Elizabeth and Josiah come back downstairs, and Keel asks, in Dutch (suck-up!), for permission to talk to Hannah. Elizabeth glances at Josiah, who says nothing, and then says it's late. Skeet's all "of course," but then they hear laughter coming from upstairs.
Everyone rushes up to Hannah's room, where she's laughing her fool head off. Naturally, the first one to her side is Skeet, and he asks Hannah if she can hear him. She stops laughing and asks who he is and what he's doing in her room. She doesn't sound scared, just curious. He says his name is Paul and reminds her that they met in the hospital. "Are you a doctor? I'm sick of doctors. Always traipsing through here..." Skeet just stares at her. "Crap, these bandages itch," she says, and starts scratching at her wrists. But she has no bandages. Also, "Crap, these bandages itch" doesn't really sound like something a young Amish woman would say. Hannah notices Skeet making the Skeet Face at her, and says, "Would you stop staring at me? You're giving me the creeps." She asks him his name again, and when he tells her, she says, "You're cute, Paul. You got anything to drink?" This really distresses Elizabeth. Not the fever, the stigmata, the bleeding, the maniacal laughter so much. It's the desire for the demon liquor that does it. Elizabeth would be in a head-shaking, tongue-clucking frenzy right before deadline at pretty much any given TWoP recapper's house. "Not on me," says Skeet, which was pretty funny. "She hides the booze now, you know. The mother from hell Nazi." I mean, "the Nazi mother from hell" would make more sense, or even "the mother from hell. Nazi," but she said, "the mother from hell Nazi." Anyway, Caleb gives Elizabeth a look that makes it appear that he's thinking, I swear, "You're a Nazi?" Hannah continues, saying she doesn't think her mother even keeps booze in the house anymore, since they're afraid she'll go on one of her binges. "I hate you! You hear that?" she yells, but she's yelling it off to the side, not at Elizabeth. She goes back to casting smoky glances at Skeet, and asks him if he's ever felt alone, like the people he loves don't even know he exists. "Sometimes," says Skeet, so here we go again with Skeet being reminded of his own painful past instead of worrying about the chick with the stigmata.
She wanders to the window and starts blathering about how she's looked out that window ever since she was a kid, but I was having too much trouble paying attention, because we're looking at her back, and it looks like she's doing that thing where you cross your arms and rub the opposite arm, so from behind it looks like you're making out with someone. That NEVER gets old. Skeet crosses the room to her. "Describe it for me," he says. She starts talking about "the big church" and the "endless stream of cars." Skeet looks at Elizabeth. Yes, we get that something's Not Right, and we didn't need a shot of the city that doesn't exist outside her window to emphasize that, okay. Hannah says that it's weird, that "living up in the sky makes everything seem so small." To me, that sounds pretty much EXACTLY RIGHT, but then again, I'm not batshit crazy. Not yet. Skeet asks Hannah what her name is. "My name is Lucinda, but people call me Cinda. Cinda Morgan Bryant." Elizabeth looks stricken, and Caleb seizes the opportunity to cop a feel, er, "comfort her." Hannah says she needs to go to sleep, and Skeet wants to know when he can talk to her again. "Here," she says, and takes his hand and grabs the -- what the? Is that a Magic Marker? Okay, they're AMISH, continuity department. Give me a break. She writes a phone number down on Skeet's hand. It's got a 212 area code (and of course, that phony-baloney 555 television-phone-number prefix). She tells him to call her, unless he's some "pervy old guy," since she's not into that. Hey! Pervy old guys need love too! And I'm not just saying that because I turn thirty a year and a half from now!