Stacie Passon adapts Shirley Jackson with a faithful, powerful retelling that continues to resonate with the social climate of today.
Two sisters experience a night of terror after a comet causes men to turn violent en masse.
Madison and Chablis go to Murder House looking for answers about Michael Langdon
FX’s American Horror Story
Season 3, Episode 9: “Head”
Directed by Howard Deutch
Written by Tim Minear
* For a review of the previous episode, “The Sacred Taking” – click here
* For a review of the next episode, “The Magical Delights of Stevie Nicks” – click here
After the head of Delphine LaLaurie (Kathy Bates) showed up at the witches doorstep last episode, we get a chance of pace in this one.
“Head” starts off with a father and son hunting in 1991. They’re sitting at camp and having some coffee together. The father calls the son Hank – is this the young version of Josh Hamilton’s character, husband to Cordelia (Sarah Paulson)? And what exactly are they hunting here? I may know, considering Hank’s dear ole dad loads the gun up with silver bullets. Then out from the woods comes a woman in tattered clothes, dad yelling to young Hank: “Put her down!” Before he can get the job done the woman, a witch, sets fire to the grass between her and the boy. Father jumps in, killing her and reminds his son: “Never forget what they are.”
Ominous past for Hank, whose entrance into the family business of witch hunting certainly began at an early age.
Fiona (Jessica Lange) shows up over at the salon to see Marie Laveau (Angela Bassett). She has Delphine’s head in town in the box. Out back, the body of Delphine still stands rotting in her cage, swatting flies off her bloody neck wound. Fiona wants an alliance between the coven and Marie’s voodoo powers. But Marie believes “witch hunters is white womens‘ worry!” There are lots of fun things happening in the dynamic between Marie and Fiona, the dual sects of witchcraft and so on.
Poor Cordelia is having a hard time as a blind woman. She and Myrtle (Frances Conroy) have a heart to heart. Myrtle worries Cordelia still might believer she had something to do with blinding her. However, she knows Myrtle would never hurt her, which is good. They need one another, especially in the new landscape of their existence with witch hunters right outside the academy’s doors.
Excellent sequence involving Hank going to see his father, Harrison Renard (Michael Cristofer). There’s “Sarabande” by Handel playing in the background, the Delphi Trust headquarters, all the witch hunting talk and much more. I love this whole aspect because I didn’t want it to simply sit in the background, as an anonymous entity Hank worked for; rather, we get a sense of an elaborate war between these hunters and the witches they pursue. And it’s not all hugely expository. We get bits and pieces from the writing which leads us to our own conclusions. They don’t go too far with it, other than to make them a viable threat and install them as a proper part of the story. Great stuff.
“You haven‘t forget what she is? What you are?”
Myrtle is having Quentin Fleming (Leslie Jordan) and Cecily Pembroke (Robin Bartlett) over to the academy for dinner. They’re thrilled to see her back, with better skin than ever, as well as very excited to hear all about Misty Day (Lily Rabe), the powerful girl hiding out in the swamps. But after a moment or two, Cecily freezes up in mid-sentence. To no surprise on Myrtle’s part. Almost as if this were planned, right? Quentin soon freezes up, too. A little “monk‘s wood“, she tells them while they remain like statues. She has at them with a good few jabs, not for revenge, but mostly for Cordelia. Okay – a little for revenge. She uses the melon baller to scoop out some eyes.
Upstairs afterwards, Cordelia comes to and has her sight once more. The ravaged sockets where her previously muddied eyes sat, scarred skin all around them, now are beautiful and wide eyes once again. Fiona is happy to see her daughter restored, though, there’s still tension between herself and Myrtle. Luckily it seems as if Cordelia is now most concerned with the witch hunters prowling around, no longer so focused on her mother’s indiscretions and faults. Sadly, though, Cordelia no longer has second sight; her new eyes have changed all that.
We’re also privy to a nasty, gory cut-scene where Myrtle disposes of the two former Council members, chopping them to bits and throwing them into a tub of acid down in the basement. Brutal, yet amazing!
“Good luck. Call the Council – I hear they‘re not seeing anyone right now.”
Nan (Jamie Brewer) is waiting at the hospital. She wants to see Luke Ramsey (Alexander Dreymon), but his mother Joan (Patti LuPone) won’t have any of it. When Zoe (Taissa Farmiga) and Madison (Emma Roberts) show up, Madison doesn’t want her to take that. They barge in and hear a bunch of nonsense from Mrs. Ramsey, but the witches overpower her. With reason. In addition, there’s a great little moment where Nan hears Luke talk to her, as we see him literally standing behind her, whispering in her ear. Instead of another big confrontation, we finally see Joan give in. She sings the song Nan brought up, the one Luke told her about a moment before, and then calls Nan to her side. It’s actually a beautiful scene in the end, and I have to say – great choice to have LuPone play this part, she is an amazing actor.
Contrasted with such seriousness, after this comes Queenie starting off a film festival for the stationary Delphine’s severed head: Mandingo, The Color Purple, B*A*P*S, and to start, Roots. Hilarious, brief scene. Delphine starts singing Dixieland to try and contrast the “jungle music,” as she calls it.
Then bam, we get another intense sequence – all of a sudden, Hank Foxx is plagued by a voodoo-style attack, his bones cracking, his body bleeding. Marie Laveau is not happy with what their former agreement is yielding so far, having one of the white witches show right up at her doorstep. So, even though Hank is a piece of shit, I feel bad watching him get bent and torn out of shape.
Back at the academy, Cordelia is helping Misty with some of her powers. Nice visuals with the flowers growing, the bright colours of the greenhouse in the basement, plus the look of the small garden itself. Very cool set design. Then, Hank shows up crawling back like a slug to Cordelia. He’s happy her eyes are back, of course. But who cares what he thinks, certainly she doesn’t, and nor should she at all. He is not just a cheater. He’s a god damn witch hunter! Even though she doesn’t know that full extent yet. Regardless, Cordelia is not having any of Hank and his drama.
Neither is Fiona. Though, she’s never had any liking for the man. She brought home an attack dog. That doesn’t last long, not after she meets Kyle (Evan Peters), who hugs the dog a bit too hard like Steinbeck’s Lenny and cracks her neck. Uh oh.
But Fiona does one better, making a real guard dog – she slightly fixes Kyle, enough to make him competent for protection, and a good game of cards.
Cut to Nan and Joan at Luke’s side in the hospital. We find out more about the dark side to Joan Ramsey. Luke discovers, in the afterlife, her father did not die by accident. Seems Luke’s dad was having an affair with another woman, someone he actually loved. Then Joan set him up to die: trapping him in his car with bees, to which he was allergic, prompting a deathly reaction. Whoa, did not expect that! Although I was sure Joan had something seriously wrong with her either way.
Hank is gearing up to lay waste to the witches. Only now his sights aren’t set firmly on Cordelia and Fiona and their coven. He’s headed directly for Marie Laveau. The guns come blazing, blood flies over the walls and the mirrors; first a shotgun blast, then Hank takes out two dual pistols. Even Queenie gets a shot in the stomach. All the while, “Oh Freedom!” is sung over top, LaLaurie’s head watching footage of civil rights marches. Queenie manages to pick up a gun and blow Hank’s head off right before he can manage to do Marie in for good. A truly incredible sequence, complete with a teary eyed Delphine and an equally sad Harrison Renard mourning his now dead son Hank.
And at the very end of this bit, Luke wakes up accusing his mother of killing his father. Then, Joan puts him back to sleep. And puts a pillow over his head, smothering him.
The finale sees Marie Laveau now show up at the academy for a chat with Fiona. What will this bring? A real alliance finally?
A great, great episode. The next one is titled “The Magical Delights of Stevie Nicks”. Stay tuned for a fun one!
FX’s American Horror Story
Season 3, Episode 8: “The Sacred Taking”
Directed by Alfonso Gomez-Rejon
Written by Ryan Murphy
* For a review of the previous episode, “The Dead” – click here
* For a review of the next episode, “Head” – click here
With Delphine LaLaurie (Kathy Bates) at the savage mercy of Marie Laveau (Angela Bassett), and Queenie (Gabourey Sidibe) on her side too, things seem to be changing in New Orleans.
Out under the cover of the city’s darkness, Queenie is searching for something. Under a bridge somewhere she lurks among the homeless community, the destitute and drugged up washouts either on the bottle or on the pipe. From one of the little tents comes a terrifying man, looking to “carve her up“. But Queenie easily fends her off with voodoo doll shit. From out of nowhere come Madison (Emma Roberts) and Zoe (Taissa Farmiga). They don’t want her to leave, they seem to want her back and actually appreciate her. They know she’s tough. Still, Queenie has things to do for Laveau: she cuts open the aforementioned homeless guy, apparently a rapist, and hauls a heart out; no problem. Apparently it’s going to help her gain power, some kind of ceremony Marie is planning.
“War is coming. And you‘re gonna lose.”
Fiona (Jessica Lange) is slowly getting sicker and sicker. All the treatments and the medications, the chemotherapy, it’s making her feel “as if I’ve been dipped in the River Styx.” She writhes on the floor and in a voice-over laments that her body is no longer her own, she has given herself over to terminal illness, which will take her away from the earth soon enough. Cordelia doesn’t care, only taunting her over Thanksgiving cooking. The only one who does care is the dear ole Axeman (Danny Huston), who lays with her in bed smoking, looking at her with a swollen twinkle in his eye and longing only for a life with her, anywhere, somewhere. “You‘re watching me decay,” says Fiona. He doesn’t see it that way, though, the illness is destroying any bit of faith she once had. All that’s keeping her living and breathing properly at the moment is spite, not wanting to give her daughter or anyone else the satisfaction of leaving a moment too soon.
More creepiness comes by way of Luke Ramsey (Alexander Dreymon) and his mother Joan (Patti LuPone). She is upset, in all her puritanical glory, about her son’s newfound uncleanliness. She mixes up a chemical cocktail in a hot water bottle, connected with a catheter-like tube, and then has him lay down in the tub. We don’t exactly see what happens, or where exactly the tubing goes. However, we can easily assume it’s a nasty way of Joan cleansing her son and his sinfulness, y’know, all that deep grimy sin on the inside. Yuck. I’m guessing it was an enema, not anything in the front end.
At the academy, Misty Day (Lily Rabe) shows up in a panic, feet filthy, raving a little. After she was able to get Myrtle (Frances Conroy) resurrected, turns out a man with a gun came to get her. A man trying to shoot witches? No doubt witch-hunter Hank Foxx (Josh Hamilton). When Cordelia meets Misty, she sees everything with her newly gained sight, all the troubles she’d seen up until then. Now she is a part of the coven. Even better, Myrtle is back with them again like old times, back from the burning dead. Also, there are conflicting thoughts on who will be the next Supreme. Who could it be? Is it Misty? Or Zoe? Or who else? We’ll see what happens.
They start a ceremony called The Sacred Taking, title of the episode. It’s meant to prove Misty is the next Supreme. The whole thing starts with Cordelia talking about the ceremony is meant to also help the survival of the coven, starting back in the days of the Salem Witches. Great little sequence here with a black-and-white flashback to the Invoking of the Sacred Taking.
Poor Fiona is losing her hair, throwing up, and she thinks maybe losing her mind. A cover of “Season of the Witch” by Donovan plays and Madison, red dress belonging to Fiona, dances around the room: “Surprise bitch,” she exclaims. She talks about breaking in her new bed, and so on, being the new Supreme and all. Claiming she brought herself back and the Council ought to be called. Such a surreal scene the way they shot everything, which adds to the fact Fiona probably believes her mind is caving in. Sad to see Fiona try and open a door, the thing barely moving a few inches. Madison tries to convince her to kill herself with a bottle of pills. Furthermore, Myrtle shows up to freak Fiona out. But she takes it fairly well, all things considered; not sure if they’re back to life, or she’s in hell. Fiona plans to go away with the Axeman, while Myrtle fills her head with visions of him getting tired of the smell of her death, tired of waiting around.
“You guys suck balls“
After Nan (Jamie Brewer) storms off, upset that she’s not even being considered as in the running for Supreme, we see Hank waiting outside, lurking in the darkness. She finds Luke in his house, tied up. What’s happening?
We cut back to Fiona, who wants to die now. She wants to give up, asking Myrtle to look out for her daughter as best she can. Taking all the pills to plummet to her death, Fiona goes to sleep. But eventually comes to, as Spalding (Denis O’Hare) wakes her. He explains his tongue, his death, and reveals Madison was revived by Misty and they are exploiting Fiona, trying to kill her and make way for the new Supreme. With help from Spalding she purges the pills. Then vows revenge for them both against the coven.
Back over at Marie’s salon, Queenie brings Delphine – now locked in a cage for regular bleedings – some food. Before they can have any meaningful conversation, and LaLaurie can get any answers, Marie shows up and squashes that situation. Marie plans to keep Delphine, who of course cannot die, and make her suffer. Starting now with a chop of the hand and a warning there is much, much more to come for the immortal racist.
Now we switch back quickly to Nan and Luke, who are prevented from going anywhere by the religiously psychotic Joan. Not for long, though. Soon a rifle’s laser points through the windows. Joan is shot twice, Luke takes a bullet trying to make sure Nan survives.
At the academy, Cordelia and the others await Fiona’s death. Only the Supreme is still quite alive. She saunters through the living room, asking about Misty. Which leads her over the commotion next door. Cordelia ends up discovering the bullets were meant for witches, not the Ramseys.
My favourite part of this episode, though, is the very end. The academy receives a package at the door. When Fiona answers and opens it, there is the head of Delphine LaLaurie, staring up at her, and whispering to be helped. Very ominous. A horrific message from Laveau. Is a war coming between the voodoo sect of witches and the descendant witches from Salem? Looks like it.
Stay tuned for the next episode with me, titled “Head” directed by Howard Deutch and written by Tim Minear.
FX’s American Horror Story
Season 3, Episode 7: “The Dead”
Directed by Bradley Buecker
Written by Brad Falchuk
* For a review of the previous episode, “The Axeman Cometh” – click here
* For a review of the next episode, “The Sacred Taking” – click here
This episode begins with a flashback to Kyle (Evan Peters) and his bros at a tattoo shop, back before they were smashed to bits after most of them gang raped Madison (Emma Roberts). Kyle rocks out to Toto, deflecting awkward jokes about his mother – who we now know molested him – as well as shares his aspirations to be an engineer. And that’s why he does not want to get a tattoo: “I got one life, and I’m not wastin‘ it.” Even as a man with tattoos, I respect him for that, wanting to go into a particular career path and wanting to do everything as straight and narrow as possible. Particularly it’s admirable because he wanted to get away from his mother, who caused him terrible pain. Then we flash to the now Frankenstein-like Kyle; he wails after finding the tattoos of his friends on his newly pieced together body.
But will he live much longer? Zoe (Taissa Farmiga) is armed with a gun in hand coming down to the basement of the academy. And it looks as if she intends to put poor Kyle out of his misery.
Madison is back. She doesn’t seem too pleased, though. In a voice-over, she talks about the Generation of Entitlement, supposedly, the Millenials. There is a great sadness in watching her sort of haunt the halls of Miss Robichaux’s Academy, trying to find a way to not “look like Marilyn Manson anymore.” She can’t feel anything, holding a lighter under her palm as it fries. Not a thing, not since coming back from the dead.
Downstairs, Zoe tells Kyle: “You know how this has to go, right?” And he sort of does, cowering at the sight of the gun. The sad part about this is that Zoe doesn’t have any idea what Kyle’s mother did to him, she thinks he’s just gone crazy and that coming back from the dead like this made him into an animal. But deep down she doesn’t want him gone, she doesn’t want him to die.
One of the funniest scenes in this season yet comes when Delphine (Kathy Bates) and Queenie (Gabourey Sidibe) go to a fast-food restaurant. The way LaLaurie reacts to the drive thru speaker is a crack up. More than that, the way LaLaurie talks about Queenie never being a real part of the coven because she’s black, it resonates with Queenie. You can tell this is going to start causing some problems.
Worse problems yet are the ones Hank Foxx (Josh Hamilton) plans on bringing. He has a ton of guns, he’s drinking. Will it be absolute savagery? Or will someone prevent a massacre?Meanwhile, Cordelia (Sarah Paulson) runs into Madison in the halls and discovers Fiona (Jessica Lange) was the one who killed her. Bam. But her dear mother is still with the Axeman (Danny Huston). They’re back at his place listening to some music, having a drink together. Despite being a brutal mass murderer, this guy has style; how could he not, played by Huston? I love him and Lange playing off one another in a scene. They are two incredibly respectable actors in their own rights. To see them as a pair onscreen is like a treat, one of a magnitude we rarely see on television. Plus, it’s interesting to see where this new relationship is headed. To what end will the Axeman’s character play a part? He’s got bodies in the bathtub, she’s the reigning Supreme, a murderer and cancer patient.
Zoe is trying to teach Kyle to talk again, almost as if he were an infant. They use little cards like a child might. But he gets angry, smacking them out of her hands. He’s frustrated, naturally. I love the interpretation of the Frankenstein type story of Kyle, how he learns to be a person again after coming back from the grave. Because there’s a juxtaposition with others who come back to life, in particular Madison. Whereas she has her own troubles, Kyle is really fucked up because he’s only partly himself; other bits are made up of other people, friends he once knew sadly. So I thought this was great writing, the way each person depending on how they died/how they come back has a different sort of disposition. We’ll see more of this to come with another character.
Over at the hair salon, Queenie shows up to see Marie Laveau (Angela Bassett). Of course more of the racial divide shows up now, with Marie stoking the flames – as well as making what looks like awesome gumbo. However, she makes sense at times. While Queenie isn’t exactly mistreated over at the academy, nobody truly appreciates her. She takes a backseat to the other white witches, when I’m sure Marie could easily integrate her into the house of voodoo she has going over there. Still, might take more than that to completely convince Queenie. You can see she wants to go. Yet some reservation, though. Either way Marie wants her to bring Delphine back to her. Not saying why, or what she’ll do. But she wants that old racist woman in the palm of her hand.
Cordelia’s new sense of sight has brought her more assertiveness. She and Zoe have a frank chat, as Cordelia tips a bit of liquor in her own tea. A little more of a lax type Cordelia now. With all the threats to the coven, and from Fiona no less, she’s finally making sure these young witches are ready for what comes next. Or what’s coming for them. Then there’s more tension between the witches, after Zoe finds Kyle violently humping Madison. Two walking corpses having sex, wow.
“Kill her once. Kill her good. Kill her dead.”
More romance for Fiona and the Axeman. He reveals to her how long his admiration has been growing. Ever since Fiona was a little girl, he watched her in the house and looked out for her. His fondness for Fiona began so long ago, now the Axeman grew out of a fatherly sense of love for her into one of romantic intention; seeing her become a gorgeous young lady, a bonafide woman, he had to have her. So in a sense it’s an eerie, creepy type of voyeur relationship on his part. At the same time, he doesn’t creep on her. He is very charming. Especially considering she’s at the end of her days, Fiona might consider this a good thing. Only she takes it all as insult, as if he “watched her grow old.” Though, he tells her in such a loving way. But she believes he haunted her life.
Up in the attic of the academy, Zoe seems to have found a tongue – belong to, of course, Spalding (Denis O’Hare). Now she has him tied up to his bed in that creepy little room he keeps, his tongue back in working condition. In fact, it was in a box belonged to the recently crispy Myrtle Snow (Frances Conroy). Only Myrtle couldn’t bring it back. Zoe’s powers are stronger and she managed to put it back in place; a very neat and weird little sequence, which I loved. Except after the tongue is back in Zoe compels Spalding to say only truths, looking for information, and he gives it up – Fiona killed Madison. Then he gives up his life. Not willingly, though.
Queenie asks Delphine what the worst thing she ever did was, which prompts a story about one of the slaves who used to serve in her home, back in the day. Turns out LaLaurie had an unfaithful husband whose extramarital affairs involved a servant. A super unsettling moment where Delphine has a new batch of bloody makeup, revealing exactly where it came from to her frightened servant girl; this prompted the poor girl to commit suicide the next morning, jumping off the balcony. Hearing all this, as it would, disgusts Queenie. LaLaurie tries to justify it as being in a “different time” and a “different world.” She genuinely seems to be repentant in how she talks to Queenie, but still. She did atrocious things.
Then there is the new problem between Zoe and Madison. Although, Madison doesn’t seem attached to Kyle. She only wanted to have sex, I guess. It makes her feel something, as opposed to nothing else making her feel anything, at all. She proposes they share Kyle. He’s basically meat in this season, which is fine. There’s always a great powerful female vibe in each season, but I dig how Coven most of all has a very female-centred plot and how the men sort of play these peripheral, yet at times important roles. Overall, it’s all about the ladies and I find it refreshing.
The episode’s end comes with a finale that shocked me, in a great way. Queenie brings LaLaurie out on the town – dressed in a hilarious bedazzled tiger shirt – except they end up at Laveau’s place, in the salon. Now we can see Queenie is giving herself over to the voodoo queen. There are genuinely terrible things about to happen to Delphine, not that I can say she doesn’t deserve it. She does. But it’s sad to see her and Queenie fall out, I thought somehow, some way, Queenie might take a higher road. All the same, I don’t blame her really. Further than that it makes things interesting heading into the next episode. Where will this lead? What more intensity will this bring? Well before the episode finishes, Laveau is applying her own bloody makeup, made from the drained essence of LaLaurie herself. How the tables have turned.Stay tuned with me for the next episode, “The Sacred Taking.”
FX’s American Horror Story
Season 3, Episode 6: “The Axeman Cometh”
Directed by Michael Uppendahl
Written by Douglas Petrie
* For a review of the previous episode, “Burn, Witch. Burn!” – click here
* For a review of the next episode, “The Dead” – click here
This episode begins with a flash to 1919 in New Orleans. We hear the voice of Danny Huston, undeniable. He types a letter, and talks about being the titular Axeman. He tells everyone via his letter that anyone playing jazz will be safe on a specific night, everyone else will be murdered. The girls at Miss Robichaux’s Academy plan to make sure the Axeman does not kill anyone else. They’re witches, they’re tough, and plan to make their Salem ancestors proud.
No jazz plays on the street around the school. The Axeman walks through the neighbourhood, eventually making his way inside the big plantation style house. Upstairs, one of the witches listens to classical opera. The Axeman does not like that. The trap is set and all the women of the house stab him to death on the floor against the firelight.
So if he died in the house, will his spirit linger? I’m sure we’re going to find out now with new young witches boarding at the academy.
Zoe (Taissa Farmiga) picks around through the old belongings of Madison Montgomery (Emma Roberts). In the process, she finds old things belonging to the previous schools of witches, as well as a Ouija board – or a Spirit Board. First, to Nan (Jamie Brewer) and Queenie (Gabourey Sidibe), she brings up the fact the number of witches have gone down progressively each year. Now there’s only three of them. So they make a pact over absinthe, agreeing to watch one another’s backs. The three young witches play a game with the board. Soon, they come in contact with – you guessed it – a spirit. It writes out: AXEMAN. Quickly, the whole thing is stopped by Queenie, who knows better than to mess around too hard with the board.
Fiona (Jessica Lange) is having troubles. Taking chemotherapy alongside other patients, she suddenly has the gift of mind reading, attributing it to the medication. It’s all too much for her. A doctor manages to sit her back down, but clearly Fiona does not want to do it for herself, only for Cordelia (Sarah Paulson) who actually needs her for once in a lifetime.
Zoe wants to release the Axeman in order to find out what happened to Madison. Although, nobody else is at all keen on the idea. But Zoe’s stuck on witches banding together, no matter what the consequences. She goes downstairs with the Spirit Board again, except by herself now. Dangerous things at play here. And then, she’s finding her way into the attic where Spalding (Denis O’Hare) keeps his play things: both porcelain and deceased. The air is thick with a deathly reek, dolls lining the shelves. And finally, Zoe uncovers Madison’s body. Only Spalding intercepts her.
Meanwhile, Cordelia is back at home, walking cane and glasses and all. Hank (Josh Hamilton) can’t touch her without flashes in Cordelia’s head of his infidelity; all she can see is the woman he cheated on her with. She has a “different kind of clarity,” as if she’s experiencing the memories firsthand when they come to her. Strong woman, eyes and face burned yet still not afraid to stand up for herself.
Up in the attic, the young witches interrogate the “twisted tea-serving necrophiliac” Spalding, whose arms and legs are tied to a chair. Zoe scalds his chest with a metal spatula, left over a hot burner. He boasts about his first sex was with Madison; disgusting. This whole scene is nasty, in so many ways. But a great, gritty part to a larger story.
Over at the camp of Misty Day (Lily Rabe), there’s a nice big flower bed planted, she’s watering it and making sure it’s tended. Underneath stirs Myrtle Snow (Frances Conroy). And out of the blue, Franken-Kyle (Evan Peters) turns up, mumbling, filthy and needing a bath, scared as usual. Misty gladly takes him back in, helping him get clean. But memories of his mother come back, he trashes the place and throws things around, smashing the little music player Misty kept. Luckily, though, Zoe shows up – able to take Kyle, also needing Misty.
Zoe chains Kyle up down in the basement, and shows Misty the corpse of Madison. She wants Misty to bring the girl back to life. Although, poor Madison’s been dead for ages. Still after a bit of work, Misty and Zoe manage to pull her back from the afterlife and into the world of the living once again.
Big surprise: Hank is in cahoots with Marie Laveau (Angela Bassett). His wife’s new second sight is causing problems, threatening to reveal their working relationship. We get a flashback to Cordelia meeting Kaylee (Alexandra Breckenridge), the one Hank killed after having sex with earlier in the season; she was, in fact, a witch. Hank’s helping to kill all the descendants of Salem, a job done in conjunction with Laveau. But now, she wants all the witch bitches dead, their heads for trophies.
The girls are trying to bring Madison back to consciousness. She can’t drink anything properly, even ginger ale. All she remembers from before death was a red blur, nothing more. And at the same time, Cordelia is confronted in her bedroom by none other than the Axeman himself. He wants release, he doesn’t want to be trapped inside those “four ugly walls,” not any longer. He’s been promised release by Zoe, but nothing has come yet. He is one mad jazz-man. Hearing Cordelia’s screams, Zoe, Nan and Queenie rush to help. Stupid Zoe, she’s the one who did this with her lies. Then she finds a spellbook, releasing the Axeman from the house back out onto the streets. Is this any good, at all? To have this maniac out wandering New Orleans? Especially when jazz isn’t exactly as prominent, even in the South, as it once was back in his day.
At a bar where Fiona is lamenting her illness, literally pulling off a handful of hair, the Axeman sits down for a drink. Will there be vengeance to come? And for whom?
Next episode is “The Dead”, directed by Bradley Buecker.