“Blood… oozing through the wall! Where’s it coming from? What does it mean?”
This is the beginning of an important week for Dark Shadows, as we lead up to one of the all-time great storyline twists in soap opera history. In fact, the upcoming story is so bizarre that they aired a special promotional announcement to warn the audience that it was coming.
In the 25-second bumper, Vicki is filmed against a stark black background, looking off into the distance with her typical dazed expression. They play one of those rising-tension music cues, made of strings, kettle drums and reverb.
An announcer says, “This Friday, you and Victoria Winters begin a strange and terrifying journey into the past, back to the year 1795, to discover the origins of this man,” — Barnabas, posing against the darkness — “and the secret of the chained coffin.” The scene fades on a shot of his hand resting on the coffin.
They don’t actually say, “Oh, by the way, it’s Dark Shadows,” or the time slot or anything. They don’t have to. What else could this possibly be?
So I would imagine, on this week in November 1967, that a lot of people who were vaguely aware of Dark Shadows decided to tune in for the first time, just to find out what this is all about. I think it would be interesting to look at today’s episode from the perspective of that first-time viewer, coming to Dark Shadows with fresh eyes.
But it turns out that’s completely impossible, so I have to call for backup.
Because today is the Julia episode.
Yes, you know which one I mean. Dr. Julia Hoffman appears in 344 episodes, but if you say “the Julia episode” to a Dark Shadows fan, they know exactly what you mean.
Now, I’m a Dark Shadows fan, obviously, and I love Julia, and I love Grayson Hall, and therefore my relationship to this episode is extremely complex. This is the episode that I absolutely cannot view objectively. I need an unbiased observer to ride along with me.
I’ve asked my friend Trevor to come over, and watch this episode with me. He’s never seen the show before, but he went to the Tim Burton movie with me, and he was vaguely puzzled by it.
The movie and the show are very different, so I figure he’s got the same general background information about Dark Shadows that a viewer would have at this point. There’s a mansion, there’s a family, a vampire rises from the past, there’s a doctor who wants to cure him, chaos ensues. In November 1967, you’d pick that up just from hearing people talk about the show.
So that’s all Trevor knows about the show, and this storyline. The only thing I’ve told him is that this is an unusual episode, and I want to know what he thinks.
Let’s get started. It was a dark and stormy night…
Trevor: Am I right in thinking that there’s always a thunderstorm on this show?
Danny: You’re not wrong.
Trevor: So we’re in a crypt, and that’s a ghost. Is that Chloë Grace Moretz’s character?
Danny: No, that was Carolyn; this is Sarah.
Sarah tells Julia, “I know what you did to Doctor Woodard!” This means precisely nothing to Trevor.
Trevor: She’s a doctor — did she mess up, and cause Sarah’s death? Sarah’s angry about something. Julia’s a therapist, right?
Danny: She’s several things. That’s one of the things that she is.
Sarah disappears, and now it looks like Julia’s locked in the mausoleum; she calls for help, but nobody comes.
She tells herself, “Eventually somebody has to come along,” and she pulls out a cigarette. Trevor chuckles.
Trevor: Okay, that’s one way of coping. That’s not a thing you see on TV now.
Danny: Yeah, sometimes people just take smoke breaks in the middle of the show.
Trevor: So is this whole episode in real time, like the parking garage episode on Seinfeld? She’s just going to be trapped for the whole episode?
Danny: Possibly.
Trevor: How many cigarettes does she have?
Then they start playing haunted house effects records at Julia — first a sobbing woman, and then a screechy witch laugh. Julia tries to tell herself it’s the wind, not very successfully.
Trevor: Has she been drinking, or taking pills? Is this a hallucination? I don’t know enough about this character to know if this is normal for her. Maybe she’s just having a bad day. This seems to be really stressing her out.
Screaming for Sarah, Julia touches the wall — and her hand is covered in blood.
Trevor: Okay, so she definitely caused Sarah’s death. She’s got blood on her hands.
But then the next shot confounds that theory. Julia says, “Blood… oozing through the wall! Where’s it coming from? What does it mean?”
Trevor: Now I’m confused. It says Sarah died in the 18th century. Is that Sarah’s blood? Did she die on the other side of that wall?
Danny: What do you think about the style so far?
Trevor: I don’t know. It’s a different era, a different way of making television. I’m not familiar with 60s TV; I don’t know how this compares. Was it all like this?
Danny: I don’t think that anything was ever like this.
By the end of the act, Julia finds her way out of the mausoleum, and she comes back to Collinwood, where Carolyn tells her that everyone else is out for the night.
Danny: That’s Chloë Grace Moretz.
Trevor: Is she a ghost?
Danny: No, she’s alive.
Then Julia notices her hand.
Julia: The blood…
Carolyn: Blood?
Julia: I had blood on my hand, but… there’s not a trace of it left.
Carolyn: Oh. Maybe the rain washed it away.
Julia: Maybe.
Carolyn: Well… good night.
Trevor laughs.
Trevor: She seems to be taking all this in stride.
Danny: Yeah, just another night at Collinwood.
Trevor: I don’t know the crazy bar that they’re used to. Maybe that’s just Julia being Julia — every night she comes in with a different body fluid on her hands.
Trevor: Julia asking her if she has to go out — that’s like a conversation between a dog and its owner. “Don’t leave!” “Don’t worry, someone will be home later.” “There’s no such thing as later!”
Left home alone, Julia tells herself, “Try to find something else to concentrate on, a book, or…”
Trevor: It seems like the rest of the cast was busy today? And she was free?
She tries to settle down to a game of solitaire, but she keeps reacting to every sound.
Trevor: So, earlier I thought she was on pills… Now I think she needs some.
Danny: Yeah, she’s not getting very far with the solitaire.
Trevor: I do like the production design — the furniture all goes really well together. It’s all potentially creepy. I could see how supernatural things could happen here.
Julia keeps giving updates in thinks.
Julia (thinks): Why is it suddenly so cold? Cold — penetrating — the same as it was in the mausoleum!
Trevor: I really don’t understand what the problem is. Blood coming from the walls, that’s tough to deal with. This could be solved with a sweater.
Trevor: I like the close-ups with her hands; it’s like she’s been told to keep those hands in view at all times. TVs were smaller back then. Maybe this was the only way to keep track of where everything is.
Trevor: All these doors opening and closing — that’s got to be a symbol for something.
Danny: Like what?
Trevor: Opportunities? It does explain why she’s cold all the time. Maybe it’s a metaphor for weather stripping.
Julia returns to the cards for the fifth time in this scene.
Trevor: Oh, come on. She’s the world’s slowest solitaire player. She needs to commit to an activity.
Danny: You just lost the will to live, didn’t you?
Trevor: I think so.
Danny: I just watched it happen. Time of death: twelve and a half minutes into the episode.
Trevor: Does she win? I kind of want to see the end of this game now.
Julia gets up and does some mobile thinks.
Julia (thinks): Is Barnabas trying to drive me out of my mind, or –? It couldn’t be! It couldn’t be you, Dave! You haven’t returned from the dead to haunt me, have you? Have you?
Trevor: There’s the hands again. So is Dave her husband? Or was he another patient? I’d say husband, because she appears to be living with a different family. Does she have a family of her own? I still don’t know who Sarah is. It’s not like they don’t have time to explain.
Chased out of the drawing room by a vision of Dave’s ghost, Julia heads up to her bedroom.
Trevor: Hey, a new set. Are there any windows? You might want to check those.
Sure enough, she finds that the door is stuck, and she can’t get out.
Trevor: She has a really troubled history with doors. She’s a woman at war with architecture.
Trevor: Now the phone doesn’t work. Play some solitaire!
Danny: Yes, now you’re getting it. That’s the correct response to Dark Shadows; it’s an interactive experience.
Trevor: Was everybody else on vacation today? Maybe someone in the cast was getting married, and everyone was invited but her. This is the weirdest telephone acting I’ve ever seen.
Julia ends up on the floor, sobbing and clutching at the furniture.
Trevor: Now the acting is starting to get in the way. I don’t know who this actress is, but she has not been remembered through time. Didn’t you say that you like her?
Danny: Yeah. This isn’t usually what she does.
Trevor: I like the music, and I like the sets. It looks like a good show could take place there.
Danny: But not today.
Trevor: Not really. I’m still trying to figure out the relationship with Dave, and Samantha. Maybe Barnabas killed Samantha, and Julia tried to save her, and she feels bad for not being a better doctor.
By this point, Sarah has become “Samantha” in Trevor’s mind. I don’t bother to correct him; it’s not like it makes a difference.
The episode ends with a puffing, scratching sound outside the door. Julia looks at the door, and the image starts to bend and stretch.
Trevor: Okay, now I think she really is tripping; she’s been tripping the whole time.
We finish up with one last crazy Julia scream.
Trevor: That was it? That was a whole episode?
Danny: Yeah. What did you think?
Trevor: That was very strange. I probably wouldn’t watch another episode.
Danny: Where would you have given up?
Trevor: Somewhere around the solitaire. I would have thought, okay, something’s troubling her, I get it, it’s fine. But then it just keeps troubling her. They didn’t explain anything.
Danny: Any thoughts about Julia?
Trevor: If that was a person in real life, I don’t know if I’d hang out with them. I’d probably smack them.
Danny: Or at least get them to finish a game of solitaire.
Trevor: Yeah. I wouldn’t make a point to be home tomorrow to find out what’s on the other side of that door. I mean, I am curious. What is on the other side of the door? Do we ever find out?
Danny: We can watch the next episode, if you want.
Trevor: No, I think I’m okay.
Tomorrow: The Day After.
Dark Shadows bloopers to watch out for:
This isn’t really a blooper, more an inconsistency: When did Julia get a phone in her room?
Tomorrow: The Day After.
Dark Shadows episode guide – 1967
— Danny Horn
Dark Shadows Every Day 
This was hilarious. Please tell Trevor, “It Does Get Better.”
Interesting that one of the problems Trevor seemed to have was not enough exposition to explain exactly what is happening and who the characters are and how they relate (does seem strange that Sarah and Julia don’t have a “recap” conversation as is the norm). So maybe some of the constant recapping that goes on in other episodes is justified in order to attract new viewers on a daily basis.
Yeah. That’s actually part of what I like about this episode, in a perverse way — that it’s just baffling. It’s almost an “Us vs Them” episode — it only makes sense if you’ve watched at least a month of the show.
I actually LIKE that kind of thing. Exposition? Keh! Put them in a dark room in full stride and DON’T TELL ME!
“A woman at war with archictecture” — I’m gonna put that on a tee-shirt.
DS would later take advantage of the voiceover intro to convey effective recap rather than simply setting the mood.
I can see how Trevor, a viewer who stumbled upon this episode cold, would not respond well to it. There are no basic soap opera recaps in dialogue to explain who everyone is and what the stakes are. As someone committed to the series at this point, I recall finding the episode gripping, well, maybe not the solitaire, because it was very possible for Julia to “lose” it and be carted off to the mental hospital in the next episode. She’d seen Sara, which usually meant the kiss of death at this point.
Grayson Hall’s threatricality is sometimes on a different planet from Frid’s Shakespearan work but it’s what makes the Countess and Magda work so well, I think.
I remember an interview with Sam Hall on one of the DS dvds where he talks about Grayson’s ‘theatricality’ and how he didn’t like to end scenes with her because he felt that was when she was most over the top (or words to that effect).
Maybe Julia got a phone in her room, when she reupped as a permanent resident. Some kind of bonus. Then again, if she’s really losing her mind, she might not really have a phone there. She could be talking into her hand. She could still be playing solitaire and this is all in her head.
why didnt she just go to the blue whale? thats where everyone went. until they got internet.
Here’s something you probably didn’t know. Ron Sproat wrote a very similar episode of the teen soap that DS replaced, called “Never Too Young.” While there were no supernatural elements in that NTY episode, it did feature a young woman being stalked by someone and she was alone in a house and played solitaire, but kept hearing and imagining things. Ron Sproat simply adapted the NTY episode for this DS installment.
OMG! There is someone in the world besides who remembers Never Too Young! I’m impressed.
And five years later, the episode of Never Too Young that Ron Sproat adapted for this episode of Dark Shadows if back on YouTube.
Count me in as a fan of “The Julia Episode.”
This was a great episode of Julia meltdown sponsored by Barnabas and his crazy ass. What does he think is gonna happen to Julia that Julia will not come out as the winner? Julia can peep Barnabas game a mile away. Hang in there Julia!
This episode DOES raise the ‘crazy’ bar…by a few miles!
I can think of only one thing you could have done, Danny, that would be more wicked; to have made a novice like Trevor sit through a ‘lost pen’ installment. But then he’s a friend (I mean, I HOPE he’s still a friend. Or at least still returning your calls).
Well, I just watched it. I can’t believe they actually made a TV episode like that.
At the end of the disc in the interview with Sam Hall he explains how he came to write for the show ( didn’t seem he really wanted to)and how the writers had to work around Jonathan Frid not being able to memorize lines, and Grayson Hall’s tendency to over act when she had to react in a final shot .
Just got to this post, and…wow. Trevor is still your friend after this? I love the show, and even I would’ve demanded dinner afterward.
I enjoyed the episode, but it’s definitely not an episode someone should be introduced to the series on. I enjoy episodes with fewer characters – they tend to rely more on atmosphere, as well as extended interactions between the characters that are in the story (since they can’t just break to a new scene with new characters after 5 minutes). Although in this one, there’s barely anyone other than Julia – Sarah’s only in the reprise, and Carolyn is just there for a two minute cameo.
The one thing that definitely should have been changed, though, was the light in Julia’s room – Even with the lamps off, there’s just as much light, and we probably wouldn’t have known that there was supposed to be a power outage if she hadn’t said it. The scene would be a lot more effective if they if they made the scene a lot darker,
Also, the blood would have looked a lot better if the show was still in black and white.
I… yeah. That was an experience.
I can’t really sort out how I feel about this one, so I’ll have to make do with some disjointed nitpicks.
That ghost-thing haunting Julia really strongly reminds me of something, but I can’t place what. Whatever it is, it’s certainly not Dave (in any of his incarnations). As does the sound effect when the room starts going wonky… Ooh, it’s going to bug me all day.
Was that the ‘Liz crying in the basement’ effect in the mausoleum?
Hall had to work pretty hard to get that strawberry sauce on her palm.
She lays out the last few columns wrong when setting up the solitaire game – she puts down the final, face-up card on the sixth column, then hesitates before putting another face-up card on the last column (there should be one more face-down card first). I guess that’s a sign of how much attention I was paying…
Trevor: “How many cigarettes does she have?” Priceless! The answer, of course, is an endless supply
And she left the cigarettes in the mausoleum. “Meh. I can always buy another pack now that the door’s unlocked.”
That last scene with the bulging door reminds me of THE HAUNTING. The 1963 version.
Here’s a blooper, London Bridge is heard in the key of F major, and the piano keys we see depressing would have made us hear the song in A minor. Also, this is just me, but the witch scream kinda sounds like Clarice Blackburn could have done it.
Another… I don’t know if this is really a blooper or was intentional… but the door of her room not only bends, but the image reverses. The door knob switches from right to left, the plant and the picture on the wall also change sides, though you can only see that the picture has changed when the camera pulls back enough to show its edge.
I find that this episode is best enjoyed with the sound off.
Horrible episode. I disliked Julia as a small child and now on rewatch, I hate her for so many reasons. The acting is truly terrible. Her voice is unbearable and her screams grating and totally unconvincing. The illogic and inconsistency. Then she has a hideous hairdo that I literally have never seen another person wear (it’s like she has reverse bangs that are glued upward). And there are the eyebrows that frequently look like they creep downwards to meet, clown like, on the bridge of her nose. (Did no makeup staffer ever watch the show to evaluate their handiwork?)
Julia better die soon, and violently.
…lol…DS Willie you are wrong for that…lol. Julia’s screams are unique. But I think the purpose of the episode is to show the low depravity of Barnabas thought process in his respect for her which he claims to all of a sudden now have. It is as if he wants to see how much torture she can handle. It reminds me of Alfred Hitchcock and Tippy Hendren. Alfred Hitchcock was in love with Tippy and she would not return his advances. On the scene when the birds were in the phone booth with her, he used real birds and kept re-doing the scene 5 times letting the birds just pluck her damn near to death. Its cruel and awful. Barnabas knows he is not as strong as Julia.
As far as Barnabas not being as strong as Julia – and certainly not to excuse his abusive behavior – but considering what he’s already been through, especially in his long, undead life, I’d think he’d have to have had pretty good fortitude to come out of that chained coffin with any semblance of sanity & manners whatsoever.
No, as someone who’s survived many years of past emotional abuse, I do not condone it.
Barnabas’s claim of respect for Julia a couple episodes was completely phony and manipulative (and we were meant to believe as such).
Ah, Willie – a fan after my own hate –er, I mean HEART. 😉 I’ve also never been a Julia/Grayson fan, as I find her characters to usually be insufferable, smug, sanctimonious, and nosy busybodies. Plus, ditto on that gawd-awful hairdo! I’ve seen better hairdos on Phyllis Diller!
Her hairdo is a bad example of one that was popular during that time. It was usually more poofed or rounded on the top and not as harsh looking. Hall has severe face angles and that hairdo wasn’t a friend.
I’m not a Julia fan, but it is what it is when it comes to her presence on DS. This episode was terrible. It felt ultra-Sproaty. I lost sight of Barnabas being the reason behind Julia losing it, due to the interminable over-acting and hokey terror/screaming. I kept looking at the clock, hoping it would stop! (Not that I couldn’t have turned it off, mind you.)
The faux-Woodard ghost is just bad news. Are we supposed to be seeing his face or are my eyes bad? The melting reversed door was an unusual touch for the time. Trippy. Sadly, seeing the cigarettes is a partial reminder of Hall’s loss at a rather young 62, from lung cancer. For all we know, she could have quit the following year.
I too remembered scary Julia from my childhood – sneaking peeks as my mom watched. I thought she was scarier than the vampire. Watching now as an adult, I find I agree with all of your assessments.
Grayson Hall’s hairdo always reminds me of the worst hair I’ve ever seen on a women, Diane Keaton in the hotel scenes with Pacino in the first Godfather movie. Both of these women have what my sister used to call “Freda’s Cat Hair.” Freda was a character in the old Peanuts strip that carried around a large limp cat that would drape down on both sides when you held it. Keaton looks like she got the cat from Freda and, tired of holding it, she put it on her head. Then gave it to Grayson Hall. (Hey, it could happen…)
The best part about this episode was… your words about it. It was hideous – I really had a hard time getting through this one. If this was the first episode I ever watched, it would also be the last. This woman was lighting cigarettes off of the candelabra not that long ago and now she is blubbering uncontrollably. I can’t stand it.
I would say that this has the potential to be a real “tour de force” for Grayson Hall but, alas, alack, it has far too many sloppy pieces of work that needed cleaning up. Still, all things considered, it really is impressive on a host of levels.
What must audiences have thought when subjected to an almost non-stop Hysteria and Nervous Breakdown by a Major Character on a Soap Opera? With the exception of Carolyn’s brief appearance, it probably remains the ONLY soap episode of its kind with a one-woman monologue for the entire episode. it’s truly AWESOME that anyone would even TRY something like this, let alone pull it off as well as they did. I found parts of it to be really unsettling and even scary.
The blood coming out of the Collins mausoleum (Joshua’s?) was really an unexpected touch. When the cue comes, it actually comes GUSHING out from behind the wall.
The trippy psychedlic wavy-door thing was also very cool. This would have been a fantastic episode to be completely stoned or high for in 1967!!!!
After this episode was taped the ghost of Konstantin Stanislavski appeared to Grayson Hall and warned her to knock it off before she discredited the entire Method technique. She didn’t listen.
“HAAAAAAAAALP!”
Another fan of the Julia episode. To me it’s a great camp hoot. I especially enjoy Grayson’s pulsating tongue when she does her combination of sobbing/laughing. I adore Grayson Hall and Julia was this 8 year old ( at the time) gay boy’s favorite character. She still is!
i second that, discorules; and back then i expect i was just a shade older than you. sigh
Grayson’s “hair-don’t” was the result of a wig they made her wear. In real life she had a very short, pixie style hair-do but someone didn’t think it went with the character. The upswept bangs of a slightly different color are really her own hair used to conceal the lack of a part in the wig. At some point in the near future they let Grayson go with her own short hair style. Someone (Caroline? Vicki?) even comments on how good it looks on her
I think Julia had some uncharacteristic “goldfish” moments here. To wit: she seems to take forever to realize that it’s probably Barnabus who’s behind all the mumbo-jumbo. At which point, you’d think she’d realize that Dr. Woodard’s appearance is just a trick. Then, after she locks her bedroom door, she exults that now no one can possibly get in, seeming to have forgotten that when the good doctor came in before, he did so through a window; not thru a door.
In other news, I liked how after the mausoleum door slammed shut, the latch didn’t catch and the door swung back open an inch or so. Kind of forlorn-looking, actually.
Who is this woman and what have they done with Julia Hoffman? You know, the doctor who confronted a vampire in her bedroom and bargained with him for a job? Now she’s terrified of a ghost? Granted, she was an accomplice to his murder, so a guilty conscience could be at least partly responsible for this melt-down. Still, I’m not a fan of it.
Goodness gracious… easily the most horrifying DS episode I’ve seen yet, but not the “good” kind of horrified that I’m sure I was supposed to feel at the conclusion. I’m currently watching this for the first time on Decades, two episodes a day, M-F, between 5:00 and 6:00 AM in NYC, so this Friday morning I saw this one back-to-back with the previous episode. Lordy! Grayson Hall’s tortured facial expressions here made me imagine a mime suffering from severe constipation… “Help meeeee… somebody help meeeee… I desperately need some Ex-Laxxxxxx!” Somewhere near the end I was prompted to recall a remark by Bette Davis, that one of the down sides to being an actor is that it’s not a very dignified occupation. This episode serves as a case in point. Which only makes Grayson Hall rise a bit in my estimation for having taken this material and given her all to putting it over. I can’t say she succeeded, but I have to respect her for being a pro and doing what was expected of her when she showed up to work that day. Could the great Bette Davis have done any better with this nonsense given the same working conditions and time constraints that existed on the DS set? Probably not.
Greatly looking forward to Monday. What sort of abomination awaits me next?
At last I have finally reached the first episode I watched as a 12 year old sitting in the Suisse Chalet in Nashua NH. We stayed there 12 weeks waiting while the house was built. Have never forgotten the blood flowing down the wall all these years to 2023.
The wavy door effect was done by recording the mirror reflection of the door and and waving the mirror. The effect was also used in the 1974 film Earthquake to show the LA skyscrapers warping and waving.
Ok, I don’t think you can walk into DS cold on this episode. I don’t blame Trevor for not liking it. However, I have been watching from Episode 1, when Burke still hated everyone, and Roger still hated everyone, and David still hated everyone, and the basement cried and the closed wing mysteriously opened and closed by itself. And there was a Phoenix.
So, now I have watched this episode for the very first time in my entire life. I’m 52, and brand new to DS.
I loved it!! It was a mad romp, but such a blast! Finally, something awful is happening to Julia, who so deserves it by the way!! I don’t even care how badly she’s chewing the scenery! I laughed through the whole thing, and then the scary noises in the hallway reminded me of how it felt when I was a kid and there were scary noises in the hallway. I sobered up real quick!!
Julia is awful, with her squinty eyes and guppy mouth opening and closing and opening and closing… but I love her! What in the world is behind the waving door? Eeeeeckkkk!!
Is it because it’s such a well known, obvious truth that no one is mentioning the real reason for this episode? As I understood it, the one-woman or lightly two-character nature of it was because Dan Curtis was getting antsy about cost overruns and insisted on having an episode with the minimum of actors in it to save money. I don’t know how much they really would have saved; would the amount of a missing four people’s salaries make up for the special Barnabas old-age makeup Dan splurged on a short time earlier? When I re-saw this recently, with the cost-saving explanation in mind, I was surprised that they did a pre-intro replay of the scene with Sarah. Was it a rerun rather than a re-creation, so they didn’t have to pay Sharon Smyth as much?
Apart from deploring the thrashing-in-place nature of the episode as they did what they could to make a one-person thing interesting, my main feeling about it has been indignation at the injustice of Barnabas being able to get away with it. Using the number 42 to make Julia think Dr. Woodard is haunting HER, when Woodard has clearly moved on to Heaven and isn’t even haunting HIM, who really deserves it??? There’s a lot of injustice connected with ghosts on this show; Jeremiah having to keep on appearing looking hideous as to the face when we all saw him get shot in the chest being the worst. Not the real Jeremiah, either, is my explanation.
Well, Julia will recover. I really enjoy the bits just after 1795 when Barnabas is terribly nervous about what Vicki knows and she’s smug (and soon in her proper hairdo).
Awesome episode. Laughs and scares and character development. Glad to know this is well known as “the Julia episode”, as it certainly deserves it.
It’s like Doctor Who’s episode Heaven Sent. But with Julia Hoffman crying her heart out and answering the phone with an underscribable “HELLLOOOOOOOO”. 10/10 will rewatch for sure
I like this longer hairdoo (wig?) on Julia more than the short, Lady Elaine Fairchild number she’s most remembered for; I’ll be sorry to see the longer locks go. The way the shorter style was depicted in the comic book should have been grounds for a lawsuit.
Is Barnabas still causing all this to happen with Caribbean herbs and magic numbers?
There was an episode of VOYAGE TO THE BOTTOM OF THE SEA a lot like this.