barnabas Collins and mad scientist Julia Hoffman had traveled. Julia and Barnabas found a comatose woman. Barnabas took one look at her, saw how silent and immobile she was, and fell in love. He’s dead half the time, so we can’t judge him for that reaction.

The woman’s name was Roxanne Drew, and Barnabas’ love for her survived even after she regained the ability to walk and talk. Roxanne didn’t make it to the original continuity when Barnabas and Julia returned there in July. Barnabas’ sorrow for her was lightened in #1081, when he met Roxanne’s counterpart in his native universe. Their relationship took a turn for the worse in #1106, when he discovered that she, too, was a vampire. In #1107, he found out that Roxanne was alive in 1840, and that she underwent a mysterious and terrible change in that year.

Now, Barnabas is keeping Roxanne chained in her coffin in the secret room behind his bookcase. Julia has traveled back in time to 1840 and hopes to prevent a disaster that has destroyed the great house of Collinwood and its residents. Trying some mumbo-jumbo that he hopes will lead him to join Julia in the past, Barnabas has a vision of a tombstone saying that she died on 6 October 1840. He and his friend Timothy Eliot Stokes go to the graveyard and see such a tombstone there. Barnabas says that 6 October is three days away; the episode was originally broadcast on 1 October 1970, which is more than three days from 6 October. But there is a weekend in between, and days when the show isn’t on don’t count.

The stones. Screenshot by Dark Shadows Before I Die.

Barnabas says that he must find a way to travel back in time before 6 October. Stokes asks why, and Barnabas says he himself doesn’t understand how it works. But regular viewers know that anniversaries have a power in the cosmos of Dark Shadows that physical laws have in our world. If an event took place exactly 130 years ago, or any other number of years ago, it is possible for people in the present to interact with that event in ways they cannot on other days of the year. That has been the case ever since undead blonde fire witch Laura Murdoch Collins was on the show, before Barnabas made his first appearance.

Julia’s grave is next to one commemorating Minerva Trask, a hateful biddy who was one of the most effective villains during the period in 1969 when the show was set in 1897. That turns out to be foreshadowing. The scenes with Barnabas and Stokes in a contemporary setting are a prologue to an episode set mostly in 1840. Julia meets the living Roxanne, who is accompanied by Lamar Trask, a kinsman of Minerva’s loathsome husband Gregory.

Julia is a guest at Collinwood, impersonating Barnabas’ imaginary daughter and telling the family to await the arrival of her brother, Barnabas Junior, who looks remarkably like their late father. Julia is in the drawing room, talking to herself about how much she misses Barnabas, when Roxanne enters. Roxanne makes a little joke about talking to inanimate objects, and introduces herself as the sister of Samantha Drew Collins, wife of the missing Quentin Collins and lady of the house.

Trask enters. Julia is startled to see him. Roxanne asks Julia to guess what business Trask is in. She says she could not possibly, and Trask protests that guessing games are silly. That’s a shame. Julia must have seen What’s My Line?; we can imagine her asking “Is there a product connected with what you do? Is the product bigger than a bread box? Is the product alive? Are your services equally available to men and women?” etc.

Roxanne says that Lamar is an undertaker. She spits the word out, and asks him sarcastically if he prefers to be called a mortician. She reviles his profession in quite vigorous language. The dramatic date may be 1840, but at this moment we are very clearly in the aftermath of Jessica Mitford’s 1963 book The American Way of Death, an extremely influential polemic against the mortuary industry.

Lamar insists that Roxanne go out on the terrace to talk with him privately. When they are gone, Julia wonders to herself what will happen later this year to turn Roxanne into a vampire. She really ought to know. She released Barnabas from his chained coffin the other day, hoping that he would already be her friend returned from the future. But instead he was the same monster sealed up there in the 1790s, who had no idea who she was. Had his old friend Ben Stokes not shown up in the nick of time, Barnabas would have killed Julia then and there. He has gone on to take other victims, killing some of them, and remains at large. So it seems quite likely that Barnabas will bite Roxanne to death, causing her to rise as a vampire. When that happens, Julia will be to blame.

This is a temporal paradox. Julia hadn’t traveled back to 1840 when she first met the vampiric Roxanne, and Barnabas hadn’t been out of his coffin between the 1790s and 1897 at that point. Roxanne’s vampirism was involved in the circumstances that led to Julia’s trip to 1840. So the vampirism caused the trip that caused the vampirism. And Roxanne the vampire had clearly never seen Barnabas before when she met him in 1970. Of course it doesn’t make logical sense, but so much of the story is made up of the consequences of Julia and Barnabas’ bungling that it would be wrong if it were any other way.

On the terrace, Lamar asks Roxanne to marry him. She refuses, angrily. My wife, Mrs Acilius, said that it was odd Lamar wanted to marry Roxanne, since she obviously hates him. I pointed out that he seems to hate her as well. Many married couples come to hate each other over the years, so I suppose it is a time-saver of a kind if two people get married who already hate each other.

Lamar keeps telling Roxanne that he made a deal with her father to marry her, and she keeps telling him that she doesn’t care. She wants to marry a mysterious stranger who will sweep her off her feet and show her a new life. Barnabas is eavesdropping from behind the wrought iron fence. He has not met Roxanne before, and cannot see her well, but he can well imagine himself being a mysterious stranger who will change everything in a woman’s life. Moreover, Barnabas hears her raging at Trask, whose late father was an enemy whom Barnabas killed with an even higher degree of sadism than is usual for him. Since Trask Junior looks and sounds just like Trask Senior, Roxanne’s hostility to him is enough to make Barnabas feel a special closeness to her.

Barnabas approaches Roxanne after Lamar has left. He persuades her to invite him to her home. When Barnabas was first on the show in April and May of 1967, they made good use of the trope that vampires can enter only where they are invited, but they soon became very inconsistent about that. It places a restriction on Barnabas’ movements that can be story-productive though, so I’m always happy when it seems they will be bringing it back.

In her room, Roxanne is disappointed Barnabas did not call. He materializes inside her window. She can’t very well be happy about that, but he talks her out of screaming. She looks into his eyes and falls into a trance. He bares his fangs, and she tilts her head to offer him her neck. Her fate would appear to be sealed.

This is the first episode credited to Lela Swift as line producer. Swift has been with the show as its principal director from the beginning. Even though Henry Kaplan is listed as director today, it has the crisp look and inventive compositions that characterize Swift’s style, not the muddy images and extreme closeups with which Kaplan was content to fill the time. We can hope that, with Swift in the driver’s seat, the show will consistently meet her high standards of visual strategy.

Episode 1107: Bury me not

A lot happens in this one, and all the actors do a good job. Even so, it feels very slow. None of the incidents seems to connect with any of the others.

Ill-dressed man Sebastian Shaw lets himself into the secret room where vampire Barnabas Collins keeps a coffin. It is not the coffin where Barnabas spends his days, but is the resting place of another vampire. Its occupant is Roxanne Drew, whom Barnabas loves and Sebastian hates. Sebastian opens the coffin, pulls a pistol, and aims it at Roxanne. He is about to fire when another figure appears in the corner of the room. Regular viewers recognize this figure as the ghost of pirate Gerard Stiles. Sebastian does not know that Gerard is a ghost. He fires two shots at him, of course without effect.

Barnabas enters. He disarms Sebastian, who tells him he was going to destroy Roxanne but that a man stopped him. Barnabas recognizes his description of Gerard. Sebastian shows Barnabas the bite marks on his neck, and explains he was under Roxanne’s power until recently. She lost her control of him when she began feeding on governess Maggie Evans. Longtime viewers have often wondered why Barnabas didn’t build an army by biting everyone who got in his way and turning them into his blood slaves; this is the first explicit statement on the show that a vampire risks losing control over one victim by taking another. We’ve seen examples of Barnabas’ power weakening when he takes an additional victim, but this has been far from consistent.

Sebastian shouts so loudly the microphone distorts his voice in a way we’ve never heard before on the show. Screenshot by Dark Shadows Before I Die.

Barnabas asks if Roxanne ever mentioned the name Gerard Stiles. Sebastian says that he believes she did, but that he can’t remember in what connection it came up. We’ve had a few hints recently that Roxanne has some kind of association with Gerard and the other ghosts who are taking over the great house of Collinwood. This doesn’t give any substance to these hints, but it does confirm that the writers plan to keep dropping them.

Upstairs, Barnabas visits the other undead female he is keeping in his house, former ghost Daphne Harridge. He questions Daphne, who confirms that there was a girl named Roxanne Drew around Collinwood when she and Gerard were alive in 1840. She doesn’t remember much about Roxanne, but does recall that there was some drastic change in her that got people talking in that year. The show is obviously preparing for a trip back in time to 1840, so with this we learn that Roxanne will figure in that segment and that we will see how she became a vampire.

Another rehumanized ghost, Quentin Collins, enters. Barnabas orders Daphne to leave with Quentin, going far away from Collinwood before Gerard can get at her. Quentin tells Daphne to take Barnabas’ orders. When she protests, he says “Daphhh-neee” in a slow, condescending voice. David Selby started doing this in March to July 1970, when Dark Shadows was set in an alternate universe and he played a different Quentin Collins, one who was married to Maggie’s counterpart. That Quentin was an insufferable jerk who often scolded Maggie with a slow, condescending “Maaaa-ggie.” Hearing him say Daphne’s name in that tonal format this time, I finally realized what it reminded me of. Ted Knight, as pompous newsman Ted Baxter on the Mary Tyler Moore show, would often pronounce the two-syllable names of people he was addressing using the same intonation. All of a sudden I could hear Quentin telling “Murrr-ray!” he shouldn’t put such complicated words in the copy he writes, or “Georrr-gette” not to be so independent. When I mentioned the resonance to my wife, Mrs Acilius, she laughed and said she couldn’t believed she hadn’t noticed it herself.

Barnabas leaves Daphne alone with Quentin. They toast their future life. Daphne abruptly collapses, and Quentin clutches his stomach. Gerard appears, and Quentin asks him why he has poisoned them. Quentin is an expert on ghosts who poison the living. In #677, he was himself a ghost, and he put strychnine in a drink his great-grandson Chris Jennings took. Barnabas’ buddy, mad scientist Julia Hoffman, saved Chris then. Now, Julia is with Barnabas when he returns to the room. Daphne is on the floor, unconscious but still alive. Quentin is nowhere to be seen.

Barnabas goes to the great house, searching for Quentin. He finds heiress Carolyn Stoddard Hawkes, playing a mad scene. Nancy Barrett and Jonathan Frid make Carolyn and Barnabas sound like Ophelia and Claudius in Act 4, Scene 5 of Hamlet, for a little while anyway. When Barnabas tells Carolyn that they must stop what is happening, she replies “I cannot stop anything. Whatever gave you the impression that I could?” It really is lovely.

Barnabas goes back to his house. Julia has treated Daphne, who is resting comfortably, aside from glycerin tears streaking her face at several angles, none of them convincing. Carolyn enters and demands to be left alone with Daphne. Julia and Barnabas know that Carolyn is intermittently possessed by a ghost known as Leticia, who is somehow associated with Gerard and Daphne, and are therefore reluctant to comply with this demand. But they apparently don’t think they have much to lose, so they go along with it.

Carolyn/ Leticia gives Daphne a dress. It is the dress she wore when she was a ghost. Daphne cries out to Gerard, asking if the time has really come. She then goes and hides in the closet. There was a lot of dull business with clothes when Quentin was a ghost, late in 1968, and they recycled that early in the current haunting, five weeks ago. This moment is easier to take, both because it is mercifully brief and because the dress is clearly legible as a sign of imminent story progression in the form of Daphne’s next death.

Quentin and Gerard are in a graveyard. Quentin has recovered from the poisoning sufficiently to smile lovingly at Gerard and say that he can’t imagine why he ever thought he was his enemy. He examines the tombstones in the fenced-off part of the graveyard and reminisces about the men buried under them, men who were underlings of Gerard’s in 1840. Since Quentin is only 100 years old, he is puzzled that he has memories from 130 years ago, but when he takes another look at Gerard’s smiling face his anxiety dissipates. He looks at a blank tombstone and puzzles as to why it is blank. At Gerard’s bidding, he digs up the grave and opens the coffin. He is delighted to realize that it was meant for Quentin Collins, and that the time has come for him to get into it. He briefly resists the idea of burying himself alive, but then looks at Gerard, says “You are Death. Whatever made me think I could run away from you?,” and complies. We end with Gerard putting the dirt back on top of the grave, Quentin securely inhumed.

Longtime viewers know that Quentin is alive because of a magical portrait that immunized him against aging, lycanthropy, and injury. So we are left wondering whether he is also covered for asphyxiation. If he is, Gerard is going to be pretty embarrassed when Quentin makes his way out of the ground.

Episode 1106: The girl Barnabas thinks he loves

Julia Hoffman and Willie Loomis have gone to an old crypt and opened a coffin in which a vampire rests by day. They have come at the bidding of another vampire, Barnabas Collins, who wants them to destroy his colleague. Willie is ready with the stake and hammer, but Julia calls stop. She recognizes the ghoul in the box as Roxanne Drew, whom she identifies as “The girl Barnabas thinks he loves.”

Willie used to be Barnabas’ blood thrall; for some reason he now considers him a friend, and is voluntarily helping him and Julia in their efforts to combat the new vampire and a separate supernatural menace represented by a number of ghosts, some of whom have taken corporeal form. He hesitates to drive a stake through the heart of what appears to be a lovely young woman, but knows that doing so is the only way to save the life of Roxanne’s victim, governess Maggie Evans.

Julia has long since implicated herself so deeply in Barnabas’ many crimes that she has no hope of a future that does not center on him. She would like to carry on some kind of romance with him, a reasonable enough choice given that she cannot have one with anyone else, and has fallen in love with him after a fashion. Barnabas does not recognize the nature of their entanglement, and he refuses to reciprocate Julia’s desires in this matter. It must be galling to her that he has chosen Roxanne as his current infatuation, not least because she looks so much like her to be the daughter she never had. But her devotion to Barnabas is so extreme that Julia says that Willie and their friend, Quentin Collins, must carry the coffin to Barnabas’ house with Roxanne in it and allow Barnabas to decide what to do when he rises.

Julia goes to Barnabas’ house and finds Sebastian Shaw lurking in the parlor. She is startled to see him. He asks if he has committed a crime. Presumably he has, since he has no legal right to be there and no one is available who could have let him in, but Julia would rather ask him questions than scold him for trespass and unlawful entry. Sebastian is Roxanne’s closest known associate, and when they discovered that she was the vampire Julia and Willie were puzzled that he was not guarding her. For his part, Sebastian is interested in Maggie, and has come to Barnabas’ place to talk with Julia, who is Maggie’s doctor. He asks for permission to sit with Maggie, and Julia says that Maggie is too ill for visitors. Neither of them gets much satisfaction from the conversation.

Sebastian goes to the crypt and is surprised to find that the coffin is gone. He notices the hammer and stake on the floor, unused. Meanwhile, back at Barnabas’ house, Willie tells Julia that they left the hammer and stake in the crypt. Inexplicably, she orders him to go get them lest Sebastian find them. They aren’t monogrammed or anything- there’s nothing about them that could tell Sebastian who had been in the crypt. The most they can do is reveal to him that Roxanne has not been destroyed, but if he is under her power he knows that already. When Willie comes, of course Sebastian sees him and realizes that Roxanne must be in Barnabas’ house.

Barnabas rises. He is distraught to learn that Roxanne shares his affliction. At his command, Willie opens the coffin. Roxanne tries to bite everyone. Julia holds her back with a cross, and they re-close the coffin.

Julia holds Roxanne at bay. Screenshot by Dark Shadows Before I Die.

Willie and Julia leave. Roxanne is kept immobile by a cross on her chest. The coffin is hidden behind a bookcase in the parlor. Barnabas stands over the coffin and makes a speech, then leaves Roxanne alone in the house. The front door is, as always, unlocked.

Sebastian had let himself in after Julia and Willie left. He sees Barnabas come out of the chamber behind the bookcase, then lets himself into that chamber. He opens the coffin. Surprisingly, he does not let Roxanne go- he aims a pistol at her. Presumably it is loaded with silver bullets that will destroy her. It’s been clear all along that Sebastian hates Roxanne, but also clear that she controls him, so we have assumed he is her blood thrall and is powerless to act against her. Perhaps this is not so!

Episode 1104: When a body meets a body

Time travelers Barnabas Collins and Julia Hoffman are doing battle with two distinct supernatural menaces. One of these is the ghost of Gerard Stiles, who, as they learned while visiting the far-off future year 1995, is destined to destroy the great house of Collinwood and the people who call it home before the end of the current year, 1970. The other is a vampire whom they have not identified, but who has been feeding on their friend and frequent victim, Maggie Evans.

In the drawing room, housekeeper Mrs Johnson sees Gerard. Gerard takes control of her, as he does when he meets people in that room. She goes upstairs, where Julia is keeping vigil over Maggie. Mrs Johnson says she woke up from a frightening nightmare in which Barnabas was suffering. She describes the setting of the nightmare. Julia recognizes it as Rose Cottage, the deserted mansion where Barnabas has gone to confront Gerard. Julia tells Mrs Johnson to take over for her in Maggie’s room, and rushes off to her friend’s side.

Julia bursts into the room where Barnabas is standing around, his confrontation with Gerard having come and gone without noticeable result. Barnabas is surprised to see her. As she explains what Mrs Johnson told her, the room bursts into flames. They try to escape, only to find that the door will not open. All seems lost, until the door opens from the other side. A woman named Roxanne Drew has come to their rescue.

Before their sojourn in 1995, Julia and Barnabas spent a while in an alternate universe which the show insists on calling “Parallel Time.” In Parallel Time, Barnabas met Roxanne’s counterpart while she was comatose. Charmed by her immobility and silence, he fell in love with her. Even after she came to and started moving around and speaking, Barnabas remained attached to that Roxanne. Barnabas and Julia escaped from Parallel Time through a room in a burning house; we learned in #1071 that Roxanne followed Barnabas and Julia into the burning room too late for them to rescue her. We can only assume she died in the fire. In the current universe, an inverted mirror image of that one, this other Roxanne is the one who rescues Julia and Barnabas from a burning room.

Roxanne separates from Barnabas and Julia in the woods, saying she has something else to do. They return to Collinwood. They find Mrs Johnson unconscious and Maggie missing. In the woods, Maggie approaches a shrouded figure, whom we assume to be the vampire and who appears to be Roxanne.

Maggie meets the bloodsucker. Screenshot by Dark Shadows Before I Die.

This episode marks the final appearance of the character Mrs Johnson and of the actress Clarice Blackburn. Blackburn had taken a writing job on another soap by this time and was not available for acting work on a regular basis. She was an outstanding performer; Nancy Barrett says that Blackburn was the single best actor in the entire cast of Dark Shadows. Since Miss Barrett herself is a serious contender for this title, that is not an opinion to be taken lightly.

In the 1995 segment, Mrs Johnson died in the episode broadcast on 23 July 1970. That would suggest a dramatic date of 23 July 1995, very close to Blackburn’s actual date of death, 5 August 1995. But it gets eerier than that. In #1071, when charming rogue Quentin Collins says that he looked into Parallel Time and saw Roxanne trapped in the burning room, he goes on to fix the date of Julia and Barnabas’ departure from Parallel Time as 3 August, two weeks after the broadcast date. That would be the date of their arrival in 1995, and would mean that the third night of their time in that year, the night when Mrs Johnson died, would have been 5 August 1995.

Episode 1102: Can one more thing happen?

There are two storylines running on Dark Shadows at the moment. The A story began as an adaptation of Henry James’ novella The Turn of the Screw. Since they already adapted The Turn of the Screw as a Dark Shadows storyline in late 1968 and early 1969, it was rather grim for longtime viewers to see the same thing coming up again, but they’ve taken a fresh angle on it these last couple of weeks. The Miss Jessel equivalent, late governess Daphne Harridge, has taken the form of a living woman. That the living woman is the young Kate Jackson means that the audience instantly falls in love with her, which is very helpful since she is on a lot and the scripts do not give her an intelligible motivation for any two actions.

The characters corresponding to children Miles and Flora are teenagers David Collins and Hallie Stokes. The ghosts of Daphne’s charges Tad Collins and Carrie Stokes have taken over the bodies of David and Hallie. Daphne, Carrie, and Tad keep trying to perform a magic spell that will give corporeal form to the fourth ghost, Peter Quint equivalent Gerard Stiles. Gerard is even more blatantly evil than are the other three, and they keep getting interrupted before they can turn him into a real boy. Today, Carrie and Tad are inmates at Windcliff, a psychiatric facility under the control of mad scientist/ heroine Julia Hoffman, and at the end of the episode Julia catches Daphne in Tad’s room, making another attempt to get through the spell.

Julia catches Daphne with Tad in his room at Windcliff. Screenshot by Dark Shadows Before I Die.

The interiors of Windcliff look very much like an old mansion, prompting many commenters to say that the production staff had mounted so many scenes in the great house of Collinwood that they have forgotten how to depict any other kind of setting. But when we first saw Windcliff in #265, there was an exterior shot that made it look very much like a big old house that had been converted to use as a public facility. There’s no reason why the patients’ rooms shouldn’t still have looked like bedrooms.

Windcliff.

The B story is also heating up. There is a vampire prowling around the estate of Collinwood, and it isn’t Julia’s buddy Barnabas Collins. This new vampire has been feeding on Hallie and David’s governess Maggie Evans, and Maggie is so low on blood she may die if she is bitten again. Julia was guarding Maggie in the opening reprise of yesterday’s close, when the vampire appeared in the room, caused Julia to fall asleep, and drew Maggie out of bed. Today, charming rogue Quentin Collins enters in the nick of time to prevent Maggie being bitten again.

Quentin is distressed he did not get a good look at the vampire and still does not know who it is. They’ve made a big enough deal about the vampire’s identity that it must be someone we have already met, and we could see that the vampire is shorter than Maggie, which rules out all of the men in the cast. The only female character we haven’t seen in the daytime is the mysterious Roxanne Drew, so regular viewers don’t have a long list of suspects to work with.

One puzzle that hasn’t been solved is why Maggie is not at Windcliff. Windcliff was introduced as the place she was kept when she escaped from Barnabas after a time as his victim. Barnabas believed she was dead at that time, but as a vampire he had difficulty traveling any distance from Collinwood and he did show a tendency to lose interest in people who went away for any period of time. So if the new vampire operates along the same lines now that Barnabas did then, it would seem much wiser to send Maggie to Windcliff than to keep her in the great house.

This is the last of 63 episodes credited to writer Joe Caldwell. Caldwell made uncredited contributions to the show for some time before his name first appeared onscreen in #245. He specialized in intimate character studies; the slow pace of the show in 1967 gave him an opportunity to write many episodes of that type, all of them among the highlights of a very uneven period. He left in October 1967, and returned in 1970 when Violet Welles left the writing staff.

Even though very little really happened in the early part of the Re-Haunting of Collinwood segment, the show was so busy spinning in its tight little circles that it left Caldwell no opportunity to write the sorts of finely crafted miniatures in which he excelled. As a result, his second tour of duty on Dark Shadows does not include many memorable scripts. He will not be replaced, leaving Gordon Russell and Sam Hall as the only two credited writers for the remainder of the series. Others continued to make uncredited contributions from time to time, and in Welles’ case some of those contributions are instantly recognizable. But for the most part, it’s just those two guys locked in a room with executive producer Dan Curtis from now on.

Episode 1090: All we can do is maintain vigilance

Julia Hoffman enters the drawing room of the great house of Collinwood and sees her best friend, vampire Barnabas Collins, embracing governess Maggie Evans and staring hungrily at Maggie’s neck. She interrupts with news that she just had an ugly scene with one of Maggie’s charges, teenager David Collins. Julia suggests Maggie go to talk with David, and she immediately does so.

Julia scolds Barnabas for almost biting Maggie. He denies he was about to do that. She reminds him of the lengths he went to a few months ago to resist the temptation to bite Maggie. She does not mention that Maggie was his victim three years ago, in May and June of 1967, an event that has repeatedly been wiped from Maggie’s memory, though not from anyone else’s. Barnabas insists that he is in complete control of himself, and that Maggie is in no danger from him. Julia looks at him skeptically, as well she might. He sounds like every addict who is ten minutes away from a relapse.

Later, Barnabas and Julia are back in the drawing room. Barnabas is all huffy because Maggie went on a date with astrologer Sebastian Shaw. Julia asks why that bothers him. He says that Sebastian is either a charlatan or something worse. Coming from a vampire, this note of prim disapproval is pretty rich, and Julia does nothing to hide her sardonic amusement at his discomfiture.

Julia is darkly amused at Barnabas’ sputtering over Maggie’s date with Sebastian. Screenshot by Dark Shadows Before I Die.

Julia is so deeply involved with Barnabas that she has no hope of making a life that does not include him, and she long ago decided to make the best of this situation by falling in love with him. Barnabas initially responded to this attitude by cruelly taunting her, but now tends to respond to her unrequited feelings with tact and, at times, a measure of compassion. That tact and compassion do not go so far as to keep him from telling her about the other women he is chasing and expecting her to help him catch up to them, but sometimes, he speaks softly and gives her a hug. For Barnabas, that’s an enormous act of kindness.

For a long time, Barnabas was hung up on Maggie, and early in 1970 it looked like she was about to reciprocate his interest. Julia meekly stayed out of their way at that time. Then Barnabas went on a cosmic journey through an alternate universe and into the far-off future year of 1995. Julia accompanied him on that journey. While in the alternate universe, he fell in love with a girl named Roxanne, who looked like she could be Julia’s daughter. When he and Julia returned to 1970, Barnabas spent some of his time trying to prevent the disaster he and Julia learned was coming when they were in 1995 and the rest mooning about his lost Roxanne. That left him no time to reconnect with Maggie. Then, he met Roxanne’s Doppelgänger who is native to the main universe, and he was back in love.

This Roxanne apparently lives with Sebastian, much to Barnabas’ dismay. So whatever his past attachment to Maggie, the fact that Sebastian is available for Maggie to date suggests Barnabas might have a shot with Roxanne. Part of Julia’s grim amusement may come from watching Barnabas’ total inability to be rational enough to see this as a bright side.

Maggie comes back to the great house having had a fine time with Sebastian. She talks with Julia and Barnabas about David and her other charge, Hallie Stokes. She agrees that they seem already to be under the influence of the evil spirits whom Barnabas and Julia saw in the wreckage of the great house when they were in 1995, and laments her inability to get through to them. Barnabas says he will go home; Maggie offers to walk with him partway, since she wants some fresh air.

We cut to Sebastian and Roxanne’s place. Roxanne knows all about Sebastian’s date with Maggie. She mentions that she saw them at the restaurant in the Collinsport Inn. That will interest longtime viewers- the diner, as it is often called, was a major set in the first 41 weeks of the show, when Maggie worked there. It has been seen so rarely since then that we can never be sure it still exists. Sebastian wonders how Roxanne knows so much, and she placidly tells him she has her ways. He leaves the room, and she gives a mischievous smile, as if she has thought of another opportunity to use her ways to secure her interests.

Julia sees Maggie when she returns to the great house. Julia tells Maggie that she has been gone for an hour and asks what kept her so long. Maggie collapses, and Julia sees bite marks gaping on her neck.

At one point they cut from the clock in the foyer at the great house to Julia. They do a matrix wipe, in which the picture dissolves into squares and then the next picture assembles from those squares. It’s the first time they have used this effect, and it is not at all clear what point it is supposed to make. Also, both shots are loaded with lots of little visual details, so that laying one on top of the other produces an ugly, confusing image.

Matrix wipe. Screenshot by Dark Shadows Before I Die.

Episode 1088: Why do I have to see Collinwood again?

Julia Hoffman and her friend Barnabas Collins have seen the future. They know that before 1970 is out, a mysterious disaster will leave the great house of Collinwood in ruins, inhabited only by ghosts. In the course of the disaster, teenagers David Collins and Hallie Stokes will die, matriarch Elizabeth Collins Stoddard will vanish, and the rakish Quentin Collins will go insane.

Liz has forbidden Julia from telling Hallie and David what she knows. The ghosts have stepped in and asserted an influence over David and Hallie, preventing them from telling Julia or anyone else what they know. One of the ghosts has taken Quentin into her power, preventing him from doing anything to move the story forward. Astrologer/ psychic Sebastian Shaw knows that a disaster is in store, but he is under the influence of a woman named Roxanne Drew, who wants him to string Liz along with happy talk until they can bilk her of a lot more money.

Today Sebastian has a vision while he is alone with Liz. He describes a room and tells her she must not enter it. He then rushes out. When Liz repeats Sebastian’s description to Quentin and Julia, they recognize the room as one they had been in earlier. Julia wants to go there at once, but Quentin points out that if Sebastian’s words are of value that is what they ought not to do. Julia agrees with this. Liz says that she can’t very well accept being told not to go into a room in her own house. Julia and Quentin take a very stern tone with her, speaking to her as if she were a naughty child.

Liz is too well-bred to point out that both of them live in her house as her guests, but she does object and does go to the room. All Sebastian told her about the room was that it had been out of use for a long time, the walls are green, and there is a small figurine in it of a woman bending over a child. All Quentin and Julia told her was that they had been there. Yet she goes directly there. In the room, she encounters the ghost of the malign Gerard Stiles.

Liz senses Gerard’s presence. Screenshot by Dark Shadows Before I Die.

Liz had called Sebastian to Collinwood because the horoscope he prepared for her predicted that on this night an enemy would become a friend. We know enough about Gerard to be sure that his “friendship” means only his control. So if the prediction means anything, it can only be that Liz will cease to be a potential adversary to Gerard and will fall under his control. That, in turn, means that she, too, will be sidelined into a refusal to communicate, becoming yet another brake on a story that has been going nowhere for weeks.