Original subtitles

Stay tuned after the show

for an exclusive look inside the episode.

What did you do to them?

I can't pull them out without Lasher.

Albrecht took Lasher. Trying to find out where.

That blood came from somebody in your family.

Something is happening to the house.

If this whole house falls apart,

then what happens to Daphne and Jojo?

- What is she doing? - She's in there with Julien.

He bound himself to it before his death.

I have to pull her out. You can't leave on your own.

You need someone to throw you a rope.

Taltos! Taltos!

I have to go into the Victrola.

Then I'll be your rope.

[static droning]

[operatic music]

[eerie whooshing]

[dramatic music]

[rattling]

[tense music]

- Hello?

Julien?

[floor creaking]

Julien?

[rodent screeches] [gasps]

[scuttling]

Julien Mayfair,

I've come to you because the family is in trouble.

Two Mayfairs are trapped in a thrall.

So can you help me?

Julien, please.

[gasps]

- [inhales deeply]

Cold.

- Yeah.

OK.

- Thirsty.

- What?

- I'm thirsty.

- Tell me where Lasher is.

If I have him, then I can save them.

Julien!

Julien, where did Albrecht take Lasher?

Tell me.

Hey, Julien!

Moira, throw me the rope.

[operatic music playing]

- Turn off the music. - Already?

- Yep. She wants me to pull her out.

- Are you sure?

- I felt it in my chest, like you said.

Doses mortua terra redi.

Veni in corpus mortale tuum.

- [gasping]

- You all right? - Yeah.

- Well?

- He was old and confused,

napping in front of the fireplace

like a house cat.

I mean, I couldn't get anywhere with him.

So I just--I left.

I mean, it had to be a performance.

But I, like, had no way to get him to talk.

I had no leverage.

That's me talking.

- Oh, Rowan.

[tense music]

I was so looking forward

to a much longer conversation with you.

Sadly, we will have so little time together now.

- What did you do?

- I didn't do it.

You did.

You made a rash decision based on fear

and limited information.

- No, you tricked me.

- Not a trick.

A rule.

In this room, you need to ask my permission

to leave the Victrola,

or you might leave something behind.

- What do you mean?

[gasps]

I feel so strange.

- Your first time out of the Victrola.

Coming out is hard.

- That's me?

- Half of you.

But which half?

- Let's get you some water.

Huh?

That always helps.

- Sakes alive,

that tiny hourglass is difficult to read.

40-some minutes, I'd say.

- Until what?

- Until you die.

- Moira!

Cortland!

Dolly Jean!

Throw me a rope.

Hey!

Hey, I'm still in here!

[eerie music]

[voices whispering indistinctly]

- [vocalizing]

[clicking]

[scratching]

[ominous music]

[door rattling]

- You really think I'd have made it that easy

for you to leave this place?

- I'd be a fool not to try.

- And you are not a fool.

This much I can see.

[dart thuds]

- Yeah, but how do I--

how do I deal with him?

I need a better tactic before I go back in.

- You're here in one piece.

You're not going back in.

- He knows where Lasher is,

and I didn't get a thing from him.

- You sure?

Couldn't you tell anything about where you were?

- I mean, it was a pub.

- A pub?

That's different.

- From the décor, it was like--

it was like a--a pub in--in Scotland.

- Well, that makes sense.

See, the first Mayfairs came from there, from Donnelaith.

It's a mythic place, of course, not on any map.

- You've been there.

- No.

No, I haven't.

- Yeah.

Yeah, you have, when you were a kid.

- Moira, cher, you are way wide of the mark on this one.

- No, your father took you.

- How can you see things in my mind that I can't see?

- Memories lead to other memories,

like threads tied to each other.

But I don't know, this one is--

it's, like, severed off from the others.

- Albrecht.

So he has the power to erase memories.

It's the kind of thing my father

might have asked him to do.

- Your father didn't need to use Albrecht.

He had his own method for obliterating memories.

I sat upstairs with him the whole time he was dying.

And as a distraction, he'd gamble--

call up bookies, place bets on horses.

He'd lose.

They'd come to collect.

He'd serve them an elixir disguised as a tea

that had them wondering why they'd even come

to this house in the first place.

[dramatic music]

- Where are you going?

- My father's spells are upstairs.

I want to know what he did to me.

- Wait, I'll go with you.

- Ah, ah, ah.

Still feeling the effects of the Victrola.

I'll get you something to eat.

You go and put your feet up in the parlor.

- I bet that she can tell something's wrong.

- [chuckles] We shall see.

[dart thuds]

- Hey, we're gonna find Lasher, OK?

It's not hopeless.

You can't think like that.

- You can read my mind now?

- Huh.

- Do you think that's weird?

- Yeah, maybe your walls are coming down,

sort of like this house is coming down.

It's gonna be OK.

If Julien erased Cortland's memories

of Scotland, there's gotta be a reason why.

- Yeah.

- My grandmother had early onset.

And my mom missed her so much that

she used to take me to the nursing home

and have me go through her past.

- That's so sad.

- Meemaw's memory threads were frayed,

sort of like Cortland's.

- So you want to do that for Cortland?

- Yeah.

The doctor put her on a lot of drugs.

Maybe that helps?

- There's a bottle of Deirdre's pills upstairs.

- Yeah, let's try it.

Let me grab 'em.

[tense music]

- [sighs]

That's right.

You're not yourself.

Trust what you're feeling.

You can get me out.

Can you hear me?

Throw me a rope.

Throw me a rope!

Fuck.

[dart thuds]

[tense music]

- Are they right?

Did you really wipe Cortland's memory?

[dart thuds]

- Wouldn't you have?

- I mean, maybe, but he's not my son.

- Is this really the conversation

you want to have before you die?

A chat about my child-rearing?

- No.

I want to talk about my son, Lasher.

- Oh, little mama, you only knew him briefly.

- Maybe.

But he loved me best.

- I was 12 the first time he came to me.

- I was his lover and then his mother.

I gave him a body.

- I did too.

Mine.

I could tell you about the many times he used it.

[laughs]

Actually, I couldn't.

I don't remember a thing.

I'd wake up in the Quarter with bloody knuckles

and a pocket full of portrait strips.

He loved getting our portrait taken.

He was practicing, of course, for now,

for having a physical body.

- Do you know what he's done with that body?

- Tell me.

- You don't have a guess?

- How many are dead thus far?

I--I can't keep track of everything

from my little hidey hole.

- He must have some sort of goal in mind.

Otherwise, he wouldn't be behaving this way.

But maybe you're right.

Maybe I never really knew him at all.

- How naive do you think I am?

- Who is Albrecht delivering him to in Scotland?

- Ooh. - Come on.

You might as well tell me.

I mean, I'm gonna be dead soon anyway.

- You have put together far too much

of this than I like already.

- Now I know there's a way out.

Otherwise, you'd have no problem telling me everything.

- Perhaps there is.

But you will never discover it.

- I've got a half hour.

- Not you.

You.

- So it's up to her to get me out?

- A few herbs brewed into a tea, a slip of paper.

How did that do so much damage?

What's that?

- It's Thorazine.

- Thorazine?

Well, now, surely, there-- there must be another way.

- I'm only giving you a half dose.

- Hello? Jojo, where is everyone?

- It's gonna be OK.

- [sighs]

[suspenseful music]

[gate creaking]

- Ooh, who's this?

- I mean, if you've been watching over the house

for this long, you should already know.

- I bet you'd like to talk to him.

[blows]

- Why did you do that?

- Because I can.

- [sighs]

- Rowan!

Rowan?

- You expecting somebody?

- Get started without me.

- OK. Get rid of him.

Look, this is a nightmare for me too, OK?

But whatever it takes to get Jojo and Daphne back.

Just...

[creaking]

- Rowan?

[shattering]

[gasps]

- Hey. - Hey.

- I didn't hear you knock.

- I didn't knock.

The--the door just--

- Yeah, yeah, yeah, it does that.

Oh.

Did I mention the house is in terrible shape?

- [chuckles]

- I thought you were headed back to New York.

Wasn't that the plan?

- Uh, it was.

But can I-- can I show you something?

- It's still not a great time.

It's actually worse.

I have family upstairs.

- This is about your family--

I--I mean, kind of.

Uh...

it's about you.

[soft music]

- OK.

Uh...

let's talk in here.

[record scratching]

[tense music]

- [sighs]

So what is it?

- Uh...

when you left the hotel, I was worried.

Uh...

I, uh, ran your DNA.

- How?

- Lipstick on the coffee cup.

- That's illegal...

and unethical.

- I know, I know. Just--just look.

Look.

[soft music]

You--you have four extra chromosomes,

each entirely distinct.

And those are the same extra chromosomes

that were-- that were in the blood sample,

though--though that wasn't your blood.

- No, it wasn't.

- You asked me to--to compare that sample to--to primate DNA.

But you never actually told me what animal it was from.

And so I--I guess the question I--

I want to ask is, uh... [laughs]

Wh--what are you?

[laughs]

- You stay here.

Hey, Dolly Jean, can you make Julien's elixir?

- Excuse me?

- I have a colleague here, a geneticist.

A few days ago, I sent him Lasher's blood.

- Why would you do that?

- I was looking for answers.

- From science?

- Yeah.

And I got them.

And now I just-- I really need him

to forget all about it.

- Why, yes.

Yes, you do.

[grunts]

- Thank you.

- You're not going to go through with it.

- Of course I am.

I mean, it's the right thing to do.

- Yes, protect the Mayfair secrets at all costs.

You're learning, my dear.

- Dolly Jean says you like to gamble.

- I miss it more than breathing.

- Oh, good.

'Cause I have a wager for you.

If I erase him,

you let me out of this Victrola.

And if not, then I will stay here with you.

[tense music]

- And what could I possibly have to gain from such a wager?

- Hey.

I know how you like your whiskey.

- Rowan, I'm sorry.

It was unethical, and I violated your privacy.

And then I--I charged over here demanding an explanation

like it was owed to me.

- It's OK.

- Here.

These--this is the only copy.

And I will delete everything, I swear.

- Just stop.

Stop.

You remember that ER rotation we had in our third year?

And it'd be midnight, and the two of us

would show up for a shift.

And before we'd look at the charts,

you'd point to a patient on a gurney,

and I'd look him up and down, and I'd say

diverticulitis or renal artery stenosis

or a blood clot in the lung.

- You were always right.

- And you always paid up--

20 bucks.

And at the time, you know, I--

I thought it was just...

intuition.

- What else would it be?

[glasses clink]

- I can see inside people.

I have the power of biological sight.

- What are you--

- Lark...

I'm a witch.

It's true.

I really am.

What are you doing?

You've lost your mind.

Hey. Hello?

Throw me a rope.

Get me out of here.

- Even if you could touch it, what good would it do?

- I'm trying to distract her from him.

- I don't think that's possible.

You want to tell him all about yourself,

about who you truly are.

You love him.

- Hairline fracture on the clavicle.

- I got body-checked into the boards

at a Bantam hockey game.

- Um... left forearm.

What's up there?

- A souvenir from a distracted driver in Rio.

OK, yeah, I'm--I'm convinced.

Wow.

- I need to prove it to you.

And I like showing off.

Let's see.

- I know what you're looking for,

and it's lower than that.

- Ruptured disk at L3.

- Unbelievable.

[chuckles]

Are you OK?

- Yeah. It's weird.

I don't normally get tired like this--

usually only when I use his powers.

- Whose?

- It's a pity.

He's attractive, your Lark.

- He's a good person.

- Perhaps you'll die in his arms, at least.

That would be a romantic end.

[glasses clink]

[tense music]

- You talk a lot about love.

So what's it like for you?

Do you give yourself away entirely?

Or do you hold part of yourself back?

- Are you trying to appeal to my sympathies,

hoping I'll succumb to my sense of nostalgia,

free you and rescue your little Lark

from his imminent heartache?

If so, it won't work.

- Were you and Albrecht lovers?

- You will never know what it's like

to forget yourself completely.

- So was it Albrecht who took you to Donnelaith

on a romantic getaway?

- Donnelaith is not some charming tourist village.

Donnelaith is an ancient stronghold

with a castle built on land blessed by pagan spirits.

No lover took me there.

- Who did then?

- Your great-grandmother.

Voila.

- Marguerite.

- She was a student of the old magic.

She taught me about astrology, about runes, pendulums,

and how to absorb power from the cycles of the planets.

She taught me how, at the altar of divinity,

to honor the original deities.

- The Taltos?

Right?

- Yes.

- So you were the one who ripped the pages

about the Taltos out of Marguerite's journal

because you didn't want anyone to know what she knew,

except, of course, for Albrecht.

- You really are quite clever.

But cleverness without conviction is worth nothing.

You hardly would have impressed Marguerite.

- Now you're just insulting me.

- Marguerite chose me.

- For what?

- She wouldn't have chosen you!

[dramatic music]

- I don't know.

I don't think it should feel like this.

- Flu symptoms could be a side effect,

as well as excessive sweating.

- Yeah, yeah, yeah.

But--but should my heart be racing like this?

- Oh, God.

I would be worried if you weren't immortal.

Now sit down.

- Yeah, but I don't remember anything yet.

- Yeah, you do, OK?

I can already feel your mind letting go.

Sit.

We need to figure out where Donnelaith is.

Close your eyes.

I'm going to say a word.

And I want you to just say the first thing

that comes to your mind, OK?

- OK.

- Scotland.

- Shoes.

- Shoes?

- Yeah, I can see them--

a single long strap,

chestnut brown.

- How old were you?

- 10, 11.

- And what were they for?

- For my trip with Father to--

to Donnelaith.

- There it is.

Do you remember a church?

Maybe a post office or, like, a pub?

- No.

The only thing I can remember are the shoes.

- So just picture the shoes.

[clanging]

[plane engine roaring]

Now, what airport were you at?

Do you remember?

[indistinct chatter]

- No.

- OK, where did you see the shoes next?

- On a--on a road.

They're dirty.

I wiped them on the grass.

[chuckles]

- What?

- I'm in manure--

wet, warm manure.

- Why would you be smiling about that?

- And then beyond it, there's a girl.

She's holding something.

It's a sheep.

So I reach out.

I touch it.

She smiled at me.

Ugh-- - What? What's wrong?

Who is that boy?

[ominous music]

- Why am I so afraid of the boy?

[ominous music]

- So this being, your son, Lasher,

you have his-- - His powers, yeah.

And I can heal because of him.

Like at Mayfair Medical, there was a girl,

and she was terminal with a tumor.

- And you were able to shrink it?

- Yes. I destroyed it.

Like, gone--completely gone,

with no surgery.

But my power is bound to him,

so I can only use it when he's close by.

- How far away is he?

- In Scotland, maybe?

I mean, we're really not sure.

Once I find him, then I can free Daphne

and--and, um...

and my sister.

Uh, my sister.

Jojo.

My sister's name is Jojo.

[soft music]

I'm really glad you're here.

That's not me in there, is it?

- As I've said, it's part of you.

- Which part?

- Let me ask you a question.

Does all of this make you feel angry?

- No.

No, I'm not angry.

I don't feel anything.

I'm all intellect,

and she's just a big jumble of feelings.

- [laughs]

Head and heart.

It's intriguing how people split

along well-worn fault lines.

- I wish there was some kind of way that I could help you.

[tense music]

Actually, do you--do you have any more of his blood?

- No. Why?

- Some hair, fingernails, or like, an, old Band-Aid?

- Doesn't she get it?

He's gonna make a concentrate.

- What--what is that?

- He can take Lasher's blood,

and he can make the cells multiply.

- Well, that's fascinating.

- It's genius.

It might give me enough power

to save Jojo and Daphne.

So do you really think that this could

work as if he's close by?

- We can try.

There's some things I would need first.

- Let's go look.

- Wow.

- Yeah.

- Ah, OK.

Well, this--this tracks

with the Rowan Fielding that I know.

- Yeah, it was my grandmother's.

And these, these were his.

- How old?

- Last week.

- How do we get to Mayfair Medical?

Walk, drive, streetcar?

- Why would we go there?

- I have to crack open the teeth, scrape out the pulp,

the dentin.

Ah!

- She's never gonna get me out of here.

She's not thinking straight.

- [laughs] No, she's not.

- You're treating me like I'm an enemy.

But we should be allies.

I know that you care about what happens to the family.

- You're right.

Family is all I care about.

- So then let me out.

[tense music]

[saw whirring]

[tense music]

[scraping]

- There you go.

- Thanks.

- Ah! Ah!

- Shit.

- Damn it. Ah.

- Here, use this.

Oh, my God.

Is it bad?

- It's gonna need stitches.

Ah.

- Oh, shit. - Mm.

Or maybe not.

If this concentrate works,

shouldn't you be able to heal me?

- Yeah.

Yeah.

- Your mind will not move off this boy.

Who is he? - We have to stop.

- No!

We don't have anything.

We have Scotland and shoes.

And we have Jojo and Daphne stuck

in a house that's gonna collapse.

So I need you to pull it together for me, all right?

- I don't know.

- The airport. Is he at the airport?

The airport, Cortland!

- Well, yes, I-- I can see the parking lot.

And there's two women in a Jeep.

They're kissing my father.

He tells me to ride in the back with--

with Ian.

The boy's name is Ian.

- OK, Ian.

Where do you see him next?

- There's a rock, and it's shaped like a table.

There's sheep everywhere.

[somber music]

[sheep bleating]

- How about a little wager?

[blades scraping]

- Who killed the sheep?

[flies buzzing]

Why are you ashamed?

You were a kid from the city who couldn't kill sheep.

- But Ian didn't stop there.

- She was just a kid.

- Not to Ian.

He wanted to win.

[sobbing]

And my father was betting on which of us

could better please the old gods, me or my brother.

- Ian's your brother.

- Ian's my brother.

Yeah, my brother.

- You won't let me go because you don't care

about the family in New Orleans

because you have a family in Scotland,

and that's where Lasher's going.

- Ian would love you.

Too bad you'll never meet him.

[ominous music]

- OK, show me the wound.

Oh, shit.

Oh, my God.

Uh, here goes.

- [panting]

It should work, right?

Your cells responding to his?

- Oh, shit.

It's not enough.

It's not gonna work.

I'm sorry.

I can't do it.

Here.

There's a sewing kit upstairs.

I thought he'd run for the door or think I was nuts,

but he didn't do either.

- How much did you tell this man?

- Nothing I can't erase.

And it was worth it, because now I know

how he feels about me for the next time I see him.

- Sweetheart, this elixir--

he won't just forget today.

He's going to forget every moment

you've ever spent together.

He won't remember you.

[somber music]

It's the right thing to do for the family.

Use that blueberry ink

and write your name on that slip of paper.

- You're not complete.

You need me.

Can't you feel that?

- So have you been to Scotland?

- Scotland?

I haven't, no.

- I'm owed vacation days.

I could fly out and help you find Lasher.

- Right.

- You OK?

- Yeah.

I just really, really don't want to hurt you.

- It's never stopped you before.

- It's--it's fragrant.

- Yeah, it's my aunt's brew.

- Is--is everyone in your family witchy?

Whoa! Oh! [glass shatters]

What the hell was that?

- Nothing.

- Rowan, what's-- what is happening?

- You have to go.

My family is gonna--

- Uh, Rowan.

Um, hi.

We need to talk to you right now.

- OK. - OK.

[dramatic music]

- Oh, my God. - Ugh.

- Hey!

- What's come over you? - Jesus.

- I don't know.

- Finding it hard to find a word to form a sentence?

- I'm--I'm--

I'm--

- Your intellect is dissolving.

It won't be long now.

- What next?

- It won't hurt.

You'll simply cease to be.

- I don't know!

I don't know!

I don't feel right.

Do I seem like I've been different?

- Yeah, yeah, from the moment I walked in.

- Hey, you have been wide open to me

since you came out of the Victrola.

- I am going to miss you.

I have enjoyed our time together

far more than I had expected.

This will help.

It's an old family recipe.

- I need to help her.

I'm not having a drink with you.

Well, you all said that

he would do something to me in there.

What if he did?

- Of course he did something to you,

because that's what he does.

He steals a part of you.

- There's just part of me missing,

like I don't feel right.

- The hourglass-- whatever's happened,

you have to stop it now.

- I have to get myself back.

I have to be my own rope.

Dulcis soror, mortua terra redi.

[chanting]

I will have that drink.

Family recipe.

OK.

[chanting]

Kilbride.

[chanting]

Kilbride.

[chanting]

- Bon voyage, ma cher.

- Rowan?

- You OK?

- [sighs]

Will you come with us to Kilbride?

- Wait, that's it.

Kilbride.

- You said it would feel like home, but I--

I don't feel anything.

- Mm.

Well, give it some time.

It was your home once.

Maybe it'll start coming back to you.

[knocking]

That'll be our host.

[tense music]

Ian, old man.

- Ashlar.

I always knew this day would come.

But I can't tell you how glorious it is

to see it arrive, to see you before me.

- What did you call me?

- Ashlar.

Welcome home. [laughs]

May I?

He's taller than I thought he would be.

- Why have you brought me here?

- To nurture you.

To venerate you.

You have what you need.

I see the clothes we got you fit.

Are you comfortable?

Have you eaten?

Please, eat.

Anything you need, you just tell my boys outside.

[chuckles]

- Albrecht, a word, my good man.

- No. No, don't go.

- Don't worry. Ask for anything you need.

Everyone is here to serve you.

You'll have to gain his trust.

He'll be difficult to contain until

he has some confidence in you.

So how long until the ceremony?

[blade swishes]

- [gurgling]

[dramatic music]

Rowan: There it is. Let's go meet them.

Welcome home. I'm your Uncle Ian.

I don't understand why I'm here.

Man: You're Saint Ashlar. He who comes again.

- We have to leave now. - What?

This is a trap.

Hello, Ciprien. Welcome to Amsterdam.

I really don't want you to leave me.

He keeps us safe from Satan.

Join us!

In this room, you need to ask my permission

to leave the Victrola or you might leave something behind.

What do you mean?

In episode five, we knew we wanted to use the element

of Julien's Victrola in the story.

We knew we wanted Rowan to end up in the Victrola,

sort of understanding Julien and the family

and what's at stake with Lasher.

Daddario: That episode was so cool,

and the way that they shot it with the doll house

and going into this world was really interesting.

And working with Ted Levine was incredible.

Rowan: That's me?

Half of you. But which half?

Ted Levine is just an extraordinary actor and human.

There was nobody else we wanted to be Julien.

It was so exciting to get him,

and it was so exciting to talk about the character with him.

Are they right?

Did you really wipe Cortland's memory?

He just lives in the details in a way that's extraordinary.

Is this really the conversation you want to have before you die?

Getting to enter this other world

with this new character

and spend time really embracing the magic

that is possible in a show like this

was incredibly fun.

Hey, I'm still in here!

- Turn off the music. - Already?

Yep.

A slip of paper.

How did that do so much damage?

The stakes couldn't be higher at the moment.

There are people trapped in the house in some weird dimension.

The house is falling apart. We can't find Lasher.

Rowan is basically being split in half at this point.

It's a big mystery, and we're trying to save her.

Well?

In episode five, Alex is playing two characters.

She's playing Rowan of the mind and Rowan of the heart.

This is how she's been split.

And so in the house we have this Rowan

who is delightfully goofy

but really incapable of solving an intellectual problem.

He was old and confused,

napping in front of the fireplace like a house cat.

And Rowan in the pub in Julien's Victrola

is completely frustrated with her.

Like, how is she ever going to get me out of here?

She's the one who has to solve this,

and her brain's not working.

You're not yourself. Trust what you're feeling.

You can get me out.

Playing the same version,

but the two separate sides of one person,

the head and the heart,

we had a lot of interesting conversations

about what that looked like.

The puzzle of that dollhouse

was so extraordinary.

I honestly don't remember who it was who pitched it

in the writers room, but somebody was like,

"What if Julien pulls out a model of the house

and can see everything happening in that house?"

Reycraft: So this is a replica of our First Street house.

So many man hours have gone into this thing.

It's just incredible what they've been able to accomplish.

Daddario: They build these incredible worlds,

and they do it so quickly.

Every time I step on a set, I'm like, "Whoa, this is crazy."

They're very talented.

- Cut. - Cut, cut.

I don't think any of us had any idea

what we were asking the crew to do.

Reycraft: In each of these rooms,

we're going to put green screen in,

and VFX will be able to come in through post

and put in the images that we've shot on our stages

into these tiny, tiny spaces.

Ideally, you shoot the life-size actors

looking into the dollhouse.

That gives you then the angles

that you need to re-create on our life-sized set,

and that gets married in compositing.

It'll look completely real.

You can read my mind now?

- Huh. - Do you think that's weird?

So it meant that every single scene in the house

that was going to be taking place in the dollhouse

had to be shot as a scene with the master

and all of the coverage.

We also had to pull the wall of the room

and shoot from whatever POV they were going to be looking into

in the dollhouse.

They worked really hard on making it look perfect.

Spalding: One of those places where every single department

just brought it and made it work.

Rowan.

Rowan?

I love Ben Feldman. I love working with him.

- Hey. - Hey.

We have such a great working and friend relationship.

Just look, look.

You, uh-- You have four extra chromosomes.

She wants Lark to be there for a reason.

She needs the science that he brings.

She needs him emotionally.

And Rowan, her normal self, is never going to ask for that

or be able to tell him who she really is

and let him in on the secret.

It's only Rowan of the heart who can do that.

I'm a witch.

It's true, I really am.

What are you doing? You've lost your mind.

So in a way, she owes her heart a debt

by the end of the episode.

You love him.

I think the end of the episode

is meant to feel like a real culmination.

Everybody brings something to Rowan's understanding

that she's not herself.

Do I seem like I've been different?

Yeah. Yeah, from the moment I walked in.

It's fun to do a scene in a group like this,

especially a scene like this that's so chaotic

and just so many different levels.

And it's kind of like a play.

You do it a couple times and you feel like you're in a play.

We started in a very different place than we ended up.

Of course he did something to you because that's what he does.

Jirrels: Just like you have to run it enough times

that you start to know what you're doing,

and everybody kind of mind melds together,

and then you find something.

The hourglass.

Whatever's happened, you have to stop it now.

So there's a little bit of a "Wizard of Oz" feeling

that all of the people

who've kind of attended her on this journey

are giving her a different piece of what she needs to get out.

[ Speaking Latin ]

I took Latin in high school.

Never knew that 20 years later,

this little seemingly useless bit of information...

[ Voices chanting in Latin ]

...would pop up as useful.

Some of that Latin's still in there.

[dramatic music]