Returning to the manor after midnight, Sonya feels a pull from the magic mirror, which suddenly appears on the lawn. She and Owen can see movement inside it, though Cleo cannot. Despite the late hour, Sonya feels compelled to enter, and Owen accompanies her while Trey and Cleo wait outside.

They emerge at a formal party on the manor grounds around the turn of the century. Sonya recognizes an older Owen and a pregnant Moira, then spots her father, Andrew, appearing around 30 years old. When Sonya runs to embrace him, she passes through his incorporeal form. Dobbs appears, and Andrew—hearing his daughter calling from his own time—retreats through the mirror before Dobbs can reach him. Enraged, Dobbs attempts to strike the mirror but is repelled and injured. She declares that Andrew brings trouble and mentions that the fifth bride, Lisbeth, is sleeping and will soon be hers. She summons a violent storm before vanishing.

Sonya and Owen return through the mirror, drenched from the ghostly downpour, though the night outside remains dry. In the kitchen, the group analyzes the experience. Owen notes that the rings on Dobbs’s fingers glittered and sparked with energy before she summoned the storm. Trey theorizes the rings serve as her power source and that retrieving them could defeat her. They also conclude that Dobbs cannot travel through the mirror and that Astrid’s blood may have activated its protective magic. Sonya realizes their combined strengths form a counterbalance to Dobbs’s power.

On Saturday, the group works in the ballroom, discovering treasures including a Valentine from Edward to Lisbeth and an ornate rosewood card table. Sonya envisions incorporating the table into an expanded game room. Owen jokes about the hernia-inducing task of moving the heavy furniture—but Monday morning, he reveals the ghosts moved everything overnight.

As Trey prepares to leave for work, he feels helpless about the dangers Sonya faces. Dobbs baits him by opening doors and creating ominous sounds from the third floor, but Clover’s music reminds him of his promise not to enter the Gold Room.

That afternoon, Sonya sees a vision of Collin and Deuce playing chess by firelight on a winter evening. The scene freezes, and Collin’s spirit addresses her directly. He confirms he and her father met through the mirror and expresses regret for keeping his distance from her family due to grief and feelings of inadequacy. When Sonya asks how to stop Dobbs, he says he does not know but emphasizes that the portraits matter—he and Andrew painted them in their dreams. He shares that the curse keeps him separated from his love, Johanna, in the afterlife, and tells Sonya she is the key to breaking the curse.

Sonya immediately documents the encounter. She asks Clover whether she can be with her husband Charlie as a ghost, but Clover’s song selection makes it clear that the curse keeps their spirits apart. In the music room, she touches the ring on Johanna’s portrait, wondering if it could be removed from the canvas. Sonya goes outside to clear her head and later sketches the entire vision.

That evening, Sonya presents Trey with her drawing of Collin and Deuce, along with her written account of the vision. Deeply moved, he reads while Clover plays a song about friendship. They discuss the new information: The portraits are key, and the curse separates the lovers’ spirits from each other. Trey insists Sonya sign the drawing as a proper gift.

After dinner on the lawn, the four go upstairs to check Cleo’s studio closet and find the sixth portrait: Catherine Poole Cabot in her elaborate wedding dress, painted by Andrew. They bring it to the music room, where Owen discovers the seven portraits will fit the wall with mathematically perfect precision—something Sonya accomplished by instinct alone. With Catherine’s portrait hung, they discuss the significance of the number seven and speculate why Dobbs needed to wait a full generation before claiming each Poole bride. Owen reveals he sometimes sees the rings vanish from the portraits momentarily and then reappear. Cleo theorizes he is glimpsing the brides’ reality, as Dobbs currently wears the rings.

After the others leave, Trey’s fear and frustration erupt. He questions why Sonya must bear this burden and suggests she consider leaving. Misunderstanding, Sonya tells him she loves him and suggests he take a break from the challenges of the manor. He explains his anger stems from fear she will become the eighth bride—as long as the curse stands, he cannot ask her to marry him. He confesses he has been in love with her since they first met and wants a life and family with her but cannot move forward for fear of putting her in danger. He apologizes for suggesting she leave, acknowledging she cannot walk away from her duty. Sonya says knowing he loves her is enough for now. They reconcile as Clover plays a love song, with Trey promising they are in it together, regardless of how long it takes to break the curse. Sonya silently vows to the spirits that she and Trey will find a way to free them.

The next morning, Sonya is ecstatic about Trey’s confession. She tells Cleo, who agrees that he cannot propose while the curse remains. They recommit to solving the mystery.

Later, Trey calls in a panic: His sister Anna is in labor. Owen heads to the birthing center for support while Sonya and Cleo spend the evening lighting candles, watching movies, and awaiting updates.

Before bed, Sonya takes the pets outside and has a vision of a young Owen Poole formally proposing to Agatha—emphasizing duty and social compatibility rather than love. Agatha’s spirit speaks directly to Sonya, confirming they were a suitable match but not in love, and insists it is Sonya’s duty to restore the stolen rings. At 2:26 am, Trey calls to announce the birth of Fiona Kate Miller. Sonya wakes Cleo to share the news and tells her about the vision of Agatha.

On her way back to bed, Sonya finds the music room door open. As the clock nears three, the portraits transform into gruesome images of the brides’ deaths, vile liquid streaming from the paintings as a funeral dirge plays and Dobbs’s voice threatens that she must flee or meet the same fate. Just as terror nearly overwhelms her, the clock strikes three. The horror ceases instantly, the portraits return to normal, and Astrid’s gentle music plays. Sonya vows to defeat Dobbs, enraged that she defiled her father’s artwork.

The next morning, an exhausted Sonya tells Cleo about the attack. They conclude that Dobbs chose the night of the baby’s birth to corrupt a joyful moment, that the manor’s magic reasserted control at three o’clock, and that Dobbs cannot kill Sonya directly without risking the curse. Refusing to be intimidated, they go upstairs to work on a welcome gift for the baby to show Dobbs she has not won.