Episode 46: Destroy Me, Pt. 1

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The early days of Dark Shadows are becoming especially interesting; as of this episode, the influence of Alfred Hitchcock becomes apparent.

 

I’ve managed to pinpoint the exact source Dan Curtis drew upon for the Bill Malloy story, an episode from the anthology series The Alfred Hitchcock Hour, which will also reveal from where the idea was derived for the curious and sinister approach to Thayer David’s makeup job in his portrayal of Matthew Morgan.

 

In the post for episode 64, we’ll examine these points in depth, as well as how Hitchcock would later inspire Dan Curtis as a director.

 

For now, let’s begin with today’s opening narration:

 

My name is Victoria Winters…”

 

“Good evening… or, rather, good afternoon…”

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“I thought Monday would never come…”

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“Today’s story concerns that of a man with an agenda to be fulfilled; that is, one who likes to make appointments for others, so that he can meet with them after hours. The question is, for today, whether this man can indeed make it to the meeting he has arranged, even if the other principals involved, despite their not wanting to attend, nonetheless manage to arrive on time… ”

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“…Oh, dear. I fear that my time on this program may be cut short. I’ve just now, through the control room microphone, heard the lady director tell the executive producer that she doesn’t like me, because my trousers ride up and I look like Mr. Potato Head. Therefore, I shall endeavor to provide myself with a complete makeover before we arrive at the final scene. In the meantime, here is a word from our sponsor…”

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Episode 45: Ace in the Hole

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Over this past week of episodes, ever since Bill Malloy became the de facto star of Dark Shadows, there’s something you notice: He doesn’t have a set of his own.

 

Every main regular player has their own set created to define their base of operations, a place where they seem at home and appear to have the advantage when playing host to visitors: Burke Devlin has his grand three-room suite on the top floor of Collinsport Inn; Roger has his place beside the Collinwood drawing room liquor cabinet – matter of fact, in today’s episode a new set has been created for him, a luxurious office space at the cannery; even Joe Haskell had an office set created for him, which was shown in episode 41 during his phone call with Mrs. Stoddard.

 

Bill Malloy on the other hand makes most of his phone calls relating to the present storyline from the pay phone at the back wall of the Blue Whale; to meet with the principals involved in his plans, he uses a table right smack in the center of the room. In today’s episode he’s even calling Roger at Collinwood using the phone in Roger’s office, and arranges a meeting with Burke at the Blue Whale from the same location. He never has a phone or room to call his own; as a sudden main player, his character is really little more than a “floater.” The writing staff even addresses this point in today’s episode, just in case the viewer has been wondering about the same thing:

 

Burke: Are you making the Blue Whale your office now?

Bill: Sometimes you get the most privacy in the most public place.

 

Oh, alright; so long as you don’t mind the details of your private plans being randomly picked up by other Blue Whale customers and possibly the bartender as well.

 

Today Bill Malloy is talking card games. He tells Burke that he’s put most of his cards down, and now he’s ready to play his hole card. The term “ace in the hole” has the following definition: “A hidden advantage or resource kept in reserve until needed.” It’s derived from stud poker; while you place your bets, you hold a key potentially winning card face down, or “in the hole,” until you’re ready to play it.

 

Bill indicates to Burke that the hole card he’s ready to play could possibly be walking right into the Blue Whale at any moment, adding that he’ll know him when he sees him; that means the viewer will as well.

 

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Episode 42: The Pen Is Yours

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The pen is yours

The pen is mine

The pen belongs

To Dark Shadows fans

Down through time

 

The silver filigree fountain pen; a story point which many Dark Shadows fans can’t seem to agree on – is it really great, or just a red herring?

 

This reviewer however has never seen a Dark Shadows prop he doesn’t like, and will instead be enthusing on the many entertaining and memorable scenes generated solely from the existence of Burke Devlin’s one of a kind sterling silver fountain pen as it changes hands from episode to episode.

 

Would you believe a fountain pen worth killing over? All We Are Saying Is Give Pens A Chance; Devlin’s Silver Hammer; Here Comes The Pen…

 

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Episode 40: Coffee Time

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One of the best things about the first year of Dark Shadows is Nancy Barrett. Despite all of Carolyn Stoddard’s faults, not the least of which being her borderline incestuous crush on her uncle Roger, the emphatic range Nancy Barrett brings to her performances simply makes the character nothing short of enchanting. It’s here in episode 40 where such a quality is brought home to epitomize what makes Nancy Barrett so great in the role of Carolyn Stoddard.

 

There are a good many fans who only follow the show from episode 210 where the Barnabas era begins, and for this reason alone the first two hundred nine episodes remain one of the best kept secrets among Dark Shadows fandom. Yet for those who appreciate the fantastic performances of talented actors bringing characters to life with definitive depth, these early episodes contain some of the finest, most memorable moments in the entire series.

 

Here in episode 40, greatness abounds not only in scenes with Nancy Barrett as Carolyn Stoddard, but also in those with David Ford as Sam Evans. In the post for episode 41, we’ll recognize what David Ford achieves in one of his more magnificent moments on Dark Shadows; for now, let’s shine a light on what Nancy Barrett brings to define her portrayal of Carolyn Stoddard in the absolute.

 

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Episode 39: Open House at Evans Cottage

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Sam Evans likes to keep pretty much to himself. Unfortunately, a number of people continually impose on him, folks he’d rather not see or talk to. He’s a painter who’s been commissioned to paint a portrait he doesn’t want to paint, and will even feign a headache to cut the portrait sitting short. On top of this, another man he doesn’t want to see barges in to talk about things Sam just doesn’t want to talk about; if that weren’t enough, the intruder even goes so far as to seize Sam’s bottle of whiskey to prevent him from even pouring himself a drink in his own living room. On that same morning, this demanding interloper will not only consider threatening him with murder, but will also offer him a sizeable bribe to leave his life and livelihood behind. After managing to get rid of the unwanted portrait subject, he begins losing his temper while trying to usher away trespasser number one, during which invader number three, Collins family business manager Bill Malloy, just walks right in through the front door without so much as a knock. When Sam raises a complaint, Bill simply tells him it’s his own fault for leaving the door unlocked.

 

That’s what happens in Collinsport, if you don’t bar the door, when something from your past you’d rather keep hidden comes calling right at your doorstep. Still, it could be worse, considering what the future holds in store for Evans cottage, with the gallery of Universal monsters that will someday be encroaching on his domain; a gentleman vampire caller who just can’t keep his fangs away from his daughter, a Frankenstein type man child who breaks in to borrow and brandish a huge carving knife while Sam is away at the pub for an evening drink, a werewolf in the night who just jumps crashing through the front window hungry and growling for any kind of action it can find.

 

There will come a time when Sam will long for the good old days of only the year or two before when it was just Burke Devlin, the old friend he betrayed long ago, Roger Collins, the man who imprisoned him in a pact of silence, and Bill Malloy, the wise old owl who comes around asking too many questions, that he would be trying to keep from seeking him out.

 

First thing in the morning here in the summer of sixty-six it’s open house at Evans cottage, and no one is invited.

 

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Episode 35: A Great Dramatic Reading

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“The character of Sam Evans will be played by David Ford.”

 

Dark Shadows is known mainly as a “vampire soap” to even those with only a passing knowledge or awareness of the original TV series that aired weekday afternoons between 1966 and 1971.

 

Before rocketing into the public lexicon as television’s first vampire series, there were five gradual transformations that took place without which the “Barnabas era” of Dark Shadows would not have been possible.

 

The most significant transformation is, of course, the arrival of Barnabas Collins in 1967. The precursor to Barnabas was the phoenix story, featuring a fiery goddess threatening to consume and destroy the lives of all those with whom she comes in contact. The phoenix was the first supernatural monster on Dark Shadows. Before this was the first appearance of a ghost in episode 70, which was preceded in episode 52 by a supernatural occurrence in the Collinwood drawing room where a book was opened as if by the hand of an invisible spirit. The first essential transformation occurs here in episode 35 with the acting department, as David Ford joins the cast in the role of Sam Evans, taking over for Mark Allen who last appeared in episode 22.

 

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Episode 34: A Ripple in the Whirlpool

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Today Victoria Winters is making her first visit to the Blue Whale, while enjoying her first alcoholic beverage since arriving in Collinsport – even though she’s underage.

 

The character of Victoria Winters, and the actress who plays her, is barely twenty. Burke Devlin, the man who bought her the drink, is over thirty.

 

Evidently, the bartender didn’t ask to see the young lady’s ID. In yesterday’s episode, he wouldn’t even shut down a drunk and hollering Joe Haskell.

 

This won’t be the last time on the show where older men will be plying drinks on young underage girls. In those days, you could get away with that kind of thing. Dark Shadows, during that unsupervised era of daytime television, manages to do just that.

 

Those were the days!

 

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Episode 33: She Loves Me, She Loves Me Drunk

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In the previous episode we found out, through Elizabeth’s decision to protect David despite his having nearly gotten his father killed, what it means to be a Collins of Collinsport.

 

In this episode we find out, through the ravings of a drunken fisherman, precisely what is wrong with what it means to be a Collins of Collinsport.

 

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Episode 31: Breaking Point

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After having run away from home, David Collins has been safely returned to Collinwood, accompanied by the man David had sought to frame for the crime of attempted murder.

 

Burke Devlin holds the key. The missing valve from Roger’s car that David had planted in Burke’s hotel room is in his pocket. With David under fierce interrogation from his father, Burke waits for the right moment to step in and present the evidence, concocting a story intended to absolve both he and David of any suspicion of guilt.

 

By this point everyone at Collinwood knows that it was David, and not Burke, who was responsible for the accident that nearly killed Roger.

 

To an already tense and uncomfortable situation the element of confusion has been added, where both Vicki and Roger are compelled to question what they thought they already knew for certain.

 

But this act of interference cannot forestall the inevitable. The simmering cauldron of anger, fear, and lingering resentment is set to boil up to a breaking point, an eruption that will push to the limit the father and son relationship between Roger and David Collins.

 

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Episode 30: The Rain in Maine Falls Plainly All in Vain

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Nine-year-old David Collins is disrupting the lives of the adults around him in a way that could have far-reaching consequences for all those involved. Everyone has had to suffer to some extent for David’s act of desperation against his father.

 

Fearing exposure after his tutor Vicki Winters had found in his room the missing brake valve from Roger’s car, David has fled Collinwood to plant the evidence in the hotel room of the man who everyone except the governess suspects as having tampered with Roger’s brake system. Unable to gain access while the man is away, David is left with no choice but to meet with him face to face.

 

To David Collins thus far, Burke Devlin has represented only an image, a name his mother and father used to quarrel over so long ago, a symbol for what his father both hates and fears. But what David could not have foreseen was that in no time the image would become a man who would in turn become a trusted friend.

 

Unbeknown to David, Burke had seen the boy hiding the object under the sofa cushions. At the end of David’s visit, while calling downstairs to have his car brought around to the front of the hotel so that Burke could drive him back to Collinwood, David changes his mind about trying to pin the blame on Mr. Devlin, but is unable to retrieve the valve from where he hid it because Burke has already found it.

 

Alone with his guilt, shamed with regret, and paralyzed by fear, David’s outlook is as bleak as the drops of rain falling on the windshield as Burke Devlin guides the car onward through a storm which only seems to signal portents of the certain punishment awaiting his arrival home. But what he doesn’t realize is that he may soon receive the help he needs from an unexpected source, the very man he sought to frame for the crime of attempted murder.

 

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