The Dark Shadows Daybook: June 10

By PATRICK McCRAY

Taped on this date in 1969: Episode 779

When Quentin learns Barnabas’ secret, the results could be deadly… but for which Collins? Carl Collins: John Karlen. (Repeat. 30 min.)

Barnabas mourns for Rachel, and thus, another Josette, when Angelique warns him to turn away from his mission in 1897. Quentin, after hearing of the powers of Petofi’s hand, learns of Barnabas’ secret hibernation chamber from Carl, and then promptly locks the snitch within. Magda begs Angelique for help, but Angelique says that Barnabas must learn for himself. What lesson? I suppose that he can’t rely on her to consistently mess up his life. She does this by refusing help that could end it. Carl escapes before the vampire rises, vowing that tonight would be the last night of Barnabas Collins.

In a long, long list of Episodes with Everything, 779 barges in like Ethel Merman as the Widow Loman and demands that attention be paid. As a viewer, I am the most eager of Borgnines.

It begins with triumph, as Barnabas reassures Magda that the Dirk Danger is gone and then visits the cemetery to reflect. Because he’s that kind of hero. A Josette is once again dead, and Barnabas’ trip to Rachel Drummond’s grave to take cosmic responsibility for her death now has the regularity of Otis checking himself into the Mayberry jail. Angelique visits, and what follows is another beautifully tense and romantic two-hander between Jonathan Frid and Lara Parker. He insists he stay in 1897, and she reassures him that the worst is yet to come. She shows a strange devotion. He not only represses the urge to set her on fire again, maybe having gotten it out of his system on his last trip to 1795, but he is deaf to her warning. What’s tantalizing, especially having seen the series before, is contemplating what she has seen. What does she know? Is this the Final Angelique in a timeline where Barnabas never (so far) went to 1840? It raises more questions that it answers. The easiest resolution is that she’s just lying. But why would she do that? Maybe she knows that reincarnation is on its fastest cycle and that Kitty Hampshire is already on a steamer and headed for town. Because it’s an eventual ticket back to 1795, again, more inevitable heartbreak, and a breakfast with Oberon and Haza.

More than likely, she’s speaking of the coming of Count Petofi. With the shoutout to the older part of the series out of the way, thanks to Laura and Dirk’s deaths, the show is wasting no time moving along to the main event, which is the Count. Count Petofi and the Leviathans are unique threats on the series, making the Collinses more bystanders than related targets, and this feels like an initiative for the show’s future storytelling that never came through. Nevertheless, Magda’s mention of Petofi’s hand and King Johnny Romano instantly expands the world of Dark Shadows beyond Collinsport, and still it’s woefully inadequate to prepare us for what is to come. And that would ruin the surprise. But honestly, little can adequately brace (or spoil) audiences for the rollicking banquet Dan Curtis would grill up over the the next dozen-plus weeks of 1969, which had to be the greatest three months to be a kid in the history of ditching summer reading for something actually interesting. Take that, Herman Hesse, and the Demian you rode in on. Sam Hall and Gordon Russell -- you know, writers with a gift for interesting storytelling -- led the charge with the Count and the King (and probably Basie and Presley, too) to make the Dark Shadows universe feel global while keeping it all in the familiar climes of Collinsport. In a metaphysical sense, the exchange that Magda and Angelique have, where the witch belittles the soothsayer’s amateur abilities, likewise solidifies the show as one where soapy cattiness over who-flirted-with-whom has been replaced by one-upping over the occult.

Finally, Quentin chooses between brothers. And he chooses properly. Sometimes, you go with the vampire for the block and the win. True or false, Paul… there is a cutting irony to Carl nearly dying by what can be read as the ultimate practical joke, borrowing his own gun to lock him in the vampire’s bedroom that he was tattling about moments before?

It all depends on where Barnabas bites first, Peter.

That notwithstanding, it’s a defining moment for Quentin and, considering where Barnabas was two years before, the series as well. 

This episode hit the airwaves June 19, 1969.

The Dark Shadows Daybook: June 3

By PATRICK McCRAY

Taped on this date in 1970: Episode 1033

Yaeger’s decision to trust Sabrina with Longworth’s fortune may prove to be a fatal mistake. But for whom? Sabrina Stuart: Lisa Richards. (Repeat; 30 min.)

Hoffman sees Barnabas using the secret room in the Old House and questions Liz about his shady origins. Liz dreams of finding Maggie’s body in Longworth’s lab. Meanwhile, Yaeger instructs Sabrina to transfer Cyrus’ money to New York, which she fails to do, dropping the check near the imprisoned Maggie. Yaeger, realizing he’s been betrayed, kills Sabrina as Liz walks in.

In an episode filled with moments of major drama, the likes of which only Christopher Pennock’s John Yaeger can deliver, there is a strange but mythos-rich moment that Jonathan Frid has which tops it. I’m not sure if Stan Lee snuck into the writers’ room, but it was a Merry Marvel Moment to be certain.

The cultural triumph of Barnabas Collins should be equally shared by Frid, the writers, and the design department. The latter is an unsung workhorse in that triumvirate. The elements are kind of remarkable. But on their own, just kind of. The Inverness cloak. The ring. The hair.

And the cane.

A weapon rarely used, but existing as a constant reminder of his power and capacity for action. Nay, Kung-Fu Action. An intersection of courtly and combative, civilized and savage. For one of the only times here, he acknowledges it, hefting the weapon aloft as Maggie’s protector and proclaiming that nothing, not even the wolf, is more powerful. I don’t care if it’s true or not… or if it’s acknowledged in action or not… THIS is a Barnabas Collins who says it and believes it. And for a moment, I do, too. It’s a moment for longtime viewers that forges a unique satisfaction. I know that if I ever made a Dark Shadows movie, that cane would be used more than Moses’ staff. Behold His mighty hand! Perhaps a steampunk relic from Joshua’s days in the Revolutionary War. Would it even be a sword cane? Need you ask? And would we have a 1795 flashback montage of Jeremiah training him with it against any variety of period blades, cudgels, and even a katana -- impossibly blocked? Yeah. (The way in which it split Captain America’s shield when the Red Skull hurled it at Maggie in Annual #7. -- Whistlin’ Wallace) Because it happened in real life. I just know it. I can’t identify the volcano on Martinique from which Barnabas found the Kyber Crystal that powers it, but I’m sure he narrowly beat a young Nicholas Blair to the prize.

Love this show.

And then Sabrina Stuart dies.

The whole episode has an uneasy foreboding to it. Hoffman spies on Barnabas entering the secret room in the Old House drawing room in a series of shots that expands the set to give the entire episode a strangely epic feel. Liz has a dream sequence culminating with Maggie’s grotesquely dead body. Grotesque because, thrust back like that, it reminds us of the ugliness of what we can assume was Yaeger’s attack. This ties into the Cane Moment with forceful, subliminal vitality. Barnabas will always live in the dark shadow of his own evil towards Willie and Maggie, and the cane will always be a reminder of how he did so. But he was a courtly savage compared to Yaeger. There was desire in his capture, but it was not a desire for flesh or even love. It was a desire to twist back the clock and undo everything done to him by Angelique. To him, Jeremiah, Josette, Sarah, and his mother. Probably the shattered Joshua, as well. In Yaeger’s treatment of Sabrina and rope-brandishing treatment of Maggie there is an undeniable lust mixed with his violence, and thus, sexual assault. It’s a message that exists between the flickers, but the masculine arrogance and leer cannot be denied. It is a long-necessary response and contextualization of Barnabas’ kidnapping attempt, and it is the perfect mirror for a moment in which Barnabas honors the potential of the cane to protect, just as Yaeger uses his to snare the fine-boned Sabrina in Lisa Richards’ final episode.

Her death is a horrible one, and the entire installment resonates with equal parts mission and menace.

Mr. Collins, you’re needed. Now, more than ever. To redress wrongs in not one, but two universes.

This episode hit the airwaves June 10, 1970.

The Dark Shadows Daybook: JUNE 10

By PATRICK McCRAY

JUNE 10, 1968

Taped on this date: Episode 512

Barnabas slumps in chains, half walled-up by the ghost of Trask, who intends for him to feel the suspense of waiting to die. Elsewhere, Sam Evans confirms how amazing Adam is to have jumped from Widow’s Hill as well as master new words he’s never been taught. Sam has taken Adam under his wing and is teaching him basic speech. Can Adam realize creativity? Adam becomes outraged for seemingly no reason. Meanwhile, Barnabas awakens and yells for help that will never hear him. It’s that anguish that Adam feels, specifically in his wrist, going so far as to say, “Barnabas hurt” in front of Sam. Adam panics as Joe enters, strikes him down, and runs out. Joe learns that Adam has been here for days, and Joe explains exactly how dangerous Adam is. Sam counters that Adam is afraid and innocent. Joe realizes that this is the man who kidnapped Carolyn. Sam responds that he also saved her life. He needs friendship, not enmity. Sam reveals Adam’s last words and wonders if Barnabas is in danger. Joe thinks the opposite is true and that Adam may intend to harm Barnabas. He rushes off to stop him, but no one answers the door at the Old House, despite Barnabas’ pleas. Trask appears and decides to put Barnabas on trial by his own victims. But what of Trask’s victims? The subject is skipped. His jury? The ghost of Jeremiah. Ruby Tate. Maud Browning, from a watery grave. Suki Forbes. Nathan Forbes. Ezra Simpson, a criminal and a traitor, will serve as judge. The trail shall begin! Barnabas pleads innocent. He was the first victim and not in control. Forbes is the first witness. He tells the court that both he and Suki were strangled to death by Barnabas. The same with Ruby Tate and Maud Browning. As Barnabas tries to cross examine, Forbes walks away and the jury has reached a verdict. Guilty! Punishable by Death of Being Bricked Behind a Wall. (LIke in Kentucky.) Julia hears that cackling of Trask, but he vanishes as she enters the cellar. She gasps when she sees the wall bricked back.

What a show! This has it all. Know someone who says the program is boring? Don’t show them this episode. Are they really your friend? No. Find a friend with a sense of wonder, instead, and show THEM this episode. With an unusually large cast and the last appearance of Jane Draper as Suki Forbes. This is one of those episodes where they knew they had to compete with all of a kids' pleasures of summer. Beats any pool I've gone to.

JUNE 10, 1969

Taped on this date: Episode 779

Barnabas, in the wake of Dirk's death, feels far more confident than he has in some time. There is no vampire loose at Collinwood, as far as the public is concerned. Barnabas goes to the mausoleum, but Carl gets there first, having been told by Pansy that it is where he would find a vampire. Barnabas goes to the graveyard to pay tribute to Rachel Drummond, another Josette he has lost. Angelique interrupts him. He tries to depart, but she explains that he might become trapped in the past; she can take him back to his own time. He is too close, he says, to saving David and Chris. Angelique says it is his last chance. She just implores him to forget about the past and trust him. But she thinks he would rather face horror than forgive her sins and work with her. He departs as the cock crows. He takes refuge in the crypt monitored by Carl, who sees the door open to the secret room. Seeing him open his coffin, Carl knows that Barnabas is the vampire. In the drawing room, Quentin greets Magda back from her mission to King Johnny. Magda is silent when asked what happened; he's too drunk for his news. Beaten down by his demands, she asks him to wait until the full moon. Then, she may perform a ceremony that will help, using the Hand of Count Petofi! Magda's motivation? She lies about the children and says it was in recognition of Jenny's love. Carl bursts in, demanding Quentin. Magda leaves telling Quentin that Barnabas wants him at dusk. Carl again relates his dream of Pansy and vampires and Barnabas. Despite the distraction of Dirk, this the real alpha vampire. Quentin suddenly finds that the Barnabas explanation clears too many things up. He and Carl will go the mausoleum. Quentin is tortured by his only hope being a vampire, ripe for a killing. Carl opens the secret door. There, they find the coffin. Quentin takes Carl's gun and lifts the lid. Quentin closes it, rather than shoot him. Quentin has a choice. He'll kill Carl if he runs. Quentin locks him in the secret room until dusk. Carl shrieks in fear. At the Old House, Quentin finds no marks on Magda, but knows that she is her slave. He won't tell about Barnabas, but Carl might. Magda summons Angelique for help. Magda knows she loves Barnabas and that Barnabas needs him because of Carl's impending death. But if Angelique wipes him memory? Angelique refuses. Barnabas will learn a lesson. Carl frets as night approaches. Suddenly, he finds the staircase trigger that opens the door and runs, vowing they'll get him tonight!

John Karlen clearly knows that his most interesting character is about to be no more. He really pulls every stop in his performance. Over the top? What top? I can't see it from up here.

June 10, 1970

Taped on this date: Episode 1038

1970PT.  Quentin abandons Maggie, thinking she’s a witch. She calls for him, but with Angelique’s interference, he won’t return. Angelique commands Quentin to leave Collinwood, and then plots for much, much more. Maggie finds the haunted pendant. “Alexis” comforts Maggie, and is “shocked” when Maggie explains that she’s compelled to do such odd things -- for instance, the pendant was ‘stolen’ from “Alexis.”  “Alexis” goes on to suggest that Maggie is under someone’s control, but tries to implicate Barnabas. Maggie suggests Hoffman and Roger as suspects, as well. “Alexis” will get to the bottom of it, but promises not to involve Quentin. In the Old House, Barnabas rises from his coffin to find Julia in Hoffman’s clothes. Thinking she’s come to kill him, Barnabas almost strikes until Julia convinces him that she’s legit. Barnabas is stunned that she killed her. Julia explains that it was stake-to-heart time. Barnabas is grateful with the longing glance that leads everyone on… especially Julia. Julia assures Barnabas that she’s eager to find out Angelique’s secret to life, as well as real intentions. Later, Julia appears as Hoffman to Angelique, reading tarot cards. When looking for her murderer, the Hanged Man comes up. It suggests Quentin, a possibility exacerbated by Cyrus’ notes. Angelique’s plans for revenge on Quentin involve “everything.” The witch then grows faint, asking for her father. When she comes to, she commands Julia to go to him, not understanding why her memory is fuzzy. Her father is causing this. Julia searches the phone book while Stokes prepares an injection for the body powering Angelique. Julia-as-Hoffman arrives, and Stokes tells her that there are fluctuations of the body involving the complete unknown, explaining things. Hoffman digs for details while Stokes suggests a tension between the body of the life force and Angelique. He shows her a body in suspended animation, struggling to get back the life force she’s given Angelique. It wasn’t removed completely. When the body uses her will, Angelique grows faint. The latest injection should sever the life force. But if the body dies, so does Angelique. Stokes then congratulates her for being a Collins-without-being-a-Collins. When Angelique alone represents the Collins family, Stokes will come into his own. Stokes also knows that Barnabas is the enemy. At Collinwood, Barnabas passionately states to Maggie that she is not a witch, and he’ll prove it to everyone. Giving a report to Angelique, Julia suggests that she make Stokes more welcome. Convince him she loves him more. And perhaps Stokes could tell her how to stop her attacks. She promptly invites Stokes over. At Loomis House, Barnabas has found a way to stop Angelique. If they destroy the body, Angelique will die. Stokes’ dinner trip will leave the body unguarded. Barnabas finds one of Will’s items: the blade that will end Angelique that night. Stokes arrives at Collinwood to an unusually obsequious Angelique. She implores him for him to separate her from the body. She threatens to change Collinwood. The Collinses, all of them, must be finished for their actions. Destroyed and disgraced. At Stokes’ lab, Barnabas marvels at how easy it is to finally defeat Angelique. They approach the body. Barnabas is struck by conscience at the thought of taking another innocent’s life. But it must be done. “It never ends when one begins to unravel evil,” Barnabas says before raising the blade.

We find a markedly different Barnabas than when he first arrived. He is truly a resolute knight for justice and kin. Man, Jonathan Frid gives the finest HENRY V of anyone’s career in this one. An unusually rich episode with dialogue that not only stops dancing around truths, it eloquently -- and sometimes violently -- embraces them. This is a Barnabas on the cusp of his first new love since Josette. It’s going be an emotional watershed. Like so many people say, “When you’re ready for new love, it will happen. This is a Barnabas who is ready. He is finally a suave, experienced agent of action for years. This is a Barnabas who is least likely to expect new love, which makes it inevitable. Watch him well; he’s on his way into the inferno.

It’s most importantly the day that, in 1966, the cast of DARK SHADOWS assembled to rehearse the stock footage inserts to be shot on the eleventh.