Nope, sorry.

Quentin's motive for having Mr. Jarrett come over is unclear.  I suppose in his general revenge streak, he wants Liz to die for real, in a regular escape-proof coffin, without any warning buzzers or anything.

*shiver*

Yes, I remember that quote--hilarious!

But poor Barnabas doesn't find anything humorous about the current situation, even though he looks very handsome indeed in his three-piece suit. Because Carolyn is so upset, Barn is now effectively the head of the family and starts tackling Elizabeth's paperwork. I wonder what that would be like for such an eighteenth-century guy.

Poor David is crying for his aunt and gets angry when Amy assures him that she isn't dead. They go up to Quentin's Room, where the gramophone starts playing Quentin's Theme. We hear--for the first time?--Quentin's sardonic laughter, then he transmits his orders to the kids. David says that only babies cry. They wonder about Quentin’s latest orders--then remember that they aren't supposed to ask questions.

Mrs. J wonders to Barnabas if the children should be left alone. Victoria Winters would have known what to do! she opines with harsh disapproval. Sorrow flashes across Barnabas’s face for an instant, then he exclaims, That isn't being fair to Maggie! Mrs. J is instantly apologetic, and Barn describes (for our benefit as well as hers) the arrangements for Elizabeth's funeral. He also insists that no one should question Elizabeth's wishes.

The famous Mr. Jarrett arrives, asking for (yes!) Mr. Barnabas. He tells Barnabas about the phone call from "someone who sounded like a man." Barn sends him back to town. Amy and David return to Quentin's room, positively terrified. Please don’t be angry at us, Quentin, Amy pleads. We did what you told us to do.  David made the phone call and the man came, but Cousin Barnabas sent him away. We tried, she says plaintively. The chandelier begins to sway. David holds on to Amy. They stare at one another, frightened at this display of Quentin’s anger. When Barnabas questions them later, David starts crying all over again.

Later, the kids gloat about how good they are at fooling "them." But Barn is planning to take them to Boston and put them in boarding schools. He asks the kids if they like Boston. Amy has to admit she's never been, but David boasts about going many times (just as he boasted to Sarah the last time he saw her). But the kids freak out and race to tell Quentin.

Meanwhile, Mrs. J and Maggie are packing Vicki's clothes. Mrs. J holds up a green--and of course sleeveless--dress and says it was Vicki's favorite. Mrs. Johnson innocently asks Barnabas, What should I do with Vicki’s things? Poor Barnabas flinches at the sight of Vicki’s clothes. Get rid of them! Destroy them! he says, his voice harsh with loss. That would be a shame, protests Mrs. Johnson. Why don’t we give them away. Do whatever you want, replies the heartbroken Barnabas, but get rid of them! Then Mrs. Johnson unwittingly twists the knife when she gives him back Josette’s music box, which he had given Vicki. Take it away! he orders her. Get rid of that and everything! Just as you say, Mrs. Johnson replies. Maggie opens the music box, listens to a few bars, then closes it, apparently with no memory of its part in her imprisonment at Barnabas’s vampiric hands long ago. She and Mrs. Johnson exchange sympathetic glances, and they pack the music box away with Vicki's clothing. Mrs. Johnson takes the box away. Maggie goes over to Barnabas as he stares out the window. I’m sorry--about everything, she says quietly. Take care of the children, he tells her. She leaves. Free to give vent to the full force of his emotions, Barnabas looks inside the empty closet, then touches the bed. Gazing at his reflection in the mirror above the dresser, he mutters fiercely, Vicki! I've got to forget you! I've got to! (Great moments from JF!)

Amy plays London Bridge on the piano.

Maggie is about to move into Vicki's old room (previously Elizabeth's and long before her, Josette's). But when she opens the closet, she finds that all of Vicki's clothes have reappeared!

MB is correct! And it's Melanie, not Carolyn, who a long time from now will play part of Chopin's Ballade no. 4 in F minor.

I've always enjoyed all the music and portraits on the show.

And is Kelly Willie's wife? mistress? goldfish? I guess I'll just have to wait and see.

The continuation of the fight scene is very good, even though the werewolf is (as always in the Collins universe) much shorter than Chris. Joe manages to tear a scrap of fabric off the creature's shirt. Fortunately he has not been bitten, but he stabbed the creature.

Barnabas finds Joe amid the wreckage at the cottage and addresses him by his first name, no more "Haskell."

Julia's brown dress with the two gold scatter pins looks very nice. Maggie's strange robe, not so much.

Barn brings Joe back to Collinwood. By way of apology for trying to kill Barnabas, Joe says, When I was in the hospital, I was trying to solve the mystery of what was making me behave so oddly, to do the things I'd done. The past is over with, forgotten, Barnabas assures him by way of forgiving him.

The werewolf moans in pain as it returns to Chris’s awful little room at the top of the Collins Port Inn. [Presumably there’s a back way--surely someone would notice if he came in the front door.]

Barnabas goes off to make up a room for Joe--does Mrs. J still go home at night? Julia offers Joe painkillers, of course.

Chris awakens with what might be called a lycanthropic hangover. His shirt is torn and blood-stained. Furious with himself, he tosses the mangled bedclothes onto the bed. Then suddenly he remembers-- Joe! He phones the lobby and asks the hotel clerk to phone his cousin. What will I say if he answers? Chris wonders, then thinks to himself, But at least I'll know if he's all right. Finally he admits the full truth: No, I really want to know if Joe is ALIVE! The phone rings, but Joe doesn’t answer. Chris hangs up, his mind roiling with horrible uncertainty. Joe could be out, he thinks. Where? Find out! He looks in the mirror. One of his shirt pockets has been torn away. We get a fully topless quickie while he takes his shirt off (and even for those pre-workout days Don Briscoe was no trial to look at). He sees that his wound has mysteriously healed itself, but he finds this even more upsetting. He takes a clean shirt from the dresser drawer, puts it on, then leaves.

Julia takes Maggie to the cottage one last time. Maggie is horrified at the wreckage--but somehow it seems to set her free, marking the transition to her new life at Collinwood. We won't see the cottage again for a long, long time.

Joe lives on Dock Street, but he isn't home, so Chris goes to Collinwood. He glances at the newspaper--but the headline he feared isn't there. Maggie fills him in on how Joe was attacked--and refused to call the police. Chris takes Julia to task because the sleeping pills didn't work.

The episode reaches its inevitable, very sad conclusion: Joe tries the door to Chris’s room--it’s unlocked. He quickly finds Chris’s torn shirt on the dresser--and is shocked when the torn-off pocket proves to be a perfect match. Hello, Joe, says a grim voice behind him, and he whirls around to see Chris. Hello, Joe replies as he holds out the damning evidence. What does this mean, Chris? Chris is in no position to deny anything, but he orders Joe to leave, his anger masking his growing fear. No, Joe says sternly, not until you answer my question. Chris looks out the grimy little window and warns Joe, The moon is rising! I want an answer! Joe insists. You have to leave--now! Chris insists back. Joe still refuses. Do I have to throw you out? Chris asks him. Slamming the door, Joe retorts, Whatever happens, I’ll be in this room when it does. Chris reaches for Joe to throw him out bodily--but at that moment, the pains start coursing through him. It’s starting! It’s happening! Chris howls in despair. Get out! Get ou! I don’t want you to see this! Chris! Joe shouts, now alarmed for his cousin. I’m telling you for the last time, get out! Chris begs him. When Joe doesn’t even reply, much less move, Chris shouts in despair and anger, Then stay and watch! And after you see what happens, you’ll never be the same again! Don’t say I didn’t try to warn you to get out! Wracked with pain, Chris screams as he clutches himself. Let me get you a doctor! Joe exclaims, seeing that for whatever reason, Chris is in agony. It will pass, Chris replies bitterly--and I won’t even know what happened until the next time. Oh, Joe--surprised, aren’t you? he asks sarcastically. Always wondering why “old Cousin Chris” became so withdrawn? Why he left town and didn’t come back? I should have stayed away, he says, between gasps of pain. Oh, Joe, there’s no time--listen to me! The pentagram-- he starts, then gasps, There’s no time to explain, you know about it. With his last breath as a man, he orders Joe, Open the dresser drawer and take out what you find there--it’s loaded. Now Joe, when it happens, you're gonna do it, you'll know what to do, and you’ll do what I can't do myself during the day! Please say you'll do it for me, please! To Joe’s shock and horror, Chris transforms into the werewolf before his eyes. My god! Joe shouts. No! No! No! He fires the gun over and over. The werewolf staggers but recovers. The bullets have no more effect than insect stings as the creature charges Joe.…

I've always liked it that Amy is sensitive to the phases of the moon and vaguely aware that a full moon means trouble, but like Sarah, she doesn't really understand why her brother is so miserable. Very touching when she tries to protect Joe.

Maybe Maggie was only waitressing while attending the local college--otherwise it’s hard to imagine how she’s qualified to teach two young children.

Barn is very sweet with Amy. I always like these scenes.

At the cottage, neither Maggie/Magtoria nor Joe seems to notice that the painting that Nicholas Blair bought has found its way back to the cottage and is on display.

The attack scene is very scary, very well done.