All language subtitles for Candela.Obscura.S02E02.1080p.BEAC.WEB-DL.AAC2.0.H.264-FFG_track3_[und]

TALIESIN: Festering within
the heart of Newfaire,

the sour taste
of vengeance lingers

on the palate as
we suffer another loss.

This is the price
we pay as investigators.

The temptation to
harness the power

within our collection of tools
and artifacts is strong.

But to serve Candela,
one must acknowledge

the danger in such hubris,
and that underestimating

such power leads
only to destruction.

It is always and
forever our duty

to stifle any remnant of bleed
that seeps into our realm.

The Circle of
Needle & Thread,

Assignment #538:
Flesh and Blood.

(dramatic music)

(dramatic music continues)

(dramatic music continues)

(dramatic music continues)

SPENSER: We open
on the exterior

of a house

in The Eaves.

Outside,

a man stands

at guard, waiting.

A Candela Obscura
pin on his lapel.

We hear a carriage pull up.

The rain collecting in
puddles on the street here.

Lightning flashes.

The man steps out.

He's well dressed,

wearing a blue suit

that has a Candela Obscura
pin on his lapel as well.

As he approaches
the front door,

he nods at the
patrol outside.

"Adrian.

"It's raining.

"You should go home."

Adrian looks at him.

Stoic.

(Adrian) "You know
I can't do that now."

(man) "I know."

He says, "Try and stay warm."
Pats him on the shoulder.

Walks into the house.

Within, the hardwood
floors echo

as the man steps forward.

"I'm home," he says.

Another man turns the
corner wearing an apron.

A bigger, more burly man.

Large beard.

(burly man)
"I'm just cooking.

"I'll be out in a second."

(man) "Thank you,
love," he says.

Drops his keys in a basket.

Takes off his shoes.

(burly man) "How'd
everything go today?"

We hear echo
from the kitchen.

(man) "It's okay.

"I can't believe they
still got somebody outside."

(burly man) "Yeah, well
after what happened,

"I'm not.

"Come here."

The man, now shoeless,

taking off his coat,

taking off his vest,

left in just a dress shirt,

walks towards the kitchen.

(man) "I missed you,"
he says.

His husband in the
kitchen turns to him.

He's got stains on the apron.

Looks like it's maybe
red chili or something.

"Come here," he says,

and embraces him.

The man takes a deep breath

as his husband holds him,

and he finds that his
breath can't quite be taken

to its full potential.

He's being hugged tight.

(man) "Are you
okay?" he says.

But there's no
response in return,

as the hug gets
tighter and tighter.

We watch as the man's hands,

apron now splitting
at the shoulders,

reaches into the
back of his husband.

Pushing his fingers in on either
side of the spinal column,

and splits him in half.
TRAVIS: (groans)

SPENSER: Two sides of a
body now lay before him.

The screams of agony
echo through the house,

as Adrian comes
in, gun drawn,

but finds nothing

but two halves of a man

laying on a kitchen floor.

He turns left and sees blood

coming out from
under a closet.

Opens the door and finds
the face of the husband,

mangled body distorted,

crunched up in the corner.

And that's where we cut

to all of you.

TRAVIS: (laughs nervously)
MARISHA: Boy.

TRAVIS: Cool.

SPENSER: We land first

on Nathaniel Trapp.

Nathaniel.

It's in between
assignments here.

What are you doing?

TRAVIS: Well, I think
following the events

down in the metro station.

I've taken stock of my eye.

I forget about it
from time to time.

There was an initial
haziness that

occupied almost
half of my vision

or almost like a cloudy
overlay of sorts.

But it was more the
faces of people

that passed me that really
have caught my attention.

I stand out more than I did.

I admit there's a small
amount of vanity in me, but--

That turn, every single
head that passed

lingering on my face as I
walked by them was too much.

So I sought out a
well reputed optometrist

and he said that
there was something

that he had worked up
for some of the fellas

that had come
back from the war.

SPENSER: Mm.
TRAVIS: There was a glass lens

that could be put
in the eye socket

or over the eye to help mask

the appearance of
any sort of damage

that might have
occurred there.

So I found a blue
colored lens that now

fits over the eye.

But something strange
started happening.

Even after the
lens was put in,

the cloudy overlay
of my vision

also started to trail

certain people as
they would move.

Buildings almost seem to
have a secondary outline

around them.

It might just be my brain
trying to compensate

for the lack of periphery
on the right side or--

I'm concerned it could
be something else.

SPENSER: Mm.

TRAVIS: So I've tried
to mask that and I've

taken up in our headquarters
in the meantime.

SPENSER: We get a shot of you

waiting

upstairs,

the stained glass
playing on your face.

There's a knock at
the door downstairs.

TRAVIS: Do I know
if I'm alone?

SPENSER: Here?

Doesn't sound like
anybody else is around.

This place is a labyrinth.

TRAVIS: I'll head
down the stairs

and make my way
towards the door.

Is there a window
I can check?

A peep hole in the door?

SPENSER: Yeah.

Outside the window you see
a small boy holding a letter.

TRAVIS: Oh, I open the door.

SPENSER: "Hi, sir."

TRAVIS: Hello, young man.

SPENSER: "Hello. A letter
for you from your father."

TRAVIS: Oh.

Thank you.

Oh, just a moment.

Reach in my pocket.
SPENSER: His hand is already out

for the money.
ZEHRA: (laughs)

TRAVIS: Good lad.

MARISHA: (laughs)

TRAVIS: Here.

Now make sure you go back
to the letter's origin

and be sure to tell the
man there to match it.

SPENSER: "Will do." Tucks
the change in his pocket.

Makes off.

TRAVIS: What does the
letter look like?

SPENSER: It is ornate,

bright scarlet in color.

TRAVIS: (sighs)

SPENSER: It says,
"Mr. N. Trapp."

TRAVIS: I'll hold
it up to the light.

Doesn't seem to be poisoned.

SPENSER: It does not.
MARISHA: (laughs)

TRAVIS: I'll break the
seal and open the letter.

SPENSER: "My son.

"Meet me at the water's edge.

"We have important
business to discuss."

Gives you a date and time.

TRAVIS: Signed, C.F. Trapp.

What kind of father signs his
own fucking letter to his son?

Anything on the back?

SPENSER: No.

TRAVIS: Crumple it up, commit
the date and time to memory,

and I throw it into
the nearby fireplace.

SPENSER: (flames incinerating)

TRAVIS: (exhales heavily)

Sure. Why not?

I drop into an
armchair nearby.

Pop right back up. Nope.

This requires bourbon.

(laughter)

TRAVIS: Pour a glass, then
commit myself to the armchair.

SPENSER: We see
your eyes close,

a glass of bourbon
in your hand.

From there,

we look to you,

Marion.

Describe for me what moment

we jump in on with you here.

LUIS: This is in between--

Space in between
the assignments?

SPENSER: Correct, though we
can explore anything here.

LUIS: Okay.

I am not in my own bed.

SPENSER: Hmm.

LUIS: I am on the sofa

that is in the residence
of my friend, Jean.

SPENSER: Mm.

LUIS: Last thing I remember
before falling asleep

was my head on her lap.

But I am

somewhere else in my dream.

SPENSER: We see you sleeping.

We push in on you
and as that happens,

our frame transforms into

the dream that you're having.

What is that dream?

LUIS: (thoughtful groan)

I'm eight years old.

It's a year after I acquired

the scar that's
been on my chest,

the starburst scar.

I am in my childhood bedroom.

There is a strange
man visiting.

Someone that my father
called upon to help us.

I had been hiding the
scar in my chest from him

for as long as I could,
but he found it

and he became very afraid.

Concerned, he called
someone that people

in the neighborhood
made him aware of,

a man that performs a ritual.

Exorcisms.

SPENSER: We see the
man enter the frame

of your door

as you lay there,

alone,

different,

feeling different.

Jean, will you describe
what your father looks like,

or looked like?

ZEHRA: My father...

When I was a very young girl,

what stood out to me most
about him was his long, dark,

wild beard.

It seemed to grow
every which way,

and yet it was never

what you would call unkempt

or messy or filthy,
just a wildness.

In contrast to the lack of
hair on top of his head.

It would seem that all
his follicles were gifted

in his face.

And as he walked,

it would stay very still
and in place.

But when he went to work,

when he held a book
in front of him,

it was only then that I saw

the hair of his beard
sway and flow.

Dark, navy blue robes.

And something

on his wrist, some adornment.

The memory, the details
are hard to make out.

Green stone?

Brass?

SPENSER: We see that
glint in the light.

As he leans over
the top of you

in this memory.

Zehra.

I'm going to have you
play your father here

because you know this
memory better than I do.

So I turn things to
the two of you.

ZEHRA: I regard this child.

This little one

before me.

Do not be afraid.

LUIS: Dad?

Dad, who is he?

ZEHRA: You must not speak.

SPENSER: You see your
father, over his shoulder.

Your father turns,
disappears down--

LUIS: Dad!

ZEHRA: Child, be not afraid.

LUIS: Get away from me,
I don't know who you are!

ZEHRA: I pull out
a small vial,

uncork it.

It's filled with
a pungent herb,

medicinal, almost
a menthol smell.

I hold it gently to
the nose of the boy

and restrain him ever
so gently with my hand.

LUIS: (resistant whimpering)
ZEHRA: Breathe.

Breathe, child.

LUIS: Eventually you
got to breathe.

ZEHRA: When he is calm,

I pluck from my wrist piece

a green gem on a pendant

and I hold it over
the child's head,

and wait.

SPENSER: There's a moment
of stillness here

as the pendulum sits.

you watch it, Marion,

as if on its own,

suddenly it starts to sway
in a circle around your chest.

ZEHRA: (exhales heavily)

I have only seen this
once before, I think.

I become very concerned.

SPENSER: Hmm, we push in
on you here.

LUIS: I close my eyes.

SPENSER: Another person, he
thinks you're different.

LUIS: I close my eyes and
I think back to a year ago

when I first found
this scar on me.

I was asleep, I
would sleepwalk,

and I remember waking up

and I was at small garden
that my parents have

in front of their house.

I remember seeing this light
getting pulled out of me.

And I saw maybe something
in front of me.

I'm not sure what, but I knew
the moment that I woke up

and I saw this, I knew
at seven years old

something was taking
my soul out from me,

right out from my body.

Then in the blink of an
eye, everything was gone.

The glowing light that I saw
being pulled out of me, gone.

The thing pulling it, that
feeling of that, gone,

and I was left
with this scar.

The night was quiet
and the garden stood

right in front of me as if
nothing at all had happened.

SPENSER: We see the
garden in front of you,

a starry night between you.

We move to you, Beatrix.

Where did we find you
between assignments?

MARISHA: Well, you know
Auntie Bee.

Still has to do her
regular check-ins,

wants to still make sure
that all of her wards

are being watched over
and tended to.

Well, she takes a little
bit of the pocket change

that she got from the
train at the beginning

and goes by a bakery,

gets a few loves of bread,

strikes a deal with them,

does a little bit
of a bargain,

gets a few loaves that
are maybe a day old

but can buy much more.

SPENSER: "Bee, you can have
these loaves. They're old.

"Nobody's going to buy them.

"We're going to throw them out."
MARISHA: Oh, please, I can't.

You know me.
SPENSER: "No, you can

"just have them
for free, Bee."

MARISHA: Well, then, at least
keep this for yourself,

and you don't go
and tell the manager.

SPENSER: "A good one, Bee."

MARISHA: I'll see you soon.

She also stops by
the farmer's market,

gets a giant
satchel of beans.

She shuffles her way down
to the South Soffit,

checks in with her latest
generation of boys and girls

that she loves to watch.

Hands out a few
loaves of bread,

divvies up the beans,

puts those in some canisters.

She has a particular
liking to the single moms.

Then she makes her way
around the block,

goes and pops into Grayslate.

SPENSER: We get a shot of
Grayslate here, the sanatorium

that you do laundry at--

MARISHA: Mm-hmm.
SPENSER:-- if I'm not mistaken,

for money?

What does Grayslate look like?

MARISHA: It doesn't have to
look sad from the outside

to not still have
an emanating aura

of just profound depression.

Just those certain
inanimate objects

that you can look at that
you don't know why,

there's just something
a little off about it.

SPENSER: Hmm, are you
talking about the thing,

the inanimate objects?

MARISHA: The front façade.
SPENSER: The front façade,

yeah, the architecture
itself feels--

MARISHA: Feels sad.
SPENSER: Yeah.

MARISHA: Even though it's
painted a bright yellow.

SPENSER: Interesting.

MARISHA: But it's got some

paint starting to chip
and wear away.

They put some bushes
in the front,

like they're trying
overtly to push.

Maybe if we paint the
sanatorium a happy color,

people will forget that
we've relegated and pushed.

SPENSER: I think we get
a really interesting

juxtaposition here too,
as you pass by

the brightly colored façade,

as you turn the corner
and they missed a plank.

MARISHA: Yes, yeah.

SPENSER: And it's
that old paint.

MARISHA: Yeah.
SPENSER: And for a moment--

MARISHA: Gray, chipped away.
SPENSER:-- it brings you back--

MARISHA: Yeah.
SPENSER:-- to Seasway.

MARISHA: Yes.
SPENSER: To the manor

that you used to have there

and how everything used
to be bright and bold.

And now it's just left dull.

MARISHA: Left dull.

SPENSER: We see you pass
the threshold of Grayslate

into the building here.

What's a normal day for you
at Grayslate look like?

MARISHA: I go into the locker
room, change out of my clothes,

put on one of the standard
uniforms, the maid uniforms.

Take my apron, take my
overcoat, my shirt,

toss it in with the
towels and the sheets

that need to be
done for the day.

Move, shovel off, toss the
linens into the wash bin,

give them a stir.

While I let those sit, I start
pacing through the halls

visiting those who I
have a connection with.

First and foremost,
checking in with

Miss Margaret Mary Finnerty.

SPENSER: Peggy.
MARISHA: Peggy.

SPENSER: We see Peggy
sitting in her room.

She is graying of hair,

eyes are bagged,

like there's been much stress
put on her very recently.

We see she shares that
room with another woman

who's staring out the window

that is only a slit in
the wall about eye height,

and she's whispering
to herself.

"Come here, little piggy.

"Here, little
piggy, come here."

Peggy is not amused by this.

Her eyes light up
as she sees you.

What do you do?

MARISHA: You know, we
are old friends.

We go away back just
as old friends do.

We drop into our
usual banter.

I poke fun at her.

Yeah, you've looked
better, you old hussy.

SPENSER: "Mm-hmm,
don't I know it."

MARISHA: (laughs)

SPENSER: "Thank you for
coming by.

"I appreciate it."

MARISHA: Of course.

I, as I always do, regale
her of the stories

of my most recent adventure.

Inform her of the status
of her youngest son.

SPENSER: "You talk about
him like he's a hero."

MARISHA: Well, he is.

SPENSER: You see her eyes
start to well,

"Can you give him this?"

as she pulls a piece of
parchment out of her pocket.

MARISHA: You know
I always will.

SPENSER: It's enveloped.

"Thank you for coming by.

"I'm going to miss you."

MARISHA: Miss me?

SPENSER: "Yeah. I'm
going to miss you."

MARISHA: Ah, honey, you're going
to see me sooner than you know it.

We're going to keep
working the plan.

We're going to get
you out of here.

SPENSER: She looks around,
"Don't let them hear you."

MARISHA: I forget how loud my
voice can carry sometimes.

SPENSER: "Here, piggy,
piggy, piggy.

"Come here, piggy."

MARISHA: I just nod. Miss
Cynthia. To the woman by her.

SPENSER: She turns back.

"Rosa, an honor as always, Rosa."

MARISHA: I do love the titles
you give me, Miss Cynthia.

(laughter)

SPENSER: She turns back
to the window.

(shouts) "No, no!

(screams) "No!

(intensely screams) "No!"

MARISHA: I just grasp
Peggy's hand.

Stay strong.

I shuffle off continue to
tend to my laundry duties

for the day, wash up
myself, fold the linens,

and then I end my day

by shuffling down
to the Hallowharbor,

find my old
lavender-painted house

with the mint green shutters.

SPENSER: You're going
to Seasway?

MARISHA: Going to Seasway.
SPENSER: Going to Seasway, okay.

MARISHA: Going to Seasway.

My poor old cottage
is dilapidated

and falling apart and
in complete disrepair.

They pushed me out
for no reason.

No one's even living
it in anymore.

SPENSER: It's the perfect,

sterling image
as you look at it.

What it was at its peak.

There's a man in
the upper window.

He's waving at you.
He misses you.

Then you know it's a fantasy,

because next to him a child.

The house goes decrepit,
the child disappears.

The man is left.

MARISHA: I just, little
kiss to my old Blue.

SPENSER: And he's gone, too.

MARISHA: I turn around
and I sit down

on the front stoop and
watch my hernia, ah.

I pull out some
old silk flowers

that were just given to
me out of the scrap bin

from the fabric district.

Pop off my hat, take
out a needle & thread

and hum to myself as I
add a few more flowers

to my hat.

Watch the sunset over
the Glass Sea.

SPENSER: Sean, you see

an old woman sitting
in front of her house.

SPENSER: Auntie Bee.

MARISHA: Sean, what are
you doing here?

BRENNAN: I had
a sneaking suspicion

that you might be back in
this neck of the woods.

MARISHA: (chuckles)

I probably shouldn't come back
here as often as I do.

I don't know if it's good
or bad for my mental health,

but I can't help the
sense of calm it brings me.

BRENNAN: If it brings
you calm,

you know, can't be too bad.

MARISHA: I imagine I thought
you'd be drinking

in the Red Lamp
on your day off.

BRENNAN: (chuckles)

Nah, I haven't been in
the Red Lamp in a minute.

I'm pulling double shifts
over at the chapter house

you know, helping them
take care of, you know,

storage all the artifacts,
and cleaning up,

and managing the armory
and stuff like that,

just because I--

I figure I got to pay
for my room and board,

sleeping in the
side room like I do.

MARISHA: I think you're far
too generous with your time,

you know that?

BRENNAN: I know, the wife and
kids at home, they're not--

No, wait a minute. Oh.

No, no, I got
nothing going on.

(laughter)

MARISHA: I'm not one to
judge, look at me.

BRENNAN: Did you stop
by Grayslate today?

MARISHA: I did.

BRENNAN: How's Ma doing?

MARISHA: You know her,
always the optimist.

BRENNAN: Thank you, Bee.

I know it's-- I know
you got the moves,

but it's not no
danger getting stuff

like this in and
out of Grayslate.

MARISHA: If you want to send
anything back, you always know.

BRENNAN: I don't want
to send nothing back.

She'll hear from me
when we get her out.

MARISHA: We'll get her out.

She's strong.

She's a strong woman.

BRENNAN: You ever,

you ever seen people
get out of Grayslate

in all the time
you worked there?

I mean, I know it
has to have happened

at least a couple times,

but I guess it's
one thing, you know.

Personally, I don't
think anyone that goes

into that place gets help
of any kind that they need.

But I know in Ma's case,

it wasn't even that
she needed help,

it's just a place they
wanted to throw her away.

MARISHA: Yeah.

BRENNAN: Do you, have
you ever seen anyone,

maybe, I don't know,
even someone rich,

someone with connections,
get pulled out of there?

MARISHA: Of course,
bureaucracy goes a long way.

It's still an institution,
still with limited meds.

Institutions also cost money

and there's no limit to
the amount of people

that might need to disappear

if it benefits somebody
else up top.

So, yeah, there are
people who got out.

There are a lot of
people who will never

see the light of day again

before they close
their eyes for good.

I will say though, Sean,

a strong woman, tough
as nails as she is,

that place becomes a
self-fulfilling prophecy.

Isolation, it's not
good for the mind.

BRENNAN: No.

You saying the
clock's ticking?

MARISHA: I am.

BRENNAN: Yeah. All right.

Well, we got to make moves.

MARISHA: You know what, though?

We've happened
to come across,

gotten to know over
the past few weeks,

these few missions
with Candela,

got a rich friend.

BRENNAN: Yeah, I've been
thinking about that.

MARISHA: And I got to say,

that Nathaniel owes you one.

BRENNAN: He doesn't
owe me shit.

What do you mean he owes me?

Owes me for what?

MARISHA: He opened up
the hole that he got...

He opened up the hole
that you got kicked down,

you and all of your brothers.

BRENNAN: That's not on him.

No, LT's not responsible.

MARISHA: Then he stood there
on the edge of that lip

and extended his hand
to lift you back up.

He owes you one,

and he owes Anthony,

and he owes Jimmy.

It would be the least
that boy could do.

Now, I'm not saying he
did anything maliciously,

but naivete can be
quite harmful, my boy.

BRENNAN: (sighs)

I respect that you're looking
out for me, Aunt Bee.

If I had a list of all the people
who had done me the worst,

I don't think LT would be
anywhere near the top.

There's a lot of people to get
to before his bill comes to,

if at all.

I appreciate this.

Take it easy and make
sure that you don't

stay out here too long.

You can never tell who
from the old days

might recognize you.

I'm going to lean in,
give her a kiss,

and I'm going to walk
off and read the letter.

"My baby boy, Sean,
I miss you so.

"Your Auntie Beatrix tells me

"that you're still
doing what you do best,

"killing those who are
different from you

"simply because
you're told to.

"Following orders
to eradicate people

"with families
and loved ones,

"then letting those same
people you choose to obey

"kill your brothers.

"And now I am here in
this wretched place

"because of you, Sean,

"because you didn't look
out for our family.

"You let us down,

"and I cannot forgive
you for that.

"With all my love, Mom."

SPENSER: As you stare
down at the road

where the letter
used to be

you feel blood pouring
down your face,

you feel blood pouring
down your face.

You feel pain
in your shoulder.

(muffled thudding)

BRENNAN: (heavy breathing)

SPENSER: And just as
quickly as it started,

you're brought back,

and you're holding a letter

unopened in your hands.

BRENNAN: I'm going to
go find somewhere to be

where people can't see me.

SPENSER: You turn a corner.

You find a place
alone in an alley.

BRENNAN: I'm going to take
my gun out of my coat

and I'm going to throw
it down a storm drain.

SPENSER: The gun (clunks).

BRENNAN: "My baby boy, Sean,
I miss you so.

"Your Auntie Beatrix tells me

"that you're still doing
what you do best,

(tearily) "saving the world.

"It's funny, I had a
dream the other night,

"took me back to when you and
your brothers were children.

"I was tending some laundry

"while watching
the three of you

"play soldiers
in the courtyard.

"The silly sounds you made
pretending sticks were rifles

"always made me laugh.

"Sweet Anthony was probably
too old for make believe,

"but he always played along,

"like the wonderful
big brother he was.

"It brought me some
comfort knowing you

"and your brothers
were together.

"Know that I am working
every day to leave this place

"so I can be with
my boy again.

"I hope to be there to tuck
you into bed again real soon.

"Until then, with
all my love, Mom."

SPENSER: You sit out in the
alley for as long as you need.

BRENNAN: I head back
to the chantry.

I head back to
our chapter house.

SPENSER: We see you
disappear down the street

towards the chapter house.

We land on you, Jean.

ZEHRA: I'm tucking in Marion.

I see him squirming
in his sleep,

and the blanket that I've
thrown on him on the sofa

is coming off.

I gently scooch it up him,
making sure not to touch

its scratchy fibers on

the scar I see
emanating up his neck.

I'm intrigued by it.

I want to look at it further,
but it's best to let him rest.

I go back to what I was
doing in the wash basin

in my kitchen, looking
out the window, cleaning

and doing my best to
sterilize the equipment

in my medical bag, scrubbing
furiously at my hands.

I'm slightly nervous.

I'm worried that

EONS' officers
may be watching my home.

They don't know my private
residence address,

but I wouldn't put it
past them sending someone

to spy on me to
see where I live

in case they needed to
use that information.

I'm nervous, but I don't
sense any immediate danger.

I go back to scrubbing
at my tools.

SPENSER: As we see you
scrubbing at your tools,

the tools in
your hands change.

How are the tools
at EONS different

than the ones you
currently hold?

ZEHRA: There's
no escaping it.

Every time you pick
up a tool at EONS,

there's a slight
charge of electricity.

It's enough that
every day picking up

these slightly charged tools

I shy away from using
electricity in my private life.

SPENSER: You hear--
Oh! Go ahead.

ZEHRA: They're very clean,
very precise, very sharp.

They do great work.

But every time I touch them.

I have to steel myself
against the shock.

SPENSER: You hear,
"Are you okay, honey?"

ZEHRA: (gulps)

SPENSER: We get a wide shot
of you washing the tools

in a basin next to your
father laying in bed.

ZEHRA: I hear his voice.

I do not look at him.

Over my shoulder I call out:

Yes, don't concern
yourself with that.

Finish washing the tools.

And I turn to look at him.

SPENSER: Standing over
him is Violet Boucher.

She says, "Thank you
for doing that, dear."

She's holding a
vial glowing green.

She shakes it.

You see the particles
within twist.

She sticks a syringe into
the top and fills it.

ZEHRA: Dr. Boucher,
if you don't mind,

I would like to do
this part myself.

SPENSER: "Of course."

She hands it over to you.

"So tell me,

"when you were there with me,

"did she say anything,

"anything about
the Anitithenai?"

ZEHRA: I'm afraid nothing
that I can recall.

SPENSER: She's still
holding onto the vial

or onto the syringe with you.

ZEHRA: But I think
I am getting closer.

I just need more time.

SPENSER: "More time,
more time?

"You think we
have more time?"

ZEHRA: Just a bit more.

I am not talking about
a matter of weeks,

I am talk--
SPENSER: And she releases it.

ZEHRA: Matter of days.

By the next session,

I will have
something to report.

SPENSER: "You know what will
happen if you do not?"

She looks over
at your father.

ZEHRA: You have my word.

SPENSER: As we look at him,
describe for me

what he looks
like in this state.

We saw him before,

now we're seeing him
in his current state.

What what does he look like?

ZEHRA: Once a robust,
flowing man,

flowing of energy
of robe, of beard.

His beard has
turned white, brittle

and is trimmed away,
shaved away in parts.

He's very much--

You can see his weak
chin underneath the growth.

His complexion, once
olive and vibrant,

is now completely sunken
in, sallow, pale.

And his eyes, sunken in,

where you expect to see the
natural redness of human eyes,

is a pale, glowing blue.

(raspy gasp) My chest catches

as I hear him
struggle for breath.

Wheezing.
SPENSER: (wheezing)

ZEHRA: His skin
is covered in,

I would describe blackheads,

pustulous domes that,

as I bring the syringe
closer to his body,

seem to reel.

Some pup with small screams?

It's like an
active lava field.

I cannot bear the
sight for very long.

I find the injection port
in his thin, thin arm

and I inject the syringe

and slowly begin to
push the adjuvant in.

SPENSER: We see the liquid
escape into his veins.

(raspy wheeze) A breath.

His eyes grow wide.

ZEHRA: It's done, Daddy.

Sleep.

I put my hand on his
left shoulder gently.

Sleep.

SPENSER: From there,

we move to you, Sean.

Within the confines
of the chapter house,

you pass by

a sleeping Nathaniel Trapp
on the bottom floor

to make your way up.

BRENNAN: I'll look
at him and I'll--

I think I'll look at
him and I'll stop in.

Do I see a bourbon bottle

or anything else around?
SPENSER: For sure.

BRENNAN: I'm going
to skulk in

and try to get a
whiff of LT's breath

to see if he would
still be hammered

if he woke up right now.

TRAVIS: Just a
half full glass.

I'm just a super lightweight.

(laughter)

BRENNAN: I'm going to
go in, take a drink.

TRAVIS: (grunts)
(laughter)

BRENNAN: I'll take a glass.

All right.
TRAVIS: (laughs)

BRENNAN: LT. Psst.

Hey. Got the drop on you.

TRAVIS: Uh, no? No.

I heard you coming--
MARISHA: (laughs)

TRAVIS:-- and merely
pretended to be asleep.

BRENNAN: Well, it worked.

You've lulled me into a
false sense of security.

Now I guess you got me
exactly where you want me,

which is crouched over
your supine form.

LUIS and SPENSER: (laugh)

TRAVIS: Yes, yes.

My master plan has steps
two through five

that will now be executed,

but in the
sake of conversation,

I will put them aside.

BRENNAN: I'll give
you a hand up.

TRAVIS: Thank you. (grunts)

BRENNAN: You sleeping
at the chapter house?

TRAVIS: Uh...

Yes.

Yes.
BRENNAN: (sighs)

All right, well, I
got a little roomie.

I've been sleeping here, too.

TRAVIS: You have?
BRENNAN: Yeah.

I don't have a house.

TRAVIS: You don't have a--

You don't?

What--

BRENNAN: Well, when--

I mean, Anthony and
Jimmy never came home

and my Ma got
put in Grayslate.

And, you know,

two months later with
nobody there paying rent

and the only thing
that was protecting Ma

was because she had
sons in the military,

but when she got
put in Grayslate,

the landlord
repossessed our tenement.

TRAVIS: Of course,
I feel so stupid.

I'm--
BRENNAN: No, it's not your problem.

TRAVIS: No, I'm sorry, Sean.
I should have asked sooner.

It's--

BRENNAN: Hey, hey, hey.

You ain't got to worry.

Listen.

About that.

You know, Beatrix,
Auntie Bee.

She works as a laundry
woman over at Grayslate

and you know,

the doctor, this
guy, Sergei Orlov,

who is the person
who diagnosed my Ma,

I think he may
have been in error

and I'm pursuing
understanding

how this may have happened.

Because Ma has
always, you know,

she's always been
a worrywart,

but you can't get put
in Grayslate for that.

TRAVIS: Mm.

SPENSER: So there may have
been some mistakes made.

But the last name Finnerty

doesn't really carry a lot
of weight in this town.

The review board
for Grayslate,

it can take months or years.

But there are
certain last names

that if we got
a doctor's note,

could maybe jump to
the front of the line

and, hey, I don't feel great

about jumping to
the front of the line,

but at the end of the day,

I'll take my guilty feelings
with my Ma by my side

rather than with her
in the sanatorium.

TRAVIS: I mean, if you
can't use a name like mine

for something like this,
what can you use it for?

BRENNAN: LT!

I'm going to lean in
and give you a big hug.

TRAVIS: (strained)
God, you're strong.

SPENSER and LUIS: (laugh)

BRENNAN: Well, I think you're
also a little sleepy and drunk,

but that's okay.

TRAVIS: Don't
squeeze too hard.

(laughter)

BRENNAN: I'm going to smile.

I'll look and say:

All right, I got
to retool up.

TRAVIS: Wait, how long has
your mother been in Grayslate?

BRENNAN: How long
since I got back from--

SPENSER: Yeah, probably
three years.

BRENNAN: Three years? Yeah.
SPENSER: Yeah.

TRAVIS: And Sergei Olaf.

BRENNAN: Orlov. Sergei Or-lov.

TRAVIS: Orlov.
MARISHA: Orlov.

BRENNAN: The R is in the middle
of the word and you know.

(laughter)

BRENNAN: This is why they'll
never make me a lightkeeper.

You know that?
ZEHRA and MARISHA: (laugh)

BRENNAN: Because if I have to
bring the new guys in, and I say:

Gentlemen, I've
invited you here

because Newfaire is
beset by eldritch harrahs.

(laughter)
BRENNAN: Doesn't sound right.

(laughter)

TRAVIS: Everything needs an
evolution sometimes Finnerty.

You know, we can certainly
go that route, and we should,

but just in case my name
doesn't trade, you know,

there's always other tactics
we can take with Mr. Or-lov.

SPENSER: As you say that,
you continue speaking,

but we see letters being
delivered to you three

to come to Candela Obscura.

Continue.

BRENNAN: I'm going to
look at you and say:

Maybe a retraction
of that diagnosis

along with a noted journalist

writing a letter saying there
was an error in the diagnosis.

Maybe we find a way
to persuade Dr. Orlov.

TRAVIS: Sometimes unwanted
attention from the Civil Tribune

could lead to, oh, I don't
know, review of medical notes

and see if even, maybe
an error that was made

or a switching of files.

Honest mistakes.

MARISHA: (laughs)

BRENNAN: Would you
need anything

to help you with that?

Would you need--

You're a reporter, right?

So you want to show up
at this doctor's office,

a little bit of evidence with
a lead you're chasing down.

You know,

you can't trust everything
you hear on the street

in South Soffit, but
word on a corner is

that Dr. Orlov's office

started looking a lot nicer.

He started to get
more business

because he was kind of
a hack sawbones, you know?

Started looking a lot nicer

when he started to get
a lot of referrals

from Arthur Duffy.

Arthur was the landlord

for a lot of the
apartments in South Soffit.

And...

I'm just thinking.

If you were to get some
piece of tangible evidence,

an anonymous tip,
something like that,

that maybe Dr. Orlov

makes a lot of money

from Arthur Duffy for
more than just checkups?

Would that streamline
your process

for a noted reporter
such as yourself?

TRAVIS: It certainly
couldn't hurt.

BRENNAN: Good to know.

I'm going to get a
new gun from the armory

and I'm going to--

Knowing that if our
friends are on the way,

we're supposed to
be meeting up here.

SPENSER: They're coming soon,
but you still have time.

BRENNAN: I'll go to a
little side closet.

It's like an empty pantry

back when this was a place that
needed food in it, you know?

SPENSER: Yeah.

BRENNAN: There's a military
bed roll on the ground

and I'm going to go in there,

grab a couple of things

for whatever assignment's
coming up next

and I'm also going
to grab a baseball

and put it in my pocket

and move this little
letter to another pocket

so that I can hold
onto the baseball.

SPENSER: I love that.

TRAVIS: As he leaves, I'm going
to go over to one of the shelves

in the chapter room where
I was not sleeping.

SPENSER: Downstairs.
Yeah, yeah, downstairs.

TRAVIS: Yeah. On the shelf,
there's a mahogany box

that opens on a hinge.

Inside is a very polished
officer's revolver

sitting in a velvet inlay

and I'll pick it
up and look at it.

Put it back, shut the box,

exit the room.

SPENSER: That leaves
you alone here.

Would you like to wait

or would you like
to do anything else?

It's up to you.
BRENNAN: Hearing LT

down in the other room,

I grab the baseball, I
grab a new hand weapon,

a couple other things.

I had a couple little
things left to do

volunteering in the archives.
SPENSER: Yeah.

BRENNAN: So I think I'll
swing by the archives

and finish that
business up as well.

SPENSER: Great.

We see you swing up the
stairs and around the corner.

As that happens,

we see the rest of you

starting to arrive.

Upstairs in the archives,

out of the
labyrinthine hallways

that stretch past
the chapter house,

a figure emerges.

Draven approaches you.

BRENNAN: Mr. Kingsley.

SPENSER: "You don't have
to do that, you know?"

BRENNAN: What do you mean?

Don't have to do what?

SPENSER: "The organization,

"all the things
that you're doing here.

"I know you're
compensating for something."

BRENNAN: Mr. Kingsley,

I appreciate it.

I don't have anything.

I don't have anything.

SPENSER: "I know."
BRENNAN: If there's a reason

for you to tell me not
to do this, I won't do it.

But the truth is,

spending a couple
minutes dusting shelves

is probably the
nicest part of my day,

all things being equal, sir.

SPENSER: "Heard.

"I lost my sister,

"so I know what
it feels like."

BRENNAN: I'm sorry
to hear that.

SPENSER: "Thank you.

"The hollowness,

"the pain,

"the rage,

"the desire to find blame.

"I know what that feels like.

"I want you to know
you're not alone in that."

BRENNAN: How'd you lose her?

SPENSER: "That's a story
for another time," he says.

You hear the (chiming)
of the door open below.

As the rest of you
start to approach

up the stairway, he says,

"We are the same."

Then, as he says that,

the rest of them
move up the stairs.

All of you join

and see--
MARISHA: Toodle-loo!

Hello!
ZEHRA: So sorry to wake you

when the missives arrived.

Did you get enough rest?

LUIS: I think so.

I mean, how's it looking?

Did you patch me up okay?
ZEHRA: Yeah.

You're looking a lot better.

No more worse for wear.

MARISHA: Marion, help me
up the stairs.

LUIS: Okay. I immediately go
to help you up the stairs.

ZEHRA: How is your hernia,
Ms. Monroe?

MARISHA: (groans) It's fine.

There's nothing wrong.

I'm more worried
about this one.

LUIS: You mean...

MARISHA: What are you--
LUIS: I feel okay.

MARISHA: What do I mean?
LUIS: I slept all right.

MARISHA: What do you--
Yeah, that's--

It's quite noticeable
now, dear boy.

How are you feeling?

LUIS: I feel
actually pretty good.

MARISHA: The rest
do you some good?

LUIS: I got a little rest.

ZEHRA: I would love to
take a closer look at it

when we have an opportunity.

LUIS: Anytime.

MARISHA: Did any of you other
boys go and have fun?

Hit the Red Lamp?
Meet some people, y'all?

TRAVIS: Oh yes.
Always money to be spent.

MARISHA: Good.

ZEHRA: Does anyone
need any medication?

LUIS: I could
still, you know.

I mean, they're obviously
calling us here for a reason,

and I did pay you a
visit to get a little

patched up (laughs),
so to speak.

TRAVIS: (laughs)

(clears throat)

(retches)
(laughter)

ZEHRA: Dr. Jean, everything
is going over her head.

She just stares blankly.

SPENSER: You see
Kingsley holding folders

in front of all of you.
MARISHA: Tell them, Kingsley.

Tell them!

They're too young to be
wasting away their lives.

SPENSER: He gives
you a slight smile.

He looks around
at all of you.

I'm going to have all of us

describe what we
look like here again

in this moment
as we pan across

all of you in the same space.

Let's start with you.

Nathaniel Trapp, what
do you look like here?

TRAVIS: Nathaniel is,
he's changed his shirt

of a darker
variety this time.

New vest, pocket
watch remains,

holsters empty but in place.

There's a slight discoloration
between his eyes, but

it doesn't show
the white burnout

from our last adventure.

He's attempted to put
some kind of makeup

around the scarring
that's started to creep

from his ocular cavity.

But he's still there
in dark slacks

and is glad to see you all.

Although the back of his head

seems to have
a vertical cowlick

in the back from sleeping--
(laughter)

TRAVIS:-- awkwardly
in an armchair.

MARISHA: Auntie Bee is
wearing the same old coat,

same old shirt,
freshly laundered,

a few little extra
stains from blood,

from the kibble,
from the squid dogs.

LUIS and ZEHRA: (laugh)
TRAVIS: (laughs)

MARISHA: But, you know,
she's making do

and maybe feeling--

Look maybe a
little more pale.

Eyes a little darker.

Hair's still a
little unkempt.

She looks a little
stressed, but.

While she may be
wearing it on her face,

she's not wearing it
in her spirits.

ZEHRA: Mm.
SPENSER: Love that.

BRENNAN: Sean
looks-- You know.

It's very clear that Sean
doesn't have a wardrobe.

So it's whatever he has,

you know, wearing
the same shirt.

SPENSER: Yeah.
BRENNAN: That's been cleaned,

but it's the same,

so any holes that were there.

You see there's some crude

stitching around where
one of the dogs bit him.

Also, at the end
of the last episode,

he took a stitch.

He did not take a stitch.

So I think the main thing

is body mark, brain mark,

and three bleed marks.

So I think Sean is looking

sleepless

and agitated.

ZEHRA: Dr. Jean,

on first glance,
looks much unchanged.

New pair of crisp
white gloves,

freshly pressed, long,
mint green peacoat.

Not a hair out of place.

But if you were to study her

a bit more closely,

also having two body marks,

you can tell
she's trying harder

than ever to
keep it together,

keep it aligned.

And with three bleed marks,

she's a bit distracted.

MARISHA: Mm-hmm.

ZEHRA: When she
starts to feel--

It's almost like this sense

that kicks in when
she's doing surgery

is kicking in at
random times now,

and she has to
really steel herself

and focus to stay on that

tight tether of focus.

LUIS: Well, (laughs)

Marion is doing great.

MARISHA: (laughs)
SPENSER: (laughs)

TRAVIS: Apparently
not, it's quite

visible my boy.
MARISHA: Doing great.

(laughter)

LUIS: Well, you do
see that there is that--

Whereas he used to be
able to cover the scar

that he had from
his childhood up,

now it's, because of
the events of last time,

the scar has spread,

and the spread of
it is absolutely

a bluish, silvery-ish
bluish color.

It's starting to
move up his neck

and across his chest.

He still has some wounds

that are on the mend

but are still
some body wounds

that are still definitely

not 100%.

But he's wearing,

he's got the same pants
and the same shoes on

pretty much all the time

as well.
SPENSER: Yeah.

LUIS: His vest is
his favorite vest.

It's nice. He loves it.

The shirt is
another version of--

He's got a couple
different shirts,

but they all might as well be

just the same version
of each other.

SPENSER: Right, right.
LUIS: It's definitely

a fresh version
of the same shirt.

SPENSER: Yeah.
All the same shirt.

LUIS: Yeah.
SPENSER: I love that.

You see Kingsley in
front of all of you.

Draven Kingsley. He's dressed

in a dark gray
suit and a tie.

He's holding folders
in his hands.

You notice you
all have folders

in where you normally sit.

He's holding other folders.

He quickly tucks
them next to the seat,

and you see a photo of you

peeking out from one of them.

"We had another
incident recently."

TRAVIS: Damn it, Finnerty.

BRENNAN: Bad news.

I'm a squid dog,
and I go to unzip--

(laughter)

BRENNAN: Nah, I'm playing.

ZEHRA: Good boy.

BRENNAN: (pants)

SPENSER: "A member

"of Allison's crew
was taken out."

MARISHA: Oh, so exactly
what we feared.

More retribution?

SPENSER: "I fear that is so.

"I appreciate the work

"that you all did last time,

"but there still seems to be

"more in front of
you in that regard.

"This thing, whatever it is,

"is still on the loose,

"and I would hate to see it

"track down anybody else."

TRAVIS: How many were
there in her circle?

SPENSER: He stares at
you for just a moment.

LUIS: (gasps)

SPENSER: "There were four.

"So," he says, and he turns.

He seems nervous.

His eyes flit.

Seems a little jittery.

"In front of you
are the details

"from the attack
that occurred.

"One of our men,
Adrian, was there,

"but was not able
to stop him in time."

TRAVIS: Mm.

SPENSER: Comes over to you.

Stands close to you.

"I wish to ensure
that all members

"of this circle stay safe."

Moves in by your side
onto your shoulder,

by your shoulder

and puts his hand on it.

"Especially you, Mr. Trapp."

TRAVIS: I thank you for
your concern, Mr. Kingsley.

I assure you we're in
very capable hands.

SPENSER: He gets a
little too close to you.

"Yes.

"I believe that is so."

Looks around.
MARISHA: Did it seem

suspiciously off?
TRAVIS: Yeah, yeah, yeah.

SPENSER: Yeah. Make a
Read roll for me.

MARISHA: Is he a face-stealing monster?
SPENSER: Make a Read roll for me.

TRAVIS: I will assist you.

MARISHA: That sounds great.

TRAVIS: Because he's
all up in my shizz.

MARISHA: Because he's
all up in your shizz.

TRAVIS: And he had
onions for lunch.

BRENNAN: In this moment
where everyone's really

focused on Draven,
who's acting weird,

can I grab the
folder with my photo?

SPENSER: Mm-hmm.
BRENNAN: Great.

MARISHA: I rolled
a six and a one.

SPENSER: A six and a one.

MARISHA: So a six.
SPENSER: So six.

TRAVIS: Yeah, six, yeah.
MARISHA: Yeah, a six.

SPENSER: So here's what
you get from the six.

He's acting not like himself.

His voice is the same,

but what you notice is
that the scar on his head

isn't quite the same shape--

MARISHA: Oh, fuck this.
SPENSER:-- as it normally is.

You hear, from
across the room--

(pounding)

ZEHRA: (gasps)

(pounding)

SPENSER:-- in one
of the cabinetry.

MARISHA: Oh shit.
LUIS: Oh no!

SPENSER: As that
happens, you feel

searing pain on your back.
ZEHRA: Oh!

SPENSER: He's moved
around to the side of you

and put his hand
on your back,

and he takes

what feels like his nail,

and he drags it all
the way down your back.

ZEHRA: (gasps)

SPENSER: Then you
feel a hand--

ZEHRA: (gasps)

SPENSER:-- around
your spinal cord.

TRAVIS: Oh! (laughs)

MARISHA: Someone
do something!

SPENSER: Another hand
grasping your lungs.

We hear (gasps) come
out of your mouth

as he squeezes
those lungs tightly.

Go ahead and take
three body for me.

TRAVIS: Oh!
LUIS: No, uh-uh,

not on my watch.

No, no, no.

So as all everything
you described

is happening in my my head,

I see his arms
wrap around him--

BRENNAN: This is
a good ability.

TRAVIS: Fucking yes, it is!
BRENNAN: This is a good ability.

TRAVIS: Looper motherfucker.
(laughs)

MARISHA: Yeah! (laughs)

LUIS: Flashes of what's
about to happen.

I see him about
to get torn apart,

and I rush right to you,

and I pull you towards me

and tell you: Run!

SPENSER: As that happens,

you feel yourself
pulled forward.

He didn't get his hands
around your lungs,

but he is holding on to
your spinal column here.

TRAVIS: (groaning) Gah!
SPENSER: You're able to soak

one of those.
LUIS: Got it.

TRAVIS: Finnerty!
SPENSER: Correct?

So you take two body.

TRAVIS: I drop. (groans)

BRENNAN: We're in a
well-appointed room, right?

SPENSER: Yes.
BRENNAN: I'm going to grab

a, what is supposed

to be a decorational
double-handed claymore

broadsword off the wall

and chop his fucking arm off.
MARISHA: Yes, yes!

BRENNAN: I can't kick
him out the window

because he's got ahold
of your fucking spine.

SPENSER: Uh-huh.
TRAVIS: Yeah, I said I drop,

but I think I just go like
this. Just hung down.

SPENSER: We see your
body lurch forward here

as a broadsword comes
off of the wall.

Go ahead and make a
Strike roll for me here.

BRENNAN: Okay.
SPENSER: As you come down

on this creature.

BRENNAN: I now have
the Tenacious ability

because we're an
Interdisciplinary circle.

So one of these
is actually gilded.

SPENSER: Amazing.

BRENNAN: It will go here.

Then actually, one
of them is gilded already.

This is a Strike
roll, correct?

SPENSER: Strike roll, correct.

BRENNAN: Okay, so
I'm going to burn--

SPENSER: You took two, right?

TRAVIS: I took two,
but that filled with three,

which is a scar.
SPENSER: Okay.

TRAVIS: That means I take a new one.
SPENSER: Yeah, okay.

BRENNAN: Okay.

LUIS: Just go down one.
I still absorbed one.

SPENSER: Yeah.
TRAVIS: Yeah. Two was enough.

BRENNAN: That's a six.
SPENSER: That's a six!

Describe for me
how you do this.

As you see one hand grasp

around the spinal column

of your lieutenant here,

who is now leaning forward

only supported by this single

dark, long spindly hand

that has dived into him.

BRENNAN: I've wanted
to kill Draven Kingsley

since the earlier
conversation upstairs.

TRAVIS: (laughs)
MARISHA: Oh my god!

LUIS: Just moments ago?
BRENNAN: I think

what to everyone looks like,

"Wow, Sean's always
really quick to act,"

is always, "Sean wants
to kill a lot of people."

TRAVIS: Yeah.
MARISHA: (laughs)

TRAVIS: He's thought
about this.

BRENNAN: I've thought
about this.

I clocked the sword up
on the wall before.

It's all been clocked,
everything's clocked.

So I grabbed the photo,
file that away,

turn around to see
Marion getting upset.

It's before--

As Marion gets up to grab LT,

I'm getting up at
the same moment

to grab the sword.
SPENSER: Yeah.

BRENNAN: So that
as the length--

He's holding on to the spine,
and as Marion pulls,

he has to extend
the arm to go.

SPENSER: Right and leaves
the arm wide open.

You see it bends
the wrong way

as this happens.
LUIS: Oh!

SPENSER: That's the
natural way that it's--

(laughs) Fascinating.
BRENNAN: Yeah.

SPENSER: That's the natural
way it's body bends.

BRENNAN: There's a moment
where I clock and I go:

Weakest at the shoulder
or the elbow?

I go for the--
TRAVIS and LUIS: Oh!

(laughter)

BRENNAN: I go right
for the elbow.

Bam!
LUIS: Goddamn it.

SPENSER: It slices clean
through the elbow.

You watch as the
hand lets you go,

you go tumbling forward
unconscious here as--

MARISHA: To be fair,
I hate it

when people say,
"We're the same" too.

As soon as he say that,
I was like, "Fuck you!"

SPENSER: Uh-huh.
MARISHA: I'm not even Sean,

and fuck you!
(laughter)

MARISHA: "We're the same."
LUIS: (laughs)

SPENSER: He stumbles back,

the tendrils of his
arm starting to grow

back as the ichor drips.
TRAVIS: Goddamn it.

MARISHA: It started
growing back?

TRAVIS: Tendrils.
SPENSER: Yeah.

Yeah, go ahead.

ZEHRA: While this
is happening,

I stay out of harm's way.

I want to run to where
that thump was heard

to see if it's actually
our Mr. Kingsley,

we can enlist his help.

SPENSER: Yeah, you were
hearing thumping.

There's a cabinetry unit.

TRAVIS: What the fuck is--
(laughs)

(laughter)

SPENSER: There's
a cabinetry unit--

TRAVIS: Stop!
(laughter)

SPENSER:-- that you
run to and open.

You see Mr. Kingsley within.

His face is wide
and contorted.

His eyes are bulging
out of his head.

LUIS: Uh-oh.
SPENSER: His shoulders

have been engorged,

and his body is covered
in black veining.

He looks as though
he's screaming,

but nothing is coming
out of his mouth.

His body is tucked
into the cabinetry,

all as though he
was a contortionist,

but he's not a contortionist.
MARISHA: Ugh!

ZEHRA: Can I check his vitals
to see if he's still alive?

SPENSER: Make a
Read roll for me,

a Read or a Focus
roll for me.

ZEHRA: I'm going to Focus.

SPENSER: Great.

ZEHRA: Since I'm Well-Read

and retain knowledge
better than most,

when I use Intuition when
making a Focus roll,

if I fail the roll,

I'll earn back any
Intuition I use.

So I'm going to
burn one thing.

I'm also gilded on Focus.

So I'm rolling
four for Focus.

SPENSER: Great.

ZEHRA: Three.
LUIS: Uh!

SPENSER: Three.

So you go to touch him-

ZEHRA: Wait, can I take
the one as a gilded

to get my drive back.
SPENSER: You can take the one as the gilded.

Get your drive back.

As you go to open
that cabinetry,

and you reach your
hand in instinctively

to touch his pulse, right?

He is covered in black ichor,

covered in black veining.

You feel a pulsating
in your temple,

a ringing in your ears.

As you grab him,

you feel his pulse
is still there,

but for a moment,
yours is not.

You're going to take
two bleed marks here.

ZEHRA: And that's a scar.
LUIS: No!

SPENSER: And that's a scar.

So you watch as

Jean at the cabinetry
drops as well

in front of
Mr. Kingsley here.

Both of them
laying on the ground.

Black ichor on her hand.

MARISHA: While all this
is happening, if I may?

SPENSER: Please.
MARISHA: Aunt Bee looks around.

She's looking for
a silvered serving tray,

or a mirror,
or something reflective.

LUIS: Yes, yes, yes.

SPENSER: So make a
Survey roll for me.

MARISHA: All right then,
Street Smarts.

SPENSER: As that happens--

TRAVIS: We still have
our hand mirrors.

SPENSER: We still do
have the hand mirrors.

MARISHA: Yes, oh, that's true.
SPENSER: You could put as your gear

if you want to
mark gear for this.

TRAVIS: Bleed containment
gear and hand mirrors.

MARISHA: I'm still
going to do this,

and I'm going to
spend the drive

because I can get it back.

Potentially,
I'm going to spend--

SPENSER: As
you're rolling that,

this thing makes eye
contact with you, Sean,

and says,

"I know the vengeance.

"I know what it's like,"
turns to you,

"to watch somebody
you care for die.

"My sister died,"

stares at you,
"at their hands."

MARISHA: Is
the sister from...

SPENSER: The creature
starts to

transform from
Kingsley into--

MARISHA: Sister.

SPENSER: Kingsley's head
slides up

onto the top of its head.
LUIS: Oh no.

SPENSER: Its maw starts
to extend out.

This is from the
description, very clearly,

the creature that killed--

TRAVIS: Antonio.
SPENSER: Antonio.

And was not like the
description what you saw.

MARISHA: He said
Allison is still alive,

but if he doesn't know that.

SPENSER: Well, Allison was--

LUIS: Halved.

SPENSER:-- was hurt by
some other creature

that was like this, right?

And then lit on fire.

So he's staring at you going,

"They killed my sister."

TRAVIS: Oh, yep, yep.

MARISHA: Oh.
TRAVIS: That was there.

BRENNAN: I think this
creature says this to me,

and Sean's internal--

The inside of Sean's--

Ears hear, but
the mind doesn't.

SPENSER: Yeah.
BRENNAN: The second

that there was a
hand around LT's spine,

everything this creature says

is like (pops and whirring).

I hear gunshots and
fire and everything

and everything is
controlled breathing.

Everything is just red.
There's some part of my mind

feeling the letter
inside of my coat

and then goes:
Everyone wants to talk

after the shit goes down.

I'm going to drop the sword

and take out the shotgun.
TRAVIS: Uh-huh.

BRENNAN: If this thing's
trying to tell me a sob story,

I literally can't hear it.

MARISHA: I rolled a six
for my Survey, by the way.

SPENSER: Amazing. So you were
looking for a mirror here.

MARISHA: Mirror, silver
tray or something.

SPENSER: You know there's
one downstairs in the bathroom.

MARISHA: Fuck that. I
don't have time for that.

I pull out the mirror
from my fucking pocket.

SPENSER: The hand mirror?
MARISHA: The hand mirror.

SPENSER: Yeah, the tendrils of
this creature's hand reach out

and shatter the
mirror in your hand--

LUIS: No!
ZEHRA: Oh!

MARISHA: Yeah, okay. Fuck.
SPENSER:-- crushing it and letting it go.

LUIS: What the hell?
SPENSER: This thing

is far beyond--
MARISHA: Shit.

SPENSER:-- what
you've faced here.

As this is happening, though,

we see you staring
ahead of you.

This creature is here.

LT is still here
on the ground,

but this is as though it's
in the battlefield for you.

You see this creature
standing in front of you

yelling at you, its arm
dripping in black ichor.

It's trying to convey
to you, "We are the same!"

BRENNAN: (laughs) I'm hearing that.
TRAVIS: (laughs)

BRENNAN: All I'm hearing in
my head is the voice of Dr. Nero

back in NoMAD being like,
"You may see strange things

"on these missions."
TRAVIS: Oh my god.

BRENNAN: "You may even
see enemy combatants

"take the form of children.

"They may beg you
not to hurt them."

MARISHA: Oh!
SPENSER: "But you must

"simply understand."

I look as this thing
says, "I'm like you,"

and I go:

(scoffs) No shit,
I'm a monster, too.

And I raise the gun.
MARISHA: Oh!

BRENNAN: And-- (laughs)

SPENSER: Take a shot?
BRENNAN: Yeah, take a shot.

SPENSER: Okay, sounds great.

TRAVIS: God.

Fucking--
ZEHRA: Yeah!

BRENNAN: That's a six.
SPENSER: That's a six.

TRAVIS: (snaps fingers)

SPENSER: (body trauma) This
creature gets hit, too,

in the stomach.
BRENNAN: Mm-hmm.

SPENSER: It looks down.

You see its body is dripping

purple chromatic ichor now.

It touches its chest.

"She's coming. She's
going to get out.

"We're going to get her out.
We're going to get her out,"

and then stumbles
backwards and then

falls out the window,

the stained glass window.
ZEHRA and LUIS: (gasp)

LUIS: Not my window!
TRAVIS: (laughs) Oh, fuck!

ZEHRA: The petunia.

SPENSER: Disappears
into night.

LUIS: It-- oh.

So there's no trace at this--

SPENSER: If you go look out the
window, this thing is gone.

LUIS: Damn!

BRENNAN: I am going to--

Seeing this thing
fall out the window,

I am going to look
at Marion and say:

Fake Kingsley was upstairs.

I'm going to rush
up to the archives

where all of the
dangerous magick shit--

TRAVIS: Oh shit, yeah. Oh yeah.
SPENSER: Yeah.

BRENNAN: Rush up there.
SPENSER: You all are

already upstairs but there's--
MARISHA: What is missing?

100%
TRAVIS: He's had a hall pass.

SPENSER: You're
already upstairs,

but the archives
are back behind

where the meeting room is.

BRENNAN: I'm rushing back.

I say that to you and

I'll look at Aunt Bee
and I'll be like:

Check to make sure this
motherfucker's dead!

Doc, LT's hurt! I'm going
to rush into the archives.

SPENSER: Great. Yeah, you rush--
ZEHRA: I'm hurt.

LUIS: Doc is out.
ZEHRA: I'm out.

LUIS: Unconscious, unconscious.
ZEHRA: I got a scar.

I'm like--
BRENNAN: Marion, tell Doc--

LUIS: I got it.
BRENNAN: Yeah.

(laughter)
LUIS: I got it. Go, go!

SPENSER: You rush back
into the archives.

TRAVIS: (laughing) Holy shit!

SPENSER: It's as though
this place has been raided.

TRAVIS: (drawn-out sigh)

MARISHA: Oh, son of a bitch!

SPENSER: Things
are gone here.

You were fixing things that
were in the front room,

but as you enter
the back area

that you aren't
normally allowed to go,

they are-- It is raided.

MARISHA: Oh, yeah,
yeah, yeah, yeah.

Oh yeah. Yeah,
yeah, yeah, yeah.

LUIS: We're in the
room together?

MARISHA: We're in
the room together.

Aunt Bee yells up
to Sean and goes:

Check the cabinet where
the androphage was!

Which was up there, right?

He put it where we--
SPENSER: It's in the room

that you're in right now.
MARISHA: The room that we're in.

SPENSER: Yeah,
because remember,

he took it from you--
MARISHA: Fuck!

SPENSER:-- and put in the cabinet.
MARISHA: Put it in the cabinet.

I open the cabinet.
SPENSER: Yeah, the cabinet.

As you open the cabinet,
you pull out the drawer.

It's a hidden compartment

back there.
MARISHA: Uh-huh.

So the androphage
is still there.

MARISHA: As well as the other
containment vials and stuff?

LUIS: He ransacked stuff that's
more important than that.

SPENSER: Yeah.
MARISHA: Yeah.

LUIS: I don't want to lose
him. I don't want to--

I want to make sure that
that thing is down there

and is out, and if not,

I don't want to
lose track of him.

Can you? I'm holding her.
MARISHA: You go track that.

I'm going to get her up
so she can get him up.

LUIS: I'm going
to run outside.

SPENSER: Yeah.
As you run around,

you see a spot on the ground

where the creature
hit a carriage.

LUIS: Okay.
SPENSER: Crushed a carriage down.

LUIS: Uh-huh.
SPENSER: You see twisted metal

and wood, but the creature's
nowhere to be found.

LUIS: I'm going to try to Sense
to see what direction it went.

SPENSER: Great, that sounds good.
LUIS: See if I can get a ping.

SPENSER: Make a Sense roll.

As you do that,

we see Kingsley and
you on the ground.

The danger for the moment
in that room has passed

so your eyes flit open

and you see a man
lying sideways,

looking at you
also lying sideways,

his mouth wide open.

His rasping breath
reminds you of the sound

that your father made,
overtaken by bleed.

He says, "Kill me.

"Kill, kill me!
(raspy breathing)

"I'm not done! Don't
let me end up like her!"

MARISHA: Can Auntie Bee
hear this, too?

SPENSER: Yeah.

MARISHA: I see the horror
on Jean's face

and I snap her face
to look at me.

SPENSER: Mm-hmm.

MARISHA: Don't worry, don't.

You can't worry
about that right now.

You got to get Nathaniel up.

ZEHRA: Mm.

MARISHA: I can handle him.
You just, you tend to him.

ZEHRA: All right,
I'm unsteady on my feet

and I look at Nathaniel

and go to patch him up,
grab my bag.

And-- Ah! My hand.

There's something
wrong with my hand.

Pull off my glove.

And where the
tips of my fingers

on my left hand used to be

are little tendrils
of blue flame.

It's very hot,

and I'm horrified,
but then I'm fascinated.

Huh.
SPENSER: Classic doctor.

Love it.
TRAVIS: Uh-huh!

(laughter)

ZEHRA: I grab the sack
with my good hand,

and I head back to Nathan
to do some patch up.

SPENSER: Yeah, you kneel down
next to Nathan, Nathaniel.

The danger in
this room has passed.

We see your eyes flit open,
but you are still very hurt.

You took an additional body,
is that correct?

TRAVIS: I did.
SPENSER: Okay, great.

So you have one body
on your sheet.

You're going to use
Patch Up here to do this?

ZEHRA: I'm going to use Patch Up.
SPENSER: Okay.

ZEHRA: So I'm going
to make a Focus roll

to heal an ally
one body mark.

SPENSER: Then, Luis, we're
going to come back to you.

Don't worry.

As this happens,
as that roll is happening,

tell me what scar
you're going to take.

It's a body scar, right?

TRAVIS: Yeah, I mean,
he had his hand

around my fucking spine so--
(sighs)

When you run your finger
along someone's back

and you can feel the
little nubs of the vertebrae--

SPENSER: Yeah.
MARISHA: (groans softly)

TRAVIS: They're a little bit
bigger than they were before.

ZEHRA: (gasps)
TRAVIS: They crest

just between the scapulas,

between the shoulder blades
up to the neck.

And what really hurts
in the beginning

starts to feel

really strong in short order.

SPENSER: Mm-hmm.

TRAVIS: But also
very numb and strange.

And for some reason,
his right leg

isn't quite working
the way that it should.

BRENNAN: Mm.
LUIS: Oh man.

SPENSER: Great. What action
points do you want to move?

TRAVIS: Yeah.
(laughs and stammers)

(laughter)
SPENSER: You can also think about it

right now, if you'd like to.
TRAVIS: No, no, I'm going

to move one of Focus.

SPENSER: Okay.

TRAVIS: Into (chuckles).

ZEHRA: Oh, that's right.
TRAVIS: Into--

SPENSER: Yeah, you need
to shift one as well.

TRAVIS: Strike.
SPENSER: Ooh, going full strike.

LUIS: Good.

SPENER: Good,
we're going to need it.

TRAVIS: I, fuck, yeah.
LUIS: I lost my Strike last time.

MARISHA: Looking at,
oh, sorry.

SPENSER: Yeah,
please go ahead. No.

MARISHA: Looking at Draven
while Jean handles Nathaniel,

I'm over top of Draven.

From what educated
experience I have

from tending to
wounded soldiers,

does he look beyond repair?

SPENSER: He looks pretty bad.

He looks not like
you're used to with soldiers.

He's covered in bleed.

This is not injuries like
you're used to from the war.

This is injuries
that are supernatural,

paranormal in nature.

It's very hard to
tell from your expertise

whether this is
something that's survivable.

MARISHA: Is he still
pleading for death?

SPENSER: Fading in and out
of consciousness

and pleading for death.

We're going to cut back
down to you since I know

you rolled to Sense
which direction this went.

LUIS: I'll roll now.
SPENSER: We can come back.

I just want to make sure since
I told you to make that roll.

LUIS: Six.
SPENSER: That's a six.

Yeah, you can tell that
this thing just went up

to out of the carriage that
it crashed in, up the street,

and then took off
up on top of buildings.

LUIS: Got it.
SPENSER: Scurried up on top

of the buildings and
went out into Hallowharbor

away from the ocean.

LUIS: Okay, so more
towards the city.

SPENSER: More towards
the city.

More towards the center
of the city itself, correct.

That's the direction
that you know it went.

What do you all want to do?

ZEHRA: Uh.
SPENSER: Yeah.

ZEHRA: I rolled a five on my
Patch Up with the gilded die.

SPENSER: Great.
ZEHRA: So I am taking--

I have to take two
Intuition away to use this,

but I also, it was gilded
so that means I earn one back.

SPENSER: One back, so you
only spend one to do it.

ZEHRA: Great.
SPENSER: Great.

And on the gilded die,
just making sure,

when you have
a gilded action,

it doesn't add
a die to your roll.

It only--
ZEHRA: Right.

SPENSER: So I don't know if you--
ZEHRA: Oh, I see.

It replaces one of the--
SPENSER: It replaces a die.

ZEHRA: I will note
that for next time.

SPENSER: So for next time.
Yeah, no problem.

Great, you take that five.

ZEHRA: That five is
directed to his heal.

SPENSER: Great, you're going
to heal one body mark here.

What's it look like as
you patch this up quickly?

ZEHRA: Oh, it's not my
best work, but the skin,

I try to put the skin
back together

around this enlarged
spinal column,

and it's very tender,

but it comes together
all the way.

There's very, very little
chance at any infection

even as the bone is
pushing against this.

TRAVIS: Can we see any of that
blue flame on your fingertips?

ZEHRA: Then for
added benefit,

I cauterize it.

TRAVIS: I was going to-- yeah!
SPENSER: Yeah! So good.

TRAVIS: Yes!
(pats table and laughs)

MARISHA: Dang!
LUIS: What the hell?

ZEHRA: And because I--
TRAVIS: Wait, give me the bourbon!

(groans)
(laughter)

ZEHRA: I'm so sorry!
I'm so sorry! I'm so sorry!

TRAVIS: That's good,
that's good. (groans)

ZEHRA: That should do it.

LUIS: I give you some
more of that bourbon

or scotch that
you were drinking.

TRAVIS: Oh, thank you.
(groans)

LUIS: Here, just--

ZEHRA: Because I
took this scar,

I removed a point from Hide

because there's no
hiding a flame hand.

I moved it to Control because
I have to work harder

and be more specific
now with my hands.

SPENSER: Yeah, I love that.
It's such a good shift.

LUIS: Nice.

SPENSER: For the moment here,
there is calm outside.

There is calm in here.

Kingsley's breath
(inhales raspily)

rasping in front of you,
wracked with bleed.

As you look over at him,
hearing that voice,

that familiar voice,
you see for a moment

your father's face in his.

MARISHA: His body was
all contorted and shoved

and broken and
just fucked up.

SPENSER: Correct.

MARISHA: I--
SPENSER: What do you all want to do?

TRAVIS: Can I move over to King--?
MARISHA: Yeah.

TRAVIS: Can I move to Kingsley
and say:

Listen, with whatever time
you have left,

where did that come from?

SPENSER: "(breathes raspily)
I don't know."

TRAVIS: Fuck! I shake him.
SPENSER: "(grunts)"

TRAVIS: Who do you report to?
Who is above you?

SPENSER: "(inhales roughly)"
He looks over his shoulder.

"(inhales raspily)
They're going--

"They're going after Allison.
(inhales raspily)"

MARISHA: Allison is who
they have to find.

TRAVIS: Do you have a key?
Anything?

The hidden parts of
this chapter house.

SPENSER: "(groans raspily)"

His eyes bulge and they
start to fill with blood.

ZEHRA: From my bag, I pull out
a vial of shining green.

SPENSER: Mm-hmm.

ZEHRA: We have
to keep him alive.

MARISHA: What?

ZEHRA: We have to
keep him alive!

LUIS: We have to
keep him talking.

At least for that much.

ZEHRA: I begin filling
a syringe with the vial.

MARISHA: What is that,
my dear?

Is that from EONS?

ZEHRA: It is
a temporary solution.

Something I would hoped

I would never have
had to use again.

And I plunge the syringe--
MARISHA: Fuck! All right.

ZEHRA:-- into
Mr. Kingsley's arm.

SPENSER: "(gurgles)"
His eyes go wide.

There's, for a moment,
a sense of relief.

TRAVIS: Finnerty?

BRENNAN: I'm upstairs in
the archives looking around.

TRAVIS: Fuck.

I step back.

LUIS: I want to tie him up.

SPENSER: Okay.
LUIS: I'm sorry, sir.

We just got to--
We can't trust you right now,

but we need you to talk.

I'm going to start
to get rope and

I'm going to start to tie
his hands behind his back.

If there's a chair, I'm
going to sit him in a chair

and I'm going to
start to tie his legs.

SPENSER: Mm-hmm.
TRAVIS: While he does that,

I will go back to
that mahogany box

with the finely lacquered
varnish, open it.

I will take the officer's
pistol out of it now

and stick it in
my fucking holster.

SPENSER: We see it
slide in, Lieutenant.

And that's where we're
going to go on break.

(shouting)

BRENNAN: Hey, oh, hey!
MARISHA: That's right, break.

Jesus christ!
TRAVIS: (chuckles)

MARISHA: Yeah,
I was two seconds

from putting this guy
out of his misery.

(laughter)

MARISHA: No, no--

LUIS: I know.
BRENNAN: I'm so glad-- No,

everyone, I was literally--
TRAVIS: Like, "I'm upstairs."

MARISHA: He was about
to go night-night.

BRENNAN: If Sean had been
there it'd be like,

"Okay, this guy wants to die."
MARISHA: Yeah.

BRENNAN: We all want
him to be alive.

It's a fucking democracy.
(laughter)

BRENNAN: Majority wins,
motherfucker. Talk.

(laughter)

SPENSER: Amazing. All right,
we'll be right back.

TRAVIS: Oh!
ZEHRA: Whew!

SPENSER: And we return

to Kingsley in a
chair, tied up,

black veins snaking
up his neck,

across his face,
down his arms.

They're pulsating.

Looks worse for wear,
but alive for now.

What would you all
like to do?

LUIS: He is just
emanating bleed?

SPENSER: Just emanating.

LUIS: I want to see if there's
a way that I can determine

by just tapping into
that other layer

that I can experience

how much time
he might have

before he becomes something
else or just drops dead.

SPENSER: Great. Make a
Sense roll for me.

As it's happening,
you see his head

start to drop
a little bit

and he pulls himself back
out of consciousness.

Unconsciousness,
I should say.

LUIS: That is a six.
SPENSER: That's a six!

He looks as though
he will survive

for at least the
next hour or so.

Beyond that, it's
hard to know.

TRAVIS: Can I start to
inspect this level?

SPENSER: Sure.
TRAVIS: Rooms, the folder,

why Sean's picture
was in there.

MARISHA: Oh yeah.
TRAVIS: Just everything.

SPENSER: Sure. You go over to
the folders

and you flip them open.

What you find are that there
are folders on all of you.

ZEHRA: Oh.
MARISHA: Oh shit.

ZEHRA: And you used
that picture? Hmm.

(laughter)

TRAVIS: I did.
SPENSER: That's so good.

Sean's photo was the one
that happened to peek out

but there are photos of all
of you, files on all of you.

What you would
gather from this

is that this creature,
whoever they are,

was trying to learn
who all of you were

before you arrived.

BRENNAN: Did this look like
Candela had the--

Also, I'll come back
from the archives

and say--
SPENSER: Sure, yeah, yeah.

LUIS: We'll come get you.
BRENNAN: Yeah,

I'll just come
back and say--

Yeah. Got to him.

TRAVIS: They raided us?
BRENNAN: Yeah.

LUIS: There's nothing
left up there?

BRENNAN: You know, crumbs,
couple of things.

Anything that was
juicy is gone.

TRAVIS: The androphage?

MARISHA: Oh yeah.
BRENNAN: That would've been in the--

MARISHA: We got that.

And I'll take the androphage.
SPENSER: Yeah. There you go.

You want to pass that?

TRAVIS: Yep.
SPENSER: Thank you.

MARISHA: Might as well.

ZEHRA: Johnny, was it?
TRAVIS: (gulps)

MARISHA: (shouts) Oh god!

BRENNAN: How's Johnny looking?
Is he all right?

MARISHA: (uncertain noises)
TRAVIS: (high-pitched) Free me.

LUIS: Free me!
MARISHA: He's our new friend.

BRENNAN: Looking at
our folders,

does this look as
though these folders

were being kept by Candela

and the creature
made use of them?

SPENSER: Correct.
BRENNAN: Okay.

SPENSER: You see on
the folders themselves,

they have a description of
you, physical description,

height, weight.

They also have a section on
personality and temperament.

Then there's also like
address of where you live,

as well as specialties
that you would have.

BRENNAN: Do we see anything--

I think Sean will take
a moment to read his.

SPENSER: Sure. Yeah.
BRENNAN: Specifically looking--

None of this raises a flag?

Like having the location
and information,

we have a dangerous job

and the organization tracking
us is in one way reassuring,

but I think Sean is looking
for anything un-reassuring

and is looking for anything
that would be more--

Also, if there's a
section on personality,

I think there's a
moment where he's like,

"Yeah, what am I like?"
You know?

Like, to look at it and
read the personality section.

SPENSER: Yeah.

On your file, as you open it,

it says under location, N/A.

Then under personality,
it says,

"Focused, diligent,
hotheaded,

"violent, prone to rage.

"Question mark."

BRENNAN: The list doesn't mention
my keen sense of humor anywhere.

LUIS: Really? It doesn't?
Let me see.

Nope, it's not there.

ZEHRA: Focused?
MARISHA: Hmm.

BRENNAN: The hell?
TRAVIS: Would we know where

files like this were kept?

SPENSER: Yeah.

You would know that
there are files

within the archive somewhere.

If you wanted to
make a Survey roll

to see where the rest
of the ones for--

What you do know is
it's this chapter house

that would hold
the records

for the part of
the organization

that comes through
this chapter.

TRAVIS: It feels like we
need to keep Draven talking,

but if there are files

on Allison and the
rest of her circle,

we should try and
find whatever they had

on the rest of her fellows.

Figure out where they are.
LUIS: Right.

They're not mixed in with
the files that we have.

These files are just ours.

SPENSER: Those are
just yours.

Correct.
LUIS: Okay.

I'm going to go
take a double check.

I think that you-- Look,
he's got about an hour.

You are very convincing.

TRAVIS: Uh-- Yeah, five.
SPENSER: Five. Okay.

LUIS: So other people here are
more convincing than I am.

I'm going to go
take another sweep.

I'm going to basically go
back, retracing your steps,

and I'm going to scan.

I'm looking for artifact.

I'm looking for anything
that we can wear

that's going to protect us
against supernatural powers.

TRAVIS: It's loadout time.
LUIS: I want necklaces. Yeah.

I mean, I want to
really raid this

and hopefully look for
secret compartments

that may have been
missed anywhere.

BRENNAN: You're going to be
going looking for stuff?

LUIS: Yeah.
BRENNAN: I'm going to say: Listen.

I mean, I can beat the
shit out of Draven.

I don't know that I can
convince him to do anything.

ZEHRA: Let's please not
beat the shit out of him.

BRENNAN: I agree, so listen.

If we're not going to--

SPENSER: "(gasping and wheezing)"
He coughs.

"I want to help."

MARISHA: Where are the files?

Where are the files
on the other members

that this monster is stalking?

SPENSER: He points
to the back area

in the archive room
where you were.

"Second-- Second drawer."

BRENNAN: Where's the kid?

SPENSER: He looks at you.

BRENNAN: Where's the kid?
Lucas? Where's the kid?

SPENSER: We cut to a
shot of a teddy bear

being held by a boy.

He's cowering in the corner

downstairs in the bathroom.

MARISHA: Oh, this poor fucking kid.
LUIS: He's here!

SPENSER: Who is standing
there with him?

Who went to find him?

Is that you?
BRENNAN: Yeah, I'll go,

but if Draven says that
he's in the house,

I'm going to go find the kid.
SPENSER: Yeah, the kid.

So the shot that we get--

We see-- you're running off

to go with the files.
TRAVIS: To the second drawer.

Great. We see you going to the
files in the second drawer,

flipping through them
with your fingers.

As that happens, we cut to
you standing in the doorway.

A soldier.

Face to face with--

Not face-to-face, but like,

one-on-one with the
boy who is cowering

in the corner of the
bathroom holding the bear.

The bear still has an
evidence tag hanging from it.

He says,

"Is he okay?"
Looking at you.

"Mr. Kingsley? Is he okay?"

BRENNAN: It's all right, kid.

I'm going to walk over.

SPENSER: He gets scared
as you approach him.

BRENNAN: I am
having a hard time

seeing this kid look
up at me in fear.

It's all right.

SPENSER: He tries to scoot,
but there's nowhere to go.

SPENSER: Kid, (sighs)

you got nothing to be
afraid of, all right?

Just get up.

Draven's not doing
all right. Okay?

SPENSER: Make a Sway
roll for me.

BRENNAN: That's a five.
SPENSER: That's a five.

The boy looks up at you,

tears filling his eyes.

And you know.

You've seen this
look before.

[creepy violin scales]

[explosion]

SPENSER: When you cornered that child.
[gunshots] [creepy music]

SPENSER: And you saw this fear--
[blaring siren] [gunshots]

SPENSER: What did he look like?
[gunshots] [siren blares]

BRENNAN: We were deep behind
enemy lines in Otherwhere.

Northern Maritime Allied Defense.
[gunshots]

BRENNAN: They're
a regular battalion.

[three thudding explosions]

BRENNAN: We're in
Bravo Company,

third platoon called Ghost.

[giant explosion]

BRENNAN: Our Lieutenant,
Alice Hayes,

worked with a man named
Dr. Oliver Nero.

We were told that the enemy

had tools beyond reckoning.

Dangerous, powerful
technologies.

[gunshots]

BRENNAN: It was strange.

Had the potential to
wipe out all of Hale,

everyone in Newfaire,
dead in an instant.

[gunshots]

BRENNAN: Technology is not
the word I would've used

to describe what we saw.

[gunshots] [explosion]

[gunshots]

BRENNAN: This look of fear
on a child's face--

[creepy music intensifies]

[gunshots]

BRENNAN:-- mirrored my own,

because we had seen all the
things that these kids could do.

Research all just starting.

If the kid had just
come with me,

and if there hadn't been
that flash in his eyes

like he could do something
that I couldn't understand.

[explosions]

BRENNAN: I'm not holding
a weapon right now,

so when my right index
finger twitches,

nothing happens.

[explosions]

MARISHA: Can anybody come up
and just grab Sean?

I'm kind of seeing.

Hey.
BRENNAN: (whimpers)

MARISHA: Hey, hey, hey.
BRENNAN: Get off of me.

MARISHA: It's all right.
It's all right.

Come on, honey. Why don't
you come with me?

BRENNAN: I'm sorry, kid.

MARISHA: I look at the kid.

Right. Go with Dr. Jean.

You know you'll
be all right.

I'm going to let
him just scoot by.

SPENSER: Take two points
of brain.

LUIS: (whispers) Oh fuck.

SPENSER: But with that five,

the child looks at you.

BRENNAN: I'm going
to kneel down.

Never go in the tub.

What you got to do

is look at these vents
in the corner, all right?

They got four
screws in them.

You find something like a
penny that fits in the slot.

You unscrew all of
them, you crawl inside.

They're going to sweep
every single room.

(aggressively) You understand?

SPENSER: He drops the bear.

"Are you saving the world
or are you hurting it?"

BRENNAN: What'd you say?

SPENSER: "Are you saving the
world or are you hurting it?

"I think you're
saving the world,

"but I think you think
you're hurting it."

BRENNAN: (shudders) Freaky
little fucking kid.

Fuck.

Fuck out of here.

MARISHA: Come on,
come on, come on.

ZEHRA: Mr. Suarez?
Come with me.

SPENSER: The child
walks forward,

keeping eyes on you
the whole way.

BRENNAN: Let's get out of
this fricking place.

(stammering)
I leave the chapter house.

SPENSER: Okay.
BRENNAN: I'm out of here.

SPENSER: We see you walk
out the front door.

MARISHA: (sighs)

SPENSER: Land on
the four of you.

You have rifled through
the paperwork here.

There are names of people

that are part of the
Hallowharbor chapter house,

but that doesn't seem to be

where these individuals
would be.

Allison is not in there.

There is not a remnant of--

Sorry, forgetting
the name. The guy--

TRAVIS: Antonio?
SPENSER: Not Antonio,

because he wasn't
in the circle,

but it would've been Joshua
Fisher, I think was the name,

that was the other
man who was killed.

I don't think we even
mentioned his name,

but Joshua Fisher, yeah,
would've been the one.

You don't see either
of their names here.

So they were clearly
in a chapter house

that was not
Hallowharbor.

ZEHRA: While I've made
sure that the child

is kept occupied
in another room,

I want to go back
to Mr. Kingsley

and try to ascertain

the extent of his bleed.

Also if he can tell me
anything about the nature

of how did this
creature overtake him?

SPENSER: Yeah, he
looks at you,

eyes wide.

"(wheezing)

"I'm not going to
make it, doctor."

ZEHRA: Mr. Kingsley.

SPENSER: "What did you use on me?"

ZEHRA: That's not important.
SPENSER: (gruffly) "What did you put in me?"

ZEHRA: Adjuvant. You
know what it is.

SPENSER: "That's EONS tech."

ZEHRA: It was
developed by EONS

to mitigate bleed
in humans.

SPENSER: Looks down at
his arm, which is glowing,

blue, green, purple,
blue, green.

ZEHRA: But it's
only temporary.

It won't last long. You will
need more of it to survive.

But may I ask, if I may,

what does it feel like?

The Adjuvant?

SPENSER: "Like sea water.

"It washes in and out.

"I can hear my blood moving

"in and out.

"You have to help them."

ZEHRA: Help who?

SPENSER: "Duncan and
Farrah and Allison."

ZEHRA: Duncan? Fora?

SPENSER: "Farrah."
ZEHRA: Farrah.

Where can we find them?
Do you know?

SPENSER: "No, it's-- (choking)"

As he says that, you see

his tongue starts
crawling out of his mouth.

TRAVIS: Oh my god.
LUIS: Oh no.

SPENSER: It goes
down his neck

and then falls
onto the floor.

ZEHRA: Oh.

SPENSER: "(wheezing)"

He can't speak, but
he's trying to reach

out for something to
help communicate.

ZEHRA: I hand him a pencil.

SPENSER: Uh-huh.
ZEHRA: And a piece of parchment.

SPENSER: Yeah, uh-huh.

He takes those in his hand
as carefully as he can

and though his hands
are shaking,

he writes, "Silvers--"

And then it slips.

ZEHRA: (laughs)

MARISHA: Is this the
other chapter house?

Is this what he is
trying to show us?

TRAVIS: That's where
they would be at.

SPENSER: Then brings
the pencil back up

and writes the
numbers of the address

and the beginning
of the street.

He has to focus to do this,
but he gives you where to go

before the pencil
snaps in his hand

and his fingers start
growing, engorging.

The strength of his hand
grows without him knowing.

He puts that hand down onto
the chair that he's sitting on

and the chair snaps
underneath him.

He's now laying sideways
on the chair.

He puts his hand
down on the ground

and it goes through
the floor as this happens.

What do you all want to do?

MARISHA: I'm getting nervous.

ZEHRA: We have to contain,
we cannot let him die.

I know he's given us information
we need to move forward,

but we--
I cannot let him die.

MARISHA: Jinnah, you
can't save everyone

and that's not--
that's not your fault.

You're not doing harm

by letting him go.

If anything, you may
be doing more harm

trying to keep him alive.

ZEHRA: Bee, please.

MARISHA: That shot
you gave him,

does it do anything to
take the pain away?

ZEHRA: I don't know.

It seems to help mitigate
certain symptoms,

but I have not seen symptoms
the like of Mr. Kingsley

and the amount I gave him,
it seems to be wearing off.

SPENSER: As you
look up at Bee,

you see over her shoulder,

Avery Choi standing there.
LUIS: Oh.

SPENSER: You don't see
anything behind you.

MARISHA: Jinnah, focus.

SPENSER: Avery's standing in
the corner of the room

staring at you.

MARISHA: Jinnah, whatever
you see, it's not real.

You have to focus
in this moment.

ZEHRA: He lives.

I will not let him die.

MARISHA: Jinnah.

ZEHRA: Turn away
from Auntie Bee,

and I look back
at Mr. Kingsley

and consider options to
help contain the bleed.

MARISHA: I'm going to go
up to Kingsley, and

if you're not going
to let him go,

then at least not
let him suffer.

She's going to reach into
her little medicine pouch

that she has hanging off and
she pulls out a little capsule

and she's going to
break it under his nose

and it's a capsule
filled with scarlet

in a breathable powder form.

So she uses it like
a smelling salt

to at least try and
mitigate some of the pain.

SPENSER: I'm going to have
you make a Sway roll

to keep him calm with this.

The effect will be greater

because you're using
an object to do that.

MARISHA: Five.
LUIS: Ooh.

SPENSER: Here's what happens.

You break that
under his nose.

His head starts up at you.

His hand grabs your hand.

MARISHA: It's all right,
sweet boy.

SPENSER: His hand that just
broke through the floor,

grabs your hand

and he pulls you towards
him and your wrist pops.

Go ahead and take
a point of body for me.

MARISHA: (groans)

SPENSER: But he lets go,
realizing what's happening,

not knowing his own strength.

MARISHA: I try to just--
SPENSER: His eyes start to swirl

as they do when
the hallucinogens.

MARISHA: Non-Combatant, my
pain spurs others into action.

If I haven't hurt anyone
yet, which I haven't,

when I take a mark,
each of my allies in the scene

can recover one drive point
of their choice.

So I think every,
you're not here, but--

BRENNAN: I ran out of
the chapter house.

SPENSER: The three of you,
you watched as Bee gets hurt.

MARISHA: (groans)

LUIS: How far away am I because
I went back up to look,

to where the artifacts were.

I'm still nearby.
SPENSER: You hear her yelp

as this happens,
you're still here.

MARISHA: I just kind of,
I steady everyone off.

Get--

SPENSER: He's watching
something floating by.

MARISHA: Get what you
need out of him.

I've got to go check on Sean.

ZEHRA: I will heal you later.
MARISHA: Auntie Bee turns and--

ZEHRA: I'll take a
look at that wrist.

MARISHA: I'm fine!

Then Bee turns and
goes look for Sean.

SPENSER: Great, we see you
exit the chapter house.

We stay on you here as
the streets sit silent.

There's a crushed carriage
outside that was left over

from when the creature
fell out of the window,

but besides that, everything
here is pretty quiet

in Hallowharbor.

You hear the
dinging of the ships.

What do you want to do?
MARISHA: Any sign of Sean?

Quick scan.

BRENNAN: I'm happy to leave
it up to the dice,

or if it makes more
sense for me to--

SPENSER: Let's roll Survey.

MARISHA: All right.
BRENNAN: I'll roll--

MARISHA: Street Smarts.
SPENSER: You want to roll high.

BRENNAN: Yeah,
I'll roll high.

SPENSER: We'll say tie will
go to the initiator.

BRENNAN: That's a four.
SPENSER: That's a four.

MARISHA: Five on
my gilded die.

SPENSER: Where does
Bee find you?

BRENNAN: I'm outside
the chapter house.

I was prepared to charge
off into the night,

but the shattered carriage
has reminded me

that there's something
a little bit more pressing

and important going on.

I think I'm smoking,

and I'm moving a baseball
around in my hand

and I'm counting the stitches

because it's a Möbius loop.

It's just one line
of stitches.

I'm counting it kind of
like a rosary.

MARISHA: ♪ Take me out to ♪
the ballgame ♪

♪ Take me out to ♪
the ballgame ♪

Do you remember that time,

shortly after we
lost your dad,

me and her mother?

It's like you and

I think Tony, I don't think
Jimmy was with us

from what my shaky memory
can recall.

BRENNAN: Jimmy was sick.

MARISHA: He was sick,
that's right.

We took you to the game.

I don't think you boys
had ever seen a,

seen a building so big

as the stadium and
that ball field.

Think your,

your mother saved
up for months

to take you all
to that ballgame.

I think even still
we had to borrow

a little bit of cash
from the neighbors.

When they launched
those fireworks,

after that home run,

never forget the flash of
rainbow colors on y'all's face

as you just stared in awe.

[fireworks booming]

MARISHA: Purple, green,
red, golden yellows.

[fireworks booming]

MARISHA: Got to
cherish those,

those rare moments
of happiness.

Can't forget them, you know?

Got to remember.

Got to remember

that those moments are
also who you are, Sean.

Not just the bad ones.

If I recall, you had
a little bit of allowance

that you saved up.

And being just the
sweetheart that you are,

you use that to buy a
baseball cap for your brother.

BRENNAN: (tearily)
He was home sick.

He was looking forward
to the game.

MARISHA: He was.

BRENNAN: I just thought if
he had a baseball cap,

it'd had been
like he was there.

MARISHA: You're
a good man, Sean.

BRENNAN: You can't
say that to me.

MARISHA: You're a good boy
and I watched you grow--

BRENNAN: You can't--

MARISHA:-- into a good man.

BRENNAN: You have no idea
what you're talking about!

Are we good?

You and me?

We're good people?

There's a kid
inside right now.

Head's all screwed up saying
strange shit to people.

LT's got his spine fucking
grabbed by some ghost thing.

Doc's got some kind of
syringe full of EONS shit

that's in a Candela place.

Nothing makes
any fucking sense.

Draven's dead.

He was alive when I saw him.

I'd be amazed if he still is.

And Marion has got something
growing on his chest.

Like...

How much longer am I going
to have even him around?

So you're talking to me.

I just wish people
would stop telling me

they fucking understand.

Everyone wants
to take care of me.

I don't know if it's
obvious enough to you, Bee,

I'm doing a lot of the
taking care of around here.

The last thing
I need is anyone

to come fucking
take care of me.

We're going to get Ma
out of Grayslate.

We're going to kill whatever
this thing is running around.

We're going to put
its head on the desk

of whoever Draven's
direct report is,

and then I'm done.

So let's go take
care of business

and stop asking me
how I'm doing.

MARISHA: I think that'd
be good for you,

for you to be done.

And no, Sean,

none of it makes sense.

We don't have to
pretend like it does.

None of it makes sense as
to why I lost my husband,

to why you lost
your brothers,

to why both of us
are homeless,

to why life
has repeatedly chosen

to enact its horrors upon us.

But,

it's in these moments that
define who we are as people.

So, I won't ask you
how you're doing again,

but this is the last time
that I will ask

for you to pull your
fucking shit together

so we can go and
save the fucking world.

And then,

you should turn in your pin.

When you're feeling better
and you finish that cigarette,

I'll see you inside.

And I walk inside.

SPENSER: We sit on you
for just a moment.

You hear the waves
lapping against the shore.

You see the
Glass Sea before you.

On the other side
of that ocean,

the place your life
changed forever.

And we return to all of you.

What are we doing here?

TRAVIS: I race downstairs
and I see

Mr. Kingsley
looking even worse.

I'll go over and grab
the bottle of bourbon.

Keep it close.

Is there any sort of
a call sheet for Candela?

Anything that would
allow us to communicate

chapter house to chapter house
or give listings

of other areas in Newfaire
that we could go to,

knowing that there's no file

on the other two members
of Allison's circle.

SPENSER: What you know is
you have the address.

ZEHRA: We do have an address.

SPENSER: Of where the Silverslip
chapter house would be.

That's what we have there.

You were searching for--

LUIS: I'm looking
for anything,

any kind of artifacts
that I'm completely,

maybe I hear in a
distance an outburst happen,

but rather than letting
that pull me out

into what's happening there,

I'm trying to focus on
finding something here.

I'm trying to sense any
kind of magickal objects.

SPENSER: Yeah, this place
looks raided for

most of the things that
would be of use here.

But you rolled, did you
roll a Survey for that?

LUIS: I did not. I'm trying
to Sense it.

SPENSER: Oh, try and
Sense it, love that.

Okay, yeah, make
a Sense roll for me,

knowing the expectations
here that like anything

incredibly powerful
has already been taken.

LUIS: I'm just hoping
to find something.

MARISHA: The telegraph
just started, right?

We don't have--
Telephones are rare.

SPENSER: So telephones
are very rare.

MARISHA: Right.
SPENSER: Here,

I would say that you
could have telegraph,

but it would be--
MARISHA: Slow.

SPENSER: It would be--
Well, electricity was just

being implemented.
MARISHA: Just coming on, right.

SPENSER: So it is not going to
be from one house to another.

It's going to be like
from the railway station

to the other
railway station, right?

LUIS: Five.
SPENSER: That's a five.

So, here's what I'll say.

This place is
pretty picked over,

but I will give you
an additional ward

for your circle sheet.
LUIS: Okay.

SPENSER: What you can
do is mark that

as part of your gear and
that will soak one bleed.

So put it on your
circle gear down there.

LUIS: So it could be on any
of us when we declare the use.

SPENSER: Anybody, yeah,
anybody declares the use

and marks the little box that
is empty next to there and--

MARISHA: What is this? Huh?
TRAVIS: It's a bleed soak.

It's like a ward.

SPENSER: It's a ward.
MARISHA: Cool, cool, cool, cool.

SPENSER: Yeah, this place
is pretty raided,

but he was searching for,
Luis was searching for,

or rather Marion was
searching for anything here

that might be of use
to all in gearing up.

ZEHRA: Is it just one ward?

SPENSER: Just one that
is in the circle gear,

but if anybody wants to
use it, they can take it,

then nobody else can take it.

ZEHRA: Great.
SPENSER: Yeah.

So that's what you have,
you have the address,

you also have
the name of the--

ZEHRA: Duncan and Farrah
are what Mr. Kingsley

said were the members
of the circle.

Does that, do you know these?

TRAVIS: I don't.

But he gave you an address and
he mentioned the Silverslip.

ZEHRA: In Silverslip, yes.

I had an office there,
I know it.

It's not far.

TRAVIS: We should go, but

Doctor, I'm sure
you've thought of this,

we can't leave him here.

ZEHRA: I'd like to
focus my attention

once more on Mr. Kingsley.

Is there anything I can do to

at least keep him
in a contained state

so he's not hurting
himself or others

other than the hallucinogen
that Bee administered?

SPENSER: Looking around,
the only thing that you

might think of
that would help him

would be very dangerous,
it'd be very risky.

You have an androphage.

He seems to be in pain.

MARISHA: Oh god.

SPENSER: This is
something you could--

ZEHRA: He needs to feed.
SPENSER:-- do if you

wanted to take pain away
from him for a little bit.

You'd have to be very careful
to not let it burrow.

ZEHRA: Mm.

SPENSER: This would be
a medical procedure.

You'd be using experimental
tech to do that.

But, besides that, there
doesn't appear to be much here

that would be of use
to that particular goal.

ZEHRA: Do I have any sense
of how much time is left?

I know we were given an hour
approximately an hour ago.

LUIS: (laughs)

SPENSER: Yeah, you know that
he is looking worse for wear.

It hasn't probably
been an hour.

It's probably been maybe
like 20 minutes or so

since you got that, since you
got that judgment of time.

You know he probably has
half an hour, 45 minutes.

ZEHRA: If we leave here,
he won't survive.

TRAVIS: Doctor, I don't mean
to tell you your business,

and I know you want to
care for Mr. Kingsley

and that speaks
to your character,

but I can only assume that
you've been in hospital wards

where sickness
can run rampant.

If we can't help him,

perhaps we should be
thinking about containment.

ZEHRA: Containment.

TRAVIS: I hold up
the bottle of bourbon

and take my Zippo lighter
out of my pocket.

ZEHRA: Fine euphemism,
that. Containment.

That can't be
my call to make.

TRAVIS: No.

No, it can't.

I believe Mr. Finnerty
is outside

if you care to join him.

LUIS: Come with me,
I'll take you up.

Come on, come on.

ZEHRA: Young Mr. Suarez,
should we bring him with us?

MARISHA: Yes.
LUIS: We should.

ZEHRA: Okay.
LUIS: Come on.

ZEHRA: Go to fetch
him from the room

he's been sequestered in and
leave with Marion outside.

MARISHA: Keep him
away from Sean.

LUIS: All right.
MARISHA: The kid.

LUIS: You got this, yeah?

TRAVIS: I do.
Thank you, Marion.

MARISHA: He's still awake, right?
LUIS: I owe you one.

SPENSER: Kingsley?
MARISHA: Kingsley.

LUIS: He's
hallucinating, no?

ZEHRA: Yeah.
LUIS: He's a little--

SPENSER: Yeah, watching.

MARISHA: Even through
hallucinations, though,

we should at least
put him to sleep

before we light
him on fire.

TRAVIS: I'm open to
suggestions.

MARISHA: (frustrated sighs)

Fucking-- Bee goes over.

She's had to do
this before.

She sits down and she
puts his head on his lap.

TRAVIS: Hold on, you're
getting close?

MARISHA: It's all right.

She takes

her apron

and she's going to try

not to touch him
with her bare hands.

SPENSER: Mm-hmm.

MARISHA: She's going
to cradle his head

and she's going to give
him a knowing nod.

SPENSER: "Mum?

"Mum?"

MARISHA: You'll see her
very soon, sweet boy.

She's going to
clasp her hand,

one hand over his mouth
and then the other

over his nose and
press real hard.

SPENSER: Make a Control
roll for me.

This is not to see whether
it works, it's to see

how well you hold onto
yourself while this happens.

MARISHA: Four.

LUIS: Wow.
TRAVIS: On a gilded!

MARISHA: On a gilded

so I do get it back.
SPENSER: Yeah, take that gilded.

He struggles

underneath your hands.

"(muffled groans)"

MARISHA: She just lightly--

SPENSER: "(muffled screams)"

MARISHA:-- lightly hums.

Rocks back and forth.

SPENSER: "(muffled whimpers)"

MARISHA: It's all right.
SPENSER: "(muffled whimpers)"

MARISHA: Shh.

SPENSER: And then quiet.

Mark two brain for me.

LUIS: Oh my god.

SPENSER: As you watch a man
go lifeless in your arms.

LUIS: There's a
flash of feeling

and Bee,

it's slow but
feeling her take

a hit and on impulse,
I try to reach out

and then it just fizzles
out and I'm out of steam.

MARISHA: Are you in the room?

LUIS: I was on my way out.

MARISHA: I say then
the two of you

can regain a drive
from my Non-Combatant--

SPENSER: Yep.

Agreed.
TRAVIS: Oh okay, cool.

SPENSER: One comes back.
MARISHA: And then--

LUIS: I'll take that.

MARISHA: I try not
to look at him.

I'll see you outside.

SPENSER: (intense whooshing)

You hear the
sound of flames.

Through the cracked

stained glass window above,

fire.

All of you on the street

soon joined by Nathaniel.

TRAVIS: We should be
quick about this.

ZEHRA: I am holding Lucas in
my arms, my hand on his head.

I reach into my pocket
and hand you the slip

with the parchment that
Mr. Kingsley wrote upon,

"The chapter house
in Silverslip."

TRAVIS: We'll hail a
carriage or take our own

and start to head towards the
chapter house in Silverslip.

SPENSER: We cut to the inside
of a carriage

with the five of you,

as we ride

in silence.

We see the exterior of the
Silverslip chapter house.

Silverslip is the
district in which most

of the government
buildings are contained.

It is opulent.

The chapter house

is opulent.

A large stone door

is framed by a building

that looks as though it
was constructed to appear

like it was from the
times of Oldfaire,

but it's clearly new.

The door is ajar.

MARISHA: (frustrated groans)

TRAVIS: Not what
we wanted to see.

I've had a thought.

This thing mimics
other people.

We should have

a code, a term, a word,

something so that you know
who you are talking to,

even amongst ourselves.

MARISHA: Smart.

TRAVIS: Petunia, perhaps?

LUIS: The name of my flower?

The starry sky petunia?

TRAVIS: We'd have to be on
edge, even with each other.

Let's go.

LUIS: This kid is with us?

BRENNAN: Yeah, I was going to ask.
TRAVIS: Fuck, Lucas is with us.

That's right.
ZEHRA: He's on my lap.

MARISHA: We've got a kid.
LUIS: We've got to send him somewhere.

That carriage
that dropped us off.

SPENSER: You can
send him somewhere.

It's not too late.
LUIS: I don't want him here.

MARISHA: (sighs)

LUIS: Could have
sent him away.

BRENNAN: You have a
family house, right?

TRAVIS: I do, we can
send him to the--

BRENNAN: What's--

ZEHRA: Are there any Candela
members outside the chapter house?

It's completely barren?

All right, I can take
him back to that house,

join you all shortly.
BRENNAN: For right now,

is it all right for
him to stay with you

until we can get him
to Nathaniel's house?

TRAVIS: Mm-hmm.
BRENNAN: All right.

The door is slightly open.

So I'm going to shrug,
get the shotgun out.

SPENSER: Yeah.
BRENNAN: And walk in.

TRAVIS: Habits.

LUIS: On the way here, I
would have done a Ritual.

SPENSER: Okay.

LUIS: You see my
eyes roll back

and the veins glow
a little bit

as I take a bleed mark,
but I get back a resistance.

Intuition resistance.

ZEHRA: I think I would've
also done a Patch Up

on somebody who needs it.
SPENSER: Yeah.

ZEHRA: Before we go into
this next section.

SPENSER: For sure, who would
you like to have Patched Up?

ZEHRA: You have two body.
LUIS: I've got two body.

ZEHRA: Nathaniel, you
have how many body?

MARISHA: His spine is exposed.
ZEHRA: (laughs)

TRAVIS: Actually I'm body,
brain, and bleed, one.

ZEHRA: One each and then
Bee, your wrist?

MARISHA: Just one, but
I'm all right.

ZEHRA: I should tend
to Marion.

Okay, so I'm going to
make a Focus roll.

I'm going to burn a
drive of resistance.

LUIS: It's gilded, too,
so one of those are gilded.

ZEHRA: Thank you.
TRAVIS: Remind me of the prison

or the police force here.

SPENSER: The Periphery.
TRAVIS: The Periphery.

SPENSER: The Periphery are
the police force.

ZEHRA: It's a five on the gilded.
LUIS: Whew.

SPENSER: Five on the gilded.

So you'll spend two
Intuition to do that.

ZEHRA: Only one because of Well-Read.
SPENSER: Oh, because of your

Well-Read.
ZEHRA: I get one

Intuition back.
MARISHA: Oh yeah.

SPENSER: Great.

LUIS: So one body goes
away, one body mark.

I got one, one,
one, one.

SPENSER: Remind me what
that says again.

ZEHRA: Yes, so Well-Read,

"You're well-read and retain
knowledge better than most.

"When you use Intuition
while making a Focus role,

"if you fail the roll,"
oh, whoops, wait a second.

I didn't fail.
SPENSER: That's why I was asking.

ZEHRA: "Earn back any
Intuition you earned," okay.

SPENSER: So you can spend
as much as you want.

If you fail, you get them
back, but if you succeed,

you don't get them back.
ZEHRA: If I succeed.

So I've burned two.
SPENSER: Great.

ZEHRA: And you have
one less body mark.

LUIS: Thank you.

I'm walking in
right behind you.

TRAVIS: Before we enter, I will
remove the officer's pistol

and I will

go to a darker place

and I would like to
burn a bleed to switch.

SPENSER: Great, you'll burn brain.
TRAVIS: Brain, right.

SPENSER: You'll mark brain
to be able to switch

into your other
character sheet.

ZEHRA: What?
LUIS: What?

MARISHA: (laughs)
LUIS: Have we seen this happen?

SPENSER: No.

What does it look like
when you transition?

LUIS: Yeah.

TRAVIS: The pistol represents
quite a few things.

The hammer comes back and
I fan through the revolver,

counting the bullets.

I spin it, slick
it back into

the holster and I begin
to chew on my lip.

SPENSER: You see
a physical change

in the lieutenant
as he approaches.

LUIS: I walk up to him
as I see this change

and I look at you and I
say: What's the flower?

TRAVIS: (deeply) Petunia.

BRENNAN: Any particular
kind of petunia?

TRAVIS: Stars all over it.

BRENNAN: That's close enough.

(laughter)

SPENSER: So just so you know,
you'll keep your marks,

you'll keep the amount of
drive that you've spent,

but you will be able to use
your role and abilities,

sorry, your role and
specialty abilities.

TRAVIS: Yeah.
SPENSER: And your new

action ratings from
the character sheet.

Just to be transparent
with everybody,

you are switching from?

TRAVIS: Journalist
to Detective.

SPENSER: Journalist to Detective.
ZEHRA: Oh!

SPENSER: Great.

You all proceed forward.

Except for you, you're
staying in the carriage?

ZEHRA: I am babysitting.
MARISHA: (laughs)

SPENSER: You're babysitting.
Are you staying in the carriage

or are you taking the
carriage back to The Eaves?

ZEHRA: Let's not waste
time, let's be efficient.

SPENSER: Okay.
ZEHRA: I'm going to

go to the Trapp residence
to drop off Lucas.

SPENSER: Great,
we see the carriage--

MARISHA: Then you're going to
come back here and meet us?

ZEHRA: Yes, shortly.

Yes.

LUIS: Do we know--
ZEHRA: As fast as I can.

LUIS:-- how far away is
that from where we are?

MARISHA: I hate it,
but all right.

LUIS: The Eaves
from Silverslip?

SPENSER: So The Eaves from
Silverslip are not that far.

It's a district or two away.
TRAVIS: Across the bridge.

SPENSER: Yeah, so it's not
that, in fact we can see,

you have you have
the district maps here.

So if you want to look.

The Eaves are, sorry,
Silverslip is number four

and The Eaves are number six.
LUIS: Six, okay.

ZEHRA: Okay, just across
the river and back.

SPENSER: Right
across the river.

TRAVIS: I'll also take out

my little notepad
that I have from

the Civil Tribune and
write a small note

to give along with Lucas--
SPENSER: Oh, amazing.

TRAVIS: It'll say
"Father, take care

"of this one as if he
was one of your own,

"if that's something
you know how to do."

ZEHRA: (gasps)
TRAVIS: "Signed,

"N.T."

MARISHA: Oh! Good call!
BRENNAN: (laughs)

LUIS: Wow.
BRENNAN: Hell yeah.

MARISHA: Jeez Louise.

SPENSER: You see it slip
into your coat pocket.

The boy looks at you
as the door shuts.

You see in his face,

you see in the carriage door
as it closes, your own face

reflected back at you

and as you watch
the carriage go,

the memory of the boy's face,

he looks so much
like Allison.

But you're staring
into nothing.

We return to all of you,
what are we doing?

TRAVIS: We'll stack up
actually on Finnerty.

I'll tap his shoulder,
go behind as we roll in.

LUIS: I'm right behind,
I'm third.

TRAVIS: Auntie Bee,
count to 10.

LUIS: Hold on, wait,
wait, wait.

Let me see if I
can sense something.

I want to know if
something's right behind,

right through the
doorway, upstairs.

I'm going to try to
ping any paranormal--

TRAVIS: Do your thing.
LUIS:-- shit in here.

SPENSER: That sounds good.

MARISHA: I'm not going
to waste time, though.

10--

TRAVIS: (laughs)
MARISHA:-- nine,

eight.
LUIS: Six!

SPENSER: It's a six.
BRENNAN: Woo.

LUIS: (gruffly) Mm-hmm!

MARISHA: Five.

SPENSER: You feel, like
wind on your skin,

bleed

pouring from within.

What you sense here
is very similar

to what you sensed previously
in the lighthouse.

MARISHA: Four.

LUIS: Okay.

SPENSER: There's some
sort of rupture here.

MARISHA: Three.

LUIS: There's a
rift in here.

MARISHA: Two.
LUIS: And the doctor

who sewed it up before

is the one we
just sent away.

MARISHA: One.

BRENNAN: I'm going to
look and say:

All right, looks
like the surgery

will have to remain open
until the doctor returns.

I'm going to nudge
the door open

and start to cover
the rooms and sweep.

TRAVIS: Yep.

SPENSER: As the door flies
open, the counting stops.

We get to "one," boom,
the door flies open.

Light pours in from
the street outside.

We see you silhouetted
holding the gun.

The inside looks as though
it's been ransacked.

All the oil lamps
have been broken.

The mirrors on
the walls here,

the mirrors that would hang
up to the left and right

of the entranceway
have been shattered,

glass pieces all
over the floor

and from within,
you hear a pulsing.

What do you want to do?

TRAVIS: As we break
through the door,

we would know, we would
signal to each other.

He would take near side,

I would take far side
corner and sweep in

towards the middle of the
room, cataloging all of that,

clearing the fatal
funnel of the door

and then we would
move in edgewise.

MARISHA: Bee is going to fall
into old habits of hiding

from the Periphery and
she's going to literally

basically turn and crouch
and I'm going to hide.

SPENSER: Yeah, okay,
that sounds good.

MARISHA: And watch and wait
until the boys clear the room.

SPENSER: You're good to hide.

There is no danger
in the immediate,

so there's no
roll to be made.

You duck around
the corner there.

What I will say
is entering here,

this chapter house is set up
like other chapter houses.

It's very clear that
there is a back

area behind,
there's the entranceway here,

and then there is

a set of stairs that go
up and then that probably

leads you to the archives
where the folders,

the files for these
people would probably be.

But as you move
forward here,

you hear a scurrying
from above you.

(rattles)
From the floor above you.

Something is up there.

You feel it.
TRAVIS: Mirrors at the ready,

we move.

SPENSER: Great, moving
in further,

what we see here

is

a plethora of creatures

that are stalking

on the walls towards you.

MARISHA: Plethora?

SPENSER: A plethora of them.

MARISHA: That's great.
LUIS: That's like two.

MARISHA: That's great.

SPENSER: There's a number
of them here.

What I'm going to say is

you all know how
to clear a room.

We're going to make a roll
here to see how that goes.

LUIS: Okay.
SPENSER: That one roll

is going to

be the whole sequence here of
you all getting upstairs.

So we will make that roll and
we will decide how that goes.

Somebody's going to lead it.

Anybody can spend drive to
be able to help with that.

MARISHA: I'm going to say,

as soon as that
door was cracked,

as soon as we got
into that carriage:

We Saw This Coming.

SPENSER: Oh yeah. (laughs)

TRAVIS: Yeah.
SPENSER and LUIS: Yes.

MARISHA: And add a die because
we planned for this shit.

SPENSER: Yep.
LUIS: Okay.

ZEHRA: I would also
like to call over

from the Trapp residence:
Maybe a gilded die

would be--
(laughter)

MARISHA: Yeah, actually,
it was a good time.

TRAVIS: (groans)
MARISHA: Yeah. (laughs)

TRAVIS: The doctor's power has grown.
BRENNAN: A gilded die--

SPENSER: Just earns
back drive.

BRENNAN: But a gilded die
also, does that add?

SPENSER: That adds.
BRENNAN: It adds a die, okay.

SPENSER: So normally,
gilded die don't.

Those are particular, if you
look at what the ability

on the circle sheet says,
it says that they add

plus 1d to the roll
and they are gilded.

BRENNAN: Gotcha. I can--

Because we have
that Saw This Coming,

I actually am already
rolling with six dice.

TRAVIS: Killer.
MARISHA: Great.

BRENNAN: Cool.
MARISHA: Groovy.

LUIS: So we keep that.
BRENNAN: Yeah.

I'm sure there will be
more rolls coming up.

That is a five.
SPENSER: A five.

BRENNAN: And that refreshes
the drive I used.

TRAVIS: I see it.
SPENSER: So.

Describe for me

the absolute

practiced

method by which
the three of you

enter and clear this place.

We are now back in
Lieutenant mode.

We're back in military mode.

What does that look
like as you do this?

TRAVIS: We would stack up on
the door, slowly push it open

and we'd do what we
call slicing the pie,

moving slowly around the edge
of the door so that you can

clock as much of your enemy
in the room in front of you

without giving too much
of your position away

and when we are ready,
we disappear.

It's just cold, hard math,
machinery at that point.

We know to move, we can
hear each other breathe,

we can see each
other's demeanor shift

and we would move in, covering
our sections of the room

and begin to sweep and move

outward-in,
and finish the job.

LUIS: So that they're
able to concentrate

on taking down the enemy
that's in the front,

my eyes are on the
ones that we pass.

Anyone that wiggles
around a little bit,

I take the retractable
baton that I have

and I finish them off.

So I'm taking the
end and making sure

that my eyes aren't as
forward as theirs are.

They're in the immediacy right
around us as we're passing,

and also behind us,

making sure that none
of them pop back up

that they've already hit.

SPENSER: Love that.
We land on you here.

As you're firing off,

you see these creatures,
these horrors in front of you,

and we watch as the
light dances on your face.

What is it like for you
being back in this moment

with the two of them?

BRENNAN: I have Marion in
my arms who's been injured

and I'm running
through trenches,

trying to get back
to the lieutenant.

It's a total route.

The lines fall into
either side of us.

I'm running and can
see enemy soldiers

running the same direction
as me, ahead of me.

It's total fear.

And then I just
start hearing,

♪ (baseball stadium ♪
"Charge!" vamp) ♪

I'm gone. I'm
fully gone,

and LT's words are the
only thing I can hear.

In the moment that I'm listening
to Nathaniel's commands,

I get to die.

I get to not be myself.

I get to just be someone
who's doing what he's told

and I don't have to think
about what I'm doing,

and it's the first rest
I've had in a long time.

SPENSER: We see these creatures
peeling off of the walls,

the wallpaper erupting
in shots.

There's some crawling
on the ceiling.

They scream
"(monstrous scream)" at you

and then their mouth gets
filled with bullets.

They drop in front of you.

You all push through
to the staircase.

You're climbing up
the staircase,

shooting, covering
every angle, until

in front of you,
you see a door.

Around its edges is like a
gilded design, gold design.

The door is wide open.

MARISHA: Oh, goddamn it!

SPENSER: Before you, you see
what you would imagine to be

an entrance to the
Fourth Pharos.

TRAVIS: Oh fuck.

SPENSER: But this one
has been corrupted.

You see the Flare
ripple before you.

You know from having seen
the one in the lighthouse

what it goes to.

Something got here first.

Something changed

how deep this rift goes.

You are staring
into a portal

into the beyond.

As you are, more creatures
crawling out of it,

shuddering for getting
shot as you're there,

but you know that they
are going to continue

to pour out of here.

You know that you're going
to be overwhelmed soon

because you are now at
the place where they spawn.

What do you all want to do?

MARISHA: Well, do we have a rough
idea of the ETA of our doctor?

ZEHRA: Yes.

SPENSER: Yeah, make a--

This would be a Control
roll because it's navigate,

to see how quickly you're
able to get back here.

On a six, you'll
be back shortly.

On a four or five, it's
going to be a little longer.

ZEHRA: All right.
TRAVIS: Let's be clear.

This rift, Fourth
Pharos are very rare.

This rift is like
the one that we saw

in the previous
lighthouse tear.

This is not a rift
to the Fourth Pharos,

or is it?
SPENSER: Correct.

It looks as though it's
positioned to be one,

but that something came in
and tore through it deeper.

ZEHRA: (sighs) It's a five.

SPENSER: That's a five.

We cut to you.

How are you getting this carriage
here as fast as you can?

ZEHRA: Hyah, hyah!

MARISHA: (laughs)

SPENSER: We see horses galloping
across the bridge.

MARISHA: Hyah, hyah.
TRAVIS: I didn't have a carriage.

Fucking crawl out:
You're going too slow!

MARISHA and SPENSER: (laugh)

LUIS: You kick the guy off.

Tell him: I'll take
over from here.

MARISHA: (laughs)
SPENSER: I love that.

The guy's next to
you like, "Uh."

No, we see the hand of
a boy holding a teddy bear

reaching up to
grab a larger hand.

As we pull out
from there, we see

a large older man,

a tall older man,

standing in the doorway of
a beautiful mansion here.

Describe for us what your father
looks like in this moment.

TRAVIS: Christopher
Francis Trapp

is a very tall,
very proud man.

Gaunt face.

Silvery beard comes
down to a point.

Long, extravagant mustache
that's been finely waxed

and curled up
at the ends.

A widow's peak that
draws his hair

straight back behind his
ears and thinning up top.

Bushy, bushy eyebrows
and tremendously large hands.

Hard-working,
labored hands.

He wears the finest
finery, even at home,

a coat that resembles tails,

pleated vest, and an
ascot of purple velvet.

SPENSER: We see him
flip open the note

that you passed and read it.

He looks up, scowls,

and looks down at the child.

We watch him move inside

as we cut to you,
booking it across.

ZEHRA: I am very sorry
to do this.

I remove my glove and
I touch my flame fingers

to the horse's
flank in an effort

to get it to move faster.
TRAVIS: (laughs)

BRENNAN: Yeehaw.

SPENSER: We see the carriage
weaving in and out

of primitive automobiles
and other carriages.

MARISHA: (laughs)
BRENNAN: "Tokyo Drift."

TRAVIS: Yeah, that's true.

SPENSER: "Tokyo Drift"
across the bridge

that is up above
the Stentorian River.

We see you on your
way across there.

We cut back to all of you.

LUIS: Oh man.

SPENSER: What do you
all want to do?

BRENNAN: How big is
the rift in front?

It fits in a doorway, right?

SPENSER: So the doorway
itself is into a room

where the entrance to the
Fourth Pharos would be.

It's about two stories tall,
this rift is.

LUIS: Two stories tall?
SPENSER: Yes, it is.

Once you enter that space,

this area within is like
an extra-dimensional space.

BRENNAN: So it's enormous.
Gotcha.

Okay, looking at
this massive rift,

does it look like the rift--

As I'm looking at it,

does it look like the rift
anchors at any point

to the material of
the architecture?

Does it look like there's
any point at which, hey,

because it's replacing
this Fourth Pharos thing,

and that Fourth Pharos
thing was built

by Candela Obscura members,

that, in other words,
it's not floating here

in an abstract location that
happens to be in a house,

but it's actually anchored
to something physical?

SPENSER: I love that.
Make a Survey roll for me.

A Survey or Sense roll.
BRENNAN: Okay,

we're going to do Survey.
SPENSER: Okay.

BRENNAN: I think I'm
going to go ahead

and burn my last drive here.
SPENSER: Okay.

BRENNAN: My last
Intuition drive.

Oh, it's a six.
SPENSER: That's a six. Great.

It doesn't appear
as though there is

an anchor for the rift,

but what you do see is that,

just beyond
where the rift is,

there is one of these.

BRENNAN: Cool.

SPENSER: Like what you
saw in the lighthouse.

BRENNAN: And is it active?

SPENSER: It is
actively turning.

It is what is
essentially creating the--

It was modified,
broken, changed

to be able to let
something through.

BRENNAN: Is it
through the rift

or on the other side
of the rift?

BRENNAN: So you see it as
though it's behind it,

but in it at the same time.

Do you know what I mean?

Like it's
extra-dimensional space.

But what you know

is that the way in which
one of these spins,

it's not moving
naturally anymore.

It's been reversed and the
gears are turning strangely

and it is corrupted.

It's covered in bleed,
it's covered in ichor.

BRENNAN: Great.
SPENSER: This has been

corrupted in some way to open
up a rift somewhere else.

BRENNAN: This wave
is coming at us

and we can tell
that there's--

I'm reaching into a belt

where ammunition
is lessening rapidly.

I'm going to say:
Hope Doc's on her way.

Light a stick of TNT, and
throw it through the rift.

MARISHA: Oh my god.

BRENNAN: At the base of
the fucking astrolabe.

MARISHA: I love that you
just raided the armory

before you left the war.

(laughter)

BRENNAN: Don't leave home
without it!

(laughter)

LUIS: Grenades, TNT.

SPENSER: So are you throwing it
at the base of the astrolabe?

BRENNAN: Yeah.

TRAVIS: Still waiting for a
claymore into the buttcheeks.

(laughter)

SPENSER: I want to be clear
that the astrolabe

is what controls
the flow in and out.

If there is not one,

then what happens with rifts

is they do essentially what
happened in the lighthouse.

It is open and
completely free-for-all.

BRENNAN: So, okay,
I misunderstood.

So it's not that destroying
it would stop this.

SPENSER: Yeah, I want to be clear
about the expectations here

before you make that move

because you would know this.
LUIS: We want to keep it running.

SPENSER: You would want
to get it to do

what it's supposed to do.

LUIS: Okay.
SPENSER: Or

you'd want to at least
stitch it up in some way,

like you did
with the other one.

But blowing it up here,

as much as we would
love to blow it up,

you are aware as you're going
to grab that, you look up,

and remember the training that
you did get that tells you

these hold
these things closed

or control the way in which
moving through them operates.

BRENNAN: Does it look like it's
moving in the wrong direction?

SPENSER: It's moving backwards
and it's also glitching

and it looks as though
the wheels are turning.

It would be like
if it was here

and then suddenly down
to there, and then over there.

TRAVIS: Because
you're stacked,

I'm going to look and say:
Hold the line however you can.

I'm going to run over and use

this Detective's
ability to Scout,

which is, if I have the time
to observe a location,

I can spend one Intuition
to ask a question.

Something like,

"What do I notice here
that others do not?"

"What might be of use to us?"

SPENSER: Great, great.
That sounds good.

So spend an Intuition.

TRAVIS: Okay, great.

SPENSER: You're seeing
things pouring,

these creatures pouring
out of this rift,

tearing towards you.

You're holding them off.

What do you want
to know here?

TRAVIS: I want to look
at the astrolabe.

From the one that
we've seen last time,

if there is a gear
that's moving

the wrong way or catching,

can I analyze it and
try and figure out

what needs to be
moved, flipped,

put back, wiped, anything,
and analyze it and figure out

where the misfire
of it all might be?

SPENSER: Yeah,
so what you see

is the actual
base piece here,

the big--
the one that's cracked,

is glitching out in
many different directions.

It looks as though it should
be moving the opposite way

than it currently is,

from what you
saw the last time.

The added information
that you'll get here

is that it looks as
though that piece

is what is causing the
major infrastructure damage.

TRAVIS: Almost like it's
come off the gear or track?

SPENSER: Yes, exactly.

But it's doing it in a way
that does not seem mundane.

It's doing it in a way

that seems like it
was touched by bleed.

It is literally glitching

in that it is appearing
here at one time

and then glitching
out this way

and glitching out that way.

TRAVIS: Okay.
SPENSER: It looks as though

it's phasing in and
out of existence.

Does that make sense?
LUIS: Yeah.

SPENSER: I want to be clear
with how this looks

because it's weird.
LUIS: I got something.

BRENNAN: Cool.
LUIS: How you--

I'm assuming that this
information is passing

between us
as we're observing this.

TRAVIS: Yeah,
I'm calling it out.

LUIS: Okay, so.

Cover me

as best as you all can.

I'm going to put
my attention on that

because if it isn't mundane,
then it's magickal in nature.

As far as I know,
I'm an empty vessel.

If bleed is happening to that

and it's getting in the way,

then I'm going to
open myself up to it

and I will take that shit
into me and absorb it.

So I'm going to--

I've been using a different
way of seeing things

to interpret the
other layer of the world

that's not just
this mundane world,

and now I'm going to
actually reach into it

and interact with it,
hands-on, somehow.

SPENSER: Make a Sense roll
for me as you do this.

What I will say,
before you do this,

if you are attempting to take
this bleed into yourself,

the expectations of the roll

are that you will
be hurt very badly.

I will immediately give you
a bleed scar for this.

LUIS: Stakes are high.

SPENSER: Stakes are high.

LUIS: And we're in trouble.

TRAVIS: I can see Marion
contemplating this,

and I will say:

I know that you are special.

We've known this for a while.

And while it may be better
to be a warrior in a garden

rather than a
gardener in a war,

without gardeners, none
of the flowers will grow.

Use your gifts and
I will have your back.

LUIS: I just give you a nod.

Okay.

All three.

I'm going to save one.

You guys might need it.

SPENSER: As this
is happening,

there's a continuous wave
after wave of these creatures

that are coming towards you.

They are starting to push
you back a little bit

because of the overwhelming
amount that are coming out.

You start to hear
sounds behind you

of ones that have gotten by
your bullets that are dropping.

We see you having to
shoot and hold them off

as you approach this thing,

attempting to
connect with it,

attempting to take on,
as a vessel, the bleed,

that it is pouring out.

LUIS: Two sixes on
two gilded dice.

(cheering)

SPENSER: Incredible.

(cheering)

TRAVIS: Holy shit.

SPENSER: Take back
two drive.

TRAVIS: Come on, dude.

BRENNAN: Wow.
MARISHA: (laughs)

TRAVIS: Well done,
well done, sir.

SPENSER: And immediately
take a bleed scar.

LUIS: Okay.

Fuck.

All right.

SPENSER: What does it look
like here as you succeed?

LUIS: I start stepping
forward to it

and I see--
stuck in my mind.

The last thing I say to
you as I step forward is:

I owed you one
from last time.

As if it's second nature,

Marion steps forward right
to the edge of that rift

and I start to see
these things around me,

these creatures that are
crawling through drop

as my friends are
here covering me,

taking them down as they
start to lunge at me,

and then, pop, they're dead
on the floor next to me.

None of that is
even noticeable.

I look at this thing

on the other side of this
world through this rift

and I feel something pull me.

Something that I feel like
must have been tugging at me

for a long time.

SPENSER: You see a thread
coming out from your chest,

moving into the rift itself.

You feel the pluck, pluck,

like somebody's plucking
the strings of a harp.

LUIS: I grab it

and I let this thread start
to dance around my fingers.

SPENSER: It crawls
up your arms,

circles up onto
your shoulder,

wraps around your chest,
dives into your scar.

Fills your veins.

You watch it crawl
underneath your skin.

LUIS: I start to remember
back, seven years old,

this thing getting
pulled out of me

and me reaching for it

and trying to pull
it back, in my soul.

SPENSER: As you do,

you see beginnings of

a rift in front of you,

a thinning, in
that garden,

just (whooshes)
with a finger,

a tear in the
fabric of reality.

LUIS: And I'm pulling it, and
pulling it, and pulling it

trying to keep it
inside of me.

Just not wanting to let go.

SPENSER: Just like the rip
that went down your back,

just like the rip that went
down Antonio's stomach.

LUIS: I start to see flashes
in my head of all of my friends,

other moments of them that
haven't happened yet,

but claws on them,
ripping them apart.

SPENSER: And then,
in that moment,

a childlike wonder

and fear from when you
were seven years old,

grasping the thread of life
being pulled from you.

You see through that
tiny rift in reality,

an eye with a strand
of black stringy hair

and a finger scraping
along the thread.

LUIS: I snap back to what's
happening right now.

SPENSER: Yep.
LUIS: The string is dancing

around my fingers,
holding it.

And this time, I reach
out towards the rift

that's right in front of me.

If you want this, fine.

Speaking to the thread:

Show me where you
want to take me.

SPENSER: (whooshes)
You feel yourself

being pulled into the rift.

All of you see Marion
here being pulled

as if by a rope behind
a boat, right?

Like being literally yanked
into the rift in front of you.

What are you all doing--
TRAVIS: I instinctually grab

the back of his, yeah.
BRENNAN: Same.

SPENSER: Great, I'm
going to have

whoever wants to make the
roll, somebody else can help,

but this would be a
Move roll to get there.

TRAVIS: I'll assist.
SPENSER: First, you have taken

that bleed scar, what I
will say is this is a life

or death moment for Marion.

ZEHRA: Where's that
last gilded?

MARISHA: Yeah, where's that gilded?
SPENSER: Right there.

TRAVIS: I feel he'd be even--

BRENNAN: Okay. I rolled an additional--
LUIS: My hand outstretched

and focusing on that piece
that's not working.

I'm trying to manipulate it

and get it to work

and get it to go back--
BRENNAN: Are you assisting me, right?

LUIS:-- in the direction
it's supposed to go.

MARISHA: How many
do you have?

BRENNAN: I have
four right now.

MARISHA: I have one more
Saw This Coming.

BRENNAN: There's another one,

and I'll throw a drive
on there, too.

Okay.

SPENSER: Move roll.

BRENNAN: Move roll.

Double sixes.
MARISHA: Hey.

TRAVIS: Come on!
SPENSER: Double sixes,

that's a critical success!
(clapping)

SPENSER: Tell me,

how do you keep him from
going through this rift?

The two of you, or
any of you who helped,

what's this look like?

BRENNAN: Totally instinctual.

Me and Nathaniel are
moving in unison.

I see, and because you're
stacked up on me, I know.

I turn to give you the base
of my fucking suspenders.

Like, you know, just, whoa

and grab him and
I grab his legs.

And I think I was so angry
at Auntie Bee earlier

and she's just given
me this dice from

I Saw This Coming, and I
grab around Marion's legs.

And for a moment, I just
remember holding Marion's legs

to help him climb up on
a roof when we were kids,

and he was with me
and my two brothers.

And whatever kind of
monster I am, I just,

I am holding on

and I'm burying
my face into his calves

on his legs as he's
being pulled away.

Just going like: I cannot
lose another brother.

TRAVIS: (deeply exhales)

MARISHA: You know, Marion
and Auntie Bee

have talked a lot
about his condition.

SPENSER: Yeah.
MARISHA: He's confided in me.

SPENSER: Yeah.
MARISHA: I just, from the back,

almost telepathically from
our connection, I just go:

You belong here, Marion.

LUIS: Ooh.

But the pull in there
is so strong.

SPENSER: You feel yourself
being pulled

and then

you drop.

(thuds)

And the rift. (whooshes)

TRAVIS: I'm immediately
grabbing the suspenders of Sean

which is attached to Marion,

and I'm backward driving,
driving, driving.

SPENSER: As you're
pulling him back,

the astrolabe (crackles)
and falls apart, explodes.

MARISHA: Auntie Bee immediately
runs and throws open the door,

looking for the carriage,
looking for the doctor.

SPENSER: Uh-huh,
as that happens,

the carriage is
riding up outside.

What do you want to do here?

ZEHRA: There's a light
emanating, the explosion?

SPENSER: Yeah, there's
an explosion of magic

from the top floor here that
you see as you pull up.

ZEHRA: Breathless, I
stop the carriage,

jump off the platform,
a disheveled mess.

What did I miss?!

MARISHA: It's Marion!
Get in here.

ZEHRA: I had felt something,
something, something

pounding in my head in
that-- in that instant,

and I'm whipped
up into a frenzy.

I come in to the main
room with Auntie Bee.

MARISHA: He just closed
the rift by taking it in.

ZEHRA: (whispers)
He took it in?

MARISHA: He soaked it, he--

ZEHRA: He took it in.

SPENSER: We see Marion
laying on the ground.

You took a scar here so
you would've dropped,

your eyes are starting
to flit open now

that the danger has passed,

but it is taking
its toll on you.

That is, if I'm not
incorrect, three scars--

LUIS: Three scars.
SPENSER:-- for you.

You are on your
last legs here.

LUIS: The veins that
were on my neck

have now wrapped all
the way up my face

and now they grab
around my eyes.

TRAVIS: Oh!
MARISHA: Jean, be careful,

touching him.
ZEHRA: I go immediately

to his side.

MARISHA: I pull out one of the
extra bleed containment vials

that we have.
ZEHRA: I take it.

MARISHA: Just
be careful, please.

ZEHRA: I want to see
if I can sense

if there's anything
I can do to help.

Would Cold Read, my new
ability, be of use?

On a successful Sense role,
I know what ailment stress

or loss a person
has in their life,

even if they're
hiding of it.

But just to glean

any extra information.
SPENSER: Love that, yes, absolutely.

Go ahead and make
that roll.

TRAVIS: How many bleed do
you have now, Marion?

BRENNAN: Three scars.

LUIS: I have three scars,
but I think now my bleed

is--
SPENSER: Yeah, wiped.

LUIS:-- is wiped.
TRAVIS: Okay, okay.

I didn't know if
you were sitting

up at like two or
three bleed also.

We have that ward, but--

SPENSER: Yeah.

ZEHRA: A five.
SPENSER: A five.

ZEHRA: I put my hand gently
on his left shoulder

without thinking,
I don't care about bleed.

LUIS: Am I out?

SPENSER: You're coming back
to as this is happening.

LUIS: (staggered breathes)

ZEHRA: And what do I sense?

SPENSER: A scared young boy,

a little boy who
wants to fit in,

who just wants to be loved,

and knows that he never will.

In a medical sense,

you feel

that he is on
the verge of going.

It's not much further
to the veil of death.

But what you can do to
help him here with a five,

is you can hold him and
he can clear one brain.

ZEHRA: I clutch him
to my chest

and stroke his hair,

careful to avoid the
bleed around his eyes,

not because I
care about myself,

but because I don't want
to exacerbate his pain.

I just hold him and I
rock him like a baby.

SPENSER: The consequence
from that five,

that brain that you're
going to erase--

LUIS: Yeah.
SPENSER: That goes to you.

ZEHRA: I take
a brain, gladly,

I'll take as many
as I need to.

LUIS: As I start to come
to, not even,

I don't even have conscious,

I start to become
aware of you.

It's your smell.

I know your smell,

and I relax and
I take your hand

and I put it right
on my scar

because I'll never forget
the first time you touched it,

and how gentle
you were with me.

ZEHRA: Was once a
very familiar shape.

Now it's changed.

LUIS: It's not changed.

ZEHRA: There's more of it.

LUIS: It's just showing
what's always been there

that you couldn't yet see.

Sean, Sean?

BRENNAN: I'm right here, bud.

LUIS: Come here.

BRENNAN: I get down
and just hug him.

LUIS: Don't yell
at Anthony again.

You got to yell at someone.

You know, you're my LT.

TRAVIS: (laughs)

(laughter)

BRENNAN: Auntie Bee,
I'm sorry I yelled.

MARISHA: Don't be.

BRENNAN: Hey,

you look like shit.

LUIS: I feel pretty much
like shit, too,

but I also feel
kind of cool.

BRENNAN: You like, what are
you, some kind of magician?

LUIS: Did I do it?

BRENNAN: Yeah, you fucking did it.
LUIS: I did?

And I turn to look.

I fucking did it?

(laughs)

I fucking did it!

BRENNAN: You're a goddamn
hero, Marion.

LUIS: We're doing
some good shit.

Hey, hey, no,
no, no, no.

BRENNAN: You got to, I'm
going to tell you something.

You got to rest.

I know that this thing
is still out there.

LUIS: Yeah.
BRENNAN: But you can,

there's a million fucking
pieces of shit like me

that can shoot a gun.

I've never seen anything
like that before.

You got to rest.

You got to come
back from this.

You got to listen
to Dr. Jean.

ZEHRA: He's right.

LUIS: I feel okay.

BRENNAN: I know you
feel okay,

but you got to do
what's right.

You always wanted
to be normal.

Marion, you know the maddest
my Ma ever got at me?

You don't know this,

but I heard you one time
when you were crying,

when you were a little kid.

I mean, you know you were
a year or two older than me

but I know you've
thought your whole life

that you don't
have a soul.

And I told my Ma
when I was little

I didn't believe in
The Ascendancy no more.

I didn't believe
in any of it.

I said, "Because the best kid
we know don't got no soul."

And all the men
that worked with Pop,

the men that sent
Anthony into that battle,

no artillery behind him,

the men that
court-martialed Jimmy,

me, we all got souls,

what good does that
do at the end?

What I know is whatever
happened to you

didn't change the fact that
you're the best man I ever knew.

LUIS: Sean, I wouldn't
be any anybody

if it wasn't for you and your
friendship and your brothers.

Like you can't, you can't
just, I didn't come,

I didn't just be this.

BRENNAN: I know, Marion.

It's a fucking
heartbreaking world.

I know it's been your
deepest wish to be normal.

LUIS: I don't care anymore.

BRENNAN: Good, because you're
not normal and you've never been.

And we're all depending
on that.

LUIS: Who do I get to
depend on then, you?

BRENNAN: Dr. Jean.
LUIS: I want you to tell me,

who, can I depend
on you, Sean?

BRENNAN: I'm a pretty
trustworthy guy.

LUIS: I know, but that means
you got to stick around.

ZEHRA: I think we all ought
to be sticking around

from here on out.

I'm very glad I did not
witness whatever just passed.

LUIS: That was
so fucking cool.

(laughter)

LUIS: It felt
so fucking cool.

It fucking hurt, though.

BRENNAN: So is Candela
Obscura done?

Is this over?

TRAVIS and ZEHRA: (laugh)

MARISHA: No.
BRENNAN: That's two

chapter houses in one day,
bad day for Candela Obscura.

TRAVIS: Actually if we
set this one on fire,

then we're two for two.

MARISHA: Candela Obscura has
existed for thousands of years.

It's not going anywhere.

TRAVIS: Well, maybe we don't
set it on fire then.

ZEHRA: Were Duncan
or Farrah here?

Any sign of anyone?

MARISHA: No,
it's been raided.

SPENSER: You know that
there are folders here

to find out where they are.

MARISHA: Let's turn it.
TRAVIS: If the layout is any way

similar to--
SPENSER: It's similar.

BRENNAN: I'll go check
the archives here.

If you want to check out what

the files are.
MARISHA: Sean,

I hope you listen to Marion.

Keep the pin on.

Mr. Trapp. Can I--
BRENNAN: How'd you know I was

looking at my pin?
MARISHA:-- talk to you for a second?

TRAVIS: Yes, would you
accompany me to the location?

MARISHA: Yes, absolutely.

SPENSER: We get
pulled two folders.

They're laid out
in front of you

from The Circle
of Silver Flame.

MARISHA: Ooh, ooh, what a--

TRAVIS: Duncan and Farrah?
MARISHA: That's a cool name.

(laughter)
ZEHRA: Wow.

SPENSER: That is--
ZEHRA: Kind of want to join those guys.

(laughter)

SPENSER: Allison.

MARISHA: Oh.

SPENSER: And Joshua.
MARISHA: Circle of Silver Flame.

BRENNAN: We got
Needle and Thread

and they got Silver--
MARISHA: Silver and Flame?

SPENSER: I said Silver Flame,

so we'll go Silver Flame.

MARISHA: Silver Flame.
SPENSER: Yeah.

That was--

TRAVIS: Allison.
SPENSER:-- Allison

and Joshua.

Then Duncan Walter
and Farrah Morales.

TRAVIS: Morales.
SPENSER: Morales.

MARISHA: Duncan.

SPENSER: Duncan Walter.
MARISHA: Walter.

SPENSER: And "Fahrrah"--
MARISHA: Morales.

SPENSER: Or
"Fairrah" Morales.

It has their addresses
on their folders.

MARISHA: Okay.

SPENSER: What would you
all like to do?

TRAVIS: We have
the addresses.

What's on your mind?

LUIS: I'm sitting in a chair.
(laughs)

MARISHA: I'm trying to keep
this a little bit private.

Mr. Trapp, I'm too old to
beat around the bush.

I think, you know,

I don't like you.

(snickering)

MARISHA: Don't like you
very much at all.

Honestly, it has nothing to
do with your character

or your personality,

it's what you represent
and what you stand for.

I think this war and all the
damage it's done to all of us,

we all seek blame.

And I think I've maybe put
a lot of unfair blame on you

for bringing all those boys,

all the Finnertys
into the war.

You see, I,

was never able to
have children of my own,

and maybe it was
unhealthy for me

to build such a strong bond
and connection with them,

but they've felt
like my boys.

You, being
the recruiting officer,

well, felt like you were
responsible for everything

that happened to them.

[siren wailing]

MARISHA: But.
[explosions booming]

MARISHA: I know you're
just a victim

just as much as the
rest of us and them.

[guns firing]
[siren wailing]

MARISHA: And I thank you for
your actions just now,

saving Marion, and it's

clear that Sean has a very
strong respect for you.

I always viewed
you as a coward.

[explosions booming]

MARISHA: But
your actions today,

and our last mission
and our last mission,

have shown otherwise,

so I feel I owe
you an apology.

TRAVIS: No, I don't
think you do.

Your nose serves you well.

I am a coward.

I've always been a coward.

My older brother
was the hero.

He was taken far too soon,

and I've spent my entire
life trying to be him,

pretending I'm not

the man that I am.

Bringing in those with
talents I don't possess,

strength that I don't
have to be near me,

support me, work with me,
in some vain attempt

that it might
rub off somehow.

So no, you don't
owe me an apology.

All I can do is try and

make amends for
my shortcomings,

and of the shortcomings
of my family,

and that's why I'm here.

MARISHA: As I tried
to tell Sean earlier,

we don't have to be
defined by our past.

It's the actions in
the hardest times,

what we choose to do,

that's what defines us.

TRAVIS: I couldn't
agree more.

I'll give you this assurance.

When we turn our
back on our families,

it's up to us to choose
a newfound family.

MARISHA: Well,

you can call me Auntie Bee.

TRAVIS: Auntie Bee. ("Ahntee")

MARISHA: Oh. (laughs)

You and your posh accent.

TRAVIS: (overly pronounced)
Ant-ie Bee.

MARISHA: There you go.

BRENNAN: You drop
the T a little bit.

TRAVIS: (slurred)
Auntie, Auntie Bee.

LUIS: That was getting better, yeah.
MARISHA: I don't know if that's--

TRAVIS: I'll work on it.

MARISHA: Good job.

BRENNAN: What do you say, LT?

I feel like we
got to let Duncan

and Farrah know, if
they're still alive.

We got to warn them and say
that the chapter house fell.

But I think we
got to get Marion

and the Doc somewhere
where he can be safe.

You know,

maybe me or just you and me

or just me and Annie Bee
run out to these different--

Run out to Duncan and Farrah

and say: Lay low,
get to safety.

Both our chapter
houses fell today.

LUIS: Wait. I don't think--

Let's say this thing has
already gotten to them.

Who do you think is
next on the list?

I think it's him.
ZEHRA: Yeah.

BRENNAN: Why?
LUIS: Because he was there.

He's already
encountered this thing.

It already tried
to turn into him.

TRAVIS: If it hasn't
taken them out,

we do owe them
the responsibility

of at least trying
to warn them.

BRENNAN: Well then you stay
with Marion and the Doc,

and maybe one of
us goes to Farrah's

and one of us
goes to Walter's

and we try to get to
them as fast as possible.

TRAVIS: Do we know if the
entrance to the Fourth Pharos

is compromised, broken?
Does it work?

I mean, this is destroyed.
SPENSER: This one

has been destroyed.
TRAVIS: Okay.

SPENSER: It's unclear where
another entrance would be.

That's not information
that you would be privy to.

MARISHA: What are
the addresses?

SPENSER: Yeah.
So, one of them

is going to be
in The Varnish,

which is the
downtown district.

TRAVIS: Actually, very close to here.
MARISHA: Oh, it's very close.

SPENSER: It's very close
to you.

Then the other one
is going to be

in the bottom part
of The Steel.

So very in the industrial--
TRAVIS: East.

SPENSER: So Duncan Walters
is in The Steel

and Farrah Morales
is in The Varnish.

So two separate directions.
LUIS: Two opposite directions.

SPENSER: But all within
this side of the river.

One will be going north,
one will be going south

if you're going to
split up in that way.

MARISHA: There's
still a horse.

BRENNAN: All right.
MARISHA: If you want to take a horse

and go down to The Steel,
I know a quick shortcut

through to the Varnish.
ZEHRA: Please don't mind

the burn marks on the horse.
TRAVIS: (laughs)

BRENNAN: The what
on the what?

The burn marks on the horse?
ZEHRA: Just take the horse,

Mr. Finnerty.
TRAVIS: Are you burning

horses now, Doctor?
ZEHRA: (sighs)

Yes.

LUIS: Okay.
TRAVIS: Fantastic.

BRENNAN: I appreciate
the honesty.

All right, well,

alternative medicine.
MARISHA: I'll meet you back here.

BRENNAN: Okay.

SPENSER: So we're
breaking up three ways

from my understanding.
MARISHA: Yeah.

SPENSER: The three of you
are going somewhere.

MARISHA: You're going
to stay here?

TRAVIS: We're going to
try and fortify here

and see what we can glean--
LUIS: Yes, hunkered down there.

TRAVIS:-- from
this chapter house,

and y'all are going
to run errands.

BRENNAN: Try to warn
Duncan and Farrah.

SPENSER: Are you going--

TRAVIS: That is the rule
of TTRPGs is--

ALL: Split up.

BRENNAN: Split the party.
SPENSER: Split up three ways.

MARISHA: Yeah.
BRENNAN: Three ways.

SPENSER: Thank you.
TRAVIS: Like a Horcrux.

BRENNAN: I'll go to Duncan.
SPENSER: You'll go to Duncan.

MARISHA: I'm going to go
to The Varnish to find--

SPENSER: Farrah.
MARISHA: Farrah.

SPENSER: Great.

What are you--
You're taking it by foot?

MARISHA: I'm going to
go on foot, I imagine.

I've got my Street Smarts.

SPENSER: There are street cars.
MARISHA: I know everything.

LUIS: Call a street car.
SPENSER: There's trolleys.

There's also the subway.

So whichever, you can
also go by foot, too.

I just want to make sure
you know your options.

MARISHA: What is the fastest?

BRENNAN: The fastest would
probably be jumping on

a trolley up on top of the--
MARISHA: I'll take the trolley.

TRAVIS: Oh yeah.
MARISHA: I'm not going underground.

SPENSER: Cable car.
TRAVIS: Dude, you're moving

through this city no problem.
MARISHA: I'm not going underground.

Yeah, yeah, yeah.
SPENSER: Yeah.

MARISHA: I'm going
to, you know.

It's no longer Candela
Obscura Auntie Bee,

it is old lady,

bird lady, shuffling
through the streets

unassuming Auntie Bee.

SPENSER: Love it.
TRAVIS: Like Drunken Master,

holding onto
vehicles as you--

SPENSER: (laughs)
MARISHA: Yeah, pretty much.

TRAVIS: Going down
the street.

Flipping up. (snores)
MARISHA: Yep,

and then flipping
through alleys

where I power-walk and
then back on the trolley

and then power-walking
through the alleys and then--

Yeah.

SPENSER: We see
you doing that.

How are you getting to--
You're taking the horse?

BRENNAN: I'll grab a
horse from the carriage.

SPENSER: Okay.
BRENNAN: Leaving three

out of four or whatever.
SPENSER: One, yeah.

BRENNAN: Yeah, or leaving
one to pull the carriage.

SPENSER: There'd be two--
TRAVIS: Is it the one with

burn marks on its bottom?

BRENNAN: You know what,
I was raised better than that.

I'll take the burnt horse.

(laughter)

ZEHRA: Don't be
tempted by the smell.

Your appetite
might get whetted.

SPENSER: Don't look a
burnt horse in the mouth.

I think that's what they--
BRENNAN: Don't look

a burnt horse in the mouth.

SPENSER: Yeah.
BRENNAN: Or don't look

a burnt horse on the ass.

(laughter)

BRENNAN: I'll get
on it and giddy up.

SPENSER: Great. So
we have this scene

where we're seeing
you go through

the downtown Varnish,

you're going up
through Silverslip here

and then into The Varnish,
breaking through

from the government
buildings into

what would amount to this
era of skyscrapers, right?

They are not as
tall as they would be.

MARISHA: It's full Slink-level shit.
SPENSER: Yeah.

MARISHA: She's going to
trespass because she knows

if she cuts through the front
of this building, it's got

an easy out and she doesn't
have to go around the block.

She can just cut
through buildings.

SPENSER: Right, right, right.

We see you walk straight
through a building

and out the other
side of the building,

as people are watching you.

I'm going to have you make

either a Hide or a
Move roll for me.

You are on horseback,
we see you galloping

down out of Silverslip
down towards The Steel.

The smokestacks erupting
with smoke here

as the moon shines down

and you're going
to make a Control--

BRENNAN: Cool.
SPENSER:-- roll here

to be able to do that.

The three of you, what
are the three of you

doing inside of the chapter
house as this happens?

ZEHRA: First things first,
I just want to take

a bodily assessment and
see where we're at.

First, I turn my
attention to Marion.

If there's anything more
medically I can do to help?

LUIS: I got one body mark.

ZEHRA: I'm going to
roll a Patch Up.

SPENSER: Okay.
LUIS: How you doing over there?

TRAVIS: I'm all right. I'm one
body, two brain, one bleed.

ZEHRA: One body, two
brain, one bleed?

TRAVIS: Yeah.

ZEHRA: That's a four.

I'm going to burn
a resistance.

SPENSER: Okay.
BRENNAN: Oy!

ZEHRA: Reroll.

That's a five.

So that's for Marion.

I at least try to put balm

on the freshly-minted eye

and forehead area.
LUIS: Mm.

That feels nice.

MARISHA: (laughs)

LUIS: I pretend that
I need her to do it longer,

for longer than I
actually need her to do it.

ZEHRA: I'm very patient.

I stand there rubbing
it into his temples.

LUIS: Hey, Doc.

ZEHRA: Yes?

LUIS: I'm sorry
about your dad.

ZEHRA: Me too.

LUIS: You okay?

ZEHRA: (sighs)

It's a complicated
question, Marion.

But yes.

I think I will be.

LUIS: You know what I think?

Time is really fucking weird.

Sometimes it feels
like it moves so slow

and then other times,
it's like bam, bam, bam.

So fast, and it just slips.

You can't waste time.

We don't know
how much we got.

ZEHRA: No.

We certainly don't.

I'm just glad that

your time has not
yet run out here.

LUIS: It kind of feels--

I don't know.

I feel like a piece of me
went through that thing.

ZEHRA: What did it feel like?

May I?

LUIS: You want to touch me?

ZEHRA: Yes, other than your
temples, I would like to--

If you will allow me, show me

what you felt?

LUIS: Oh.

Yeah, okay.

I don't know if I know how
to do that, but I'll try.

ZEHRA: We'll do it
like we did it before.

LUIS: Then you got to
take the lead on that.

ZEHRA: I take his hand
with my right hand

and that pulsating star begins
on the side of my head.

But it's bigger.

It mirrors his new additions

and it takes over my
entire field of vision.

SPENSER: I'm going to have
you roll Sense for me.

ZEHRA: Four.

LUIS: That's gilded,
but that's okay. (laughs)

ZEHRA: I didn't gild it.

SPENSER: It's okay.

LUIS: Damn.

SPENSER: The pulsing
hurts at first.

There's a lot of new
pain within Marion.

A lot more bleed within him.

Only through sheer will
do you push through it.

What do you let her see?

LUIS: I was just going to
ask, do I have any agency?

But okay, yeah.

Fuck.

I feel like time is--

Time is running out

and I don't want to hide.

I'm going to take her--

It's as if you encounter
a seven-year-old version of me

and you see this figure look
right at you eye-to-eye.

It maybe takes you a
couple seconds to realize

that it's a seven-year-old
version of you

standing next to me.

I take your hand.

I want to show you

my garden.

I take her--

Suddenly, we're at the front
door of the house I grew up in

and instead of pushing the
door open, it just dissipates.

We walk through
that threshold.

ZEHRA: I've been here before.

LUIS: Of course.

Then, poof.

We're a little
older, just a year,

and still looking at the garden,
everything that was there,

all those flowers have
grown a little bit more

and we're in the
same exact position.

Your father is coming up.

This is when you
were here last.

I step away from you,

turn around, and ask
you to follow me.

ZEHRA: I do.

LUIS: You've
seen this already.

ZEHRA: I know
what happens next.

LUIS: It doesn't matter.

The past is done.

Everything that
happens in the past

is what got you
to where you are.

So this time,
I want you to watch.

Don't close your eyes.

I'm led back to my bed,

as

back when I was eight
and this man came

to fix me,

to rid me of the curse or
the demon that was in me

because of the scar
that my father saw.

I remember he
brought his daughter.

ZEHRA: I'm there.

I'm holding the bowl.

It's full of herbs from your
garden and some from our own.

I'm watching this boy

writhe in pain, in agony

and my father,

beard flowing,

smiling.

LUIS: Don't close
your eyes this time.

I want you to see everything.

ZEHRA: I won't.

I'll see.

LUIS: There's a thread

that starts to
move out of my chest

and it starts to
move around you

and it moves into your chest

and out your back,

out the door

and it dissipated

somewhere else.

There's nothing
wrong with you,

just like there's
nothing wrong with me.

And I let go of your hand.

ZEHRA: Time isn't
running out for you,

not while I'm on watch.

LUIS: My eyes hurt,
can you touch them more?

ZEHRA: (chuckles)

Yes, but hang onto
this for good measure.

I pull out my pocket watch.

I give it to
Marion to hang onto

while I return to my
ministrations on his eyes,

ever more gentle,
ever more lingering.

SPENSER: We stay on
that for just a moment,

watching these two.

The world,

for once, here

at peace,

if only for a moment

because we cut
back to the two of you.

MARISHA: Shit, that's right.

We're still in this game.

Oh my god.
(snickering)

SPENSER: What did you roll?

MARISHA: What did I roll?
BRENNAN: That was so beautiful.

MARISHA: Four.
SPENSER: A four. What did you roll?

MARISHA: On a gilded die.

BRENNAN: What do
you want from me?

SPENSER: What did you roll?
BRENNAN: I don't know.

(laughter)

SPENSER: No idea.

BRENNAN: I was watching
a movie.

SPENSER: Me too.
MARISHA: No, exactly!

SPENSER: Control.

BRENNAN: Control.
I rolled a five!

SPENSER: Amazing, okay.
Four and a five.

TRAVIS and LUIS: (laugh)

BRENNAN: What do you
people want from me?

SPENSER: I'm here enjoying
good entertainment.

MARISHA: Yeah. I know.
BRENNAN: I got the best seat

in the fucking house, bro.
MARISHA: We need popcorn.

BRENNAN: Fucking
calm down, dude!

(laughter)

SPENSER: Four and a five,
both a mixed success.

As you approach this

third story apartment
in The Varnish,

we see you move
up the stairwell,

up to--
MARISHA: Keeping an eye out.

Keeping an eye out.
SPENSER: Yep.

MARISHA: Keeping an eye out.
SPENSER: There's a hallway

where they've
installed lights.

New lights.

MARISHA: Electric lights?

SPENSER: Electric lights.

MARISHA: Kind of hurts my eyes
a little bit,

I'm not used to it.

SPENSER: You see--
You know the address.

It's 53,

or 353?

353.

But 53 on the doors here
on the third floor.

You continue down.

48,

49,

50,

51,

52,

53.

The door is red
with gold lettering.

Three five three.

You stand outside of it.

All seems quiet.

MARISHA: It's not ajar?

It doesn't look disturbed?

SPENSER: Not from what
you can see out here.

MARISHA: Can I peek
under the crack?

SPENSER: Mm.

MARISHA: I look
under the hinges

and see if I can
see any movement,

any light flickers
if it's dark.

SPENSER: Make a Survey
roll for me.

As you do that, we cut over
to you. You rolled a five.

BRENNAN: Yep.

SPENSER: You're riding
down towards The Steel.

You get to a house.

It's an old, old
house built maybe,

you know, 80, 90 years ago.

So, not super old, but old
enough that it, you know,

that it looks like it was--

It looks as though it's
built of metal siding.

It's not a house
like in Silverslip,

it's not a house
like in The Eaves.

This is--
BRENNAN: Yeah.

SPENSER:-- for all intents
and purposes, more makeshift

in The Steel here than
it would be elsewhere.

There are lots of these homes

on this alleyway
that you're in.

They all look like they've
been cobbled together.

This is a working man's,

a working person's
place of residence.

BRENNAN: Sure.
SPENSER: The door here

is ajar.
BRENNAN: Got you.

SPENSER: What would
you like to do?

BRENNAN: The door is ajar.
I'm going to look around--

SPENSER: Just a little bit.
BRENNAN: Just a little bit.

MARISHA: I hate that.
LUIS: (laughs)

BRENNAN: I'm going to--

TRAVIS: You went after
Duncan or Farrah?

BRENNAN: I went after Duncan.
TRAVIS: Yep.

BRENNAN: I'm going to

walk in,

and, oh, I'm going
to take a gun out.

Are there any lights around?

Do I see any lights,
mirrors, reflective surfaces,

or do I see any
possibility of a lantern,

a gas lamp from a
street that I could

light a rag with to have
light going into the--?

SPENSER: Make a
Survey roll for me.

BRENNAN: Okay.

That's a one.

SPENSER: You enter,
and the house is dark.

To the left, there
is a family portrait

that has been sketched.

No photographs right now

with this level
of impoverishment.

BRENNAN: Yeah.

SPENSER: But it looks as
though there's seven,

eight members of this
family from, you know,

a grandfather down
to some grandchildren.

BRENNAN: Yeah.

SPENSER: The glass

is reflective
here as you open the door,

but nothing else glints.

BRENNAN: I'll knock on the
door as I'm in the doorway.

I'm going to say: Mr. Walter.

Mr. Duncan Walter.

My name's Sean Finnerty.

I'm here from our
mutual organization.

You're in danger.

SPENSER: You hear
the cock of a gun.

You see the glint of metal.

BRENNAN: Hands up.

I drop my weapon.

SPENSER: "Who the
fuck are you?"

BRENNAN: My name's
Sean Finnerty.

SPENSER: "I've
heard you, boy."

BRENNAN: You want
to know who I am.

I'm part of the Circle
of Needle & Thread.

I'm here because
you are being hunted

by a creature
working in the name

of Allison Suarez.

SPENSER: He leans in.

You see a slash of
light across his face.

He goes,

"You don't think
I fucking know that?

"I'm waiting for him."

We cut over to you.

MARISHA: I rolled three
on my Survey roll.

TRAVIS: Set us up.

SPENSER: There is movement within--
MARISHA: Should have spent a drive.

SPENSER:-- here, but it's
hard to tell what it is

from the space in the cracks.

You just see somebody moving.

MARISHA: I'm going to take out
a bleed detector that I got.

SPENSER: Uh-huh.

MARISHA: Put it up
against the wall.

SPENSER: Great.

MARISHA: Does it sense
any bleed through the door?

SPENSER: It twinges.

MARISHA: Well, we've all
been touched by bleed.

I just test the door handle.

SPENSER: Mm-hmm.
The door clicks.

MARISHA: It's not locked?

I open it.

(humming)

Ms. Morales.

Ms. Morales?

SPENSER: As you enter, you
see the inside is lit up

and there's a woman
in a night robe.

She's standing,
looking in a drawer.

She's holding a
pair of socks.

She closes the drawer.

(soft, hesitant) "Hello?"

MARISHA: Beatrix Monroe,
Candela Obscura.

SPENSER: She throws the socks
onto the bed behind her.

MARISHA: Initial glances.

How's she look?

Does she have any type
of vibe like Duncan had?

Like she's already been taken over?
TRAVIS: She's fucking with socks!

LUIS: (laughs)
MARISHA: (laughs)

SPENSER: She looks--
TRAVIS: She's focused!

(laughter)

SPENSER: She looks worried that
somebody's coming into her place.

BRENNAN: I love that the vibe
of this place is someone's like,

"Who the fuck are you?"

and we're like,
"I like your style."

TRAVIS: Yeah.
(laughter)

LUIS: This guy's safe!
BRENNAN: Someone's like,

I need to mend the socks.
TRAVIS: I'm good with you.

I'm good with you.
BRENNAN: We're, kill them!

Fucking kill them!
(laughter)

LUIS: That's sus, that's sus!
BRENNAN: Kill them!

LUIS: The gun is not sus.

MARISHA: I want to do a
quick scan of the room.

TRAVIS: Those
socks don't match!

MARISHA: Does it look like

there has been any
type of struggle,

any type of break-in,

anything that would indicate

that she's already
been compromised?

SPENSER: The lamp is a
little bit cocked here.

ZEHRA: Oh.

MARISHA: That's it?
BRENNAN: For Needle & Thread,

that's enough to fucking
ice you then and there.

MARISHA: That's it?

SPENSER: That's it.
TRAVIS: Demon core.

LUIS: Jesus.
BRENNAN: I'm not waiting for

a fucking notification.
SPENSER: What do you want to do?

MARISHA: Ms. Farrah,
you're in grave danger.

SPENSER: "Grave danger,"
she says.

She pushes the drawer closed.

"I'm aware that there's been

"a rash of killings lately,

"but I think I am
equipped to handle my own."

She turns towards you,

and you can see the glint of a
Periphery badge on her chest.

MARISHA: Oh, is she
a cop now?

I'm going to say--

SPENSER: She takes it off.
Puts it down.

MARISHA: Ms. Morales, for
the safety of you and me,

can you quickly recount me
with the details of the night

that you all lost Alison?

SPENSER: She smiles.

Go ahead and
make a Sway roll for me.

MARISHA: I'm going to
spend a drive.

SPENSER: Okay.

MARISHA: I'm going to
spend two drives.

SPENSER: Okay. (laughs)

TRAVIS: Pat her down for
firearm or tentacles?

MARISHA: Well.

You said Sway.
I spent two drive.

Six.

SPENSER: Six.
ZEHRA: Mm!

SPENSER: She says,

"What Circle?"

MARISHA: She's asking my Circle?
SPENSER: Mm-hmm.

MARISHA: You tell me
yours first.

SPENSER: She eyes you,

sits down on
the bed behind her.

"You know about Alison?

"I've been
worried about her."

MARISHA: What's your
Circle's name?

SPENSER: She smiles at you.

We cut over to you.

(groaning)

MARISHA: This bitch
is a facehugger!

(laughter)

SPENSER: There's a glint
of a gun facing you.

What do you want to do?

He just told you he knows
that he's in danger.

BRENNAN: Mm-hmm.

All right.

Courtesy, we didn't
know if you knew.

Both chapter houses
of Silver Flame,

which is the one we came
from, Silver Flame, right?

ALL: Silverslip.
BRENNAN: Silverslip.

LUIS: We came from
Silverslip at the--

But it was the
Circle of Silver Flame.

BRENNAN: Silver Flame and

Needle & Thread's
chapter houses

both fell today.

Door to the
Fourth Pharos gone.

Rift closed, but door the
Fourth Pharos gone.

We don't know who the hell
we report to anymore.

Are you isolated, too, or
are you still getting orders?

SPENSER: "We're locked in,"
he says,

"I,

"I always figure
I'm operating alone."

BRENNAN: I understand that.

Listen, I'm not going to
tell you your business,

you're taking care
of yourself.

If you feel like your odds
are better with help,

there's help, but I'm not
going to make you take it.

SPENSER: "I appreciate that.

"You try and send people
to watch guard,

"I don't want them here.

"If it's my time,
it's my time."

BRENNAN: I understand
the sentiment.

You want to unload my gun,

and hand it and
the ammunition back to me?

It's a long ride back
to the harbor.

SPENSER: He looks you
up and down.

"Give me the gun,
you can go."

BRENNAN: Do I have a way

of getting another
weapon like this

now that both chapter houses
have fallen?

SPENSER: There's ways,
in the city, yeah.

BRENNAN: Okay.

Then I'll say:

Well, you're probably going to
need it more than me, Duncan,

you take care.

I'll back slowly
out of the door.

TRAVIS: Oh good, there
you go, (laughs) oh, whoa.

SPENSER: As you back
out of the door--

MARISHA: Mm!

SPENSER: We hear him say:

"We're the same, you and I."
MARISHA: (gasps)

LUIS: No!
MARISHA: No!

SPENSER: And he unloads.

ZEHRA, LUIS, and MARISHA: No!

SPENSER: Take four points
of body.

ZEHRA: No!
TRAVIS: Oh, what?

Whoa, whoa!

BRENNAN: Is there
any ability I have

that I can potentially
roll to avoid this?

If not, that's fine,
I'll take it.

SPENSER: Here's
what I'll say.

TRAVIS: Oh, (laughs) four!

SPENSER: As the gun
gets pulled.

BRENNAN: Mm-hmm.

MARISHA: Oh shit.

SPENSER: You were shot
once before.

Well, you weren't shot,
but you almost were.

BRENNAN: Yeah.

SPENSER: And somebody
saved you,

and that person
isn't here now.

But you heard the gun go off.

[gunfire] [sirens]

SPENSER: You knew that
your life was over,

and somebody pulled you out.

BRENNAN: Mm-hmm.

SPENSER: With
those instincts,

I'm going to say you can
burn a resistance in Nerve.

BRENNAN: Okay.

SPENSER: If you do that, I'll
allow you to make a roll.

ZEHRA: Oh.

SPENSER: The expectations here
are you will still be shot.

You are backing away
from him, no weapon,

he had perfect aim,
he was right at you.

BRENNAN: Okay.

SPENSER: But you can
make a Move roll--

BRENNAN: Okay.

SPENSER: To at least avoid
two of those body.

BRENNAN: To avoid two?

SPENSER: Two body.
TRAVIS: Of the four.

SPENSER: Of the four body.
BRENNAN: Two of the four.

I am not going to lie.

I have,

I have burned both of
my Nerve resistance,

I have an
Intuition resistance.

SPENSER: I will let you
spend Intuition resistance,

that feels like
it applies here.

BRENNAN: Okay.
TRAVIS: Sure does.

MARISHA: Yeah.
BRENNAN: I'm going to do that.

TRAVIS: Some of this shit,
you just can't teach.

SPENSER: Yep.
MARISHA: Yep, analyze,

remember?

BRENNAN: That's
going to make a--

So, that's going to make a--

I'll burn my
Intuition resistance.

That's going to
give me a Move roll

to try to avoid two of this--

SPENSER: Two of those
body marks.

BRENNAN: Okay.

So, Move is going be
one, two, three.

ZEHRA: Can any of us
help him from afar?

SPENSER: Nope, nope.

Everybody is away,
you all split up.

MARISHA: Well, why did
we split the party?

ZEHRA: Can the memory of
our love of him--

SPENSER: (laughs)
ZEHRA:-- help him?

MARISHA: In a horror game.
BRENNAN: That's sort of

the heart of eldritch horror

is that the memory of love
is the most powerful.

SPENSER: Right, that's--
ZEHRA: Care Bear Stare!

SPENSER: That's the most common
theme of eldritch horror.

BRENNAN: Yeah, yeah, yeah,
for sure, for sure.

(laughter)

BRENNAN: Okay, so, it's Move.

Let's go ahead, we're going to
burn some drive here as well.

Let's go one,

two.

We'll go one, two,
and fuck it, we'll burn

all of it we got

to roll six--

[thunder rumbling]

LUIS: Oh god!
BRENNAN: Dice.

ZEHRA: Damn it.
MARISHA and LUIS: (laugh)

LUIS: It's the rumble.

MARISHA: That's the table--

BRENNAN: That's a six.

ZEHRA: Oh, thank god!
LUIS: Yes!

SPENSER: The gun erupts.

Describe for me here

what happens.

BRENNAN: I burn all of
my drive, take two body,

immediately
get two drive back.

I see him go for the gun,

and as I'm backing
away to the door,

I move out of the way, take
the shot across the chest.

It's, you know,
he has, I assume,

a shotgun in his hand.
SPENSER: Yeah.

BRENNAN: So all the skin
is gone off my chest.

TRAVIS: Poof!
BRENNAN: Just scrapes,

I'm cheese gratered
across the chest.

LUIS: (grunting)

BRENNAN: At the doorway,
I grab a panel of loose wood

on this shitty old house,
rip it off the doorframe,

leap forward, grab it,
and I'm going to attack him

with this just piece of wood.

SPENSER: As you're
coming at him,

you hear, (reloading) again

for another shot to load up.

What I will say is
high stakes roll,

expectations here
are: On a miss,

he will shoot you again.

BRENNAN: Got you, great.

SPENSER: On a miss, you might
still take some more body--

or sorry, on a mixed success,
you might still take some body.

TRAVIS: (high-pitched,
nervous laugh)

ZEHRA: I'm disinfecting
my hands from a distance.

LUIS: Question.
ZEHRA: Knowing what's to come.

MARISHA: (laughs)
LUIS: I'm going to read you

the text of this ability.

ZEHRA: Oh.

LUIS: I have visions
of the future.

When an ally is about to
take one or more marks,

I burn an Intuition
resistance to warn them

about the coming danger, then
soak one of these marks.

Do I, I mean, he's not with
an earshot for me to warn him.

SPENSER: No.
LUIS: But am I able to,

even though he's far away,
have a premonition,

and be aware of him
being in danger,

even though I can't
help him absorb,

dodge any of those marks?

TRAVIS: Yuck.
MARISHA: Mm.

LUIS: Does something
go off in my mind,

and I see a vision
of this gunfire

coming at him in
this doorframe?

SPENSER: You see it,

but there's nothing
you can do about it.

You get the premonitions.
LUIS: Yeah.

SPENSER: But you
are not within--

LUIS: I know
I can't help him--

SPENSER:-- communication, you know--
LUIS: But I know he's in trouble.

SPENSER: But you know
that he's in trouble.

That's the compromise
I'll make there.

LUIS: Yes, great.

BRENNAN: Burning
all of my drive.

SPENSER: I won't make you
burn a thing for that.

LUIS: Oh, okay.
SPENSER: You can just have that.

BRENNAN: I also want to
say, just for posterity,

that I have three marks
in body, brain, and bleed.

TRAVIS: (claps)

LUIS: (groans)

SPENSER: Let's go.

BRENNAN: Fives. Two fives.

LUIS: Can you--
Do you got any rerolls?

BRENNAN: No, I got nothing.

I got no rerolls.
TRAVIS: He's all spent.

LUIS and BRENNAN: All spent.
LUIS: Okay.

SPENSER: Here's what happens.

You move forward.

You drive this shard of wood

into the chest
of this creature.

You see around the wound
(pulsing)

chromatic aberrations,

and its face shifts into you.

ZEHRA: (gasps)
LUIS: (groans)

SPENSER: It pulls
the trigger.

You're going to
take two points

of body here.
BRENNAN: Okay.

I'm out.

SPENSER: We watch as it rips
the wood out of its chest,

throws it down.

We see black ichor
dripping down its body

changing in color

as it drips onto
your body down below.

We pull out from there.

In the doorframe,
the two of you,

him standing over you,

yourself standing over you.

We hear the hiss of
the factories around you.

We see nobody paying mind
in a place like this.

We hear the cock of
the shotgun once again

and that's where we're going
to end tonight's session.

TRAVIS and MARISHA: (groaning)
TRAVIS: Oh no!

No!

Wait, our pins like
light up and go (beeping)

because someone's down,
like at a rave?

BRENNAN: Certainly
there's some kind of

Care Bear stare somewhere.

(laughter)

ZEHRA: The power of love!
BRENNAN: If we love each other enough,

certainly no one can
get murdered.

LUIS: I got the premonition--
SPENSER: This one

is your Care Bear stare.
LUIS:-- and I couldn't help him.

TRAVIS: That's right,
that's right.

LUIS: I mean, you know,

to be continued.
MARISHA: There's no way you

can get to him in time.

LUIS: I know.
But we know he's in trouble.

MARISHA: He's too far away.
SPENSER: You know he's in trouble.

MARISHA: We don't know if my
girl is a fucking day walker.

SPENSER: Well, we do know that
there's only one right now

that has been able to
change shape in that way.

So, ostensibly, maybe--

BRENNAN: So you're saying she's
just that weird in real life.

TRAVIS: Were the
socks matching?!

BRENNAN: Put your
fucking socks down, lady.

MARISHA: What're you doing with
those socks at a time like this?

LUIS: Yes.
SPENSER: Before we go,

the three of you--

Well, actually
the four of you,

because the four of you are

in a relative state
of ease here,

I'm going to let you spend

one Candela Obscura resource

because we are not at
the end of an assignment.

I mean, we are, but like,

assignments are off
the table now, baby.

Like--
LUIS: We just closed another rift.

SPENSER: Yeah, you did close
another rift, so like,

there are reasons to believe

that we should be able to spend
things that help each other.

But I will say, it's only
going to be one resource

from each of you
because you all

are not in a place of rest.

So let's go around and figure
out what we want to spend.

TRAVIS: Who needs
stitch the most?

LUIS: I don't.
I've just got one body mark.

TRAVIS: Yeah.
I'm one, two, and one.

ZEHRA: I have two body,
two brain, and one bleed.

But I only have one scar.

MARISHA: I don't have
any scars, so I'm okay.

Maybe the doc? Unless,
how are you looking?

TRAVIS: I have one body,
two brain,

one bleed and two scars.

MARISHA: Oh.
ZEHRA: I feel like you need--

TRAVIS: I could use a stitch
or I could take a train

and take that d6.

ZEHRA: We only have
one stitch left, right?

SPENSER: You have two stitches left.
TRAVIS: We have two stitches left

because he didn't take one.

SPENSER: So two of you
could take it.

ZEHRA: I mean, if no one
else is taking it--

SPENSER: But it you
won't have a refresh.

ZEHRA: Correct.
I didn't burn a ton of drive.

SPENSER: Okay.
MARISHA: So I'll take a train.

TRAVIS: Okay.
SPENSER: Great. You'll take a die?

ZEHRA: All right,
I'll take a stitch.

LUIS: We each just
can have one, right?

SPENSER: Correct.

LUIS: Do we have a refresh
as an option still?

TRAVIS: We do.
There are two refresh left.

LUIS: We could just take one.

LUIS: I'm going to--

I'm going to refresh.

Yeah, I'm going to refresh.

I need all my drive
and resistance back.

It's good.

TRAVIS: I have one more
of these right?

And you can't take one?

I'll take the
last stitch, I guess.

ZEHRA: That's not fair!

LUIS: Damn.
SPENSER: That's how it goes, baby.

ZEHRA: Damn!
(laughter)

MARISHA: The cold look as
you yelled, "That's not fair,"

at a Candela GM.
ZEHRA: Usually that works!

BRENNAN: Fairness
is one of the--

LUIS: It's called Fairelands.
BRENNAN: Fairelands!

SPENSER: It's called
the Fairelands!

MARISHA: What kind
country is this?

SPENSER: It's the Unfairelands.
LUIS: Your "fair" is spelled wrong.

N-O-T Fair.

MARISHA: Rewrite the guide.
(laughter)

SPENSER: Throw it all out.

MARISHA: (laughs)

ZEHRA: Okay. Are we out of--

Who took refresh?

LUIS: I thought, yeah, no.
I was like,

"The sock lady. No!"

TRAVIS: I took refresh so we
got two train left and one--

Well, we all took one.
SPENSER: As long as everybody

took one,
that's what we're at.

MARISHA: She's got
five seconds

to tell me her circle name

or I'm lighting
this bitch on fire.

(laughter)

LUIS: Oh my god.

TRAVIS: It's uh-- It's uh--

It's, it's-- No, no, no!

(laughter)

MARISHA: It's been a few
years. Give me a minute.

SPENSER: Great.

With that, I think we're
going to finish up.

Do we have anything else we
want to do? Anything else?

I think that's the hold.

LUIS: That's it.
SPENSER: Yeah? Okay.

ZEHRA: We're in Silverslip.
TRAVIS: I think while they

were doing their thing,
I would do an inspection thing

and just try and piece
together whatever I can

from the house with the hopes

that they'd be
bringing people back

and we could
fortify this thing.

But there's a lot to happen
before we get close to that.

SPENSER: There sure is.

Okay. Well, just
like we did last time,

I'm going to pass
around the table.

We're going to tell
everybody who we are,

and then we're
going to go home,

and we're going
to get some sleep,

and we're going to come back
and finish this thing off.

Yeah?
LUIS: Get sleep.

SPENSER: Start with you.

TRAVIS: I'm Travis Willingham
playing Nathaniel Trapp

and I have two scars.

MARISHA: Marisha Ray playing
Beatrix Monroe, aka,

you can all
call me Auntie Bee.

BRENNAN: I'm
Brennan Lee Mulligan

and I had the
honor of playing--

(laughter)
MARISHA: No!

BRENNAN:-- Sean Finnerty.

ZEHRA: I'm Zehra Fazal.

I'm playing Dr. Jean Basar
and I have a hand on fire.

(laughter)

LUIS: I'm Luis Carazo and
I am playing Marion Collodi.

SPENSER: Amazing.
And I'm Spenser Starke.

I've been your game master.

Thanks so much.
We'll see you next time.

TRAVIS: Oh my god.