Episode 37: One of Our Ghosts

Vicki_basement GIF_ep37


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…



Ghosts are frequently mentioned in these early episodes of Dark Shadows, but often without any apparent supernatural basis. Instead, they are spoken of in a mostly metaphorical sense.


There’s Burke Devlin’s conversation with Bill Malloy in the Blue Whale back in episode 3, where Burke remembers being a kid and looking for ghosts because everyone thought Collinwood was haunted. But instead he talks of stirring things up with Roger, and in the process digging out those old ghosts which Devlin claims hide in every corner. Then there’s Sam Evans here in episode 37 talking with his daughter Maggie, describing those ghosts that make a battleground of a man’s soul – that is to say, how one can be haunted by the guilty deeds of a troubled past.


Often in the opening narration to these early Dark Shadows episodes a mention is made of ghosts being described in the context of the past. With Collinwood as such a dark and gloomy old mansion, it’s a clever device to insert as a backdrop that adds a more haunting quality to the great house on the hill.


When writing the outline that became the series bible for Dark Shadows (Shadows on the Wall), story creator and developer Art Wallace drew heavily on a work he had written for television back in 1954; The House, which was broadcast as part of the dramatic anthology series The Web that August. It’s essentially the blueprint for what became the Jason McGuire blackmail story on Dark Shadows in 1967. Just like Elizabeth Stoddard on Dark Shadows, Elizabeth Stallworth on The House is haunted by the guilt of past deeds which she is desperate to keep secret. But there is not one mention in The House of ghosts being described in relation to the present as haunted by the past.


In fact, this is something that Wallace may have picked up from contemporary television of the mid-1960s, in particular Peyton Place which debuted on ABC nighttime in 1964 as the first prime time soap opera.


In Peyton Place episode 112, Dr. Michael Rossi is shaving in the lab at Doctors Hospital when nurse’s aide and friend Betty Anderson walks in for supplies. That evening she will be attending a party at Peyton House, which is currently occupied by new Peyton Mill manager David Schuster and his family. It will be the first time she has set foot in the house since she was married briefly to Rodney Harrington, and she describes to Dr. Rossi the apprehension she feels in confronting those old ghosts from her recent and discarded past.


Dr. Michael Rossi: You know, there’s one thing I hate worse than shaving in the morning, and that’s shaving in the morning and in the evening.

Betty Anderson: Hm?

Dr. Rossi: I… You gonna need a lift?

Betty: What?

Dr. Rossi: I say, you gonna need a ride? [Betty doesn’t answer] Over to the Schuster’s or is Steven gonna pick you up here?

Betty: No, he’s due here any minute now.

Dr. Rossi [garbles words slightly while puckering to apply shaving cream with a brush]: Well, I think that’s a good thing. I think it’s good that you’re starting out a new life.

Peyton Place episode 112_Dr. Rossi and Betty Anderson discussing ghosts (2)_ep37

Betty: You should grow a beard, Dr. Rossi.

Peyton Place episode 112_Dr. Rossi and Betty Anderson discussing ghosts (1)_ep37

Dr. Rossi: Say what?

Betty: I said you’d be much easier to understand if you grew a beard.

Dr. Rossi [smiles]: Yeah, I guess so.

Betty: It’s going to be strange to be back in that house.

Peyton Place episode 112_Dr. Rossi and Betty Anderson discussing ghosts (3)_ep37

Dr. Rossi: You mean face to face with the past, huh?

Betty: And all the ghosts.

Peyton Place episode 112_Dr. Rossi and Betty Anderson discussing ghosts (4)_ep37

Dr. Rossi: Yeah, well, ghosts once confronted usually turn out to be nothing more than ghosts.

Betty: And I’m not allowed to be afraid of ghosts, right?

Dr. Rossi: Doctor’s orders! I prescribe, Steven Cord. He’s three-dimensional, and ghosts aren’t usually allowed to practice law anyway.

Peyton Place episode 112_Dr. Rossi and Betty Anderson discussing ghosts (6)_ep37


That’s a very similar type of discussion to what is often heard between two characters in many of these early Dark Shadows episodes. In Peyton Place, in addition to episode 112, Betty Anderson has similar metaphorical discussions in episodes 113 and 115, all of which were broadcast in September 1965, not long before Dan Curtis hired Art Wallace to write the outline that would make his dreamed up story of a young governess traveling to a big house in a small New England town a reality. With ghosts being spoken of as a metaphor of one’s past on Peyton Place over two weeks of top-rated prime time television, surely neither Art Wallace nor Dan Curtis could have failed at the time to take note of such a useful device to add a touch of intrigue to their atmospheric vehicle of gothic romance.


Yet there are those occasional instances early on in Dark Shadows that suggest the possibility of genuine supernatural forces at work in Collinwood.


Back in episode 30, there was that moment in the drawing room when the lights went out during a storm with Vicki alone in the big house. After lighting a candle she turns to find a hooded figure standing there in the doorway, illuminated by flashes of lightning but otherwise indiscernibly obscured by shadows.


Vicki_candle GIF_ep30


It may or may not have been Roger, as Roger himself indicates when moments later he emerges from the basement after having been downstairs to fix an electrical fuse. It’s one of those curious moments where the producers of Dark Shadows leave the viewer to wonder, imbuing the already mysterious ambience of Collinwood with a quality made all the more enigmatic.


Down the road a bit, in episode 60, while a dinner guest at the Evans cottage Vicki will recount this incident when Maggie asks if she’s ever seen a ghost at Collinwood. Vicki will answer that she might have, when during a series of lightning flashes a strange figure had appeared, and in the next flash “it” was gone. Notice how she uses “it” to describe the figure, instead of he or she; a very clever device of ambiguity to hint at a paranormal occurrence, even before Dark Shadows has overtly veered in that direction. That episode is also written by Art Wallace.


Then here in episode 37 there’s the Sobbing Woman, also heard by Vicki during her first night in the house, back in episode 4. As will be explored in the special edition post that follows episode 37, an unidentified and impossible to pin down sound of a woman sobbing in the night was lifted directly from the 1944 motion picture The Uninvited, a thriller filled with genuine otherworldly phenomena along with spirits which may or may not be malevolent in nature.


That the makers of Dark Shadows are taking something directly from a well-known and innovative motion picture that was also a bona fide ghost story may be another instance of the use of ambiguity to get the viewer to consider there might indeed be something more to these ghosts of Collinwood than just a lot of talk in the metaphorical sense.


While down in the basement searching for the source of that ghostly sobbing, Vicki is confronted by Roger, who could aptly be described as a goblin: While not small, he can appear at times grotesque – especially with the way he is given to prowl about the house late at night with great stealth in search of Miss Winters to fulfill some and sundry self-serving ends; while not mischievous like his disturbed son David, he is nevertheless prone to sudden and withering outbursts that can appear malicious, particularly when blasting off to admonish Miss Winters, as he does here in episode 37; and he does come off as decidedly greedy, especially for prestige and brandy.


Roger is especially on edge tonight because he is unable to control the situation developing between Burke Devlin and Sam Evans. If Sam is allowed to paint Burke’s portrait as he has been commissioned to, that will mean hours of sitting time over days and even weeks. These last few days represent the first interaction between the two since Roger’s testimony sent Burke away to prison on a manslaughter conviction. Sam Evans’ role in this business from ten years before is at the moment not clear, but it must be decisive given how wound up Roger is over the matter, even at such a late hour.


Roger_opening scene_drawing room_ep37


Desperate for even the slightest hint of a resolution, he places a call to the Evans cottage at a few minutes past one in the morning. What’s especially striking about Louis Edmonds’ performance this episode is the amount of pathos he brings all of a sudden to his portrayal of Roger Collins.


Sam: What do you want now?

Roger: Peace of mind, Evans. Complete peace of mind.


Roger on the phone with Sam_opening scene (1)_ep37


Sam: Mm. Well it’s just about ten years too late for that, Collins.

Roger: I don’t want epigrams from you, Evans. I want to know what you’ve done about Burke.

Sam: Nothing.

Roger: But you’re not serious!


Roger on the phone with Sam_opening scene (2)_ep37


This is quite a switch from the Roger Collins we saw just a few scenes ago in episode 36; at that time he was controlling, conniving, and downright threatening – a man fully determined to control the situation at all cost:


(Louis Edmonds in his scene with David Ford from episode 36)

Roger tells Sam to stop placing telephone calls to Collinwood_ep36


Now here in episode 37, Roger is practically simpering as he implores Sam to cancel his portrait commission with Burke; the difference is like night and day from their previous discussion:


Sam: Collins, I told you earlier this evening that I tried to talk him out of having me do his portrait. He refused. Now why in heaven can’t you just leave it at that and accept it?

Roger: Then you haven’t talked to him again!


Roger on the phone with Sam_opening scene (3)_ep37


Chalk it up to “the David Ford effect”; the new Sam Evans has raised the bar on Dark Shadows for intensity of dramatic character portrayal, and suddenly Louis Edmonds is doing a Tennessee Williams play as well – a Street Car Named On Fire.


Edmonds is particularly explosive in his scenes with Alexandra Moltke, as Roger berates Vicki one moment for being apparently too interested in every little event that transpires in Collinwood and then in the next instant is humbled and profuse with apology:


[Roger hurries up from the basement to answer the phone in the foyer]

Roger: Hello? Who? I’m sorry but Mrs. Stoddard is asleep. [annoyed] Who wants to speak to her? [Vicki enters] Ned Calder? Well why didn’t you say so, Ned? Do you have any idea what time it is? I’m sorry, Liz is asleep and I have no intention of disturbing her.

Vicki [whispers urgently]: Mr. Collins.

Roger: If you want to speak to her, I think it would be advisable if you called at a reasonable hour. Goodnight. [hangs up the phone and glares at Vicki] Now what do you want?

Roger talks with Vicki_foyer (1)_ep37

Vicki: If that was a Mr. Calder, your sister was very anxious to talk to him.

Roger [chuckles with severe indignance]: You really do know everything that goes on in this house, don’t you?

Roger talks with Vicki_foyer (2)_ep37

Vicki: I heard her place a call to him earlier this evening. She left word for him to call her back. She said he didn’t care how late it was, it was very important that she talk to him.

Roger talks with Vicki_foyer (3)_ep37

Roger: Were you also hired to serve my sister as a private secretary?

Vicki: No.

Roger: Or maybe your primary function is to teach me the proper manner in taking telephone messages!

Vicki: You have no right to talk to me like this!

Roger talks with Vicki_foyer (4)_ep37

Roger: I’ll speak to you the way I choose, Miss Winters! I have no intention of… telling you what I want to do. I… If you want to go up and tell my sister this whole thing, you can! Go right ahead!

Roger talks with Vicki_foyer (5)_ep37

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Roger [pleading]: Miss Winters… wait! Please.

Roger talks with Vicki_foyer (12)_ep37

Vicki: What for? Another lecture on my duties?

Roger talks with Vicki_foyer (14)_ep37

Roger [penitent]: I’m sorry, Miss Winters. I didn’t mean what I said. Do you believe me?

Vicki: I’m afraid I don’t believe you, Mr. Collins.

Roger talks with Vicki_foyer (15)_ep37

Roger: Please, I want to talk to you. [gestures toward the drawing room] Please?


Finally, with Roger having calmed down, Vicki agrees to go into the drawing room for a talk, during which she again raises the subject of the woman sobbing in the night, as if from somewhere right there in the house. Still contrite, Roger admits to having heard the sounds himself:


Vicki: The sobbing; you did hear it, didn’t you?

Roger: Yes.

Roger talks with Vicki_drawing room (2)_ep37

Vicki: What is it, where does it come from?

Roger: I don’t know.

Vicki: But you must!

Roger: I’ve heard it many times before, and I honestly can’t tell you where it comes from. Maybe it’s… one of our ghosts.

Roger talks with Vicki_drawing room (3)_ep37


This at least proves that the same sounds heard back in episode 4 were not just a figment of Vicki’s imagination, her first night in a big, dark, gloomy house with all kinds of strange events occurring around her and with everyone else in the house the next morning denying they ever heard such a thing in the night. There could well be a ghost or two loose in Collinwood after all.


But elsewhere in Collinsport, a real-life haunting, a fear that permeates to the depths of a man’s soul, is taking place at the Evans cottage, as depicted in the Photo Gallery section below.


Sam and Maggie Evans_Evans cottage_ep37



[SPOILER ALERT!]: This section contains control room discussion during the taping of episode 37 between Dark Shadows director Lela Swift and executive producer Dan Curtis about Dan planning for changes in story direction as well as the cast of characters. You may wish to skip this section if you haven’t gotten as far as episode 53, or better still episode 108.


In the opening scene, as Roger Collins paces anxiously about the drawing room, in the control room Lela has something on her mind:


Lela: Dan, I want to talk to you about what you’re planning to do with having Bill Malloy killed off.

Dan: Forget it, Lela. I don’t want to discuss it anymore.

Lela: I know you don’t want to discuss it, but I still want to give you a piece of my mind.


[Roger by this time, having stepped out to the foyer, moves back to the drawing room to place a telephone call]


Dan: Lela, drop it. My mind’s made up.

Lela: Dan, Frank Schofield is too good of an actor to just let go.


[Scene switches to Evans cottage as Sam gets up from a chair to answer the phone]


Dan: I told you, Lela, I’m not going to let Frank Schofield go.

Lela: But how can you keep an actor on when his character has been killed off?

Dan: Don’t worry, I’ll think of something…


[Moments later, after Roger has put down the phone and steps toward the doors to find Victoria looking in on him]


Lela: Dan, I want to talk to you over the opening theme…


[waves intro]

Lela: Dan, I want you to change your mind about killing off Bill Malloy. Frank Schofield is too good of an actor to just let him go like this.

Dan: Lela, I have told you…


This idea has been brewing in Dan’s mind for at least the past week. During the taping of episode 32, an episode directed by John Sedwick, you could hear Dan in the control room discussing it; it’s the scene in the sheriff’s office, where Bill Malloy has just been shown the pictures with the two sets of fingerprints on the wrench from the Collinwood garage, and during a break in dialogue Bill Malloy gets up from his chair and moves slowly forward, pensive in thought. It’s during this interval that Dan says from the control room:


Dan: Frank Schofield has got to go! Art Wallace isn’t moving the story along…


Here during the taping of episode 37, it appears Lela has only just found out about Dan’s intention for the character of Bill Malloy, and with single-minded tenacity she keeps at her executive producer in the hope of getting him to reconsider. In the middle of Act I, after the scene from the Collinwood drawing room dissolves to the Evans cottage and there is a momentary break in dialogue, Lela takes her opportunity:


Lela: Dan, I want to talk to you about keeping Frank Schofield on.

Dan: I’m getting sick and tired of hearing about it, Lela.

Lela: That’s what you say whenever I try to talk to you about doing something right for the show!

Dan: Lela, I told you, Art Wallace hasn’t been moving the story along. I want something to happen…


Elsewhere during taping, a comment is made from the control room on David Ford’s stage voice, during Act II when Sam shouts at Maggie to turn the whistling tea kettle off in the kitchen:


Dan: Sam’s got a great stage voice!

Lela: Yes, he does have a great stage voice. Kathryn likes his stage voice. Nancy Barrett really likes his stage voice…


In the middle of Act II, after the scene has switched to the Collinwood foyer as the camera moves from the grandfather clock and across the set as Vicki emerges through the door atop the landing, you can hear Lela from the control room directing the Sobbing Woman. This is an indication that the sound of the Sobbing Woman was not a prerecorded track dropped into the taping from the control room, but rather was done live by an actress somewhere out of sight on the soundstage. This might explain why the Sobbing Woman sounds different than in episode 4; it could have been that Florence Stanley, who provided the voice of the Sobbing Woman in that episode, may not have been available for the taping of episode 37, so they had to find another actress:


Lela: Bring on the Sobbing Woman!… [as Vicki steps through the door below the foyer landing and the scene then switches to the Collinwood basement set] Alright, go ahead and let it out!… That’s very good, Clarice… Alright, Clarice, now pause… [Vicki has descended the basement steps] And, Alexandra, turn on the light… Now, Clarice… [Vicki is up close to the locked door, as Lela cues the sound man]… And, footsteps!… Louis, please descend… [Commenting as the camera has in view just the shoes and lower pant legs of a mysterious man descending the stairs toward Victoria] That will look great on television!…


At the start of the final act, there is a break in the dialogue as Roger follows Vicki into the drawing room; Lela has a heads-up for her executive producer:


Lela: Dan, I want to talk to you over the closing theme about Frank Schofield.

Dan: Oh, Lela! Can’t you just drop it?


What precisely Lela had to say over the closing theme along with Dan’s reaction cannot be told, as the broadcast of this episode has no closing credits. Only the Dan Curtis Productions logo appears, and just momentarily. It could be that episode taping ran too long to provide the usual list of end credits.


One thing, though, is particularly telling, in that Dan may have lost patience with his director on the matter: The next afternoon, Thursday August 4, they would be taping episode 39 with John Sedwick directing. In fact, Lela won’t be returning until episode 44, by which time the scripts for Frank Schofield’s final episodes as Bill Malloy would already have been finalized.


Until next time, this has been The Dan and Lela Show.


Photo Gallery:

Sam Evans in his cottage brooding in the lateness of the hour.

Sam Evans broods in his cottage after midnight_ep37


Sam can hear Roger imploring him not to hang up.

Sam can hear Roger imploring him not to hang up_ep37


Maggie has been woken by Roger’s late night phone call.

Maggie has been woken by Roger's late night phone call_ep37


“Go back to sleep, darling. You’re getting those fatigue lines that a pretty little girl like you shouldn’t have.”

Sam tells Maggie to go back to sleep_ep37


Sam tells Maggie there’s something he has to do.

Sam tells Maggie there's something he has to do_ep37


When Maggie has left the room to return to bed, Sam sits down to write a letter…

Sam sits down to write a letter_ep37


…which he then seals in an envelope…

Sam seals the letter in an envelope_ep37


…and hands to Maggie.

Sam hands Maggie the letter he wrote_ep37


Maggie discovers the letter her father wrote is addressed to her: “It’s me. This is for me? But you said it was personal and private.”

Maggie discovers the letter her father wrote is addressed to her_ep37


“Believe me, darling. The one thing I hope is that you’ll never have to open that envelope. That you’ll never have to learn…”

Sam hopes that Maggie will never have to open the envelope_ep37


“Learn what?”

Maggie tries to find out what Sam is hinting at_ep37


“This has something to do with Collinwood, doesn’t it? I wish that place would burn to the ground!”

Maggie wishes Collinwood would burn to the ground (2)_ep37


“Ghosts of the past don’t live in a home. They live inside each man…”

Sam talks about ghosts of the past_ep37


“They fight for his soul…”

Sam describes the battleground of a man's soul (2)_ep37


“…and twist it into something unrecognizable.”

Sam describes the battleground of a man's soul (3)_ep37


Favorite Lines/Exchanges:

Roger [to Sam]: The hours are passing, Evans, for both of us. Don’t make yours any shorter than they have to be.

Roger: How long have you been standing in that doorway, Miss Winters?

Vicki: I couldn’t sleep. I came down to find something to read.

Roger: To read or to listen?

Vicki: I don’t understand.

Roger: I see. Innocence in a dressing gown.

Maggie: What do you got there, Pop?

Sam: Oh, Maggie, I… thought you went back to bed.

Maggie: You know how it is. I tried, no luck. Thought I’d fix myself a cup of tea… What is that, a letter?

Sam: Maggie, you are the nosiest creature on the face of this earth. Yes, it’s a letter, I wrote it, and it’s private. Now, if you’re going to make some tea, the door is right in there to the kitchen.

Maggie: You are a fund of information.


Background/Production Notes:

Episode 37 is the first to be taped out of broadcast sequence. Whereas episode 36 was recorded on Monday, August 1, 1966, episode 38 was taped on Tuesday, August 2 and episode 37 on Wednesday, August 3. One possible explanation is that this may have been done to accommodate an actor’s other commitments. All through 1966 while on Dark Shadows as Burke Devlin, Mitch Ryan was also appearing in the Broadway play Wait Until Dark, which between February 2 and December 31 staged 373 performances. Because Mitch Ryan was needed for episode 38, this may have been moved back a day because of additional time needed for his Broadway work that Wednesday. By that first week in August, Wait Until Dark was well on its way to becoming a work of lasting significance; the motion picture adaptation was already in progress, and Warner Brothers had a 136-page first revision script for the project completed by August 1.


Actress Clarice Blackburn makes her Dark Shadows debut in this episode in an uncredited capacity as the voice of the Sobbing Woman. She will make her first onscreen appearance as Sarah Johnson in episode 67.


Ned Calder is one of those characters that are mentioned but who never appear onscreen. In this episode, Ned places a telephone call for Elizabeth after one in the morning. Roger answers and tells him to call back at a more reasonable hour.


Episode 37 is one of those that don’t show a list of end credits. After the final scene, the Dan Curtis Productions logo settles into place as if credits had been rolling and appears just long enough for ABC announcer Bob Lloyd to say, “Dark Shadows is a Dan Curtis production.” Whereas the total running time for episode 36 from slating to end credits had been 21 minutes 59 seconds, the total time for episode 37 from slating to end minus the usual closing credits roll was 22 minutes 22 seconds, with 22 minutes 15 seconds having elapsed from slating to the end of Act IV. In fact, in the final seconds of episode 37’s Act IV, Dan Curtis can be heard speaking from the control room: “We’re going too long with this episode. We won’t be able to show the end credits.” Lela can be heard to react: “No credits?”


Daily studio schedule for Dark Shadows in 1966

7:00-11:00 a.m.  Lighting

8:30-10:30           Morning Rehearsal

10:30-11:30         Break/Make-Up

11:00-12:00         Engineering Set-Up

11:30-2:00           Camera Blocking & Run Through

2:00-2:30             Dress Rehearsal

2:30-3:00             Test Pattern

3:00-3:30             Episode Taping

3:30-4:00             Knockdown

3:45-4:15             Technical Meeting

4:00-6:30             Dry Rehearsal for Next Episode

4:00-7:00             Reset Studio


Set Design:

In this episode, the long table in the foyer, usually seen in the center of the floor, is positioned closer to the staircase, perhaps for purposes of camera blocking.

Collinwood foyer set_foyer table closer to staircase (3)_ep37


Bloopers/Story Continuity:

In the opening scene, after Sam switches on the light to answer the phone, the camera angle shows the top edges of the Evans cottage set along the left wall.

Camera blooper (top of screen) showing edge of Evans cottage set_ep37


In the opening scene, as Sam explains over the phone to Roger how he tried to talk Burke out of having his portrait done, David Ford says, “Collins, I told you earlier this evening, that I tried to talk about him, ou – him out of having me do his portrait.”


In Act I, during Roger’s rapid-fire drawing room interrogation of Vicki, Louis Edmonds says, “How much of my phone conversation did you he – overhear?”


In Act II, the camera angle momentarily exposes the edge along the right wall of the Evans cottage set.

Camera blooper (right of screen) showing edge of Evans cottage set (1)_ep37



The Evans cottage set is shown for the first time since episode 22, providing several prominent views of the green electric replica Victorian oil lamp, a prop that has thus far alternated between the living room of the Evans cottage and David’s room at Collinwood.

Green lamp_Evans cottage (2)_ep37


Food & Drink in Collinsport:

In Act I, around one o’clock in the morning, after Roger has poured himself a brandy in the Collinwood drawing room the scene dissolves to the Evans cottage where Sam pours himself a drink from a bottle of whiskey.

Scene dissolve of Roger and Sam pouring drinks at the same time_ep37


In Act II, after Maggie has gone to the kitchen to turn off the tea kettle, Sam goes to the table behind the sofa to pour another glass of whiskey.

Sam pours a second glass of whiskey_Act II_ep37


On the Flipside:

On the day Dark Shadows episode 37 was being taped, Wednesday August 3, 1966, episode 28 was being broadcast at 4 pm Eastern. Following in the 4:30 time slot was season 2, episode 232 of Where the Action Is.


WTAI_opening logo_ep37


As part of Dick Clark’s opening voiceover: “Where the Action Is is brought to you by, Band-Aid sheer strips by Johnson & Johnson…”

WTAI_sponsor_August 3_Band-Aid sheer strips_ep37


“…and by Score, the new clear hair cream for men.”

WTAI_sponsor_August 3_Score hair cream (2)_ep37


Among the musical guests was the “Big O” Roy Orbison.


Dick Clark: “Here’s a man whose had so many hit records, it’s hard to keep track of ‘em all, the sound of success, Roy Orbison…”


(Roy Orbison performing Mean Woman Blues)

“Well I got a woman, mean as she can be…”

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Also performing on this program was WTAI regular Tina Mason, with a rendition of You Better Come Home.


“Nothing can change the way that I feel…”

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“…so baby come back to me…”

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You may recall that Miss Mason appeared in two Dark Shadows episodes (33 and 34) uncredited as a Blue Whale customer.


She can be seen prominently in episode 33 on the dance floor of the Blue Whale:


Tina Mason at the Blue Whale GIF_ep33


(Closing theme and credits to WTAI, August 3, 1966)

Tina Mason_Where the Action Is_closing theme and credits GIF_ep33


Recommended Reading:

Joan Bennett’s 1970 autobiography (original front and back covers).

Joan Bennett cast member spotlight_The Bennett Playbill_front cover_ep25

Joan Bennett cast member spotlight_The Bennett Playbill_back cover_ep25


The Bennetts: An Acting Family, the 2004 biography (front cover).

Joan Bennett cast member spotlight_The Bennetts An Acting Family_front cover_ep25


From the page I created for Dark Shadows Wiki:

Dark Passages is a novel written by Kathryn Leigh Scott and published in 2011 by Pomegranate Press, Ltd.

Set in the 1960s, Meg Harrison leaves her native Minnesota for New York to pursue a career in acting while working as a Playboy Bunny in New York’s Playboy Club. After changing her name to Morgana Harriott, she soon lands the role of Margie, a restaurant waitress and daughter of a local artist, in the new daytime TV serial Dark Passages. The show will eventually feature a vampire, but the catch is that Morgana is one in real life.

The characters described on the sets of Dark Passages resemble quite vividly those on Dark Shadows and the actors who played them. The diner set where Margie works is greatly similar to that of the Collinsport Inn restaurant on Dark Shadows.

For the back cover, Jonathan Frid wrote the following blurb: “Reading DARK PASSAGES was like being back on the sets of DARK SHADOWS, except with real vampires behind the scenes!”

Dark Passages_novel_front cover


Recommended Listening:

In this eight-CD box set of composer Robert Cobert’s series soundtrack, every music cue used on Dark Shadows is available, including the full-length original recordings of the guitar instrumentals heard at the Blue Whale.

Dark Shadows_Soundtrack Music Collection_Front cover


Since 2006, UK production company Big Finish has been extending the Dark Shadows legacy with audio dramas offering new stories featuring cast members from the original TV series. My favorite is the 2015 audio drama …And Red All Over, in which Mitchell Ryan reprises his role as Burke Devlin to the backdrop of an eerily compelling backstory on how he came to acquire his wealth in business. Also starring Kathryn Leigh Scott as Maggie Evans, with original series themes and music cues composed by Robert Cobert. A must listen for any fan of the first year of Dark Shadows.

And Red All Over_CD booklet front image


Coming next: Dark Shadows from the Beginning Special Edition: Origins of Dark Shadows: The Uninvited (1944) and The Unseen (1945)


— Marc Masse

(aka PrisoneroftheNight)


© 2018 Marc Masse and Dark Shadows

from the Beginning. All rights reserved.

Unauthorized use and/or duplication of

the content herein is a violation of the

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2 thoughts on “Episode 37: One of Our Ghosts”

  1. I won’t argue with Dan about killing off Bill Malloy. As much as I like the character, we can do without Bill a lot easier than we can do without Roger. But I am sorry they weren’t able to bring Frank Schofield back in another role.

    If they had stuck (more or less) to the original Jeremiah and Josette story, where Jeremiah was much older than his bride, I think Schofield could have done a great job of that. Josette could have come to Collinsport to marry Jeremiah, accompanied by her father and her aunt and her witchy maid. Barnabas could have fallen in love with his uncle’s young wife, while her maid decided she wanted Barnabas for herself. They could carry on from there, and that stupid Peek-a-boo Tattoo wouldn’t have been necessary.

    In 1897, I think Frank Schofield would have made a good gypsy. Not King Johnny – Paul Michael was too good in that part. But he could have been part of King Johnny’s court. Or maybe a brother to Magda or Sandor.

  2. So, at this point it appears they were still going with Art Wallace’s outline which meant that this story would end with Rogers death while Bill Malloy remained on the show. What DC intended for Frank Schofield later apparently never happened. I have to admit AWs original storyline from Shadows on the Wall was kind of dull.

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