Claiming the wine went straight to her head, Lana excuses herself to use the restroom. She starts frantically trying to open locked doors, but the only one that opens leads her into a dark closet. By the time she finds the light, Thredson's in the doorway behind her. The room is a small little workshop, with tools hanging on the wall, lamps and such on the table, a full human ribcage with attached vertebrae over in the corner. Big pieces of dried skin all over the place, really. She's still somehow not screaming. He's all, "So you've found my little workshop," telling her about the lampshades he makes. Still not screaming but shedding horrified tears, she asks him what material he uses. His reply: "Skin." Then he presses a button on the worktable that releases a GODDAMN TRAP DOOR beneath Lana's feet, sending her plummeting to the floor below. For what EARTHLY reason would this guy possibly have a trap door in his WORKSHOP of all places? Is his plan for every one of his victims to enter his home and stumble upon his handiwork? Is this merely a failsafe against detection? Is EVERY room in this house equipped with such a device? American Horror Story, you have once again delivered delightfully nonsensical thrills.
Briarcliff. Kit enters the common room and finds Grace sitting in an armchair. She's catatonic and bleeding from between her legs. He assumes this is an after-effect of the sterilization operation, but she doesn't have time (or the energy) to correct him before the two cops from last week return with a warrant for Kit's arrest. They read the list of his victims, the last one being Alma Walker. Alma's name snaps Grace out of her daze. Kit tells the cops to talk to Dr. Thredson, but they inform him that it was Thredson who handed them his taped confession. LIKE, DOY, KIT. Grace is now desperately trying to tell the cops that it's a mistake, that Alma Walker is alive, but her voice is a sad, desperate rasp, not unlike Kate Winslet calling for the lifeboats at the end of Titanic. Kit hears her, though, and when she tells him, "She's alive," he begins struggling all the more. "I saw her!" Grace hollers as Kit is being dragged away. "Alma's alive! I saw her!"
Ollie Thredson's Pit of Despair. It should be noted that the décor in this subterranean pleasure dome is cold and white and very modern. Very Hostel. Very "end of Girl with the Dragon Tattoo." Lana wakes up to find her ankle chained to the floor. Just at the edge of Lana's reach is the frozen corpse of Wendy, causing her to scream out in grief. Thredson approaches from behind a plastic curtain, calmly saying he took Wendy out of the freezer, where she'd been for a while now. He's long since discarded the glasses and has donned, once again, a very Hostel attire -- dismemberment smock; threatening black trenchcoat. He talks about how he usually skins and beheads his victims, but he had to keep Wendy on ice -- literally -- for "our purposes." See, he intends to continue their therapy. Which, and I'm just extrapolating here, I think means that Thredson's killing taboo-breakers? Lesbians and interracial couples? Trying to keep the old social order? We'll see how that shakes out in the weeks to come. For now, he wants Lana to start by kissing Wendy's cold, dead lips. Morbid. Lana is shaking. He tells her not to worry. "She won't bite," he says, before donning the Bloody Face mask and pointing to the mouth: "I took her teeth." Lana sure as hells screams at that.