That's a hell of a note to go out on, but April thanks Lana for her time and tells her what in honor it's been. She especially thanks her for "all the personal stuff," which was above and beyond what she expected. Lana sees them out and closes the doors behind them. As she walks back into her cavernous living room, conspicuously alone, the music gets ominous. She fixes herself a drink -- pulls out two glasses, in fact. "Can I pour you a drink?" she asks without turning around. She beckons for whomever it is to come out. No need to hide. Eventually, Dylan Face emerges, no doubt a bit crestfallen that his big moment isn't going according to script. Lana turns around to meet him: "Let's get this over with, shall we?"
Okay! One last act before we call it a season. Let's stick this landing. So Lana and Dylan Face are squaring off. He scoffs at the beautiful life she's got for herself and now it's about to end. "I knew it the moment I saw you," she says. She asks him how he got onto the crew and he matter-of-factly tells her about skulking outside her building, making friends with the doorman to find out the date and time of the interview, waiting until the first crew guy showed up with donuts. "I cut his throat." He tells her -- again, a little disappointed -- that this is not how he expected this to go. Lana, however, always knew this is how it would end. He asks how she recognized him and she's all, "Oh, Johnny, how could I not know my own son." What she doesn't tell him -- what we see -- is that some time before this, the cops came by asking her questions about the man suspected of committing a rash of murders, including the elderly couple who owned the house where Oliver Thredson tortured her. I guess that was the connection that brought them to Lana. Point is, they showed her Dylan Face's photo and she put it together from there.
Lana lights up a cig and tells her boy that he looks like his father. Handsome. She forgets sometimes how handsome he was. "Until you shot him in the head," Dylan Face boo-hoos. Lana doesn't back down from it. She wants to know how Dylan Face found out his true identity. He says it was that day on the schoolyard. That look she gave him. He just knew. And then he saw her on the TV and was able to look her up. He would dream that she'd come back for him... until he heard the tape. The tape? Well yes, that recording she made of Thredson's confession, the one she took to the police that sealed his fate? That piece of police evidence ended up on eBay somehow. Unlikely? Sure. But in this show about institutional corruption, I'm not going to make a fuss about implausibility when some greedy cop may well have decided to make a quick buck selling Manson Family souvenirs. Anyway, the pertinent part of the tape is where Lana talks about getting rid of the monster baby growing inside her and Thredson begs her to spare the life of their sweet baby. So, as annoying as those manifestations of Cruel Mommy and Loving Daddy from the opening scene were, they at least have some basis now. That recording started Dylan Face on his path of loving his monster father and hating his bitch mother. She tells him Thredson never loved him. "And you did?!" he accuses. No. She didn't. She couldn't. She says she gave him up so he'd have a shot at a life with parents who did love him. This causes Dylan to rage -- she gave him up so SHE'D have a shot at a life, the fantasy life she has now. He looms over her now. Endgame.