Original subtitles

TALIESIN: Rummaging through the ruins

of the Hallowharbor chapter house,

the charred remains we've managed to retrieve

have been identified as none other than

Lightkeeper Draven Kingsley.

His bleed-soaked body suggests an abundance of corruption,

and evidence suggests containment was the motivation

of our unknown arsonist.

Perhaps our investigators successfully vanquished

the magical phenomena they pursued.

Perhaps they fell victim

to the terrible forces beyond the Flare.

Regardless, we pay our respects

to the Circle of Needle & Thread,

wherever they may be.

Restricted File #1593.

(dramatic music)

(dramatic music continues)

SPENSER: We open on the Silverslip chapter house.

We push in slowly,

and we see a skitter of dark figures

along the top, deep down into the windows.

As that happens,

we hear our friend, Nathaniel Trapp, here

reading the events that unfurled.

TRAVIS: "Michaela and Arnie held them off

"for as long as they could.

"Both damn good shots from the war.

"But they were soon overwhelmed and we had to fall back.

"Whatever those creatures are ripped the two of them

"limb from limb, seemingly growing in power as they did.

"We tried to escape to the Fourth Pharos,

"but by the time we reached the stairway

"they were already on us.

"There were dozens of them on the walls and the ceiling.

"The one that seemed to be their leader,

"more human-like in appearance and flashing between faces

"was inspecting the astrolabe as

"I ducked into the closet downstairs

"attempting to wait them out,

"but they appeared to be making an incursion

"into the Fourth Pharos to track down Allison.

"I can hear them going through the archive files

"searching as well.

"I would surmise that Duncan and Farrah are now, too,

"in grave danger.

"I will keep listening.

"I can't sit by and do nothing.

"It seems as though these things

"are trying to modify the astrolabe

"for their own purpose.

"There is talk about bringing through the Mother,

"but that it can't happen here.

"They seem to be frustrated.

"I want to think that is good news, but I am not sure it is.

"Regardless, the Fourth Pharos is compromised

"and I'm not going to make it out of here.

"To whatever Candela Obscura member finds this,

"you need to warn them.

"They are there. Lightkeeper Dolores Finch."

SPENSER: On a shot of Nathaniel

holding this note left behind

in the Silverslip chapter house,

the destruction around him evident,

I want to remind everybody what happened last time

so that we know where we're at.

So I'm going to go around the table.

We're going to start with the three of you

who are in the Silverslip chapter house.

Will you remind me

what happened upon your arrival here?

LUIS: Hmm.

Well, we arrived at the Silverslip chapter house

because we were tracking down

what we thought was hunting the members of that circle.

SPENSER: Circle of Silver Flame.

LUIS: The Circle of Silver Flame.

When we came here, we found that there was a breach.

That this had been taken over.

There was bleed emanating from everywhere.

We went up into the archives searching, making sure,

noticing that it was ransacked.

There was a tear where the Fourth Pharos was meant to be.

In there, on the other side through it,

the astrolabe was through that.

SPENSER: Yeah. Broken or covered in bleed.

LUIS: Covered in bleed,

glitching and moving backwards.

SPENSER: Mm-hmm.

LUIS: Anyone else want to jump in?

ZEHRA: I, unfortunately,

was left with the care of Lucas Suarez.

Not unfortunately, he's a sweet little boy.

But I had to run him over to the Trapp residence

along with a letter from Mr. Trapp to senior Trapp

and left the boy there.

Made it over as quickly as I could by carriage

and arrived after

a rather devastating incident had happened

that Marion thankfully escaped from, but very nearly didn't.

LUIS: Without the doctor who helped seal the other tear

I took it upon myself to absorb the bleed

that was what I thought was getting in the way

of the astrolabe's functioning.

It seemed to have worked.

It seemed to have sealed the tear.

There was something on the other side of that

that was pulling me in a way.

The lieutenant and Sean got--

Stopped me from getting sucked in.

I think it's fair to mention that upon entering,

y'all acted like badasses

and basically took out all of the creatures

that were flooding the space,

which cleared the path to that tear.

Then after that, we figured out

that we needed to get to the remaining members

of the Circle of Silver Flame.

TRAVIS: Duncan and Farrah. LUIS: Mm-hmm.

TRAVIS: We sent Sean after Duncan located in The Steel

and Farrah was in The Varnish.

We sent Auntie Bee after her.

SPENSER: Great. What happened when you got to Farrah's?

MARISHA: Oh, suspiciously, the door was a little unlocked.

A little unlocked. It was unlocked.

LUIS: (laughs)

Just barely. MARISHA: Just barely.

Which is a bit alarming

considering there were other Candela Obscura members

posted guard outside of the other Silver--

♪ Silverslip ♪ SPENSER: Flame?

MARISHA: Silver Flame members' houses.

Walked inside.

Farrah was tending to some socks in her sock drawer.

TRAVIS: But were they matching?! LUIS: Yes.

SPENSER: (laughs)

MARISHA: Suspicious if they're not matching.

Everything seemed to be okay outside of a gas lamp sconce

that was slightly askew.

But there was still a bit of a tense standoff moment

as we try and figure out

if each of the other one is legitimate in their claims.

SPENSER: And that's when we land on Sean.

Sean, will you remind us what happened

when you left for The Steel?

BRENNAN: Will I?

(laughter)

BRENNAN: Will I, Spenser? SPENSER: Please.

BRENNAN: Folks, it went great.

(laughter)

MARISHA: Oh boy.

BRENNAN: Sean took off from Silverslip,

headed for Duncan's residence in The Steel,

finding a darkened home.

I believe the door was shut.

SPENSER: The door was open.

BRENNAN: The door was open, the door was ajar. That's right.

ZEHRA: Ajar, I hate that word.

BRENNAN: These aliens don't like to close doors.

We know that.

MARISHA and TRAVIS: (laugh)

BRENNAN: Nudging the door open with a shotgun,

the man I believe to be Duncan got the drop on me.

I dropped my weapon,

announced that we were there trying to warn him.

He said, "Don't you think I know that?"

We proceeded to have a conversation.

I said, "Just a courtesy, I'll be on my way."

Took one step out. He fired.

I got grazed across the chest,

grabbed a spar of wood off the doorframe to try to kill him

and managed to injure him, but not before he shot me

and I lost consciousness.

SPENSER: Yeah, we saw the wood go into his chest

and ripple out in chromatic waves

indicative of these creatures

after him saying to you, again, "We are the same."

So, that is where we find ourselves in this moment.

We see you holding the note that was left behind.

What do you all want to do?

LUIS: Well, at this point, I was--

ZEHRA: I was-- LUIS: Being tended to by Jean.

ZEHRA: Yes.

LUIS: Because now I have all these--

My scar has spread from my chest up my body, up my neck,

around my eyes.

And suddenly, I got a vision of Sean in danger.

SPENSER: Mm, that's right.

A premonition. LUIS: Premonition.

Immediately, I'm jumping up.

Sean's in danger.

We got to get out of here. We got to get to him.

I don't think he's okay. We got to get to him.

Where are you at this point?

TRAVIS: I've been going through the records.

I've found this letter from Lightkeeper Dolores Finch.

Would I even happen to know who that is?

Totally unfamiliar-- SPENSER: Not somebody

that's within your chapter house, but you would guess

that it's one of the Lightkeepers

from the Silverslip chapter house.

TRAVIS: Okay. SPENSER: Given the context there.

TRAVIS: I found something incredible.

It speaks about the creatures that we've seen.

There also seems to be a leader amongst them

and they speak of a Mother

that they're trying to bring through the rift and--

ZEHRA: The Mother.

TRAVIS: Yes, the Mother, and then they say

that wherever the Fourth Pharos entrance is,

that's where they will be.

And that we should be warned.

Why, what's going on-- LUIS: Sean's in trouble.

I got a premonition just now. And we got to get to him.

I don't know if he's okay.

ZEHRA: He went to Duncan's residence?

TRAVIS: Yes. Yes. ZEHRA: Is that right?

TRAVIS: In The Steel.

LUIS: I'm going to get-- I'm going.

I'm not going to stick around here.

He's in trouble and he needs us.

So I'm going to go, we got to figure out how to get--

TRAVIS: We'll go with you, yes.

We'll go outside and hail a carriage.

Silverslip to The Steel. Actually, it's not very far.

It's a neighboring area.

SPENSER: Yeah, it is. It's just south.

We see you step onto the street and--

LUIS: Can we get two carriages?

TRAVIS: Two? Yes.

LUIS: What are we going to do with Auntie Bee?

TRAVIS: She's in The Varnish, she's not--

Should we send one for her?

LUIS: I think we should. We need to get together somehow.

ZEHRA: Yes, someone needs to go check on her.

If Sean is in danger, did you--

It's possible Auntie Bee may be in danger as well.

LUIS: I think so. Look--

ZEHRA: Should we split up? LUIS: Uh.

TRAVIS: Yes, we definitely should.

MARISHA and ZEHRA: (laugh)

TRAVIS: This how we do this.

ZEHRA: If Sean is in grave danger,

I may be able to heal him.

I should go with you. LUIS: If there's a fight

that needs to be had, I'm not really in position to fight.

I think you're the fighter that we have left.

TRAVIS: I am. That's what Auntie Bee always said.

Brave as a lion.

LUIS: I'll take the first--

I'll take one carriage to Auntie Bee

and then we'll meet you there.

Just make sure Sean's okay.

TRAVIS: Yeah, yeah.

ZEHRA: No, you're going to Sean. TRAVIS: Sean, Auntie Bee.

Wait, what? Oh, Sean, Auntie Bee.

LUIS: You too Sean, I think, right?

ZEHRA: Oh, you don't want to go to Sean?

LUIS: I do, I just--

TRAVIS: He's super fucked up.

That's the term.

MARISHA: (laughs) ZEHRA: All right, let's go to Sean.

TRAVIS: Sean. ZEHRA: Duncan's residence.

MARISHA: Turn of the century term. ZEHRA: Get Auntie Bee

and meet us there, MARISHA: Supes fucked up.

SPENSER: (laughs)

LUIS: I should go to Sean, too.

ZEHRA: Let's you and I go to Sean.

I saw Auntie Bee and you talking rather in intimately.

I feel like you should go check on her.

TRAVIS: I will go wherever I am needed.

I'm going to raid the armory in the same way that my boy did.

SPENSER: Great. TRAVIS: And look for any grenades.

I'm going to fill up the revolver as well.

I don't know if there are-- SPENSER: You find hand weapons.

There's no military tech here.

TRAVIS: Great.

SPENSER: But there are hand weapons here

akin to your pistol that you have.

TRAVIS: Great.

ZEHRA: Is there anything that I can

sense is of use here that--

I didn't feel the danger of Sean,

but I completely trust Marion, and based on our bond,

I know that something is grave.

Is there anything I can sense here that would be of use

in this specific situation?

SPENSER: Great. Go ahead and roll Sense for me.

ZEHRA: That's cute.

SPENSER: You're reaching out to the chapter house

to see if there's any artifacts

that might've been hidden-- ZEHRA: My intuition tells me,

ah, I'll need this. SPENSER: Okay.

ZEHRA: Two. SPENSER: It's a two.

You're taking-- It was gilded, though, right?

ZEHRA: Gilded. Two. SPENSER: Okay.

So here's what happens.

You're going to find something,

but to do it you'll be taking two marks of bleed

from reaching out to a place that is infested with bleed.

ZEHRA: I'll take it. SPENSER: From that two.

LUIS: I'm going to use Premonition.

SPENSER: Okay.

LUIS: So as I see you reaching out

and I feel like you hit a roadblock, I'm going to--

I put my hand on your hand and push you forward.

But the second I see that something's going to come for you,

I pull it back.

You can't go too far into that.

ZEHRA: Thank you, Marion.

LUIS: So you resist one mark.

SPENSER: Yeah. So you keep one of those bleed from hitting you.

You only take one bleed.

What you do feel is a strong pulsation of energy

from the sofa that is in here

that looks like it's been torn up,

but you can feel as though there's something buried

in the sofa.

Almost like it was a hiding place.

ZEHRA: I head towards the sofa,

I push away a cushion that's been mangled,

and can I see?

SPENSER: So as you pull away that cushion

you see the spring is mangled

and twisted up towards you.

The cotton and the foam looking

like the internals of a body.

ZEHRA: Hmm! Very comfortable here.

SPENSER: Very comfortable here.

So you, with expert precision, open the couch,

and what you find is a hidden compartment.

As you pop that out and up,

it gently raises and opens

as if you were to take off the cushion

and push the right thing, this is what would happen.

And you find this box.

LUIS: Oh! TRAVIS: Oh shit.

BRENNAN: Prop.

MARISHA: (laughs)

MARISHA: Prop prop, prop prop. LUIS: Yep, yep, yep, yep, yep.

ZEHRA: It's beautiful. There are flowers carved on the box.

I'm going to open it. SPENSER: Yeah.

ZEHRA: Inside the box, I find four--

TRAVIS: Marks. ZEHRA: Five--

(laughter)

SPENSER: You die.

BRENNAN: Bullets, bullets, bullets.

ZEHRA: Just a snake hand.

SPENSER: That'd be so good. ZEHRA: I find five pouches.

Perhaps one for each member of our circle?

SPENSER: One for each member of a circle.

ZEHRA: Oh!

TRAVIS: (laughs)

ZEHRA: Dare I open a pouch to look inside

at this moment in time? TRAVIS: Yes! Yes!

It's an eyeball. Come on. LUIS: Ah!

No.

LUIS: You want to open one?

ZEHRA: It is a beautiful, ornate-- Oh!

Oh, it reminds me of an astrolabe.

It's two golden rings on a gold thread.

LUIS: Do we know what this does at all?

ZEHRA: Yes. Are we familiar with this?

SPENSER: So with that Sense roll

and with that bleed that you took--

ZEHRA: Yes. SPENSER: You realize that these

are artifacts that are sometimes held

by Candela Obscura members. TRAVIS: Oh shit.

SPENSER: That allow you to burn or to mark a bleed

to be able to add an extra die to your roll.

It allows you to push yourself magickally.

ZEHRA: Wow. SPENSER: Now, Candela Obscura

is against the use of magick.

So these things are not typical

for Candela Obscura to use,

but they look as though they've been hidden away

in case of dire need to be used.

LUIS: In case of emergency, break.

ZEHRA: Ha.

TRAVIS: We definitely need them-- ZEHRA: I'd say this is rather dire.

TRAVIS: Yep, yep, yep. SPENSER: So you can take bleed

to add an additional die to any roll that you make.

TRAVIS: Lots of bleed to give. Yep.

ZEHRA: Go ahead and distribute two of the pouches

to Mr. Trapp and to Marion. TRAVIS: Good throw.

MARISHA: Nice.

LUIS: Yes, he got two.

Oh yeah, one for Auntie Bee.

ZEHRA: Oh, one for Auntie Bee.

SPENSER: But Auntie Bee is not there.

TRAVIS: Oh shit!

(laughter)

TRAVIS: I lost it in the dark!

LUIS: That was scary to see.

MARISHA: Oh, lieutenant. (shudders)

LUIS: Wasn't much of--

Wasn't as coordinated. MARISHA: I will get mine--

LUIS: Yeah, you'll get yours when you--

ZEHRA: My one hand is out of commission.

MARISHA: To not be tempted. TRAVIS: It's so dark, it just--

(laughter)

ZEHRA: I'll hold onto the last one

for Mr. Finnerty to give to him when we see him again

and heal him.

LUIS: As we, I'm assuming start to head out

to get the carriages,

I will say to the Lieutenant: I know that Auntie Bee

has got some strong feelings towards you.

She's always been looking out for us

and I think sometimes she doesn't think that you are,

but I know that you've been.

You just got to tell her how you've been

because I think that might help you.

TRAVIS: I appreciate that.

She let me know as much.

Her intuitions serve her. She's very wise.

Remind me, where did we land?

Am I going after Auntie Bee or am I going--?

ZEHRA: Yes, you're going to Farrah's residence.

LUIS: Yes. TRAVIS: I am.

ZEHRA: And we are going to Duncan's.

LUIS: We are. I'm really worried about this because--

TRAVIS: Okay.

ZEHRA: Time is of the essence. LUIS: Do you have a gun?

Can you shoot a gun?

ZEHRA: Uh...

TRAVIS: There was another pistol in the armory.

LUIS: I'm taking it. TRAVIS: Okay.

I'll give it to you. SPENSER: Great.

LUIS: I'm going to be useless with this at this point.

I think you might be a better shot than me right now.

ZEHRA: I'll take it.

For Mr. Finnerty, I will take it. I take the gun.

SPENSER: Great. Mark a hand weapon.

LUIS: Oh my god. SPENSER: With that--

TRAVIS: (slurred, repeated) We're going to be great!

MARISHA: (slurred) We're going to be great.

SPENSER: We get the hailing of two carriages.

We watch Nathaniel climb into one.

We watch Jean and Marion climb into the other.

A last set of looks between you as you set off.

We jump to Auntie Bee.

MARISHA: Mm.

SPENSER: Farrah, smiling at you, says,

"Circle of Silver Flame.

"You asked what circle I belonged to.

"It was the Circle of Silver Flame."

MARISHA: Circle of Needle & Thread.

SPENSER: "That's out of Hallowharbor, yes?"

MARISHA: Correct.

Listen, Hallowharbor has been compromised.

It's been tossed.

The access to the Fourth Pharos

is completely demolished.

Whatever monster that has been coming

after your circle, it's making its rounds,

and I'm afraid our circle is up next.

You have to come with me.

Together, if we combine our forces,

we might actually be able to stop this thing

once and for all.

But if you don't, your life is in jeopardy.

Our circle's life is in jeopardy.

The rest of Newfaire could be in jeopardy.

Please. SPENSER: She looks at you.

She looks at her Periphery badge sitting on the dresser.

She looks back at you. Make a Sway roll.

MARISHA: Oh, come on, bish.

LUIS: (laughs)

MARISHA: (sighs)

TRAVIS: Do a pretty roll, bish. MARISHA: I'm going to use a drive.

Come on, bish! I'm going to use a drive.

SPENSER: Great.

MARISHA: Train allows me to add a gilded die to any roll.

SPENSER: Just a regular die. MARISHA: Just a regular die.

SPENSER: Oh, those by the way, let you add a gilded,

but those do let you add a gilded die.

When you use that guy, when you burn the bleed,

it lets you add a gilded die, not a regular die.

TRAVIS: Sick.

ZEHRA: That doesn't count for one of our three.

MARISHA: Five. SPENSER: No.

TRAVIS: No. SPENSER: It's a five.

LUIS: Nice. SPENSER: Mixed success.

She digs through the drawer

that she was sorting through when you entered

and grabs a pistol out of it and shuts it.

She says, "Allison and I,

"we grew up together.

"We went our separate ways,

"but she pulled me back into all of this."

MARISHA: She's still alive. Do you know that?

SPENSER: "Yes. They're holding her in the Fourth Pharos.

"I can only imagine if they're breaching Silverslip

"and Hallowharbor that they're looking for access."

MARISHA: We got Lucas to a safe place.

SPENSER: "Lucas?"

MARISHA: Her son. SPENSER: "God, Lucas. She--"

MARISHA: Her husband is dead.

He thinks both of his parents are dead.

SPENSER: "Goddamn it," she says.

"Allison could see things before they happened.

"She warned us that something was down there.

"That's how we knew.

"She watched a man contorting,

"his neck splitting and rolling back,

"his eyes bulging out of his head,

"and she made a run.

"She saved him,

"and she paid the price for that.

"So I can only imagine

"this thing would want to finish the job."

MARISHA: Okay.

SPENSER: As she says that, with that five--

MARISHA: Come on, come on, come on, come on, please.

SPENSER: You hear skittering in the ceiling.

MARISHA: Come on, come on.

We got to go. We got to go, please.

SPENSER: She goes, "Okay, give me a moment."

She grabs the gun-- MARISHA: We don't have a moment.

SPENSER:-- and she checks under the bed.

As she does, you see movement,

shadow pass by the door, by the front door

that you're trying to-- MARISHA: Ms. Morales, we got to run.

SPENSER: As that happens,

you hear (shattering) as a creature

bursts through the glass of the window

in this apartment and grabs Ms. Morales on the back

and starts to yank her out the window.

What do you want to do? MARISHA: (yells)

It's yanking her?

SPENSER: Yeah, with that five they're trying to take her.

MARISHA: (frustrated yell) SPENSER: She's fighting

to come with you, but they're trying to take her right now.

TRAVIS: Crack out the nunchucks!

MARISHA: I'm going to run. Does she have her pistol?

SPENSER: She does have her pistol in her hands,

but this thing crashed through the window

and is making a lunge for her

to grab her and try and yank her out.

That's what you're seeing.

You're seeing a massive black hand

reaching in the window.

MARISHA: Does she have any dressers, bookcases

in between her and the monster?

SPENSER: So for positioning, this is a studio apartment.

She's by the bed. The dresser is here. The window is here.

There's been a crash through. The hand has grabbed her.

You see disappearing into the darkness

two beady eyes, only reflecting the candlelight

that's in the apartment here.

MARISHA: So with that, the dresser, can I take the dresser

and try and throw it on top of this creature?

SPENSER: Sure. So this thing-- Well, the creature

is still outside the window.

It's crashed its hand in and is reaching for her

with a long arm as it's doing.

So you could try and grab the dresser

and tilt it onto the arm if you want.

MARISHA: In front of the--

Yeah, in front of the window? SPENSER: Yeah, that sounds good.

That sounds like a Strike roll to me.

MARISHA: Oh, jesus christ.

♪ Not what I'm good at ♪

SPENSER: Unless there's something else

that you think would be more fitting,

but I think you're trying to--

MARISHA: No, that's probably right.

SPENSER:-- attack a thing here. MARISHA: I'm going to burn

both of my drives

that I have left in Nerve. SPENSER: Okay.

Sounds good.

MARISHA: I need this girl, five.

SPENSER: That's a five. MARISHA: I'm glad I did that.

Five. SPENSER: Great, describe for me

how you bring this thing down.

It's going to release her for this moment.

Go ahead and describe for me how that happens.

MARISHA: I know that I probably don't have the strength

to physically grab her versus this creature.

But seeing that, I want to try

and cut off its path to her and Auntie Bee gets,

like when she confronted Sean,

just that kick of adrenaline, that old lady strength

and she (grunts) hernia be damned,

and then torques her back to throw

the dresser in front of it.

SPENSER: We see the dresser come crashing down

onto the long arm,

the unnaturally long arm of this creature.

It gets slammed down to the ground.

You see it curl up in pain

as it tries to pull it back, the dresser,

it's exploding into shards of wood.

As that happens, the skittering above you stops

and you hear pounding, and all of a sudden,

through the floor another creature drops.

As that happens, the floorboards above give way,

and a man in a chair, in a sofa-kind of chair,

falls through the ceiling and is clearly mangled in bleed.

Falls dead next to you.

You realize this creature has landed on top of you here.

It's putting its hands over your forehead

and it's trying to dig into your eyes here.

What do you want to do?

TRAVIS and LUIS: (yell)

MARISHA: It's landed on top of me?

SPENSER: It's on your head.

Ms. Morales is shuffling out of the way of the dresser,

trying to push herself to safety.

You're seeing that hand going for the gun,

pointing it at the window,

but you have this thing on top of you.

What are you doing?

MARISHA: I just want to try and get enough space

between me and it, grabbing it by the throat

and pushing and I'm going to look at her

and I'm going to go: Shoot it!

SPENSER: (laughs) MARISHA: Shoot her!

(laughter)

SPENSER: I'm going to ask you to make a Control roll here

to keep this thing at bay

as you try and position it for her to shoot.

MARISHA: Okay, that's one. I used all of my drive.

Please be good, three?

SPENSER: It's a three.

MARISHA: ♪ I got a drive back ♪

(laughter)

SPENSER: That's a three. LUIS: No.

SPENSER: She takes a shot.

It pulls itself back into you as she does,

and the bullet zips by you,

slams into the wall, explodes,

and you feel this thing trying to climb

inside of your mouth.

It's prying open your mouth and diving in.

You're going to take a point of body

and a point of bleed here as this happens,

as it's trying to force both of its hands

into your mouth and down your throat.

MARISHA: I'm going to not look at her and just say: Run.

TRAVIS: No, it's more like (babbles). MARISHA: (garbled yell)

(laughter)

SPENSER: She looks at this thing, tries to find an angle

to be able to shoot it,

but it is in your face, by shooting it,

she will also shoot you.

She makes a calculated risk

and goes running

for the front door. MARISHA: Yeah.

Hoping this thing follows her.

SPENSER: She goes running towards the front door,

and as she does, she throws it open and you see the shadow

that was pacing in front of that front door.

There is another one of these creatures

that looks like,

now you're getting through blood and ichor,

you see it knelt down in the hallway.

It looks like if a bull was small

and it doesn't have the horns but that cow-kind of shape,

but its head is pulled up and around and twisted back

and its mouth opens up in five different directions.

It opens up like this, hinges open

and the throat zips down and it opens like that.

It is growling at her. She takes the shot,

pops two into it and then tries to run by it.

At that point, this thing digs into you further,

not having addressed that, I'm going to have you

take another body as it tries to dive into you deeper here.

Trying to get her out helped her.

She is now running down.

You can hear her running down the hallway from this thing.

But you are still stuck here in danger

and it is actively crawling into you.

What do you want to do?

MARISHA: Okay, okay, okay, okay, okay.

Things at reach, any lantern?

SPENSER: Yeah, the lantern with the sconce that was...

MARISHA: No, it broke my mirror remember?

SPENSER: It did break the mirror, yeah.

MARISHA: But yeah, if it's--

SPENSER: There's that sconce that's on the wall,

if you want to try and grab that and slam it into it.

MARISHA: I'm going to exactly, try and grab it

and bash it up against its head.

SPENSER: Okay, what do you want to use here to do that?

Strike would be the obvious one,

but if you're trying to use something

that feels a little more

like you're surveying the room in between stuff,

I might give you that

because you're trying to

use the room. MARISHA: I'll take Survey

if you'll allow it-- SPENSER: Okay, you want to use Survey.

MARISHA:-- because I'm trying to reach and get it off.

SPENSER: I love seeing the varied techniques here

of trying to do this.

First you tried to Strike it, then you tried to Control it.

(coughs) As I'm dying, now you're trying to Survey it.

So make that roll.

MARISHA: ♪ Using a drive ♪ TRAVIS: Crawling in your mouth now.

LUIS: Yeah. (laughs)

SPENSER: Oh god.

MARISHA: Using another drive. TRAVIS: Howdy.

MARISHA: Six! SPENSER: That's six, that's a six!

Amazing, describe for me how this works.

How do you smash this thing into it?

MARISHA: I imagine it's one of those moments

where as it's trying to climb its way into me,

I just, with the tip of my fingers,

as I'm trying to just, and luckily Auntie Bee

has those long old lady fingernails,

she gets it just enough and I imagine

that foreshadowing of seeing it

a little off kilter on the wall,

just allows to have that

perfect leverage. SPENSER: It's tilted towards you.

Yeah, by being off kilter. MARISHA: Yes, to get it

just enough to be able to smash it up against its head.

SPENSER: You smash it. There's an explosion of glass and flame

as this thing lights on fire.

It starts screaming and you realize

you have a flaming creature on top of your head

as you stumble and try and get it off.

It falls to the ground writhing. It's on fire,

looking up at you.

It's got like six legs. It's probably the size

of a house cat, and it's literally in flame

staring at you, screaming.

It looks like it's about to pounce on you again.

What do you want to do?

MARISHA: I run! SPENSER: Run, great,

make that Move roll for me.

MARISHA: Do I see what's with the creature in between me and--

SPENSER: It looks as though it's pulled its hand out

and disappeared from the window, but...

MARISHA: The second one that was following...

SPENSER: The one that was following Farrah

has pulled its hand back from the dresser,

the dresser exploded into shards.

It saw her running and disappeared out the window.

MARISHA: Okay.

SPENSER: You would guess probably going down.

MARISHA: On my way out,

I want to haul ass is the priority number one,

but if there is either a mirror on the wall,

one of those how back in the day,

they had the lipstick mirrors by the door,

or if she sees a hand mirror or a lantern,

something I can grab between here and my way out.

SPENSER: For sure, make that Move roll for me

to be able to get out.

I will say that we will make this part of that Move,

but I will need that Move roll

to see with this thing ready to pounce on you

if you're able to get there safely.

MARISHA: I'm going to use the drive that I just got back

to make one roll, instead of two and taking the lowest.

MARISHA: Two. SPENSER: It's a two.

So here's what happens.

You turn to run. MARISHA: Yeah.

SPENSER: You see a mirror in the bathroom.

You also feel this creature

running behind you and then pouncing onto your back.

Like a cat with claws, it digs into you

and starts scraping down your body here.

This is not going to cause you body because of this.

It's holding onto you, but it is going to cause

one point of brain as you realize

this thing has attached to you and it is on fire

and your clothes are starting to catch fire as this happens.

MARISHA: Auntie Bee is going to take her big, quilted coat,

throw the quilt off. TRAVIS: Let's go!

SPENSER: Coat gets thrown off, amazing.

You see a creature writhing on the ground

in front of the door

that was passed by Morales on her way out.

You see it starting to try and get back on its legs,

but it can't quite get up. She shot it pretty well.

You see, in the bathroom, there is a mirror,

but this thing is starting to stumble back onto its legs.

You have the choice here of either going out to the mirror

and facing down with this thing

that is getting back up at the door,

or making the run for it by it and not getting the mirror.

What do you want to do?

MARISHA: If I run, it's just going to keep...

It's just not going to stop.

TRAVIS: Please tell me when you threw off the patchwork jacket,

that Auntie Bee's just jacked to shit.

(laughter)

TRAVIS: Like a weighted jacket.

BRENNAN: Linda Hamilton fucking-- TRAVIS: Piccolo from DBZ.

SPENSER: No sleeves. MARISHA: She's been fighting

with weights on. TRAVIS: Does the

fucking Henry Cavill like--

SPENSER: (punches) MARISHA: Click, click, yeah.

TRAVIS: You fucked up creature.

MARISHA: I guess it's fitting.

I'm going to take off the jacket.

I'm going to go for the mirror.

It's not going to stop coming after me.

SPENSER: Running into the bathroom, we see you

grab a hold of the mirror that's attached to the wall

and in jacked Auntie Bee style, just rip it off the wall.

You're holding this rectangular,

standardized mirror,

very standard mirror, nothing fancy here.

We see you throw it under your arm

as the creature in the doorway

starts to pick itself back up,

its neck popping and snapping,

and you see the black ichor dripping out of its face

as it's starting to heal its wounds.

MARISHA: Is it looking towards me?

SPENSER: It's looking around for where Farrah Morales went.

So you have a moment here, you have the jump on it here.

MARISHA: Okay, I'm--

as it's down, I'm going to take the mirror

and fucking shove it in its face,

wherever it's trying to look, just full,

and I want to use it to shield myself--

SPENSER: Okay, that sounds good.

MARISHA:-- as I jump in its line of sight.

SPENSER: Yeah, that sounds great.

Make a Control roll for me as this is happening.

MARISHA: Okay.

SPENSER: Try and line it up,

so it's seeing itself under pressure.

MARISHA: Come on.

♪ Three ♪ SPENSER: It's a three.

♪ Three ♪

SPENSER: So-- LUIS: We got these dice

in the middle, too.

SPENSER: You do have the dice in the middle to use.

Did you want to use one of those?

You can roll one more, I'll let you.

ZEHRA: Yes. LUIS: Do we know the stakes on this?

MARISHA: I'll take it.

I mean it feels-- SPENSER: Definitely high stakes.

ZEHRA: Roll! LUIS: Figured.

MARISHA: Five! SPENSER: It's a five, good!

Okay, love it.

MARISHA: Do I get another drive back, since those girls--

SPENSER: You do get a drive back.

MARISHA: That's right, that's right.

Drive back, okay.

Yes, Jesus Christ.

SPENSER: Yeah. LUIS: Oh jeez.

SPENSER: You hold the mirror up to it.

It goes skittering backwards as this happens.

(roars) at you like--

MARISHA: I want to try and push it into a corner.

I want to try and run away from it.

SPENSER: Yeah, it turns its face to you,

so it's not looking at itself and as that happens,

it starts running at you, not looking at you.

It is blindly following the sound of your footsteps

rather than using its sight to be able to chase you.

With that five, you know that you have the ability to run,

but it's going to run after you.

MARISHA: I--

I take the belt that I have around me.

I'm going to toss it into the corner

to try and throw it off its track.

ZEHRA: Yes! SPENSER: That sounds so good.

That's either going to be a Hide or a Sway roll

because you're trying to trick it.

MARISHA: I'll do Hide. SPENSER: Okay, sounds good.

Make a Hide roll and see if you can get it to be convinced

that you're a different direction than you actually are.

What is that?

MARISHA: Dual ones. TRAVIS: Duals.

SPENSER: Double ones. Do you have a resistance?

MARISHA: Oh, I do! LUIS: Yeah, yeah, yeah.

MARISHA: I do! SPENSER: Spend that.

Reroll those Hide dice.

MARISHA: Yes! ZEHRA: Rise of the resistance.

MARISHA: ♪ Thank you for the reminder, GM ♪ SPENSER: Yeah, of course.

BRENNAN: It's really great, but also

it doesn't say great things

when the GM starts reminding you about the rules.

MARISHA: Yeah, 100%.

100%. BRENNAN: I know when I do that.

MARISHA: A one and a six.

SPENSER: Six! Take that six, baby!

MARISHA: Man, that, and it was not on the gilded die,

but that six is more important.

SPENSER: Describe for me how this works so well.

MARISHA: (groans)

You know, it's like a thick leather belt,

pouches on the side.

I even want to try and aim for the direction

that the overturned dresser is.

SPENSER: Sure. MARISHA: To maybe--

SPENSER: Get it to run back into the room.

MARISHA: Yes, exactly, maybe it trips it up a little bit.

SPENSER: Love that. MARISHA: As it falls on wreckage.

SPENSER: We see you throw it backwards (belt clunking)

into the room.

It sounds like footsteps.

You are able to skip it just enough

that it sounds like footsteps

and the creature turns and goes tearing into the room.

As that happens, we cut to you in a carriage.

You are riding through the Varnish.

TRAVIS: (yelling)

SPENSER: You're riding through the Varnish.

You know that you're getting close.

The person who's-- what's that called,

the person who runs the coach?

TRAVIS: Oh, the driver. SPENSER: The driver?

BRENNAN: Coachman? SPENSER: Coachman, thank you.

The coachman says,

"Your stop is-- What the hell?"

You hear a scream outside the carriage doors.

You also hear a scream from inside,

but we hear it from outside

here with you. TRAVIS: That's me!

SPENSER: As you throw open the carriage doors,

you see a creature that has eight long,

spider-like legs

with a torso that is twisted and mangled.

It does not look like a spider,

but the closest thing you could imagine

in comparison would be a spider,

but the edges of the legs are all hands

instead of points. MARISHA: (laughing) Ugh.

LUIS: Oh! ZEHRA: Oh!

SPENSER: It's grabbing onto the building.

It's hanging on the side of this building

and Farrah Morales is looking up at this creature

and Farrah Morales is looking up at this creature,

pointing the gun at it.

What do you want to do? TRAVIS: The creature's

the size of about what? SPENSER: The creature's

probably the size of an SUV.

The body is the size of an SUV with eight legs.

TRAVIS: Fuck.

That seems about right.

Farrah! This way, please.

I'll take out the little hand mirror in one hand

and the pistol in the other and hold it up

as if it would do something.

I don't know. SPENSER: (laughs) Uh-huh.

TRAVIS: And try and get Farrah closer towards me.

I'll say: Auntie Bee, who came to help you,

where is she?

SPENSER: Great, make a Sway roll for me

to get her to speak to you amongst the madness.

TRAVIS: ♪ Amazing on the weekly top 40 ♪

(laughter) LUIS: Wow.

TRAVIS: Six.

ZEHRA: Yes! SPENSER: That's a six.

That's a full success.

So, you call out to her.

She says, "She's still inside!"

and takes two shots.

This thing takes two shots into its body,

screams, riles up, and leaps down

to grab the carriage.

The coachman goes, "Fuck this!"

and takes off in the carriage--

LUIS: Oh no! SPENSER:-- leaving you there.

BRENNAN: The coachman, most relatable character.

(laughter)

BRENNAN: Giddyup! (laughter)

MARISHA: Goddamn. ZEHRA: I hope he survives.

TRAVIS: I'm going to put my mirror in Farrah's hand and say:

SPENSER: Uh-huh. TRAVIS: Use this,

I think you know how.

It doesn't like reflections.

I'm going to run inside after Auntie Bee.

SPENSER: Great! As that happens, this thing leaps down

and stands in front of the building

as you hear

(unearthly, raspy screech)

and it starts running towards Farrah.

She's unloading the gun in her hand.

TRAVIS: I wouldn't just abandon her.

SPENSER: Okay. TRAVIS: I'll join and start--

SPENSER: You see this thing running towards her.

You would have to run by it to be able to get up the stairs.

TRAVIS: We'll both, both angles,

so it'll have to pick one or the other.

SPENSER: Great. You're one angle, the other angle,

both of you shooting up here.

Go ahead and make a Control roll for me

as you shoot at it.

We jump back to you here.

What are you doing?

MARISHA: ♪ Hauling ass down the hallway ♪

SPENSER: Yep.

MARISHA: How heavy is this mirror that I'm--

SPENSER: It's pretty heavy but I mean it's not like,

you're not dragging it behind you.

It's underneath your arm.

Also, you said you're jacked, so I'll let you run with it.

MARISHA: Yeah, yeah. SPENSER: Let's do it.

MARISHA: Secret jack.

My stats do not reflect that, but sure. BRENNAN: Big triceps.

SPENSER: Yeah.

MARISHA: I'll actually take the mirror,

having my thick knit gloves

on that wire

that will hang the mirror. SPENSER: Uh-huh. Yeah.

MARISHA: I'm going to have it behind me

and have a back-- SPENSER: Like a cape?

MARISHA: Like a cape. LUIS: Oh!

MARISHA: So if it's chasing after me.

SPENSER: Great. MARISHA: As I haul ass now

down the stairs. SPENSER: Yeah.

I think we see it run.

You're down the hall, you're almost at the stairs.

You hear (clunking) out into the hallway.

It turns the look at you,

sees itself and (eldritch screech)

recoils back into the room as you look over your shoulder.

MARISHA: Flip the bird. SPENSER: (laughs)

You go running down the stairs.

You made a Control roll here for me.

TRAVIS: It was a five.

SPENSER: That's a five.

Here's the choice that you have.

It's running towards both of you.

You see it trying to decide

who it's going to go after, you or Farrah.

You hear this creature within screaming upstairs

where you think Bee probably is.

It's coming for her, it's chasing her.

It can come at you.

You can shoot it and it can come at you,

or it can go to Farrah

and that will open up a line of sight

for you to be able to go and help.

TRAVIS: I will draw it towards me.

You ugly son of a bitch who has six hands!

I start shooting at it. SPENSER: (rapid fire)

Great. You start shooting.

It turns itself from Farrah

and reaches its arm out

and it is going to try and grab you here.

I'm going to have you make a Move roll to get out of the way

of its massive, spider-like appendage

with human-like hand on the arms.

TRAVIS: Burn a drive and not use one of those yet.

Threes.

SPENSER: Threes.

It reaches out.

You shoot at it, it takes a couple of hits,

but that does not deter it.

It takes you into its grasp

and it brings you up

and it starts to squeeze you. ZEHRA: (gasps) Oh.

LUIS: (gasps) TRAVIS: (choked gasp)

SPENSER: It's opening

its mouth as well. ZEHRA: Oh!

SPENSER: Similar mouth as the other creature,

but this time much larger

and on this thorax-looking body.

The body opens up and it looks as though

it's trying to feed you into that.

You see this as you run down the stairs

and are breaking the threshold of the building.

Farrah, standing there firing, her gun clicking.

She's out of bullets.

And your friend,

or your new, maybe new friend (laughs)

coming here to save you being taken into this thing's mouth.

What do you want to do? MARISHA: Am I able

to run and take the mirror

and throw it in front of its face,

cut him off between the two of them?

SPENSER: This thing is pretty high,

but if you were to get in front

and maybe make it look at itself,

that would be a Move roll to get there in time.

MARISHA: All right. Yeah, I'll try it.

I'll, fucking, I don't know.

I'm running out of things on my person.

SPENSER, LUIS, and ZEHRA: (laugh)

MARISHA: I'm going to be like: Hey, dip shit!

Then try and get it to look at me.

SPENSER: Yeah, great! That sounds good.

Go ahead and make a-- MARISHA: You said it was a Move?

SPENSER: Make a Move roll to get there in time.

What I'm going to say is, in order to get there,

you're going to have to run out in front of it

and put the mirror in front of it. MARISHA: Yeah, get in front of it.

SPENSER: You can see the eyes

that are built into its thorax.

MARISHA: Burning a drive just so I'm full.

Ugh, two. SPENSER: It's a two.

TRAVIS: While it's also choking the life out of me,

can I try and fumble in my pocket to try and get fingers

on the little Zippo lighter that I have?

But as I'm looking into it, can I go:

(strained) What do you want?

What are you here for?

Just to see if I can get it to talk

at all. SPENSER: Uh-huh.

ZEHRA: Oh.

SPENSER: Go ahead and make a--

Make a Sway roll

to try and get it to listen to you here.

TRAVIS: Running fucking shit out of drives.

Fuck it.

Double sixes.

LUIS: Nice! ZEHRA: Yes!

MARISHA: (laughs) (excited yell) SPENSER: Critical, incredible.

SPENSER: It brings you right up to its face.

You can feel its mouth--

Sorry, its breath out of its mouth

as it breathes on you.

(raspy, dry breathing)

"Revenge," it says.

You, for a moment, get the shot of a creature burning

in your mind as it holds you.

You feel it

emanating with bleed,

but in this moment it's connecting with you,

showing you what it's here for.

Then, as that figure burns,

in the darkness,

other eyes are watching.

We get the perspective of another creature on the wall

watching you and Allison

and Farrah all standing,

and Duncan all standing there trying to fight

as they watch their own burn.

That's what you get in this moment.

With double sixes, it's going to hold you there,

connecting with a person for seemingly the first time.

You fumble with the lighter.

You take this moment to fumble

with the lighter in your pocket.

You have it in your hand with that double six.

What do you want to do? TRAVIS: (choked groans)

Your friend isn't the only one who will burn.

(lighter clicking) (laughs)

I'll try and hold it, single little flick.

SPENSER: Amazing. TRAVIS and ZEHRA: (laugh)

BRENNAN: A huge gamble.

Maybe these monsters are--

MARISHA and BRENNAN: Flammable.

SPENSER: Well, we did see that one of them was, right?

MARISHA: That's true. SPENSER: That's true.

TRAVIS: That's all I got!

BRENNAN: Wouldn't be the first time--

TRAVIS: Maybe he just doesn't like fire.

BRENNAN: I've read a lot of penny dreadfuls

about aliens that get defeated by colds

and glasses of water. MARISHA: Yeah! (laughs)

(laughter)

BRENNAN: Maybe a simple flame will do it.

MARISHA: (laughs)

SPENSER: You, running with a mirror, realize

you're not going to get there in time.

It's going to devour this until you hear

Lieutenant speak up.

ZEHRA: (gasps) SPENSER: Stops,

holds the flame.

You know what this thing does to flames

because you saw it before.

The flame starts to grow,

and as it does, you see the skin of this creature

catch flame a little bit.

It drops you.

TRAVIS: (thud) (desperate gasp of air)

SPENSER: You're going to take point of body here

as you go falling to the ground.

You see it stumble back,

having a weird connection

with a human for the first time.

(skittering)

Skitters up the building and disappears.

As it moves, you see the flame flicker outline

disappears behind the building.

TRAVIS: As it was holding me up and answering,

was its face contorting or moving at all

or just staring daggers?

SPENSER: Just staring.

Yeah, it had 12 eyes that were all looking at you.

TRAVIS: Awful. SPENSER: This is not--

TRAVIS: That's 10 more than it needs.

SPENSER: Right? (laughs) ZEHRA: (laughs)

SPENSER: There's no reason to have that many eyes.

As that happens,

we see you and Auntie Bee.

MARISHA: I just run up. Trapp!

TRAVIS: (gasps) (coughs) I came to rescue you.

MARISHA: You did, you did. Good boy.

Wait. Farrah?!

Where's Farrah?

SPENSER: You see Farrah holding a gun,

staring at the two of you.

She drops the clip out of it.

ZEHRA and LUIS: (laugh)

TRAVIS: (laughs)

LUIS: I heard "she drops." TRAVIS: We're in it.

MARISHA: Yeah. (laughter)

TRAVIS: We're in it.

SPENSER: She drops the clip out of it and reloads it.

TRAVIS: Dope. SPENSER: "Where we going next?"

We cut away from that to-- TRAVIS: Yes!

MARISHA: (sighs) TRAVIS: Good job.

LUIS: Nice job. MARISHA: (heavy sigh)

TRAVIS: Good job. BRENNAN: Woo! Hey!

MARISHA: What the fuck!

SPENSER: Sean. MARISHA: (heavy exhale)

SPENSER: We land on you

in darkness.

There is a

moment before your eyes open

that you feel something.

Oh, sorry.

You feel something pulsing at your stomach.

Then,

a light, airy breeze over your face.

You come to.

You see a face staring back at you.

At first, you think you're looking in a mirror,

but you realize the face isn't mirroring your expression

and it's turned slightly left,

while your head's slightly right.

"Are you okay?"

You hear it say.

BRENNAN: No.

SPENSER: You feel a hand upon your chest.

It tugs at something

and as you look down, you see

there's black ichor

that's rubberized around your stomach

almost as if it's holding you together.

"I'm sorry I had to shoot you."

BRENNAN: I don't blame you.

SPENSER: "I know you don't.

"I had a little peeksie inside your head.

"I know why."

BRENNAN: I'm going to check my pocket for my baseball.

SPENSER: Uh-huh, it's there.

"Oh, I didn't take your things."

BRENNAN: None of them?

SPENSER: "None of them.

"I did bring you somewhere safe."

BRENNAN: Yeah.

(grunts)

SPENSER: "You got a lot going on in there, you know that?"

BRENNAN: (coughs)

SPENSER: "Come off as a jughead, but

"a jarhead, but..."

BRENNAN: It's like a bandage?

SPENSER: "Yeah. Yeah, like a bandage."

BRENNAN: I made it through three years of war,

24 confirmed kills.

Nobody ever got me before.

Am I dead?

SPENSER: "No, no, you're living.

"You know, coming through here, being in a new place,

"it's scary, until you find someone who's just like you.

"Always thinking you're a monster.

"We're both monsters, well,

"you said that

"right before you shot me, so it was payback."

BRENNAN: Yeah, turnaround is fair play.

What is it...

respectfully--

SPENSER: "Sure."

BRENNAN: Why am I alive?

SPENSER: "You want the same thing I do."

BRENNAN: What's that?

SPENSER: "You tell me."

BRENNAN: Revenge?

SPENSER: "Not only that," he says,

relaxes his shoulders.

"I need you to help me.

"I need you to help me get my mother.

"Yeah, get her out.

"So, like I said,

"we want the same thing.

"I can give you what you want.

"I can help you. We can help each other.

"You want to be with your mother again;

"I want to be with mine.

"You want revenge, so do I.

"I'm almost done.

"Looks like you're just getting started."

BRENNAN: What'd they do to you that you want revenge for?

SPENSER: "Killed my sister.

"That big fella, broad shouldered one,

"he was there. He was part of it."

BRENNAN: Where you come from, right,

it's on the other side of this Flare?

SPENSER: "Yeah."

BRENNAN: When you've gotten your revenge,

what are you going to do?

SPENSER: "I'll bring her here

"so she can live here

"among us.

"There's so many of us," he says it again,

"There's so many of us here,

"nobody would even know."

He shifts into another face, and another face,

and another face and then back to you.

"So.

"We do our best, but,

"I could only,

"I could only get so far on my own

"without your help,

"to help you, I mean," he says,

smiling wider than you've ever smiled,

unnatural.

"I can give you what you want.

"You have to let me in, though.

"You have to let me in deep."

BRENNAN: What does that look like?

SPENSER: The creature, yourself,

grabs you and props you up,

and then sits cross-legged next to you on the ground.

"Tell me about them.

"Tell me who you want and really see them.

"Picture them in your mind.

"If you can see them, I can see them.

"If I can see them, I can find them.

"So tell me, who is it?"

BRENNAN: There's a man.

There's more than one.

Arthur Duffy, Dr. Sergei Orlov.

I got to get my mom out.

I'm going to die.

They're going to keep sending me down those holes,

through those woods.

All those years,

everybody called me a soldier.

I murdered those kids.

That's what I was, I was a murderer.

And when I got back--

[gunfire] [sirens wailing]

BRENNAN:-- everybody called me a good man.

Told me to suck it up, smile, keep walking.

We'll get Mom one day, there's just one more hole

we need you to go down,

one more jump we need you to make,

one more gun we need you to shoot.

Maybe if I really want to be a soldier

I need them to call me a murderer.

[booming]

BRENNAN: Arthur Duffy, Sergei Orlov,

and there's more after that.

SPENSER: "Okay."

Nods.

BRENNAN: I can give you their faces.

I can tell you where they live.

SPENSER: Reaches onto your face with his hand.

It's pulsing in chromatic color.

Places it to your forehead,

brings it down along your cheek

and holds you, staring at you.

"Good. Let me in."

Take a point of bleed as it dives into you.

I believe that takes you over.

BRENNAN: Second scar.

SPENSER: Second scar.

You drop your head against his palm, against your palm,

and he closes his eyes as well.

We jump from there, back to the two of you.

LUIS: We're in the carriage, yeah?

SPENSER: Correct.

LUIS: We're heading to-- ZEHRA: On the way

to the residence of Duncan. SPENSER: Mm-hmm.

LUIS: I'm doing something on the way.

SPENSER: Okay.

LUIS: As we're going in the carriage,

I am concentrating on--

I've tapped into the other layer of the world

and have been able to ping bleed,

ping creatures that are essentially somehow affected

by bleed, or are in their essence

something connected to that realm.

I want to do that, but what I'm looking for specifically,

things are changing with me.

I'm looking at myself and I'm looking at the scar

that's spread from my chest up my shoulders,

down my arms and up my neck and my face,

and remembering how it all started.

Almost like, I guess a beacon of sorts.

As we're driving towards where Sean is,

I'm tapping into that realm.

I'm searching for any pings,

not of monsters, not of creatures,

but of people like me.

SPENSER: Hmm.

LUIS: There's got to be more like me in the city,

there's got to be other kids like that seven-year-old

that I once was.

SPENSER: Right, go ahead and make a Sense roll for me.

LUIS: Okay. I have three dice that's gilded.

I'm going to burn two Intuition drives.

ZEHRA: I would like to help you.

I see you deep in progress

and I would burn an Intuition to lend an extra die.

LUIS: Okay.

I feel you reaching to me

and I just know when you're near me

and it's always going to bring me comfort.

The highest is a five.

SPENSER: Great.

On a five, you look out of the carriage window

and you see the world passing you by.

It's not on this street, it's not on the next one,

but you get a ping,

and then another,

and then another.

You feel others like you in the city.

You're getting flashes of their life.

One of them riding a bicycle down the street.

The other one having a conversation

with a friend in a small cafe.

Another one dancing,

normal people, those like you.

LUIS: You know what, I think I would,

the entire time, I'd be in this space.

As soon as I got one ping,

I don't think I would ever break it

until we got to where Sean is.

SPENSER: Yeah, you feel the carriage

come to a stop, finally.

You feel it for sure.

I think being where you are. LUIS: I'm lost.

SPENSER: You're lost.

LUIS: I'm still... SPENSER: You see Marion here,

still lost even though the carriage has stopped.

The driver peeks back through the curtain

and is like, "We going, or what?"

ZEHRA: Yes, I sense what he is doing

and I am unsure whether or not I should break him

out of this reverie, I do know that time is of the essence,

and (sighs).

Would it be possible to wait here?

I ask. SPENSER: "You want me to wait here?"

ZEHRA: Yes, with him.

SPENSER: "Oh, with him." ZEHRA: Until he's ready.

SPENSER: "Will you pay me for the time?"

ZEHRA: Of course, money is of no--

Yes. Yes, I will pay you.

Please wait here.

SPENSER: "I'll do whatever you want, lady."

ZEHRA: I burst out of the carriage.

SPENSER: Great. ZEHRA: I look at the door

to the residence.

SPENSER: Yeah, you see the door to the residence.

It is open, it is ajar.

Your favorite word. ZEHRA: Wonderful.

(laughter)

SPENSER: As a reminder, this is a house in The Steel.

There's a garage next to it,

There's like a, you know, it's put together

ramshackle, metal siding.

Looks as though it's maybe, you know, 80 years old or so.

It's aged, rusted metal.

But the door is open here for you to go in, if you'd like.

ZEHRA: I'd like to focus on the door.

I'm trying to decide whether I use my practical side

and analyze, and inspect, and figure things out,

or if I tap into this ever creeping feeling

of sensation that is getting stronger

and it's hard to ignore.

I think I need to sense, is there current danger

if I were to enter?

SPENSER: Won't be able to tell if there's danger.

What I can tell you is whether or not

there are things that have bleed--

ZEHRA: Yeah. SPENSER:-- within.

ZEHRA: Okay. SPENSER: That's what I could

give you with that, if that works for you.

ZEHRA: Okay. SPENSER: Okay, great.

This will stay regular stakes right now.

But I will say you are in danger of taking a bleed

if you roll a mixed success or a miss.

ZEHRA: Could I Focus, then, and not use my Sense--

SPENSER: What I will say is, expectations-wise with Focus,

I would say that you aren't,

you can see that the door is ajar,

there doesn't appear to be anything out of place here,

but, yeah, there's not something else

necessarily will give you clues here

as to what's within just based on the door.

You just, I think the shot we get here

is you standing in front of the door that's ajar,

being like, "What do I, how do I do this?"

ZEHRA: This is what I would like to do.

SPENSER: Yeah, okay.

ZEHRA: I remember that I took a bleed scar in the last game,

and that the tips of my fingers glow with a bluish fire.

I would like to hold my hand in front of my face

and into the space where the door is open to see

if I can visually see anything of immediate concern.

SPENSER: Got it, so you're going up to the door

and lighting up the inside--

ZEHRA: Yes. SPENSER:-- just a bit.

As that happens, as you move forward quietly,

I'm going to have you make a Hide roll

to keep yourself hidden. ZEHRA: I don't have a Hide.

SPENSER: That's okay, you'd roll two and take the lower.

This is just to keep yourself hidden--

ZEHRA: Okay. SPENSER:-- from whatever's within,

if there is something within,

you're trying to be sneaky here.

ZEHRA: Is this a rather high stakes?

SPENSER: This is a standard stakes roll.

ZEHRA: Okay. SPENSER: You don't know

if there's anything quite yet that would be bad.

ZEHRA: Okay.

Five.

SPENSER: Five.

ZEHRA: Five. Three and a five.

MARISHA: Take the lower. ZEHRA: Oh, you take the lower,

it's a three. SPENSER: Take the lower of the two.

So it's a three. MARISHA: Yeah.

(laughter)

SPENSER: You push in. LUIS: I'm so sorry.

(laughter)

ZEHRA: Rules are rules.

SPENSER: (laughs)

As you push in,

before they see you, you see them,

you see two figures on the ground here

in the center of the room, in the darkness.

The flame lights up and you get a reflection

on the-- The thing that gives it away is not you

but the reflection of your hand in the portrait

that you saw when you came in,

the portrait of the family.

It's of a couple generations of a family sketched

up on the wall next to you.

It reflects the fire that's on your hand,

and you see a flicker of light into the room itself,

these two figures deep within.

What do you want to do?

You can tell that they've noticed something is there

with that Hide roll,

but I'll give you the opportunity to act.

ZEHRA: Do I recognize the figures?

SPENSER: They are in complete darkness.

ZEHRA: Complete darkness, just see their silhouettes.

SPENSER: Mm-hmm.

ZEHRA: I'm concerned that Mr. Finnerty is in there

and he is in grave danger.

I look back toward the carriage.

LUIS: We've been still for a moment, right?

SPENSER: Yeah. LUIS: So I figure,

at this point, I'm still tapped into the space.

I've been getting maybe the same ping

and it hasn't moved and there hasn't been anyone.

Can I see if that gives me a clue

as to us arriving and us now no longer moving?

Because I am somewhere else. SPENSER: For sure.

Yeah, I think that it being in the same place

tells you: Oh, we're not moving anymore,

and you come back to. LUIS: (reviving gasp)

SPENSER: Yeah.

LUIS: Jean. Jean?

ZEHRA: I go back to the carriage.

I see two figures inside.

LUIS: Where's Sean?

ZEHRA: I don't know. LUIS: I get out of the carriage.

SPENSER: Yeah. LUIS: I start heading

right to the door. ZEHRA: Wait.

You are severely, gravely injured.

LUIS: I feel fine.

I know I needed a break, I needed some rest,

but Sean's in danger and I'm going to go in there

and I'm going to find him. ZEHRA: Let me go in first.

Just stay here.

LUIS: No, I'm going right behind you.

I'm not going to let you go in there by yourself.

ZEHRA: I know what you're doing.

LUIS: We can do this together.

You can take point, that's fine. I'm used to--

I'm used to somebody taking point, being my shield.

ZEHRA: If you're not, Mr. Finnerty will once again

be that point position for you.

LUIS: Okay, let's go. ZEHRA: Let's go.

So I have the gun.

SPENSER: Great.

ZEHRA: I'm going to-- (sighs resignedly)

I'm going to enter with the gun drawn.

LUIS: I'm three feet behind.

SPENSER: Great. As you enter,

the door (hinges creak) opens wider.

ZEHRA: Mm-hmm.

SPENSER: Light is starting to pour in, your hand on fire

pushing into the room here.

You hear what sounds like lapping of liquid--

(wet lapping) LUIS: We need to get in.

SPENSER:-- from the ground.

The two figures you see in front of you,

now that you've gotten closer, you're illuminating them.

They are licking the liquid off the ground.

They turn up, both of them,

their heads unnatural in their positioning,

and you see

the disproportionately mangled faces

of Duncan and an older woman.

As we look at the portrait again in this moment,

reflecting the light, we see them two

standing next to each other,

adult children in front of them as well.

You also hear (echoing plunk)

from the room off to the left here.

They start to stand up and as they do,

the light here illuminates them

and you can see blood is just all down their mouth and neck

and it drips off of them as they rise.

It's as if they were feeding off of the blood

that was left on the ground here.

ZEHRA: I shoot! SPENSER: (laughs)

Amazing. Okay, make a Control roll for me

as you shoot towards them.

ZEHRA: I am going to burn a Nerve--

TRAVIS: (mockingly) Ah, talk first, ah. ZEHRA:-- to get an extra.

TRAVIS: (laughs) SPENSER: (laughs)

Not with these guys. (laughs) TRAVIS: No, uh-uh.

ZEHRA: Six! SPENSER: Six.

(cheering) MARISHA: Hell yeah.

SPENSER: You unload a shot into--

Are you shooting at Duncan or shooting at the woman here?

ZEHRA: I'm shooting at Duncan.

SPENSER: Great. You watch the bullet rip into Duncan's face

and this side of his mouth just explodes off.

He goes collapsing to the ground,

his body writhing, black ichor

starting to drip out of there.

The woman is now moving forward, but with a six,

the play continues with both of you.

What do you want to do?

LUIS: Okay. I'm taking a defensive position.

SPENSER: Yep. LUIS: So I step back

a little bit. You got this!

ZEHRA: I will shoot again.

I learned a thing or two from Mr. Finnerty.

SPENSER: Love that. We see: Boom!

Then moving over to the woman here.

She starts to put her head down and run towards you.

Go ahead and make that roll.

ZEHRA: Four. SPENSER: That's a four.

So with a four, what happens is this woman

is running full steam at you.

You fire and fire again.

It rips into her, it doesn't deter her,

but you see that her momentum carries her through.

She just gets mangled by the bullets and slides forward,

tripping over herself until she just comes to rest

at your feet, her head pointed up at you,

blood dripping down her mouth, her eyes wide and bulging.

As that happens, you see two, what look like men

in their early 20s standing in the doorway of the house.

They're also just covered in black ichor and blood here.

They're looking straight at you.

What do you want to do?

LUIS: I'm backing up.

Oh my god.

Okay, so she slid and she's right in front of us.

SPENSER: Yeah, but she's out and just staring up.

LUIS: Okay. SPENSER: She got shot twice.

LUIS: I am pulling out-- I still have this phase knife

that I got from a long time ago. SPENSER: Yeah, you do. Uh-huh.

LUIS: So I pull that out

and I am getting ready to use it

if they come closer.

SPENSER: Great. You see them at the doorway,

their eyes rolled back in their heads.

They don't even have sight right now.

LUIS: I point them out to you. SPENSER: They're stumbling forward

ZEHRA: I reach into my medical gear

and I pull out a bottle of alcohol.

SPENSER: Mm-hmm.

ZEHRA: I rip off a piece of my coat with my teeth

and I shove it into the bottle of alcohol.

I learned a thing or two from Mr. Trapp!

And I light it on fire.

SPENSER and TRAVIS: (laugh) LUIS: With your hand?!

ZEHRA: With my hand. TRAVIS: Yes!

ZEHRA: I throw it at the men in the doorway,

over Marion's head. TRAVIS: Burn clean!

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

One more Control roll to keep them at bay.

ZEHRA: I'm going to burn a Nerve.

SPENSER: Great, burn a Nerve. LUIS: Nice.

ZEHRA: Six! SPENSER: That's a six!

That's a full success. (cheering)

SPENSER: As these two come stumbling forward,

(flames erupt)

they get lit up here.

This house is made of metal, not of wood.

ZEHRA: Yes! SPENSER: So the house itself

doesn't catch, but these two get caught in the fire.

They're stumbling towards you.

They're starting to lean their heads down and rush,

but as they do, their body's deteriorating underneath them

and they flump to the ground.

ZEHRA: (sighs relief)

LUIS: I'd like to do a Sense roll

to see if I get any other of these kinds of creatures.

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

LUIS: I am going to-- Oh, I forgot--

SPENSER: As that's happening, we're seeing the two of you

and Farrah getting in a carriage.

Where are you all headed?

TRAVIS: We would be heading back to The Silverslip.

That's where we left people.

SPENSER: You know everybody's gone from Silverslip.

TRAVIS: That's right, we did all leave.

MARISHA: Right, because you guys split.

TRAVIS: Well, we'd be asking Farrah first.

Do you know of any other locations

of the Fourth Pharos?

The one that we saw was compromised, broken.

SPENSER: "Goddamn it. No, they don't tell me shit."

TRAVIS: Fuck.

SPENSER: "But is Duncan okay?"

TRAVIS: We don't know. MARISHA: (contemplative) Ah.

One of our team members went to go check on him.

I came to check on you. We don't--

SPENSER: "Goddamn it," she says.

MARISHA: But wait. TRAVIS: But we--

We could go. We could check.

MARISHA: Should we go there or the train?

TRAVIS: Yes, yes. We have that location.

We'll head to where the rest

of the group was headed, to Duncan's.

MARISHA: You said maybe they went that way--

TRAVIS: Duncan Walters. MARISHA:-- because Marion

saw a vision that--

TRAVIS: That Sean was--- Yes, yes, yes. That he was hurt.

MARISHA: So I'm going to say: Ma'am,

slim pickings right now. SPENSER: (laughs)

TRAVIS: Project positively.

But he probably-- MARISHA: Don't hold your breath.

SPENSER: Great. She, "Fuck!"

and is loading the clip and grabbing her harness.

She sees you wearing one, too.

Clicks the gun in. TRAVIS: Yeah.

SPENSER: "Did you serve?"

TRAVIS: I did. SPENSER: "Good."

MARISHA: Have you always been a cop?

SPENSER: "Yeah. I mean, not always, I had a childhood."

(laughter)

SPENSER: She hails a carriage.

BRENNAN: Welcome to the force, baby cop.

(laughing)

TRAVIS and MARISHA: Baby cop. BRENNAN: Coming the fall.

SPENSER: "Baby Cop."

TRAVIS: I know a snitch when I see one.

(laughter)

TRAVIS: That baby. SPENSER: That baby.

MARISHA: Voiced by Vin Diesel, "Baby Cop."

BRENNAN: Pulling a pacifier out, "5-0."

(laughing)

SPENSER: Wight to wemain siwent.

(laughing)

MARISHA: Wight to wemain siwent.

(laughter)

BRENNAN: Fin Bwue Wine, yeah. ("Thin Blue Line")

(laughter)

LUIS: Oh my god. SPENSER: Goddamn it.

I love it, it's so good.

We cut back to you.

You're rolling Sense to see if anything else is here.

What'd you roll?

LUIS: I burned it. There's so many jokes I want to make

and I'm not, I'm not, I'm not, I'm not.

I'm not going to keep that going.

So I used a drive and I got a six,

not on a gilded die, but I got a six on that.

ZEHRA: Oh, great!

SPENSER: Great, with a six. LUIS: Yes.

SPENSER: With a six, you realize

that the feeling of bleed

that you're getting is coming distinctly

from the figures that have gone down.

There doesn't appear to be anybody else here

that is under that influence.

LUIS: Then I literally just saw Jean

completely become Sean and the Lieutenant

right in front of me and kind of, I'm impressed.

I turn to you, I look at you: Nice work!

And then I pick up exactly where I would've

if it was with them and I'm taking that phase knife

and I'm shoving it down every single one of those creatures.

To make sure that anything that's wiggling

is going to remain still.

SPENSER: We see (stabs) through the side of a cheek

and out the other side of the cheek into the floor here.

It gets pulled up. We hear it continue

as you go through and stab.

We stay on you here. What do we see here

as this is happening?

ZEHRA: As I'm watching Marion make quick work

of the creatures I have just downed.

LUIS: That you have already killed,

but I'm making sure they're dead again.

ZEHRA: Appreciate the teamwork.

I recall that I heard voices

or some sort of thunking to the door to the left.

SPENSER: Those were the two that had come from there,

that was where the thunking was coming from.

ZEHRA: Right, I am scanning the room,

looking for any sign of Mr. Finnerty

other than this blood pile.

SPENSER: Great, make a Survey roll for me.

As that happens, we cut to the two of you and Farrah

in the carriage pulling up into The Steel here.

You smell the smoke of the industrial district here.

You see a shanty set of houses that are here

and a door that's wide open.

MARISHA: Yeah, remind me,

he lived in like a townhouse, right?

SPENSER: Yeah, it's like a house that's sort of

just put together with metal sheeting essentially.

It's very ramshackle, but yeah,

you're pulling up in front of there.

TRAVIS: The door's ajar.

MARISHA: (laughs) The door's ajar.

It's not like an apartment complex.

SPENSER: No, no, no, no, this is like, yeah--

It looks maybe as though he built it himself even.

It's that kind of feel.

MARISHA: Took some shipping containers, kind of style?

SPENSER: Yep, totally ripped those up

and built a house out of it.

TRAVIS: Sun is still in the sky, right?

SPENSER: No, it's dark. TRAVIS: It's dark, okay.

SPENSER: It's been dark. The sun is actually

probably going to come up.

ZEHRA: Oh shoot. TRAVIS: Oh shit,

yes, yes, of course.

Go in loud or quiet?

MARISHA: (uncertain noises)

SPENSER: We push on Auntie Bee as this happens.

(groaning)

TRAVIS: Finnerty, Marion! MARISHA: Yeah, loud!

I guess we're going in loud.

SPENSER: You hear shouting from outside.

What do you two want to do?

LUIS: Looks like reinforcements have arrived, so--

ZEHRA: I rolled a four on Survey. SPENSER: Great.

Great, as you two enter, you hear voices within talking

and we see you searching the house

for anything that you might find.

You all see the doctor here scouring the room.

You don't find anything but that blood

that remains of Sean.

Well, it's blood left on the ground. You saw--

LUIS: Is it where he fell in my vision?

SPENSER: Yeah, exactly.

You're seeing where he fell in the vision.

You can tell that's Sean's blood,

but he's not here.

What you do see is some supplies

scattered on the dining room table here.

It's as if something was being prepped for.

As you move over to the table,

you find that there is a map laid out

and it's labeled Pharos, and there is--

You know this place.

This is a map of Westwreck.

ZEHRA: That's where I'm from.

SPENSER: That's where you're from.

What you would know based on this,

based on all the things that you see here,

the goggles, the pistol,

the maps that are laid out here,

the notes and details here that you find

as you're shuffling through all of this.

You have the realization that Duncan was probably an owler.

An owler is somebody that you would know

that basically knows their way around Westwreck,

knows their way around the mines in Westwreck

and takes people through as needed to be able to do that.

ZEHRA: I've had to fix many an owler's chest cavity

when they accidentally happened upon a mine.

SPENSER: Right, exactly.

So these owlers are essentially people

who will shuttle people to their destination.

Sometimes into the Haven Hills, right,

sometimes into The Verge.

But you have to go through Westwreck to do that

and there are minefields everywhere.

From this, you can tell that

that is what Duncan was.

You find this. ZEHRA: Oh!

SPENSER: Which is a map. ZEHRA: Prop!

LUIS: You got it.

SPENSER: Prop! LUIS: Nice, nice, yeah.

Prop, prop, prop, prop.

BRENNAN: You have to yell "prop" when you get a prop.

(laughter)

ZEHRA: Prop! BRENNAN: Prop!

SPENSER: The both of you see the doctor holding up a map.

ZEHRA: I share it with everyone, so everyone--

TRAVIS: We immediately draw on both of them, though.

ZEHRA: Oh.

TRAVIS: It's a very good likeness.

LUIS: I know, I know, I know, I know.

Do you remember the flower?

TRAVIS: What's the name of the flower?

LUIS: You first, because last time you stumbled.

TRAVIS: I said it last time.

LUIS: You said something kind of sort of like it,

but it wasn't exactly. TRAVIS: We're kind of talking around it.

It's a petunia, it's fine.

MARISHA: Starry night petunia. LUIS: Okay, that's right,

burgundy! ZEHRA: Burgundy?

LUIS: Yeah, that's my favorite one. ZEHRA: That's a beautiful color!

TRAVIS: What do you have there?

ZEHRA: It's a map. And I show them the map.

SPENSER: You two would both recognize this

because this is where you all fought in Westwreck.

LUIS: Oh. ZEHRA: Oh.

LUIS: Is that blood on it?

SPENSER: You know from looking at it

and from your time in Westwreck,

that those red dots on that map are mines.

ZEHRA: It's not blood, though, it's quite poetic.

These are where the mines are located.

LUIS: So that's the way around it.

This is the map to get through the mines.

ZEHRA: This is an owler's map.

LUIS: What are those Xs?

ZEHRA: Do I recognize these symbols?

LUIS: Yeah.

SPENSER: You don't, off the top of your head,

recognize what those are.

They appear as though they're hand drawn into the map.

MARISHA: So what does that mean

and how does that apply here?

LUIS: Sean's no longer here.

ZEHRA: Would you like to see it?

TRAVIS: Are they saying that there's an entrance

to the Fourth Pharos in Westwreck?

ZEHRA: I've never heard tell of such thing,

but it could be possible.

MARISHA: Sean's no longer here?

LUIS: This is where I saw him fall.

Whatever Duncan was got to him.

SPENSER: We cut from that to Sean.

Sean,

we get a shot of you coming back to

after taking that bleed scar and letting this creature in.

It's hard to tell how long it's been.

You took a scar here and had the chance

to shift an action rating.

What did you shift? Have you chosen?

BRENNAN: I've actually gotten two scars,

so it was one from Survey to Strike.

Then one from Hide to Focus.

SPENSER: Amazing.

Was the Hide to Focus this one?

BRENNAN: Yeah. SPENSER: This last one?

As you're coming to,

the dream that you're coming out of,

how does it tell us about that shift for yourself?

BRENNAN: (sighs)

BRENNAN: "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."

I move a dot from Hide to Focus

because it's time to stop hiding

and it's time to concentrate

on doing what I want to do for the first time.

[sirens wail]

SPENSER: And your vision comes to.

You see in front of you

are five chairs.

"You let me in.

"I saw who you wanted."

You hear muffled screams.

As you sit up, you realize these five chairs

are in a semicircle around you.

Sergei Orlov.

Arthur Duffy.

Oliver Nero. ZEHRA: (gasps)

SPENSER: Douglas Vanderfeld.

William Clyburn.

BRENNAN: I'm going to smile.

Whatever this monster is

that has put these men in front of me,

do I sense that this is dreamlike or do I sense

that I am in a real place and these real men

have been brought to me?

SPENSER: Make a Focus roll for me.

BRENNAN: Great.

It's a two.

SPENSER: It's a two.

It's hard to tell.

Your vision is blurry from all the pain,

but when you feel a shotgun

being put into your hands,

the cold feels real.

They are with you.

Your own self stands across from you and lets go.

BRENNAN: I'm going to shoulder the shotgun.

I'm going to check my belongings

for the artifacts I stole from the chapter house.

SPENSER: We get a shot of you in the madness

of the chapter house scuffle,

running back into the archives.

BRENNAN: Had to check.

SPENSER: Putting things into your pocket

and them running out and saying, "They took it all."

ZEHRA: (gasps)

MARISHA: This bitch.

LUIS: (laughs)

SPENSER: You're carrying--

ZEHRA: Fuck.

SPENSER:-- strange triangular artifacts

and spinning astrolabes,

all sorts of things being set out.

They're all there.

BRENNAN: If I can see everything I remember,

it feels like some indication

that I'm not in a dreamlike state--

SPENSER: Mm-hmm. BRENNAN:-- and that

this creature has worked

whatever it's been working in order to get these men here.

SPENSER: You see the creature

where you stabbed it in the chest.

BRENNAN: Mm-hmm.

SPENSER: It looks as though that part hasn't healed.

BRENNAN: Okay. SPENSER: Like the center

of its chest, for whatever reason,

everything else is fine, but the center

is still dripping black ichor.

You see him put his hand to his chest,

your chest, his chest.

In the same way that your chest is hurt,

his chest is hurt.

He keeps trying to sew over,

but it can't. He "(sickly coughs)."

BRENNAN: I'm going to go over.

It's all right.

Take a seat.

You're going to be okay.

SPENSER: He sits down cross-legged next to you.

BRENNAN: I'm going to look at him, look at

all those objects. SPENSER: Uh-huh.

BRENNAN: I'm going to smile

at this creature wearing my face.

SPENSER: Yeah.

BRENNAN: Say:

Those dogs, can they think and reason?

Are they like you and me, they can talk?

SPENSER: "The dogs from the lighthouse?"

BRENNAN: Yeah.

SPENSER: "I mean, I talk to them, but

"they don't talk to me." BRENNAN: I talk to dogs, yeah.

SPENSER: "They don't talk back.

"They're good, they're loyal."

BRENNAN: I'm going to kneel down

and put my forehead against my forehead and go:

I killed so many of those dogs

and not one of them put my Ma in Grayslate.

I'm going to turn around and shoot

Arthur Duffy in the face.

TRAVIS: Oh! (laughs)

BRENNAN: Dr. Orlov.

I'm going to pull whatever's in his mouth off.

SPENSER: Uh-huh.

"Wait, no! I--"

BRENNAN: It's all right.

SPENSER: "I'm sorry, I--" BRENNAN: It's all right.

I know that Arthur Duffy paid you.

You're just trying to make money.

SPENSER: "Yeah, yeah. He paid me."

BRENNAN: He paid you.

You know, you got this old broad,

two of her sons are already dead,

probably the third one is in the wind.

SPENSER: "Of course, of course."

BRENNAN: Arthur Duffy's a powerful man.

SPENSER: "He is." BRENNAN: So you write

a diagnosis.

The old bag, she's gone batty.

They cart her off to Grayslate.

Arthur Duffy gets a house back

that he had under contract while she was living there.

I understand. SPENSER: "You get it."

BRENNAN: I'm going to feel in his pocket

for if he has any kind

of doctor's slip or writing or any kind of stationery on him

or something like that.

SPENSER: Yeah, he definitely has a notepad.

BRENNAN: Yeah.

All you got to do is reverse.

Just say you got it wrong. Give me something.

I'm going to get my buddy Lieutenant Trapp to sign it.

Just say, "On further inspection, there was an error

"regarding the commitment of Mary Margaret Finnerty

"into Grayslate Sanatorium,"

and you get to walk out of here.

SPENSER: Shaking, his hands are tied behind his back.

BRENNAN: Oh, your hands are tied.

Hold on, let me help you out, buddy.

TRAVIS: (laughs)

BRENNAN: I'm going to get a knife.

SPENSER: Uh-huh.

BRENNAN: Cut the binds on his hands.

You're all right.

Go ahead and write it.

SPENSER: He reaches out

and starts to write on the notepad.

Hands it back to you, hands still shaking.

BRENNAN: I don't break eye-- SPENSER: It says

what you asked for.

BRENNAN: That's great.

Signature at the bottom?

SPENSER: Yeah. BRENNAN: Yeah.

SPENSER: "I'm sorry about her."

BRENNAN: (scoffs)

You know, we all do monstrous things from time to time.

It's funny, you know, when I tried to be a hero,

that's when I was really a monster.

So, you know, I never went to college or nothing,

but maybe if I try to be a monster,

I'll be a hero. I'm going to shoot him in the face.

TRAVIS: (laughs) SPENSER: Explosion.

BRENNAN: Gentlemen, I think you all can see

where the evening is headed.

TRAVIS: (laughs)

SPENSER: Three of them look at you.

Oliver Nero, Douglas Vanderfeld, William Clyburn.

BRENNAN: Now this is unfortunate

because you're all going to die in a room with strangers.

You don't even know each other.

Allow me to make introductions.

Dr. Oliver Nero's the head of NoMAD.

It was a part of the Northern Economic Alliance

during the war.

This guy, huge asset to the cause.

Brilliant doctor, was able to find out

that they were developing a weapon, right?

SPENSER: He's got stuff in his mouth,

but he nods his head.

BRENNAN: A weapon, yeah.

That's a big deal.

You got to stop then from making a weapon, right?

You said that, you know,

these people that were being trained with these weapons,

they could maybe disguise themselves.

They look like anybody. SPENSER: "(muffled agreement)"

BRENNAN: Maybe even look like children.

SPENSER: "(muffled agreement)"

BRENNAN: You could have just told the truth, Oliver.

SPENSER: "(whimpers)"

BRENNAN: What I don't get to this day

is why you kept lying

after you knew that we knew

and were still too scared to do anything about it.

Well, it was a surgery you recommended,

so what's good for the goose, right?

I'm going to shoot him as well.

SPENSER: (gunfire blasts)

We see, at that point,

Douglas Vanderfeld starts struggling

with his chair as if he's going to try and escape.

He's trying to pick himself up.

The creature beside you, you, is laughing.

BRENNAN: Mm-hmm. SPENSER: "(laughs)"

BRENNAN: I'll-- SPENSER: "(laughs)"

BRENNAN: I'll be like: Hey, me.

You want to get this guy?

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

BRENNAN: I'm going to be like, he says:

You know, I used to have brothers

that looked a lot like me, too.

Grab his arms.

I'm going to go: Doug,

you really, I know that you already knew

General Clyburn here.

It's a complicated thing, you know.

It was such a tough break

because I was in Otherwhere fighting in the same army

as my two brothers when, you know,

Anthony is already a war hero by the time the war started.

He'd fought in the Elselands War

and made a name for himself.

But Doug, I don't know if you ever knew

actually the whole story was that Tony,

he was a hero of the neighborhood.

My older brother could do anything.

He got engaged to this girl, Jane Windermere,

hoity toity, upper-class broad.

A kid from South Soffit? Come on.

Unfortunately, the General here,

his son had eyes on this girl, too.

Now, we never learned what happened,

but the General's son was pining.

"Oh Jane, she's engaged to this Tony Finnerty."

And all of a sudden my brother,

Tony, gets transferred,

command of a unit stationed in Roswald.

Battle breaks out.

Artillery never gets there.

I mean, that'd be pretty crazy though, right?

For a general to condemn not only a good man, my brother,

but 200 men to die just so his son

could get his rocks off with a girl who was engaged.

I mean, that'd be pretty nuts, right?

SPENSER: "(whimpering breaths)"

BRENNAN: But you commissioned the transfer.

You had to know something was up.

When Jimmy found out, found the evidence,

you beat the charge.

Jimmy didn't.

You had him court martialed and executed.

He was found with espionage papers on his person.

Jimmy always had a big mouth and if I'd been there,

I would've told him to keep it shut.

But you killed our older brother,

so of course he was going to mouth off

and do something stupid.

He died by firing squad.

I mean, you know, you ordered it.

So it doesn't feel kind of right

for you to die the same way as him.

So I'm going to pull the chair leg off and beat him to death

with it over and over again in front of William.

SPENSER: We see his face get caved in from the back.

We see the skull caving in until the body goes limp,

and William Clyburn staring

at this person next to him, covered in blood,

you covered in blood.

"(strained muffles)"

BRENNAN: I'm going to take a baseball out.

This is my lucky baseball.

Bottom of the ninth.

It's the South Soffit Sidewinders

versus the Red Lamp Raiders.

I'm six years old, screaming bloody murder at my brothers.

They got to let me play or I'm going to tell Ma.

We're one run down.

Tony's on third base and it's my turn to go to bat.

I'm six years old.

These kids are 10, 11, 12.

Jimmy grabs me by the shoulders and he says,

"Don't you swing!

"You better not swing!

"All we need is you to get to first."

Six years old, my strike zone is this big.

It's good advice except Danny Minnisalli's pitching.

So, (whoosh) strike one.

I'm shaking.

(whoosh) Strike two.

I look up.

Tony's on third base.

He's looking right at me

and he shakes his head like this, up and down.

When he believed in me, there was nothing I couldn't do.

Ball came flying.

Pow!

Straight in the storm drain.

You know, we played in the street, so that's a home run.

He put me up on his shoulders.

Jimmy was down in that storm drain

and Tony goes, "What are you doing down there?"

And he says, "I got to get the ball.

"It's the only home run

"this shrimp's (voice breaks) ever going to hit."

They were good guys

and I don't think the people who killed them ever knew that.

Open your mouth.

I'm going to shove the baseball into his mouth.

Take the chair leg.

("Charge" sports rally tune) ♪ Ba ba ba ba ba ba ba ba ♪

♪ Ba ba ba ba ba ba ♪

Batter's up.

SPENSER: We cut away,

and we hear crack!

We see the creature smiling and you hear

(muffles)

from the darkness.

Pushes themselves up, looking at you.

"You did great, kid."

As he says that, you see him walk over,

light a sconce,

lights up the room

and you see that you're in

the basement

of Grayslate Sanatorium.

And sitting in a chair watching from the corner--

MARISHA: (gasping)

SPENSER:-- is your mother. That's where we're going to go to break.

TRAVIS: No fucking way! MARISHA: (screams)

TRAVIS: No fucking way.

(laughs)

SPENSER: We'll be back.

ZEHRA: Will we?

SPENSER: And we return.

We find ourselves in the past for one last moment

before we continue forward.

Nathaniel,

we find you at your place of residence growing up.

We see your father walking in the door.

His hands are dirty, calloused,

face with soot on it.

He's wearing a business suit.

We see you at the top of the stairs.

As we see you start forward,

we see your older brother run out

from the first floor landing

and hug your father.

And we see you stop.

He gives your brother a kiss on top of the head.

What do you want to do here?

TRAVIS: I (clears throat)

have seen this many times before.

It's almost a compulsion to try and be near that warmth.

So I almost involuntarily start to go down the stairs

thinking that some of that love

might be extended my way as well.

As I hit the bottom of the stairs,

the finely varnished floor always catches the heels

of our shoes, and there's clacking

as I reach the ground floor.

My brother doesn't notice, but my father does.

And that expression changes ever so slightly.

It's almost as if my arrival is--

Carries an odor with it.

And just from his gaze alone

I immediately avert my eyes looking for whatever it was

I was looking for besides them.

Him.

SPENSER: We linger on him

as he watches you

and hugs your older brother tight again.

We shift from there.

Over to you.

We see you leaving the front door of your house in Seasway.

Remind us what this place looks like

back all those years ago when you lived there.

MARISHA: Well, it's very modest.

One bedroom, tiny little kitchenette.

The good thing about living in Seasway

is you don't really have to adhere

to any other housing ordinance codes.

There's a row of identical cottages.

The front porch is on stilts

as it's along this cliff face

that leads down to the front of the ocean.

All of them painted bright colors,

some kind of gaudy clashing,

but personal nonetheless.

Bee took it upon herself to paint theirs

a nice bright lavender with mint green shutters.

It was a very cheap paint she probably mixed herself.

Instantly started chipping against the salty wind,

but it was hers nonetheless,

her and her husband, Blue's.

SPENSER: We see you looking out over the Glass Sea here.

The Vastchasm in the distance,

the giant rift in the sea where water pours straight down.

The area that's provided such a barrier for so long

as long as Newfaire's been here.

You see ships starting to blockade the area

where you can come into port around the Vastchasm.

You see a couple of ships and a couple more.

It looks different than it did yesterday.

Something is happening down there.

Usually, they stay far away from the Vastchasm,

but today they're getting dangerously close.

You see a ship almost get pulled in

and have to turn its engines to full steam

to keep out of the pull of this great rift

that divides the ocean.

MARISHA: Do the markings look Halen or--

SPENSER: The markings on the ship look Halen.

They are military.

As that happens, you see a woman

coming by on a bicycle.

She's carrying a sack over her shoulder.

She pulls a letter out from that sack,

opens up the mailbox at the end of your driveway,

pushes it in, closes the mailbox shut,

gives you a wave and continues on.

MARISHA: Bee was woken up from a nightmare

in the middle of the night.

Put her in an off mood all day.

But nightmares aren't real.

They're just that, figments of our imagination.

Our brain running rampant, running wild in the night.

She doesn't have to open the contents of that letter

to already know.

I think she just sits on the stoop.

20, 30, maybe an hour goes by

before she finally gets up the courage to check the mail.

SPENSER: We sit on the mailbox alone in the foreground.

We see a hand reach into it.

We see you walk back towards your house,

out of focus,

opening the letter and collapsing.

From there, we move to you.

Your father stands before you.

He is dressed in all black

with a white shirt.

His beard finely coiffed in front of him.

Not flowing here.

The area where a bow tie once was has been pulled at

and it now sits limp on his shoulders.

We see you, Jean,

in a black dress.

We see a flyer

from a funeral still in your hands.

Your mother's face drawn to perfection.

Your father stares into space,

looking at you, but looking through you.

He starts to speak and stops himself.

What do you do here?

ZEHRA: I regard him,

and I regard her perfectly drawn face

on this flyer that was passed out to the 50, 60 or so guests

that had gathered for a quick burial ceremony.

I think as I look upon this perfect, beautiful face

how far it is from the last time I saw that face.

Sunken-in eyes, cheekbones so sharp

I swear I could see bone protruding

from underneath her pale skin.

The smell of vomit and bile and body and sick and death.

SPENSER: We see your father

over the top of her with a pendulum,

swinging it back and forth, back and forth.

"Look at me!" he says. "Look at me!"

ZEHRA: It's not working, I--

SPENSER: "Look at me!"

ZEHRA: Holding a bowl full of herbs.

It's not working, Father!

SPENSER: We cut back to you after the funeral.

He takes the pendulum out of his pocket.

ZEHRA: Don't.

I have never spoken with him in this tone of voice,

but for the first time I tell him:

Don't bring that thing near me ever again.

SPENSER: He places it

on the counter beside him

and he disappears around the corner, leaving you alone.

We jump to you.

Marion.

We see you in conversation here.

Who's it with?

LUIS: It's with Auntie Bee.

SPENSER: Okay.

LUIS: In--

After our first assignment, shaken up,

I go to someone I trust.

Auntie Bee, I don't know if I'm cut out for this,

but I know that I want to keep doing it

because I want to be here with you all,

and I want to be here with Sean,

but I think I got to get something off my chest.

MARISHA: She can't help but look at the scar

when he references his chest.

LUIS: Uh.

There was a thing that happened during the war

that I hadn't told anybody.

And--

After the battle that got Sean promoted

to whatever group he got sent to and I kind of got demoted,

I got put on guard duty.

I think somebody was looking out for me

that got me out of the front lines.

I was there the day that they executed Jimmy

because I got put on guard duty in his cell

when they brought his body back.

MARISHA: You shouldn't have had to see that.

LUIS: I was glad to see it.

MARISHA: How did he look?

LUIS: He looked like they shredded his skin

with all the bullets that they hit him with.

SPENSER: (rapid gunshots)

The shot of gunfire.

LUIS: Then when everybody left,

I was left alone with his body

and I went into the cell and I waited.

SPENSER: We see Marion waiting.

MARISHA: Did anything happen?

LUIS: I was hoping something would.

MARISHA: But it didn't?

SPENSER: Body sits still.

MARISHA: Maybe that's for the best.

LUIS: I wanted it so bad, though.

I thought I would be there when his soul would leave

and I wanted to catch it and put it inside of me.

I wanted to take it from him.

SPENSER: We see Marion standing over the body.

LUIS: I don't want to be an empty vessel.

MARISHA: I don't know if you are, sweet boy.

LUIS: I wanted at least Sean to have a piece

of his brother with him.

Even if it changed me somehow. I don't care.

MARISHA: He does still have a piece of his brother.

I hate, I hate that you boys are wrapped up in this.

I hate that--

I hate that you got sucked into this,

that horrible fucking war.

Claiming the lives of so many innocents.

LUIS: There's nothing that could be done about it.

MARISHA: No. No, there wasn't.

I hate that you're all a part of this

self-righteous organization.

But

do you honestly think

me or anyone else

could convince you that the rest of the boys,

Jean, anyone, otherwise?

LUIS: I don't know, Auntie Bee.

I don't know if I think about that stuff like that.

All I know is that I would do anything for Sean.

MARISHA: I know.

Which is why I would never--

Never try to convince you to not be a part

of Candela Obscura.

What kind of hypocrite would that make me?

I'm here.

You think anyone could convince me otherwise?

LUIS: No.

MARISHA: Exactly. We all make our choices.

LUIS: Auntie Bee,

do you think Sean would be mad at me

if he knew what I'd try to do?

MARISHA: No, I don't.

LUIS: I don't think so either.

MARISHA: Very noble of you.

But there is a part of me

that just hopes

if you couldn't find his soul

that means it's at rest somewhere.

SPENSER: And we go from there to Sean.

You're staring face to face with your mother.

She's in the corner of the room.

Her mouth is gagged like the others.

Her eyes welling with tears.

BRENNAN: Hey, Ma.

Sorry I ain't been to visit.

I'm going to lower my gaze, speaking to the creature.

If I walk out of here with her,

does that ruin her chances of getting out of here

the right way?

Staying out of here?

I hold the scrap of paper with Orlov's signature

that I need to give to Trapp.

SPENSER: Mm-hmm.

BRENNAN: I want to take her out of here right now,

but I don't want that to ruin her shot

of staying out of here.

SPENSER: You see him stand up.

He contemplates for a moment and then he says,

"I will take care of anything necessary--"

(whoosh) His face shifts.

(whoosh) Shifts again.

"-- to ensure her release."

BRENNAN: Okay.

SPENSER: "I just need one thing from you."

He steps towards you, yourself, moving towards you.

"You see, my mother,

"she's not of this place.

"And we," looks down at his chest,

"We wither out if we're here too long.

"So getting her through poses a bit of a challenge."

BRENNAN: I'm going to embrace myself.

SPENSER: Okay.

BRENNAN: I'm going to give this creature a hug.

I'm going to put my mouth next to my own ear

and I'm going to whisper:

You don't have to try and trick me.

I know you want your mother through here.

I know what that might do to this world.

I don't care if you bring hell on earth

because if they wanted to stop it,

they wouldn't have let it become hell already

for so many of us.

SPENSER: Pulls you back, looks at you squarely,

and becomes the visage of your father

who died all those years ago.

"That's my boy," he says.

"I just need one thing from you.

"I need you to go back to the circle you came with

"because you have a vessel with you.

"To bring my mother through,

"I need that vessel.

"I need that body.

"There are not many and it takes long preparation.

"So many die in the process of trying to create a vessel,

"but you have one, one that she could live in.

"Marion."

We sit on you for a moment.

We are going to step behind this thing.

BRENNAN: Okay. SPENSER: And we're going to talk.

BRENNAN: Okay. LUIS: (heavy exhale)

BRENNAN: You have the option

of saying yes to his demands here

or of saying no. LUIS: (laughs)

SPENSER: If you say no,

you could fight your way out of this.

It will be a dice roll.

On a one, two, or three he will kill you

and will replace you.

BRENNAN: Gotcha.

SPENSER: On a four, five, or six, you survive and he dies.

So that is what's at the table here.

That's what's going on. TRAVIS: (laughs)

SPENSER: I'm going to have you grab your dice tray.

We're going to step behind the table

and we're going to talk about what the decision is here.

TRAVIS: What the fuck is this? LUIS: Replace--

BRENNAN: You guys keep making a TV show.

TRAVIS: Yeah. Yeah, yeah. BRENNAN: We'll be back in a second.

SPENSER: Either-- So, yes.

So you know he's coming back.

ZEHRA: But we don't know who's coming back.

SPENSER: You don't know who it is. MARISHA: We're getting a Sean,

we just don't know which Sean.

ZEHRA: What flavor of Sean. TRAVIS: Son of a B.

ZEHRA: What flavor of Finnerty.

MARISHA: What Comic-Con

variant will we be getting. TRAVIS: You scoundrel.

BRENNAN: Mm, wild berry.

TRAVIS: Rat mother--

LUIS: Well-- MARISHA: So, how's y'all's day going?

ZEHRA: Great until five seconds ago.

LUIS: (laughs)

(groans stressfully)

(laughs)

TRAVIS: I was just thinking, you know, without Sean,

we could split the Candela wages

four ways instead of five.

LUIS: Huh. Yeah.

ZEHRA: Oh, I like this idea.

We could "Weekend at Bernie's" him around.

TRAVIS: We could franchise one of those carriages

and perhaps start a Newfaire carriage offshoot.

Like a cab. LUIS: We could open--

MARISHA: Cabbing system? TRAVIS: Yellow carriage.

MARISHA: (laughing) Yellow carriage.

ZEHRA: I like these business plans.

LUIS: Yeah, you know--

(laughs) Oh my god. TRAVIS: Fuck.

LUIS: You know when you realize you set yourself up

for something, like moments?

ZEHRA: (laughs) LUIS: Now it's like, oh, fuck.

MARISHA: So reflecting on all

the choices you've made? LUIS: Literally this is

the conversation we just had.

ZEHRA: Yeah.

LUIS: I'm like, why did I say that?

MARISHA: Does it go all the way back to me being like:

"Hey, Luis,

"I got a new show."

(laughter)

MARISHA: I think you'd love it.

TRAVIS: You know when you wish you had more mutant abilities

than you did, and you're just trying to listen

as hard as you can,

even though you know there's no way? MARISHA: Uh-huh. (laughs)

SPENSER: (deep breath)

Okay.

LUIS: (flaps lips) SPENSER: You all,

the four of you, outside-- TRAVIS: Who are you?

SPENSER: Look at me, don't look at him.

(laughter)

SPENSER: The four of you hear the clattering of hooves

outside of Duncan's house.

TRAVIS: It's Brennan.

LUIS: (laughs)

MARISHA: Just Brennan. SPENSER: It's just Brennan.

(laughter)

LUIS: Are you choking or did you burn your mouth?

BRENNAN: I'm on the team monster now!

They turned me into a frigging centaur.

(laughter)

TRAVIS: I knew it!

(laughter)

SPENSER: It is Sean on horseback.

MARISHA: I imagine at this time

we've been debating where to fucking go.

This map probably means nothing. LUIS: Yes.

MARISHA: Do we go back to the Silver spire?

TRAVIS: Yeah, no that's good. It could be plenty of things.

ZEHRA: I'll take it. TRAVIS: Yes, yes.

ZEHRA: It is my home after all. MARISHA: Just Duncan's bullshit.

TRAVIS: There's a circle, though, there are triangles--

SPENSER: As that happens, you hear the horse coming outside

and you see Sean on the back of the horse,

looking worse for wear, black scars all over--

LUIS: Oh my god.

SPENSER:-- his chest and stomach here.

What do you all want to do? LUIS: I rush out there.

TRAVIS: Yeah, we race to the door down the stairs.

Because Marion's in the lead,

I will practice a little bit of caution.

Just standard practice. Remember the code.

LUIS: Right, right. Sean?

BRENNAN: (clears throat)

How's it going, gang?

MARISHA: Where were you?

BRENNAN: (groans, stammers) Duncan's bad.

Duncan's bad. LUIS: We got that much.

I got it. MARISHA: Ask him the question.

LUIS: What's the code? Do you remember?

BRENNAN: Oh shit.

Petunia. Starry. Starry sky petunia.

LUIS: Uh-huh, but? BRENNAN: Maroon?

LUIS: Burgundy. BRENNAN: Okay.

ZEHRA: Yes. LUIS: Those are not

the same colors.

I know people think they are,

but they're quite different. BRENNAN: They're close.

My god, Marion.

They're really close. LUIS: Not that close.

They're barely.

TRAVIS: You look-- If you look at them long enough

you can tell the difference TRAVIS:-- like hell.

BRENNAN: This is my two weeks' notice.

TRAVIS: For? Yep.

BRENNAN: So I'm done. All right?

ZEHRA: What happened to your pin?

BRENNAN: Came off in the scuffle.

He grabbed-- I think he needed it for something.

He just went to grab my suspenders and threw me into a wall.

ZEHRA: Who? MARISHA: Who? Duncan?

BRENNAN: Yeah. "Duncan," yeah. MARISHA: The monster?

LUIS: But Duncan was here. Where did you just come from?

We came here and we found whatever Duncan had become.

BRENNAN: It dragged me back through the alley.

I think they're making a beeline for the Fourth Pharos.

So they're already on their way there?

TRAVIS: Yes. Yes, in fact--

I'll show him the letter. We found this inside.

It sounds like there is a leader,

and they're trying to bring a mother through and--

BRENNAN: I'm not going to lie to you.

They have everything they need.

The reason I'm alive right now

is that in the middle of being about to kill me

he got the call from the other monsters to fucking take off.

TRAVIS: How are you riding?

You're absolutely covered in blood!

LUIS: Maybe you should-- ZEHRA: Do you need a Patch Up?

BRENNAN: Ah.

You know, I don't want to put you out.

TRAVIS: Yes, of course.

I mean, if we're going to make a push

to the Fourth Pharos and--

MARISHA: So he let you go?

He willingly let-- Why not kill you before he left?

You're a liability;

you literally just told us everything

that they were going to do.

Why wouldn't he? How are you alive?

BRENNAN: Well, I was bleeding to death in an alleyway.

I think he just took off.

MARISHA: What is-- ZEHRA: He just let you go?

Well, let me heal you.

As I go to him, I notice--

Do I notice the black patch on his stomach?

I'd like to focus on it for a moment

to see if I'm familiar with that particular method

of bonding the skin back together.

SPENSER: Yeah, make a Focus roll for me.

TRAVIS: Finnerty, you never cease to amaze.

Truly, the amount of lives you have

is absolutely incredible.

BRENNAN: Hey, you know it's not about the size of the dog

in a fight, right?

It's the size of fight in the dog.

I got a couple left in me. Let's go.

ZEHRA: It's a five. SPENSER: It's a five.

This looks as though it is

made of an organic material,

like a black ichor kind of material,

but it's not like anything mundane that you've ever seen.

It looks as though it's

almost like if somebody were to spread putty

on a plumbing seal or something, you know what I mean?

Like that kind. It's that kind of fix.

It's like, no, we plug-- TRAVIS: It's on there.

SPENSER: Yeah, we plug you to keep you.

ZEHRA: Does it look quickly done? Not precise?

SPENSER: Oh yeah. I mean, certainly.

It looks like it was spread on and then hardened in place

as though it was

haphazard in its application,

but is working from everything you can see.

Doesn't appear as though--

Although the scrapes and bruises on Sean are very apparent,

it doesn't appear as though physically

he has any major damage bleeding out right now.

BRENNAN: I mean, I actually have two--

Mechanically, I have two scars.

I have a body and a bleed scar.

SPENSER: Right. BRENNAN: And then three brain marks.

SPENSER: Right. BRENNAN: But my mark tracks are clear

for bleed and body. SPENSER: Exactly.

ZEHRA: No marks for body.

Do I sense any bleed coming from ichor this patch?

SPENSER: Go ahead and make a Sense roll for me.

ZEHRA: On a success-- I'm going to also use Cold Read,

which is, "On a successful Sense roll,

"you know what ailment, stress, or loss

"a person has had in their life,

"even if they're hiding it."

SPENSER: Okay.

(laughter)

ZEHRA: It's gilded.

LUIS: Wow! ZEHRA: One on a gilded die.

BRENNAN: The dice do sure tell a story, don't they?

MARISHA: Holy fuck! TRAVIS: Boy!

MARISHA: Goddamn it.

SPENSER: So with the one, you do get the sense

that there is bleed coming off of it

and as you touch it,

you do get transferred that point of bleed.

ZEHRA: On my person? SPENSER: On your person.

ZEHRA: I get a bleed mark. SPENSER: Uh-huh.

So you touch it, you feel that bleed,

it rings in your head the way bleed does

and you feel yourself have to stiffen up

to keep yourself safe from it.

ZEHRA: As irritating as ever, Mr. Finnerty.

Glad to have you back. BRENNAN: Yeah, glad to be back.

Sorry, Doc, I didn't mean to be so irritating.

How'd things go? You get walloped over at Varnish?

MARISHA: Yeah, I thought the bastard was going to

literally crawl down my throat, but I'm all right.

BRENNAN: Why is it-- It's always going to your throat

or crawling up your ass or something.

MARISHA: I don't know why it's got to do that.

BRENNAN: It's fucked up.

MARISHA: It can be a little bit more straightforward, honestly.

TRAVIS: We did manage to keep Farrah Morales, though,

out of harm-- LUIS: She's here with us.

TRAVIS: Yeah. SPENSER: She's there with you.

TRAVIS: Yeah. So we know what they were doing.

BRENNAN: Is there a way for us to get any--

I mean, both the chapters we know about,

they're down right now.

Is there any other emergency way

for us to let anyone know what the fuck is going on?

TRAVIS: Not that I'm aware of. Should we ask Farrah?

MARISHA: Farrah. SPENSER: Yeah.

Farrah is staring at the map on the table

that you all had.

She says, "I think this is a map to the Fourth Pharos."

ZEHRA: Oh.

SPENSER: "At least an entrance in--"

MARISHA: How do you know that?

SPENSER: It's labeled "Pharos" on the bottom.

She points to it, and then she pulls up

some of the paperwork. MARISHA: Oh fuck, sorry.

I don't have my cheaters. SPENSER: No, it's okay.

No, when I described it, it was--

Yeah, but she's looking through the paperwork

that's on the table and she's like,

"These look like letters back and forth.

"These look like letters

"that were supposed to be sent to me."

She pulls one out that says, "Farrah,"

and it's a description from Duncan

of like, "We have to escape, we have to get out,

"we have to go somewhere safe.

"I think I know where, from my time in Westwreck,

"I think I know or I know a spot

"that gets us to the Fourth Pharos.

"I need you to meet me."

But it never got sent because of that.

TRAVIS: If you wanted a natural protection

for an entrance to the Fourth Pharos,

a war zone would be, you know, good spot to hide it.

SPENSER: On the table next to the map

you also see a collection of keys.

And that's unique for this era.

That's not a very common thing to have a chain of--

They don't look like house keys.

They look like something odd.

TRAVIS: Can I, if you don't mind, take the keys

and I'll make an inspection.

SPENSER: Sure.

TRAVIS: "When I make a Survey roll to gather evidence

"for what might have happened with an item or location

"I gain an additional gilded die."

SPENSER: Okay, great.

BRENNAN: What are all these--

TRAVIS: Burn a drive.

LUIS: There's one for you, too, actually.

MARISHA: The doctor found them.

TRAVIS: Yeah, I'll take a five on the gilded.

BRENNAN: We're not supposed to use shit like this.

MARISHA: No, we're not.

LUIS: They tell us not to-- ZEHRA: Desperate times.

MARISHA: Seems a lot is off the table.

BRENNAN: Well, given that you can

make s'mores on your left hand--

ZEHRA: Just then I start to singe the box.

Oh, sorry about that.

LUIS: I'll take this.

ZEHRA: I have seen items like this used

in the past

in the name of good, but more often or not

for pain and harm.

I advise caution. I hand the item over.

BRENNAN: Caution.

MARISHA: I think we're just throwing the rule book

out the window on this one.

SPENSER: We see you inspecting the keys.

They look like vehicle keys from the war or something.

You would've had vehicle--

You see that that's the way in which they're shaped.

Not like a house key, but like a vehicle key.

What you know with that-- It was a five?

TRAVIS: Five. SPENSER: What you know with

that five as well is that there is a door.

You noticed when you came in, there's a garage outside.

There's a door to the garage connected to the house.

TRAVIS: Please be a fucking tank.

LUIS: (laughs)

MARISHA: That would be sick.

SPENSER: I'm starting a die back here

that will count down.

So I'll let you know when that happens.

But for the meantime, there's no consequence from that five

besides this die.

Go ahead and, yeah, what do you all want to do?

TRAVIS: I don't mean to be presumptuous,

but perhaps we should check the garage?

BRENNAN: Oh. LUIS: Yeah.

BRENNAN: Yeah, that's good. LUIS: Let's go.

TRAVIS: We start looking inside the chapter house

to see if there was a doorway into the garage from inside.

SPENSER: For sure. You see it on the side of the house.

You saw the garage coming in. It's very clear where it is.

As you open the door to the garage, it's dark in here,

but there's a window that has a shade

that's right next to where the door

that you're going out is.

As you flip that open to let the dawn light in

as the sun's starting to come up,

you see, in front of you,

a fleet of machines.

These look as though they were modified

from some sort of high-end bicycle,

but they do not have wheels.

The wheels have been removed

and instead, on the back,

is a large, bulbous shape

that sits above where a person would sit.

You've probably seen these before.

These are few and far between.

They're new tech, but EONS was working on these

when you were there. ZEHRA: They certainly were.

SPENSER: What they are labeled as

from the side of the bike

as you see it, an aircycle.

This is a blimp.

MARISHA: (laughs)

Yes! SPENSER: Motorcycle.

It's used to fly in mine fields

because it doesn't touch the mines.

LUIS: Whoa. Oh, I like this.

SPENSER: You see six of these. MARISHA: Fuck, that's cool.

LUIS: Six? SPENSER: In the garage.

LUIS: Great. SPENSER: Along with this note.

Left by--

MARISHA: Oh, it's (mumbles) to me.

LUIS: Yeah. MARISHA: Fine, I'll take it.

"Duncan, I hope these are up to your liking.

"The team here has worked incredibly hard at preparing these

"with the latest technology we have at our disposal.

"We hope when the time comes,

"you and the rest of the owlers will consider us friends.

"I will be coming by with my crew tomorrow

"to pick up payment.

"I look forward to seeing you then.

"Best regard,

"Violet Boucher."

TRAVIS: What?

MARISHA: Looks like Violet and EONS

have been working with the owlers.

BRENNAN: So the broad on the train had the Johnny,

she made these blimp cycles?

ZEHRA: EONS developed it.

She, of course, put her name on it

as the principal engineer, but yes.

BRENNAN: Did you make make them?

ZEHRA: I did not make them, no,

but I did have awareness that

some sort of transportation device

was being developed at EONS.

SPENSER: As you say that, you hear the bawk of a chicken.

LUIS: Huh. MARISHA: Ah, that's--

SPENSER: In the back basket

of these owler aircycles--

MARISHA: Wait.

SPENSER:-- are chickens. MARISHA: The chickens?

Are they the same chickens?

ZEHRA: The magic chickens

with the glowing waddles? MARISHA: The magic chickens?

SPENSER: When you go to inspect it,

you see the waddles are glowing.

LUIS: What? ZEHRA: Chickens.

MARISHA: All right, you guys. (cocks gun)

BRENNAN: I'll tell you what, you guys save

a lot of money on gas. LUIS: (laughs)

MARISHA: Yeah. (laughs) ZEHRA: What?

BRENNAN: Corn is way cheaper than diesel, so there you go.

SPENSER: They're not powering this.

You don't see that they're powering it.

They are just located

in the back baskets. (laughter)

BRENNAN: Oh no, I insist. ZEHRA: Are they Care Bear

staring their waddle

into the air well? SPENSER: No, they're sitting

in the back of the baskets.

LUIS: That's awesome. SPENSER: There's a couple of them

in the baskets

on the back of these cycles.

ZEHRA: How adorable. LUIS: What are these for?

TRAVIS: Eggs are energy. MARISHA: What are the-- (laughs)

BRENNAN: I'm going to go over and hit one and be like:

Oh, this one's got a bantam. All right, not bad.

TRAVIS: (laughs) MARISHA: Yeah.

SPENSER: As you all are--

MARISHA: (laughs)

LUIS: Amazing. SPENSER: Look, the chickens?

You made them, we're going to use them, baby.

BRENNAN: (laughs) MARISHA: Shit.

BRENNAN: It's what we call "Yes, and," folks.

MARISHA: Yeah. (laughs) LUIS: Yep, yep, yep.

MARISHA: That's a call back. TRAVIS: Oh my god.

LUIS: That's a call back.

SPENSER: As as you all are inspecting the center,

like, the chickens?

You hear a knocking. BRENNAN: This is going to be

what breaks me. This is what breaks me.

TRAVIS: Yeah, yeah, yeah. This one.

SPENSER: You hear a knocking-- BRENNAN: This is what breaks me.

SPENSER:-- on the front door.

LUIS: Okay.

Who's going to answer that? MARISHA: No one.

No one should answer that, all right?

SPENSER: You hear, "Duncan?"

ZEHRA: (gasps)

Is it a female voice?

SPENSER: It is a female voice.

MARISHA: Does it sound like Violet? ZEHRA: Didn't Dr. Boucher

say she'd be here to pick up payment?

MARISHA: (frustrated groan)

"I'll be coming back with my crew tomorrow."

ZEHRA: Oh. LUIS: With my crew?

MARISHA: I think we should go.

TRAVIS: Yeah.

BRENNAN: Our response is six aircycles

busting out the back door? MARISHA: (laughs)

TRAVIS: Like fucking E.T., let's go.

ZEHRA: Maybe I should go try to talk to Dr. Boucher

to try to maybe distract her.

MARISHA: Last time we saw her, she tried to murder you.

BRENNAN: How about this. You go say hello.

Open the door, invite her in,

jump on an aircycle, and then the lit stick of TNT

that I have under the side table goes off.

ZEHRA: You managed to carry your TNT through your ordeal?

I'm very impressed.

BRENNAN: Where I keep my TNT. TRAVIS: Yeah, there it is.

BRENNAN: It's a very provocative thigh holster.

LUIS: Oh no! ZEHRA: (laughs)

LUIS: That's enough. SPENSER and ZEHRA: (laugh)

MARISHA: (sighs)

ZEHRA: I guess-- MARISHA: It's your call.

ZEHRA: She would be shocked to see me here,

I can only imagine, if it is, in fact, Violet.

MARISHA: Is there anything we need to get out of her?

ZEHRA: (sighs) MARISHA: What do we need her for?

BRENNAN: (Farrah) "Why the fuck are we waiting around?

"We got cycles."

SPENSER: You see Farrah-- LUIS: I jump on a cycle.

(laughs)

BRENNAN: Let's do it. LUIS: Let's go.

ZEHRA: She could have something we might need later.

I try to think back to the Adjuvant.

SPENSER: Mm-hmm.

ZEHRA: The EONS-developed concoction that I used

to keep Duncan Kingsley alive

for all of 45 minutes. TRAVIS: Right. Yeah, of course.

MARISHA: Well, you know what? ZEHRA: But it might possibly

have gone to the doctors. TRAVIS: Go talk to her.

MARISHA: There are six cycles.

Why don't we invite her to come for a ride?

ZEHRA: We could invite her.

SPENSER: Farrah's like, "And what about me?"

TRAVIS: (laughs) ZEHRA: Oh!

TRAVIS: Sorry, Farrah. (gun cocking)

Nah, I'm just kidding. (laughter)

MARISHA: I'll ride side saddle with one of the boys.

You can have your own.

SPENSER: "Fair."

BRENNAN: Do you want me to--

How about this?

Talk to her through the crack of the door

and if it goes south, I'll be on the other side of the door

and I'll hit her over the head

with a fucking frying pan.

ZEHRA: That works for me.

BRENNAN: All right. Let me go to the kitchen.

ZEHRA: I take a chicken just in case.

It could provide a distraction.

SPENSER: Uh-huh. TRAVIS: You take a chicken.

ZEHRA: (chicken bawk) LUIS and MARISHA: (laugh)

BRENNAN: Yeah, I'll go to the pantry and get a frying pan.

SPENSER: Yeah, sounds good.

TRAVIS: I'll get a stick butter. ZEHRA: Make some eggs.

TRAVIS: Yeah. (laughs)

SPENSER: So you go fry the egg, make an omelet.

BRENNAN: Over easy, over easy. MARISHA: Can't make an omelet--

LUIS: Are you calling me easy? (laughter)

BRENNAN: Hey, what I heard about your guard duty

back in the day, yeah.

(laughter) LUIS: Oh.

BRENNAN: All right. Let's do it.

ZEHRA: Let's do it.

I used to work for her.

I can do this.

TRAVIS: If she's not alone-- MARISHA: You got this.

TRAVIS:-- make it a short conversation.

MARISHA: Mm-hmm. ZEHRA: Noted.

SPENSER: "Duncan!" You hear another knock on the door.

ZEHRA: (sighs)

I walk over to the door.

Is there any sort of window or eyehole

I can look out the door and see what I'm working with?

SPENSER: As you approach the door,

you see there's a small peephole in the center there.

The door gets (heavy knocks) slammed on again.

TRAVIS: Jesus.

BRENNAN: I'll look at you and say:

The key word, you and me,

for me to go, just say, "Fascinating."

Sounds like something you would say.

ZEHRA: Indeed. TRAVIS: As they're conspiring--

SPENSER: Uh-huh. TRAVIS:-- can I move

to the garage door?

SPENSER: Yeah. TRAVIS: Is there any sort of

side paneling, window, hole, crack or anything

where if this does go sideways,

at least I know some of our compadres will be moving

from one flank and I could throw open

the garage door and make--

SPENSER: Yeah, so there's a window

that's letting in the light.

It's up at about eye height for you.

It's horizontal,

but it's just enough. TRAVIS: Could I see the shape of the door

or the steps at all to see if she's alone?

SPENSER: Yeah. So what you see as you peek out,

and what you see as you look through the door,

is you see Violet, and then you see a band

of five other EONS members behind her

and one of them you recognize.

Tell me about Stephen.

ZEHRA: Stephen, Dr. Stephen Kabach,

a dear friend of mine at my time at EONS.

We would often take lunch together.

Kind eyes, deep brown, messy hair.

Always prattling on about his experiments,

many of them involving vessels.

I am taken aback that he is here.

He doesn't seem threatening to me.

He's always been a friend.

SPENSER: You see this same man

has a gun behind his back. ZEHRA: (gasps)

TRAVIS: Piece of shit.

ZEHRA: (suppressed laughs)

SPENSER: They're coming for Duncan,

to be clear.

Violet knocks on the door one more time.

MARISHA: While we're here--

LUIS: You're going to get the door? [pounding knocks]

ZEHRA: (startles) Yes, I am here. LUIS: Jesus.

I'm at the entryway.

I'm somewhere where I'm far enough away,

but I have eyes on her.

SPENSER: Okay. MARISHA: It's my favorite new toy.

(laughs)

ZEHRA: Are the other members who,

toward the garage area other than Sean and Marion?

So, okay. There is a path for them to escape

should violence enter this room?

SPENSER: Yeah, it appears as though there are

cars on the street.

These are new,

automobiles are fairly new here,

but EONS has a number of them

and they are out on the street.

There are some people still in those automobiles

and there are people that are at the door.

ZEHRA: Oh.

SPENSER: Just want to be clear

about what you're seeing here before you.

LUIS: Is it possible that Duncan stole these from them

and they're coming back to reclaim them?

Maybe not, I don't know.

The note suggested something different. Okay.

ZEHRA: Why would she be bringing so many folks here

to collect payment?

Unless it's a euphemism,

which could be very possible with Dr. Boucher.

BRENNAN: Hey, if there's a small army out there,

we could also just run.

LUIS: There's a small army out there.

ZEHRA: But what about the Adjuvant?

There's no guarantee she'd be carrying it with her.

LUIS: I think the risk is really big.

SPENSER: You also know when EONS comes to collect payment

they don't fuck around.

So this is not something that is

unnatural for some, especially with owlers.

You know owlers. Owlers are--

ZEHRA: Ruthless.

SPENSER: Yeah, they'll try and cut corners where they can.

They'll get the fuck out when they can.

So she probably thinks he's cut and run.

ZEHRA: I propose-- There's two options here.

I open the door, she's not expecting to see me,

though I'm certainly not her favorite person.

[pounding knocks] LUIS: Oh.

ZEHRA: Or! Plan B:

We could create a distraction with chickens.

Maybe release the chickens

that are on the back of the bikes.

Have them running out of here.

Amidst the chaos, we make a break for it.

TRAVIS: Are the chickens not fueling the bike somehow?

ZEHRA: I don't believe they are.

SPENSER: They're not fuel for the bike.

They're just sitting in the baskets at the back of the bike.

TRAVIS: This is so strange. LUIS: They were meant to be delivered.

BRENNAN: That's what they want you to think.

TRAVIS: Yeah, yeah. MARISHA: (laughs)

BRENNAN: All right. I think we got to run. Let's go.

ZEHRA: All right. BRENNAN: Let's do it.

ZEHRA: Create a distraction?

BRENNAN: Yeah. ZEHRA: Or just run?

BRENNAN: I'll be sad to see those chickens go, but let's do it.

MARISHA: (laughs)

ZEHRA: Gather as many of the chickens

from the back of the bike I can.

Is there any way to open the window

and pop them out of there and kind of--

SPENSER: Not through the window.

The only way to open it would be

through the garage door opening.

That would be--

LUIS: Let's just run and dump the chickens.

SPENSER: Are you opening the garage door?

Is that what's happening?

TRAVIS: I would probably invite them--

The door's not locked, right?

We're not that smart.

We'd invite them in and open the door

at the same, garage door, at the same time.

LUIS: Yes.

TRAVIS: Better have them go this way-- ZEHRA: All right.

TRAVIS:-- while we're going that way.

LUIS: Right. ZEHRA: Oh.

LUIS: Dump the chickens here, invite them in, we go.

ZEHRA: All right.

Drop the chickens at the garage door entrance.

SPENSER: Okay.

ZEHRA: I go back to the front door, ready to open it.

TRAVIS: Oh, Doctor, you should come back towards the garage

and really sell it, though.

Like really say you are upstairs.

Let then make themselves comf--

You know, give it a whirl.

ZEHRA: I'm afraid I don't have your gift with speech,

Mr. Trapp, but I will try.

BRENNAN: Do we get the sense that they'll take the door?

SPENSER: They're getting ready to come through the front door.

BRENNAN: So that could be--

Maybe we don't need to let them in at all.

Maybe we just get on the aircycles,

let them take the door.

TRAVIS: That's very fair. MARISHA: 100%.

LUIS: I'm already on the cycle.

TRAVIS: I'm on as well.

MARISHA: Who's taking Auntie Bee?

BRENNAN: Auntie Bee, you can come with me.

MARISHA: All right. Jump on. LUIS: Two, three, four, five.

ZEHRA: I hop on a cycle myself. TRAVIS: Well, there's six aircycles

and there's six of us.

MARISHA: I don't want to-- I don't--

I stopped driving 10 years ago.

I don't like driving when it's dark.

TRAVIS: Floating bicycles, you just gave it up?

MARISHA: No, I'm good. (laughs)

LUIS: Then I'm going to tinker with the one.

I'm going to bust it because one of them is going to jump

on the one that we leave behind and they're going to chase us.

ZEHRA: I want to Survey or Focus.

I wanted to bring my attention.

My friend, Stephen, is here, Dr. Kabach,

and I am just wondering if there's any utility--

MARISHA: You mean Dr. Ka-bawk?

LUIS: (laughs)

ZEHRA: Ka-bawk bawk! MARISHA: (laughs)

ZEHRA: (gasps) He invented the chickens!

MARISHA: He's been a chicken the whole time!

BRENNAN: I'll look at you and say: You want me to grab him?

ZEHRA: Yes. BRENNAN: I'll grab him.

MARISHA: Who, the guy?

ZEHRA: Dr. Kabach. LUIS: We're going to grab him.

ZEHRA: Brown hair, kind, warm brown eyes, glasses.

BRENNAN: Yeah, let's do it. MARISHA: Yeah.

LUIS: Auntie Bee on my bike, then, I guess. TRAVIS: We're going to grab him

and escape on the flying bicycles? LUIS: He's going to put in the middle?

MARISHA: Throw him on a bike? BRENNAN: Yeah. We're going to

pop out of the garage.

I'm on a flying bike, I grab Kabach.

(chicken bawks) He's with the chickens on the back,

and then off we go.

TRAVIS: I mean, it sounds-- BRENNAN: I got a Glock, so--

TRAVIS:-- like a surety. BRENNAN: That's what we call

a Kabach-bawk-bawk-ba-Glock. MARISHA: Bawk-ba-Glock?

(laughter)

ZEHRA: Fascinating.

MARISHA: (laughs) SPENSER: (laughs)

SPENSER: As you say "Fascinating,"

boom! The door opens. (laughter)

BRENNAN: Get them! (ping!) (laughter)

SPENSER: The door opens and they start,

and Violet comes in with a gun, "Duncan!"

What do you all want to do?

LUIS: I think the garage door is going up.

ZEHRA: Flying. LUIS: I'm out!

SPENSER: The garage door opens.

You see members of EONS still in the automobiles outside.

The rest of them turn to see Violet is inside.

A couple of others are inside.

Stephen's right on the doorstep.

The the bikes (revving)

come to life with motor and electricity.

You see the blimp on top of them start to fill with air

as they rise up just a little bit higher

and then (bikes zoom) take off towards the street.

You're going for--

BRENNAN: Dr. Stephen. Yeah, I'm going for Dr. Kabach.

SPENSER: Love that. Okay, make a Control roll for me

to grab him on the way.

BRENNAN: I'm going to-- SPENSER: This is

high stakes, by the way.

They're all holding guns. ZEHRA: Oh! Oh!

BRENNAN: Yeah.

ZEHRA: Gilded? Save it?

BRENNAN: I am going to use my little dude here.

SPENSER: Okay, great. BRENNAN: I'll take a bleed.

SPENSER: Great.

Get an extra die.

MARISHA: Ho-yeah! BRENNAN: We'll go with the five.

BRENNAN: Go with five, great.

Take the drive and you ride up.

Tell me how up until grabbing him

it goes well.

BRENNAN: Oh. ZEHRA: (laughs)

BRENNAN: (laughs)

BRENNAN: I fucking get on this thing

and I look at everyone here and I say:

I really enjoy our work together.

(revs bike) I'm going to go out with a handgun and go:

Fuck you, EONS motherfuckers!

Bam, bam, bam, bam, bam!

And go and fire some shots,

get people to scatter.

I grab the doctor and go like:

You make house calls?

I'm going to throw him on the back of the bike.

SPENSER: We see the cycle zoom over and grab him.

The EONS folk scatter.

Bing, bing, bing! You hear shots fire by you as well.

As that happens, you feel him grab onto the back of you

and be like, "Where the fuck are we going?"

Then the cars just take off.

MARISHA: Technically, he's in between.

BRENNAN: Yeah! (laughs) MARISHA: Auntie Bee is between--

(laughter) MARISHA:-- the doc

and Sean. SPENSER: Yeah, that's true.

That's true. MARISHA: Can we say, Spense?

SPENSER: Yeah, sure.

MARISHA: After Sean gave a nice little ringa-ding-ding

with the frying pan, Auntie Bee went: Yeah.

And picked that up on the way out.

TRAVIS: The frying pan? (laughs) SPENSER: I love that.

MARISHA: The frying pan.

So I'm full on granny with a frying pan on an airbike.

SPENSER: Boom! TRAVIS: Ready to clobber him?

MARISHA: As he says,

"What the fuck are you doing?"

Granny goes (smack)!

SPENSER: (smack) He gets knocked out here as this happens.

But with that five-- TRAVIS: That's a nice pan.

SPENSER:-- you see the rest of EONS running,

scattering and running back to the cars.

BRENNAN: Cool. SPENSER: There are three cars positioned

and what looks the starting of a motorbike here

that is with them.

They're making a beeline for the cars.

You see Violet is shooting at you, sees you taking off,

and is confused about what is happening,

but then books it as well to the car.

The cars peel out as all five of the machines

are starting on their way down the street here,

moving at full speed.

You are being chased.

What do you want to do here?

ZEHRA: I want to quickly,

as we're speeding away from the scene,

I want to quickly survey the EONS group to see

if there's some possibility if Dr. Avery Choi is among them.

SPENSER: Yep, make a Survey or--

Yeah, make a Survey roll for me.

ZEHRA: Five. SPENSER: Five.

You search among them.

For a moment, you think you see Avery

staring at you underneath a pair of goggles,

but she pulls those up and puts them on her head.

The cars being, the automobiles at this point,

not having windshields or anything.

They would have to wear protective gear.

Pulling it up and scratching her eye up.

It is not her.

She is not with this group.

But, as it happens, you also

see Farrah holding the map

and she points to

the far side of the map

and shows you this is The Steel, basically,

this is where we are.

You all can see on your map of The Steel,

The Steel swoops down and then there's a little bridge

that goes across water and then there's an arrow.

So the water would be the water there

that you all would cross.

See the river right there?

ZEHRA: This here. SPENSER: That there.

So that would be the Stentorian River

that's right down there.

So you know that that's the path out to Westwreck.

What do you all want to do?

MARISHA: We're still being tailed.

SPENSER: You're being pursued by, yeah, there are three cars

and a motorbike, essentially, that are behind you.

TRAVIS: Is the motorbike staying

on the ground. SPENSER: On the ground.

TRAVIS: Okay. SPENSER: Correct.

LUIS: Amateurs. TRAVIS: Yeah.

MARISHA: Exactly.

Auntie Bee knows the city like the back of her hand.

As we've established,

she knows every nook, she knows every cranny,

and we're on air fucking bikes.

Can I shout out to the rest to follow us,

to follow Sean, as I guide Sean:

Hard left, right, straight.

I want us to cut across the river where I know,

cutting through open warehouses.

Like I said, fucking bust through a hotel lobby.

TRAVIS: Right. MARISHA: Go through the other side

and get us across the river using--

SPENSER: Yeah, you across the river

into Westwreck. MARISHA:-- our airbikes.

SPENSER: Yeah, I love that.

Go ahead and make a,

what kind of roll do you think this is?

It probably would be Survey?

MARISHA: Survey was what I was hoping

in my head. SPENSER: Is what I'm guessing.

So we're going to say this is a big roll here,

meaning that we're going to narrate a lot of things

coming off of this.

It's not going to be like a thousand rolls

to get across the river.

So this is the first leg of the challenge here.

MARISHA: All right, I'm going to make a--

I'm going to gild this.

I'll take the five.

SPENSER: Great, taking the five.

What does this look like as you guide?

What do we see, the description of the scene

as you see it, as you guide Sean?

MARISHA: (stammers)

Auntie Bee is-- This is a lot,

but she's trying to make sure

that her brain is keeping up with how quickly

that the surroundings are moving around her

and as she told, she shouted everybody to "Follow Sean,"

so I imagine she's holding onto Sean's back

and she has her hands and she's like--

BRENNAN: With Stephen in the middle.

(laughs) MARISHA: Yeah.

TRAVIS: Got your feet in the pegs.

MARISHA: She's literally trying to guide

a little bit with her hand, thinking in realtime

as she's trying to think reactionary

and shouting: Left, right.

SPENSER: We see tear through the streets,

go up and down an alleyway.

The car is trying to follow you here.

As you break out of the city

and see the river before all of you, the cars

and the motorbike are revving behind you.

With that five,

the motorbike catches up to you first.

Who is the farthest one back right now?

Who's the one that would be the farthest back?

ZEHRA: I think I would be.

SPENSER: You'd the farthest back. ZEHRA: Because I stayed back

to see if Avery-- SPENSER: Because you stayed back

to see if Avery was there. So we see the motorbike

pull up next to you.

As that happens,

you see a member of EONS.

They look at you.

ZEHRA: Do I know them?

SPENSER: You recognize them from the lab.

They're somebody that would've been doing security

amongst the people there.

You see them, for a minute,

hesitate, and that hesitation helps you here.

But before they can, you know,

before you have the chance to connect with them,

with that five, you see a pistol be pulled out

and pointed right at you side by side.

ZEHRA: (gasps) SPENSER: The rest of you see this.

Jean has fallen back just a touch,

and you see the motorbike has caught up.

Rudimentary as it is,

it is keeping pace with all of you

where the cars can't.

MARISHA: Try and cut across a park

or something where the bikes can't go.

SPENSER: Yeah. MARISHA: Anything we can do.

SPENSER: You see the moment that the gun is out, though.

So that is where we're at right now

is the gun is out pointed at you.

What do we want to do collectively?

You can do something

or if you want to rely on your team here.

Whatever you prefer.

ZEHRA: I'm just curious, how high

can the bikes go with these--

SPENSER: The hoverbikes? ZEHRA: Yeah.

SPENSER: So they're only about maybe a foot off the ground.

ZEHRA: Uh-huh.

SPENSER: That's the distance that they stay,

because they're just being supported with buoyancy.

LUIS: Just hovering. SPENSER: Yeah, they're just hovering.

ZEHRA: Is there a possibility

to go lower than the foot?

SPENSER: (contemplatively) Mm.

Yeah, yeah, that would make a Control roll for me.

You'd have to manually

let some of the air out of the--

I think you try and press it,

and you see it won't go higher.

TRAVIS: Dirigible above, yeah.

SPENSER: But the dirigible above you,

maybe you can press a lever.

You, having knowledge of-- ZEHRA: I'm wondering

if I could duck slightly,

and that would give me enough reaction time to maybe--

SPENSER: I love that. So that's going to be a Control roll.

This is going to be high stakes here.

ZEHRA: Okay. SPENSER: But yeah, you can.

We see a little switch,

and we see you try and flip that

in time as the pistol's being fired at you.

ZEHRA: I'm going to roll a Control,

and I'm going to burn a Nerve.

SPENSER: Okay.

ZEHRA: Since it is rather high stakes.

Six! SPENSER: That's a six!

BRENNAN: Hey! TRAVIS: Yes!

SPENSER: Amazing. (switch flicks)

We see you flick the switch

on the bike and press down.

As you do, the dirigible shrinks down a little bit.

You lower. (rough thudding)

You scrape the pavement

with the bottom of the airbike.

But they fire and, (whooshing),

it whizzes overhead of you.

Able to fill it back up, releasing the nozzle,

releasing the switch,

you pull forward ahead of them.

You all are approaching the river here.

To your left, you can see,

and you can even see on the map here,

there is a railroad bridge.

You are headed towards the river.

To your left is the railroad bridge.

You all can cross it because you're on hoverbikes.

LUIS: Yeah. SPENSER: But you see the cars

dip off and head towards the bridge.

You have a moment here to recollect

as you head towards the river

because they are not behind you.

What do you want to do?

LUIS: I mean, we got to keep going.

They're going to catch up to us on the other side.

SPENSER: Great. LUIS: They can't go

through those mines.

They don't know the path that we know.

SPENSER: They don't. LUIS: We don't even need a path.

We don't.

BRENNAN: Hey. MARISHA: Yeah.

BRENNAN: Born and bred in that briar patch. Should we?

Let's do it. TRAVIS: Let's do it.

SPENSER: Great. We see you continuing

towards the river here.

As you get close,

you see them.

They have successfully made it to the bridge,

but you all are still out

in the open here on the plains.

They're going to try and pull back in.

I'm going to have one of you roll Control

and the rest, anybody else can help.

This is going to be another roll to try

and keep things stable.

BRENNAN: I'm happy to roll Control.

SPENSER: Great. TRAVIS: Yeah.

BRENNAN: If that works for everybody.

Cool. MARISHA: Lead the pack.

SPENSER: Then anybody else can spend drive

if they'd like to, but they don't need to.

We will just say this

is a collective roll. TRAVIS: I'll give you a drive.

BRENNAN: Okay. SPENSER: Okay.

BRENNAN: Six on the gilded!

SPENSER: Six on the gilded. TRAVIS: Yeah!

SPENSER: Amazing.

So as you approach,

as all of you approach the river,

you feel the bikes,

dip down into the water for just a second,

but they come back up,

and you're able to hold them still,

hold them steady as the bikes (zooming)

cross the river.

You see them coming up

on the left side of the bridge,

but they're still pretty far off,

and you're racing towards

Westwreck here to try

and get to the mines, ostensibly.

As you come-- MARISHA: Spense.

SPENSER: Yeah. MARISHA: Can I ask a question?

SPENSER: Please ask anything.

MARISHA: Auntie Bee is in a weird

fucking headspace right now. SPENSER: Uh-huh.

ZEHRA: (laughs)

MARISHA: But also, there's this moment

where in all of this chaos,

there's also a certain quiet

as there is this white noise rushing by her ears.

She is also incredibly close to Sean

for the first time in a long time.

SPENSER: Right.

MARISHA: With her chest up against the back of him

as she's holding on.

Unconscious man behind her.

But she is holding on, you know,

around his neck-- SPENSER: Yeah, hugging him.

MARISHA:-- and his waist and hugging him.

She is absolutely fucking terrified

at the idea that we are heading

straight for Westwreck, where everyone

has trauma, and it has not been good

for days-- SPENSER: No, no.

MARISHA:-- with everyone's past experiences.

In her mind,

she knows we are heading

into the proverbial lion's den of

tragedy and horror.

Does she sense any type of,

I don't know,

any type of anything from Sean?

SPENSER: That's a Sean question.

MARISHA: As she's like--

We are in high stakes situation.

She's got her chest up against his,

her arm around his neck.

She's enough of a nurse. SPENSER: (laughs)

MARISHA: Does his skin feel clammy?

Does his pulse seem erratic?

Does his pulse seem calm,

which would almost be more alarming

if his heart rate-- SPENSER: Right.

MARISHA:-- is regular and not intense.

SPENSER: I love that.

So question here,

are you trying to hide how you feel?

BRENNAN: No. SPENSER: No.

Why don't you describe

for Auntie Bee what she feels?

BRENNAN: Exhilarating, rushing joy.

I am--

MARISHA: Pounding heart?

BRENNAN: Pounding heart, quite literally.

Even on a mechanical level in the game,

one of the reasons I pushed myself

with this to take a bleed

was because Tenacious

means when you have one or more bleed marks,

you gild an additional die.

In this past scene,

I've been building up my Nerve drive again.

This is the same thing as hitting the squid dogs

with the back of the rifle. SPENSER: Yep.

BRENNAN: It's the same thing as feeling like I feel--

LUIS: You're in the zone?

BRENNAN: I'm in the zone,

and this aircycle underneath me.

I hit the water on the aircycle,

and I call out, going like:

(unhinged excitement) This is unbelievable!

(revs bike)

How many kids from South Soffit got to say

they took a bike out on the river?

(revs bike) TRAVIS: (laughs)

BRENNAN: I think he's turned around and see tears

streaming from my eyes.

I'm like--

MARISHA: I was going to say, I think tears

are streaming from Auntie Bee's eyes,

but a different kind of tears.

SPENSER: Oh. MARISHA: She is going to,

she's not really saying much,

but she's going to take this moment

to squeeze him a little bit tighter,

which is probably the first time

that she's able to hug him and hold him

since before he was a soldier

and when he was still a young man

in South Soffit before the war.

She's going to take this opportunity

because she knows she might not get it ever again.

SPENSER: (heavy exhale)

We sit in that moment of silence.

Then you all feel--

Well,

those who are closest to the ground in this moment,

the airbikes going up and down,

feel [thud] on the bottom of the bike.

MARISHA: Jesus Christ.

BRENNAN: What? We lose the chickens?

[heavy thud]

SPENSER: You hear another bump.

LUIS: What's this? (stammering)

SPENSER: As you're nearing Westwreck,

you can see the ruins in front of you.

[heavy thump] SPENSER: Something underneath

you keeps hitting the bikes here.

TRAVIS: Oh no, no.

That was specifically not supposed to happen.

SPENSER: You see the cars swerving back

towards all of you, headed for you

to try and cut you off.

They're now gunning it

and trying to get in front of all of you

before you reach the ruins here.

But something from beneath,

it doesn't feel like explosions,

it feels like something's

bumping the bottom

of the bikes. LUIS: What?

SPENSER: What do you all want to do?

LUIS: As we're moving forward--

SPENSER: Yeah. LUIS:-- are we able

to visually see objects

that we would-- SPENSER: No.

No. LUIS: Okay.

BRENNAN: So we don't see shapes in--

Are we still on water or are we--

SPENSER: No, you've passed the river.

You're headed now towards Westwreck.

You're on the plains themselves. TRAVIS: The last stretch to it.

SPENSER: But you're hearing [heavy thud]

boom on the bottom of the bikes as you're going forward

as if something is underneath there.

ZEHRA: Are we still in the air

about a foot? SPENSER: Yes, correct.

From what you can see.

The ground is more sand-like here.

TRAVIS: I mean, can I-- I'll just do the obvious

and try and keep one hand on the controls,

and fucking lean over. SPENSER: (laughs)

Lean over and look? Great.

Make a Focus roll for me.

MARISHA: Fucking what Dune-level shit-- LUIS: I'm going to do another obvious thing.

MARISHA:-- is this about to fucking be?

LUIS: The other obvious thing,

which is what I'm going to do-- TRAVIS: Spend a drive.

LUIS:-- is I'm going to peel off and create some distance

so I can see what's bumping them

from maybe 10 feet away. SPENSER: Uh-huh. Uh-huh.

That sounds good.

If you want to spend something to help,

I don't know if you have anything.

LUIS: Yeah, what is it?

Is it a-- TRAVIS: It's a Focus.

LUIS: Focus? SPENSER: That'd be Intuition.

LUIS: Intuition? Sure,

I'll give you a-- SPENSER: Okay.

LUIS: Yeah, I'll give you a drive.

TRAVIS: Awesome. SPENSER: Great.

TRAVIS: Fives. SPENSER: It's a five, okay.

So what both of you see

is underneath the

sediment here,

keeping pace with you

is something rising and bumping.

LUIS: Okay.

SPENSER: As it peeks through,

you see that it has a very light purple

shade of color that keeps peeking through.

Then it'll dip down and disappear. TRAVIS: Jesus fucking

I'm on a T. Rex Christ.

MARISHA: 100% (laughs) TRAVIS: (laughs)

SPENSER: That's what you see.

MARISHA: 100%.

ZEHRA: Here's Johnny. SPENSER: (laughs)

BRENNAN: Yeah.

SPENSER: With that five-- TRAVIS: Mama!

MARISHA: Yeah. (laughter)

SPENSER: With that five,

I'm going to have you take a brain mark

because you're seeing this thing

literally underneath you

bumping your bike.

TRAVIS: (groans) (laughter)

LUIS: It's just-- SPENSER: The stress.

It's something large beneath the ground

that is bumping up underneath Nathaniel's bike,

but also underneath some of the others, too--

ZEHRA: At all of our bikes. SPENSER:-- as you're looking

at them. LUIS: So we already have a sense

of the size of it? TRAVIS: Oof.

SPENSER: Correct. LUIS: Okay, okay.

BRENNAN: Sandworm, it's fucking Shai-Hulud.

LUIS: Yeah. BRENNAN: Yeah.

MARISHA: Yeah. SPENSER: Fucking

Eldritch horror sandworms, baby.

BRENNAN: Oh, I love it. MARISHA: (laughs)

TRAVIS: (laughs)

BRENNAN: I'll look at Auntie Bee and say:

Hey, you got Johnny on you?

MARISHA: Yeah.

BRENNAN: Can I see him?

MARISHA: Sure, you think she wants this kid back?

BRENNAN: Yeah.

MARISHA: Okay, okay, I mean

we can relate to it. BRENNAN: Huck it.

MARISHA: Yeah! BRENNAN: (whooshing)

Off, I straight up take this

and fucking throw it as far as I can.

TRAVIS: Towards the cars? SPENSER: Make a Sway roll for me.

LUIS: Yeah. BRENNAN: Okay.

MARISHA: Towards the cars. Towards the cars.

SPENSER: Oh, towards the cars!

Oh, it's so good.

The cars are swerving up ahead,

so you have to throw it in front of you.

BRENNAN: Wait, this is a Sway roll?

Can someone throw more persuasively than me?

(laughter)

SPENSER: I can give you something else, Control.

BRENNAN: Control. Okay, okay. SPENSER: Yeah, Control would work, too.

BRENNAN: I'll do Control. SPENSER: You're right.

I was trying to say,

you're trying to convince them to do a thing,

but you're trying to--

MARISHA: Can I aid him in this?

SPENSER: Sure. MARISHA: Since I am there with him.

I support this.

I'm going to pop open the containment--

SPENSER: Uh-huh. MARISHA: Or just,

I'm not going to pop it open.

SPENSER: Just crack it a little it? MARISHA: Loosen the cap, yeah.

Loosen the cap.

I'm going to say:

Every mother wants to be reunited with their kid.

ZEHRA: Aw! TRAVIS: Oh, yeah, yeah,

yeah, yeah, yeah, yeah.

BRENNAN: Good luck, little buddy.

(laughter)

BRENNAN: All right. MARISHA: It's a theme!

SPENSER and TRAVIS: (laugh)

BRENNAN: Here we go.

Okay, trying to think.

Okay, and you're giving me--

MARISHA: I'm going to aid. Can I--

He was asking about a Sway.

Can I aid with a Sway in that with drive?

SPENSER: So he's going to roll Control,

but because you're aiding here,

because we called for Sway before,

I will allow you to spend a Cunning to help here.

MARISHA: All right. SPENSER: Normally,

that's not rules as written,

but because of the situation,

I will rule it that you totally can do that.

MARISHA: Okay. He's got the--

BRENNAN: Six on the gilded! SPENSER: That's a six on the gilded.

So you take that back, take back that drive.

MARISHA: Oh, that's right. When it-- That's right.

SPENSER: But only on the gilded,

not on yours. MARISHA: Only the gilded.

SPENSER: Not on yours, only on his. MARISHA: Not on mine.

SPENSER: Sorry. MARISHA: Oh, I'm thinking

of the other fucking ability

from the other group. SPENSER: Uh-huh. Yeah, yeah, yeah.

LUIS: (laughs)

SPENSER: But you do still have two gilded dice

in the center of the table-- MARISHA: It's if they fail.

But yeah. SPENSER:-- as a reminder.

Yeah, you chuck this thing towards the cars.

They're trying to beeline in to cut you off.

The motorbike is first up ahead.

With that six,

(whooshing) the tube goes flying.

As that happens, you see

breaching out from underneath the sand--

TRAVIS: (nervous laughter)

SPENSER:-- a massive version of that creature.

LUIS: Wow.

SPENSER: (whooshing)

It reaches up and grabs the vial with,

grabs the thing with its mouth.

Then, boom! Crashes back down

into the sand here.

As it happens, the person on the motorbike

launches off of them-- MARISHA and ZEHRA: (laugh)

SPENSER:-- and flies into the air.

They're headed towards all of you,

but they're up in the air.

You see them flying over the top

of both of you. MARISHA: Wilhelm scream. Yow!

SPENSER: But then you feel the bump,

bump [heavy thud] underneath you

of more of these creatures

that are here. ZEHRA: Oh!

LUIS: No.

SPENSER: What do you all want to do?

LUIS: There's more? Oh god.

BRENNAN: Want to pass this around to him? MARISHA: But we gave them back Johnny!

SPENSER: Yep, yep, yep.

You guys are headed towards Westwreck.

I'm making a--

ZEHRA: We think--

SPENSER: I'm making a countdown die

that basically means that you

will have cleared this area. TRAVIS: Oh, jeez, oh god.

SPENSER: I'm setting it to five, so.

MARISHA: How close to some of these mines?

SPENSER: You can see Westwreck in front of you.

TRAVIS: Yeah. SPENSER: It's probably another,

you know, couple hundred yards

to Westwreck-- LUIS: Oh god.

SPENSER:-- to where the mines actually are.

But they're trying to intercept where you're--

They're trying to get between you and the mines.

We see them pulling the cars,

or running those perpendicular to you.

Then the one that's in front

pulls a lever and skids,

and now it's facing you driving backwards.

ZEHRA: Oh. TRAVIS: Jesus.

SPENSER: The other ones are short on their tail as well,

but they're trying to keep level with you.

You see that two of them rise up

and are pointing guns.

You feel boom underneath

you again, boom-- [heavy thud]

SPENSER:-- underneath you again

as these things are underneath you.

What do you want to do?

ZEHRA: All these things that all these,

all that these androphages want to do

is burrow and eat organs.

Can we direct them to a source to feed upon

that's not us?

TRAVIS: Oh, like livestock

in the fields or something like that?

ZEHRA: Yes, could we look and see if there's anything

living nearby other than

eat other people? SPENSER: You hear a cluck

in the back of the bike. MARISHA: (laughs)

BRENNAN: On principle, no.

(laughter)

BRENNAN: No.

I'd rather it be me

than Gertie and Matilda, I refuse.

SPENSER: There's a reason.

LUIS: This is where you draw the line?

MARISHA: This is, yeah. LUIS: This is the line for you?

BRENNAN: You got to draw it somewhere, Marion!

You got to draw it somewhere!

LUIS: This?!

SPENSER: There is a reason there are chickens

in the back. LUIS: Not the chickens.

BRENNAN: There is a reason there's chickens

in the back. SPENSER: Of all these bikes.

LUIS: This is maybe the reason.

TRAVIS: Oh my god. MARISHA: (laughs)

ZEHRA: I'm glad we didn't use all of them

for distraction earlier.

MARISHA: Self-proclaimed murderer-- SPENSER: There are a couple.

MARISHA:-- and monster, but he's a vegan!

(laughter)

BRENNAN: I mean, I'll eat chicken. SPENSER: Welcome to Los Angeles,

right, I mean, right? BRENNAN: Chickens are in.

I named them.

SPENSER: All these people are goddamn monsters,

but they're vegans. TRAVIS: We have life plans

for all these chickens. SPENSER: So must be okay.

(laughter)

MARISHA: Oh my god.

TRAVIS: Oh shit.

LUIS: Okay.

ZEHRA: We also have Dr. Kabach.

Is he still knocked out?

SPENSER: He's still knocked out.

At this point, he's just back there doing this thing.

BRENNAN: Right, we'll start with chickens

and then move to Kabach.

TRAVIS: Yeah.

Who's doing it first? LUIS: Dang.

SPENSER: Who's dropping them?

LUIS: All of, I mean, if I got a chicken,

I'll drop this chicken. SPENSER: Got one in the back.

LUIS: Yeah, badink, bye, chicken.

TRAVIS: You just drop it, you throw it

in front of you. BRENNAN: What lever did you use?

What's the button that does that?

SPENSER: I love that, I love there's a lever

that drops the bottom of the basket,

and it comes falling out. LUIS: I mean, in my mind,

I was just kicking the whole basket out.

SPENSER: I love that it's programmed

into the fucking mechanic.

We see you press the lever. TRAVIS: They spent time.

SPENSER: Yeah.

TRAVIS: Blueprint it. SPENSER: We see you press the lever.

We see the gear turn in a very,

what's that from the Sherlock films,

where it's like it's close in on each--

ZEHRA: Those machines?

TRAVIS: Jules Verne's--

ZEHRA and SPENSER: Rube Goldberg machine.

We see it click over--

BRENNAN: Whenever, like EONS' convention, the Javits Center,

and some guy's like,

"This machine was a mental ray gun

"that will mind control at a time."

The next guy's like,

"I've invented a basket that drops chickens off

"the back of a flying bicycle."

TRAVIS: Yeah. MARISHA: I'm also imagining

"Fast and the Furious,"

where they always hit the nitro

when it comes into

the carburetor. SPENSER: (swishing)

LUIS: Oh yeah.

MARISHA: At the end of the track,

the chicken just goes-- TRAVIS: (clucks)

(laughter) LUIS: Yep, yep, yep.

SPENSER: So good, we see the flipped switch,

the gears turn,

the lever's pulled, and then--

LUIS: It's such a complex device

for all of that. MARISHA: Chicken dispenser.

SPENSER: The basket drops,

and you see a chicken go flying out behind you.

As it does, it tumbles,

and one of it. (clucks)

Then you see, vroom.

BRENNAN: You can't put the visual in my mind--

(laughter)

BRENNAN:-- of a glowing chicken!

(lip-trills) (laughter)

TRAVIS: But it only glows when the head's going over.

BRENNAN: It's like, (rave music)

little rave like chicken-- (laughter)

SPENSER: You see the--

BRENNAN:-- strobing down the highway.

SPENSER: You see the giant androphage leap up,

swallow the chicken as it dives back down.

You watch as, for just a moment, it disappears,

and then [heavy thud]

underneath, it explodes.

ZEHRA: Oh. MARISHA: We need more chicken.

BRENNAN: Chickens are bombs. LUIS: Oh!

These are bombs.

MARISHA: Oh my god. BRENNAN: Fuck!

SPENSER: As that happens-- BRENNAN: You guys think of everything!

SPENSER: As that happens, the two other cars

make their way to be in front of you.

They switch gears and start driving towards you.

You have androphages chasing you

with chickens being dropped behind you,

as these things keep leaping into the air.

You have three cars flying towards you.

The person on the motorbike's nowhere to be found

but these three cars are driving towards you

as you drive towards Westwreck.

What do you want to do?

LUIS: Pull out a rocket launcher.

(laughter)

SPENSER: Not possible.

LUIS: Oh god.

MARISHA: We knew we needed that moment, you guys, the chickens.

SPENSER: Yep. Yep. TRAVIS: We really did.

SPENSER: Hey, we had a hell of a first half.

MARISHA: Yeah. SPENSER: We got to have a little fun.

BRENNAN: I was like, you know, I don't think

I've ever had this observation before.

Our world's not very fun. Is it? MARISHA: Yeah.

BRENNAN: You know, it's kind of grim and horrifying.

This is the most joy I've ever experienced.

These chicken bombs aren't-- LUIS: I would be normally having fun

if our lives weren't so on the line right now.

But yes, I'm glad you're having a good time, Sean!

BRENNAN: Is there a button that only does one chicken,

because I feel like mine's double barrel?

I don't want to lose both of them.

LUIS: Press all the buttons.

BRENNAN: All right.

SPENSER: The baskets are split and it has, yeah, yeah.

You can just do-- it's double trigger.

ZEHRA: There's eggs that come out of the exhaust pipe

one at a time--

BRENNAN: What are you saying, eggs are grenades?

What's going on here?

All right. Yeah.

SPENSER: Yeah, these three cars driving towards you,

you're going towards them,

as you're headed towards Westwreck here.

What do you want to do?

BRENNAN: I'll take a shot at a tire of the car in the lead

to try to like-- SPENSER: Oh, I love--

BRENNAN:-- spin out a car that's in front of the other cars.

SPENSER: Great, make a Control roll for me

as that happens.

BRENNAN: Okay. Let's see here. Da, da, dum.

TRAVIS: What time of day is it?

SPENSER: It's now the morning.

TRAVIS: Okay. SPENSER: Yeah.

It's now full-on morning.

Dawn hit when you all were at Duncan's.

BRENNAN: Another six on a gilded die.

MARISHA: Hell yes! SPENSER: Ooh baby, that's a six.

You hit the tire. The car that's in front goes sideways.

The rubber starts to peel off the car,

twists and turns in the sand kicking up dirt.

The other two cars are headed towards you

but that car kicks up

and stops spinning on its end.

This is not the one with Violet in it,

but you see a bunch of people

being thrown from the car here.

What would you like to do?

LUIS: Question. SPENSER: Yeah.

LUIS: These are EONS' vehicles, right?

SPENSER: These are, correct.

LUIS: And we understand that they're the ones

that are synthesizing magick with technology--

SPENSER: Correct. LUIS:-- so I am going to,

I'm assuming then that there's some sort

of magickal component to these cars.

Some kind of other perhaps engine,

I'm not sure, but I'd like to Sense to see

if I can locate that part of the vehicle.

SPENSER: Yeah, sounds good, make a Sense roll.

LUIS: Look, I can't do anything physical anymore

because of all the scars I took

and all I can do is Sense shit now.

SPENSER: Makes sense.

LUIS: Can't fight, can't fight nothing anymore.

Five. SPENSER: That's a five.

LUIS: On the gilded. SPENSER: On the gilded.

Love that, you can tell that the engines

are being powered by something magickal here.

They are electric combined with some sort of magick here.

On that five, as that happens, you see--

What's up? You okay?

LUIS: Fuck.

No, I'll have to wait to do this next time.

SPENSER: Okay, as you see,

the two cars that were headed towards you,

they got lost in the dust storm

from the other car flipping.

So they are gone to you for a moment

as you look around and see that there's just debris.

You've lost them.

You're driving towards the cloud of sediment

that has been kicked up.

For the moment, you are not sure where they are.

You can hear engines around you, your adrenaline's racing.

But for right now, those cars have disappeared in that dust.

LUIS: Okay. SPENSER: What do y'all want to do?

TRAVIS: Cars are out of sight?

SPENSER: Yeah, there's a massive dust storm

that is kicked up and the cars were lost in that.

It seems like they should have emerged,

but something isn't right. LUIS: I don't like that dust storm.

I'm going to try to go around it.

SPENSER: Yeah, as you--

LUIS: If there's a way to, it's like little--

SPENSER: So as you go around, you see the cars have,

you see the car on the right has pulled much farther right.

As you curve around the edge of the dust storm

you find yourself now

headed straight for the car. LUIS: Okay.

SPENSER: You and the car are about to collide.

LUIS: Okay, so now this is what I want to do.

SPENSER: Yeah.

LUIS: Since I know that there's magickal energy

inside of that engine

and I have reached into that magickal space

and interacted with that before,

I'm going to clear my mind for a second.

I'm going to reach into that magickal component of the engine.

I'm going to rip it to shreds.

SPENSER: Ooh, of the car?

LUIS: Yes. SPENSER: I love that.

Go ahead and make a Sense roll for me to do that.

What I will say is this is high stakes.

A failure here will result in taking some serious marks.

What I will also say is that no matter what,

reaching out to do this will cause you

at least a bleed mark.

LUIS: That's fine. SPENSER: Even on a success.

Even on a full or critical success.

BRENNAN: You have three scars.

LUIS: I have three scars, but I don't have any bleed marks.

BRENNAN: Oh, good.

TRAVIS: He said a bunch of--

MARISHA: (laughs) LUIS: I just had a rest!

TRAVIS: Just so you know,

he said a bunch of marks if you fail. BRENNAN: You're at the threshold of death,

not leaning in through it.

LUIS: I only got one body mark.

ZEHRA: Is it worth a gilded, if it's high stakes?

TRAVIS: I mean, yeah, he said if you fail, it's a bunch of marks,

not a bunch of--

LUIS: Take a gilded die, yeah.

Oh right, right, right. Whoa.

Okay. All right, I got one, two, three, four, five.

I will burn two drives.

SPENSER: Okay. ZEHRA: Oh!

LUIS: Yeah?

Oh? Huh? Oh.

TRAVIS: That was an exhale.

ZEHRA: Concerned. LUIS: Oh! Ha!

Come on, work, work, work. TRAVIS: Nervous exhale.

MARISHA: Oh!

LUIS: One, two, three, four, five, six.

TRAVIS: You roll your dice, you takes your chances.

LUIS: I got a five.

SPENSER: A five. Okay.

LUIS: Damn. MARISHA: Wow, with all those dice.

LUIS: That's crazy, two, three, four, five,

six. ZEHRA: You have resistance?

MARISHA: ♪ The dice want to tell a story. ♪

LUIS: I have a resistance.

BRENNAN: I would--

MARISHA: Need a six.

BRENNAN: Getting a six here is going to save you

from getting a lot of marks.

LUIS: I know, I know.

Yeah, I'm going to burn that.

But I can only reroll my original.

SPENSER: You can only reroll your original.

LUIS: Okay, so I will use the--

SPENSER: But the other thing I will note,

is that if you use the resistance,

you have to take the new result.

LUIS: Oh, I can't keep that five? SPENSER: You cannot not save the old result.

You have to take the new result, if you--

LUIS: So now--

BRENNAN: Is that five on one of your original dice

or is it on one of the gifted ones?

LUIS: I mean, it's not on one of the gifted--

I mean, I don't know.

It's not a gilded one, it's not--

SPENSER: It's not a gilded one? LUIS: It's not on that gilded one.

Damn, that's a big risk,

it's a lot. SPENSER: It is a big risk.

MARISHA: Can I be a shitty meta above the table

and say I don't trust him.

SPENSER: (laughs)

MARISHA: And he might be trying to make you

spend a resistance right now. LUIS: (laughs)

ZEHRA: Or incapacitate you so he can crawl inside your body.

MARISHA: Save it for later. TRAVIS: That just sounds like

a concerned friend.

BRENNAN: I think we should all be using our resources

as I build my Nerve drive back up.

TRAVIS and MARISHA: (laugh)

LUIS: I can't.

That's too much of a risk. SPENSER: That's too risky.

LUIS: Because I'm only rolling three.

SPENSER: Okay.

LUIS: So I'm going to stay with the five.

SPENSER: Great. MARISHA: (laughs)

SPENSER: You reach in and and do what you're looking for.

LUIS: Yes.

SPENSER: Describe for me what it's like to do this.

LUIS: So here's the thing, is for a while now,

since we have arrived at where Duncan was

I have been wrestling with how physically inept I've become

over our last, I don't know, the last couple weeks

since the last couple sessions, assignments.

Marion's not used to, he's been working with Sean.

Sean helped him become more physically adept

since they were kids.

He taught me how to pitch.

So I'm doing the only thing I--

This fucking sucks.

I'm seeing everybody else do something.

I'm reaching into that shit with the only thing

that I have left to do, that I can do.

I am pulling that part of the engine apart

and basically shredding the entire vehicle

with whatever magickal energy that's in it.

Just having it spread from one direction

out to another, hopefully destroying it.

SPENSER: So, here's what happens.

LUIS: And it's exhilarating.

SPENSER: You reach in.

You feel yourself connecting with this magick.

You watch as the car in front of you stalls.

The engine (whoosh) blows apart underneath it.

The car stops.

You continue forward.

You feel yourself collide with the car,

moving at speed here behind you, you feel still.

LUIS: Wow.

SPENSER: As you fly through the air,

land face down in the dirt here

take a body, a brain.

LUIS: A body, a brain.

(groans)

SPENSER: You land face first.

The dirt around you makes you lose your bearings here

as you hear the sound of engines.

You all watch as Marion goes flying off of their bike.

The other car emerges from the dust storm,

the one carrying Violet.

She has a gun and she's making a circle around

to try and get to all of you.

Marion's laying on the ground

next to a car that has stalled out,

where the rest of them are all piling

out of the car that has stopped

to try and figure out what to do next, where to go.

They're headed towards Marion.

What do you want to do?

ZEHRA: I see Marion down and I instantly,

in a heartbeat, race down there

to where he is, land and get out.

I am already reaching into my medical kit

to see if I can help patch up his body and EONS be damned.

I will face them, if I need to.

SPENSER: You feel yourself, you feel your adrenaline pulsing

as you run towards Marion,

your bike, your aircycle sitting alone now.

You see one of the EONS members go and grab--

LUIS: No! SPENSER:-- the aircycle,

as you do this, but you are by his side.

You feel hands come and grab you on your shoulders

but you knock them off here.

Suddenly they are scared of something you see boom

and an eruption of another one of these androphages

from the dirt they scatter,

leaving you to be for just a moment.

You have the chance to administer some sort of help here.

What are you doing?

ZEHRA: I'm going to patch him up. SPENSER: Okay.

ZEHRA: I'm going to make a Focus roll to heal an ally,

one body mark.

My Focus roll is gilded and I'm also--

Oh, I can't burn Intuition to do it

because I need it for the Patch Up!

TRAVIS: You could also just grab him.

LUIS: We got to get out of here. You fix me up later.

They're going to come and get us.

We don't have time

to do it right now. ZEHRA: My bike is gone, right?

LUIS: Let's punch that guy out and get on the bike.

SPENSER: That guy has already taken off.

ZEHRA: He's already taken off, so it's just us.

LUIS: I'm okay, I'm okay, I'm okay.

You can get me later. I'm okay.

BRENNAN: Can we circle back around to try to grab them?

Is there space on your bike?

TRAVIS: Yeah. Yeah. Yeah.

BRENNAN: Cool.

ZEHRA: He already took the bike. He's on the bike.

SPENSER: He's already on the bike and off.

MARISHA: But you guys still

have a bike. BRENNAN: One of you jump on Farrah--

SPENSER: No, this one broke.

This one slammed in the car--

LUIS: He's gone. SPENSER: And sent him flying.

TRAVIS: Ah, I see, he took his bike.

SPENSER: No, sorry, that bike's fucked.

TRAVIS: Then I'll be coming in right

behind the doctor. BRENNAN: There's a stolen bike,

so we're down to four bikes.

SPENSER: Down to four bikes. BRENNAN: Okay.

TRAVIS: Yeah, I'll be cutting a beeline across, hauling her--

MARISHA: Oh right, we got Farrah.

SPENSER: Farrah's with you as well.

BRENNAN: LT, grab Marion,

you jump on Farrah's, and then we're out of here.

LUIS: We got to go, we got to go, you'll get me later.

I'm okay, I'm okay, I'm okay.

We just got to get out of here.

ZEHRA: I just give him a stern look.

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

to be able to get your bike there safely.

Get your aircycle there safely.

TRAVIS: Drive.

It's a five on the gilded.

SPENSER: Five on the gilded. Great.

That is a mixed success.

You swing over, Farrah swings over and grabs the two of you.

As that happens, you see the speed,

or the speeder or the aircycle pull up

alongside the car that Violet was in.

Violet pushes the guy off that is on it,

grabs it and starts to ride towards back all of you.

You see that she has a masterful control of this thing.

She was part of the team that built it.

As all of you are racing towards the minefield here,

you are now mere moments away from that threshold there.

You have a--

BRENNAN: Violet? SPENSER:-- Violet pursuing you.

What do you all want to do?

BRENNAN: I'm going to look at Auntie Bee and say:

Can you grab the handlebars?

MARISHA: Yeah.

BRENNAN: I'm going to-- MARISHA: I say:

I got the frying pan on my back.

BRENNAN: I'm going to say: This could be a little awkward.

And without getting behind her,

I'm going to swing my legs around to be facing,

so we're nose to nose with her reaching around me.

I'm going to say: Try to hold your shoulder steady.

Going to take the rifle, put it on her shoulder

and leaning aside, so we're like cheek to cheek.

SPENSER: Uh-huh.

MARISHA: I just try to relax, knowing what he's doing.

BRENNAN: I go: Hey, Auntie Bee. MARISHA: Sean.

BRENNAN: I really appreciate

everything you've done for me all these years,

everything you did for Tony and Jimmy, too.

And I know if you could keep it solid

with the three of us, the delinquents we were,

you can keep it solid

riding a flying motorcycle through a minefield

with a crazy scientist chasing us

on a motorbike that she designed

that, I think, does run on chickens.

(laughter)

MARISHA: And I say: Ain't that the goddamn truth?

BRENNAN: And I'll burn a Nerve drive.

SPENSER: Okay.

BRENNAN: And that's going to be--

TRAVIS: Can I also, I'm going to send you a Nerve.

I'm going to assist by looking over

and seeing the batshit body arrangement

that's happening over there.

I'll look over at Farrah and go: My hand mirror.

I'll grab the hand mirror,

and I'll try and point it back.

But now that the sun is up,

I'm going to try and angle it towards--

MARISHA: Right in her eyes.

TRAVIS: Violet's eyes. SPENSER: In Violet's eyes,

Yeah, I love that. TRAVIS: Get her to, like,

what the fuck?

SPENSER: We see the mirror being used

for a different purpose here, reflecting the sun.

We see her put her hand up as this happens

taking a hand off of the motorbike here.

Go ahead and make that roll.

BRENNAN: That's a six!

SPENSER: That's a six. MARISHA: Oh my god.

It looked real bad for a second. BRENNAN: That is a six.

ZEHRA: Yeah, yeah, yeah, it looks bad.

BRENNAN: It looks bad if you look at it--

MARISHA: Well, there was the one that was hidden.

BRENNAN: If I was rolling damage, that would've been really sad.

MARISHA: Yeah.

(laughter)

SPENSER: Here's what happens.

You cross the threshold into Westwreck.

The motorbikes or the aircycles

are flying through the minefield.

We get a shot here of one of the old mines below the ground

and then we rack across the desert here

and see all of the other mines.

They are laid out in droves here

as a motorbike or as an aircycle,

voom, passes over the top of one.

As that happens, we see Violet, boom,

take a shot to the shoulder from the rifle.

She drops the gun that she's holding

and she's grabbing onto the cycle with one arm.

She is still pursuing you,

but she is not looking very good here.

Her face obviously contorted in pain as she's driving.

What you do see with that,

is that she is swerving left and right

and the aircycle is dipping up and down,

dangerously low to the ground here.

What do you all want to do?

TRAVIS: When she dropped the gun,

had we entered the minefield or--

SPENSER: We're in the minefields.

Everybody is in the minefield now.

She's still pursuing you, but you can see

her control over the aircycle is not what it was.

She's starting to dip down and up and down and up.

What do you want to do? ZEHRA: I want to

call out to her. SPENSER: Yeah?

ZEHRA: Because I want to tell her to turn back.

Her fight is not with us, and if she'll turn back,

I will tell her what I know about the Anitithenai,

what she was so curious to know about from me,

to the extent that I do know.

Is that a possible-- SPENSER: Yeah.

ZEHRA:-- action at this point?

SPENSER: For sure.

You call out to her from behind.

You are having to slow down to do this.

You're telling Farrah to slow down,

slow down, slow down so you can shout to her.

She's riding up right behind you.

You see her struggling-- ZEHRA: Her gun is gone.

SPENSER: The gun is gone.

She's struggling, looking up at you.

The blood running down her shoulder here.

I'm going to have you make a Sway roll for me.

As that happens, you all realize,

the three of you realize

you have breached the threshold of Westwreck

and you are suddenly in the place that you all served,

in the place where those battles happened.

You start to feel the hairs

in the back of your neck, stand up.

Go ahead and make that roll.

ZEHRA: So, technical question.

SPENSER: Sure. ZEHRA: When I don't have

any marks in that action,

I roll two and I take the lowest?

SPENSER: Correct.

ZEHRA: What if I have a drive in Cunning?

Can I burn that? SPENSER: So you can spend

as much Cunning as you want and you would add that.

So if you were to spend one Cunning on that,

you'd roll one die.

If you spent two Cunning, you'd roll two dice,

et cetera, et cetera. ZEHRA: Extra?

SPENSER: So right now you're rolling two dice

and taking the lowest. ZEHRA: Yeah.

SPENSER: If you spent a drive, then you'd roll one die.

ZEHRA: And take the result of that.

SPENSER: And take the result.

If you spent two Cunning, you'd roll two dice.

Now, you can push yourself.

you can take bleed and add dice to your roll.

ZEHRA: I see.

Okay. SPENSER: Because of your artifact.

ZEHRA: I'm going to roll two and

take the lowest result to start.

SPENSER: Yeah. Okay.

LUIS: Oh.

ZEHRA: Three, three and a six.

I have-- (laughs)

I have a resistance in Cunning.

SPENSER: Okay.

ZEHRA: How high are the stakes of this roll?

SPENSER: They're high. ZEHRA: They're high.

I mean, you're not going to die here

if you don't get it, but they're fairly high, right?

You're trying to convince her to turn around.

What I will say is the stakes are high for her.

ZEHRA: Yes, I swore to do no harm.

SPENSER: Right?

ZEHRA: And strangely, I feel I owe it to her.

SPENSER: Mm.

ZEHRA: She still has some hold over me.

One.

BRENNAN: Oh no.

SPENSER: What do you say to her?

ZEHRA: Violet, your fight is not with us.

Turn around now.

SPENSER: We see your hair whipping past,

whipping past your face.

We see the hair whipping into her face,

and for just a moment, there's silence between you two.

Still 10, 15 feet apart here,

but she's able to hear you perfectly

and she guns it forward.

On that one,

she puts her last ounce of life

into this maneuver

as she rides up behind you and clips the bike.

You feel yourself flying through the air here.

You see Violet flying through the air here.

You see, as you're tumbling,

as you're moving through in space,

her jacket open

and bottles of Adjuvant inside. ZEHRA: (gasps)

SPENSER: You watch as Farrah

falls forward in front of you.

You see mines scattered across the fields here.

Tumbling forward, your heel barely missing

the top of one of those mines.

You are going to take a body and a brain here.

As you go tumbling forward, you see Violet land.

She pulls her shoulder up.

You're looking at each other on the side of the,

on your sides.

She holds it as she rolls back.

You can see her looking at you, afraid.

ZEHRA: It's all right.

It's all right.

I try to convey reassurance to her in this moment.

SPENSER: "You betrayed us.

"You betrayed us.

"I knew you would.

"I knew I couldn't trust you."

ZEHRA: I had no choice. SPENSER: "How can they trust you?

"How can anybody trust you?

"Your father, he was so happy when I told him--

"(breath catches)" ZEHRA: (gasps)

SPENSER: "-- that you weren't coming to see him anymore.

"(laughs)"

She smiles and you see her roll over

and she's on top of one of the mines,

and she rolls off of it. TRAVIS: (gasps)

SPENSER: A moment here to be able to react.

What do you want to do?

ZEHRA: How far away am I from being affected

by the explosion of the mine?

SPENSER: You're within 10 feet

of the mine here. TRAVIS: Oof.

SPENSER: You got to book it-- TRAVIS: Ooh!

SPENSER:-- if you're going to get out of the way.

ZEHRA: Do I have anything spiritual on my possession

that could provide any kind of shield or help?

TRAVIS: You do have one ward

that will soak a bleed. SPENSER: You have a ward.

But that is-- LUIS: A bleed.

SPENSER: That is to soak bleed.

This is not going to soak body.

ZEHRA: I see.

I'm going to have to roll.

Is the opposite direction clear of a mine,

if I were to roll away?

SPENSER: You're going to have to get up and sprint.

LUIS: Run. ZEHRA: Get up and sprint.

Okay, okay. SPENSER: Out of the way.

TRAVIS: (mine activating)

MARISHA: Yeah.

ZEHRA: I suppose that is my only course of action.

I'm going to burn a Nerve to do it.

My last Nerve.

SPENSER: This is a high stakes roll.

MARISHA: Life or death roll?

SPENSER: I won't say it's a life or death roll,

but it is a high stakes roll,

you will take serious body on a fail here.

You might even still take some,

you will take some on a mixed success.

ZEHRA: (sighs)

I've spent this, as I'm thinking in the split second,

as I try to get up. SPENSER: Mm-hmm, yeah.

ZEHRA: I think about how I've been walking through a fog

this entire time.

I swore to do no harm.

I swore that I would never touch magick

after seeing what my father wrought

with his charlatan ways that caused children pain.

I swore I would never do harm.

I would fix and I would work for the good.

In the process,

I have betrayed every promise I have made to my friends.

I have not been strong enough to stand up

when they needed me.

And feeling this utter guilt and shame,

I think the last thing I can do now

is at least run

and try to sort this out later.

No magick, no science,

just me running as fast as I can.

It's a three.

SPENSER: So here's what happens.

You get up to run.

You push yourself to your feet,

and you feel the tremor below the earth

before you hear it.

Your body carries you forward out of instinct.

There's a moment here where you're back

on the battlefield.

You've heard these explosions before.

You've seen what they have done.

You've patched up the bodies that have come back

from these mines.

You run,

and there is an explosion behind you.

You're going to take six points of body.

You all watch

as Jean's body flies across the battlefield.

And you see,

in an instant,

the bodies of Violet Boucher

and Farrah Morales vaporized

by the blast.

[gunshots]

SPENSER: You lay unconscious on the ground,

all of you seeing your doctor here in the mine fields.

For the three of you,

it's a reminder of what it was like

all those years ago.

For you, it's your first insight

into the life of your boys.

MARISHA: My husband.

SPENSER: Life of your husband.

So,

you watch as that explosion rattles

the landscape here.

What the three of you know is, when one goes off--

MARISHA: Yeah, that's what I was afraid of.

SPENSER: Could be more.

In the split second you have, what do you all do?

LUIS: LT, we got to go back and get her.

No man left behind.

TRAVIS: We go.

SPENSER: Great. This is a high stakes roll to turn the bikes

towards Jean and pick her up,

even as the threat of more mines erupting here

stand before you.

This is a very high stakes roll.

TRAVIS: Is this a Move, a Control?

SPENSER: It is a Control or a Move,

whichever one you'd prefer.

ZEHRA: Leave me.

I try to think into the void. LUIS: I'm going to spend a drive

to give you another die, LT.

I'm helping keep a lookout

and helping guide him towards her.

SPENSER: Mm-hmm.

BRENNAN: I will also.

Can I burn a drive to give another die?

Do you want to get all the way up to six?

TRAVIS: Yeah. I can use Saw This Coming,

and I'm going to say that another drive,

I know that when one goes off--

SPENSER: Yep. TRAVIS:-- it can lead to a few more.

MARISHA: Oh fuck, I also have Saw This Coming.

BRENNAN: Yeah. So I'll throw another die your way.

TRAVIS: That's six. BRENNAN: Okay, great.

TRAVIS: I'll take the six. LUIS: Yeah.

BRENNAN: Hell yeah. TRAVIS: I'll take the six,

not gilded.

SPENSER: Describe for me how you just nab her in time

as other mines start to explode.

TRAVIS: So I would say, we didn't wait for the chitchat.

We knew that as soon as she fell,

and as soon as she had that weathered look on her face,

we'd seen that before.

We were already moving in her direction.

We didn't get there in time for the first blast,

but we were there as she skidded to the earth.

As the parts of Dr. Violet Boucher

started to rain down,

we collected Dr. Jean and booked it out of there

just as it got really hot behind us.

SPENSER: Explosions are going off behind you.

I need everybody who was in the war

to take one brain for me.

BRENNAN: I'm down.

TRAVIS: I'm down, too.

ZEHRA: Do I put the brain as well or am I--

SPENSER: You're okay, you're already down.

ZEHRA: Okay.

SPENSER: So here's what I'll say.

LUIS: I'd like to do something.

SPENSER: Yeah.

LUIS: As soon as I see that those--

I'm assuming you're right with me, you're close by,

because we all saw this happening,

we're helping get her back up.

MARISHA: I imagine we're still on the bike.

I'm just watching him go down in front of me.

SPENSER: So what you see--

TRAVIS: Actually, no. I'm going to use Death Defy.

SPENSER: Okay.

TRAVIS: And I'm going to soak that mark.

SPENSER: Okay. TRAVIS: Once per assignment

I take one or more marks, you instead escape unscathed--

ZEHRA: Whoa.

TRAVIS:-- from your quick thinking. ZEHRA: That's awesome.

LUIS: Oh wow. So you didn't get any marks from that?

TRAVIS: Not that one.

Just not the one brain. LUIS: Not the one brain.

But what other mark did you get?

TRAVIS: That's all he said,

was one brain if you were in the war. SPENSER: That's all.

SPENSER: One brain if you-- Yep.

LUIS: Oh my god!

SPENSER: But you feel Sean go limp in your arms.

BRENNAN: Wait, I'm still facing the other way,

so I've taken a shot and I think I just go to sleep.

I think just the-- I think there's, I just go, I just--

MARISHA: The brain just shuts off. LUIS: Shuts off.

BRENNAN: It's just too much. MARISHA: Yeah.

BRENNAN: It's like adrenaline, adrenaline, adrenaline.

I think it's coming full circle.

MARISHA: Pounding in the ear.

BRENNAN: The heartbeat goes so fast

that it just flat lines and I pass out.

SPENSER: You feel Sean pass out in front of you,

the bombs going off around you.

You're watching as explosions

are causing shrapnel to be thrown.

You're keeping your eyes forward,

but you're seeing the explosions happening around you

as we see the shot of you driving your vehicle as well.

We get you just barely keeping it together here,

as, boom, explosion after explosion

go off behind all of you.

You have the path to where you need to go.

LUIS: Stick to the path.

SPENSER: Stick to the path. TRAVIS: Yeah.

MARISHA: So wait. So you're still up?

TRAVIS: Yeah. MARISHA: But you also,

you went down? LUIS: I'm up.

No, I didn't go down.

MARISHA: Oh that's right, you soaked it. LUIS: I was going to do something,

but I'm not doing that.

SPENSER: Okay, you're going to hold it.

LUIS: Yeah. MARISHA: Okay.

SPENSER: So these two, both of these two are down right now.

MARISHA: Okay.

SPENSER: But given that nobody else is on your tail

and you rolled a six out of there,

you continue that path

towards the spot on the map that it says.

You see the wreckage of the wasteland behind you.

Westwreck has always been a place of grief,

a place of horror.

It's never more clear than as we see

the remnants of the bodies left behind here.

You all make it, you have a moment here

where you're standing,

as the map tells you where you should go,

on the lip of what looks like a canyon,

but it's as though a scar has been torn in the earth

and there's a path down.

As you look down below, the three of you look down below

off of the bikes, you see there's water here.

This is what's called a cenote,

they happen near places that have oceans.

They are essentially underground rivers, underground lakes.

On the map, you can see those places that are blue,

some of those are in fact underground rivers here.

The spot with the circle

is where you currently are. TRAVIS: Mm-hmm.

SPENSER: The spot with the X is where they believe the entrance is.

You have a few moments here to collect yourselves.

What do you all want to do?

LUIS: We got to get them back up. TRAVIS: Yeah, of course.

SPENSER: Great. LUIS: So give them a moment.

SPENSER: Mm-hmm.

LUIS: Got to help get them up.

MARISHA: Auntie Bee's just holding Sean, once again,

thinking back to when he was a little boy

before his brain was

completely messed up from everything

he's been through.

I think she just goes into instinctual mother mode

and just rocks him.

Just starts humming to him,

stroking his hair a little bit.

LUIS: I'm doing a similar version of that here.

SPENSER: You see the parallels between the two.

LUIS: Yeah, I'm giving, she has nursed me back to health

and the same kind of tenderness and care

that she has shown me, I have her sprawled before me

and I'm holding her in my arms,

and I'm just like caressing her forehead

and just waiting tenderly,

waiting for her to open her eyes.

TRAVIS: I'll go over to Auntie Bee

and put a hand on her shoulder and say:

I can see how much you care for him,

but if I may--

And out of my pocket, I'll take a little flask

and unscrew it and say:

For you first. Offer a swig.

MARISHA: Bless you.

TRAVIS: This is one from the field itself.

I'll just hold it under Sean's nose real close

so we can get the pungent odors,

and I'll say: Officer on deck!

BRENNAN: Sorry, did I go, what happened, did I fall off?

TRAVIS: You did. MARISHA: Yeah.

TRAVIS: Brilliantly.

BRENNAN: Thanks, LT.

SPENSER: You feel Auntie Bee's fingers in your hair.

That's when you come to as well.

You find Marion standing with you, holding you.

ZEHRA: I killed her. LUIS: No, no, no, no.

There's no time to think about that.

ZEHRA: I killed her. LUIS: We killed a lot of people.

Welcome to war.

Look, look, look, look at me, look at me.

No, no, no., stop, don't get trapped in the past.

That's not the past.

That might as well have happened a hundred years ago.

What matters is what's ahead of us.

ZEHRA: Ahead.

I reach up, (winces)

there's a searing pain at the back of my head

down my neck and down my entire back.

My posterior chain, the entire back of my body

is raw, bleeding scar tissue.

It absorbed the force of the blast,

searing it instantly.

Once perfect skin, now mottled,

and starting to scab over in parts.

(winces) Ah!

The past.

She goes to adjust her hair

and finds there is no hair on the back.

I'm as good as my father.

LUIS: You're not the same as him at all.

ZEHRA: I killed her.

LUIS: She killed herself. What are you talking about?

ZEHRA: I killed her. LUIS: You told her to go back

and she didn't listen to you.

That's on her. That's not on you.

ZEHRA: My mother. I killed my mother.

You know I killed her.

(trembling breath)

She adjusts what's left of her coat.

The lapels are intact, but the back,

there's a lot of give

because the back doesn't exist anymore.

Dr. Kabach.

Dr. Kabach, is he--

SPENSER: He's on the back of your--

LUIS: Your bike. MARISHA: He's unconscious.

ZEHRA: (heavy sigh)

MARISHA: Look, maybe, maybe we should go back.

What are we even doing here? ZEHRA: Back to where?

LUIS: I don't want to go back. MARISHA: Home.

BRENNAN: Whatever was waiting for you in The Varnish,

whatever was waiting for me in The Steel,

it's back in Newfaire.

We go back tomorrow or tonight.

Just been up all night.

Tonight, it's the same story,

and the night after that, and the night after that,

and the night after that.

If Candela Obscura never finds out what happened to us,

think about everything we know about these creatures.

If we die,

what stops them?

MARISHA: Ah fuck. TRAVIS: We know what it's like

to be a small cog in a large machine

and we may yet again be finding ourselves just a gear

amongst incredible horrors.

But if we don't stop now, there is nothing

that will keep that Fourth Pharos from ripping open

and this being the norm for everyone back in Newfaire.

I, for one, would like to try to make a difference,

especially after all we've lost.

ZEHRA: Their deaths can't have been for nothing, Ms. Monroe.

MARISHA: I know. I know, you're right.

So was positing the question, I suppose.

TRAVIS: I can't now see

why they wouldn't let us see Allison Suarez.

Working for Candela is absolutely brutal.

ZEHRA: Hearing Allison mentioned,

I think about Violet

and her coat flapping open with the vials of Adjuvant

and I think while Dr. Kabach is knocked out,

I want to search him to see if he has any.

SPENSER: You walk over.

Doctor is laid down on the ground.

He's awake, but not completely,

his mind going in and out.

He's breathing.

You feel inside his coat pocket.

At first, nothing.

And then the other side.

There's still nothing.

Wait.

You feel a vial underneath your fingertips.

ZEHRA: With shaking hands, I pull out the vial

with that telltale green liquid flecks.

This could be the key

to helping Allison.

TRAVIS: Or one of us.

We have to help ourselves if we're going to help Allison.

(sighs)

MARISHA: My dear,

I want you to start mentally preparing yourself

for the reality that she might be too far gone.

And that's not your fault.

ZEHRA: I won't fail you this time, Auntie Bee.

I promise.

MARISHA: Sweet child, what makes you think

you have ever failed me?

Never.

You do realize it was you

that reinvigorated the spark inside of me

to not give up,

to not let every death

for years be in vain.

That was you.

You could never fail me.

All right?

ZEHRA: That was you, too.

MARISHA: Just give her a kiss on her hand.

ZEHRA: Let's go. MARISHA: Let's go.

We got to get up this river really fucking quick, right?

SPENSER: You see that there

essentially is a hole in the ground

that leads to an underground lake/river system.

You can see it on the map there.

There's a little underground water system there.

TRAVIS: Ooh, spelunking.

MARISHA: I hate spelunking.

Like, as a person.

SPENSER: As Marisha, you hate spelunking?

MARISHA: Yes, it's why--

SPENSER: That's a strong stance. I know; it's such a strong stance.

ZEHRA: Do you just hate the word?

MARISHA: No. I just. TRAVIS: So, wait, there's a

spelunking experience you need

to tell us about right now? MARISHA: It's just the idea of,

why not for kicks I'm going to put myself

in a dark, cold, claustrophobic environment

where if something happens, that's it!

BRENNAN: You think you spend so much

of your life avoiding going into the ground.

LUIS: Yes. MARISHA: Yes!

Yes. That's a fantastic way of putting it.

No, not knocking anybody

who enjoys-- TRAVIS: It's actually

a sweet preview, man.

MARISHA: If you enjoy spelunking, you do you.

SPENSER: Yeah, look, spelunk your heart out, right?

MARISHA: Spelunk your heart out,

it's just not for me.

ZEHRA: The next chapter will be all about spelunking.

LUIS: Yikes.

SPENSER: We see you jump,

each of you into the waters below.

You're taken by the cold here.

It's refreshing on your body.

Everybody here in this moment can clear one brain mark.

(gasping)

SPENSER: A moment of sweet relief. MARISHA: A gift from on high.

ZEHRA: (laughs)

SPENSER: Nah. BRENNAN: Well, I just got a scar.

LUIS: I know, and you didn't have one.

SPENSER: Doesn't help. (laughs)

BRENNAN: We couldn't have heard

that saying before? SPENSER: Could've done that--

TRAVIS: (laughs)

ZEHRA: While we're in the water, I do have a question.

SPENSER: Sure, please.

ZEHRA: Is the surface of the water reflective?

SPENSER: It is. Uh-huh. ZEHRA: We see ourselves in it.

I look over at Mr. Finnerty.

What is-- and do I notice anything?

Can I see his reflection? Is he a--

LUIS: Does he have a reflection? ZEHRA: Does he have a reflection?

Is he looking at the water?

I just glance over.

SPENSER: Make a Survey roll for me.

ZEHRA: (sighs)

MARISHA: Ah. Ah. Ah. BRENNAN: I have my explosives

and my ammunition

over my head. SPENSER: Up above your head.

LUIS: Oh my god.

(laughs) Love it.

ZEHRA: We Saw This Coming. MARISHA: Saw This coming.

So you can take another die.

Because we've been just waiting for the right moment

to see the moment that Sean walked

back through that front door.

ZEHRA: Six. LUIS: Ooh.

ZEHRA: And a five.

SPENSER: You catch Sean's reflection in the water.

Grimacing and holding the gear above his head.

But the reflection looks like him.

MARISHA: Is he averting his gaze?

TRAVIS: Jesus.

LUIS and TRAVIS: (laugh)

TRAVIS: That's fucking suspect.

LUIS: I know.

TRAVIS: You fucking-- BRENNAN: My gaze is fixed

towards where we are traveling to.

LUIS: I'm going to move next to-- TRAVIS: No chill.

I'm going next to Sean.

SPENSER: Yeah. BRENNAN: Do I notice the doc

looking at me? SPENSER: Sure. Sure.

BRENNAN: I'll whisper to Marion:

Think the doc is mad at me?

I think she...

LUIS: Why would she be mad at you?

Why do you think she might be mad at you?

BRENNAN: I feel two scopes on the back of my head.

TRAVIS: (laughs)

BRENNAN: She can kind of, when she get rattled, you know.

LUIS: Well, kind of.

BRENNAN: You get involved in a confrontation with your mother

in a landmine chain explosion and all of a sudden.

TRAVIS: (laughs)

LUIS: Yeah. Yeah.

BRENNAN: Everybody's got something to say.

LUIS: I mean, does everybody have something to say?

BRENNAN: I don't know. LUIS: I got something to say.

You scared the shit out of me.

I had this vision of you when you were at Duncan's

and you hit the ground and I thought you were gone

and you're not allowed to leave my side.

While we're still on this mission,

whatever it's that we're doing with Candela

and I see you quit.

If you quit, I quit.

I don't want to do this without you.

I'm not doing this without you.

The only reason why I'm doing it is because of you.

So, are you really quitting?

Are we really quitting?

Because there's a whole lot of other shit

that we could be doing with our time.

BRENNAN: If we survive this where we're going,

I need you to know something.

This place, organization,

it is a fucking monster that will chew you up

and spit you out.

They will watch you burn the light

inside yourself to the bottom of the candle.

And when it finally goes out, nobody will say thank you.

They'll just find another like you.

So yeah, the pin's off.

You are worth more than the things that happened to you.

You are worth more

than what other people see in you to exploit.

Even if you didn't have this gift that you have

to see things,

you would still be the best man I know.

Fuck a soul.

You got a good heart.

And that's the rarest thing in the world.

LUIS: Sean.

BRENNAN: You got people that you need to take care of

that you don't even know about.

LUIS: I found some.

When we were going to the town I tried to sense more

and there's kids out there that are like me.

BRENNAN: Then you find-- LUIS: Sean.

BRENNAN: Then you find them.

LUIS: No, we find them.

BRENNAN: I'm not good with kids.

You find them.

You take care of them.

You are more than,

you're more than just a magick trick, my friend.

LUIS: I know, Sean, I appreciate you telling me,

but I tell you what, you don't got to tell me anymore

because you've been telling me that in so many ways

ever since I met you.

BRENNAN: When it comes down to it,

what would make me the most happy, Marion,

is to know

that when the chips are really down

that you have the ability to choose yourself.

SPENSER: As you say that,

you all reach

the edge of the cave system here.

You see the X on the map,

but the cave wall stops,

but you still feel the pull of water

down below your feet, pulling it towards the wall.

What do you all want to do?

TRAVIS: There's a downdraft almost of the water

that's pulling away from the surface?

SPENSER: Correct. TRAVIS: That sucks.

MARISHA: Yeah, it does.

TRAVIS: Are there any obvious handholds in the walls

or pockmarks that we might be able to get some traction on?

Or is it smooth?

SPENSER: The wall's fairly smooth

because the water keeps hitting it.

So it's very smoothed down.

But as you go over to feel that

and inspect it, you feel your feet

for just a moment slide underneath the wall here.

As you look down, you see there's a tunnel.

MARISHA: It is, oh, there's a tunnel that goes underneath.

SPENSER: You see on the map--

LUIS: Jeez. SPENSER:-- it says,

"128 feet" with a line. TRAVIS: Yeah, I saw that part.

I was hoping that was something else.

LUIS: Wait, what?

BRENNAN: Is there any way to protect my explosives

or ammunition going down, though?

SPENSER: Sure, we can say

that you have them wrapped up. TRAVIS: Wax wrapped.

SPENSER: Yeah, wax wrapped.

They can just come that way.

MARISHA: Fuck, that sucks, how long.

LUIS: It's 128 feet. This means 128 feet.

That's the distance? Or the--

SPENSER: From what it looks like there,

that is the distance to whatever this entrance is

to the Flare to where the Fourth Pharos is

underneath the water from what you can tell.

MARISHA: Does it feel like this--

LUIS: What the-- MARISHA: There's a dip.

Does it feel like this tunnel is completely flooded?

When we're first coming

through the tunnel? SPENSER: It doesn't even appear

as though the tunnel's flooded.

It appears as though there's a hole in the wall

that the water is continuing through.

It just happens to be below water level.

TRAVIS: Yep. BRENNAN: Oh my god.

LUIS: Oh my god.

TRAVIS: I do have one flare on me.

Because I assume it's very dark in this tunnel.

ZEHRA: I have my--

TRAVIS: Oh yeah!

ZEHRA: I could put my hand in the hole and see what we can see.

TRAVIS: Does your hand-- LUIS: Put her under the water.

What happens? TRAVIS: Put your hand in the hole.

MARISHA: Yeah, does it still do

an underwater flame sitch? ZEHRA: Oh yes.

SPENSER: You dip it under the water

and all of you hear the bubbling.

MARISHA: Cool!

SPENSER: A fire and you can feel it warm underneath the water.

When fire's underneath water-- BRENNAN: Could make tea.

SPENSER: Sort of like a volcano, right?

When it's erupting underneath the water

there's lots of bubbles that are formed.

It's hot and still.

Yeah, your hand is still hot.

The flame doesn't dance the same way it did,

but your fingers glow like magma.

ZEHRA: Ah, fascinating.

(laughter) SPENSER: We see Sean turn.

TRAVIS: Yeah. Yeah. BRENNAN: I set my own trigger word.

TRAVIS: New trauma, new trauma.

(laughter)

TRAVIS: New trauma. BRENNAN: Sorry.

LUIS: Don't hit me! Don't hit me!

BRENNAN: Nah, nah, nah. All right. Alright.

TRAVIS: 128 feet is, it's a swim.

Unless there are pockets of air on the way.

BRENNAN: But that's going to be the current, right?

I mean, we can probably make that fast enough

to hold your breath, just getting on it.

TRAVIS: You hope. BRENNAN: Let's find out.

I'm going to go straight down.

LUIS: Oh my god.

TRAVIS: Do you want the flame? Oh, he's--

SPENSER: (laughs)

As you go down, you see the darkness of this hole

before you, it's literally a black hole

that you're moving into

as the water's pulling you towards it.

I need you to make a--

I need you to make a roll here.

It's probably a Control or a Move roll.

One of the two.

I will say that this is a high stakes roll depending on

if you get caught on any of a myriad of rocks

or stalactites or anything that's underwater

that this could deal some serious--

TRAVIS: Not our natural space. SPENSER:-- damage regret.

Remind me what your marks are right now

to just clear-- BRENNAN: I have one bleed,

and three scars, and nothing else.

SPENSER: Okay. Thank you.

MARISHA: I hate this.

SPENSER: You see Sean disappear below the surface.

TRAVIS: Were you not an underwater kid? ZEHRA: Do I still need

to keep my hand in here

to light it up? MARISHA: I'm fine within the water.

But it's spelunking!

(laughter)

TRAVIS: We finished that part. SPENSER: Specifically spelunking.

This is. TRAVIS: We did a cliff jump.

We were, no problem.

MARISHA: I watched. TRAVIS: All of our knees

stayed intact. MARISHA: I watched so many videos

over the pandemic-- TRAVIS: You don't need to go there.

No, don't do it. MARISHA:-- of people

who died scuba diving

in underwater caves. ZEHRA: Oh no.

LUIS: Was it fun?

Why'd you keep watching these?

MARISHA: I like spicy stuff.

Because I like the way it hurts.

You know? It's one of those.

I love horror, I love horror.

TRAVIS: We're going to get the tunnel roll.

MARISHA: All right. Make the damn tunnel roll.

BRENNAN: I will make the damn tunnel roll.

SPENSER: What I want you to do is I would like

for you to make the roll

and then I'd like for everybody to close their eyes

and you to give me the number on your hands.

ZEHRA: Oh, what is with

this private show? SPENSER: Okay. Not yet.

BRENNAN: Cool, cool cool. MARISHA: Wait, what did you say?

SPENSER: Look at me while he's making the roll.

I'm going to have everybody close their eyes.

He's going to give us what number he rolls.

TRAVIS: Okay.

MARISHA: What? Why? What? Why? TRAVIS: Just, ha!

We don't know why!

SPENSER: Okay.

All of you see Sean disappear.

TRAVIS: No.

SPENSER: All of you see Sean disappear beneath the surface.

TRAVIS: Non-committal.

SPENSER: What do you all want to do?

MARISHA: I guess we wait, see if he comes back?

ZEHRA: (sighs)

TRAVIS: No, I'm not good with that.

I am going to light the flare

and dip it under the water.

SPENSER: Great. It stays lit.

TRAVIS: You always need a dive buddy.

See you on the other side. ZEHRA: Oh!

TRAVIS: I'll go in under him. MARISHA: That's true.

TRAVIS: Just in case it's complete dark,

there's nothing to see him. SPENSER: Great.

LUIS: He's got the only flare. TRAVIS: He can't-- Yeah.

He just can't go by himself.

SPENSER: Yeah, you see underneath the water

as the flare goes into the cave,

into the underwater cave, it just goes on.

You can see the tail end of Sean's feet

as his body is careening down.

You see a stone pillar looking thing.

Not a built pillar, but a natural sort of divider.

TRAVIS: A mineral deposit, yeah. SPENSER: A mineral deposit.

You watch as his body slams into the pillar

and he goes spinning forward. ZEHRA: Oh!

TRAVIS: Fuck! LUIS: Oh no!

SPENSER: What do you want to do?

TRAVIS: Yeah, I'm going to dolphin kick

and drive towards it.

I'm going to try and use that pillar to grab him,

and I'm going to throw one arm around his shoulder and neck.

SPENSER: So I'm going to have you make a Move or Control roll here

to be able to catch up to him because you are not--

He is already taken by the current.

This is probably a good, you know--

TRAVIS: All right. SPENSER:-- couple, 10,

20 feet in front of you. TRAVIS: Do I have anything for this?

BRENNAN: Any marks for me?

SPENSER: Yeah, it's going to be a body mark from you

from that thing, which is the--

TRAVIS: Not really. SPENSER: Yeah.

You know why. BRENNAN: I know.

TRAVIS: Great, ♪ don't want to take that. ♪ Okay.

I'll take a five.

SPENSER: Yeah, you take the five.

TRAVIS: Fuck!

SPENSER: You dive underneath. You catch onto Sean's legs.

Sean is trying to right themselves

after hitting the mineral deposit.

I mean, you feel yourself slam into the wall,

and your whole body is scraped against

the wall. ZEHRA: Oh!

SPENSER: As this happens, you're also

going to take a body,

but the two of you are continuing forward.

All of you see the flare is quickly disappearing.

You're being left in darkness as the hole

is starting to go darker and darker.

ZEHRA: I have my hand. SPENSER: You have your hand--

LUIS: That doesn't produce light underwater, does it?

SPENSER: It's like a little ember. It's like magma.

ZEHRA: Oh, you can't, I see. SPENSER: It looks like magma.

It produces a little bit of light, right? But--

ZEHRA: It's not strong enough. LUIS: As soon as--

SPENSER: It's okay. It's just not as strong as the flare.

LUIS: As soon as Nathaniel went down,

I turn to the other two.

There goes our light. We got to go now or not.

If you're turning back, then I get it. And I go down.

ZEHRA: Ugh, we can't let him go in darkness.

MARISHA: Go! ZEHRA: I dive in.

SPENSER: You go. You're by yourself in the cave.

You hear the splashing of water against the cave.

It reminds you of the sea.

LUIS: Shit.

MARISHA: Auntie Bee starts to hyperventilate a little bit

as she thinks about that nightmare all those years ago

where she woke up in the middle of the night,

and the dream of screams, screaming men and women

on a merchant ship as the ship sinks,

and water starts rushing into the hull.

Flashes of her husband in his final moments.

The whole thing that started the war. (exhales sharply)

She's going to try and steel her breath as much as she can.

SPENSER: In that memory, Blue looks at you

and smiles.

MARISHA: Blue, what do I do?

(shakily) What do I do?

SPENSER: "You do what you always do, honey.

"You go with the flow.

"I'll see you on the other side."

MARISHA: Promise?

SPENSER: And the ship floods.

MARISHA: (rapid breaths)

SPENSER: Take a breath. MARISHA: (exhales)

SPENSER: Everybody who's going, make a Control roll for me

or a Move roll. LUIS: Or a move?

SPENSER: One of the two.

MARISHA: What did you say?

SPENSER: Control or Move, one of the two.

MARISHA: I had too much blood in my head.

SPENSER: Yep, nope, I hear you. (laughs)

MARISHA: Control or Move? SPENSER: Control or Move.

TRAVIS and SPENSER: (heartbeat thumps)

MARISHA: All right.

SPENSER: I need a heartbeat thing on here.

MARISHA: Yeah. SPENSER: I'm missing the heartbeat thing--

TRAVIS: I don't think you do, Spencer.

We don't need that shit. SPENSER: I'm sorry. (laughs)

You feeling-- LUIS: Yeah.

TRAVIS: Whew! LUIS: I feel my own heart

beating enough. SPENSER: Yeah, I can do the--

[heavy thumps] TRAVIS: Okay!

MARISHA: Oh, that works!

Six. [heartbeat thumping]

ZEHRA: Four.

LUIS: Two ones. TRAVIS: (screams) Wha?

LUIS: What are the stakes here?

ZEHRA: (laughs nervously)

SPENSER: This is high stakes. ZEHRA: Oh, good to know.

LUIS: Going to burn a resistance.

MARISHA: Stakes are drowning.

SPENSER: Yeah, stakes are drowning.

You're not dying because you're going to end up

on the other side with everybody,

but yeah, you might take some--

LUIS: Burning a resistance. BRENNAN: Six, six on the gilded.

SPENSER: Great, thank you. MARISHA: I--

So you're rerolling. Can I?

Fuck--

Can I, you're bad, right?

TRAVIS and LUIS: (laugh)

MARISHA: You're bad. Can I-- LUIS: I'm not great.

MARISHA: Can I Saw This Coming reroll for resistance?

SPENSER: Not typically, but I think

we're in the final hours here.

Go for it. TRAVIS: ♪ It's the final ♪

SPENSER: As long you want to burn

that final one that you have.

MARISHA: I technically have two. SPENSER: You have two more?

Okay, yes. MARISHA: Two, because I--

SPENSER: Then you can burn one of the--

MARISHA: Forgot about that ability for a hot second.

SPENSER: (laughs) No problem, so-- MARISHA: And haven't used any.

SPENSER: That's right, okay, yeah. MARISHA: Except for that one.

SPENSER: You can definitely spend one of those.

MARISHA: So having literally almost a supernatural vision

of Blue guiding me through, and Auntie Bee was last

so she's pushing so she would come up on a stuck Marion.

SPENSER: Mm-hmm. MARISHA: And would grab him

and try and guide him in the right direction.

SPENSER: I love that.

MARISHA: So add a die to your roll. SPENSER: Add an additional die to the roll.

MARISHA: Did you add a die? LUIS: I did.

MARISHA: Okay. LUIS: And I got a four

on my gilded die. SPENSER: That's better than--

MARISHA: That's better than ones. LUIS: Than one.

SPENSER: Better than a one. TRAVIS: Whew.

SPENSER: So-- LUIS: I get back.

SPENSER: Marion, you're going to take a body.

LUIS: Got it.

SPENSER: You rolled-- ZEHRA: Four.

SPENSER: Take a body. You already made your roll.

MARISHA: Six. LUIS: I'm going to need

a break after this.

SPENSER: You grab him. LUIS: A little patching.

TRAVIS: Margarita. LUIS: Yeah, right.

SPENSER: As you feel your body being taken,

you almost run out of breath. LUIS: (wheezes)

SPENSER: But you feel yourself caught by Auntie Bee,

pushed along.

The panic subsides. You find peace in this moment.

What do we see you doing to hold on here,

to steel yourself here

because of that help that Auntie Bee gave you?

What's the place that you go to?

LUIS: I feel remarkably light,

way lighter than you remember me feeling.

And-- (sighs softly)

I think for a moment I actually consider,

as I struggle, and then I relax.

I'm ready to go if it's time. SPENSER: Mm-hmm.

LUIS: When you live your entire life

at least since you were seven years old

thinking every time you go to bed

wondering if you're going to wake up

because you don't even know what you are,

every day that you wake up (gasps) is like a gift.

SPENSER: Hm.

LUIS: I think since I got my last scar,

I'm not afraid of death

because I think I've lived pretty good.

So as I start to go into that in between space

of consciousness, wondering if I'm going to make it

through this cave, I start to see all these flashes

of these moments when I first met this guy and his brothers,

remembering the looks that the Lieutenant would give me

when I actually did a good thing.

Remembering all the times that Auntie Bee supported me

through anything I ever needed.

There's all these good times, good times, good times,

good times, good times, good times.

And all those pieces of them lead up to,

I think, a life pretty well lived.

So I just let go.

SPENSER: As you let go, you feel your body being taken.

All of you feel yourselves rushed along by water.

Your flare goes out.

Your hand still there, glowing just faintly

underneath the stonework around you.

As you look forward, you see darkness.

Suddenly, all five of you are looking

into just darkness before you.

Then you find yourself standing in a line

looking at the light peeking through a doorframe.

You're wet, but there's no river around you.

What do you all want to do?

TRAVIS: I check Sean. Awake?

BRENNAN: Whatever blood from hitting the pillar I'm like--

(laughs energetically)

TRAVIS: Oh! BRENNAN: (laughs energetically)

TRAVIS: I do not get the same enjoyment

out of this that you do,

but I'm glad-- BRENNAN: What a rush.

That could be the last time we ever do something like that.

LUIS: I don't ever want to do that again

so that is the last time I'm doing something like that.

I'm not--

I start limping and I start to get a little bit dizzy.

I sit down.

You know, this has been real fun, everyone,

but I'm not doing so hot.

ZEHRA: I go to his side.

Here, let me try to patch you up before we go any further.

LUIS: That would be real nice. ZEHRA: Please.

TRAVIS: So Doc, I'll take my Zippo and try and give you--

LUIS: Don't light me on fire.

I see you light so many things on fire.

ZEHRA: Yeah.

SPENSER: You're in a room where the walls are just obsidian.

MARISHA: Oh god. SPENSER: Black.

You look down and see that the floor beneath you

is obsidian, black behind you, just an empty void.

In front of you, just a single doorframe

and a wall that looks like it goes on forever

to the left and to the right.

MARISHA: Can I make, while they do that--

SPENSER: Yeah. MARISHA:-- can I make a Survey roll?

SPENSER: Absolutely. ZEHRA: Oh--

TRAVIS: I am sure we are all alone in here.

MARISHA: Yeah, I want to see--

LUIS: Right?

MARISHA: Yeah, I want to see what's up.

ZEHRA: I rolled a two,

but I'm burning my last Intuition resistance to--

SPENSER: To reroll. ZEHRA:-- reroll.

Six on the gilded! SPENSER: Yes!

TRAVIS: Yeah. LUIS: Nice.

ZEHRA: So as I only take one Intuition,

I spend one Intuition to patch up one body mark.

LUIS: Yes. ZEHRA: (sighs)

I have more Intuition.

I would love to patch you up again if it would help.

LUIS: Well, sure.

You see me completely relax and melt into you

as you start to put your hands on me.

ZEHRA: I give him a kiss on the forehead.

LUIS: I grab your face when you do that.

I should have done this a long time ago,

and I plant one right on your lips.

TRAVIS: Ooh!

ZEHRA: Ooh! TRAVIS: ♪ Long live our love ♪

ZEHRA: I might be taking out a body mark soon.

SPENSER: (laughs)

ZEHRA: Four. SPENSER: That's a four.

ZEHRA: I'm going to take a brain

to take the four-five result instead.

SPENSER: Okay, great.

ZEHRA: So I'm taking a brain. SPENSER: Take a brain mark.

What's that leave you at?

ZEHRA: Do I burn two intuition for the four to five?

LUIS: That's a four.

ZEHRA: I know. Oh, it was a four!

LUIS: Uh-huh. ZEHRA: I'm dumb.

LUIS: No, no. SPENSER: You just got kissed. It's okay.

ZEHRA: (laughs) SPENSER: It flustered.

ZEHRA: True. LUIS: Your welcome.

MARISHA and ZEHRA: (laugh)

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

Do they have to talk to a Candela Obscura HR department?

MARISHA and ZEHRA: (laugh) TRAVIS: So yeah,

we'll be reporting this.

BRENNAN: Yeah, tell our Lightkeeper,

"Hey, people are fraternizing--"

ZEHRA: Our Lightkeeper is dead! Auntie Bee killed him.

BRENNAN: There's no-- ZEHRA: We already killed him.

BRENNAN: There's no fucking rules, I guess.

SPENSER: That is true. Wild West.

BRENNAN: LT, you and me? What do you think?

TRAVIS: Hey, hey-- LUIS: While they're going on,

I'm locking eyes with Jean and I'm saying:

I don't know, I don't hear nothing.

I don't hear. They're just little chitter chatter.

And then I just plant another one because why not.

MARISHA: Aw. ZEHRA: So it was a four,

and I've burned the last of my Intuition.

LUIS: Okay.

So is that another body mark you get?

ZEHRA: Another body mark. You're looking a lot better.

LUIS: I feel a lot better, too. MARISHA and ZEHRA: (laugh)

ZEHRA: I wish I could say the same. I mean, no--

I'm just a little woozy is all.

LUIS: You look great to me,

so I don't know what you're talking about.

ZEHRA: That's very kind.

I do blush through my pale three-body-marked complexion.

There is a faint rosy glow that emanates through,

as tired as I am.

SPENSER: So good. We cut back over to you.

You're surveying here. What did you roll?

MARISHA: I rolled a four. SPENSER: Four.

It's hard to know.

You've never been in a place like this.

But what you do gather

from what you've heard in your time with Candela Obscura

is that the Fourth Pharos is a place

outside of standard space and time.

MARISHA: Hm, is any of this reminiscent to

the feature that I stumbled upon in Oldfaire?

SPENSER: Yeah, we get a flash of you stumbling

upon this ancient tomb

in Oldfaire in South Soffit.

You seeing spirits,

dark, black walls

being built of obsidian like this one.

It's hard to know. MARISHA: Right.

SPENSER: But it definitely appears as though

it is not unrelated

to the kind of structure that would be built

by the same people who would build

the thing you stumbled into.

MARISHA: I'm going to hold out this little magickal trinket.

SPENSER: Mm-hmm.

MARISHA: With its spinning spheres.

I hold it out and see if it reacts in any way.

If it is reminiscent of when the vault

in our chapter house started glitching out,

if it rotates, if it has any similarities.

SPENSER: You see it rotate in your hands, spinning.

Nothing out of the ordinary.

MARISHA: All right.

TRAVIS: Any sign of, heh, ichor, blood,

bodily fluid of an undesired origin?

SPENSER: No, no.

Just darkness behind you,

a doorframe, lit from behind in front of you.

LUIS: Should I, I guess, reach out

and see if I can sense something on the other side of that?

TRAVIS: I mean--

LUIS: Or should we just walk in?

TRAVIS: Yeah, no, I mean-- BRENNAN: I would say, Marion,

I don't know how you're feeling bleed-wise,

but I would say maybe reaching out and sensing

is something that, given that we're in--

The Fourth Pharos is-- LUIS: Well, we know--

BRENNAN:-- in the Flare, right?

LUIS: I know I'm going to get--

I know I'm going to sense the stuff

because I'm not that stupid.

(laughter) BRENNAN: Yeah.

LUIS: But-- BRENNAN: But you look stupid, so I--

LUIS: Hey, yo, no, that's enough.

BRENNAN: Yeah. LUIS: No, no, no, no, no.

I looked stupid as a kid, but then I grew out of that.

ZEHRA: He's very handsome.

LUIS: And I look-- thank you.

BRENNAN: I didn't say he wasn't handsome.

(laughter)

BRENNAN: I just said the guy-- LUIS: You know what?

You know what I hate about you giving me shit?

BRENNAN: What's that? LUIS: Nothing.

I don't hate it at all. (laughter)

ZEHRA: I could reach out and sense,

since I took my physical burn scar,

I moved a point away from Move

because I was piss poor at moving away

from the mine exploding, and I moved my point to Sense

because now I am ever more embracing

of the spiritual part of me

in the wake of my physical weakness.

SPENSER: I love that. We see you reaching out.

As that happens, there's a pendulum in your pocket

that starts to spin. MARISHA: Oh-- (laughs)

(pendulum spinning)

MARISHA: Oh boy.

ZEHRA: I hold up the Candela pendulum,

and then from my pocket

I pull out-- LUIS: Oh!

ZEHRA:-- what looks like a wristwatch, but embedded in it

is a pale green stone that is glowing

and pulsing and turning.

It's a stone that has been the source

of much pain in my life,

but now I regard it.

(sighs) Holding it in my palm,

I whisper:

Now is your chance.

I hold it, and I feel

the side of my head prick, flash

and through it that energy crackles,

and I feel it channeling through my body

out of my fingertips and into the green stone and out

as I reach out and see what I can sense.

Whoops, doesn't count. SPENSER and LUIS: (laugh)

ZEHRA: Six! LUIS: Oh!

ZEHRA: But there's a five on the gilded.

SPENSER: So, up to you.

ZEHRA: (groans) How high stakes is this?

SPENSER: This is not a high stakes roll.

ZEHRA: If I take five on the gilded,

I will get back a point of Intuition,

which could be used for patching up.

So, I will take the five gilded result.

SPENSER: Great, take the five gilded.

TRAVIS: Nice, Doc. LUIS: Nice.

BRENNAN: Way to go. Way to go.

SPENSER: You reach out,

and you sense this whole place is magickal.

That five, I'll ask you,

I'll let you ask an additional question here,

knowing that information is probably, you know,

pretty well known given where you were going.

What else would you like to know here?

ZEHRA: (sighs)

Specifically,

how does my circle enter access to this place

without doing us harm?

SPENSER: Hmm. ZEHRA: Without taking bleed.

How do we safely enter

and access the Fourth Pharos? SPENSER: Yeah.

So, you feel at the door.

This is an access point.

What you gather by that Sense roll

is that there have been many who have come through here

over the last thousand years

when they need a quick escape.

This is not a traditional means of getting through,

but this is a means of getting here

in an emergency.

So, what you gather is, walking through that door,

you're moving to somewhere that should be the safest

that anywhere could be,

given that it's inside of the Flare.

It will not harm you to go through this door.

ZEHRA: I open the door-- SPENSER: Mm-hmm.

ZEHRA:-- and step inside.

SPENSER: As you open the door,

you find yourself in a long hallway.

There are doors that are lining both sides,

but the whole corridor twists--

BRENNAN: Ooh. SPENSER:-- around

in a corkscrew fashion. LUIS: Wow.

(retches) SPENSER: You look

to your left, you look to your right,

and you see this long corridor

twisting through space-time here.

BRENNAN: I've heard of a turn in a corridor before,

but this is ridiculous.

SPENSER and LUIS: (laugh)

LUIS: I punch you in the arm. SPENSER: With that five--

(laughter)

SPENSER: With that five, you also immediately notice something else,

which is not the door that's straight ahead of you,

but to your left.

ZEHRA: Oh.

SPENSER: There is a door where at the top,

it's labeled, Silverslip.

ZEHRA: (gasps) LUIS: Oh.

SPENSER: The door looks as though it's come off of its hinges

and the portal within is flickering with

bleed.

With that five, I'm going to have you

take a point of bleed here from that, as you reach out

and that bleed emanating from that portal hits you.

You can see the marks on the wallpaper here

of things skittering out of that portal,

and you can see the ground where,

from that door, it looks as though it's worn more away

than it normally would be.

You can see that

there are places within the wall

where there's been a puncture by claw marks

and something has probably crawled within,

the wallpaper flapping open.

Things were coming through here.

ZEHRA: Mm.

SPENSER: Taking the Pharos

by, you know--

Secretly, essentially. By secret.

Yeah, go ahead. BRENNAN: But we don't see--

It seems like because we shut it down--

SPENSER: Correct. BRENNAN:-- it looks like

it's not active right now.

SPENSER: Correct. BRENNAN: Got you.

SPENSER: It's not actively doing that.

BRENNAN: Do we see ours, Hallowharbor?

SPENSER: As you look down the halls,

there are ways left and right.

So, I have you make a Survey roll.

This is low stakes here,

as you step out. BRENNAN: Ooh.

Three. SPENSER: A three.

Yeah, not from where you are,

although you think that it probably would take some walking

down these hallways to tell. There are different spots

all through the Fairelands that you're seeing labeled

above the doors here.

So, presumably maybe somewhere in Hallowharbor,

but not somewhere you know about.

LUIS: But the names--

They're the names of the chapter houses, right?

They're not the names of-- SPENSER: Correct.

TRAVIS: Seems like it. LUIS: The locations of--

SPENSER: Correct.

TRAVIS: The door in front of us is down this twisting hallway.

SPENSER: So the door, to be clear, the hallway--

You are looking out of a door to another door,

that door's closed.

We'll say that one's The Varnish, right?

Then if you look left and right,

that's when you see the hallways twisted.

TRAVIS: Yeah.

LUIS: I just, as we walk down the hallway,

I'm taking note of all these different doors.

I think this is the first time we're seeing

how many potential circles there are.

I mean, I don't know if these are active right now,

but there's, you know,

it's nice to know that we're not the only ones left.

SPENSER: You're passing by door after door.

TRAVIS: I take out a notepad

and I just start writing the locations down.

SPENSER: Yeah. TRAVIS: Just in case.

SPENSER: Briar Green.

LUIS: Oh. SPENSER: The Sidle.

LUIS: They do have those there.

SPENSER: Red Lamp. ZEHRA: (gasps)

LUIS: Oh, that's-- SPENSER: You're seeing

all of these different places.

Also, there's different indications

of places outside of the city itself.

BRENNAN: I'm going to look and say: The Red Lamp Circle,

they got to be a bunch of bums. Red Lamp's all bums.

LUIS and MARISHA: (laugh)

LUIS: That rivalry's still persisting, huh?

BRENNAN: To this day. To this day. MARISHA and ZEHRA: (laugh)

LUIS: It's just a game, Sean. God!

BRENNAN: It's not just a game.

SPENSER: You see something that catches your eye,

which is a sign labeled: Vault.

ZEHRA: Oh.

SPENSER: It's at the end of the hallway.

It's upside down because of the way the hallway is twisted,

but it's sticking up from the ground.

It's labeled, and then it has an arrow,

and you see a little inlet, not a door,

but an inlet where there's a set of stairs.

MARISHA: Does the rotation of this hallway seem to mirror

almost the pacing of the--

(snapping)

LUIS and TRAVIS: Astrolabe? MARISHA: Astrolabe.

SPENSER: There's no astrolabe here.

MARISHA: We don't see any astrolabe?

SPENSER: No.

There's no astrolabe in this space.

MARISHA: But does it feel almost like the same cadence in pace?

SPENSER: Oh, yeah. So it's not moving,

it's staying where it is,

It's twisted in space.

So, as you walk, you're noticing that gravity

is keeping you on the floor,

but the whole rest of the hallway is like--

BRENNAN: It's like M.C. Escher, you're walking--

SPENSER: Yeah. BRENNAN: It starts,

the floor starts to helix. MARISHA: Oh.

SPENSER: Exactly. MARISHA: So it's-- Okay.

So we stick with the gravity, not like those fun house--

SPENSER: No, no, no, no. MARISHA: (dizzily) Wah!

SPENSER: No, you're just walking,

and as you're walking, you're slowly realizing

you're walking on the wall-- LUIS: Oh god.

SPENSER:-- and on the ceiling, but to you it all feels correct.

Everything else looks like it's wrong.

ZEHRA: Uh-huh. Uh-huh. TRAVIS: The vault

looks like what we came here for.

The letter said they are there,

but we haven't seen any of them here.

If we are first, then perhaps we have a chance

to lay a trap, or an ambush, or even move Allison before.

BRENNAN: They got a concierge in this place,

or a receptionist, or something?

LUIS: A sign-in sheet, maybe?

ZEHRA: A librarian? TRAVIS: I don't think so.

BRENNAN: Uh-huh. All right, well.

Yeah.

Do you think the vault is where Allison is?

TRAVIS: I do. LUIS: I think that's

what they said before. BRENNAN: They're keeping her--

They got gravity magick,

and I'm sleeping on a cot in the side room,

and they got Allison in a sick bed in the vault?

TRAVIS: Maybe it's the only thing that can contain Allison.

MARISHA: Yeah, maybe she ain't so sick.

BRENNAN: Oh, you mean it's not a hospital,

it's a infirmary-jail kind of situation.

MARISHA: You know, like that little tube that Johnny was in?

BRENNAN: Yeah, like this is your habitat

that you're not allowed to leave.

MARISHA: Yeah. ZEHRA: Containment.

TRAVIS: Hopefully more of a body shop.

LUIS: I see.

ZEHRA: I pull out the Adjuvant.

Mr. Trapp, I think you should have this.

I'm dangerously close to fainting,

and in case I go down, I want you to have it in case--

TRAVIS: And how does it work?

It inject, or-- (gulping)

ZEHRA: Via syringe into the bloodstream.

I pull out my medical kit.

Syringe I had used earlier on Mr. Kingsley.

I spray some-- I rub it down with alcohol.

(laughter)

ZEHRA: Allison will have to make do

with what we have, I'm afraid.

I hand over the syringe.

TRAVIS: All metal action?

How long a needle are we talking here, doc?

ZEHRA: It's about four inches.

TRAVIS: Ah! LUIS: (groans)

TRAVIS: Sounds good. ZEHRA: Directly into the arm.

TRAVIS: Uh-huh. Mm-hmm.

ZEHRA: Or posterior.

MARISHA: Damn, that's a horse. TRAVIS: Yes, excellent.

I will hold it like a dagger for the time being.

ZEHRA: (laughs) LUIS: Wow.

SPENSER: You reach the place labeled the vault.

You see that there is a staircase down

to what looks like a sort of escalator,

or not escalator, elevator kind of unit.

TRAVIS: Mm-hmm.

SPENSER: As you all climb out, you see that there

is a long descension down ahead of you.

You're standing on a--

God, what is it called?

A parapet looking down into darkness,

and there's the walls of the Fourth Pharos around you.

From here, looking up,

you can see the light of the lighthouse

that is the Fourth Pharos,

(powerful, slow rotation)

as you stand on the edge of this parapet.

But what you realize as you look down

is that this is actually essentially a moving unit.

There's a lever to go down and a lever to go up.

There's a vault, and then there's, you know,

there's obviously floors up above you as well.

But yeah, there's a way to be able to start

that process of going deeper into the Pharos.

Can we press forward? MARISHA: Yeah.

TRAVIS: We can either go down or up, but it seems--

SPENSER: You can go up. You can see the lighthouse

up above if you want. TRAVIS: Yeah, okay.

SPENSER: It appears as though the area you've fallen into

is a wing of the Pharos that is dedicated

to Newfaire, to the Fairelands.

TRAVIS: Just to be wary of the letter that we sent,

I know it's probably useless,

and it will burn out in one second

like a radiation detector in Chernobyl.

But could I take out the bleed detector

just as we start-- SPENSER: Sure.

TRAVIS:-- to enter this and head one way or the other?

Just to-- SPENSER: Yeah, it's spinning,

but things are magick here,

that's kind of what you would expect.

But because it's within the Flare,

you would guess that it is more safe

here-- MARISHA: Hmm.

SPENSER:-- than it would be elsewhere.

At least for the time being.

TRAVIS: Just in case, I don't know.

SPENSER: Yeah. MARISHA: That's a good idea.

TRAVIS: We'll press on. LUIS: Yeah.

SPENSER: Great. You see the entire elevator unit

start to grind down mechanically.

As you look up, you see a set of counterbalance weights

that are starting to lower, and the whole unit-- Or raise?

It's hard to tell here in this place

where gravity is different-- LUIS: Hmm.

SPENSER: But the whole unit starts to move down.

On that path down, you have a few moments here

before getting to the vault.

Is there anything that you'd like to do before we enter?

TRAVIS: Reload my revolver.

BRENNAN: (clicking gun) SPENSER: Great.

TRAVIS: Yep. SPENSER: We see

the shotgun, and again.

LUIS: I got my phase knife. I'm using that,

I guess if we need to.

You see me hold it, but it's heavier than it was before.

(sighs) What?

I got,

I got very little, but--

TRAVIS: I have an idea, actually.

Everyone get together.

LUIS: Okay. TRAVIS: Yeah,

shoulder to shoulder.

It's a very slow elevator.

For posterity.

LUIS: What about you?

TRAVIS: Just in case they-- Oh fuck.

LUIS: You got a-- BRENNAN: You got long arms, right?

ZEHRA: You have a timer on that thing, don't you?

LUIS: Yeah. TRAVIS: You almost need to

make a stick to put this on.

Say cheese.

Cheese! LUIS: Cheese.

TRAVIS: (camera flashes)

SPENSER: (igniting) It lights up as you say that.

As the light goes off, we see the shine

of the Pharos lighthouse above hit the backs

of all of your heads, giving you a halo

for just a moment in the image,

and then darkness.

You feel yourself hit the bottom here.

LUIS: I want to say something to them.

SPENSER: Sure.

LUIS: Look, I know that we're going into danger,

and we're a little bit beat up,

and there's no guarantees right now,

but I just want to say that it's really been a pleasure

to do what it is that we're doing with you all.

For me.

It's really hard to try to make sense

out of all this, but I think that we really

have done some good, you know?

We've helped some people, and I think

that it's impossible to know what it will

actually mean in the end. But at the very least,

I felt,

with you all,

like I finally found the place where I belong.

I'm sorry for getting a little sentimental,

but you know, I-- It just means a lot to me.

It's felt really good,

and I think that I know that we've all lost people.

I've always thought, you know,

you're supposed to live real big, you know?

You know this, I've seen you live real big.

That's what you've done your whole life,

and then it went away from you.

That's why whenever I see it come back,

that's why I love it when you give me shit,

because that's when I see it start to come back.

But I think we're supposed to live for them, you know?

If you lost somebody, then you're supposed to live double.

You're supposed to live your life not just for you,

but for them, too.

So, I think that I just want us

to keep them in mind while we're down here, you know?

We got to-- We're doing this for them.

They're all pieces of us,

and you're all pieces of me.

Thanks for helping me.

That's it, I don't know,

I just really felt like I really needed to say something

because we're about to get into some deep shit,

and I wanted you all to know that

I have a kind of love for you, that's all.

That's it.

SPENSER: As you say that--

[heavy impact]

SPENSER: There's a thunk of the elevator unit

landing at the bottom,

and the vault door starts to open.

It's about four stories high,

large wall.

The counterbalance weights lifting it up,

you all feel this wash of light come over you.

You have a moment standing here

at the edge before entering the vault.

MARISHA: To the Needle & Thread.

LUIS: Get that booze out, we're drinking.

TRAVIS: Oh, yes, sorry, Finnerty gulped it earlier.

LUIS: To the Needle & Thread.

BRENNAN: I'll go last, I gulp.

LUIS: Yeah, you do.

ZEHRA: To living big.

LUIS: Yeah.

Don't drink at all.

BRENNAN: We're doing-- LUIS: We got to have

a celebratory drink at the end.

BRENNAN: That's right, we do.

Well, it'll be a very small little sip at the end for everybody.

MARISHA: Tastes like victory.

SPENSER: And

we see

a massive

astrolabe

circling above.

It spins, keeping everything here,

all the bleed from everything here in this vault contains.

As you step forward into the threshold,

you see rows, and rows, and rows

of cages

with large metal blinders on all sides.

You hear inhuman sounds from within.

You see they're organized

like a library.

By name,

to your left, you see Bs,

Cs, stretch on.

MARISHA: Sorry. (laughs)

I thought you meant there's just a cage--

SPENSER: Bees. MARISHA:-- filled with bees.

SPENSER: No, no, no, things labeled--

BRENNAN: The bars are so close together.

SPENSER: They're so little!

BRENNAN: I want to see.

There's chickens and bees, it's--

I didn't expect such a farmyard

kind of vibe to Candela Obscura.

(laughter)

SPENSER: To your right.

TRAVIS: They aren't even.

SPENSER: Ts and Us, we see.

MARISHA and SPENSER: (laugh)

SPENSER: We hear, bzz.

(laughter)

LUIS: Great, now we're going to have to fight a giant bee.

(laughter)

ZEHRA: Great, squid dog bee.

SPENSER: It is Bee, you're Bee.

LIUS: Oh. MARISHA: I'm Bee.

BRENNAN: There you go.

SPENSER: In front of you--

ZEHRA: Oh yeah, you're Bee. MARISHA: Bee pin.

SPENSER: In front of you, in one of the vaults,

one of the vault cages,

you see something slam against the metal.

TRAVIS: Oh god.

SPENSER: Repeatedly, over--

ZEHRA: God.

SPENSER: You hear, "Help! Let me out!

"Let me out!"

TRAVIS: Zippo lighter. (clicks, ignites)

SPENSER: You're walking through, it's

pretty well lit here,

but everything is behind metal, sealed.

As you start walking, you realize

that the metal is also

lined by one more reflective surface.

It's a yellowish color.

In fact, if you look around,

you'll see some of it here, back here.

A yellowish green.

TRAVIS: Oh. SPENSER: There's leaded glass

to contain the bleed in this place.

You see the astrolabe turning slowly,

and you see the aisle for S.

What would you like to do?

TRAVIS: I'd like to approach.

And...

(breathes deeply)

(sighs)

I take a deep breath,

and push into the aisle.

The cells are open,

the metal dividers are in between each of them,

but it's open facing? SPENSER: Correct, correct.

Like aisles of a library, essentially.

TRAVIS: I'll step in front of the first cell

to see what happens.

SPENSER: As you step in, you look to your left,

and you see a young man

who is

covered in boils up all along his face.

He runs to the bars, his hand comes out.

You see a smile grow wide on his face,

wider than it should, his eyes go yellow here.

(whispering) "Hello?"

TRAVIS: Hello?

SPENSER: "Your father,

"he didn't like you very much, did he?"

MARISHA: Stick to the assignment, Lieutenant.

TRAVIS: Right. I'll try and push down the aisle.

SPENSER: Yeah. His hand, "Wait, wait, don't go, wait!

"Wait, please, wait, please!"

He falls back into the shadows.

You see his form shift and change

as he melds into the wall here,

and becomes just a ticking clock.

TRAVIS: Oh.

SPENSER: You hear--

[clock ticking]

TRAVIS: I actually turn,

I come out of the aisle, I find the others.

I have a debt.

I have to at least see if she is beyond saving.

However, we know they're coming.

We should take up defensive positions,

and be ready to defend this place.

BRENNAN: Do I hear clock ticking as well?

Do I see anything weird going on with the astrolabe?

SPENSER: Make a Focus or a Survey roll with me, for me.

Make it with me. TRAVIS: (laughs)

BRENNAN: One.

LUIS: Oy. ZEHRA: Oh.

SPENSER: You...

see it turning as it should.

Within the

holes in the wall behind it,

these spinning bits,

some of them empty here,

you see a set of eyes.

BRENNAN: A set of eyes?

SPENSER: Watching.

Not sure what that means,

but you know something or somebody is watching you.

BRENNAN: Defensive positions.

TRAVIS: Corners, line of sight.

LUIS: Okay. TRAVIS: Distance.

MARISHA: Is this the only entrance to this aisle?

It's a dead end on the other side?

SPENSER: No, there's an opening

on the other side as well.

It's a good, you know, couple hundred meters.

So it's long, like couple football fields long.

MARISHA: Yeah.

SPENSER: This place is massive, infinite.

TRAVIS: I'll be quick.

MARISHA: I'm going to go with you.

ZEHRA: You have the Adjuvant?

TRAVIS: I do.

MARISHA: No one should go diving alone.

TRAVIS: Fair.

Dive buddies it is.

Let's go.

I push down the aisle. SPENSER: Mm-hmm.

ZEHRA: I want to see if I can use my pendulum to sense

where's the best place for me to set up with my handgun.

SPENSER: Hmm.

ZEHRA: Whether it's that opposite end.

Is there a specific spot? SPENSER: I can give you--

So what you know is that if you set up in the aisle here,

you're going to have the best shot

if somebody comes down

the elevator in some way, right?

You know that if you--

but you can see a couple hundred yards

down the straightaway of this,

what looks like bookshelves, almost.

But they're cages, essentially.

Some of them are holding artifacts,

some of them holding people. ZEHRA: Mm.

SPENSER: The scale, the size

is different depending on, you know,

what the scale of the thing that it's holding is.

LUIS: Hmm.

SPENSER: But it continues really far down.

So you could make your way all the way down there

if you wanted to.

But there doesn't seem to be

a best place as far

as defensive position for shooting is concerned.

ZEHRA: I see. SPENSER: Unless you have a

specific need that you want, right?

Unless you're looking to stop somebody

coming down the aisle this way,

or if you're looking to

see things-- ZEHRA: I see.

SPENSER:-- from the other aisles.

ZEHRA: In that case, I want to stick close

to where these two are set up.

SPENSER: Okay.

ZEHRA: But I do want to see if I can sense--

I noticed Mr. Finnerty glancing at the astrolabe.

I want to see if I can sense

from what direction danger may come.

SPENSER: Mm.

ZEHRA: Is that a possibility at the moment?

SPENSER: Yeah, roll a Sense for me.

LUIS: Whoa.

ZEHRA: It's three ones, one on the gilded.

LUIS: Wow. ZEHRA: But I'm taking that

result, so I get a drive.

MARISHA: (laughs)

SPENSER: Great. MARISHA: Damn.

LUIS: Wow.

ZEHRA: (laughs) I did this to myself.

SPENSER: That's okay. ZEHRA: Damn it.

LUIS: How do you roll that?

ZEHRA: Yeah. LUIS: (laughs)

ZEHRA: Very carefully. TRAVIS: Like that.

LUIS: Are you rolling with this hand, or that hand?

ZEHRA: This one.

LUIS: Okay, maybe, I don't know,

maybe the burning hand is better

for what we're trying to do.

ZEHRA: The bleed-scarred hand.

SPENSER: For a moment, you find yourself distracted

by all of this magick all around you.

Something that your father told you was real,

that you refused, that you believed killed your mother,

and now you're standing in

the hub of everything.

This is real.

And given the massive astrolabe on the wall,

you know this is also as dangerous

as you always knew it was.

I'm going to have you take one more point of bleed for me.

LUIS: Uh-oh.

ZEHRA: That's a scar. SPENSER: Mm-hmm.

ZEHRA: That drops me down.

SPENSER: There is not danger here in this moment,

so you are able to hold onto your senses here.

You are going to take the scar,

but you do not have to drop,

because there is no immediate danger.

ZEHRA: Okay.

SPENSER: You feel yourself overcome by this realization.

ZEHRA: I feel it start in my chest.

SPENSER: Mm-hmm.

The pain, the heartache, the loss, the grief

of seeing my mother die, of doing nothing

to get her medical treatment,

but administering herbs and potions my father told me to,

as he swung that pendulum over her dying body.

I feel the heartache,

and I feel the hardening of my heart

against these magick forces.

Then, in an instant, I feel that hardness shatter,

based on everything I've experienced,

and everything I've seen,

and all the gifts that I naturally possess.

This shattering of bleed feels like

little spots, little glass shards of ichor

throughout my entire form, shards,

shiny, translucent, glowing.

They creep up my entire body,

and the sides of my neck into my temples.

Bleed shards of glass.

SPENSER: We see glistening on your whole body,

as that bleed affects you here.

All of you see the doctor suddenly overtaken by

something.

You're taking up a defensive position,

we see you moving.

LUIS: I'm doing-- well, I see this happen,

and I look at you, and I think: This looks good.

ZEHRA: (stifled laugh) LUIS: You're--

This is just more of who you are coming out; it's good.

I'm going to--

MARISHA: Marion, holy shit. (laughs)

LUIS: I'm going to-- dark matter.

I'm going to-- let me explain this.

Everything around us is bleed.

I want to sense the not-bleed.

Because that dark matter is what I want to focus on,

and I am going to ping the antithesis of it,

and if I can see it moving,

then I know that there's people that are here.

SPENSER: Hmm.

BRENNAN: Wow.

SPENSER: I love that, make that roll.

As that happens, the two of you are walking

side by side down the aisle.

You've speared off to one side,

you're going down the other side.

LUIS: (groans)

That is a one, a one, and a two.

SPENSER: Incredible. So--

ZEHRA: (laughs) SPENSER: Fascinating,

I should have said.

BRENNAN: Fascinating, clang! LUIS: Yeah.

(laughter)

SPENSER: What you get here--

LUIS: I know what it is.

SPENSER: Are you going to do anything?

LUIS: I mean, look, I think that I am--

I was distracted by what I saw her do,

and I'm not perceiving this as bad.

SPENSER: No.

LUIS: I'm seeing-- ZEHRA: ♪ It's my third scar ♪

LUIS: I'm not perceiving any of my scar as bad.

This is good.

This is...

fucking awesome.

So as I try to reach into all of that,

I feel that instead, that attention gets boomeranged,

and it goes right back onto you,

and I'm left staring at you

for what feels like forever.

Then I snap out of it.

Defensive positions, right?

Where we going?

BRENNAN: I think I'm already, we're fanning out.

LUIS: I asked that where you were,

not even noticing that you had moved.

SPENSER: We jump to the two of you.

As you are moving down the aisleway here,

you're hearing the calls out from each of the cells.

You're seeing artifacts floating in the air,

turning on their own,

flying towards the bars, and vibrating,

the shaking of the bars as the clock ticking

fades away behind you. You're deeper in here now.

You go through

the names until you reach

S-U

A-R

E-Z.

There's a figure within.

They're crying in the corner.

They don't know you're here.

What do you want to do?

MARISHA: I'm just here for support.

TRAVIS: (clears throat)

Ms.--

Allison?

SPENSER: You see a face turn.

Long hair.

You remember her,

but she looks different as she stares at you in the eyes.

Her face contorted, her body broken.

She looks you up and down.

TRAVIS: Do you--?

SPENSER: "Why are you here?!

"No, no, no, no, no, no!

"First him, now this?"

TRAVIS: First--? Do you remember me?

SPENSER: She looks angrily at you.

You see her body rising with tension.

She says, (screaming) "You're the reason I'm here!"

TRAVIS: (stammering)

SPENSER: "You're the reason I'm here!"

TRAVIS: I don't understand, you said, "First him."

Who?

SPENSER: Then you hear a tapping

behind you.

As the two of you turn,

you see a humanoid figure

standing behind the bars,

has the face

of a man.

You recognize it is

the face of your father.

You see him slip between the bars.

LUIS: Whoa.

SPENSER: Almost like water

moving through holes, and then lean back against them.

"Hello."

TRAVIS: Father?

SPENSER: "Hmm."

He smiles at you, and his face turns to Sean.

You're staring at Sean in front of you.

"We call this a two for one,

"isn't that right, Lieutenant?"

Reaches out his hand, and attempts to pierce you

through the chest, and also Allison--

LUIS: Oh.

BRENNAN: Through the chest.

It's going to go through both of you.

You see this happening.

What do the two of you want to do?

TRAVIS: The momentary relief

of seeing my father's face

disappear into Sean's.

I will feel a twinge run up my spine.

Those elongated vertebrae almost catching fire.

SPENSER: Mm-hmm.

TRAVIS: With instinct, and knowing how important flanking

can be in a military situation,

I will use the Prestige.

SPENSER: Oh fuck, okay.

It's the first time you're using this, right?

TRAVIS: Uh-huh. ZEHRA: What?

LUIS: What is it?

TRAVIS: I pulled it from another class.

ZEHRA: Fu--

TRAVIS: "My magick is usually all smoke and mirrors,

"but I have one trick I've learned that's real.

"I'll roll Sense when I perform it,

"and on a success, I'll take a bleed mark,

"and it will

"teleport me a short distance" behind him.

LUIS: What?

SPENSER: What we get here

is a flashback.

We hear it first, we hear the rushing of a river.

We see you standing too far away to help,

your brother wading in.

The part of the memory we didn't see last time

was you running, and running, and running,

and closing your eyes.

In an instant, you were gone from where you were,

and you were in the river.

You had your hand out to him, and it,

you tried to hold on, but it slipped.

The water

was too

strong.

Your ability

too weak.

And he disappears.

You know you failed last time you did this,

so you never did it again.

But here you are,

standing here, in this moment,

and you disappear from where you're standing.

I believe you take a bleed mark for that, correct?

TRAVIS: I do. SPENSER: Take a bleed mark there,

you disappear from where you are.

The hand (whooshes)

pushes through where you used to be,

extending out, otherworldly,

and pierces Allison's stomach.

You see him stop for a moment, trying to realize,

trying to figure out what just happened.

He pulls it back out, and Allison stumbles back.

She's bleeding now.

Her body contorting,

scared.

She looks down and then makes eye contact

with you over his shoulder.

You're standing behind him.

What do you want to do here?

TRAVIS: An advantage is an advantage.

I'll take the needle, I'll shove it in the Adjuvant

and I'll shove it in my chest and plunge the syringe.

Pull out my revolver,

stick it in its back, and pull the trigger.

SPENSER: We see the Adjuvant go into your body.

We feel you be regenerated for just a moment.

Go ahead and clear any bleed marks that you have.

You get about halfway through

before the needle drops from your hand onto the ground.

Administering it yourself is not what you were expecting.

You felt a surge.

We see the syringe roll,

dripping Adjuvant onto the ground,

but it's enough.

The pistol goes in the back

of this creature's body, and the trigger is pulled.

You watch as an eruption of black ichor

comes out the front of it.

It (guttural writhing) and scrambles around,

its face flashes in a thousand different people.

It stands dripping.

"She's coming.

"She's coming and you can't stop her!"

TRAVIS: You won't be here to see it either.

Beatrix, run!

I'll grab him and just start pumping

the revolver into him.

LUIS: Nice, nice, nice. SPENSER: So you start pulling the trigger.

As you do, you see him try and scramble away from you.

I'm going to have you make

either a Strike or Control roll here

to hold onto him as you try and shoot him.

Beatrix-- MARISHA: I'm going to slide

and I'm going to grab the syringe that's on the ground.

You said there was still a little bit left?

SPENSER: There's still half of it left,

it wasn't enough to be able to, yeah.

MARISHA: I reach through the bars to Allison

and I jab the rest of it into Allison.

SPENSER: You see she's bleeding from the stomach.

As the needle goes in, it expunges into her shoulder.

She sort of writhes up and then you see

the scar on her stomach start to circle and close.

You see that her shoulders start to drop.

Her face goes more human here than it was before.

She starts to scream as she looks

at the at the hole that she has.

She's backing away into the cage.

She's putting her hands on a combination

of black ichor and blood coming out.

But it looks as though the bleed is fading off of her

just enough for her to gain her bearings here,

just enough for her to have a clarity.

She locks eyes with you.

MARISHA: First I yell: Sean!

Then I go: What do we do, how do we beat it?

You know, you are it!

SPENSER: Then you hear an explosion.

You look shocked.

BRENNAN: (stammering)

SPENSER: You look shocked, but you sent me a message.

BRENNAN: Saying that I set the explosives.

SPENSER: Yes, you did. TRAVIS: Oh!

ZEHRA: Oh! TRAVIS: (yell turns to laugh)

SPENSER: So. ZEHRA: (laughs)

TRAVIS: You failed the roll?! SPENSER: Tell me how this happens.

(laughter)

BRENNAN: What makes you think I made the roll?

TRAVIS: (laughs)

ZEHRA: Oh! MARISHA: Yeah.

BRENNAN: Sean is--

So I go to the astrolabe, I set the TNT,

I light it, and I immediately begin stalking

in whatever direction it makes the most sense

for me to be stalking in.

SPENSER: Yep, great.

BRENNAN: Got my rifle in my hand. SPENSER: Uh-huh.

BRENNAN: Do I see these two first or do I see these two first?

SPENSER: So here's what we get.

We get the astrolabe, you hear the explosion,

and you get the astrolabe above you.

Everybody stops, looks up for a moment

and the creature with a thousand different faces

flashing on it says, "She's here,"

and the astrolabe stops.

MARISHA: (laughs)

LUIS: Okay.

SPENSER: And a rift starts to form

in front of the astrolabe, four stories tall.

It rips down the center.

We see it flapping in the wind,

the ethereal wind,

as a hand grabs one side and the other,

and parts it.

And for the second time in your lives,

you see The Mother.

You saw it once before in the lighthouse

that you all closed.

Now the massive astrolabe has been stopped.

A rift four times the size it was before

sits in front of you and you see her hand reaching through

and you hear, "That's my boy."

BRENNAN: You look good, Ma.

I'm going to start--

TRAVIS: (laughs)

BRENNAN: I'm just, eyes down:

♪ Take me out to ♪ the ball game ♪

I'm going to begin to hunt the party.

SPENSER: Yep, sounds good.

MARISHA: I still have Allison's arm?

SPENSER: You still have Allison's arm.

MARISHA: We know Sean's compromised?

SPENSER: So make your roll here, what is it?

TRAVIS: I will take the six.

SPENSER: You're going to take the six, great.

You unload shots into him.

He scrambles away, but is-- he/she/it, whatever it is,

scrambles, pulls itself away.

It's not able to get a hit on you here

because of that six.

TRAVIS: I'm not moving away, it's just from the hip.

SPENSER: The clip empties. As that happens,

you watch as it starts to drip with black ichor,

still a wound in its chest from before.

It's stumbling, it's looking up at you.

"You're too late, you're too late.

"She's going to kill you.

"She's going to kill Allison.

"She's going to have revenge... everybody."

And then it collapses.

TRAVIS: You're just nothing but a disappointment,

and I take my Zippo lighter, throw it on his body.

SPENSER: It lights up. As that happens, you hear:

(screeching) and out of the astrolabe

come the creatures that came through

before in the Silverslip portal,

they come tearing down the walls of the vault here,

leaping up onto the tops of the library,

set up here.

They're running towards the four of you.

You hear,

"♪ Take me out to the ballgame ♪"

Reverberating.

MARISHA: I'm trying to stay focused.

I'm looking into Allison's eyes.

SPENSER: Great.

MARISHA: Tell me what you know.

How do we fix it?

SPENSER: She looks terrified.

She says, "I saw it.

"I saw it come through.

"That's all I saw!" she says.

"I'm scared. I just want my son and my husband."

MARISHA: What's the lock like on this cage?

SPENSER: It looks as though it's steel.

There's no opening. They lock it in

and it does not open again.

But that doesn't mean you can't get in.

Doesn't mean there aren't other ways.

TRAVIS: I raided the armory like our friend

Finnerty did before.

So I have a small cylindrical device

in my hand, and I'll walk over

and use the flaming refuse

that's bubbling in front of me to light the fuse of it.

I'll start jogging back

towards the middle of where all this chaos is.

SPENSER: Yep, as you're jogging towards it,

you're seeing descending upon all of you

leaping into the aisles now

are a plethora of these creatures

like you faced before.

They have eight, nine, 10, 12 limbs

as they come running towards you.

Their faces open in that weird multi--

Flang?

Flange? What's the right word?

Flange? TRAVIS: Appendage or phalanges?

SPENSER: Yeah like-- BRENNAN: Mandibles.

SPENSER: Yeah, mandibles.

You see them running towards you here

as you're holding a stick of dynamite.

You are

standing watch here, right? LUIS: On the other side.

I mean, yeah.

SPENSER: You hear this happening,

you hear Sean singing.

LUIS: I don't understand what's going on,

I mean, I heard gunshots, I hear the singing,

I hear chaos, I'm going towards it

because I don't know anything else.

Something is happening with them, I need to help.

Yeah, I pull out my phase knife

and I call out: Lieutenant?

Auntie Bee?

TRAVIS: Can I hear him? SPENSER: Yeah.

TRAVIS: Over here!

LUIS: What's going on?

Sean?

BRENNAN: Do I hear these voices? SPENSER: Yeah.

BRENNAN: Do I have eyes on them?

SPENSER: Make a Survey roll for me.

BRENNAN: I'll use my thing.

SPENSER: Yeah, that's good.

BRENNAN: Sorry, one second.

TRAVIS: Because we could only hear the explosions.

We have no idea what caused it.

SPENSER: No, don't know what happened.

BRENNAN: I'll actually burn an Intuition drive

to add another gilded die to this Survey roll.

ZEHRA: Oh, good.

BRENNAN: Four. SPENSER: It's a four.

You can hear where the voices are coming from.

You're able to know roughly

the vicinity. You don't have eyes on them immediately,

but you know where that would be.

As that happens, you see

the creature parting the veil here.

LUIS: Do we see that, too?

SPENSER: You all see it. LUIS: Oh no.

SPENSER: It's parting the veil.

LUIS: Not this again.

It's reaching out with its hand.

The hand is probably a good 80, 100-feet long.

It's reaching out and grabbing its son,

holding him up like this in front of its face.

You watch as flashing chromatic light

comes down its hand.

MARISHA: Its son being--? ZEHRA: Sean?

SPENSER: No, the creature.

ZEHRA: Oh, the one that you shot full of lead.

LUIS: A bunch of times. SPENSER: It's holding

its hand out like this,

and you see it (cracking) coming back to.

MARISHA: Cool. SPENSER: Yeah.

TRAVIS: If I could see it, I will try to run up.

Oh god, I sucked at baseball, but I did play outfield

and I'll crow hop and fucking wing

that stick of dynamite as far as I can.

SPENSER: That sounds good, make a Control roll for me

as this is happening.

TRAVIS: (mumbling angrily) Five.

SPENSER: Five. MARISHA: (laughs)

SPENSER: It spins.

It hits the creature,

The Mother through the veil, drops in front,

explodes. You see her stumble back for just a moment.

She looks as though she's trying to crawl through.

LUIS: No.

SPENSER: This stops her for just a moment.

But her body is so massive

that that kind of hit feels like a

small little pinprick to her.

You see that the flap that she's trying to part,

she's starting to rip it wider and wider.

The new version of whatever this creature was,

she set down in front of it.

It's trying to get its bearings

and she's like, "Come back, please come back."

As she opens that wider, with that five,

what we get here is an immediate eyes to you.

LUIS: From her? SPENSER: From her.

LUIS: So her son is now dropped on the ground.

SPENSER: Yep, and he's starting to reform.

She's trying to get him back up,

but he is not quite--

LUIS: But he was dead? SPENSER: Correct.

LUIS: Okay, I'm watching this happen

and I want to try to see

if I can understand the channel of--

I'm interpreting this as all magick.

SPENSER: Yeah.

LUIS: I want to see if I can understand the flow

of how the magick is being channeled from her,

and into this thing that she just brought back to life.

And-- hmm.

And I want to reverse it.

SPENSER: Okay.

LUIS: So whatever she's pushing into it,

to imbue it with energy so that it can pop up again,

I want to take that and push in the opposite direction,

reverse the flow.

SPENSER: That's going to take at least a bleed,

even on a success,

but more potentially.

LUIS: Okay.

Yeah, I'm going to use a drive.

ZEHRA: I would like to help on this.

Given that I have knit together a rift before,

I want to Focus on it or Sense it

and see if there's anything that I can bring

and remember from that time when I sewed it back together

that could assist in this reversal process.

SPENSER: So you feel

the magick welling up inside of you.

You've broken free of the chains you used to have.

You reach out and touch Marion,

and you know by doing that,

you're going to infuse that power towards this.

ZEHRA: Do I need to burn--?

I mean burn up, you get an additional die.

LUIS: A drive? ZEHRA: A drive, a drive.

LUIS: Okay.

Should I use that?

MARISHA: Is this a turning point, a pivotal moment?

SPENSER: You're trying to keep this being

from coming back alive. LUIS: Yeah.

SPENSER: So whatever the stakes are--

I mean it's a high stakes roll.

BRENNAN: I feel like a roll--

This is Brennan above the table.

I feel like a roll later is going to need that gilded die.

MARISHA: If we try to close the portal. ZEHRA: Oh, oh you do, do you?

(laughter)

BRENNAN: Are we doing collaborative storytelling here

or are we playing Monopoly, you know what I mean?

I can be a prick, but not be a prick about it,

you know what I mean?

TRAVIS: It's trending in a unique direction, that's for sure.

LUIS: The highest is a four.

SPENSER: Four.

LUIS: Two, three, four, three.

SPENSER: So here's what happens here.

This creature locks eyes with you.

TRAVIS: Oh boy.

SPENSER: In that moment, you realize

she's been pulling you the whole time.

Since you were a child, you've seen these eyes.

It's been pulling you and pulling you

all these years.

You reach out, with a four, you get what you want,

but it comes at a cost.

The creature in front of her stops moving,

stuck in--

frozen in movement, frozen in life.

Its eyes are open, its mouth is wide,

its face was flashing before, now it's just stuck

on Sean's face, staring at you.

And with that,

you hold off this thing being revived for the moment.

You're going to take a point of bleed.

LUIS: Okay.

SPENSER: But the consequence of that

is that you now see exactly where Marion is

and exactly where Jean is.

LUIS: I have a question.

SPENSER: Sure.

LUIS: Based on what I just began to understand,

is this what took my soul in that first moment?

Or is this something different?

SPENSER: You know here, that eye that looked at you

through that split in reality

all those years ago in the garden--

LUIS: Was this.

SPENSER: That thing that took your soul.

LUIS: You started to take my soul,

but you didn't, you left just enough.

(groans) Fuck.

SPENSER: We cut over to you.

(laughter)

BRENNAN: So I can see the two of them.

I can see the two of them,

but Marion is the vessel.

SPENSER: Mm-hmm.

This one seems to be holding off,

seems to be helping.

BRENNAN: Cool.

TRAVIS: (barked laugh)

ZEHRA: Do we have any--

Oh, we hear him singing.

SPENSER: You heard him singing previously.

ZEHRA: Can we take that to-- BRENNAN: And you're not

hearing any singing right now. MARISHA: I'm heading

towards him, by the way.

TRAVIS: The seventh inning stretch.

ZEHRA: Can we interpret that we know Sean is dirty?

(shouts) Because I'd like to shoot him!

BRENNAN: (laughs)

TRAVIS: This is a very important question,

because otherwise it's very meta, he's been--

MARISHA: I know. TRAVIS: He hasn't shown us a thing.

LUIS: Yeah, we haven't-- ZEHRA: Right.

SPENSER: I would love for you to make a Read roll for me.

This is to tell the hairs on the back of your neck

that somebody's pointing at you.

ZEHRA: Is this high stakes?

SPENSER: It is incredibly high stakes.

ZEHRA: I am going to, thank you, roll,

and I'm going to burn all of my Cunning drive,

which is three points-- SPENSER: Okay, okay,

that sounds good. ZEHRA: Of Cunning.

Make a Read roll.

I gaze at Mr. Finnerty.

Five.

SPENSER: That's a five.

You turn.

Describe for me what Jean sees here

as she turns towards you.

BRENNAN: Rifle in hand, the singing has stopped.

I meet your eyes.

(sighs)

I know what it's like to kill people that don't deserve it.

It's another day.

SPENSER: The hairs on the back of your neck stand up.

You see this look. You've seen this look in soldiers before.

ZEHRA: I'm going to shoot him.

BRENNAN: Yeah, I raise my gun and shoot.

SPENSER: So, this is a high stakes roll.

What I will say is that if there's any failure,

that will be four body marks for the person who failed.

On a mixed success, you'll get two.

On a full success, you will both miss.

We will gauge based on that.

So, it will be a roll off, essentially,

whoever rolls higher is going to shoot,

and then the consequences will be--

BRENNAN: I'll also, if I see the gun coming up,

I'll be ready to dive into a row of cells as the--

SPENSER: Totally. BRENNAN: You know,

vanish after the attack. SPENSER: Totally.

TRAVIS: Also, you have a pistol, right? ZEHRA: I would like to say--

I do have a pistol.

MARISHA: Yeah, and he's got a fucking shotgun.

ZEHRA: He got a shotgun. I also have three body marks.

If I am not a six, I die on this roll.

MARISHA: If what, what, say that one more time.

ZEHRA: If I don't get a six, I'm dead on this roll,

because I can't take it.

I've met three scars and three body marks.

BRENNAN: And you got to take that gilded die.

ZEHRA: I've got to take that gilded die,

(shouts) or is there another way?

TRAVIS: Hmm, she says to the table! SPENSER: You can take bleed.

ZEHRA and TRAVIS: (laugh)

BRENNAN: You have your golden thing, you can take bleed, yeah.

ZEHRA: Oh, my golden thing to add another die and take bleed.

BRENNAN: And it's gilded when you take it with that, yeah.

SPENSER: Yes.

LUIS: Can you use two charges of that at once?

Take two bleed, and add two die?

TRAVIS: I already did that.

ZEHRA: Okay, I have to do this because he is going for Marion,

and I am going to protect Marion

if it's the last thing I do, and it may very well be--

LUIS: (huge sigh) ZEHRA:-- the last thing I do.

So, I'm going to, is it all right to take this gilded?

MARISHA: I feel like you're the only one who can close the rift.

ZEHRA: (sighs)

TRAVIS: So take it.

ZEHRA: So I have to survive this roll. MARISHA: Because you've got the book,

you're the only one who can--

TRAVIS: I mean, I can try and sew some shit,

but it'll look like I'm just conducting a ghost orchestra.

ZEHRA: If-- (laughs)

LUIS: I closed a rift once.

ZEHRA: He closed it once.

And I think it's ability in all of us

to be able to close the rift.

SPENSER: (laughs)

MARISHA: Yeah.

SPENSER: Take the die.

ZEHRA: All right, so I'll take it.

LUIS: You can use two charges of this, if you want.

ZEHRA: Two charges to take two bleed?

LUIS: Yeah. ZEHRA: Okay.

LUIS: And take two more gilded as a result.

ZEHRA: Okay, I'm going to do it.

SPENSER: So, you're both eye to eye,

gun to gun, shooting at one another.

TRAVIS: Pistol to rifle. MARISHA: I will still

head that way. ZEHRA: Make sure.

TRAVIS: Soldier to doctor. SPENSER: Yeah, sounds good.

ZEHRA: Control. TRAVIS: (laughs)

SPENSER: I will say that depending on the first roll--

TRAVIS: Do you want to place side bets?

ZEHRA: And this is gilded. We'll see how that goes.

BRENNAN: I'm rolling six dice as well.

ZEHRA: I have five. Is there any other possible help

I can summon from what I have, or from--

LUIS: Control. TRAVIS: Hey, four to one.

MARISHA: Four to one odds? (laughs)

Do you-- Right?

Hundred percent.

LUIS: I mean, I want to give you, I can give you a Nerve.

SPENSER: Yeah, you can give a Nerve.

LUIS: While I'm seeing that happen, I think somehow, I--

SPENSER: Control rolls, right?

LUIS: Yeah, I can give a Nerve drive.

SPENSER: Great, you steady her the way she steadies you.

LUIS: I see her pull her gun up, and my eyes go,

and I start to reach out into you as well,

and say to you--

SPENSER: Let's clarify what's going on here,

because you're both rolling six dice.

MARISHA: (laughs) ZEHRA: Yes.

SPENSER: I want to make that as dramatic as possible for us.

PVP rolls aren't canon to the system.

We are going out-- we're bucking the system right now.

BRENNAN: We're off-road. ZEHRA: What does PVP mean?

ALL: Player versus player.

ZEHRA: Got it.

SPENSER: What I will say is-- MARISHA: (laughs)

SPENSER:-- that on a success from both of you,

that both of you-- MARISHA: (laughs)

SPENSER:-- will only take, what was it?

Both of you will successfully

get out of each other's way, right?

That is how we're going to rule it. That it's a shot,

but both of you miss. ZEHRA: Yeah.

SPENSER: If somebody gets a six, and somebody gets a four to five,

then we're going to say that person does not take any marks,

but the four to five person does take marks.

BRENNAN: Got you. SPENSER: Okay?

Two four to fives, you'll both take some marks.

Two failures, both of you will take a lot of marks.

Cool, is that fair? TRAVIS: Oh man, and this is some!

ZEHRA: Yes. SPENSER: Okay, okay, great.

TRAVIS: Whoo-hoo-hoo! BRENNAN: "Candela Obscura,"

buy it at your local game store.

(laughter)

LUIS: Fun times are had.

MARISHA: Friendly local game store. LUIS: Good times.

SPENSER: All right. MARISHA: Let's go.

BRENNAN: Six. LUIS: I see a six.

ZEHRA: (shouts) Six! With the gilded! LUIS: With the gilded.

SPENSER: Both sixes? BRENNAN: Both sixes.

SPENSER: Okay. ZEHRA: Ah.

SPENSER: Describe for me what happens here.

LUIS: You get-- You get-- I can't talk-- TRAVIS: Wow, wow!

LUIS: But you did that thing-- ZEHRA: What do I get back?

LUIS: You get a Nerve. You get a drive back.

ZEHRA: Oh, I get a Nerve! I get a Nerve!

LUIS: A drive back, a drive back.

TRAVIS: Wow! ZEHRA: Okay.

SPENSER: Describe for me what happens here,

from both of you. You can collaborate on this.

TRAVIS: The doc decides to do harm. ZEHRA: I feel steady,

with my pistol, I feel support behind me

from not only dear Marion, but the goodwill

of my entire Circle as I

(shouts) face this thing

(louder shouts) that has taken my friend!

And I shoot, steady as ever, at its head.

SPENSER: We see Sean, the Sean that we've always known

on full display here.

BRENNAN: As I see the gun coming up--

Because I did nothing to indicate it.

It's pure instinct that's making the doctor fire at me.

A smile of the most genuine pride you have ever seen

crosses my face as I fire,

uncharacteristically going over your shoulder,

and happily leap into the shadows.

(mirthfully) Hoo-hoo-hoo! TRAVIS: (laughs) Oh no!

BRENNAN: With the six, you disappear

into one of the other aisleways here.

You see this happen. You are running towards Sean here,

towards this whole event happening here.

MARISHA: Yeah. SPENSER: As it's happening,

you're seeing that there are these creatures

headed straight for you,

a giant beast.

MARISHA: Do I see him fire towards Jean?

SPENSER: For sure. ZEHRA: (quick exhale)

MARISHA: Okay.

I'm going to walk up-- SPENSER: It's all on the table now.

MARISHA:-- seeing the general direction of where he went.

Sean?

Sean, please, I just want to talk to you.

TRAVIS: I run up behind Auntie Bee.

SPENSER: Mm-hmm. TRAVIS: Pistol

reloaded over her shoulder.

What are you doing?

MARISHA: Please let me--

TRAVIS: You saw the same thing I did, that's not Sean.

MARISHA: I know.

I know.

Trust me.

TRAVIS: I-- MARISHA: Listen to me.

TRAVIS: Go ahead.

MARISHA: Get Jean to the rift.

Let me handle Sean.

Get her safely to the rift.

TRAVIS: Whatever you say, Auntie Bee.

I'll back up, scanning.

I'll catch up with these two.

SPENSER: Yeah.

We see you shooting creatures to get through.

They're, (creatures falling) overturn,

we don't need to roll for it. TRAVIS: Yeah.

SPENSER: We know you've done this before, you clear rooms,

we see you taking them out one by one,

making your way back over to the two of them.

As you're running towards them,

you see Jean turning to face Sean.

You watch that whole exchange happen here.

And you,

you're looking--

Still, this thing is keeping its eyes on you,

this creature.

You see its hand come out, leaving behind the child.

LUIS: Hmm. SPENSER: Realizing

who you are, what you are,

takes its hand-- LUIS: I back up.

SPENSER:-- as it starts to cage.

LUIS: Mm-mm. But as it's doing that--

BRENNAN: Mm-mm! MARISHA: Mm-mm!

SPENSER: Mm-mm! LUIS: (laughs)

As it's doing that, I-- BRENNAN: I'm so glad you're alive.

I didn't want--

SPENSER: (laughs) MARISHA: (laughs)

LUIS: That will get her. ZEHRA: Okay, high five.

LUIS: Yeah, holy shit. BRENNAN: Theater!

(laughter)

LUIS: Oh.

Oh, you know what?

TRAVIS: Free the kids!

MARISHA, ZEHRA, and BRENNAN: (laugh)

LUIS: As it's doing that, I see it happen--

SPENSER: Yeah. LUIS: I maintain eye contact

with the kid. SPENSER: Yeah.

LUIS: Now, why couldn't you take the whole thing back then?

I was just a kid, what stopped you

from taking the whole thing?

SPENSER: As the hand comes over the top,

you hear sound emanating from the hand itself,

almost as if it's in your mind.

You hear, "Because I needed you."

"You survived.

"That was you.

"You are strong.

"Most die.

"You didn't."

LUIS: And you need me empty, right?

If I still had my soul,

you couldn't do whatever it is that you need from me?

SPENSER: Smiles. You see her head tilts.

LUIS: Okay.

Okay, okay.

I'm looking around, I'm looking at what's happening.

I caught this because I gave her-- SPENSER: Yeah.

LUIS: I saw what's happening.

Sean, what's going on with you?

SPENSER: Sean has ducked around the corner,

you can't see Sean, but you can call out to him.

LUIS: Yeah, I just call that out.

ZEHRA: It's not Sean.

LUIS: So Sean's gone, huh?

I'm looking at all of this,

and I don't know what else to do.

But I don't like that this thing took my soul.

SPENSER: Mm-hmm.

So I'm going to do something.

I am going to do--

It's called Not Again.

SPENSER: Okay. MARISHA: (gasps)

BRENNAN: What--

MARISHA: What, what? LUIS: Once per assignment,

I can have an automatic full success on an action.

ZEHRA: (excited squeak) LUIS: When I do,

I get a scar.

ZEHRA: Oh! MARISHA: (gasps)

LUIS: I take it as if I've had the scar all along.

ZEHRA: Oh? LUIS: And now

I'm supposed to tell my circle

how I got it, and why the lesson I learned

is helping me succeed here. (laughs)

SPENSER: So.

MARISHA: Oh my god. ZEHRA: Why--

SPENSER: This creature reaches out

and puts its hands over the top of you.

You feel a connection with it, and it says,

"I'll make you feel whole again."

LUIS: I already feel whole.

I had to learn to do that

after everything you took from me.

What you tried to do didn't work.

I feel whole.

I love what I'm becoming.

I take my hand,

and I reach into the space right in front of me--

SPENSER: Mm-hmm.

LUIS:-- and I tear another rift--

ZEHRA: (gasps)

LUIS:-- into the past.

SPENSER: Mm.

We see a rift open up as you do this.

What are you doing? LUIS: The scar that

I've had on me all along. SPENSER: Mm-hmm.

LUIS: I go back to the garden

in front of my parents' house,

moments before this thing took my soul from me.

SPENSER: Mm-hmm.

LUIS: I see a seven-year-old version of me sleepwalking,

walking towards this portal.

There's the garden,

the starry night petunias

are in the background.

I look at my seven-year-old self.

SPENSER: Mm-hmm.

LUIS: I say to him as he starts to wake up:

I'm so sorry for doing this to you.

And I'm reaching into him,

and I'm taking his soul out of him--

TRAVIS: (gasps) LUIS: Before this

motherfucker shows up and takes it from him.

MARISHA: Whoa!

SPENSER: We see a rift in space as you reach in and take it.

A hand, just like you felt.

The rift in space closes in front of you.

You're holding a soul in your hand now.

We get a shot of your seven-year-old self.

The scar already on your chest.

The thread being pulled, being plucked,

but you already being empty,

and you hear, "A vessel."

We cut back to you in the moment.

You are holding your soul in your hands.

LUIS: I'm remembering all that now.

SPENSER: Mm-hmm. LUIS: Oh my god,

I did this. SPENSER: Mm-hmm.

LUIS: I did this.

SPENSER: It was your hand that was reaching through.

It was your hand that was taking your soul.

LUIS: And that's why when she showed up,

she showed up to an empty vessel.

SPENSER: Mm-hmm. MARISHA: Wibbly, wobbly,

timey wimey.

SPENSER: That soul in your hand

spins.

She looks confused, scared.

But that is your fourth scar.

LUIS: Or it's my first scar.

SPENSER: Or it's your first.

BRENNAN: (gasps)

SPENSER: And we watch your hand drop,

and your whole body drop,

and your soul float up.

And you're free.

You did have a soul.

It's always been right here.

LUIS: Do I have any agency at all?

SPENSER: You watch from above

as everything is happening here.

LUIS: Can I move?

SPENSER: Make a Move roll for me.

In these last moments, as your soul is drifting up.

BRENNAN: If this this--

This,

zip. Sean over here.

If this is-- SPENSER: Uh-huh?

BRENNAN: Marion's first scar. SPENSER: Yeah.

BRENNAN: In other words, if it says you have a success

on anything that you're doing.

But mechanically, we didn't decide

what was happening in-game, correct?

So, would it be possible for the roll that Marion

has an automatic success on to erase his first scar

off his character sheet,

thereby not giving him his fourth scar?

It would just be giving him his first of three.

ZEHRA: Yeah. LUIS: This is my first

of three scars, is what I said.

TRAVIS: Complete his third--

His first of three. ZEHRA: Yeah.

MARISHA: GM on player on GM bargaining, let's go!

ZEHRA: Care Bears Stare us-- MARISHA: Care Bare Stare!

SPENSER: You get a full success, correct?

LUIS: I get a full success on what I'm about to do,

but I haven't decided what I'm about to do yet.

TRAVIS: This is some paradox shit.

MARISHA: Yeah, a hundred percent.

SPENSER: Uh-huh.

LUIS: It's as if I've had this scar all along.

MARISHA: This is why people hate time loops.

LUIS: I tell the Circle how I got it.

I just showed everybody how I got it.

SPENSER: Uh-huh.

LUIS: And it was the scar that I had all along.

ZEHRA: Yeah.

That's three to me, baby.

SPENSER: That's three to me.

BRENNAN: I mean, you get out a calculator,

but that sounds like three scars!

(laughter)

SPENSER: We see your soul floating here,

floating up and away.

You're watching from above as she yells, "No!"

Thrashing at the rift here.

She looks for anybody else.

She crashes a hand down.

As she reaches her body forward, you see (tearing).

The side of her face starts to sizzle

as the Flare protects her from making an incursion here

on her own.

ZEHRA: Mm.

SPENSER: She needs a vessel.

She's looking around to all of you.

Distracted by that,

we watch as that soul floating above

starts to drift back down.

MARISHA: (laughs)

SPENSER: You feel yourself take a breath.

(gasps) (thumping)

That is your third scar.

ZEHRA: Oh! BRENNAN: Yeah, baby!

MARISHA: Whoa, crazy! TRAVIS: Also, it's your first.

BRENNAN: That is the coolest piece of magick--

That is the coolest piece of collaborative fucking improv.

TRAVIS: You just "Time Copped," expecto patronumed, that was so--

MARISHA: Holy fuck, that was the craziest shit.

TRAVIS: Time wrinkle. BRENNAN: You can't fire me,

I quit! SPENSER: I'm going to fire--

(laughter)

LUIS: (groans) I feel like I need a break.

(sobs) MARISHA: Oh!

BRENNAN: (long exhale) LUIS: Oh.

SPENSER: This thing is thrashing,

trying to find-- MARISHA: Wow!

SPENSER:-- where it's going to get its next soul from.

You see it set its sights on you,

and then on you, evaluating how much it would take.

What do you all want to do in this moment of thrashing?

ZEHRA: While it's distracted, I want to focus on this rift

and see if there's a way that I can repair it.

MARISHA: Come on, girl! SPENSER: Yeah.

BRENNAN: (drumming)

MARISHA: Come on! SPENSER: You steady yourself here.

TRAVIS: I'm just on defense

and counting the shrinking number of bullets in my pocket.

SPENSER: We see you shooting at the creatures.

We see you fighting them off, Auntie Bee as well.

We see Sean here hiding in the corner.

MARISHA: I'm still calm.

I'm looking for Sean. TRAVIS: (disembodied voices)

SPENSER: We see you standing in front of the rift.

Marion, dead, maybe, in front of you.

You know that repairing this is going to cost you--

TRAVIS: (laughs) ZEHRA: Yes.

SPENSER:-- some bleed here.

ZEHRA: Some bleed? SPENSER: But you might be able

to close it. ZEHRA: How much bleed?

SPENSER: Depends on the roll. ZEHRA: (sighs)

MARISHA: Are you trying to close it?

ZEHRA: I would like to try to close it.

MARISHA: How many dice you rolling?

ZEHRA: I am rolling two on-- Was it Focus?

SPENSER: It's going to be Sense. ZEHRA: Sense! Great!

BRENNAN and TRAVIS: (laugh) ZEHRA: That's three,

and one is gilded.

Then I'm adding, I'm going to burn my last Intuition.

LUIS: Your last drive. MARISHA: I--

ZEHRA: My last drive.

MARISHA: How many is that? ZEHRA: Four.

MARISHA: I'll burn my last Intuition drive--

ZEHRA: Thank you.

MARISHA:-- to support this as I--

ZEHRA: You're the one who told me

it's only surgery. MARISHA: As I say:

You've got to do this. SPENSER: Yep. Uh-huh.

MARISHA: It's only surgery.

TRAVIS: You want a sixth die?

ZEHRA: Yes! TRAVIS: Take it.

ZEHRA: Thank you. SPENSER: As that's happening,

we turn to you having a conversation with Sean.

Yeah? As we see you standing

in front of the rift. TRAVIS: That's true.

SPENSER: Don't roll yet.

You are standing there trying to--

MARISHA: So much is happening at once!

LUIS: (laughs)

TRAVIS: You wanted to go talk to Dahmer? MARISHA: Fucking time.

TRAVIS: Go talk to Dahmer.

MARISHA: I see where he is.

SPENSER: Other side of the shelves here,

of the vault here.

MARISHA: Sean.

BRENNAN: I loom out of the shadows.

Auntie Bee.

MARISHA: Focus your rage towards me.

BRENNAN: You got it.

MARISHA: I know-- wait.

I know you have to do this, and you know what?

I agree.

I support this, and you know,

I think it's my time.

I miss good old Blue so much.

I'm so tired.

I just want to be with him again.

And I can't think

of a more honorable person,

to send me to see him.

Can--

can I just get one more hug from my boy

before you do this, please?

You're like a son to me.

BRENNAN: I think this whole time, my understanding is

that I must pursue,

unflinchingly and unfailingly,

I must.

So I think this whole time you're talking to me

you just see me approaching you

down a long aisle of cells.

I cannot...

I cannot honor this emotion and maintain

what I need to maintain, so I'm just walking towards you.

MARISHA: Just one last

gentle touch.

BRENNAN: (footsteps)

I'm going to look at you and say:

She's at Marion's. Make sure she doesn't wash the ball.

And I'm going to crack the butt of the rifle

over her head.

TRAVIS: (gasps)

SPENSER: Are you trying to avoid this?

MARISHA: Does he get close enough to me?

What I had, hidden in between

my forefinger and middle finger,

is my hand weapon, my blade,

that I keep on me. ZEHRA: Yes.

MARISHA: So as I see that he's about to lunge,

I want to take the knife and jab it in his neck.

ZEHRA: Yes!

SPENSER: It's another PVP.

MARISHA: Yeah. ZEHRA: (gasps)

BRENNAN: You got it. SPENSER: It's going to be Control.

MARISHA: All right.

SPENSER: It's going to be Strike,

Strike or Control, either one would work

for me that it's being, you're trying to be sneaky with it,

or actually, what?

Hide is actually what it might be.

You are trying to do this without being,

you're trying to deceive him.

You're trying to do this without being seen.

TRAVIS: You said, "She's at Marion's,

"don't let her wash the ball"?

MARISHA: She's at Marion's?

Don't let her--

TRAVIS: Watch?

MARISHA: Is that--? ZEHRA: Oh!

Don't let her watch--?

TRAVIS: Square up. BRENNAN: Wash.

TRAVIS: Wash the ball. ZEHRA: Wash.

LUIS: The ball?

BRENNAN: I'm going to-- MARISHA: The baseball?

BRENNAN: I'm going to burn a bunch of drive.

I'm going to burn that one, actually.

MARISHA: I Saw This Coming.

ZEHRA: I'm going to give you my last Nerve.

MARISHA: I'll take it.

SPENSER: So here's what we're going to say.

MARISHA: Then I have a Train die.

SPENSER: We're going to reverse the results this time.

ZEHRA: (rewind noise)

SPENSER: Meaning that on sixes, both of you

take down each other.

BRENNAN: Cool.

SPENSER: On four to fives, it's less marks.

TRAVIS: I'm here for it. SPENSER: On fails--

TRAVIS: Fucking gravity's weird, might as well.

ZEHRA: (laughs)

SPENSER: On fails, you guys don't hit each other.

BRENNAN: Cool. MARISHA: This as well.

I'm burning everything I have.

SPENSER: Because you're both going for it,

we see the swing, we see the knife coming.

MARISHA: (laughs)

BRENNAN: Six. TRAVIS: Oh!

MARISHA: Triple sixes.

(cheering)

TRAVIS: (laughs)

LUIS: Auntie Bee!

ZEHRA: Came from hell! TRAVIS: What we averted.

SPENSER: As you go to strike Auntie Bee

with the butt of the gun,

you find a knife

in the side of your neck.

Take four body marks here.

ZEHRA: (gasps)

SPENSER: So you feel the blood

run down your neck.

As you go to swing forward

you know that you can hit her here.

You know that you will, do you continue your strike?

BRENNAN: I have to keep my end of the bargain, right?

SPENSER: You do.

BRENNAN: I keep my end of the bargain.

No flinching from anything.

Complete commitment from every moment.

MARISHA: Auntie Bee is thinking,

in these final moments

what she told Jean. Be mentally prepared

if he's too far gone.

SPENSER: You feel a crack on the side of your head.

Three body marks.

MARISHA: That's my first scar.

ZEHRA and LUIS: Oh! SPENSER: We see you drop,

bleeding on the ground.

We sit with Sean, watching Auntie Bee laying unconscious,

fading in and out here.

His final moments, what do we see?

BRENNAN: I'm so happy.

I'm so happy.

I can feel the life going out of me,

going out of my neck.

I kept my end of the deal.

SPENSER: You see your mother at Marion's.

Safe.

BRENNAN: I think in her hands she's got a baseball

and a slip of paper saying that her diagnosis was wrong.

SPENSER: We see her make eye contact

with you in this moment.

BRENNAN: Hey, Ma.

I'm sorry.

I know you wanted me to come home,

but the truth is,

I'm not that different from Tony and Jimmy.

What happened out there,

I don't think I could ever come home.

SPENSER: You see tears well up in her eyes.

BRENNAN: There's better people than me,

and there's people that'll make sure you're happy.

I don't know how to be around things

that are soft and growing anymore.

I'm not a gardener.

The world doesn't need me,

and it's better for me to go away.

I hope things stay green and growing for you.

I know Marion needs a lot of love.

I know Auntie Bee will keep you company.

I know Doc will look after you if you get sick.

And I know LT will look after you

if anyone else comes to try to throw you in the trash again.

I'm really sorry.

I don't know where I'm going,

but if I find Tony and Jimmy, I'll tell them you said hi.

SPENSER: She smiles and says,

"My boys,

"back together again.

"I can see you now,

"running in the field

"playing soldier."

BRENNAN: No. No, Ma.

I don't want to play soldier no more.

I love you.

SPENSER: And you're gone.

We see the creature thrashing,

looking for any source,

another vessel somewhere here looking between you

and you, looking at this one dropped on the ground

and you feel a pull.

MARISHA: I'm unconscious, right?

SPENSER: You are. MARISHA: Just took a scar.

SPENSER: You watch as your soul rises out of your body.

You are the soul and you are the body,

and you watch simultaneously in both

as a pulse.

We see the creature, the Mother,

pulling at that thread

with its fingers, trying to make another one,

hoping, hoping it can weave it right,

wanting to be with its son, wanting to be out here,

stuck.

All of you watch

as that soul starts to rise out of Auntie Bee

What do you all want to do?

LUIS: Am I awake now, too?

SPENSER: You're up. LUIS: Okay.

Go ahead. ZEHRA: I'm at the rift.

SPENSER: You're at the rift.

ZEHRA: If I close this rift, will it stop this creature?

SPENSER: That's what you presume. LUIS: Maybe.

ZEHRA: That's what we presume.

I have to try to mend the rift.

SPENSER: I will warn you that any attempt to close the rift

here will cause you bleed.

But yes, that is what you understand to be true.

We see you stand before it,

your hands moving with precision as they always do.

You start to stitch.

It realizes what's happening,

realize it needs to quicken its work.

Its thread is between its fingers,

as it's trying to weave quicker than you're able to,

trying to stitch faster than you can,

pull the soul towards it.

We see Auntie Bee's body start to rise up off the ground.

Her soul being pulled towards her,

her body following shortly.

It's pulling her in.

What do you want to do here?

LUIS: I feel like my soul is still like a ball

that I'm holding, right?

SPENSER: You see it your chest,

spinning, moving.

LUIS: I'm in a cage.

Am I still in a cage?

SPENSER: You're not, it's lifted off

and it's now using its fingers to pull this soul

of Auntie Bee towards you.

It thinks that you are dead.

It thinks you got, it thinks you died

and got rid of, its vessel is gone,

that's why it's going after her.

LUIS: Ah, so my understanding is

that it won't go after a corpse.

SPENSER: Correct.

LUIS: It needs a living vessel.

SPENSER: Mm-hmm.

LUIS: Okay. SPENSER: Correct.

That's why it was after you.

LUIS: Okay.

I'm going to start to move towards the rift.

I'm going to help you close it.

ZEHRA: I think back to what you showed me,

the memory of my father standing over you

with the pendulum, me, the girl with the bowl,

and I remember you showing me the thread coming

from the pendulum into your heart,

into your body, going through me.

I am, upon remembering this thread

that connects all of these disparate pieces,

and I see this thread

of the creature pulling Auntie Bee's soul.

I'm wondering is there any way I can strengthen

the thread I am using to connect this rift

with the creature's own thread,

taking it into me, and through me,

and through my hands.

SPENSER: That sounds like a Sense roll to me.

LUIS: You feel a hand on your back,

as I close my eyes and I'm going to give you a drive.

SPENSER: You're attempting to strengthen the thread.

ZEHRA: Strengthen our thread, yes.

So this is the original stitching roll.

SPENSER: Exactly, so what I will say is

you feel that thread go into you,

you feel it emboldened.

LUIS: Do I sense that you are using this to close the rift?

Is that-- SPENSER: Yeah.

LUIS: Okay, great.

Then yeah, I give you a drive.

ZEHRA: Yes, yes, yes, yes, I have--

SPENSER: Have as many dice as you can.

ZEHRA: I have six.

SPENSER: This is life or death for you,

for you here, no,

for you here, actually.

This is life or death for you for sure.

TRAVIS: I got a gun.

(laughter)

BRENNAN: Here we go. MARISHA: (laughs)

ZEHRA: It's just surgery.

MARISHA: Come on! ZEHRA: Six!

SPENSER: That's a six! BRENNAN and LUIS: Yes!

ZEHRA: And all the rest are fours.

SPENSER: Wow. LUIS: We got to get something

for that, no? SPENSER: No.

TRAVIS and MARISHA: (laugh)

SPENSER: So. BRENNAN: Shortly.

LUIS: (laughs)

SPENSER: Here's what happens.

The rift starts to stitch closed.

Creature fearing

it's running out of time,

drops the thread, (whooshes)

the soul comes flying back into you, Auntie Bee.

You awaken with a start,

feeling your soul drop back into you.

It grabs at the stitches

and starts to pull at the suture

as though the scar is being reopened.

You know, you've seen soldiers do this

when they're afraid they're ripping

their stitches back open,

terrified of what's happening.

You're watching that viscera within.

But then you feel the pendulum in your pocket,

you feel the hand on your shoulder,

you feel the thread through your heart.

It strengthens.

You know, with that six you're going to do it.

But you also know that we established

it's going to take bleed.

This is the largest rift you've ever done this with.

It's going to be three bleed.

Do you take that?

ZEHRA: I take it.

SPENSER: We see the pulsing,

we feel the pulsing in your head.

You see this thing tearing at the rift,

trying to open it as you're trying to close it.

We see you stitching the needle and thread.

Its fingers are getting caught in the stitching

almost like a person who gets their fingers

underneath a sewing machine.

You see the needle going in and out of its fingers.

Its not able to keep hold anymore.

The rift

(whooshing) seals,

and slowly it fades,

a couple of fingers left falling to the ground.

The astrolabe stopped, but the rift closed.

ZEHRA: As I fade into whatever is next,

I murmur:

Now that was my finest work.

LUIS: I'm doing something.

SPENSER: You see Jean drop.

LUIS: I look back and forth between my dead best friend

and this woman that I've fallen in love with

and I haven't taken my action yet.

That gives me an automatic success

because you haven't had me roll anything.

SPENSER: Your success was getting,

was doing the scar. LUIS: Was getting--?

SPENSER: Let's do this. LUIS: Either way,

I have this soul of mine that's here.

SPENSER: Mm-hmm.

LUIS: And I know that

I've lived with it tethered somewhere else.

So I'm going to take it-- ZEHRA: No.

LUIS:-- and I

pull it out,

and I'm putting it inside of her.

ZEHRA: No.

SPENSER: Make a Sense roll for me.

See if you can bring her back.

We see you hold it in your hand,

it's pulsing, you feel yourself empty again.

You start to fade, starting, your eyes flitting,

you're starting to go, but you press it against her.

LUIS: I take a bleed from this, so I can get an extra die.

Is it gilded? SPENSER: It's gilded.

LUIS: All right, okay, okay, okay.

I'm going to use a resistance.

My highest roll is a four,

and I'm not satisfied with that.

So I lose that.

Oh yeah, I lose that, because I had to, yeah, fuck.

ZEHRA: No!

She wouldn't want you to do this.

LUIS: Five, on my gilded die.

SPENSER: You pull your soul out.

You feel your body starting to fade.

In the last moments of your life, describe for me

how you put that soul in Jean.

LUIS: Hmm.

I'm holding her and

I'm remembering waking up in her arms

the first time from when after I was injured in the war,

and seeing someone

not regard me in any weird way.

And I'll never forget the way

that her hand felt on my chest,

and the good that she's done,

and the people that she's fixed.

And as I

place it gently right into her chest,

I see flashes of

the life I know

somewhere out there I would have with her.

You just hear in your head:

The past doesn't matter.

It's what got you to who you are.

What matters more than the past,

is all the different possible futures that you can have.

And you see in your head like a movie,

a collage of us together,

getting older, having kids,

and it's beautiful.

ZEHRA: (breathes shakily)

LUIS: Live as big as you can,

maybe live for two.

SPENSER: We feel you pulled away.

As that happens, you come to Jean,

and you look down,

and you have a starburst scar

across your chest.

All here is quiet.

Just a moment.

We pull up, looking down on the archives here.

The vault, rows, and rows, and rows

of people just like Allison,

of people just like Marion.

We see Sean dead on the ground.

We see Marion dead on the ground.

We see Auntie Bee down, but breathing.

You, holding off the horde of creatures

that dissipated as that rift closed.

You're left there standing with a gun,

looking at Allison,

scared in the corner, bleeding.

We land on you,

seeing the man you couldn't help.

seeing the man you couldn't help

and the man you did.

We cut out of there.

We land on Auntie Bee.

This is a couple of days later.

Where are you?

MARISHA: Good question.

That question would require an answer

to where is Nathaniel Trapp?

SPENSER: Hmm.

Nathaniel, where are you?

TRAVIS: I've changed clothes.

I've stopped by my family estate

to ensure that Lucas was in good hands.

And I'm standing in the office

in the Nine Irons,

visiting a very special lady

and making sure that a promise is kept.

MARISHA: In this time, I would've taken Sean's advice,

gone and found the note wrapped around the baseball,

delivered it to Trapp.

SPENSER: Mm-hmm.

MARISHA: As I anxiously await with a freshly laundered

pair of clothes

from Miss Peggy.

Imagine

I'm waiting on the front stoop

of the Gray,

waiting at Grayslate,

hoping for a positive verdict.

After everything, it's all she has left.

SPENSER: We see Peggy,

hand in hand with you.

She's walking down the street, free.

She has a baseball in her hand.

MARISHA: Is this a vision or is this truth?

SPENSER: At first you feel like it could only be a dream,

but it is true.

MARISHA: I tell her

there's a boy

that I think needs her.

SPENSER: She looks at you, eyes wide.

MARISHA: It's not Sean.

SPENSER: Her shoulders drop a little bit.

"Is it one of yours?

"One of the ones you take care of?"

MARISHA: I think it is now.

SPENSER: We get a shot of Lucas.

He walks over.

Runs out of your arms.

As you meet,

Lucas grabs her hand.

MARISHA: Mr. Lucas?

SPENSER: (Lucas) "Yeah?"

MARISHA: This here is Peggy.

SPENSER: "Peggy," he holds his hand out for a handshake

and she takes it.

"Do you think that I'll be able to see my mom soon?

"I miss her."

MARISHA: You know,

I think that's something your good old Auntie Bee

can work towards.

SPENSER: He smiles at you.

"Thank you, Auntie Bee."

Locks eyes with you.

We see your father behind you, watching this exchange.

You hear him, the clack, clack of his feet

mirroring the vision, flashback that we had before,

that same sound.

He puts his hand on your shoulder.

Doesn't say a word, but he squeezes it.

He waits.

Then he nods, turns away.

TRAVIS: Lucas, one day you will learn the full story

of your mother.

It's a difficult one to tell, but I can tell you this.

In the meantime,

it's up to you to write your own story.

Me and Auntie Bee will be there to help

every step of the way.

SPENSER: We get a shot of him and you

and your father behind you watching you say these words.

We see him wipe a tear from his face,

collecting himself, and continue walking.

And finally, we land on a garden.

ZEHRA: Yes.

SPENSER: Starry night petunias growing.

ZEHRA: Yeah.

SPENSER: What is Jean doing?

ZEHRA: I'm kneeling down

in this garden,

Marion's garden.

And I adjust the scarf I've tied over my head

to cover the back of it

and I look up at the sky.

It's dusk.

The first stars are starting to appear.

And I look at the petunias,

and I ever so gently snip,

take a cutting of one.

I'm going to grow this in my own garden

along with several other herbs and plants

that I learned about in my childhood

that my father found valuable.

I'm going to start a beautiful garden of my own.

SPENSER: We see you grab the flower clipping,

and as you stand up and turn to go,

we watch a single thread come out

from that starry night petunia

still growing here in the garden,

searching, weaving,

catches up with you

moves into your back, fills you.

You feel Marion there with you one last time,

as you turn to look,

but the thread is gone.

It is now living in you.

And that is where we're going to end tonight's session

and Chapter Two of Candela Obscura.

(clapping)

SPENSER: Thank you all so much.

TRAVIS: So good.

SPENSER: A wild, wild ending.

Thank you all.

I think we need to decompress after this.

(laughter) MARISHA: Woo!

SPENSER: So we'll go do that.

Make sure you take care of yourselves at home,

and we'll see you next time.