American Horror Story: Roanoke Recap: Nightmare’s End
Lady Gaga as Scathach. Photo: Prashant Gupta/FX
I had no idea I wanted to see Evan Peters dressed in 19th-century garb and making out with a sexy young male slave until it was actually happening on my television screen, and then that was all that I ever wanted in my entire life. Well, that is, until Evan Peters took off his 19th-century garb and played slap and tickle with his sexy young male slave in a copper bathtub. Man, I really want that. No, not the slap and tickle — that tub! It is freaking amazing.
Just as our collective Roanoke nightmare is coming to a close, Evan Peters arrives with his powdered wig and post-Revolutionary capri pants to do his annual cameo for Ryan Murphy. It’s like Evan Peters is the Butcher and every year he has to consecrate his career by being Ryan Murphy’s object of obsession for at least one episode or his agent will stop returning his calls or something.
Anyway, Peters plays Edward Philippe Mott, the guy who built the house in Roanoke in 1872. He’s Dandy Mott’s great-great-great-great-great-great- (inhale) great-great-great-grandfather. We hear from historian Doris Kearns Goodwin (the real Doris Kearns Goodwin, in a stroke of casting genius) that Mott built the house because he had social anxiety and wanted to be alone with his slave lover Guinness and his beloved art collection. After he died, the house was owned by the Mott trust for centuries until the final Motts, Dandy and his mother, died in South Florida back in the Freak Show season. This is just one more awful thing we have to thank Dandy for. But, hey, it also explains why he always seemed so gosh-darn gay.
Two days after the house was completed, someone destroyed Mott’s art collection, and as a punishment, he had all of the servants locked in the root cellar, where they died of starvation. That’s why Mott died at the hands of the Butcher, who found the biggest blackest thing she could find and impaled Mott on it and then pushed him into the flames. Well, at least he died as he lived.
Mott is a great help when Matt and Shelby are stuck in the house with the Butcher at the gates and the pig man and his friends lurking inside. At one point, Wes Bentley tries to break through the door with an axe and does his best impersonation of “Here’s Johnny!” from The Shining. Man, that is just dumb. There are some shots that are just so iconic that they can’t be repurposed, especially in something that really hasn’t had any allusions to the famous Kubrick film. Oh, and what was up with the little girl from the bottom of the well in The Ring suddenly creeping through the interior? Where the hell did she come from? Were these people living in the Mott house, or were they trapped in the fever dream of a film-studies major?
To escape they go into the basement (never go into the basement!), where Mott finds them and leads them through the tunnels that he built in case he needed to escape a slave uprising with all of his precious artwork. The best effects of this whole season have been how ghoulish Mott’s face looks as a solitary torch lights it.
The tunnels dump them out into the middle of the woods right near the Polk family house — you know, the pig farm where they found those feral children suckling on a pig like the were the only two members of the Babe fan club. When the gross Polks discover them, they take them into their garage, where Elias, whom we thought was dead from all of those arrow wounds, has been hacked to pieces and eaten by the Polk family. It turns out that they are Cannibal Redneck Weed Farmers From Outer Space. (How is there not an Off Broadway play with that title already?)
In walks Momma Polk (Frances Conroy, doing her own annual career consecration for Ryan Murphy), who lets Matt and Shelby know that they have a deal with the Butcher: She leaves them alone as long as they provide her annual sacrifice. This year it’s going to be Matt, Shelby, and Flora. When they try to escape, Momma Polk catches them, and to make sure they’re not going to flee again, she goes all Misery on Shelby and crushes her legs with a hammer. Silly Frances Conroy — doesn’t she know that is Kathy Bates’s job? And while we’re asking questions, between Misery and The Shining, is there some sort of subtle Stephen King–film–festival thing happening this season? Will the scary clown from It try to get little kids to eat his candy in the woods? No, they’re saving that for American Horror Story: The Nightly News.
The Polks take Matt and Shelby back to their haunted house, and the Butcher is about to sacrifice Flora when suddenly Wes Bentley has a change of heart and lets his mother know that he’s not going to stand by and watch her spill the blood of one more innocent. He pushes her into the fire just as Lee returns from her interrogation. She gets one of the cars, and everyone escapes in the nick of time. Since we knew these people were telling the story, we always knew that they were going to survive, so there wasn’t much suspense.
After spending five hours with these characters, I wanted a little bit more of a resolution as to how they got away. It all comes down to Wes Bentley suddenly growing a conscience after, what, 400 years or something? That moment seemed less justified by anything that happened and more of a deus ex machina. (Was that the name of a Stephen King movie?) This episode is supposed to be pretty scary, but lumping all of these extra story lines and scare tactics into the last half-hour seemed like gilding this particular lily. It was meant to be frightening, but I was about as scared watching this as I was watching Tyler Perry and the Tyler Perry Corporation Present Boo! A Medea Halloween Starring Tyler Perry As Medea.
That is the end of our story, folks. Man, how long is this episode of My Roanoke Nightmare supposed to be? Is this some sort of Netflix marathon of a paranormal show or something? Aren’t these things usually boiled down to just about an hour?
The big question: Where does everything go from here? Since the season began, Ryan Murphy has been teasing a big twist in episode six that will change the way the story is being told. I was hoping that it would come at the end of tonight’s episode, giving us an ingenious shift in the perspective so that we would see how everything was somehow subverted. Based on the very short preview of next week’s episode, where Cheyenne Jackson tells a film crew to keep shooting no matter what, even if he tells him to stop, it’s going to have something to do with the filming of My Roanoke Nightmare.
But this story seems locked up pretty tightly. I assume that he will do something to challenge the sanity or veracity of what Matt and Shelby have told us. Has he brought in the Butcher to terrorize them once again with her awful accent? Maybe now it’s the film crew that will be stalked to death. Whatever it is, it seems like less of a twist and more of a related story somehow tacked onto this one, like they couldn’t sustain Roanoke for 13 episodes (or 12 maybe? Or 10?), so they had to break the season up into multiple stories. If the second half will somehow be a reflection of the first half, does that mean we’re going to get to see naked gay Evan Peters again? I will not complain at all if that happens.
American Horror Story recap: Season 6, Episode 5
If a four-letter word didn’t immediately pop into your mind when this episode finished up one story and the look-ahead preview introduced the next, congrats. You’ve somehow managed to keep your mental vocab out of the gutter despite getting all the way to the sixth season of American Horror Story‘s delightful despicable madness because holy [bleep], this is getting bananas.
Ryan Murphy warned EW that Roanoke would buck his own tradition and that we should expect something big and twisty to this way come via episode six, so here’s what tonight taught us about what’s about to happen to us all.
Introducing Edward Philippe Mott
Ahh, ripples and connections. Evan Peters, one of AHS‘ most prized character chameleons, has come back bearing the gift of backstory. His character, Edward Philippe Mott, was the ancestor of Freak Show‘s Gloria and Dandy, and despite his gobs of wealth and authority (and an, erm, proper wig), he chose the wrong location to plant his roots and construct the very mansion that’s causing everyone such headache right now.
Mott, who was in a relationship with his male servant Guinness, decided that he wanted to escape the burden of societal judgment and tuck into a castle in the woods with his prized paintings and live out his days enjoying the company (and “velvet tongue”) of his boyfriend. Too bad the Butcher Thomasin’s already laid claim to the place because he and Guinness had a pretty good thing going for themselves until the ghosts started taunting them.
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They made it just a week in the new abode before all hell broke loose, and the ghastly destruction — excuse me, “murder” — of his prized paintings revealed the fury that so often exists in Peters’ AHS personalities. He accuses and abuses his staff, locks them in a cellar, and then reminds his boytoy that he, too, is extremely low on the social ladder.
This is where we see the inevitable AHS: Hotel reference. Thanks to the ~*internet*~ fans have now figured out that each of the show’s first episodes (titled “Chapters”) have neatly corresponded with the respective themes of the previous seasons. So, since this is Chapter 5, we’ve got Hotel to think about. And the connection’s not hard to make. In Hotel, Peters’ character Mr. March was also a wealthy landowner who designed his new palace with sneaky hallways and tunnels no one else knew about. Granted, it was probably for a different reason this time around, but it still happened.
He also had to live with the victims of his hand in Hotel, and dying on this site seems to have a similar undead roamer effect as the Hotel Cortez did. Only, instead of delighting in the bustling misery of the souls that surround him like March, Mott’s not so happy about all the death… probably especially from all those poor people he locked away in the cellar for something they didn’t do. (Also, every time he passes a torch across his face, we get a skeleton flashback to his Season 1 costume, no?)
NEXT: Off with her… leg?
While Lee was still at the station being questioned by the cops about Flora’s disappearance, Matt and Shelby managed to retrieve her to the safety of their home. But it’s not the safest space for her there either because not only are ghosts running around grabbing the girl (oh hey, little Chen!) but the Butcher’s assembled another one of her frequent slaughter mobs to consecrate the land with the Miller family’s blood.
Mott tries to be helpful to them, he really does. He leads them through one of his underground passageways out to the freedom of the woods, where they can escape, in theory. But like bugs, they’re drawn to the light of a neighbor’s home and zap! They’re snatched up by those pesky hillbillies, the Polks.
Turns out, the Polks are cannibals. Not that we should’ve been too surprised or anything, but Mama Polk (Frances Conroy in rare form) has managed to keep poor Elias alive long enough to make jerky of his leg as he lays there begging for the mercy of death. Ayup. It’s straight up Texas Chainsaw Massacre status, y’all. And what’s worse is they’ve got a score to settle with the nosy Millers, who called the law on ’em and got their babies taken away. Hee-haw and such.
After a lengthy amount of time spent intimidating the Millers into submission — they’re willing to sign over the deed tomorrow just to walk away, natch — Mama reveals that she was never really interested in the house. She just wanted to keep it empty as part of her deal with Thomasin. That deal entails her helping to set up some of those human sacraments on occasion in exchange for the Polk fam being off-limits. A fair trade for country folk, apparently. The only reason Mama doesn’t slaughter Shelby and Matt herself, then, is that they’ve already been promised to the Butcher.
The Polks load the Millers and Flora into the bed of their honky tonky pick-up and hit the surprisingly paved road to deliver their charges. Matt tries to steal one son’s gun (and blasts the face off another Polk in the process), but Mama takes a sledgehammer to Shelby’s leg as payback for their insolent escape attempt. Tsk tsk. Even the Butcher seems peeved by the insult and decides to take out Flora first, much to Priscilla’s chagrin.
While we didn’t *exactly* know Flora would walk away from this situation unscathed, since she wasn’t one of the interviewees involved in telling this story, the fact that all three of the adults involved participated was kind of a big clue that the most innocent among them wouldn’t be roasted before their eyes like that and then they’d go talking to people about it.
What is surprising, though, is who comes in with the save. Ambrose (Wes Bentley’s character) was all for the sacrifice in Mott’s day, but he’s grown weary of the tradition just in the nick of time to save Flora. He drags Butcher into the fire, which buys Mott enough time to cut the Millers’ binds. Pigman tries to go for Flora, who’s all tied up and helpless, but Lee manages to run him down before any damage can be done, and they finally, FINALLY hit the road and get the heck out of there for good.
They might all be left broke, homeless, and riddled with nightmares after this thing — plus limping, in Shelby’s case — but at least they’re not in the Butcher’s clutches anymore … and they’ve unequivocally confirmed that they won’t be going back there, no matter what this filmographer that’s dramatizing all this is up to. Speaking of which…
This season has dropped a lot of hints that the Millers’ Murder House experience wasn’t going to be the sum of the world-building involved in Roanoke. The appearance of the historian who details the creepy backstory no one seemed to know or tell about the mansion with Edward Mott also indicates that whoever’s taping these interviews is interested in more than just story time.
Indeed, the preview for episode six shows Cheyenne Jackson walking around with his own little crew, and he seems totally in charge of this thing in the sneak peek. Is this guy about to lead a team into the haunted mansion and create the most effed up found footage film of all time? Or is that too obvious? Worlds could collide here and turn the second act of season 6 into some kind of Paranormal Activity meets The Conjuring meets Blair Witch kind of crazypants bonanza. We’ll have to wait and see, but folks, things definitely just got more interesting.
(Article edited to correct an error which stated that Finn Wittrock appeared in the preview.)
American Horror Story
An anthology series that centers on different characters and locations, including a haunted house, an insane asylum, a witch coven, a freak show, and a hotel.
Chapter 5 (American Horror Story)
5th episode of the sixth season of American Horror Story
"Chapter 5" is the fifth episode of the sixth season of the anthology television series American Horror Story. It aired on October 12, 2016, on the cable network FX. The episode was written by Akela Cooper and directed by Nelson Cragg.
Historian Doris Kearns Goodwin details the history of suffering at the Roanoke farmhouse. She begins by discussing the builder of the house, Edward Philipe Mott, a Philadelphia eccentric who bought the house and the surrounding land as a retreat from life in the city. He filled the house with artwork and insisted that it be built with a network of underground passages that led into the woods. While the house is being constructed, tragic accidents befell many of the builders. Eventually, Mott left his wife and children behind in Philadelphia to live in the Roanoke house with his male lover, Guinness. Strange events begin to happen to Mott, as one night he awakes to find all his artwork destroyed. Furious, he interrogates his staff and one of the servants claims that she saw the invaders disappearing into the woods. Mott doesn't believe them and locks all the household staff naked in the storm cellar until they confess. Furthermore, he dismisses Guinness.
One night, Mott awakes to Thomasin and her mob setting up a pyre outside. Upon marching outside to confront the mob, he is impaled and burned alive. Guinness is able to escape on horseback, but was jailed, forgetting to mention the trapped servants to the authorities. Their bodies were discovered years later and the house passed through centuries of Mott family ownership until Dandy Mott, the last surviving Mott family member, died in Jupiter, Florida in 1952. Then, the house is sold to a succession of owners, all of whom disappeared under mysterious circumstances.
In the present, Matt tries to call the police to come and address the mob outside. While the police refuse to take the report seriously, Ambrose calls one last time for the family to surrender themselves. The Millers refuse and begin to devise a hasty escape plan with Flora. As they are plotting their escape, Grace Chen attacks and drags Flora around the house and The Piggy Man appears and begins attacking Shelby and Matt. The Millers are able to recover Flora from the creature and escape from the Piggy Man but Thomasin's past victims quickly begin to surround them. Just when all seems lost, Edward Philipe Mott appears and leads them through the tunnels to safety.
However, he abandons them in the woods, leading to their capture and kidnapping by the Polk family. Upon arrival to the Polk family compound, the Millers come across a bloodied and semi-conscious Dr. Cunningham. He warns Matt and Shelby that Mama Polk took his leg. Mama Polk then enters and offers jerky to the Millers but when she tastes it for herself, she discovers that meat has gone rancid. She blames the spoilt flesh on Dr. Cunningham's decay and the Polk family bashes his head in. Mama Polk goes on to explain to the Millers her family's relationship with Thomasin and her mob. In exchange for providing a sacrifice to the mob on every blood moon, the Polk family earns protection from suffering the same fate. The Polks are still upset about the loss of their two boys and plan to hand the Millers back to Thomasin in retribution. Matt takes the opportunity to escape from the Polks' truck, killing one of the family members in the process. Mama Polk smashes Shelby's ankle in retaliation with a sledgehammer.
In an interview, Lee recounts the 48 hours of interrogation that she underwent after being implicated by Shelby for Mason's death. Eventually, the police release her due to lack of evidence. After finding out that Flora is alive, Lee begs a police officer to take her back to the house so that she can be reunited with Flora again. The police officer agrees and they head back together. Meanwhile, the surviving Polks deliver the Millers to the mob at the house. Thomasin and her mob drag Flora away to be sacrificed but just as the sacrifice is to begin, Ambrose throws himself and his mother into the fire. Edward Philipe Mott appears and frees Shelby and Matt. The Piggy Man tries to attack Flora but is run down by Lee's car. Shelby, Matt, and Flora all jump into Lee's car and flee to safety.
Shelby and Matt decide to head back to Los Angeles to return to a normal life. In an interview, Shelby mentions that nightmares based on her memories of the events continue to haunt her.
"Chapter 5" was watched by 2.82 million people during its original broadcast, and gained a 1.5 ratings share among adults aged 18–49.
The episode holds an 88% approval rating on Rotten Tomatoes, based on 16 reviews with an average score of 5.8/10. The critical consensus reads, ""Chapter 5" provides a satisfyingly scary conclusion to Roanoke's first story arc – and sets up a quick change of course."
In the teasers for “Chapter 5” of American Horror Story: Roanoke, Matt informed us that “there was no way out” of the pickle in which he and Shelby had been left at the end of “Chapter 4.” But, since we’re nowhere near the end of Season 6, presumably, Wednesday’s episode couldn’t reduce them to, as Mrs. Miller put it, “nothing more than prey” to The Butcher & Co. So how did the couple escape from the mob on their doorstep? Read on and find out.
PAST TENSE| As the episode began, historian Doris Kearns Goodwin flashed us back to the days of Dandy’s ancestor, Edward Philippe Mott (a bewigged Evan Peters) as he built to house his beloved artwork what would become the Millers’ home. No sooner had he moved in with his manservant/lover, Guinness, than supernatural shenanigans began to bedevil him. After brutally punishing his staff for the mischief, the aristocrat learned — in the most lethal way possible — that The Butcher and Ambrose were really to blame. (Side note No. 1: Before Edward was taken outside and killed, didn’t his bedroom bedlam bring to mind the ghoul who emerged from a mattress in Hotel? Side note No. 2: Shout-out to Dandy’s demise in 1952!)
FIGHT OR FLIGHT| Back in present day, The Butcher was offering the Millers “a merciful death” if they surrendered to her to re-consecrate the land. Rather than do so, Matt pleaded with Shelby to take Flora, run for the truck and go. Unfortunately, before they could get out, “you could feel the house coming alive around you,” as Shelby put it. Ghosts of all sorts “corralled us like animals,” said Matt, “for an easy slaughter.” However, when things looked bleakest, the trio were led to the relative safety of the woods through tunnels beneath the house by Edward, who noted that “the trophy misprized is to die in peace.” In no time, they’d been apprehended by the Polks, whose mama (Frances Conroy) had kept what was left of Elias alive. At least until she realized that he didn’t taste good. Turned out, the Polks had only wanted the Millers’ house “to keep it empty for The Butcher” as per an age-old agreement.
THE AXE FACTOR| Meanwhile, Lee was seething over Shelby having gotten her picked up for questioning in Mason’s murder. When she was finally released, she learned via texts from Matt that he had Flora. At the same time, the Millers managed to escape from the Polks before they could be driven back to their haunted house to be sacrificed to The Butcher. That is, they escaped briefly. Lot (Chaz Bono) soon retrieved them, setting the stage for his mom to whack Shelby’s ankle with an axe to ensure that they wouldn’t run again. At that point, “I gave up,” Matt admitted. For her part, Shelby reflected on all the things she wouldn’t get to do in her life — like, erm, open her own yoga studio. Returned to The Butcher, the Millers watched in horror as she prepared to slaughter Flora. Lee had just arrived on the scene when Ambrose rebelled against his mother, dragging her into the fire (burning up with her). Before Piggy Man could finish what The Butcher had begun, Lee rammed him with a car, and she, Matt, Shelby and Flora fled to a nearby hotel.
So, what did you think of “Chapter 5”? Excited to finally get some Cheyenne Jackson in “Chapter 6”? Hit the comments.
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TAGS: American Horror Story, American Horror Story: Roanoke, FX
GET MORE: Recaps
Episode 6 ahs 5 season
We... still have four episodes of this season left to go, right? This episode felt deceptively like a season finale, with Matt and Shelby's 'Roanoke Nightmare' drawing to a dramatic close as they narrowly escape being burned alive and/or disemboweled by The Butcher. Lee saves the day, the gang flees to a motel, and back in the documentary Shelby reflects on how the experience has haunted her.
As we know from Ryan Murphy, there's a big twist coming next week, and the nightmare is definitely not over. For now though, here are the seven key things we learned from 'Chapter 5'.
1) Evan Peters really is in this season!
No Gaga this week, but in her place we finally saw Peters make his debut—and despite rumors to the contrary, he's not playing a documentary producer. His character is Edward Mott, the 18th century nobleman who originally built Matt and Shelby's haunted house, and became The Butcher's first victim.
Mott kind of had it coming, though—on the night of his death, he flew into a rage upon discovering that his beloved artwork had been destroyed, and locked all of his servants in the cellar as punishment. Only Guinness, the sexy manservant Mott is having an affair with, gets spared, because nepotism is real. Their steamy bath scene should be some consolation to the Evan Peters fans who've waited this long only for him to die within ten minutes.
2) Edward Mott is the ancestor of a previous AHS villain.
Mott's backstory isn't the last we see of Peters. Mott reappears later on as a surprisingly helpful ghost aide to Matt and Shelby, leading them safely out of the house where they've become trapped… and then abandoning them in The Forest Where Nothing Good Ever Happens. Thanks a bunch, Ed.
His character's one of the most significant callbacks we've had to previous seasons yet. Ryan Murphy promised a while back that Roanoke would be connected to the Mott family from Freak Show, and it turns out that Edward is an ancestor of that season's villain Dandy Mott (Finn Wittrock). Watching Edward's meltdown, you can see that Dandy's particularly bratty brand of insanity runs in the family.
3) Flora might be possessed.
One of the episode's creepiest moments, easily overlooked given everything else that followed, saw Flora being attacked and dragged through the house by what seems to be a ghost of one of the Chen daughters. It's part-ghost, part nasty reptilian slimy thing, and after it leaves Flora cowering against the wall, she looks… weird, and almost dead-eyed. Could be trauma. Could be she's possessed by something terrible, and that's going to come into play in the present day.
4) The Polk family have a deal with The Butcher.
It makes sense that these guys would find common ground in being terrible. The Butcher agreed to leave the Polks and their pig-suckling kids alone, on two conditions: the Millers'' house was to remain empty, and the land was to be re-consecrated with fresh blood each year. Which explains why the Polks were so determined to drive Matt and Shelby out—and here we were thinking it was plain old-fashioned racism towards an interracial couple.
5) Poor Elias just cannot catch a break.
You'd think being haunted, driven to beardy insanity, and finally impaled in last week's episode would be enough suffering for one lifetime. But as it turns out, that arrow didn't kill Elias last week—instead he's been kept alive, more or less, at the will of the terrifying Polk matriarch (Frances Conroy). He's missing a few key body parts and appears to be septic, begging Matt to kill him. Upon realizing he no longer tastes good, the Polks grant his wish.
6) The Butcher really shouldn't have spared her son.
Remember when she nearly killed him for betraying her, but spared him out of motherly love (or something)? Yup. Big mistake. Right as The Butcher is about to sacrifice poor little Flora, her son whacks her over the head and declares "I shall not stand by and watch thou shed another drop of innocent blood!"
It's still not entirely clear how the rules of this ghost colony work—getting hit by a car didn't slow The Butcher down back in Episode 1, but being hit over the head is enough to temporarily disable her. Sure.
7) Matt and Shelby's nightmare is over.
…Seemingly. Again, we're clearly meant to take this with a huge pinch of salt – the moment in which Shelby declares "I'm just grateful that I will never have to see that godawful place again!' might as well have had a laugh track.
Here's a question, though—are Matt and Shelby still together? The "real" Matt and Shelby don't mention each other except in reference to past events, and although we hear how Shelby's been readjusting to life after the trauma, we get no mention of how Matt's coping now. Hmmm.
Emma DibdinEmma Dibdin is a freelance writer based in Los Angeles who writes about culture, mental health, and true crime.
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American Horror Story season 6 episode 5 live online: Butcher's army attacks Matt and Shelby
Survival is at stake for Miller family as they are being hunted by The Butcher and her colony of ghosts in the upcoming episode of American Horror Story: Roanoke airing on 12 October at 10pm EST on the FX Network.
Click here to watch AHS season 6 via live stream. Click here to watch it online on the FX website in the US. You can also download the FXNOW app here.
More from IBTimes UK
In the previous episode of AHS Season 6, we learned more about the history of the creepy farmhouse. Shelby and Matt were saved from a pig-headed man by Elias Cunningham, who claimed he was the last owner of the house and knows all its secrets.
Elias revealed that their farm was built on the lost colony of Roanoke, Thomasyn aka the Butcher was responsible for all the past disappearances in the house and all of killings occur on the same 6-day lunar cycle in October. Elias tried to help Shelby and Matt and even found Flora but was later tragically killed by a barrage of arrows shot by the spirits.
The Millers then asked for help from Cricket, who revealed more about Lady Gaga's witch character. We found out that the Butcher declared her loyalty to the witch –who has mystical powers– by killing members of her colony, and then she let the witch kill her as a blood sacrifice to the Gods.
In the end moments, we saw that the colonists captured Cricket and Flora. While Flora managed to escape, Cricket was disembowelled by the spirits. The chapter ended with the Butcher warning Shelby and Matt that they were next.
A promo for the upcoming episode reveals that the colonists will attack Matt and Shelby in the farmhouse. It opens with Shelby saying in the documentary, "You could feel the house coming alive around you," as we see fleeting images of the spirits running around their farmhouse.
Then we see the Butcher saying, "This land is mine," as Matt in the documentary admits, "ThIs was a mob and they were coming for us." Shelby says, "We should have known we are nothing more then preys."
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