“I’ve got a feeling about this doll.”
It’s the next morning, and Joe’s been out all night searching for young David, who’s trapped in the secret room in the mausoleum.
Joe walks over to Maggie’s house, and he slumps down into a chair to grab a few moments of rest. He’s exhausted, and dirty, and he hasn’t shaved. And you remember how yesterday I noticed that Joe is really handsome? Cause, damn.
But there’s no time for romance; we’ve got serious business today. Worn out from weeks of baffling mysteries, Joe finally says what everyone’s been thinking.
“We all know there’s something very strange going on in this town,” he says, “but I’m beginning to think that it’s something so strange that…”
That what, Joe?
“That it borders on the supernatural.”
BOOM! And the world explodes.
This is an important thing for them to figure out, because the Dark Shadows universe has changed quite a bit lately. When they started a year ago, they were playing in that bland, vague territory where the ghosts might turn out to be metaphors for the haunted places of the human heart, or whatever.
Over the last few months, the show has taken some definitive steps. Barnabas is a vampire; Sarah is a ghost. And pretty soon, the writers are going to realize that allowing those creatures in means that all kinds of impossible things can jostle their way through the doorway from the dark dimensions.
Now, in a fictional universe where “the supernatural” really exists, there’s a standard sentence that the characters tend to reach for. It begins as an expression of denial, but after a while, they start to use that sentence as a lever, wedging it under the untidy corners of reality, to pry the truth loose for everyone to see.
You know what that ritual sentence is; everybody does. It’s the thing that frightened humans have always said, when the darkness creeps closer to our little circle of firelight.
And as Joe, worn out from a long night of chasing shadows, finally admits that something uncanny is loose in the world, Maggie invokes the ritual.
Say it with her. You know the words.
“I keep thinking that
there’s some sort of logical explanation
for everything that’s happening.”
And she’s right, there is a logical explanation, namely: Sarah’s a ghost. In this universe, that’s the explanation that fits the facts. As the characters piece together what they know, any other theory just collapses in on itself.
The principle of Occam’s razor says that the hypothesis with the fewest assumptions is the most likely explanation. At a certain point, “Sarah is a ghost” becomes the simplest hypothesis.
This idea gets developed further when Dr. Woodard arrives; Joe asked him to come over for a chat about the nature of observable reality.
Joe says that he wants to talk about Sarah, and Woodard responds, “Sarah? What about her?”
What do you mean, what about her? Everything about her. Do we have to go over this every damn time?
Joe tells Dr. Woodard that Sarah visited this house the other night, and she dropped off her doll on Maggie’s bedside table.
As we’ve discussed before, the nature and composition of these ghost props defies all attempts at analysis. The items appear to be physical manifestations of Sarah’s 18th century possessions, possibly constructed out of weapons-grade Ecto Cooler. Sarah can leave these objects behind, and then absorb them again when she takes them back.
Woodard asks if he can borrow the doll for a while, and finishes the scene with a flourish of over-dramatic potboiler dialogue.
Woodard: I may be out of my mind, but I’ve got a hunch that we can learn something from this thing.
Joe: Oh? What?
Woodard: I’ve got a feeling about this doll… a feeling that it could lead us closer to the truth than we’ve ever been before.
But that’s enough jibber jabber; let’s go find out what the ghost is up to.
Willie’s out patrolling the grounds around the Old House, and Sarah appears behind him. He knows who she is, and he tries to keep his cool.
Willie: Everybody’s been lookin’ for ya… and somebody special, he’s been looking for ya too!
Sarah: Who’s that?
Sarah: I’ve been looking for him, too!
Willie: You have? You wanta see him?
Now, just a quick point of order: that exchange makes no sense at all, not even by the loose standards of Dark Shadows ghost dialogue.
Sarah knows where Barnabas is. She’s been spotted in the Old House, and Willie saw her looking in the window just three days ago. The sentence “I’ve been looking for him, too” is meaningless mouth noise; it might as well be a sound effect or a music cue.
It’s even worse when she says that she can’t come to the Old House right now.
Willie: Why not?
Sarah: I have to look for somebody who’s lost.
Willie: David Collins?
Sarah: Yes, David.
Willie: Don’t you know where he is?
Sarah: No. Sometimes I almost know where he is, but then I’m not sure.
And that’s just pure horseradish; I can’t even express how pointless and lazy that exchange is.
Sarah knows that David is trapped in the secret room in the Collins mausoleum. She brought him there. I have literally no idea what writer Ron Sproat thinks is happening in this scene.
This is basically a repeat of what Sarah said when Maggie was taken away to Windcliff Sanitarium. At the time, she told David, “Sometimes I almost know where she is, but then it all fades away, and I begin to cry again.”
That scene actually meant something — Maggie was quickly spirited away, far outside Sarah’s usual territory. You could imagine Sarah standing near the Old House, listening, trying to tune into some kind of psychic radio signal from far away.
But you can’t just take that scene and copy it into a new episode like this, because she knows exactly where David is. She has to. If we’re really supposed to believe that Sarah can’t find David — in her own crypt, where she left him — then this is all mouth noises and nothing but.
Sarah’s character has never been particularly well-developed, but these days it’s flying to pieces every time she opens her mouth.
To finish this baffling episode with the shock ending that it deserves, Dr. Woodard confronts Julia, who he believes knows more about little Sarah than she lets on. Julia’s eyes are open, so obviously she’s lying.
Julia: Actually, I know very little about her. I haven’t given her much thought.
Woodard: Well, I have… and believe me, Julia — that little girl, to me, is at least intangible. It’s she who’s made me begin to suspect the supernatural.
And that’s something that I love about Dark Shadows — what Woodard just said might be the scripted dialogue, or it could be a garbled blooper, or some mysterious combination of the two, and there’s absolutely no way to tell.
“Sarah is at least intangible”? What the hell is that supposed to mean?
Caught on the back foot, Julia reaches for the traditional response.
Julia: It wouldn’t surprise me if there’s a very logical explanation to all that.
Woodard: Oh? Well, there’s nothing in the way of a logical explanation… about this.
And he hands her the wooden doll that Sarah left for Maggie.
There’s no way out of this situation except to step on the gas and drive straight through it, so here we go.
Woodard: It looks almost brand new, doesn’t it?
Julia: Well, it looks like it’s in very good condition.
Woodard: It looks as if it just came out of a toy shop. There’s no scratches on it, the material’s in excellent condition. The paint hasn’t even begun to peel.
Julia: All right. What about it?
Woodard: No doll like that has been made in years. No one has manufactured a doll like that in our lifetime. It’s an antique, Julia.
Julia: An antique?
Woodard: That doll — Sarah’s doll — may appear to be brand new, but in reality… it’s over 150 years old.
Everyone raises an eyebrow. The fact that this is incomprehensible doesn’t matter. It’s the dawning of a new age. Sense is optional.
Tomorrow: Between Sentiment and Survival.
Dark Shadows bloopers to watch out for:
When Willie comes to Collinwood in the middle of the episode, Julia doesn’t close the front doors all the way, and they swing open again as Julia and Willie walk into the drawing room. The front doors are magically closed in the next scene, when Dr. Woodard arrives.
Tomorrow: Between Sentiment and Survival.
Dark Shadows episode guide – 1967
— Danny Horn
16 thoughts on “Episode 314: A Logical Explanation”
My interpretation is that Sarah loses her memory, or at least part of it, every time she blinks in and out. Or she is deliberately trying to mislead Willie by playing dumb.
Joe is very handsome, although his final episode is one of my absolute favourites, it was a damn shame they didn’t keep him around!! Great chops in all directions!
I also agree that Sarah has memory lapses. I have a ghost character of my own with some. I don’t have a problem with the objects going in and out of the ether either. Once your created universe contains ghosts or other supernatural elements, I think you can make up whatever rules for them you wish.
Joel Crothers (Joe) went on to play Dr. Miles Cavanaugh on The Edge of Night, by the way.
Sadly, Joel Crothers passed away in 1985 during the early years of the AIDS epidemic, before life-saving drugs were developed.
I’m starting to wonder how many encounters with the supernatural does it take for people in Collinsport to start realizing it’s not just their imagination or that they are dreaming.
Seems like after Laura Collins, the folks at Collinwood would be ready to accept anything. And they’ve all participated in seances that resulted in a ghost speaking through Vicki.
You have said what I am always yelling at the telly. I mean, what do they actually have to experience to believe the craziest and least likely explanation is MOST likely.
“Julia’s eyes are open, so obviously she’s lying.”
I think Dr. Woodard is my favorite character (Roger excepted of course…but he has been on too long a vacation lately). Woodard just gets so damn irritated about every little thing. He cracks me up on almost every line he delivers.
Sarah is just being cryptic; the writers were trying to create dialogue for a ten year old child, and didn’t quite make that work.
And I’ll give some fanwank – Sarah does not trust Willie, so she isn’t going to tell her best secrets to him, telling him where David is would give that away.
And as far as why she won’t appear to David…she knows where he is, but she wants him to ‘stay and play’ -forever. He can only do that by dying, but she doesn’t want to tell him that.
While I’ve always liked Joe, he does look amazing in this episode.
Joe is fine…sugar britches and all.
Although Sarah’s doll is not old enough to be made during her lifetime of 1786-1796, I give DS huge props for at least using a doll that was made during the early/mid-1800’s.
A rich little girl’s doll would have been quite different, even for the age of the doll they used.
This doll is a penny wooden, which was an inexpensive doll.
Earlier dolls of the late 1700’s would have had much more detail, such as in the carved wood hands with digits, particularly for a wealthy family.
Rarely do I see an age appropriate doll used in any television show that is actually a “period piece.” I’ve always been impressed over the, generally, age appropriate props. DS had great sets and props.
Hey Dee Dee, thanks for the info about Sarah’s doll and dolls of that period. I’m a huge history buff, and love coming across little tidbits of knowledge like this. Yeah, tv and the movies are usually not good places to see genuinely accurate historical shows. 😉 So some kudos to DS for at least making some effort.
Yeah, Dee Dee, the doll discourse and antiquity review was fantastic! I love that there is a close-up of the doll at the end of the episode for all of us to see. Perhaps the doll will now replace the music box as the most talked about and seen prop for awhile.
I think it becomes my Julia Prop-Watch #10 as she is definitely giving it her usual work over in the last scene. Maybe she’ll dismember it to see if there is any kind of clue inside.
Overall, the episode seems disjointed and rambling like Danny said. Sproat needs to get it together though the introduction of the word “supernatural” in two separate scenes does inch things along somewhat. And Joe’s “scruff” really makes him even more of a dude that all of us just wanna, well, let’s save that for now.
That last screen shot of Joe is . . . well, scrumptious! As to the doll, no one seems to think that it could be a replica from a living history exhibit. Although I’m still in favor of a pocket dimension myself.
This episode is difficult to pay attention to. Joe Haskell with his turtleneck, plaid lumberjack jacket, and scruffy beard is muting all the dialog in favor of just looking at him. He’s always handsome, but here he’s just delicious. Suddenly I hate Maggie…..
“Do we have to go over this every damn time?”
It’s a Ron Sproat episode so yes.
Joe has the most beautiful grey/blue eyes, and those cheekbones. What a handsome man, and the scruff just makes him sexier. So sad he died young, I wish he could read all the complimentary comments on this blog. I often hope the remaining living cast members, like Nancy Barrett and KLS, read this blog and understand how much the fans appreciate their work.