Episode 37: One of Our Ghosts

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In the previous episode while encountering local artist Sam Evans at the Collinsport Inn, Victoria Winters was told by Mr. Evans, “Go back to your house on the hill, Miss Winters, go back to your ghosts and your goblins…”

 

In this episode, it seems that ghosts and goblins are precisely what she is returning to. In the great house of Collinwood during the post-midnight hours, the young governess will be drawn from her room on the second floor by the ghostly sound of a woman sobbing somewhere down below. Following the sound in the hope of tracing its origin, she will be led down to the basement and before a musty old wooden door sealed with a padlock. A moment later, she will come face to face with a real-life goblin.

 

In a subsequent post, we’ll explore the origins of what made Dark Shadows what it was; the deep shades of atmospheric gloom that lend Collinwood its haunting mystique, the family legends of ghosts that seemingly cannot rest, the disturbing disembodied sound of a woman sobbing in the night – even the way people close the double doors of a drawing room when they wish to speak with others in private.

 

As envisioned by Dan Curtis in a dream that woke him one night in 1965 with the spark of an idea for a TV show, the story of Victoria Winters recalls more the age of Charlotte Brontë’s Jane Eyre, with the sidebar story of Burke Devlin echoing shades of Alexandre Dumas’ The Count of Monte Cristo; however, the full backstory that fills out Dark Shadows as realized by story creator Art Wallace is more reminiscent of the rise of the haunted house genre from American motion pictures in the mid-1940s, with two in particular, The Uninvited (1944) and The Unseen (1945), both co-starring Gail Russell, serving as the main influences for the gothic romance that came to television in 1966 as Dark Shadows. Following the post for episode 37, there will be a special edition post of Dark Shadows from the Beginning which will examine these earlier motion pictures in depth and point out how they can be described as the origins of Dark Shadows.

 

For now, let’s visit with the ghosts and goblins of Collinwood as faced by Victoria Winters on this, her third night as governess in the big house on the hill…

 

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Episode 22: Facts and Justice: The Perils of Mark Allen Concludes

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Not many realize it, but Dark Shadows very nearly imploded before it could even complete five weeks of its initial thirteen-week cycle.

 

Mark Allen, originator of the role of Sam Evans, a minor but essential character, has become a huge liability. He has made unwanted, inappropriate sexual advances during rehearsal toward two of the actresses. During the taping of episode 19, he assaulted child actor David Henesy in the dressing room area after catching the nine-year-old trying to write a nasty accusation on his dressing room door.

 

David Henesy has since walked off the show, and refuses to return until Mark Allen is off the show.

 

To the credit of Dan Curtis, series creator and executive producer, no one has complained directly to him about any of the actions said to have been perpetrated by Mark Allen. He has only heard of these allegations through an intermediary, his episode director Lela Swift. Technically it’s only hearsay, until one of the accusers makes a case to him directly and in person.

 

There are financial constraints to think of. Back in episode 16, Lela shamed George Mitchell (originator of the Matthew Morgan role) off the show and tried to do as much during the taping of episode 17 to Fred Stewart (who debuted as Collins family physician Dr. Reeves). Breaking contract with George Mitchell means that Dan has to pay Mitchell for an additional seven episodes guaranteed by his contract for the first thirteen weeks. If he breaks contract by firing Mark Allen, then he’ll have to pay for another ten episodes. Most likely, he would have to pay for these broken contracts out of his own pocket, since the limited weekly budget for daytime programming doesn’t cover such unforeseen expenses.

 

But David Henesy isn’t under contract. According to David Henesy from an interview given for the thirty-fifth anniversary of Dark Shadows, “…I had not even signed a contract at the time. After my reading, I was ‘booked’ [hired],…” (35th Anniversary Dark Shadows Memories, A Conversation with David Henesy, p. 84)

 

So Dan Curtis has to make a decision: fire Mark Allen to get David Henesy back, or keep Mark Allen on and risk losing Dark Shadows. You could always get another David Collins, but where on earth are you going to find another David Henesy?

 

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Episode 20: Out of His Mind: The Perils of Mark Allen Continues

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It is still only the second day since Victoria Winters arrived at Collinwood as the governess to nine-year-old David Collins, but a lot has happened in such a short span. Burke Devlin, who arrived in Collinsport on the same train as Vicki, has everyone at Collinwood on edge. Roger testified as a witness at Burke’s manslaughter trial ten years earlier and at the time Devlin made threats against the family, vowing to one day return and destroy them all. Just a short while after Burke is found by Vicki in the family garage standing by Roger’s car holding a wrench, Roger has a near fatal car accident driving down the hill from Collinwood into town. The viewer knows that it was David who tampered with the brakes on his father’s car, but Roger doesn’t know this and in fact no one suspects David, at least not yet. For the moment Roger thinks it was Burke, settling his old vendetta against the Collins family, and he is dragging Vicki into the middle of it, bringing her to Burke’s hotel room in the middle of the night as a witness who can back up that he was seen in the garage with just the sort of tool that could be used to remove the missing brake valve from his car. Roger is hell-bent on destroying Burke before Devlin gets another chance to destroy him. It’s an exciting episode with an explosive conflict erupting head to head.

 

There is also a volatile situation flaring up behind the scenes in the television studio, in a soap within a soap called The Perils of Mark Allen

 

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Episode 12: “Who Cares?” …or, The Perils of Mark Allen

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The tension at Collinwood is building. Burke Devlin is waiting patiently in the drawing room for Roger to walk in. It seems that an unpleasant confrontation is inevitable. But today the real drama is unfolding in another part of town, where a man fears for his life.

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Episode 7: Revenge and Retribution

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For Dark Shadows fans who view the series beginning with episode 210, Sam Evans is likely perceived as a sympathetic character. At the very least, he seems innocuous, and for the most part you feel for him because his daughter Maggie, a character who is universally well liked, is soon to be kidnapped and you understand the tortured anguish of a loving father who only wants for his daughter to be returned home safely. Even Roger Collins at one point manages to almost express a measure of sympathy for Sam’s plight – almost, that is.

 

But taking the series from the beginning, it’s a different story – and not just because the first actor who plays him, Mark Allen, doesn’t seem to find as much favor with Dark Shadows fans the way his successor to the role does, David Ford. Perhaps it’s the company he keeps.

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Episode 3: Information

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One of the charms of these early episodes of Dark Shadows is something I call “scene connectors.” Someone will close out a scene with a phrase or word, like when Joe Haskell asks Burke Devlin what he wants in exchange for what Devlin has offered him, and Devlin answers, “Information.” Then they cut away to the next scene, which begins by someone else taking up that key phrase or word but in a completely different context: “But I can’t give you any information,” Maggie Evans tells Roger Collins. “Pop’s a free soul, you know that. He wanders.” Just minutes ago, Roger, who is not such a free soul, wandered into the coffee shop just before closing time under the pretext of seeing if there’s “any coffee left in the hopper.” But what he really wants to know is where Sam Evans is. You’ll recall that in the previous episode Roger exploded when he realized that Burke Devlin is back in town – and what he needs this late hour is to pin down the whereabouts of a local artist who paints seascapes and sunsets. At this point Roger has something the viewer lacks: information.

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