Episode 58: Dead Man’s Holiday

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With the death of Bill Malloy now an official fact, on this day in the town of Collinsport measures are being taken to observe his passing. The family-owned business for which Malloy devoted the greater share of his livelihood, first on the fishing boats and then as plant manager, has shuttered its operations for the remainder of the day. It was Roger Collins who made the suggestion to Elizabeth, but of course Roger would do anything to get out of work, if only for an afternoon.

 

It’s a dead man’s holiday, but the day really belongs to the sheriff of Collinsport. Dana Elcar appears on every set in use during today’s episode, and each appearance made by Sheriff Patterson will have a decisive effect on the actions of whomever he interacts with.

 

The opening narration by Victoria Winters tells of how “the long shadows of fear do reach out, touching others, darkening their hearts with growing tension.” Sam Evans for one, and Roger Collins for another, each have reason to be tense and fearful, especially with the sheriff making his rounds with hard questions that demand frank answers.

 

Still, there are others whose hopes and dreams cannot be shattered by the grim fact of Malloy’s demise. Joe Haskell has stopped in at the Blue Whale and is flagged down by Sam who gets Joe to join him at his table for a beer. Then when the sheriff happens in and joins them, he convinces Joe to take advantage of this nice afternoon off and go with Carolyn out for a drive in the country. Joe’s dream is of course to marry Carolyn, and a few hours just getting away from it all might find them talking of plans for the future.

 

Then there’s young David Collins, who in a morbid twist finds renewed hope through Mr. Malloy’s death. With the aid of a book devoted to local tide charts and currents, David will do his best to see if he can determine where exactly Mr. Malloy fell in the water. David believes that Mr. Malloy was murdered by his father, because his crystal ball told him so, and because having his father sent to prison would mean becoming free of the pervasive threat of being sent away himself. As David admits in this episode, he likes it there at Collinwood, with all his ghost friends, one of whom may even be Mr. Malloy.

 

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Episode 55: Two Shades of Guilty

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Roger Collins is living on lies. To everyone he knows, he must remain a stranger. Yet with every passing day his veneer is being chipped away little by little, largely through the perceptive and watchful gaze of his sister Elizabeth, who but for the good of David would have little if any use for the thoughtless extravagance of her brother’s ways. If you think about it, since his return to the ancestral mansion around a month ago, Roger has brought nothing but trouble not only for the family name, but also to those even loosely associated with Collinwood and all it represents.

 

If only Roger had stayed away in Augusta, Burke Devlin would never have returned to Collinsport to set in motion a plot to ruin the Collins family, given how despite that he blames Collins money and prestige for railroading him into prison, his principal nemesis had been mainly Roger, with his testimony on the witness stand having sealed Devlin’s fate.

 

So Roger schemed his way back into Collinwood, using as his bargaining chip the welfare of David’s future: “Roger made an unexpected visit to his sister at Collins House, pleaded the cause of his son….the ‘poor nine-year old child, with no mother to care for him’. He appealed to Elizabeth’s family pride, skillfully reminded her that David was the heir to the Collins name, faithfully promised a renewal of responsibility and sobriety” (Shadows on the Wall, pp. 25-26).

 

Yet since Roger’s return there has been nothing but trouble. Burke Devlin is back in town, leaving Elizabeth Stoddard apprehensive over the future of the Collins family business holdings and even of Collinwood itself. Her plant manager Bill Malloy is dead, after having vowed to stop Burke from carrying out his vendetta against the Collins family. Even Carolyn is affected, what with the worldly sophistication of Burke’s attention setting up a speed bump in her relationship with Joe Haskell, which at any time could sprout up into a full roadblock. All because Roger couldn’t accept the permanence, not to mention the more modest living arrangement, of his paid exile away from Collinwood and Collinsport in general.

 

People elsewhere in Collinsport are affected, even those with no apparent relationship with the Collins family, like Sam Evans. Although Sam’s involvement in the events of ten years earlier that sent Burke Devlin to prison on a manslaughter charge and conviction hasn’t yet been made explicitly clear, he shares the guilt that Roger holds but suffers greatly as a result whether or not the threat of exposure is looming close by. Sam represents a different shade of guilty largely because his character is more complex; for one thing, unlike Roger, he has a conscience, while Roger on the other hand, after nearly five dozen episodes of daily half-hour soap opera, has yet to display in his character so much as a single redeeming human quality.

 

So what do you do with this walking collection of red check marks down a list of boxes outlining the more questionable traits of human nature? If you’re the creator of the character, like Art Wallace who authored the above-mentioned series bible that serves as the show’s guiding outline of probable events, or the executive producer Dan Curtis, who is struggling to pull the sagging ratings back up to a level that would safeguard the show from an almost certain cancellation later that year, you simply provide your viewing audience with a much needed wave of satisfaction by having the character killed off.

 

That’s what the original plan called for; with Roger burdened by his desperate need to suppress the truth of his guilt in sending Burke Devlin away to prison, he will begin to suspect that Collinwood’s recently installed governess is conspiring against him when she is invited over to dinner at the Evans cottage, suspicious of what she may have been told about the events of ten years ago especially with the way Sam’s penchant for excessive drinking tends to loosen his tongue. Roger will then lure Vicki out to Widow’s Hill and standing by the edge he will in a fevered moment of rage grab hold of her, reminding her of the legend of Collinwood, how two young women of Collins House had hurled themselves over the edge and that at some future time there would be a third, and Vicki unnerved by the crazed look in Roger’s eyes begins to struggle against his grip; but David having followed them out to the cliff rushes forward and cries out, and Roger in that split second of surprise loses his footing and goes over the edge himself… and who among the viewing audience that afternoon in the summer or fall of sixty-six would have missed him?

 

Somewhere, in an alternate universe perhaps accessible through some warp of parallel time as yet undiscovered in one of Collinwood’s closed off wings, there was an end to Roger Collins after however many weeks of the series; in the series bible it happens the day Vicki takes David over to the Evans cottage so he can meet Sam the artist, so roughly early on in the phoenix story. In that parallel present time, Louis Edmonds decides once again to give up on acting, just as he had earlier that year when a steady stream of acting roles in the theater had at last dried up; his swan song as an actor would have been a bit part in a movie that filmed just before he started working on Dark Shadows called Come Spy with Me, a typical spy drama of the time released the following January that met with critical hostility and tepid box office attendance. Instead, he would have simply retired to his Long Island residence known as the Rookery, resigned to the humble but satisfying life of being a regular in the local shops and singing in the choir every Sunday, and some other actor would have landed the part of Langley Wallingford on All My Children in 1979.

 

To think what might have been were the makers of Dark Shadows not the type of people who could appreciate the talent of actors who would distinguish themselves in their roles so much so that they would actually be willing to dispense with a key moment in a given story outline. But that turning point is still weeks ahead; for now, Roger the rogue is doing what he can between brandies to keep the truth of his deeds both past and present from spilling into view and exposing him for all to see.

 

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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 16: The Curse of Lela Swift

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Long before Angelique made her debut on Dark Shadows, the summer of 1966 had its own witchy presence on the show in the first few weeks – in the form of director Lela Swift, who, with just a few spellbinding words spoken through a control room microphone, could make a supporting actor so nervous that he wouldn’t be able to perform his scenes effectively. He might even be forced to leave the show. It seems no one could escape the curse of Lela Swift.

 

Since the third week of taping, she has been on a verbal rampage leveled at supporting cast members that she can’t stand. In her war of attrition waged through her weapon of choice, the control room microphone, there will be collateral damage, where the innocent are made to be casualties, and in this episode it will be George Mitchell, the originator of the Matthew Morgan role.

 

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Episode 2: A Friend of the Family

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“They said this joint starts jumpin’ when the kids get here,” private detective Wilbur Strake notes approvingly to his client Burke Devlin as they sit at the bar in the Blue Whale observing the action on the dance floor. “They sure were right!”

There’s a party going on, and Carolyn Stoddard, daughter of Collinwood matriarch Elizabeth Stoddard, is at the center of it, frugging her way all around the room as surf-style guitar instrumental music is blaring from the jukebox.

In his story outline, Shadows on the Wall, Art Wallace describes Carolyn, seventeen, as “an attractive, vivacious young girl who enjoys every moment of life” and also as one who plays the field. Her introduction in the second episode of Dark Shadows certainly lives up to this description, because she is dancing with every available young man on the floor – everyone, that is, but her date, Joe Haskell, who sits at their table with a beer before him, looking sullen and forlorn while Carolyn, not bothering to notice, treats him more like a chaperone than a date.

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