Last week Nona took Jane to someone who could help her
remember. So now we open with Jane in Maris’s apartment. Maris hasn’t left her
apartment in 20 years because it’s safer. Maris is a psychiatrist, though she
now “opens minds” (isn’t that brain surgery?) and repeats the doctor’s
diagnosis about Jane’s amnesia. Maris takes Jane’s hand and we get a series of
confused visions. Maris tells her to come back tomorrow and Jane asks what she
saw, where was she. Maris says she never left the Drake and forget about were –
think when.
Jane wakes up to find Henry failing to make her breakfast
in bed. And he’s working from home – which is all touching and kind. But he’s
also hovering and extremely protective, almost smothering.
Which is when Gavin arrives with some more hooks for
Henry – a councilman has been a naughty boy and his seat may be coming vacant.
And he’s arranged a meeting with Phillip Perez (a political consultant) to get
his backing for Henry’s candidacy – but the meeting is in 2 hours. He also
shows Gavin the press kit that Laurell has developed for him (hmm, I always
assumed Laurell was one of Gavin’s tools).
Meanwhile Olivia is using Tony to take Vincent Shaw for a
little walk to an abandoned warehouse (owned by the Dorans of course) to find
out more about his claim that Sasha is alive. Olivia dodges Gavin’s calls and
gives Vincent an hour to show her Sasha. They have him call Sasha’s voice mail
and arrange for a meeting.
None of his calls going through, Gavin tells Kandinski to
kill Shaw and bring Olivia home. Olivia warns Victor that Sasha better arrive
before Gavin’s minions arrive. Vincent continues to work on Olivia, convincing
her Sasha is alive with reference to a Cartier bracelet she bought her and
saying she faked her own death because she hated Gavin, like Victor dowes
Back at Maris’s Jane drinks tea, talks hypnotism and
remarks on her weird clock. Maris tells her there’s a presence from beyond in
the Drake that opens the door between past and present and life and death. Her memories
are locked deep in her mind but she can unlick them in a trance – with the help
of the weird clock.
Jane enters a trance staring at the clock and she – and her chair, appear in the lobby of the Drake. And in front of her is a big red door. She opens it into bright white light, she goes through and joins a ritzy birthday party (666 Park Avenue has to have a ritzy party every week) for young Jocelynn (her grandmother) where everyone calls her Libby Griffith – and she even looks different in the mirror. Also at the party is Peter Kramer, the murderer from Hallowe’en, such fun!
Jocelynn takes Jane upstairs to find her doll – and in
Peter’s office they see various occult paraphernalia. When they hear his voice
they hide. Peter argues with a man about whatever they’re doing but the hook is
that, after tonight, they get whatever they want. Jane also sees him hide a
book behind a loose stone in a fireplace.
Then Maris wakes her up. She tells Maris everything and
they assume she has some kind of bond with this Libby woman. As she returns to
Henry in her apartment she runs into Gavin and acts all suspicious and nervous.
She goes to wish Henry good look at the meeting. The meeting falls apart though
because Jane’s medical records have been leaked – no-one will support his
candidacy while he has a mentally ill girlfriend.
Gavin goes to see Maris and they greet each other carefully. She has a symbol carved into her doorframe which is apparently a problem for Gavin entering. He wishes they weren’t at odds and she says he didn’t know who he was dealing with all those years before and won’t talk about Jane. She finally says that if he promises to let her leave her apartment and the Drake safely she will tell him about Jane. He agrees – and she says she’ll think on it and closes the door on him.
Jane consults her friendly, open minded police detective
Cooper tells him what she saw and he digs up that Libby died on the night Jane
went back to. Consulting the blue print of the Kramer’s apartment, Jane
pinpoints where the fireplace was. Detective Cooper picks up a hammer and
starts smashing. Jane questions why Cooper is helping her but he points out the
sheer number of disappearances, disturbances and strange noises coming from the
Drake makes it his job.
They dig out the book and, recognising some of the symbols
in it, Jane takes it to Maris and misses, in the cracked mirror, Libby’s face
appearing. The journal talks about them summoning something terrible, something
Peter thought he’d regret until the end of his days. With the help of Maris’s
clock, Jane returns to the past in Libby’s body – with Peter pushing her to
take Jocelynn out of the Drake as soon as possible. They run, complete with a packed
suitcase but the front doors won’t open. Jocelynn and Libby hide when a crowd
of men appear in the lobby with Peter. They demand to know where his daughter
is, that it’s what they agreed on, they can’t stop now. Jane comes out to
distract them and they say they can use her instead – blood is blood. They grab
her and drag her downstairs. They tie her to a chair and someone in the shadows
with a shiny ring tells them to shut her up – they put an ether soaked rag over
her face.
She wakes up and tells Maris, who concludes that Jane’s
family history with the Drake is why she is there and why she is special. Jane
asks Maris if Gavin knows about it – but then sees a starling knocking on the
window and avoids the question.
Maris lets her pet dove go out the window and takes a
book from her shelf. Slowly, carefully, she leaves her apartment and goes down
to the lobby where she runs into Gavin. She hands him the book with a page
marked with the answers he wanted – it’s the guest book for Jocelynn’s party
when Jane signed her name Jane Van Veen rather than Libby. She leaves the Drake
and, once outside, transforms into a cloud of doves that fly away.
Olivia and Shaw have some more back and further, he tries
to escape, he points a gun at him, she calls and gets to speak to Sasha – and demands
Victor take her to see him, or it’s back to the Drake. He takes her to her
apartment, she goes up alone and finds it empty, recently cleared out. Then she
hears a gunshot –Kandinski has shot Victory and he dies without telling them
more.
Henry, angered by Jane’s leaked medical records, calls
Laurell the PR woman and she digs up some dirt on Perez about some taxes he
evaded. But she warns him that blackmail is illegal, leaving him in a quandary.
He goes to confront Perez with the file and tells him using Jane’s medical file
was unacceptable and he expects Perez to make them disappear.
Perez goes to see Gavin to say how impressed he is by
Henry having the guts to fight back against him using Jane’s medical records.
He’s surprised Henry has an enemy powerful enough to get the files, but Gavin
thinks it’s one of his enemies. As he leaves, Gavin realises that the documents
on Jane and Henry’s press portfolio are in the same kind of folder.
Jane, getting out of the shower, sees the bathroom mirror
ripple. She touches it and sees an image of Libby there, asking for her help. Henry
interrupt sand she leaves the bathroom.
Gavin goes to a bar, stands next to a young woman and
greets her, “hello Sasha”. It’s Laurell, Henry’s PR expert.
Maris – the magical insightful advisor to Jane. Following
Nona the magical insightful advisor to Jane. Whyyy 2 Black people giving
mystical advice to a white protagonist, I do believe that’s a tope, I do. Even the
catatonic Lilly is focused on Jane.
I don’t know whether it’s because I know the show has
been cancelled but I’m still finding it hard to care about it. And it’s reached
a point where I should – with Sasha and Victor and the plots around the Dorans
and Jane getting some answers.
But it feels like it’s just been so long developing, we had so many empty episodes with no direction or plot, it didn’t hook me in early enough and it’s far too late to set its hooks now.
They seem to be using the stigma against Jane's mental illness as a weapon but at the same time they're not examining it. And, again, whenever we see stigma against mental illness used unfairly in fiction it's always used against people without mental illnesses who are wrongfully diagnosed.
