All language subtitles for Candela.Obscura.S02E03.1080p.BEAC.WEB-DL.AAC2.0.H.264-FFG_track3_[und]

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.