Back in the present day, Dylan Face is breaking down in tears on Pandora's chest. She encourages him to get it all out, telling him there's no shame in it. Jesus, lady, we need to get you a handbook. Don't say "shame" in front of a deviant weirdo! It only reminds him of his shame! And indeed, Dylan Face leaps up and starts ranting about how his mommy makes him feel feelings and then want to do bad doings. Pandora's like, "Why don't my very literal milk jugs and I help you forget about her?" but Dylan Face just rages out and starts choking her.
Back in '65, Thredson gets up to refill his drink. More defiance of Lana. This time, we can hear the police sirens approaching. We can also see the gun that's in the drawer where Ollie got his stirrer. He's almost got her. He's like, "Now that I'm caught, there's no way you're going to keep that baby -- is there?" No chance in hell, she says, and even if she did, he'd never see the child since he's going to fry in the electric chair. "I hardly think so, Lana," Thredson smirks and sips his drink. Zachary Quinto whips out the google eyes and crazies about how he's clearly insane, so he'll likely be institutionalized and probably start a little cult of personality on the inside at a place like Briarcliff. Lana's starting to tremble ever so slightly, knowing he may well be right. "As for you," he menaces, "I have no use for you anymore." He turns back to the bar. "Best you should be known as my last victim," he says. They're his last words. Lana pulls it together and then in one sweeping gesture -- one pull of a trigger, really -- she pulls all the momentum of the scene back to her. She shoots him right through the back of the head. "Prison's too good for you," she exhales, as the sirens pull up to the house. She pulled it off.
After the break, we're several days later. Lana is free, her story is out. Wendy's ashes have been collected from Thredson's furnace and placed inside a white-marble niche at a mausoleum. Lana's paying her respects, along with her two down-low lesbian pals from the season premiere. Lois is still not successfully hiding her thing for Lana and she asks her if she's looking for a roommate to help fill that giant house of hers, because apparently in 1965, houses that belonged to institutionalized crazies and murder victims (or convicted murderers, for that matter) just stayed unoccupied indefinitely. You'd think this wasn't a show that obsessed on real estate last season. Lana says she's planning to move to New York, however, and then starts to blame herself for Wendy's demise. Her friends offer absolution and a scapegoat in "that nun," but Lana says it was the story; that story she HAD to get at any cost. The women are interrupted by the exploding flashbulbs of the paparazzi, here to get a shot of the "Sapphic Reporter." Lana gives her two pals leave to go before they get outed in public. Lois, for one, is relieved, as no one in her family suspects. Who says Ryan Murphy can't write comedy? The other one, the redhead, is a bit more sympathetic about it, rationalizing that she still has a job because her lecherous boss still thinks he "has a shot." Women in the 1960s! Sounds like a great time! So Lana exits alone, past the clamoring media all barking questions at her. She strides past and ignores them, like a good celebrity scandal case; though once she's in the car, she rolls down her window and gives her best, "All I have to say is, Read my book." Lady's a pro.