All language subtitles for Mayfair.Witches.S02E06.WEB.x264-TORRENTGALAXY

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inside the episode.

Julien, where did Albrecht
take Lasher?

- I can see inside people.
- What are you talking about?

I'm a witch.

You interrogating me?

No.
They'll do that in Amsterdam.

I know that you care about
what happens to the family.

Family is all I care about.

If Julien erased
Cortland's memories,

there's got to be
a reason why.

You have a family in Scotland,
and that's where Lasher's going.

Ian's my brother.

Ashlar, welcome home.

- Albrecht, a word.
- How long until the ceremony?

Will you come with us
to Kilbride?

[waves crashing]

[ominous music]

♪ ♪

- I don't understand.

Why would they bring him here?

They're Mayfairs.

Wouldn't the same thing
happen to their women?

You know,
like what happened to my mom?

- Yeah, my father never was
bothered by a body count.

I wish I knew what happened
between them and the Victrola.

I can help her.

I was raised by the man.

I--I know how he thinks.

But she's still
barely talking to me.

- Can't say I blame her.

- I'm just glad
her fella's coming to.

- Sounds like you
got it all set up

with the lab in Edinburgh.

- She'll feel a lot better
when we meet up with her.

- Did you see this?

Look.

Dolly Jean said all of the
window glass cracked at once

and birds are coming in.

Damn it.

- Good God.

What happens if
the house falls apart

and Jojo's still in there?

- That's not going to happen.

Whatever game Julien's playing,
we're going to win.

- Of course we will.

And we don't need Lasher.

We just need a little
vial of his blood.

- As soon as we get there,
I'm going to

start feeling for Lasher.

And you should do your thing
and see what you can gather

about Ian and his family.

- I'll start to remember
things and places

as soon as I come across them.

I mean,
that's gotta help somehow.

- [scoffs]

- [sighs]

You know, I know
you don't believe it,

but I am doing my best
to help you.

Now I can't change the past,

but I am trying
to support you now.

- Whatever.

Just--let's just try to
keep our voices down, OK?

These are locals,
and they're listening.

- Anyway, the food will kill us

before anyone else
has a chance to.

[waves crashing]

[ominous music]

♪ ♪

- What's he up to then?

I don't see him.

Let me see.
Let me see.

Where is he?

There's nowhere for him--

[crashing]

Jesus fucking Christ.

- Who's there?

Please, let me out.

- Ashlar, I'm Abel.
I'm Ian's son.

- Where's Albrecht?

Where's Albrecht?

- Albrecht's in Edinburgh.

I think he said
he'd be back tomorrow.

- I don't understand
why I'm here.

- This is your home.
I'm really sorry.

I thought my father had
explained everything to you.

I'm afraid he's not here
at the moment.

- His father?

- He's off dealing with some
interlopers or something.

You are Saint Ashlar,
he who comes again.

The last of the Taltos.

- Taltos?

- Let's just go.

You don't have
to tell him anything.

- Where's Rowan?

I need Rowan. Please.

- She's not who you need.

You need your mate,
and--and she's here,

and she's waiting for you.

She's been waiting
for 500 years.

- Who is she?

- I'll tell you about her.

Let me come in.

[tense music]

♪ ♪

[rattling]

[creaking]

- Why haven't I seen her?

- You're not to see her
before the wedding day.

The, uh, timing is important.

- You're lying.

There's no one else like me.
- I'm not lying.

I swear to you.

- Then take me to her.

Now.

- Uh, it's only possible
if I put you in restraints.

If you'll let me.

[ominous music]

♪ ♪

- You know, I'm really
glad you're here.

- Me too.

Anything?

- No, not yet.

[hissing]

[tires screeching]

- That's a flat.

- Shit.

- Oh, no.

[tense music]

♪ ♪

- This was Julien.

- You think so?

- Someone working for him.

This is how it starts.

This is where he wants us.

- Hey, it's OK to feel scared.

It makes sense evolutionarily.

- I'm not scared of him.

I'm scared of what it's
going to take to beat him.

- You guys, Kilbride's only
a couple miles away.

We can walk.

See?

It's that way.

- What--wait--but--but what--
what about the luggage?

- It's fine.
We can come back for it.

- Something tells me
it'll be safe out here

in the middle of nowhere.

- Look.

There it is.

- It's where Suzanne
first called Lasher down

from the spirit realm
to serve our family.

I always thought it was
such a beautiful story,

Lasher passing from witch to
witch through the generations.

But it was never for us.

It was for them,

for my brother.

- No.

That isn't how the story ends.

Come on.

Let's go meet them.

[eerie music]

[voices whispering
indistinctly]

♪ ♪

- [vocalizing]

♪ ♪

[bagpipe music playing]

♪ ♪

- I'll see y'all at the hotel.

I need to charge my phone.
- OK.

[quacking]

[cheering]

[mooing]

- What the hell is this?

- Mind yourself.
- OK.

Moira?

- Michaelmas.

Michaelmas.

- Something to do
with the harvest?

- Are you getting anything
from these people?

- Nothing useful.

- I'm gonna try
to find someone

who doesn't terrify me
to talk to.

- OK. Don't go far.

- I'll see what I can find out.

- Hey, that's the guy--
- What?

- That took Lasher.
That's Albrecht.

- Where?

Are you sure?

- I thought so.

[rhythmic clapping]

[jaunty music playing]

♪ ♪

- Taltos will end
your suffering.

[ominous music]

♪

[jaunty music playing]

♪ ♪

- Hey.
- Hey.

So apparently Michaelmas
is a Catholic feast

in honor
of the archangel Michael.

There's, uh, also a dragon
involved, but I'm not sure how.

- This doesn't seem
very Catholic.

- Yeah, well, I guess they
do it a little differently here

in Kilbride, mostly
because of the Mayfairs,

who put a lot of money
into the festival each year.

Let's go meet Cortland
at the hotel so we can talk.

- Wait.

Moira is on to something.

Let me just text her
to meet us here.

[ominous music]

♪ ♪

[cheering]

[indistinct chanting]

♪ ♪

- This way.

Don't be glum.

I'm sure you'll be convincing.

- Your suitcase, please.

- Thank you.

Busy day?

- Ever since
Daniel Molloy's book,

it's been all hands on deck.

And now this business?

Ah, here she comes.

- Hello.

[ominous music]

♪

- OK.

Wonderful.

Hello, Ciprien.

Welcome to Amsterdam.

I'm Anamika.

- I need you to know
that I had no idea

and still have no idea
what Albrecht Escher

was planning for Lasher.

- No, no, I know this.

Absolutely.

I'm sorry.

All of this does not set
a very nice tone for us

to work together.

Not very friendly.

Let's start over.

Would you like a coffee?

- I'm sorry, um, work together?

Aren't we headed to my hearing?

- Your hearing is over.

You've been cleared.

But we need your help.

- Get this off me.

- Of course.

Apologies for that as well.

Yes, so you help.

We do not know where
Albrecht's gone.

He covered his tracks.

We do have a clue
to his whereabouts.

We need you to use
your gift to decipher it.

Come with me.

- Absolutely not.

- I'm sorry?

Did I say something
to offend you?

- See, the thing is, all this
secrecy, all this hierarchy,

I was never given
enough information

to understand the whole story,
the whole picture.

When I was a child when
the Talamasca took me in,

I thought they saved me.

But in the past few months,
I've come to realize

that they didn't save me.

They acquired me.

I was just another tool
in their toolbox.

Your toolbox.

I was never the carpenter.

I was always the hammer.

I'm not going to do this
anymore

unless I understand
exactly what it is

that we're building together.

- I completely understand
your feelings.

Your trust was abused
by Mr. Escher,

and we condemn him for that,
among his many other offenses.

But I'm not him.

I'm not going to treat you
as he did.

- Then prove it.

Give me his job.

Make me the head of
the New Orleans division.

You do that and I'll help you.

Good luck.

If I'm going to waste time
in Amsterdam,

I'd at least like to ride
a bike and see a Van Gogh.

- It's not a decision
I can make on my own.

Give me a few hours.

[bagpipe music playing]

- No, nothing under Larkin.

- OK, yeah, but look, see,
we have a reservation.

- You used a booking app.

That's not us.

That's a third party.

You'll have to take it up
with them.

- OK, well, can you at least
call us a tow truck

so that we can go find
another hotel?

- That's Ben who drives the tow
dressed as a salad.

I'd say he's done for the day,
wouldn't you?

- Well, Cortland's
a lot of help.

He's fast asleep in the pub.

- Yeah, he's jet lagged.

Uh, so they're saying that
we don't have a reservation.

Literally no room at the inn.

- Is this place owned
by someone named Mayfair?

- I don't know.

I just started.

Ah.

I have a lift for you.

Hamish will drive you
to the other hotel.

Wait here, please.

- Who--who's Hamish?

What hotel?

- It's not a coincidence that
our mind reader goes missing.

We're not leaving here
without Moira.

- I don't understand
why this is necessary.

- Well, no one's lying to you.

See for yourself.

[bright music]

♪

[rope creaks]

- Who is that?

- Emaleth.

[dramatic music]

♪ ♪

[dark percussive music]

♪ ♪

- This isn't OK.

Something is very wrong.

- Try the hotel again.

- Wait.

[laughter]
Hey.

Hi.

I can't find my friend.

She's about 23.

She's an American
with brown hair.

And I'm just really worried.

- Sounds lovely.

I'd say your friend met a lad.

She's having a pint somewhere.

Come and see me if she doesn't
turn up in the morning.

- Yeah, she's not
having a pint somewhere,

and I've been texting her
and she's not texting back.

I really need your help.

- Sweetheart,
if ignoring a few texts

amounts to missing,

I'd say my daughter goes
missing almost every day.

[laughter]

- Oi, you the folks
needing a ride?

- No, thank you.

- I don't think
she's coming, Rowan.

- I can't keep waiting,
you lot.

Are you coming or you're not?

- ♪ On my lips

♪ Motorized apocalypse ♪

♪ See metal crunch
and hear it ♪

♪ Highway death
by motor spirit ♪

- How much further?

- Not far now.

- What's the name
of the hotel again?

- Now, see here, young man.

- I said it's not far.

- Is that--that's the hotel?

[ominous music]

♪

- Rowan, isn't it?

Welcome home.

It's an honor.

I'm your Uncle Ian.

- You're my uncle?

I was told we were
being taken to a hotel.

- Well, we see a lot of
coming and going here.

We're practically
the Crowne Plaza.

[laughs]

Brother.

It's been too long.

- Yes, it has.

It's--it's been
a lifetime, Ian.

[chuckles]

- Why didn't you tell him
who you were, hey?

What are you playing at?

This is my son, Hamish.

And this handsome guy,
is this your plus one, Rowan?

- Sam Larkin.

- Where's Lasher?

- Oh, mother bear.

I love it.

Of course,
you must be so worried.

You must be dying to see him.

I can assure you,
he's absolutely fine.

He's having a lovely time.

And I'll take you to him,
of course.

But we're just
setting the table

for Michaelmas dinner.

Mother's prepared
quite the spread.

Won't you join us?

- Do you have any luggage?

- No.

No, our car broke down,
so we don't have any luggage.

But you already know that.

Of course.

- We've had quite a string
of misfortunes.

- Yeah.

- The car.

And then we lost
cousin Moira in town.

- Lost her?

What do you mean,
she's missing?

Dearie me.

I'll call the lads.

If she's in Kilbride,
we'll find her.

Come in.
Come in.

You must be famished.

Or would you prefer
a ride back to town?

- Yeah, that would be great.

Thank you so--

- Actually just one second.

One second.

- Of course.

- Listen.

- We were supposed
to lay low until

we understood
what was going on.

This is the opposite of that.

- They could have had young
Hamish drive us into a lake.

Instead, he drove us to dinner.

- Yeah.
- I should talk to my brother.

- Let's see what we can learn.

That's what we're here for.

- No.

- We'd love to stay for dinner.

Thank you so much.

- Lovely.

Well, you'll want
to freshen up.

Rosie will show you
to your rooms.

- This way, please.

- You'll have a wee drink,
you, right?

- You know what?

I'm actually going
to look around.

They know about Moira.

- After you.

- All right.

- Pick your poison.

Ah.

I'll join you in that.

- So you knew we were coming.

- Friend spotted you in town.

You hadn't made much
of an attempt to blend in.

- Well, I thought we had.

Well, thanks.

So, uh, when do I expect
to see our dear Albrecht?

- Oh, he's gone.

He scurried off
back to Amsterdam.

Job done.

To you and me, standing under
the same roof once more.

Do you remember
when we were boys?

One night we swiped one
of father's bottles,

went down the rocks with,
what was her name?

Nelly.

And her sister.

- Ah, yes.

Now, that was quite a night.

- You know, I think now,
with the benefit of hindsight,

I think he kept us
apart on purpose.

- Well, how do you figure?

- Well, for years, I hated you.

I just hated you.

I was jealous.

He came here every now
and then to look in on us.

But you, he raised you,
didn't he?

I always thought you and him
together over there

enjoying the finer things.

Me here with a wheelbarrow
full of shite

doing his dirty work
day in, day out.

- What kind of work
did he have you doing?

- Why?

What did he tell you?

- Well, he told me
that you were over here

doing very important work
for the future of the family.

- Did he?

[chuckles] Right.

So you see what he did?

Told you I was doing
something important over here.

Told me you were doing
something important over there.

Mr. Money Man,
Chairman of the Board.

He made us hate each other.

What I want to know is why.

Did it serve his interest
in some way keep us apart?

- Or was it just a game?

One of his games.

- Exactly.

[ominous music]

♪ ♪

- Hello.

I saw you dancing earlier.

You were very good.

My name is Rowan.

What's your name?

- Bonnie.

I danced the part of
the bride of Saint Ashlar.

- I don't think
I know that Saint.

- You don't know Saint Ashlar?

- No.

- The patron Saint of Kilbride?

Saint Ashlar makes
the plants grow.

He puts the fish in the sea.

He keeps us safe from Satan.

And now he's come again.

Tomorrow I'll get to meet him.

- Ah.

There she is.

You've met Bonnie, I see.

Dinner's about 10 minutes out,
so I'm told.

What are you drinking, Rowan?

Have a seat, lads.

- I'll have whatever
you're having, please.

Bonnie tells me
that she's going to meet

Saint Ashlar tomorrow.

What's the occasion?

- Well, the wedding, of course.

The wedding of Saint Ashlar
and his bride, Emaleth.

Well, that's why
you've all come.

- You know that we're
not here for a wedding.

- Yeah, you say that now,
but you haven't met Emaleth.

Emaleth is lovely.

You'll adore her.

And together,
what a force they'll be.

[chuckles]
What do you know of the Taltos?

- I know a little bit...

from your father.

Oh.

He hadn't told you
that we'd spoken.

- You see, the Taltos,
uh, were once

thought deities in Scotland.

They possess a vital
sort of energy.

You may have felt it in
your Lasher, as you call him.

The miraculous
life-giving beings.

- Marguerite taught Julien
all about them.

- Brilliant woman.

Humans had driven the Taltos
to extinction, save for one.

Our Emaleth.

This union will
bring them back.

It's funny how father didn't
see fit to tell you that part.

[phone buzzing]

Why is that now, do you think?

Hello.

All of them?

Good.

Well, have them check
the pubs as well, will you?

Lads are out looking
for your cousin now.

- [sighs] Wonderful.

- OK, so you--you were
saying about why--

why Julien didn't
want me to know

about my own son's wedding?

- I suspect he was worried
you wouldn't be able to see

the bigger picture.

We should have invited you.

I apologize.

- Can we just cut the bullshit?

I don't want to stop a wedding.

All I need is a vial
of Lasher's blood.

- Why would you need that?

- So I can save my sister.

So can you just bring me to him

and then we can stop
doing this--

this dance or whatever this is?

- Oh, I wish that were true,

but I don't believe you, darling.

It's a story you're
telling yourself,

that you're here
to save your sister.

You're really here
because you're greedy.

You got wind that something
good is coming to this family,

and you want to take
it for yourself.

- Take me to him now.

- No.

- I'm not going to ask again.

- No.

♪ ♪

- Having trouble breathing?

Feel that in your throat?

- [gasping]

- You see, Rowan,
our family is bonded.

Stitched together into a web.

You harm a hair on
any one of us in this year,

Miss Bonnie will feel it.

We all carry the same burden
when it's our turn.

So you threaten me,
you threaten my child.

Would you really harm a child?

- I'll do whatever I need
to do to protect my family.

- Mm.

I need this wedding
to take place.

So I hope you will
find it in your heart

to cool your fucking jets

and join us
in this joyous time.

Good.

Jesus Christ.

Come on, everybody.

It's Michaelmas.

Come here.

Let's go outside
and have some goosey.

[laughs]

[bagpipe music playing]

♪ ♪

- You were bluffing, right?

You wouldn't hurt a kid?

- No. God, no.

Are you kidding me?

- Why didn't he ask us
to leave after what

you tried to do to him?

- He must want me here.

- Also, your great grandmother
found this bride?

That--that makes her
how old, exactly?

- I'm not sure I believe
anything that Ian says.

Hey, who do you think
is the Moira here?

Like, who do you think
is the kid that doesn't

drink the family Kool-Aid?

- I don't know about Kool-Aid,

but I think we already met
the whipping boy.

You might want
to try there first.

- Yes, I'm gonna
go talk to him.

See what you can find out.

- Yeah.

Yeah.

Spy stuff.

- Hey there.

How you doing?

I hope you didn't miss out
on the party in town

to give us a ride.

They send you on errands a lot?

I just--I just think you should

be enjoying the festival.

- Don't give a shite.

In the last year, anyway.

- Yeah?

You going away to school?

- Don't I wish.

No, there's no getting away
from this place on me.

Probably wouldn't
get in anyway.

- Come on.

You don't know that.

You know, maybe I can help you.

I mean, I know
what it feels like to be

an outcast in your own family
and--and to feel different

and to want
something different.

- It's your turn, Hamish.

[thuds]

- Can I try?

- Why not?

- OK.

Thanks.

[thuds]

- It's not me
that's the problem.

It's just my da.

He's a fucking lunatic.

I'm sure you picked up
on that already.

- Yeah, I got that.

Look, Hamish, I, uh,

I'm really worried
about my cousin,

and I know your dad
knows where she is.

We have more money on
our side of the family

than we know what to do with.

And if you help me,
I'll do whatever I can for you.

So, like,
if you want to move out

or you want to go to school
or move to the States,

I'll help you.

I just need you to help me.

- Try the tunnels
in the basement.

I can't tell you
any more than that.

It's a risk already.

- OK, great.

Thanks, Hamish.

What were you and Ian
talking about?

- Oh, Father, mostly.

Did you see?

Ian's got a Victrola
in his study?

- Hmm.

Yeah, I figured
it was somewhere.

Did you learn anything more
about the wedding?

- No, but he's taking me out
to our car to change the tire.

I'll have plenty of time
to get him talking,

which shouldn't be
too much of a challenge

because it seems like that's
his favorite thing to do.

- Good.

Thank you.

[piano playing]

♪ ♪

- Dams.

Dams. Dams.

- Oh, dams.

Oh, I thought
you were saying trams.

Yeah, in America,
we call it, uh, checkers.

- Yes, I know.

- So, uh, um, where are you
keeping the bride?

Uh, excuse me.

Sorry, excuse me.

[rock music]

♪ ♪

[ominous music]

♪ ♪

- Boo.

- Is that skin?

- Chill out, man.

It's from the festival.

- That's--that's human skin.

- Little squeamish, are you?

- Danny, you're such a slob.

Put it away.

If Dad knew it was left out,
he'd be so pissed.

[laughter]

- Hey, there you are.

- We can't be here.

We have to leave now.

- What?

- They have masks made of skin.

They're cutting
people's faces off

and wearing them in parades.

We'll find Lasher on our own.

Sleep in an alley or something.

I don't care.

- I know how to find Moira
and maybe Lasher.

We have to stay.

- Do you honestly think
that if we stay

for the wedding like Ian wants,
he's just going to let

you take Lasher's blood?

No. No way.

He's keeping you here
for some reason.

This isn't a puzzle.

This is a trap.

- Look, look,
I can handle these people.

If you need to go,
you should go,

but I really don't want you
to leave me.

Please.

We can look for Moira tomorrow.

Let's please just
sleep tonight.

- OK.

OK.

- I felt like
my blood was on fire.

- That's fine.

That's natural.

You're a Taltos,
so your impulse to create life

is much stronger than ours.

I suppose you can see now
why we couldn't let you

meet in the regular way.

- I can't control myself.

- Nor should you.

Tomorrow is a right day.

Tomorrow you're
going to be wed,

and the children
you and she bear,

it's going to mean centuries
of good fortune for us all.

- That's why your father
wants me here?

- No, no, no.

No, your--your happiness
is our main object.

Yours and Emaleth's.

[crackling]

- Oh, that's the fuse again.

Fuck me.

- Let me go!

Please, please, please.

I can't marry her.

I hurt people.

You don't understand.

I can't hurt her.

I'm a beast.

Please.

- Just let me help you, OK?

There's a place
I want you to see.

It'll help you understand.

[eerie music]

♪

[ominous music]

♪ ♪

[creaking]

- No, no, no.

Shit.

[lock clicks]

♪ ♪

Come on.

Lasher: Are you using me?

Manipulating, conniving,
that's what you do.

Our father,
he's coming back to this world.

- He's diabolical.
- Return to us.

You're a source
of very dark magic.

[Screams]

Rowan: Where is he?

Or shall I huff and puff
and blow all the doors down?

♪

Lasher
makes the plants grow.

He puts the fish
in the sea.

He keeps us safe
from Satan.

And now he's come again.

Tomorrow
I'll get to meet him.

♪

Spalding: Episode 6 is the first
of three chapters

in which our Mayfair family
goes to Scotland

to confront
the other Mayfair family,

the other family
that Julien had,

the family that he's
bequeathed Lasher to.

He's set up this sort of
elaborate plot

to deliver Lasher,
via Albrecht, to them

because he knows the wealth
of magic and power

that Lasher will bring them.

You're lying.
There's no one else like me.

I'm not lying.
I swear to you.

Then take me to her.

Now!

There it is.

Spalding: It's, you know,
the first encounter

with this new place,
with this new Mayfair culture.

Let's go meet them.

Our DP feels
the light differently,

feels the landscape differently.

and we want the feeling
that our travelers

have come into this real,
authentic little town

that is filled with

extraordinarily strange
festival-goers.

What the hell
is this?

Michaelmas.

Something to do
with the harvest?

It's really cool to bring
the show to another place.

I love working in Ireland,

and although we're
doubling Scotland,

I get to experience
a whole different country

while I'm working,
which I love to do,

and move the characters
from where they're comfortable

and where they are
sort of in charge

and bring them to where
other people are in charge.

That completely changes
the dynamic

and the magic in the show.

This doesn't seem
very Catholic.

Yeah, well, I guess they do it
a little differently

here in Kilbride,
mostly because of the Mayfairs.

Spalding: We were inspired
in the writers' room

by watching these
folk horror films--

the early "Wicker Man"
from the '70s.

"Midsommar" is another one.

We wanted the look of the show
to be different,

the music to feel different

so that we are with Rowan
and the others

as they enter
and begin to understand

just what they're
going to have to do

to get out of here in one piece
and with Lasher.

This isn't okay.
Something is very wrong.

♪

I'm sure
you'll be convincing.

The frustration
of being the one person

that's always in the forefront,

but you have the least amount
of knowledge.

Hello, Ciprien.
Welcome to Amsterdam.

I'm Anamika.

And now you're
being interrogated

for something
you have no idea about.

I think that's terrifying
for anybody.

Aren't we headed
to my hearing?

You're hearing is over.
You've been cleared.

But we need your help.

If Cip becomes everything
that Albrecht wasn't,

what does that look like

for the Talamasca branch
in New Orleans?

Give me his job.

Make me the head
of the New Orleans division.

You do that,
and I'll help you.

This is the changing
of the guard.

Good luck.

Spalding: One of the real
challenges in this season--

in fact, this is in
Anne Rice's books--

the back half of the season
is almost the mirror

of the first three episodes
where he's terrifying.

The last three episodes, we
really come to understand that,

in fact, he is a bringer
of healing magic,

of beautiful magic,

and that it is the Mayfairs
who are going to use him.

Huston: When Lasher and Emaleth
see each other,

it's like a wolf
with its prey in both of them.

It's much more this surge
of energy

that they sort of bring out
of each other like a magnet.

I was like, I think one has to
internalize that a bit more

rather than going,
you know, wild

and whooping and hollering
and all the rest of it.

So luckily, Logan felt like she
was very much on the same page.

So that was good.

So we've preserved Anne Rice's
kind of magical Taltos,

but we've done what she did,
which is let Lasher

be a terrifying force
in the first part of our story.

♪

♪

Rowan, isn't it?

Daddario: I think Rowan is,
at this point in the story,

leading with this idea that,
"I can do anything."

Where's Lasher?

[Laughs]
Mother bear.

I love it.

Daddario:
She's got a bit of hubris.

Maybe fake it till you make it.

But she's a very powerful witch
and she has a job to do.

I don't want to stop
the wedding.

All I need is a vial
of Lasher's blood.

So while there's a lot
going around her

that's terrifying and crazy...

I need this wedding
to take place.

I hope you will find it
in your heart

to cool your [no audio] jets
and join us!

...she's very focused...

This is a trap.

Look, look,
I can handle these people.

...on protecting her family.

If you need to go,
you should go.

But I really don't want you
to leave me.

Rowan doesn't leave because
she's inexorably tied to Lasher.

And he is so important to her
and her identity.

And she knows that
her strength is tied to him.

And I think
at the end of the day,

whether she wants to admit it
to herself or not,

she can't leave that kind
of power and love behind.

No, no, no, no, no.

♪

[dramatic music]

♪