Make It A Double Haven S2E08 Friend or Faux

Previouslies! Duke and Evi. Duke and his dad and the deathbed promise he made! Evi and working for the Rev. For as little as she's in this ep, there's actually nothing else in the previouslies except catching us up on that. And then instead of opening on the Gull like we might expect, we open on a panover of residential Haven, cutting down to Random House after a bit. No, we're not suddenly getting to see where Nathan lives. Or the Teagues. Instead, we have Some Guy We've Never Met. He must be either Troubled or about to die of a Trouble, then! Or both. Both is… good? That is a lot of house for one man, too, I must say.

It's even a lot of house for two men, which it turns out to be after we get a focus on our unsub that marks him as careful, precise, neat, even fussy. Sleeps in a full set of pajamas, needs everything on his dresser to be just-so, wears pocket squares. Wealthy and fussy. Now we have two! Two unsubs. I wonder who the hell they used for a double in these scenes, since this was before Orphan Black's transparency in filming made it more common for people to credit their doubles, stunt or otherwise. (Also before we were paying such close attention to the technicalities of filming, so it's possible we just missed it.) (Oh hey, the IMDb page says Jim Swansburg against Cristian de la Fuente. Well done both of them! For an ep that's relatively filler, they make it stand out.) The double, by contrast, is in boxers and nothing else, is cheerful and peppy and casual. Our first unsub looks resigned and horrified to see him and goes about getting ready for his day like he's a prisoner in his own home. When he comes out, Unsub #2 has made breakfast in the form of an enormous pile of pancakes and an even more enormous mess. I freely admit I'd be pissed if someone made that much of a mess of my kitchen, too.

They're dressed identically, too, except #2 is more rakish than #1; most would probably say slovenly. Top shirt button undone, tie loosened, cuffs unbuttoned and pushed partway up, pocket square rumpled into a puff of fabric, hair tousled. It's actually a look that takes significant effort and flair to carry as if you're doing it on purpose rather than rolling out of bed and not giving any shits, and he's more on the latter side than the former, but he sort of wobbles back and forth. Right now the differences are, I think, as pronounced as they get this ep. #1, of course, is completely proper, hair combed down, so on and so forth. For all that #2 appears to be an uninvited and unwanted guest in #1's home, he did at least offer to share the pancakes before claiming that he hadn't made enough (that is a 6" stack, dude, be a worse liar why don't you) and it's not entirely clear if this is a common keepaway occurrence or if he's at least trying to be polite, just in a way that's anathema to his counterpart. None of which matters, because #1 stalks off while #2 makes a giant fucking mess of the plate while he drowns his pancakes in syrup and starts eating, and comes back with a briefcase and a gun. Bang-bang, my double shot me down. Three shots, by the way, is somewhat overkill. Two is standard execution-style, three starts getting personal, particularly for someone as apparently in control of himself as Unsub #1 is. Or wants to think he is. And out to the car and what's this, after changing the station to classical from classic rock? (A false dichotomy if I ever saw one, she says, eyeing her playlists.) A sort of sickening crack of muscle and bone as another double forms, complete with a gun that looks to be a perfect match for #1's, held to his head. And this is far from the first time this has happened, which we could already have told by #1's near-immediate decision to just walk off, grab a gun, and shoot his double, but #2 confirms it by complaining that he really hates it when he does that. Much to nobody's surprise. #1 then gets ordered out of the car so that #2 can go off and kill somebody! With marked emphasis on I. You are both so fucked up.

Now we'll visit the Gull! Where Duke appears to be doing inventory and some teenager's doing buswork without paying attention to the fact that the tray he's stacking wineglasses on is off-balance. Right on cue, things shatter, Duke proceeds to be the reassuring and decent boss he is and more concerned with making sure the poor kid's not bleeding from glass cuts than he is about the glasses themselves. It's true, it's a bar, that kind of loss is built into (or should be) his calculations for profit margin anyway. The kid tries to insist that he'll pay Duke back, and then I don't know if this is how they intended to play this? But Duke comes back with "I don't want your money" and for a second there it really looks like the kid expects to be told to get on his knees. Which says way more about his past than about Duke, as we know, and makes me wince a lot. At minimum he expects to get hit, and Duke drops the casual grinning loon act in favor of worried older-brother-figure asking if he's okay. No. No he is not. He thinks he's in really big trouble. In more ways than he knows! Ba-dum-tss. Ahem. It should be the call-the-cops trouble, by that preface, but we know Duke has no intention of calling them in, which just means they'll have to get involved some other way. Henry's been staying out at the Everwood, an abandoned old factory, I think it is. Factory-warehouse-industrial building.

More information about who and what he saw will have to wait, because Unsub #2 has entered the building and Henry's dropped flat onto the floor. Oh kid. Duke, for his part, does a reasonably decent job of lying through his teeth while serving the guy a top-shelf single malt. For bonus points, we will have a silver dollar rolling around on the bar! I am trying not to wonder if there were 30 doubles. Duke if you're going to lie, control your dislike of this guy a little better, even though I think at least half of the immediate "ew" face is Duke and his class issues. They will now proceed to both lie their asses off to each other, Duke more so because he has more to lie about, although Unsub #2 is totally lying with his body language. Trying to. Not well enough to keep Duke from ducking under the bar for his chosen pistol (which, now that I think about it, I believe that stays consistent at least through s3 and possibly even after he loses six months and gets dumped into the aquarium?) and warning Henry that it's time to run soon. Unsub calls him on lying, Duke throws him out of the bar with all due threats, and now it's time for a shootout! There's several of those in this ep. In this instance, I will just note that watching Duke take a flying leap behind the bar is hilarious, and as ever, being left-handed even when you've previously indicated it gives you some degree of advantage in most forms of combat. Eventually Duke wings our unsub, after Henry's been able to flee, and now the unsub will also flee, and the credits roll with Duke staring out his busted windows in great annoyance. I would be too! I'm pretty sure at least one of the bullets should've gone through the wall and hit him, but apparently not.

We reopen onto the Gull in full daylight with substantially more cars out front - not, notably, marked or even unmarked squad cars. Despite the number of cops in the bar taking evidence. Evi's there too, cleaning off a scrape on his wrist which looks kind of ugly but at least it's his off-hand. I mean, small favors here. Evi and Audrey exchange "sigh, men" commentary, and Duke proceeds to lie his ass off to her. Here we get an immediate comparison, too, of Duke lying to someone he doesn't like and has no mileage in telling the truth to, versus Duke lying to someone he does like, might help, but he's keeping his promise to Henry not to involve the cops. After all, he doesn't have any idea at the moment that there's a Trouble involved, and even if there were he might go eh, I can handle it, Audrey doesn't have to. He did pull the plate number, and gives her the identifying info of the bullet wound and the coin. This Will Be Important Later. I wonder if the dreidel comment was improv or writers, because I can't imagine Maine has that large a Jewish community. Audrey calls him on withholding information from the investigation, Duke gives her shit, and Nathan comes up just in time for Audrey to complain to him about Duke being a shit. Must be Tuesday. Nathan brings the name of our unsub, or at least the name attached to the plates, is Cornell Stamoran, vice-president of a bank, which fits all the assorted details of set and costume we've seen. So! Away they'll go to his house, with a last admonition to Duke to show up at the station, and from a very particular point of view he's not lying as much: he doesn't know what Henry saw or why Stamoran wants the kid dead, but he does have a better location than the guy's house. Dammit, Duke.

Nathan proceeds to apologize for being late and talk in a stage whisper about how annoying the paperwork is. Not just because of being the chief now, but because they keep two sets of files, one complete with the Troubles and one edited down for public consumption. Nathan. Both sets are in your office, aren't they, Nathan, this is a bad idea. Bad security. Bad secrecy. No cookie. And stop fucking talking in front of people, especially when one of them is Evi who you KNOW has talents to match and probably complement Duke's. One of those talents is not, however, talking Duke down. Duke is gonna go shoot someone. Please at least wait for him to shoot at you first? Then you can claim self-defense? Even though you're taking your pistol, which you just reloaded ominously, and the shotgun.

Over in Nathan's blue truck of random conversations, we have him sounding not at all jealous, really, Nathan, try a little harder. Chris Brody sent over vegemite from England, which Nathan points out she doesn't have to try just because he sent it. Audrey explains no, she's trying it because her memories aren't her own and therefore she has to make sure that she doesn't like vegemite, as opposed to her memory-partner of Audrey II. This is fair, if convoluted logic! That is a hideous Sean Connery accent, Nathan, stoppit. Up to Stamoran's house with guns out, like you do when your last known information related to this house involves a shooting that's essentially a drive-by. Walk-by? Stalk-by. We'll go with stalk-by, it's accurate. Stamoran the original (because fuckit, let's stop pretending here) looks duly confused and concerned. And, of course, has neither weapons nor injuries when they stop and frisk him, nor is his car in the driveway. Audrey starts pushing about that very thing when the car in question shows up, starts to pull in, sees cops, and peels the fuck out of there, all without revealing the driver. Time for a car chase! While Stamoran stares from his porch with a look of "oh fuck what can I do to best get out of this."

The chase scene takes us along a foggy coastal road and to the outskirts of town, where the Everwood is located. I'm honestly not sure WHY we spend a good thirty seconds on this chase scene when it's boring as fuck and the only thing we need to know is the aforementioned outskirts of town. We could've expanded on the Rev's machinations, or Evi and Duke's relationship, or anything else? But no. Anyway. We get a good glimpse of a makeshift bandage-tourniquet-thing around our unsub's right arm as he flees inside and leaves the car door open, just for confirmation that this is our guy. Duke proceeds to start the gunfight again while getting shouted at, yeah, Nathan so saw that coming. And Audrey's the one who manages center-mass, in a nice bit of foreshadowing! So: Cornell Stamoran's dead, right? And Duke's much better. Cue further confusion about twin? clone? what the hell? while Duke checks for a Guard tattoo. Which isn't there, of course, because the Guard is so incredibly blue-collar coded that Stamoran would never associate with them. Plus I doubt he knows about them. They don't get any further into explanations for why the fuck Duke's there other than "so you were lying to us and this is related" before another double forms with that truly creepyass noise and, due to where he was positioned, ends up having to run past them and duck inside. I admit I'm rather curious what the rules about this are, and how they're controlled (or not) by original!Stamoran's presence. First one forms within probably 50 feet of the body and within three feet of the original. Second one is I think closer to within 20 feet of the body. Third one we don't know, but it's got to be somewhere in the Everwood and both body and original are in it at the time. So that's a somewhat weird set of rules. Maybe just, not in line of sight from his body and all else is random? Anyway, Duke peels off after the latest double shouting about how Henry's in there, and Audrey and Nathan follow with all due grumbling.

After the commercial break, we're informed that the Everwood was actually intended to be a resort before the developers ran out of money. This is one of those very obvious breadcrumbs that never got picked back up, alas, at least as far as I remember. Maybe this coming season! She says, optimistically. But yes, it's a maze, and it's huge, making it a great place to camp out in or hide bodies in or, indeed, just about anything you could want to do. They all confirm that yes, they saw another guy form and Nathan offers the rather unlikely possibility that it's the other Stamoran that they talked to at the house. Um. Nathan? There wasn't another car pulling up, and this would be a strange time for any TV or movie writer to remember that gunshots affect your hearing if you're not wearing earmuffs. So it's a Trouble then. Duke admits, in typical reluctant and flippant fashion, that yeah, this is what he was lying about back at the Gull, and goes on to explain the overall situation with all due defensiveness. Maybe they should in fact get backup? No, sez Nathan, it's not just that he doesn't want a bunch of witnesses to the Troubles (particularly less-trained witnesses), it's that he doesn't want to give the Rev more ammunition. Sigh, Nathan. I mean I see his point, but this is going to go so poorly. On the upside, all three of them are already used to working together with firearms at the ready, so they proceed up the stairs watching each others' backs until they reach the top and Henry's current crash space. Which is a bit of a mess, kind of like maybe he's been rifling through it, or Stamoran has. Or left in a hurry. Or just a teenage boy living there! Who knows for certain. What we do know is his body's not there, so that's a plus, and Duke looks it over with commentary about how it's not that bad, he's been in worse, and Henry's older than Duke was when he ended up on his own. That barely merits the jar of surprised face. Duke, honey, your rough smuggler front isn't fooling anyone about your softheartedness. And in the spirit of finding the kid before the bad guy, he will now be the one to spot the hiding place and rather than approach it to pry Henry out, he just stands back and tells him it's okay. These are his friends. They're safe. Awwww Duke. I love the little touches of Henry checking the hall to be sure it's clear before he comes across, and Duke's hand on his shoulder for a second's reassurance and then letting go, and neither Nathan nor Audrey approaching closer than they already are so as not to crowd him. Henry explains that he saw the guy from the bar arguing with someone and then he killed the other guy, and since he doesn't say that it was a twin, we can take a guess that it was someone else. Nobody's given time to consider that and reach the obvious conclusions, though, because the newest double will now show up and start shooting! Where the fuck did he get a second gun full of bullets from. I mean, later we find out that he's got an armory, and I accept that he formed with a loaded gun and took the second off his corpse, but in the moment all I can think is that this is somewhat egregious even by normal TV standards of bullets never running out. So I'm REALLY glad they actually dropped the line reference during the standoff.

NEVER SPLIT THE PARTY. Except when the party is being forcibly split by bullets. Then I suppose it's advisable, as you wish not to be shot. Nathan and Audrey go right, as instructed by Henry, and Duke and Henry end up going left, but hey, at least he's got a guide! He is also 100% correct in that his cop friends can take care of themselves. Splitting the party results in the double showing up and lying his ass off, though I will grant that he's done a good job of cleaning himself up and appearing to be the original Stamoran. Guys. Fucking check for fucking gunpowder residue. But still, he's not shooting at them and he's claiming to be the original and promising to explain. With diagrams! Or, y'know, piles of bodies. Whatever works. This pile of bodies numbers three to match the number of doubles we get this episode, so you should definitely drink. And make it a double. Kudos to props for not only changing up the tie colors so it's clear this was different days, but also for giving the bodies that bloated look that semi-fresh bodies SHOULD have. Nicely done on the horror there. I still severely question the writers making Audrey and Nathan dumb enough to think that this is the real Stamoran, but they have been getting shot at rather a lot today, even by Haven standards, and that's enough to throw even trained LEOs off for awhile.

We get a nice pan of the exterior of the Everlook when we come back, which finally makes it clear that this was definitely a resort. And definitely not a nod to the Overlook. At all. Really. At least Stamoran's not as creepy as the twin girls. He proceeds to explain that all his copies are focused on killing this kid named Henry who he certainly doesn't know, and that he tried tying one up but he escaped, so all he could do was kill the copies. Obviously. There are so many fucking holes in this story that I could drive a truck through them. Oh, and he killed the first copy at the Everlook. Be dubious, Audrey! I would be! Especially after all the lying that's been going around. (Hmmmm it's almost like keeping secrets makes things WORSE. Drink for thematic elements!) Despite the dubiousness, they do have to assume that there could be another double wandering around, they don't know for certain how the Trouble works and he could be either lying or confused. Or telling the absolute truth! Without confirming that Duke and Henry are still alive, though, there's reason for concern. Personally I would've just handcuffed Stamoran, original or otherwise, to the nearest sturdy location and continued NOT splitting the party, but okay, whatever. We do have to get Audrey alone with the double somehow, even if this is a somewhat clumsy way, it's no dumber than people are regularly on TV.

Meanwhile Duke and Henry are slowly clearing a hallway. Well, Duke is and Henry's being pretty smart for a civilian and sticking close behind him. Complete with edged banter of the very fucking nervous could we PLEASE stop being shot at kind. I cannot blame either of them. Duke provides the opening for some poorly timed, under stress revelations. Questions. Both! He'd like to know if anyone else is looking for Henry, which gets him quipped at about "not with a shotgun," and Henry does that wary asking thing kids do about why Duke never bugged him about running away. I mean, he frames it as why did Duke never ask him why he left, but I'm pretty sure what he means is that Duke took every aspect of that and didn't ask questions and has acted as though this is perfectly normal. Except for having someone out to kill you. Yeah, Henry, I'd be giving you the "fucking really you're bringing all of this up now" look too. The more so as he goes on to explain that his mom left and he and his dad drifted apart, and Duke tries very hard to brush this off and pretend not to give a damn except that fathers are hard. This is giving me momentary "wow Duke would've been a good father under any other circumstances" thoughts, since in the next moment he gives the very very sanitized version of how losing his father was the best thing that ever happened to him. Which apparently gives Henry second thoughts about something or another as they approach one of the doors to this creepyass place, and rather than getting out he will now proceed to run back INTO the building. Excuse Duke while he throws up his hands and runs after him because WHAT THE FUCK, KID.

Nathan's coming up the stairs and into cell service and rather than calling Duke who should he run into but the REAL original Stamoran. Yaaaay. Except no. Once he points out that he doesn't know Nathan's partner's name, and that his house is ten miles away. Now, I don't know how long they were running around the abandoned complex before they ran into the double pretending to be the original, but even assuming he has two cars in a show of conspicuous consumption, he still has to decide he's going after them, get car keys, get in car, and that didn't look like a 60 mph chase scene to me. If he doesn't have two cars, he has to figure out another way to get there, up to and including begging a ride or taking a taxi. I would say walking but he has clearly NOT done that for ten miles in those shoes and that suit. At any rate: he's here now! And couldn't have gotten here sooner. Therefore the man you left Audrey with, Nathan, is the one who's supposedly "every bad part" of Stamoran. Ooh ooh who buys that dichotomy as being complete and accurate, to say nothing of completely accurate? Yeah, nobody raise their hand all at once now.

Back in the basement, we get a brief ominous shot of the double watching Audrey fidget with her gun a nice safe 10-15 feet away before going to commercial. And it's back to the basement of unsuspecting shared background where she's declaring they'll go after Nathan soon, cuing other!Stamoran to take the coin out of his pocket and start fidgeting some, himself. Whoooops. You know, Audrey, for as good as you are at keeping secrets in some respects, you're a fucking awful liar. I'm pretty sure this scene is supposed to be shot as everyone being knowledgeable by the time she declares she's going to go check on Nathan, except I have serious objections to, what, Audrey deciding to prove that her suspicions are right by GETTING CAPTURED. No, Audrey. Audrey, no. Bad. Range of efficacy dammit. For no apparent reason, we cut back to Nathan and original!Stamoran for a bit, getting lost in the basement: sure, I can buy that they feel we need to know they're lost and all the Stamorans are uncooperative fucks, but that seems awfully perfunctory. At best. Anyway. Now with other!Stamoran holding the gun on Audrey while he professes to have all the balls out of the two of them. Audrey will now use all her complicated feelings about not having personhood of her own! It's Super Effective! She's very good at it, too, complete with throwing his own words back in his face from when he was pretending to be the original. Which finally leads to an anecdote about a sixth-grade best friend (who may or may not have existed) and other!Stamoran opening up about where the silver dollar came from: he stole it from HIS best friend. Audrey would like to point out that no, actually, Cornell stole it. The best part about this for us at least is that she's absolutely using the truth against him. The second best part is that she happens to have FBI training in her reflexes. Both parts mean she's just jumped in his estimation a whole helluva lot, along with his respect, but this won't stop him from killing her. He'll just feel bad about it. Awww. I think. With other!Stamoran handcuffed to a pipe (not as carefully as he should've been, as we'll shortly see), it's time for her to go look for Nathan with gun in hand! An excellent plan.

For reasons passing understanding, we cut over to the station house now and spend some time going "who the fuck are you." Who the fuck this guy is turns out to be someone well-known and respected by the officer on desk duty at the time, and I'm not even going to bother rewinding for his name because he's purely a MacGuffin to serve as one of the Rev's tools. He "stops in to leave Nathan a note," by which we mean take quite a bit of time to rifle through his desk and cabinets in search of the un-doctored files about the Troubles. Nathan. You don't even keep the fucking thing locked? DAMMIT WUORNOS HAVE BETTER SECURITY. I cannot even with you sometimes. I wonder, thinking about it, if this actor was supposed to actually be recurring and then got hired off somewhere else, because everything about this looks like an introduction to another bad guy that ended up fizzling badly.

We will now return to Duke swearing in his head and grumping out loud over Henry pelting back for… a medal! An Iraq war medal from his father that was supposed to watch over him on the road; given Henry's age this could be either the Gulf War or the Iraq War. Hell, given the age of the man we later see, his father could be (probably is) career military and served in both, or in one of the myriad Balkan conflicts in the mid-90s. The medal, though, looks like your standard Purple Heart, albeit on my monitor/in the lighting it looks blue, which was kind of unnerving for a second until I remembered my monitor is terrible for colors. Apparently Henry's father gave this to him because it would watch over him on the road, and couldn't stop him so much didn't. Oh everyone. Duke might have more words to say about this except Audrey comes pelting up. Audrey you KNOW everyone's on edge for good reason maybe you should announce yourself? Since to the best of your knowledge the bad guy is handcuffed downstairs? No? No. Fortunately she doesn't get shot, and after some brief discussion with Duke calls Nathan to inform him that she's safe, the copy is handcuffed to a pipe, and they agree on a meeting point of the atrium. Yay! Everyone is thrilled! Especially original!Stamoran, who wants to get the fuck out of here pls and thx. A wise decision, as it turns out, because you know what other!Stamoran can do downstairs? Why yes. He's going to escape. In the least pleasant way possible. Sting might be an understatement, but I suppose if I knew what dying felt like and really wanted out, I'd do something like that too. Seriously that re-forming noise is creepy as FUCK.

Other things that are, if not directly creepy, definitely disturbing: the smell of a dead body! I'm actually pretty impressed by the physical acting, not just between the difference when de la Fuente is playing each version of himself, but as original!Stamoran approaches the very first crime scene (well, with physical evidence), and turns into the world's WORST LIAR. My god. Complete with trying to hustle Nathan along despite claiming not to know the place before, and that "no" in response to "do you smell that" sounds way more like a question than a statement. Stamoran, honey, your cleanup really sucks. And your attempts to derail Nathan really suck too, as witnessed by the fact that he is physically moving you OUT OF HIS WAY to get to the body. Also that whole wall screams fresh addition. I mean, for someone who's never done this before and doesn't read all the wrong books and watch all the wrong shows, it's not terrible, but the second, as we see, a cop gets hold of the scene, it all goes to pieces. Specifically, pieces of concrete blocks. Dude you didn't even hack the body apart. Or put it somewhere other than propped upright. And you have a fair bit of construction equipment lying around there. Nathan, sweetie, if you're going to make suspicious faces at the guy you're alone with could you please for fuck's sake NOT TURN YOUR BACK ON HIM. Even to make a phone call. Bad cop. Now it's time for the expo-dump via other!Stamoran coming up with a shotgun and a shoulder harness that screams "hi I have an armory here." That's just… great. Awesome. They will also have this argument in plain sight at more or less the tops of their voices. Blah blah you have no cajones, blah blah I'm a terrible liar. Seriously if you were a decent liar this wouldn't be such a problem. I do kind of wonder what Stamoran was like prior to his Trouble activating, because as much as he seems to be timid and hesitant in comparison to his double now, he surely had to make some pretty firm decisions even in his job. Other!Stamoran goes on a rant about accepting who he is and listing off all the bad things, which are, in fact, pretty bad! Thief and murderer, certainly. The gist of the matter is that Stamoran embezzled, got caught, killed the guy who caught him, and then refused to kill the witness, so his other self, shadow self, whatever, was created instead. What FUN. In the interests of "fixing" the coward part, other!Stamoran works on convincing his original to kill Nathan and make a proper team. Never mind that original!Stamoran, as far as I can tell, is the one who's committed almost ALL of the murders here. I don't think suiciding to get out of imprisonment via supernatural means quite counts. Attempted murder for the copy, sure!

At any rate, it doesn't take much talking, I will note that the supposedly-evil copy is on the sinister/left side of the screen throughout this scene, whereas the supposedly-less-evil original is on the right. Who buys this separation? Yeah. Not us, either. Stamoran goes to kill Nathan with a brick, why, when he could grab a gun, I do not fucking know. But he does, and then the phone rings! Proving once again that timid or not, he has the brains of a criminal, Stamoran keeps both himself and his copy from picking it up because yes, it is in fact a trap. Well-spotted. Which of you made the noise. Henry, was that you giving away their position? Regardless, we will now have another gunfight with Audrey and Duke trying to shoot the Stamorans but not Nathan. Other!Stamoran's assertion of the fun they'll have sounds… awfully halfhearted, I'm just saying. But neither of them wants jail time, and I imagine other!Stamoran would like to stop having to die because that's pretty traumatic no matter the reason. So! A shootout it shall be, until such time as they run out of everything but shotgun shells. Assuming that's not the click of the empty on Duke's shotgun, too. Henry, notably, stays crouched next to Duke with his hands over his ears, and I would just BET that's under explicit instructions from one or both of them. Aww, kid. The standoff negotiation ensues where Audrey attempts to claim that backup's on their way, and Duke points out that nobody, including him, EVER believes that line. It's true. Even if backup's true, nobody believes that you're going to just give up and let these fuckers go, Audrey. Duke tries to come up with ideas that aren't "rush them and go out in a blaze of glory" or "convince the evil assholes who just started working together," which gives Audrey ideas! Ideas which Duke is not fond of, as they include putting her gun down and coming out to talk. Not to the original. To the copy. Duke's issues with this: LET HIM SHOW YOU THEM. It's a good thing he's got Henry to distract him from tackling her to the ground. And yes, her body language and the camera angle indicate from the get-go that she's going to talk to other!Stamoran, not the original.

Who is, not surprisingly, interested to hear what she has to say. Considering she can't kill him at all, let alone with the bullets she doesn't have, it's only dangerous inasmuch as it's always dangerous when people underestimate Audrey's ability to talk them into doing things that aren't necessarily in their own self-interest. So, very dangerous. But the copy is more impulsive, which means he overrides the cautious "shoot her and let's go" attitude of his originator. I like how she doesn't bother explaining to original!Stamoran what it is that they have in common; personally I wouldn't either, on the grounds of if he can't figure it out he's really fucking stupid. Which, well, considering his kneejerk attitude of "my crimes are his crimes," he kinda is. Certainly he's not used to seeing things from the particular skew of Haven. Also, I should note that after this entire ep, Charlotte's bullshit punishment as revealed in s5 makes me even angrier with her, and I wasn't sure that was possible. Audrey I can understand feeling responsible: it's her choice, and her identity is wobbly to start with, and by the time we get there from here she's been through so much more shit that I'd be shocked if she hadn't gotten more fucked up about what's hers and what's Mara's. Especially since she has had to spend lifetimes cleaning up after Mara and that is, as far as she can tell, the sum total of her parts. Poor AudSarLu. But here and now, she talks other!Stamoran around with the original's gun pointed at her, reminding him that if she and Duke and Henry die now, all that happens is they die and it's more of the same shit different day with Stamoran and his copies. Because he does think they're his, they belong to him, and he can use and discard them as he pleases. Other!Stamoran points out obliquely but definitively, as he raises his gun (probably far more in the interests of making the original lower his than any certainty that he's going to shoot her), that if he shoots the original he's almost certainly killing both of them. Yeah, but at least he'll have saved other people's lives, and while they're not saying it outright the subtext of "and you won't have to get killed the next time you're more trouble than you're worth to him." Pun intended. I think, too, that they're lighting this to actually make the copy more conventionally attractive in a bad-boy sort of way. Lighting and/or makeup, given how much we associate aesthetically pleasing with goodness. The original decides that clearly he's being tested again, which is, okay, not an unfair assumption after everything he's been snarled at for lately, but it does mean Audrey ends up with two guns pointed at her, which is not exactly her favorite place to be. And not that we need the conventional shoulders-up view when the gunshot rings out to know that it's the copy shooting the original, but it's what we get anyway. Complete with very confused look from the original as he collapses, and something resembling relief on the copy's face when he digs out the silver dollar, tosses it at Audrey with instructions not to tell his former best friend he gave it to her, and fades. In, I might note, a series of colors that looks sort of like the thinny colors. It also occurs to me that Audrey did not get this kind of choice when she and Mara split bodies, which irritates me to no fucking end. I'm reasonably certain if she hadn't been operating on sheer willpower just to stay alive she would've taken the same choice! And I wish we'd ever gotten a direct callback to this for comparison's sake, because it's the sort of thing that should've weighed on her, not least because she did just talk a man into committing a homicide-suicide.

We will not, apparently, get much discussion of the ramifications of this. Instead we get some drama with the selectman who's the Rev's henchman. Yaaaay. Nathan's been called into his office, it's your standard-ish Man Of Power office, if dimmed slightly for small-town Maine. Basic small talk about if Nathan's doing okay, asking if everything that happened up at the Everwood made it into official reports. I mean, Nathan was kinda unconscious or at least pretending to be (god I hope most of Audrey talking Stamoran down was pretending) but sure, we'll assume Audrey filed her report. I'm going to assume that they went with the suicide-by-cop story for what really happened. Hopefully all the other bodies of the copy vanished into the aether when they both died, and if not, well, there's lots of land and sea to get rid of bodies into. Anyway! Mr. Rev's Selectman accuses Nathan of falsifying police reports and oh look he's got the proof. Nathan seriously, your security on those is AWFUL. Hiding in plain sight only works when it's not semi-common knowledge that there's something TO hide, and it sounds like at least this selectman and maybe most of the town council or whatever they call themselves knows about the Troubles. Nathan insists he's doing what they've always done, aw, Nathan, you sound like Garland. Sorry, but they're firing you, Nathan, someone wants you out and yes, it's the Rev. It's not like anyone's made a secret out of that either. And I would lean toward the Rev has at least a majority of the selectmen in his pocket, maybe all of them, or maybe just the ones who can lean on the others. Regardless, this one insists he was a friend of Garland's and that as such he wants Nathan to leave town so he can be safe. Uh… huh. So you care enough to give a warning but not enough to stand up to whatever blackmail the Rev's got on you. I see how it is. So does Nathan, who storms out.

Closure with Duke and Henry's little sub-plot comes in the form of quiet talk about whether or not Henry really likes being on the road by himself. Well… no, is the most honest to that, but he thinks it's necessary for whatever reason. Kid. You're a teenager. You're not known for good decisions, just to start with, and this is why other people are supposed to be taking care of you. And indeed, this is what Duke's decided, because he called Henry's dad. I rather expected him to show up in a wheelchair, after the discussion of how he couldn't stop him, but now I wonder if his disability is something more along the lines of, occasional wheelchair use and easily fatigued. Or something like that. We don't see enough to know for sure, and Duke very clearly wishes that his dad had been a good guy, and that he'd been able to have an adult who could take care of him. Aww honey.

Over inside the Gull, Nathan is getting steadily drunk on shots, just so we know how upset he is over being fired from being the chief. To the point where even Duke comments that it's a shame, he was starting to like that job. Duke you know you're not fooling anyone with your supposed dislike of these two cops anymore, right? Just checking. Nathan will now go dance with the random pretty brunette inviting him onto the floor, which Audrey tries to forestall either because she knows he hates dancing, can't dance, or both. It's definitely the second one, as we watch Lucas Bryant engage in some of the most hilarious fucking physical comedy he's gotten to do yet. Meanwhile the other two joke briefly about how Nathan totally has a copy and this one still can't dance. Which is Duke's none-too-subtle lead-in to asking if Audrey meant what she said or was playing Stamoran, with the loud subtext of "and are you really okay with it." Duke: still the most emotionally competent person on this show! She insists she's fine or at least working toward it, with that comment about needing to move past her memories to find out what she can be. I mean, she covers it by talking about Stamoran, but we all know that's who she really means. And now for the dun-dun-DUNN reveal, as Duke decides he needs photographic record of Nathan getting drunk and dancing. Badly. Audrey's phone is upstairs, so he snags Evi's which is on the bar (on? are you nuts, woman?) and snaps a quick photo. She wanders off with instructions to send that to her, and lo and behold, a text from Driscoll about thanks for the files info, he took care of the rest. The rest, in this case, we're meant to assume, is getting Nathan fired. Excuse Duke while he has no poker face, stares at Evi, and we fade to credits.