After the break, Carole King's "I Feel the Earth Move" picks up our mood a bit. 1970s Lana is paying a visit to her old friend Kit Walker, who is just so pleased that she managed to make good and take Briarcliff down. He's slightly unnerved when he looks down his porch and sees her crew, already filming him. Lana says she wants to talk to him about one "Betty Drake." Kit's face falls and he gets all conspiratorial with Lana, telling her he'll talk -- just not on camera. So with the crew off taking a smoke break, Kit peruses the Betty Drake paperwork that Lana produced. Clearly, she's figured out that Betty is Judy Martin. We see footage from the documentary of Lana digging through strewn paperwork in one of the Briarcliff offices (at one point she's startled by a patient sleeping under a pile. Like, that's awful but also pretty funny), and she miraculously manages to stumble upon a file with Jude's photo. Okay, AHS, I will allow you ONE unrealistic thing to happen all season and that's it. The file said that Ms. Drake was released into the care of Kit Walker in March of 1970. Kit gets defensive about why Lana cares about this at all, but while Lana's professional ambitions are never far below the surface, I do think that she honestly just wants to know how Jude ended up and I think Kit can see that. He says that rescuing Jude felt like the one thing he could do, the one injustice he could right when it came to Briarcliff. He says that after his encounter with her after Alma's death -- the one we saw last week -- he continued to visit her every week, sometimes more often than that. We get a beautiful, touching 360-degree time-lapse shot showing Kit, week in and week out, slowly showing Jude how to play a game of checkers, at first physically placing her hand on the pieces to move them, eventually getting her to play and react and smile on her own, at one point putting a sweet arm around her shoulder. I kind of can't believe what I'm seeing, that a season that has spent so much time in the muck of humanity's worst has managed to build to something this genuinely kind and wonderful.
So one day, Kit brought Judy home with him, to meet his toddler alien children and some new chick he appears to be shacking up with. The music is reminiscent of the score from The Hours, which could also be contributing to how beautiful I find this. Lana can't quite understand why Kit would do something like that for a woman who brought so much atrocity down on him. He says he didn't do it for Jude or even for him; he did it so he could finally leave Briarcliff behind and be there for his kids. We watch Judy go through a painful detox from all the drugs she'd been prescribed at Briarcliff. Kit helps her through it. The kids bring her juice and put flowers in her hair. They took to her pretty much right away, the kids, though things with Jude's psyche remains precarious. One day, she ends up chasing the kids around the house, ranting about how there's no children's ward here; she sees Kit and attacks him for being a woman-murderer. She's back where we found her when the series began. Kit tells the kids to go outside, but they calmly approach Jude and tell their dad that it's okay. These preternaturally calm alien babies are ON IT. It watches as his son and his daughter each take one of Jude's hands and walk her outside into the dusk, across the field.