Tag: genuinely good episode

The whole episode takes place within the great house of Collinwood. We start with conversations between heiress Carolyn Collins Stoddard, mysterious drifter Chris Jennings, and sarcastic dandy Roger Collins. They are trying to determine the significance of the events of a séance that took place yesterday, during which Carolyn was possessed by the spirit of someone named “Magda.” This name is unknown to anyone in the house.

Through Carolyn, Magda uttered a command to “Stop them!” because “My curse!” means that “He must stay where he is!” Returning viewers know that Chris’ little sister Amy and Roger’s young son David are in touch with the ghost of Quentin Collins, a great-uncle of Roger’s who lived in the late nineteenth century and whom the family history falsely records as having gone to France and died there. We can assume that Magda was a contemporary of Quentin’s, that he is the one who must remain where he is, and that she means the children when she says “Stop them!” But none of the adult characters knows what Amy and David are up to, and Magda’s words mystify them.

Roger is alone in the drawing room while Carolyn is showing Chris out of the house. He is about to take care of some work he brought home from the office when a book flies off the piano and lands on the floor. He finds a letter tucked in the book. Carolyn comes back, and he tells her what happened. He says that the letter is addressed to his father, Jamison Collins; this is the first time we have heard Jamison’s name. He says that it is dated 1887, when Jamison would have been a boy. And he tells her that it is signed “Quentin.” With a look of recognition, he says “We have a Quentin Collins as an ancestor. Actually, I didn’t know very much about him. I think he spent most of his time abroad.”

Roger reads the letter to her. The text is: “Dear Jamison, you must return to Collinwood. I need your help. You must intercede with Oscar. Only you can save me.” Considering how the book spontaneously leapt from the piano, Carolyn is sure that Magda’s ghost must have wanted them to read the letter, and that she is trying to warn them that someone in the house is in danger. It calls Quentin to their attention.

Roger goes upstairs to check on David. As it happens, Amy is in David’s room at the time, and they are about to go looking for Quentin’s ghost. They know that the adults will not tolerate this, and so David jumps into bed and Amy hides behind the door. There is some farcical business as Roger starts to go, Amy starts to come out, then he stops and she scurries back to her hiding place. Once his father is gone, David tells Amy that it was very unusual for him to drop in. “He never says good night to me.”

When Roger returns to the drawing room, Carolyn, who a few minutes ago announced that someone in the house- “It could be any one of us!”- was in imminent danger, asked Roger why he was “suddenly so concerned about David.” Even longtime viewers who remember Roger as the phenomenally bad father he was in the first 38 weeks of the show will think that this is overdoing it. After all, Magda’s warning to him and Carolyn came in the form of a letter addressed to a boy, and David is the only boy in the house. It is natural enough that the reference to Jamison would bring David to mind.

Amy had slipped into David’s room while he was sleeping. She woke him to say that Quentin was angry because “Something has happened.” She knows nothing about the séance or the conversations going on downstairs, and so cannot share our conjecture that Magda is an old enemy of Quentin’s and it is her activities that are disturbing him. David is at first reluctant to get up and irritated when Amy wants to contact Quentin. As he grumbles at her, they begin to sound like an old married couple, even though they only met on Monday and are eleven years old.

David grudgingly agrees to pick up the antique telephone through which he has heard Quentin’s breath and Amy has heard him speak. The breath is audible, and when he gives the receiver to Amy she hears Quentin says that “she would try to stop” them. He didn’t specify who “she” was, but Amy has drawn the conclusion that they should go to the room in the long deserted west wing of the house where they originally found the telephone and contacted Quentin. Every time David resists her ideas, Amy strikes exactly the note that will lead him to do what she wants. At one point, Amy tells David “You’re braaver than I am!” to which he bluffly replies “Because you’re a girl!” He then presses forward with the plan she had formulated.

The children find that the door they had previously used to get into the west wing is now locked. David says that there is another way in, but that it is a secret very few people know about. He leads her to the door of the drawing room, only to find that Roger and Carolyn are still in there. They hide. Once the coast is clear, David leads Amy to a secret panel behind a chair next to the fireplace. We have seen this panel before, in #87. On that occasion, Roger had used it to sneak into the west wing unobserved and release well-meaning governess Vicki from the room to which David had confined her, hoping that she would die. It was unclear whether anyone other than Roger knew of its existence. We haven’t seen it since. Dark Shadows‘ ratings were very low in October 1966, and most of the people watching now hadn’t heard of it then. So when David says that very few people know about the secret panel in the drawing room, his words apply to the audience as well as to the characters.

David opens the panel. He and Amy go into the passage. When the panel is closed behind them, we see the chair move itself back into place in front of it, suggesting an occult power is at work.

David and Amy encounter various signs of supernatural opposition as they make their way to the room. At one point Amy sounds genuinely frightened and suggests turning back, but she has done her work too well- David is now determined to prove his courage. Once they are in the room, the door slams shut and they find that they are trapped. Longtime viewers who remember what David did to Vicki way back when will see an irony in his captivity in the west wing.

Skillful as Amy is in her management of David Collins, Denise Nickerson and David Henesy haven’t quite figured out how to work together yet. They had very different styles of acting, his coming from inside out as he uses his lines and stage directions to project the character’s feelings and intentions, hers coming from outside in as she throws herself into whatever the character is doing at the moment and finding her inner life through those. She is on top of her form right from the start, but he keeps getting thrown off, atypically mangling his dialogue several times and putting the emphasis in odd places in the lines he does get right. That won’t last long- soon David and Amy will be a “supercouple,” as fun to watch together as any other pairing on the show. But this episode is a bad day at the office for Mr Henesy.

Danny Horn’s post about this episode on his Dark Shadows Every Day takes the bits and pieces of information that will fit well with continuity months down the line, contrasts them with the bits and pieces that won’t, and focuses on a case that the writers didn’t have any plan in mind when they were writing the show. I think Danny simultaneously goes too far and not far enough with this point.

In a 1991 interview that Danny himself put online, writer Violet Welles confirmed that the writing on Dark Shadows, as on other soaps, began with a six month story projection that the writers would break down into “flimsies,” day by day outlines of how it might all play out. No one was going to force them to stick with those projections, much less with the flimsies, but creating them meant that the writers spent a lot of time kicking ideas around for possible plots and possible characters. They also meant that there were stacks of paper recording those ideas, so if someone suggests in November that Quentin might have been enemies with a witch named Magda, it won’t require a feat of memory to recall that suggestion in January. So it is going too far to dismiss all thought of a connection between what the characters say today and what we will see next year.

But he doesn’t go far enough when he suggests that the pressure the writers were under to crank out five scripts a week would have kept them from planning for events we wouldn’t see for several more months. They were indeed subject to impossible deadlines, and they did indeed have to improvise at the last minute. So much so that they did not know whether any given event would happen next week, next month, six months from now, or not at all. They may well have planned a story out in detail thinking they might need it soon, only to have it sit on the shelf until next summer.

I always try to write these commentaries as if I hadn’t seen any of the subsequent episodes, so when I mention foreshadowing I try not to say whether or how it will pay off. I also try to write from a perspective that would have been more or less possible for someone watching the show when it was originally broadcast, so when foreshadowing does pay off or when in other ways an episode echoes something we had seen earlier I try to note that echo first and to speculate about what it might mean later, confining any references to information that became public afterward to the bottom of the post. So I won’t quote the particulars of Danny’s argument, or of my comment on it. I hesitated to say as much as I have about Magda, but when I tried to make the same point without using names the results looked like algebra (“Let x be a ghost and y be a witch. Suppose that x and y lived in the same period; call this period P.”) Since the episode leans so heavily into the relationship between Magda and Quentin today, I resigned myself to the spoiler.