“The time is over when no one would listen to you. The time is over when you were alone.”
“Angelique!” he gasps.
The wicked witch smiles. “Hello, Quentin.”
“How did you escape from Petofi?”
She looks away. “I just did,” she shrugs.
Okay. Well, screw you too, I guess.
But we have no time to discuss Angelique’s flight for life — I think her technique was hit somebody over the head with a rock, and then light out for the territories — because we have more important business to take care of.
A month ago, we saw a young woman hammer a stake through the heart of eccentric millionaire Barnabas Collins, and then they just sealed him up in a cave and figured that was that. But last week, when we rolled the stone away from the sepulchre, there they were, the two of them — a dead Barnabas in a box, plus a bonus Barnabas walking around and acting morose. Stay tuned for the logical explanation.
“Is this some kind of trick?” asks Quentin, who’s currently inhabiting the body of a mad god with a magical hand. “Or is this some new bargain you’ve made with Petofi?” He slumps into a chair, flabbergasted.
“Quentin, stop torturing yourself and listen,” Barnabas urges. “The time is over when no one would listen to you. The time is over when you were alone.”
Barnabas approaches his friend, and rests a reassuring hand on the armchair. “Now, this is part of my plan,” he says, and consults the teleprompter.
So we’re off to something of a rocky start, but there’s a logical explanation for that too; this happens to be one of the most chaotic periods in the history of this chaotic show.
In September, back when there was only one Barnabas and the world made sense, the Dark Shadows team shifted into an accelerated production schedule. They were taping about ten days ahead of broadcast, which was more or less the norm since the technicians strike in 1967.
Now, they’ve decided to get four weeks ahead. This may have been ABC’s decision, or the production team’s; I’m not sure. But it does seem like a healthier situation in the long run, so there’s more of a cushion in case something goes wrong. Ten days is pretty harrowing, and it’s a good idea to be further ahead than that.
But here we are in the short term, where building up that backlog means that the under-resourced team of lunatics responsible for this program are pushed even harder.
Here’s how it played out.
Pansy stakes Barnabas in mid-September, and Jonathan Frid leaves on a four-week vacation. At that point, they move into a six-day production schedule, running Sunday to Friday, for the next eight weeks.
Up until now, they’ve never been able to shoot on Saturdays, because they use Dark Shadows’ cameras to film ABC’s Wide World of Sports, a production detail that I think is absolutely adorable. But during this period, they actually do a couple of Saturdays, so maybe ABC’s got some new cameras at last.
In fact, there’s a period in the middle of this accelerated production where they tape an episode every day, for 13 days straight — from Sunday, October 5th, to Friday, October 17th. Going from Sunday to Saturday, the calendar looks like this:
863 – 866 – 867 – 868 – 869 – 870 – 865
871 – 872 – 873 – 874 – 880 – 879
So today’s episode, 871, was taped on a Sunday in the middle of that hectic period, when there’s no such thing as a weekend.
You’ll notice that this schedule is completely out of order; they jump back and forth from one episode to another. They do that through this entire accelerated schedule, because when you’re shooting thirteen episodes in a row, you need to conserve on actors and set changes. The most extreme example is the very end of this eight-week period, in early November, when they tape episode 890 on a Friday, and episode 903 the next day.
This is an unbelievable spike in production, on an insanely ambitious show that already pushes everyone to their limits.
For example, there’s only three writers, doing a job that these days requires about twelve. Right at the time when the team needs to figure out how to wrap up 1897 and begin a whole new storyline, they suddenly have to write six scripts a week, instead of five. This is why the beginning of the Leviathan story is terrible.
Oh, and two of the three writers are also working on the script for a feature film, House of Dark Shadows, which got the green light from MGM in August, and was originally scheduled to begin shooting in October. This is why the beginning of the Leviathan story is terrible.
And as harrowing as the ten-day lead time was, the upside was that they were able to course-correct very quickly, changing the focus of a storyline if it wasn’t working out. Once they’re taping four weeks ahead, they can’t pivot as fast. This is why the beginning of the Leviathan story is terrible.
Thankfully, that’s tomorrow’s problem, and we’ve got quite enough problems for today. Barnabas’ miraculous resurrection has brought the show’s ratings to its all-time peak, holding America’s housewives and teenagers and shut-ins and mental patients utterly spellbound.
But as I pointed out last week, a peak has two sides, so that means some fraction of the audience took a look at this week’s episodes, and decided to change the channel. Let’s see if we can spot the exact moment when that happens.
Barnabas: And now, we will tell you everything, if you will listen.
Quentin: Yes. Yes, I will listen.
Barnabas: When Julia Hoffman arrived in the present — from the present, I knew that I could be cured of being a vampire. Then I could move more freely, and fight Petofi. But I had to make sure that everyone at Collinwood would be convinced that the vampire was dead. To do that, we had to see to it that the vampire… is dead.
Okay, that was easy. What do you want to do now?
And oh, look how tired everybody is today. You would think that shifting into a grueling six-days-a-week production schedule would make them ease up a bit, and see what life is like when you’re not constantly trying to push the limits of the available technology. But they don’t do that, obviously, because Dan Curtis is a madman, and a challenging situation only makes him want to push harder.
Last week, they did that insane scene in the cave where you could see both versions of Barnabas in the same shot, and today, they’ve pre-taped half the episode, including costume changes and extensive Chromakey effects. So Angelique and Barnabas are supposed to be super happy in this sequence, explaining their clever plan to Quentin, but they look completely worn out.
But what the hell, on with the show. Angelique introduces the pre-taped flashback.
“One night, before the vampire was killed,” she says, “Barnabas and I were alone… in a hidden room!”
And here they are, in a hidden room. I suppose this is meant to be in the rectory somewhere, but it’s one of those patchwork Dark Shadows sets which appear to be made of stone and bricks and wood paneling and drywall, all in the same tiny corner, and a mysterious light source emanating from exactly the opposite direction of the candles. This is what you get when you tape thirteen episodes in a row.
Barnabas walks in, and stands in front of a full-length mirror for a minute. Then Angelique tells him to scram, so he can hurry off to another set for the Chromakey effect.
Angelique puts her hands together, and adopts the genuinely panicked expression of someone who has a big important spell to say, and she can’t quite remember how it begins.
Angelique: Since death is the twin of sleep — sleep is the twin of death! — and death is the twin of life — sleep in this mirror until you are awakened, twin of Barnabas Collins!
And then Barnabas appears in the mirror, and it looks awesome, because Dark Shadows is amazing.
When we come back from commercial, there’s a Barnabas voiceover, saying, “And so Angelique trapped the reflection. That was the beginning of the doppleganger. That midnight, she went to the graveyard, and came back with earth from the newest grave.”
So here’s Angelique with a fistful of dirt, which she scatters around as she doubles down on the twin of death idea.
“As death is the twin of life,” she proclaims, “you — the twin of Barnabas Collins — take the breath of life from death! Leave the frozen world, and come to life!” It does.
“I’ve done it!” she cries, triumphantly. “I’ve made the doppleganger!” So I guess this is what she was going for.
And it’s obvious, really, that this would be the solution to the mystery. Everybody is working so hard right now to make this show. This is the fantasy — that they could create duplicates of themselves, to do all the extra work.
Okay, back to the rectory, for some more exposition from Barnabas, who honestly does not have it in him today. It turns out that it was the doppleganger in the coffin who got staked, so hopefully it didn’t have any feelings.
Quentin takes a moment to apologize, saying, “I can’t forget that I was the one who was intended to destroy you.”
And Barnabas responds, “But… I’m sorry that it had to happen that way, but, we have to do things that we don’t want to do, and… well, until we have destroyed Petofi.”
The scene ends, eventually, much to the surprise of Jonathan Frid, who thought he was trapped forever.
So then we move on to Count Petofi’s secret lair in the basement of the old mill, where Charles Delaware Tate is acting as hard as he can. This scene requires a whole other complicated backstory, so bear with me for a moment.
Tate is a famous painter, and one of Petofi’s proteges. At some point in the offscreen past, the wizard gifted Tate with the master’s touch, in exchange for some design consultation on one of his nefarious schemes. Tate’s the guy who painted Quentin’s Dorian Gray portrait, which turns into a werewolf on the night of the full moon, so that Quentin doesn’t have to anymore.
But Tate was mad at Quentin for seducing his girlfriend, so he stole the portrait and refused to give it back. Petofi took exception to this, and used his legendary hand to take Tate’s aptitude away. Now Tate can’t even pick up a pencil, so he’s got no girlfriend and no career, and he’s having a hard time adjusting. Also, he’s played by Roger Davis, who’s a terrible actor.
As a performer, one of Roger’s lamentable traits is that he always acts like he’s furious, even in his tender moments, so when his character is actually supposed to be angry, things escalate. He also grabs the other actors a lot, and when he’s upset, which is all the time, he indicates this by touching his head. When you put this all together, it makes for a trying day for everyone.
So this scene is basically scream therapy — not just for Tate, but for the entire production staff. “Please, Petofi,” he begs, clutching his scene partner’s arm. “I have suffered enough!”
Quentin tries to explain that he’s not Count Petofi, and he doesn’t have magic powers, which makes Tate explode with rage.
“You’re Quentin Collins?” he snarls. “Come on, Petofi!”
He shifts into a higher gear. “What do you think, you didn’t take my MIND away from me, or my EYES, or my EARS!” He points at his head each time, to illustrate the concepts.
“Now, look,” he emotes, “I ask you once more, Petofi, please! Please, give me back my talent!”
This would be a funny thing to make Roger Davis say under any circumstances, but right now, it feels like a heartcry. They’re writing and taping six episodes a week, with no time to rehearse, or plan, or construct meaningful sets. They’re pre-taping much more than they’ve ever done before, and the special effects are getting even more elaborate. Plus, they’re trying to figure out how to make a feature film, using a production team that has zero film experience.
As far as the ratings are concerned, they’re at the top of their game. But they’re teetering on the edge of a rather spectacular collapse, and they know it, even if the audience hasn’t figured it out yet.
And here’s Roger Davis, the worst actor on the show, embodying everyone’s worst fears — that the brilliant work they’ve been doing for the last several months is about to dry up, and they don’t know if they’ll ever recover.
Please, says Icarus, getting as close to the sun as his wax wings will allow. Please! He’s flying so high — higher than he ever dreamed — but the wax is melting, and he’s losing feathers, and there’s such a long drop to the sea — Please! Give me back my talent!
Tomorrow: Tick Tock.
More Dark Shadows bloopers to watch out for:
There’s a little tape skip at the beginning of the first act, when Barnabas says, “I knew it the moment I saw you.”
Barnabas tells Quentin, “At the time, I was in a cave, not far from the coffin.” He means a cove. The coffin was in the cave.
Another Barnabas flub: “But I couldn’t find her, and I became so ill that I looked for help — but I couldn’t, uh — realize — where anyone was, and it was dangerous for me!”
When Petofi is talking to Quentin in the mill, the camera suddenly goes out of focus on Petofi’s closeup.
Tate recognizes the I Ching wands in Petofi’s hand. Petofi says, “If you know what they are, you can understand what I want you to do, don’t you?” Tate mutters, “Cast the 49th hexagram.” Petofi grins: “Exactly!” Now, the whole point of Petofi getting people to test the I Ching hexagrams is because he doesn’t know which one unlocks time travel — so it makes no sense for Tate to spontaneously come up with the 49th, when he doesn’t even know what Petofi is trying to do. When Tate casts the wands, Petofi cries, “How right you are, boy — the 49th hexagram! Po — the hexagram of change.” It’s possible that Tate was just supposed to say “Cast a hexagram,” and Petofi ad-libbed the “How right you are, boy” part to cover for Tate’s mistake.
Also, the 49th hexagram is Ko, not Po, so whatever.
Tomorrow: Tick Tock.
— Danny Horn
27 thoughts on “Episode 871: Give Me Back My Talent”
So, you screencapped Angelique’s “O” face after her successful spell.
I’ve loved this episode since I first saw it almost 20 years ago. I’d missed a string of episodes so I was about as confused as Barnabas was. But it’s so much fun — from the Fridspeak to Tate’s over-the-top hissy fit. Selby is delightful as Petofi, and his enthusiasm when he discovers the right hexagram is contagious.
The problem, though, is the series is now like a Claremont X-MEN comic (also during that series’s peak) and is somewhat impenetrable to new viewers or frankly even existing viewers. Starting fresh — basically “rebooting” the series — would be ideal but the series winds up even more confusing, with characters no longer behaving like themselves.
I think the accelerated production schedule is also because of “House of Dark Shadows”.
If I remember correctly, when they start filming the movie, there was a two week period when they didn’t tape any episodes.
I’m at work now and can’t check the episode guide, but I think that’s probably why they want to get 4 weeks ahead, to cover that period.
Yup, I checked the episode guide, no shows were taped between March 31, 1970 and April 14, 1970.
Some more thoughts:
Lady Hampshire is perhaps my favorite KLS character (aside from the early Maggie Evans, who I’d argue we “lost” once Julia wiped her memory). It is unfortunate that such a flawed and thus interesting character wound up bulldozed in order to be the “new Josette.”
I also thought Edward and Kitty were an adorable couple with a chemistry that I think is a testament to KLS — she really is convincing as a woman who’d be a decent match for Edward Collins as played by Louis Edmonds. Consider Roger and Maggie the governess in romantic scenes (don’t try it for long) and you’d see what I mean. There was a lot of potential here for Kitty, whose intentions were originally somewhat predatory, to come to legitimately care for Edward… but then came Barnabas.
Barnabas and Josette, even during 1795 and especially when Barnabas was still human, never had as many cute scenes together as Kitty and Edward. So it bums me out to see Kitty “become” Josette and basically bail on Edward.
1897 ends on a really sour note for Edward, who let down his guard and fell for someone after his first wife’s betrayal and then his fiancee basically does the SAME THING (runs off with a male family member).
I agree, Kitty and Edward are great, and yes, much more attractive than Roger and Maggie would be as a couple (thanks for that image by the way) 🙂
I also think KLS looks great as Kitty, her hair and costumes are really gorgeous.
I never really thought Frid and KLS had strong chemistry together, when they kiss, it doesn’t quite feel right, but when Frid and Lara Parker kiss…I can believe those characters are attracted to each other.
The ‘Roger and Maggie’ pairing in the 1991 reboot was really cringe inducing as well
Also, if Josette’s ghost has been haunting Collinwood (and saving Vicky among other things) she could hardly have reincarnated as Kitty…
But as I was told, logic and DS do not mix
I don’t object to the Josettery or to the sad ending of the Kitty/ Edward story. On the contrary, I wish the ending were sadder. If they’d slowed 1897 way down and had it go at least twelve months, the romance between Kitty and Edward could have developed for two or three of those months before the de-vamped Barnabas shows up and she starts having flashbacks. Then we’d be really invested in both Kitty/ Edward and Josette/ Barnabas, really conflicted as we watched the story come to its climax.
Since Kitty was left nearly destitute after her husband’s suicide and had apparently hoped to marry Edward for his money, and since (if I recall rightly) at some point Edward actually indicates that it would be advantageous for him to marry her for hers since the Collins wealth belongs solely to Judith, I was waiting for the inevitable scene in which the two of them find out that neither of them actually has any money at all. I wouldn’t have even minded if this ended up not mattering to either of them when they found out, due to their having actually fallen in love by then, as tired as that trope may be. Almost anything would’ve been better than having Kitty become Josette.
Right on to all of that. Would’ve been a much better storyline. Does it appear in any fanfic or audio supplement? or not yet….
Not that I know of!
I wonder if originally Kitty was there at all since Petofi is only there due to Barnabas.
I like to think Kitty married Edward and is the grandmother Elizabeth speaks of in an early episode, as it was obviously not Laura.
Joey, I’m confused. How exactly was Petofi there only because of Barnabas?
Can someone please get ahold of some IChings & go back to 1969 and let Dan Curtis know he’s about to mortally wound the show…
Yeah, and also let him know he needs to create a DS spinoff – “Collinsport” with Edward and Kitty as the main characters.
People love Kitty, because she looks awesome, and she is awesome.
She does wild things, like strangle Angelique, and plot to marry Edward’s wonderful money, only to fall in love with Edward…and Barnabas. One for each of her personalities. She’s complicated.
KLS looks great in black, or deep purple. She’s got sort of a dark Alphonse Mucha thing happening.
The best male costumes usually go to Louis Edmonds.
Edward may be very straight and proper, but he’s probably the biggest peacock on the show. He’s always immaculate. They look great together.
It is a shame to see Kitty be trashed by the one-dimensional Josette, a colossal mistake, as Kitty had so much room for development of her character, only to be crushed by a tired old plot.
The Kitty and Pansy Show spinoff.
With Angelique and no Barnabas.
Frid is worn out at this point, unconvincing at every turn.
Reading these comments, I’m so glad to learn that I wasn’t the only person who adored Kitty and Edward as a couple, and was frustrated when Barnabas stepped in and made a Josette out of her. Barnabas was pretty much a disaster for everyone he encountered in 1897 – he begins by vamping Sandor, and concludes by wrecking Edward’s love life!
Isn’t this the episode where Petofi/Quentin explicitly accuses Tate of being grabby? Somebody had to say it. But was it scripted or an ad lib, and if it was scripted, was it a veiled or not-so veiled jab at Davis?
i caught that too, Miles, and i’m certain you’re right, for everyone’s benefit, mostly the women, Quentin wielded the ad-lib of justice. i had been hoping Danny would comment on it, this long due comeuppance.
“But as I pointed out last week, a peak has two sides, so that means some fraction of the audience took a look at this week’s episodes, and decided to change the channel. Let’s see if we can spot the exact moment when that happens.”
Terribly interesting entry on this episode; but I am left wondering if the question posed above was answered obliquely via the dialogue quotes that followed; used to foreshadow later entries (I have not read ahead); or if the challenge to seek out the “exact moment” will just go unanswered.
The show itself is in quite ridiculous territory at the moment, with several characters being literally two people; when you add in the alter-personalities of a little while back, like Edward thinking himself a butler, it begins to look like the entire writing staff was obsessed with multiple personality disorder (or suffering from it).
“This is the fantasy — that they could create duplicates of themselves, to do all the extra work.”
Well, I asked what was going on in the writers’ room and Danny answered in the next post and 5 years earlier than when I asked the question!
Making the villain a curly-haired madman who thinks he’s a god suddenly makes so much sense!
I get the Edward/Kitty angle, but Josette never was fully developed and I’d so like to have seen the basis for Barnabas’ entire love life come to fruition. I love the Kitty character, but what would an enhanced Josette have brought to the show? I realize everyone thinks he’s right with Julia and to an extent, I agree. The writers never gave him any plot to really explore his relationship and love for Josette. He always had to turn someone into a form of Josette. Frid sure kisses Josette/Kitty more comfortably than Edmonds does. They literally freeze the exit out of some of the kissing scenes, so he really doesn’t have to kiss her. lol I’m still having fun, as convoluted as this has become, as I know the bummer Leviathans are coming. As a kid, I well remember the Quentin era, but also remember losing interest following the 1897 story line. I’ve enjoyed Quentin far more as an almost senior citizen, than I did as a kid. Barnabas was and still is, my favorite though.
As an 11 year old in 1969 I had no interest in Quentin, but he sure looks good to me now! I remember losing interest with the Quentin era, and the show became even more incomprehensible after. Watched until the bitter end though.
Very interesting about the filming schedules.
I also thought Roger Davis was going to poke his own eye out when he was furiously pointing at the various parts of his head.
The chroma key Barnabas being much larger than Angelique was funny, but sad considering they did such a great job with the effect before.
I love Angelique’s “It’s alive!” face. Although it occurs to me, why doesn’t she just create a Barnabas doppelganger for herself and let the other one dribble off after Josette? As for Quentin’s “trouble with your hands” comment, maybe the writers were tired of RD grabbing people too. But my money’s on Selby’s ad lib of justice. BTW how does one pronounce Petofi? Petoffee or Pe-tO-fee?