All language subtitles for Candela.Obscura.S04E01.1080p.BEAC.WEB-DL.AAC2.0.H.264-FFG_track3_[eng]

TALIESIN: Catastrophe lies at
the edge of the Vastchasm

for any circle daring
enough to tempt fate,

though when stakes are high,

great risk is a calculation
worth taking.

A long lost and dangerous
relic has surfaced

from the depths of time.

The assignment we've handed to
our investigators is simple:

Parley with the dealer,
recover the artifact,

and return to the Pharos.

But a circle is at its most
vulnerable when a threat

is underestimated.

And for those lucky enough
to return home,

Serenity awaits.

The Circle of
the Crimson Mirror:

Assignment #4149,

Seeking Serenity.

♪ (tense mysterious music) ♪

LIAM: To begin at
the beginning,

the sound of footfall
on stone,

shoes stepping rhythmically,

ceaselessly,

in a wavering sea

of vibrant, throbbing color.

Fuchsia,

pink, and red.

Underfoot, ahead, and above,

infinite and fluid.

The sense of deceit

and guilt.

A quickened pace as the
footsteps pick up speed

and guilt co-mingles
with fear.

Surely, they'll know.

Maybe it isn't too late.

You've always been
better than this.

Abruptly, the sound of
running comes to an end.

Only breath now.

Low, ragged,

laboring in this
blood-hued nowhere,

and where but a moment
ago there was nothing,

a face,

large and imposing,

stares in horror,

lips curled back in
fear around the gaping,

disdainful mouth,

eyes bulging in disbelief,

their gaze cast downward

to an undulating bloom

of darkening blue

and veins of deepest black.

Its shape spreads

and retracts slowly,

over and over, like lungs,

expanding and retreating

in rhythm with every breath.

A growing nebula, azure
tendrils spreading like veins,

growing fainter

the wider they expand,

ever so slowly
taking on new form,

gossamer and thin,

like an infinite
network of veins

still shifting and pulsing
with every breath.

What began as one small,
concentrated bloom,

a void has grown
larger than life,

giving rise to
the shifting outline

of a towering angel

set against an endless infinity
of throbbing coral rose.

Wings splay wide

and undulate.

A tangled network of
starry darkness

wafts from the figure's head

as it nods slowly.

The angel's wings flare wider
still, thin and transparent,

and the looming giant

bends at the waist.

Its body begins to
lose its shape,

the veins of darkness
running suddenly apart

like rivulets of
water on glass

pouring down from above

like deep, deep rain.

The rain

is falling in heavy sheets

on the deck of the
SS Dandridge,

a small yet stolid
tramp steamer

that has been
soldiering forward

through a very trying night.

The crew, exhausted from
what has already been

a rough few hours at sea,

fights on in the middle of an
absolute beast of a storm,

not nearly far enough
from the Vastchasm

as any onboard would like.

The Vastchasm, as a reminder,

is the many miles-long
wound in the Glass Sea

created almost
2,000 years ago

when unimaginable calamity
sundered the ocean,

swallowing up the once
mighty city of Oldfaire.

Any ship that draws too close

is chancing
its own destruction,

as even the heartiest of
vessels have been known

to meet an unknown demise
in its depths.

Your circle,

the Circle of the
Crimson Mirror,

has brought your current
assignment largely to a close.

Three days ago,
you set out by steamship

to rendezvous with
members of the Red Hand.

The Red Hand are
illegal traffickers

in rare objects
and artifacts,

not always but often steeped
in the flow of magick.

You know this because it
is your business to know.

You are members of Candela
Obscura, a centuries-old,

clandestine network of
paranormal investigators

spread across the nation
of Hale and beyond.

After your quartet caught
wind of this information,

and after informing
your handler,

Lightkeeper Zora Manning,

contact between the Red Hand
and Candela Obscura was made.

Candela decided the juice
was worth the squeeze,

and the Red Hand's
asking price was met.

Your task was simple.

Travel by ship to meet the
Red Hand on their ship,

deliver the payment,

secure the remains of
Atia Griffia,

and return home.

You see, several weeks ago,
a man named Aroha Tama-Kai,

a long time power
player in the Red Hand,

was purported to have
come into possession

of the partial remains
of Atia Griffia,

an historical figure
known to scholars

of the shrouded history
of ancient Oldfaire,

one of the most powerful
alchemists of her era,

serving for a time
at the right hand

of Emperor Calinus himself,

the last great ruler
of Oldfaire

before that once mighty empire
was swallowed by the sea.

These bones,

Griffia's bones, you learned,

radiate with an unprecedented
level of bleed,

the corruptive force of
magick in this world.

Far too dangerous a thing
to leave in idle hands.

Deep at sea, the exchange was
made, the bones procured.

All that was left was
to return to Newfaire.

But the storm.

This storm

darkened the skies
between you and home.

What started in the morning
as a brooding cloud

on the horizon has blossomed
into a raging squall

that has you with your
backs to the Vastchasm,

white knuckling
every passing minute.

A crack of thunder
rumbles down from above,

and subsequent flashes of
lightning briefly illuminate

the clouds as the skeleton
crew of this tiny ship

stressfully yell to one another
over the roar of the waves.

You are beginning to wonder if
you will survive this night.

Everyone, take a mark
in Brain. That's right.

None of you have said a word,
and I am coming for you.

Malcolm,
we'll begin with you.

Only minutes before, a
score of barrel drums

secured near the bow
burst from their binding

and began to careen
dangerously around the deck,

slamming into
the battened hatches

sealing off the cargo hold.

Standing in the doorway
of your cabin,

which is open to
the chaos of the deck,

you watch as a man
and woman on the crew

try desperately to
drive these barrels

back into the corner where
they belong and strap them in.

A heavy torrent of
water crashes up

over the starboard side
of the ship,

and this man,
who you know as Sunny,

slides clear across the
deck and is slammed

into the opposing wall,
crushed by this steel barrel.

In this moment, you stand
looking out on the chaos.

Tell us who we see and what
you are doing in this moment.

IMARI: I'm a soldier that's used
to land battle, not sea battle,

so right now I'm steadying
myself, getting acclimated.

I see people scrambling
around. I see Sunny pinned.

To the dismay of everyone
else on the starboard bow,

rushing to his aid.

Sunny's screaming
in pain, agony,

and I think I ought
to assist him.

LIAM: The woman, her name is
Gabi, is crossing across to him,

trying to get through
the slosh of water

that is on the deck,
screaming for help, anything.

Do you run out?

IMARI: I run out, and I
run out to assist Gabi.

LIAM: Okay.
IMARI: Immediately.

LIAM: There are seven or
eight of these steel barrels,

and his leg looks like
it has been crushed

against the wall of the ship.

They were strapped against
the far end of it.

Are we going to try
to pull him out,

drag these barrels
across the way?

What's your action here?

IMARI: To drag the barrels
would be pointless.

It's too much ruckus in
the ocean. We're unsteady.

My main objective now is
to make sure Sunny's free,

make sure we get
aid to his leg

and help Gabi,
resolve this mission.

LIAM: Do me a favor and give me
our first roll of the night.

Give me, take the Move
action to get through

the mess of water on
the deck of the ship

and reach this man in dire
need of your assistance.

IMARI: Got a Candela.

LIAM: You got a Candela?
AIMEE: Yeah!

LIAM: You grip the side wall

and pull yourself
all the way up

using a body toned

from years of training
and battle

and make your way 20 feet
forward to this guy

and grab your hand
onto the barrel

and drag it out of the way.

You can see that somehow,
a sliver of wood

has lodged itself deep
into this man's leg,

and his left arm
looks badly crushed.

"Someone get me--

"I have to get off the deck!"

IMARI: Sunny, I want
you to listen to me.

Listen. You're in
shock right now.

What I'm about to do is
going to hurt you immensely,

but we have to move you in,

we have to get you cover.
LIAM: "No, no, no!"

IMARI: We have to
do it, Sunny.

Gabi, I need you to hold,

is there anything you can put
in Sunny's mouth right now?

Is there anything
you can find?

LIAM: There are slivers
and chunks of wood

from the actual
wall of the ship

that are on the ground
in the water.

She reaches in, her arm
disappears from view,

and she pulls up several
broken pieces of wood

from the deck of the
ship and the wall.

IMARI: Put that in his mouth.

We're about to
move him right now.

He's going to need to
chomp down on this.

We're going to move him
in one, two, three!

LIAM: She shoves the
stick into his mouth.

He begins to "(screams)"
in extreme pain

as you guys
begin to move him.

IMARI: You're doing
so good, Sunny.

Bear with-- Stay with me,
Sunny. We're going to go--

We're going to get you
covered right now.

LIAM: You begin dragging him
towards the deckhouse of the ship,

which is where Candela's
cabin is onboard,

as well as the helm,

which is on the second
floor of the deckhouse.

Pause there.

In that moment, Leo,
you are peering

out of a round porthole window
inside that selfsame cabin.

You just watched as
Malcolm ran off

into the hell storm outside,
and all you can think about

in this second is
how long ago

last night's fucking cocktails
on the deck seem to you.

There are charts, maps,
your belongings,

bottles of perfectly good gin

scrambling everywhere off
the table in this room.

Who do I see in this moment,
and what is going on?

TALIESIN: Leo is older,
though well put together.

I'll say early 40s and
lie a little bit.

He is currently wrapped in
a very, very expensive robe

that is very warm, with
a little bit of a scarf,

because we are out at sea.

I do not have the constitution
for this sort of travel.

This is really inappropriate.

He is doing his best to
hold himself together,

but is appreciating
that we are away

from the weather
and the elements

but close enough to
a possible life raft

that we can get out,

and you're ridiculous!
LIAM: You see Malcolm coming towards you.

TALIESIN: I am going to
hold the door

and wait for
you to get close enough,

and then I'm going to
flail it open,

and then close it
as quickly as possible.

LIAM: Sure,
you're pushing now

against water that is
streaming into your cabin.

Why don't you make a--

We'll call this
a Control roll.

TALIESIN: Delightful.

I'm going to spend a drive,
because this is embarrassing.

Here we go.

LIAM: You are going to try
to wedge the door open.

TALIESIN: If I have three,

I don't have to take
the lowest, correct?

If I use a drive.
LIAM: If you use a drive?

TALIESIN: Oh, I get one.

I'm so sorry,
I did that wrong, thank you.

Five.
LIAM: It's a single roll?

TALIESIN: Yes.
LIAM: Okay.

You push as much
as you're able,

and you get it
open by a foot.

Water is pouring in
from outside.

Your hand is
starting to get raw.

We are in deep autumn,
late autumn,

pushing in towards winter,
and it is freezing out here.

You hold the door open.

Malcolm, you get there
just in time to help,

grabbing your hand
on the door.

IMARI: (noises of exertion)

Pull, pull, pull!
Pull it open!

TALIESIN: I am pulling!
IMARI: Hurry, hurry!

TALIESIN: You need to push!

IMARI: Just a little bit more.
A little bit more.

Sunny, we're going
to pull you in.

LIAM: The door opens,
water gushes in,

and Sunny collapses onto
one of the beds in this room.

Gabi, who is the woman
who was outside,

comes running in as well,
and she pushes past after you

and goes to the exact
opposite corner of the room,

and she is in
a state of shock.

"Mother above, we're not
going to make it out of this!

"The Vastchasm is
a quarter mile behind!"

Upstairs, in the helm,

Edgar, you are standing with

the ship's captain
and the helmswoman.

You've been here for
the last two minutes,

not saying a word,

nobody has uttered
a single word,

as you watched
through the windows

out on the chaos of the deck,

watching waves crash
20, 30 feet high in the air

and crashing down on
the deck of this place.

You can't imagine how you're
going to survive the next hour.

All that has gone down
in the room

for the last three minutes
is tense breathing

with three frightened people
lost at sea.

Who do we see, and
what is going on in your mind?

ALEXANDER: You see a man
standing off to the side,

as out of the way
as possible,

in clothes that wear him
more than he wears them,

and he acknowledges
that he is sick,

but he is observing it
from the outside.

Rather than feeling ill,
he just acknowledges it,

and he is watching

this ocean that
he has no control over

and trying to accept
that he can't change

the situation he's in
while watching people

more skilled than he is
at this particular situation

and knowing he can't
do anything about it.

LIAM: That might've
been true moments ago,

but now you watch
as Malcolm has run out

onto the deck of the ship
in this nightmare,

grabbed an injured
crew member,

and dragged him all the way
to your quarters underneath.

You hear the screaming
through the crash of thunder

and the wind, and
now you definitely hear it.

One floor below,
you hear a woman screaming

about the Vastchasm and a man
shrieking in pain down below.

ALEXANDER: I charge
downstairs to our cabin.

LIAM: Great, make a Move roll
for you as well

as you go down the
rain-streaked steps.

ALEXANDER: Six.
LIAM: Six?

You manage to hold the railing
and make your way down,

slipping for a brief second,
but you catch yourself.

As the door
is swinging shut

behind this group of people,
you make your way in

and find a crew member on
the bed in the corner,

blood drenching the sheets.

As you assess the situation
coming over,

there is a chunk of
wood that looks to be

at least two or
three inches long

protruding from
his upper thigh--

ALEXANDER: Shit. Shit.
LIAM:-- in a very dangerous spot.

ALEXANDER: Leo,
give me my kit.

TALIESIN: I-- Oh!

ALEXANDER: Over in the
corner, over there.

TALIESIN: Right, I cannot
look at that right now!

Oh, that is a lot.
I am so sorry.

ALEXANDER: Move out of the way.
TALIESIN: Okay, very quickly.

ALEXANDER: I walk over to
examine it more closely.

LIAM: What I'm going to tell
you now is that this is

a deep wound very close
to the aorta of this man.

The artery.
Excuse me, the artery

just above the wound
in the thigh.

So dealing with it is going
to be very precarious.

If you're going
to do anything,

I'm going to say it's
a high stakes roll.

Not for you, but for Sunny.

ALEXANDER: All right.
I open up my kit.

What's your name?

LIAM: "SungJin, but
they call me Sunny."

ALEXANDER: Sunny.
A pleasure to meet you.

My name is Dr. Lycoris.
I'm here to help you.

Now, I need to to try
and be very still.

I'm going to do everything
I can to help you here,

so just lie still.

Malcolm, I need
you to hold him.

IMARI: I hold him down.
Where?

ALEXANDER: On the bed.
Keep him still

as best as you can.
IMARI: Got it. Yep.

LIAM: "It's going to
be all right, right?"

IMARI: You're going to
be just fine, Sunny.

ALEXANDER: You're going to be fine.
IMARI: You're going to be just fine.

ALEXANDER: Unfortunately,
I have to do this slowly.

IMARI: You're going
to have to be brave.

ALEXANDER: I'm going to take--
IMARI: Be brave, Sunny.

ALEXANDER:-- hold of
the piece of wood

and I'm going to
slowly remove it.

LIAM: Okay.

IMARI: Close
your eyes, Sunny.

LIAM: This will be a
Control roll for you.

ALEXANDER: Okay.

I'm going to burn a drive.

Four.
LIAM: Four.

Okay, you slowly begin to pull
at the jagged piece of wood

in his thigh,
and it splinters

and starts to tear
at the wound,

taking part of
it away with you.

It is coming out,
it's giving more resistance

than you would
care to be seeing.

ALEXANDER: Okay.

I take out a scalpel
and a pair of forceps,

put the forceps in and
open the wound slightly.

Then I'm going to
make a small cut

at the flesh that is caught

to try and remove it,
to then remove the piece.

LIAM: You start to sever away
at the man's living flesh

to widen the area
around your extraction.

Now, you do manage to
pull this piece out of him,

and the artery, you believe,
remains intact,

but it is still a deep wound,

and he is beginning
to bleed pretty heavily.

You are going to need
to bind him fast,

or you're going to lose him.
ALEXANDER: Towel!

TALIESIN: Oh! I'm going to run
to the bathroom, grab one.

Barely looking, throw--
IMARI: Hurry, Leo,

we don't have much time!
TALIESIN:-- a bunch of them

in that direction.
ALEXANDER: I tie it around

and I pull as hard as I can.

LIAM: The man's face
goes pale as a sheet

and he blacks out entirely.

ALEXANDER: That's
probably better.

IMARI: I agree.

LIAM: But for the moment,
it seems like you've got

the wound taken care of.

For the moment.

Meanwhile,

down in the belly
of the ship,

we find our cargo.

This artifact, these
bones of Atia Griffia,

rest within a relatively
small, finely wrought,

gold-lined chest,

roughly the size of
a child's coffin.

The panels of this container

are etched in
alchemical sigils

whose origins can be traced
back to the ancient world.

You have become somewhat
familiar with these

in your time in Candela.

The gold and these etchings
are what now keep

the dangerous contents
of this box from bathing you,

every man and woman
onboard the ship

in the dangerous
bleed of magick.

It's currently secured
with rope to a pallet

in the center of the cargo
hold to keep it safe.

It's here that we
find you, Grimoria,

sitting vigil over
Atia's remains.

There are two
lanterns swinging

from the ceiling in here,

casting moving shadows on you
and the room around you.

The boat rocks sickeningly
with the sea.

You are in the
belly of a whale.

Who do we find here?

AIMEE: We find an
18 year old young woman,

slight of build,
but mighty of spirit.

That being said, she's never
been on a boat before,

or ship, or anything
other than dry land,

and she's using
her entire body,

swallowing the bile that
is rising up in her throat

every 20 seconds or so,

to maybe use her
feet and her back

up against another pallet,
maybe, to keep that pallet,

without trying to touch
the box, from moving.

LIAM: The pallet is wide.
It is about--

The case itself
is quite small.

AIMEE: Yeah.
LIAM: Ropes run over it

down to metal rings on
the edges of this pallet

to keep it taut and in place.

And there is other
cargo down here.

There are barrels
and wooden crates.

You have your back pressed
against a stack of them,

and though you are small
of frame and so young,

you are beyond worry with
what is inside this chest

and are pressing with
conviction to hold it steady.

AIMEE: Can I read the language
that's on the box,

or am I just
familiar with it?

LIAM: Well, you are
familiar with it

because you have been
in possession of it

for over 24 hours
at this point.

This was provided to
you by the Red Hand,

and there is some amount of
shared overlapped knowledge

and language between Candela
and the Red Hand.

They have different
goals and purposes

with ancient artifacts and
the phenomena encountered

in this world, but they
are both experienced in it.

AIMEE: Okay.

LIAM: What has been etched
onto the outside of this box

is meant to contain--
AIMEE: Great.

LIAM:-- the
corrosive effects

of what are inside.

You hear steps above you.

Someone comes
(pounding footsteps)

down the wooden stairs
into the hold.

It is an older crewman.

He's bearded and
he's soaking wet

and has a large, flopping down
rain hat and raincoat on.

"Is everything
steady down here?"

AIMEE: I don't know. I mean,
for now, but what if it's not?

LIAM: "You've got
it tied down?"

AIMEE: More than
it already is?

LIAM: "No, no, it's good.
All right."

It's in that moment,

that you feel
the floor beneath you

buck and raise
nauseatingly high.

Leo, I will say that
because of the bloody mess

going on in the cabin,
you have moved to the window

and are staring out at sea,
because that is better

than staring at
the gore behind you.

You watch as the deck of
the ship rises into the air,

cresting over a massive
wave at sea,

and then comes slamming
terribly down into the ocean

as an oncoming wave envelops
the front of the ship.

I need everyone each in
your place on the ship

to make a Move roll
to survive--

No, this would be--

Yeah, Move, because you are
trying to hold yourself steady

and not be knocked senseless.

Get your result
and hold it for me.

IMARI: Oh! (laughs)
That's not good.

AIMEE: (laughs)

LIAM: Grimoria,
we are with you,

so we will start with you.

AIMEE: It's a four.
LIAM: That is a four.

You immediately grab onto
the crates behind you,

pressing into the pallet
in front and behind.

The man goes
stumbling forward

off of the steps,
slick shoes,

and literally splays over
you and falls, slamming.

His head strikes the corner
of the golden chest--

AIMEE: Oh no.
LIAM:-- leaving a smear

of blood along it,

and he crumples
into the ground

and begins to list sideways

as the boat lists off
to one direction.

AIMEE: God.
LIAM: Be right back.

Where are you at, Leo?
TALIESIN: Four.

LIAM: That's a four.
TALIESIN: Yes.

LIAM: Okay.

AIMEE: Oh, thank god.
LIAM: You are by the door,

staring out a window.

You manage to
grip the window,

and as the boat begins
to list to the side,

you go careening into
the side of the cabin,

but manage to crash into one
of the beds in this room.

You still slam a shoulder
into the back wall of it,

but because you
coincided with the bed,

you avoided, luckily,
something much worse.

You are now wedged into the
side of the bed and the wall,

embarrassingly, and you
hate to look awkward.

TALIESIN: I hate all
of this so much!

Please!

LIAM: Malcolm, what did you
get on your dodge roll?

IMARI: Malcolm's going to
get messed up right now.

AIMEE: No!
IMARI: Malcolm rolled a two.

LIAM: A two.

You are holding this man down
as the doctor is at work.

The entire ship lurches.

You feel yourself
rising up in the air

and are thrown with Sunny
backward across the room.

You watch as your
patient and your coworker

slow motion careen
through the air

and slam into
the opposite wall.

You smash your left arm
and shoulder hard

and feel it go numb.

You will take a body mark
and collapse to the ground

with a man bleeding
on top of you.

You see--

No, you don't.
What did you roll?

ALEXANDER: Six.
LIAM: Six!

You feel the boat start
to give beneath you,

and you immediately grab
hold of the end of the bed

and feel yourself
bucked in the air

and then slammed back
down on your feet.

But you watch the soldier,
the man who has pulled you

out of a number
of dangerous spots,

careening through the air,

a bleeding sailor
flying with him.

They crash into the wall
into a heap on the ground,

and this man, Sunny, you
watch as the wound comes open

on top of him and starts
to glut on top of him

and over Malcolm's
body as well.

IMARI: I just bought
this vest.

LIAM: (laughs)
IMARI: (laughs)

LIAM: The woman, Gabi,
starts screaming

in the corner of the room,

talking about the Vastchasm
and its proximity.

You hear someone
outside yell,

"Man overboard!"

TALIESIN: Jesus.
IMARI: Damn.

ALEXANDER: Ooh,
I can't help with that now.

I'm going to go for Sunny, try
and get him back on the bed

and try and fix
the problem at hand.

I'm sorry, my dear,
what was your name again?

Saying to the woman
who's yelling.

LIAM: "(sobbing)
What does it matter?"

ALEXANDER: Because this is
my operating room right now,

and if you're just
going to scream,

I need you to go outside.

LIAM: "(flustered sobs)

"Gabi. My name is Gabi."

ALEXANDER: Gabi,
please shut up.

I go and grab-- I get Sunny.

LIAM: You drag Sunny
off of Malcolm.

You see that your friend is
still conscious, but in pain.

You drag this man,
let's be honest,

he is starting to go
on you, up onto the bed.

Blood is pouring
out of his leg.

ALEXANDER: Is he
still unconscious?

LIAM: Yeah, he is gone.
ALEXANDER: Okay.

All right, I'm going to--

He's going to die if I just--

I take a needle and
thread out of my bag.

LIAM: Okay.

ALEXANDER: I'm going to attempt
to stitch up this wound.

IMARI: Can I make
a suggestion?

ALEXANDER: Yes.

IMARI: Do you think we might be
able to cauterize it faster

if we cauterize the whole
wound with something hot?

Do we have something hot
in here, burn the flesh?

ALEXANDER: That's not
a bad idea.

Is there a fire in
a fireplace anywhere

or anything like that?
LIAM: There is not

a fireplace in here,
not on this ship, no.

ALEXANDER: Is there
a gas stove?

LIAM: There is a gas stove in
the kitchen, which would mean

going out on deck and
traveling a little bit.

TALIESIN: I have a lighter.

I don't know if that's enough, but--
ALEXANDER: That'll work.

Give me your lighter.
TALIESIN: Okay, there.

Here, here.

ALEXANDER: I'm going to
take the lighter

and I'm going to pull a--

Is there something large
and metal in the room?

Some sort of, maybe,
something flat or something--

LIAM: There is tons
of metal in here.

There's metal chairs
in here, two of them--

ALEXANDER: Okay.
LIAM:-- which you could

drag over, and heat that.
ALEXANDER: Yeah.

All right, I will take that.
I'll take the leg of a--

I'll take one of the metal
chairs and I'm going to try

and heat one of the ends
of the legs to try and--

LIAM: Okay.
TALIESIN: Oh, Gabi,

why don't you come with me?
Let's go upstairs.

I think it's a little
more calm up there.

LIAM: "Okay. Okay."
TALIESIN: Hi, I'm Leo.

Why don't you come
right with me?

It's going to be okay.

LIAM: "It doesn't
fucking matter!"

TALIESIN: Oh no,
it feels terrible.

But I've survived worse.
Come on.

LIAM: You two head
outside into the rain.

TALIESIN: Oh, I thought
we were going--

LIAM: You have to go
outside to do that.

TALIESIN: Oh we're going
to have to-- Oh, Jesus.

AIMEE: (laughs)

TALIESIN: How far?

LIAM: Well, it is not too far

to the stairs that lead
up to the helm room,

or you can double back around
the side and head to,

there is a kitchen back
there, there is a radio room.

TALIESIN: Oh, I'm not
going alone, damn.

I thought it was
just upstairs.

LIAM: I understand.

TALIESIN: I'm going to take
her to the side, then,

and have a conversation.

LIAM: "Okay."

TALIESIN: Hi. What are you
doing on the ship, anyway?

LIAM: "Well, I mean,
I mostly help in the kitchen."

TALIESIN: Oh, do you know
the captain at all?

Have you met him?

LIAM: "Captain Devir?
Yes, I do."

TALIESIN: Devir? How much
do you know about him?

Because I did
a little research.

He's actually survived
four, four storms,

before coming around this,
he has a very good record.

I hate sailing,

and he's apparently
the safest around to go.

LIAM: "I've been with him
for about a year.

"We've never been
in a storm like this."

TALIESIN: This was
a long time ago.

Clearly, these don't
happen very often,

so there's not a lot of people
who've had quite that many.

LIAM: Could you do me a favor
and make a Sway roll?

TALIESIN: Oh, yes.

Yes.

I'm also going to
burn a drive for this.

LIAM: As this is happening,
by the way,

while you are trying
to calm this woman

and you are trying
to figure out

how you can save this man
who is on the edge,

there is screaming from
outside, multiple voices now.

Someone is yelling,
"Heath! Heath, hold on!"

There are two or three people
now on the deck screaming.

But go ahead.

TALIESIN: Six.
LIAM: Six.

You catch her into
a trance, almost.

She just is lost
in your eyes.

TALIESIN: It's going to
be absolutely fine.

Let's just talk like people.

How often do we get
to talk like people?

This is the
sort of opportunity,

we have to let loose anything
we've been holding back.

Anything you want to say,
just, it's time.

LIAM: "I kind of wish I wasn't
doing this job anymore."

TALIESIN: I think you've
had enough of this, yes.

LIAM: "I've always wanted
to work on stage."

TALIESIN: Wow, I mean,
honestly, once we get back,

there's plenty of
small restaurants,

I know a coffee shop.

You'll do a little bit
of part time work there.

You'll have time to go
to auditions, take a class.

I know somebody.

LIAM: "That sounds crazy."
TALIESIN: I know!

LIAM: Hold that thought.
TALIESIN: Yes.

LIAM: Back to
the medical situation.

ALEXANDER: So I'm heating up
the metal foot of this chair

to try and get it
so I can place it

against his skin
and cauterize this.

While I'm heating it, I say:

Malcolm, are you awake?

IMARI: Yeah.
ALEXANDER: You awake?

IMARI: Yeah, I'm good.

ALEXANDER: Can you
move your arm?

IMARI: Yeah, it's 50/50, Doc.

LIAM: Extreme stiffness,
but it is functional.

ALEXANDER: I think they
might need help outside,

if you're feeling up to it.

IMARI: I'm always feeling up
to it. You know how I am.

ALEXANDER: Yeah.

Is it hot enough?

LIAM: Yes, it begins
to glow slowly.

ALEXANDER: It's a good thing
you're unconscious.

LIAM: "(screams)"
You wake him out of it

screaming in pain
as he sits straight up.

ALEXANDER: I try and
push him back down.

LIAM: He fights against it.

You can make a
Control roll for that.

ALEXANDER: Four.
LIAM: Four.

He swats you in the face,

knocks your glasses
off your face,

but you manage
to push him down.

The metal is hot.

You can feel it getting
hotter in your own hand.

ALEXANDER: You have to stay
put for just a minute.

IMARI: Can I assist in
holding him down, too?

LIAM: Yes.

Yeah, I'm not going to
make a roll for that.

You then push him down.

He is pressed into the bed.

He's starting to sweat
visibly and hyperventilate

and passes out
under your grip.

The wound is raw
and starts to char,

and the bleeding slows,

at least enough time for you
to take some of that towel

and wrap it tight again

and pull as hard as you are
able and staunch the flow.

Whether this guy's going to
make it through the night,

you don't know, but you address
the problem in the moment.

Malcolm, you are heading
out onto the deck?

IMARI: Yes, sir.
LIAM: Okay,

you stride out
into the chaos.

There are now
three men out there,

out there screaming, looking
off the port side of the ship,

and you can just barely make
out a fourth man in the ocean.

Water is just enveloping
him and he reappears.

He doesn't have
a life jacket on.

He's got nothing.

IMARI: All right.
LIAM: He's just out at sea.

There are, on each side of
the ship, two life preservers

tied up on
the sides with rope.

He is out there.
IMARI: Okay.

I want to immediately go
to the life preservers.

I want to see if
I can get a rope

and I want to fasten the
rope to the life preserver

and try to see if I could
throw it out to him

for him to grab onto.

LIAM: Good news is it
is already tied on.

One end is tied to the ship
and the other is out there.

So you're going to try to
heave it out towards this guy?

IMARI: With my good
arm that's not struck,

because I have more power
in that arm.

LIAM: Right.

IMARI: I lasso it.

I throw it as hard as
I can out to the ocean.

LIAM: Go for it.
I need you to make a,

we're going to
call this Control.

IMARI: Control.

♪ Control ♪

AIMEE: (laughs)

IMARI: I'm going to
burn a drive on this.

LIAM: Okay.
IMARI: I want the guy to live.

Fours.

LIAM: Four?

Two fours you got?

IMARI: Two fours.
LIAM: A pair of fours, okay.

IMARI: Pair of fours.

LIAM: You get a bead on him.

He disappears for a second.

You wait 'til
he's there again

and you can see that
he is moving slowly,

getting pushed to
one direction.

So you actually aim and
throw off to the side.

The good news is it lands
about five or six feet

to the left of where
you last saw him

and he resurfaces just
a foot or two away.

His arms are just beating
the water around him

and he feels it
before he sees it

and grabs on for dear life.

The bad news is that a
second massive wave,

40 feet high,

comes along the starboard
side of this ship

and slams into
everyone on board.

IMARI: Damn.

LIAM: Make another
Move roll for me,

and it is high stakes.

IMARI: All right.

I have one drive
to burn, yeah.

TALIESIN: Yeah, just--
IMARI: I'll burn it.

TALIESIN: If I were there,
I would--

Oh, I couldn't help.

(laughter)

IMARI: (sighs)

Candela.

LIAM: Candela.
AIMEE: Nice.

LIAM: Phew.

ALEXANDER: Woo woo woo!
IMARI: (laughs)

AIMEE: You're on a roll.

LIAM: You feel it before
you see it.

You can just hear a roaring,
rising crash behind you

and you throw your hands out.

As soon as you see that thing
land and the guy grab it,

you hear your death coming

and your hands reach
out at waist level

and you feel yourself
pushed forward

and a wall of water
envelops everyone on deck.

Another person in the
crash of the wave,

you can just see them, as you
are underwater for a moment,

fly past you and off
the side of the ship.

The wave moves past
the entire boat.

We'll get to your dodge
rolls in a moment.

The entire ship lists
to one side,

to the point where you feel
like it is going to go under,

and then slowly comes back.

You are hanging on.

Two people in the drink.

Hold that thought.

All of you, please make
a dodge roll for me.

ALEXANDER: A dodge roll?

LIAM: Yes.
TALIESIN: Which one of the--

LIAM: That's under Move, yeah.
TALIESIN: Okay, Move.

LIAM: Yeah, it's just
a subset of Move.

AIMEE: I'm going to
spend a drive on that.

LIAM: Yeah.

AIMEE: So that means
I add one, right?

ALEXANDER: Yeah, yeah,
add it on after.

Just one drive.

AIMEE: Oh.

Fuck.

Three.

IMARI: Five.

LIAM: Five.

Well, you're--
ALEXANDER: No, you're fine.

TALIESIN: You're good.
IMARI: (laughs)

LIAM: Hold that luck for
later, my friend.

IMARI: Goddamn it.

LIAM: Five.
IMARI: Oh, of course I get a five.

LIAM: Four.
ALEXANDER: Four.

TALIESIN: Damn.

LIAM: Okay.

The two of you inside the
cabin with Gabi and this man

feel the entire ship
go sideways

for what feels like
an eternity.

You lift off your feet,

and this time
you're not so lucky.

You do slam into the wall,

both of you.
ALEXANDER: (groans)

LIAM: You strike
your knee and thigh,

the point of impact is there,

and it smashes into the area

where your scar
rises up your body,

which is always a little
tender, especially so now.

ALEXANDER: (sighs)

LIAM: Leo, you feel your face
strike a table

as you cartwheel
across the room.

You see stars for a moment and
land in a heap on the ground.

Gabi is unconscious
next to you.

There is a ringing
in your ears.

The strike was so hard.

So that is
one body, one body.

ALEXANDER: Oh!
Yeah, yeah, yeah.

LIAM: You got a three?

IMARI: Oh no.

LIAM: You feel the pressure
that existed between the pallet

and the crates behind you
that held you in place.

You try to push
as much as you can,

but the sudden jerk of
motion rips you free

and you watch and feel like
the ship is almost spiraling.

Except it's you.

Your head strikes a post

connected to the wooden rail--
ALEXANDER: Ooh! Shit!

LIAM:-- and stairs coming
down in here.

Your vision explodes
in white stars

and then you feel yourself
crash into the floor

and just are barely able
to perceive the floor

righting itself and rocking

down in the belly
of this beast.

Also, at this moment, there
is a mast on this steamship

that holds an auxiliary sail
in case of emergency.

Unfortunately, as this small
tidal wave strikes it

and the boat comes back,

the mast begins to bend,
crumple and break,

plummeting down into
the battened hatches.

The hatches,

which normally have a hatchwork
holes that let light down in,

but during a storm like
this, you cover and seal.

Now that cover and seal
is rocked by the mast

crashing down on top of it.

Down below, you vaguely become
aware of water pouring in

and sloshing into your face
here in the cargo hold.

But what's worse--

IMARI: Worse?

LIAM: What's worse is the
feeling in your teeth,

in the back of your skull

as you begin to feel

the corrosive effects
of bleed on your body.

As your eyes flicker
awake in the cargo hold,

you see the golden
chest, ropes split,

lying in the side of
the cargo hold, open,

and one or two bones

on the floor of
the cargo hold

pulsing with green,
alchemic light.

I'll be back.

Two men at sea.

Two not very physical
men on the ground

and you are holding on.

What the hell are we
doing in this shit storm?

TALIESIN: Oh good,
she's asleep. (sighs)

ALEXANDER: (coughs)

TALIESIN: Patient?

ALEXANDER: Yeah.

Hey,

where's Grimoria?

TALIESIN: I was just
thinking the same thing.

Ah...

Sadly, Malcolm left before
I could ask him to run down.

She was heading downstairs

last time I talked to her.
LIAM: Leo, as you stand

with your now very bruised
side of the face and eye,

you see out that
same porthole window

you were staring
out of earlier.

You can see a greenish,
sickly light

wafting up out of the hatches
on the deck of the ship

behind Malcolm, who doesn't
even see it yet, in the storm.

The sheets of rain
that are coming down

are all illuminated in
this one particular area

hovering over the hold.

You know what the fuck is up.

TALIESIN: I think we
have to get down there.

IMARI: What am I doing
right now?

Am I holding onto something?
LIAM: There is a rope

taut against
the side of the ship.

One man holding onto
the life preserver

60 feet away in the drink,

and another one attempting
to swim towards him.

I'm not normally
supposed to roll,

but I'm going to roll
for this other person

because I'm just curious,
and I don't want to decide.

Okay, he got a five.

This other crew member
begins to fight his way

through the crash of
endless waves in this storm

and grabs hold of the rope
itself, not the preserver,

but he manages to get caught

about 2/3 of the way
to his friend.

You begin to hoist.

You can make a Strike or
Control move for this.

IMARI: I'll do a Strike.
LIAM: Okay.

Because this is muscle.
This is hard work.

IMARI: Fudge.

Two.

LIAM: Two?

TALIESIN: Yeah, mm, mm.

LIAM: You begin to pull
as hard as you can,

and it does give, and
you feel the coils.

You can feel the texture of
the rope pulling over the side

of the fence as you go.

After five or six pulls,

you're getting it,
you're getting it,

and then suddenly,

(snaps)--
IMARI: Ah!

LIAM:-- you feel it
give way.

You don't let go, you just
feel a lack of resistance.

You see over the edge
about 35 feet away

that preserver
has broken free

and that man is starting to
waft away from the ship.

The boat is slowly lurching
its way away from him.

IMARI: How far away are they

from where I initially
threw the first one?

LIAM: They're about 35 or
40 feet away from the ship.

There is a ladder,
like a rope ladder,

that is affixed to
the side of the ship.

So if one of them were
able to get close,

or if you wanted to, one
can go down into the drink

or one could hopefully
swim their way back.

Or one could live
to see another day.

Their lives

are literally in your hands.
IMARI: All right, I'll go

down into the drink.

LIAM: Okay.

IMARI: I could never forgive
myself if I let them perish.

LIAM: You two start moving
towards the doorway,

thinking about Grimoria,

and seeing the extreme danger

that is lying in the
center of this ship.

You watch as Malcolm
hoists himself

over the side of the ship

and you guys
lock eyes with him

just as he's about to
lower out of sight.

ALEXANDER: (shouts) Malcolm!
TALIESIN: Grimoria, now!

IMARI: Just wish
me luck, guys.

TALIESIN: No!

LIAM: The stairs--
TALIESIN: I am screaming.

LIAM: Are you on
your way down?

Because you
don't see Grimoria.

She is down below.
TALIESIN: We are trying to get him.

LIAM: So you're yelling
to Malcolm?

TALIESIN: Yes.

LIAM: Oh, you want Malcolm?
TALIESIN: Yes.

LIAM: Okay.
IMARI: Do I see the green?

Do I see the green
in the distance?

Do I see it?

TALIESIN: Who is seeing it
behind us?

LIAM: I'll say
it is loud out here

and you can hear, "Grimoria,"

but it is masked by the
sound of the storm.

Why don't you make a Survey?

IMARI: Survey.
TALIESIN: Oh yeah.

LIAM: Just to tell me
if you understand

what you're leaving behind.

I don't want to stop you.

I'm coming for you.

IMARI: I got a four.

LIAM: Okay.

You hear Leo's voice
screaming

and it causes you to
pause just for a second

and you dart your head
around and you see him.

You see wild looks in
these two men's eyes

and you're like,
"What the hell is wrong?"

You scan the ship
and you see it.

It was behind you, about
20 feet behind you.

You don't know for
how long there is

death wafting up from below.

In that moment of indecision,
"Do I stay? Do I go?"

your grip looses, slips,
and you begin to--

IMARI: Get to Grimoria!
LIAM:-- you say--

IMARI: I'm going to tend
these two right here.

LIAM: You don't even
get that last bit out.

You fall into
the ocean below.

You lost your grip.
IMARI: Oh man.

LIAM: You plunge into
ice-cold ocean water.

You can hear
"(panicky gurgles)"

somewhere maybe
25, 30 feet away.

IMARI: Okay.

LIAM: Let's pause you there.

IMARI: Oh.

LIAM: You two,
on the deck of the ship,

at the door of your cabin,

see the hatches
glowing from below.

You haven't heard from Grimoria
in the last 10 minutes.

You don't know how she is.

TALIESIN: And we
just saw that.

LIAM: You see him go down

and you see the light
coming up from above

and you know that she was
keeping vigil in the hold.

TALIESIN: Are there any
obvious life preservers

or anything like that
sitting up there?

LIAM: There is one more
preserver on the side

that you just saw
Malcolm disappear from.

There are two
on the other side,

but they are bound to
that side of the ship.

TALIESIN: Is the other one
bound or is the other one--

LIAM: They are all, yes.

The way they are
attached is the rope.

They are rolled up
and stowed there,

but one end is affixed to the
ring of the life preserver

and one is firmly attached
to the ship.

TALIESIN: How long do you
think it would take to--

I don't know.

We don't have bloody time.

If it's on the way, I'm going
to try and just give it a tug

and see it will--

I'm not even
going to throw it.

I'm just going to
try and loosen it

LIAM: And just let it
go down into the drink?

TALIESIN: Somebody will
fucking find it.

LIAM: Yeah, you don't
need to roll for that.

It is there for help.

It is there for this moment.

So you yank it free

and pull off a tie on it
that lets it open

and then just, what,
let it drop into the drink?

TALIESIN: He went down.

I'm just letting it go
down where he went down.

LIAM: Okay, you drop it
into the ocean

and it is bobbing
in the sea below.

TALIESIN: And then
I'm heading--

Bloody typical!
AIMEE: Do I hear them coming?

ALEXANDER: Of course do
something like this.

LIAM: Through a foggy haze,
a concussion haze,

you can hear shouts at
the top of the stairs now.

AIMEE: I think if
I can manage to say,

in a really
small voice, like:

Don't come down here.
Stay where you are.

LIAM: It comes out
of you in a croak.

IMARI: [inaudible]

LIAM: And there is--

I'm not going to
make anyone roll.

It is hell outside.

You are in the worst storm
of your life.

They have to shout
to be heard above.

But you do, on your side,

your face blossoming
in a bruise on the side,

weakly croak out
your warning to them.

AIMEE: While I do that,
can I fish into my pocket?

I would like--
I'm mean, she's really--

There are no good options
at this point.

So she's going to try to--

I'm going to try to get
a small book of occult text.

LIAM: Yes.

AIMEE: I think I know it
well enough

where I could find
the chapter

where there are ancient,
I don't know,

maybe like holding spells
or spells of protection

against bleed of this
specific kind of magick.

I know that I'm dealing
with something

that's way bigger than a book
can probably tell me,

but if it can get me five
seconds to come up with a plan,

I will try.
LIAM: Okay.

Well, yes and no.

There's a two-part
response to that.

First of all, did I ask you
to take a bleed yet?

AIMEE: Not yet.
LIAM: Take a bleed.

AIMEE: Okay. (chuckles)

What kind? Oh, just a bleed.

LIAM: Well, that's the first.
AIMEE: Yeah.

LIAM: As this

eons-old artifact--
AIMEE: Yeah.

LIAM:-- this
dead woman's bones

radiate with
magickal entropy,

it is beginning to
get into your bones,

but you stiffly
pull a small journal

that you keep on you
at all times

with notes that you have
written in the past.

Why don't you do me a favor
and make a Focus roll?

So in this moment,
you can try to make

heads or tails of notes
you've taken in the past,

and this chest,

which you understand
its purpose,

but you didn't craft it.

AIMEE: Okay, I'm going to
take a drive for that.

LIAM: Okay.

AIMEE: Oh wait.

IMARI: Yep.
AIMEE: Yeah.

Fuck, a four.

IMARI: Nice.
LIAM: A four.

IMARI: (laughs)
LIAM: Okay.

You begin to flip,

again, your mind
is half-numb,

but you begin to flip
through these pages.

This is in the moments

of these men yelling
to each other.

Everything is
happening in unison.

AIMEE: It's not a good
situation. (laughs)

LIAM: You pause on two
pages where you once

wrote down notes on
wards and protection,

and it is the alchemical
practice that goes into

the devices that Candela
uses to soak in bleed,

but this is more elaborate.
AIMEE: Right.

LIAM: You weakly
look at this chest

which is toppled over and
open like a V on the ground

and the notes you've taken.

This is probably 11 months
old, these notes, but

you can see somehow

in this haze that,

many of the glyphs of
the old time are circular,

that there are sigils
in a specific order

that you've encountered at
least five times in the past,

which is what led to
making these notes.

There is a disc on
the front of this chest

that is circular
and has sigils

that are not exactly
the same, but similar

and you can tell that they
are in the wrong place.

AIMEE: Mm.
LIAM: They are on

a separate standalone

disc of brass or gold apart
from the chest itself.

Somehow that is a ward that
is not working right now.

AIMEE: Yeah.

LIAM: You are in the ocean.

You are starting--
IMARI: I'm freezing.

LIAM:-- to go numb all over.

There are two men
at the distance.

This is insane.

You could easily
die right now.

You could change your
mind right now.

I won't make you roll.

You can climb the ladder right
now and go help your friends.

You don't know these guys.

IMARI: (shivers) I'm going
to push forward.

I got to save them.

LIAM: Same as it ever was.

It's not what you
did in the war,

and it's not what you do now.

You plunge off into the
drink to get to these guys.

This is definitely
a Move roll.

IMARI: Oh.
ALEXANDER: Wow.

IMARI: I'm going to burn

a drive.

I replenished both Nerve
drives because I had two marks

and I have the ability
of Adrenaline Rush

and that gives
me the ability to,

each mark I take,
I can immediately

refresh a drive point
of my choice.

LIAM: Yes, every time I
sting you with a mark,

you get a little bonus treat

of a drive returned--
IMARI: I can rub my bruise.

I can rub them.
LIAM:-- because you are amped

on adrenaline right now.

Yes, you are.
IMARI: I'm amped.

(shivers)

Candela.

LIAM: Candela?

Is it a single six?
AIMEE: Dude.

LIAM: Just a reminder--
Oh, I believe you.

TALIESIN: Yeah, if there's two--
LIAM: I want you guys

to tell me if you get
two sixes because that is--

IMARI: No, it's a single.
LIAM: That's great.

You are alive.

The ocean shocks you more
awake than you've ever been

and you dig yourself through

this moving serpent
of an ocean.

You get to the first man

who is still hanging
onto the rope.

You just couldn't
feel him before.

But the other man is
another 10 feet past.

You pull yourself,
well, you don't pull yourself,

you find the edge of
the rope and take it

and we're going
to use that six

to have you swim further
and get to this guy

and wrap the rope around
your own arm and his.

IMARI: (clutches)

LIAM: Do I want let you
swim back on that six?

IMARI: You do.
LIAM: I don't.

IMARI: You do.
(laughter)

LIAM: I don't.

I do not.
I want you to make another--

IMARI: Do you want to?
You know you want to.

LIAM:-- Move roll for me to
go in the opposite direction.

IMARI: (strained) Okay.

LIAM: Because I am
a little shit.

Roll those dice.

IMARI: I'm going to
burn another drive.

Okay.

Five.
LIAM: Five.

Okay.

IMARI: Johnny 5 is alive.

TALIESIN and IMARI: (laugh)
LIAM: You, one-handed,

much more slowly because
you can't swim,

but you manage to use
this python here

to slowly pull yourself
and this man closer

and closer to the next man.

Then you guys
are a little knot

on the end of a charm
bracelet in hell

and you start to
pull yourself up,

and I'm going to say
the stress of this,

the strain of this,

it doesn't feel like
you should survive.

Hopefully you will.

But you're going
to take a brain.

AIMEE: A brain.

LIAM: You make it to the
bottom of the ladder

that is disappearing and
reappearing by the ocean water

swelling and lowering
every couple of seconds.

You begin to-- I will not make
you roll to climb this ladder.

You see these two men
up ahead of you

and you begin to climb
your own way up

and you splatter on
the deck of this ship

into six inches of
water there as well,

the three of you
alive and whole.

Hold that thought, Malcolm.

Doc, Leo, where are we?
What are we doing?

TALIESIN: He was heading downstairs.
ALEXANDER: Running down and to the hold.

TALIESIN: Yes.
LIAM: Okay.

You get down below and
here is what you find.

The pallet is ripped open.

There are crates and
boxes askew down below.

You see first,
it's hard to miss,

this golden chest,
this small golden chest

cracked open off on the side,

on the port side of the
cargo hold down below.

You see

18-year-old Grimoria
on the ground,

journal in hand, staring.
Water has been

leaking down through the
broken hatches above,

and she and this book are
starting to get soaking wet

and there is an inch or two
of water in here, catching.

Every time the ship
lists to one side,

the water moves with it,
and these two

leg or arm bones are drifting

and bringing their green,

arcane sickness with
them as they move.

There is also

Edgar,

a crew member down here lying
on their back, unconscious.

One side of their face
and chest and arm

is eaten away

and there is a
steady stream of red

and black and
green particulates

wafting off this
person's body.

It's as if 25% of their face

bleeding down into their
neck and chest is gone,

and there is this sickly,

it almost looks like
steam down here.

It is not entirely
unfamiliar to you.

Different,

but reminiscent over
a great many years.

You can see,
I'm sorry, parts of

the orbital area
of the inner eye.

You can see teeth and
the side of his tongue

because there is
nothing there.

ALEXANDER: (fortifying grunts)

TALIESIN: Go.
ALEXANDER: Go for her.

TALIESIN: Darling, we're
getting out of here.

AIMEE: No, no, no, no!

She's fighting.

I'm going to fight you on
that because I feel like

if anyone can stop
this, it's her.

LIAM: The haze, the pain--
AIMEE: Yeah.

LIAM:-- is gone, it
is less numbness now,

less of a fog and more
intense pain in the side

of your face, which
brings with it clarity.

AIMEE: Yes.
LIAM: You fight off Leo,

turning towards this golden

chest on the ground,

and 20 feet away from
you, these bones.

You are trying your best
to help your friend.

TALIESIN: I am--

What do you need to get us
out of here right now?

AIMEE: I think
in the clarity--

(sighs) This is so--

I can't believe I'm doing
this the first episode.

I would like to
use The Prestige

to channel

someone that I encountered

back in my time, which is
a very slim amount of time.

An ancient priest
or priestess,

someone that I've encountered
through an object.

LIAM: For clarity
for the audience--

AIMEE: Yes?

LIAM: You are a bit in tune
with the spirit world, yes?

AIMEE: Just a bit.

LIAM: So when you say that
you encountered this person,

you encountered a spirit.

AIMEE: A spirit, yes.

LIAM: In your work.
AIMEE: In my work,

which I can explain, but
I don't know if we have time.

LIAM: Maybe we'll
get to that later.

AIMEE: Great.

LIAM: But for the people
watching at home,

I want them to know that
you're not phoning a friend.

AIMEE: No.

I think it's like a Rolodex,
though, in her mind,

and stops at this one person.

I want to say it's an
old, ancient priest

who was the high priest

of whatever temple
they had in Oldfaire

and this is a real gamble
because she doesn't know

if bringing these
bones back in the box

or closing the box
requires physical touch,

which clearly is not going
well for this crew member,

or if someone powerful
enough can do it with a word.

LIAM: Understand,
you want to,

because when you commune
with these spirits,

and it doesn't happen often--

AIMEE: Right.

LIAM: Spirits and encounters
with them and phenomenon

in this world are few and far
between, but you have been

having encounters like this
since you were a child.

AIMEE: Yeah.
LIAM: You have

at least 10 times,
probably more,

come face-to-face
with moments like that.

Maybe about halfway
through those encounters

in Oldfaire,
your first trip there,

you did touch the wrong

bronze knife

and felt a life that
was not your own

flood into you.

It lasted only a minute
and half maybe at that time,

but you have carried

a ghost of memories
ever since.

AIMEE: And haven't been able
to learn how to free them.

So they don't
live in her mind,

but the memories
live in her mind

and she takes them with
her wherever she goes.

LIAM: So,

you step back into this
long-dead person's mind

and take a bleed
for doing so.

AIMEE: Yep.

LIAM: So you have two bleed.

AIMEE: Yeah, and it
looks like to her

when she is
channeling someone,

it looks like peering
through the opposite end

of a telescope where everything
gets really far away.

She's begging for this
person to take control

and hope that he can assess
the situation very quickly.

LIAM: Okay.

Since we're off-rules
a little bit,

I would like you
to make a Sense roll

and I'm going to
give you a free drive

because I like the
cut of your flare.

AIMEE: Thank you.
IMARI: (laughs)

AIMEE: Okay.

IMARI: She gets
everything she wants.

AIMEE: All right, here we go.

I'm going to use
my gilded die, too.

Four.
LIAM: Four.

AIMEE: On the gilded die.
LIAM: On the gilded die.

AIMEE: Yeah.
LIAM: So you get a drive back.

AIMEE: Drive back, woo.
IMARI: Nice.

LIAM: In Intuition.

AIMEE: Great, yeah.

LIAM: So,

are you just taking
their memory

or are we seeing
anything different?

AIMEE: Yeah, I mean, hey,

if we're going to spend it,
we'll spend it.

I think you can see her

hunch a little bit.

She's already pretty short,

but she's somehow
getting shorter, and

taking on ancient-looking
clothing.

I want to say for reference,

almost an Egyptian,

an ancient Egyptian look,
darkly-painted eyes.

You can tell this is a man
of great honor and position.

But even so, his work
has taken a toll on his body.

So I think he looks
a little hunched over,

a little worse for wear,

and it's shocking
to see this young girl

turn into a pretty old man.

I want to say in
his probably 70s,

which was back
then pretty old.

LIAM: Yes.
AIMEE: Yeah.

LIAM: Let me put a spin on it

for everyone who is
conscious in this room.

In the light of

these bones down here with
water spilling in, and again,

there's two lanterns
on chains swinging around.

So it is a shifting
light show down here

and you could
swear in the glare

of all of these conflicting
light sources

that your friend is
now an old, old man

and takes a few
hobbling steps forward.

AIMEE: Maybe he has a cool
cane or something.

LIAM: He now has a cool
cane and steps along.

Really, Grimoria's hand
is out in front of her

and in flashes of light,
you see this cane

appearing for glimpses.

Grimoria, your vision twists
away and this chest,

which was 15 or 20 feet

now seems to spiral
away down a corridor.

And yet, the sigils
that run up

the back and sides and front

of this thing begin
to have meaning.

They are not translated,

but you understand
what you are seeing

and you know that that
circular disc at the front

is a lock, is a seal,

and needs to be
put in its place

to bring language into
clarity and seal them in.

But first, you have to--

AIMEE: Get the bones in.
LIAM: Get the bones in.

IMARI: Uh-oh.

AIMEE: Okay.
LIAM: Or someone does.

Think about that
for a second.

Malcolm, you are
sputtering water out

as well as these
other two people.

You're in a bit better
shape than they are.

You see green light
wafting up from below

and the ship is rocking.

I will say the storm clouds
are a little less hairy,

not much, but it feels like
the eye of the storm,

the absolute
dark center of it

which has been perched
on top of you guys

for almost an hour
is shifting somewhat behind,

but it is still
a terrible mess around

and there is still water
sloshing around on the deck

and you can see it
spilling down below

and green death coming up.

What are we going to do?

IMARI: Well, I immediately
notice this.

I'm going to go down and
I'm going to help my friends.

LIAM: Okay.
IMARI: Make sure they're okay.

LIAM: Okay, then
we are all met.

So in this moment where you
start to hobble across,

you hear heavy footfall
down the stairs and suddenly,

the Circle of the
Crimson Mirror is together.

The quartet is whole
in the belly of this beast.

IMARI: (sighs)

LIAM: Everybody

take a bleed.

TALIESIN: Oh my god.
AIMEE: Wait.

IMARI: (laughs)
AIMEE: I think I'm out, then.

LIAM: No, you are not.
ALEXANDER: You've got three.

AIMEE: Oh, okay.
LIAM: You have three bleed.

AIMEE: Okay.

LIAM: As the prolonged
effect of this artifact

is digging its way
into your bloodstream.

ALEXANDER: Grimoria,
what do you need?

AIMEE: I don't know if I hear
that through the thing I'm on.

What I'm picturing is

this man has
a tall head piece.

LIAM: A headdress of
some kind, head piece?

AIMEE: He's going
to take it off

and try to scoop the bones
using his hat back into,

at least close enough
to the box.

LIAM: I am going to
dicker with you--

AIMEE: Okay.
LIAM: And tell you that--

AIMEE: It's not going to work.
LIAM: The form

that comes around you is

a mental construct.
AIMEE: Got it.

LIAM: And while
you have brought

some of the consciousness
and thoughts

from the last
couple thousand years,

you have not brought his
physical belongings with him.

AIMEE: Right, right.

Is there anything that I can

dig through
his experiences to maybe

have a spell that maybe
can temporarily render

the effect of
the bones useless?

LIAM: Oh, you have
many talents, Grimoria.

Spells is not one of them.

AIMEE: But does
he have spells?

(laughter)

LIAM: You should've asked
him when you had the chance.

IMARI: Oh.
AIMEE: He's here.

TALIESIN: Nope.

LIAM: The memories you
received at that time--

AIMEE: Yeah.
LIAM:-- are with you.

I will say that these bones
are radiating outward

and sliding around the hull.

This man's face
continues to disappear.

It's about half gone now.

IMARI: Jesus, man.
LIAM: And--

AIMEE: Anyone have a box?
LIAM: Edgar, also

you begin to see
a little bit of black shadow

tracing away
from this man's skull.

ALEXANDER: All right,
Edgar goes into his kit

and he puts on gloves.

LIAM: Take a brain,
by the way.

ALEXANDER: Puts on gloves,
takes a deep breath.

TALIESIN: Wait, hold on.
I can help.

I think the
closest one's right--

I'm going to try and
track it and send you

in the right direction
to the closest one.

ALEXANDER: Okay.

TALIESIN: I'm going to use
Survey, if that's all right.

LIAM: Survey?
TALIESIN: To search, track, spot.

LIAM: In the world, what
are we trying to do?

We know very well
where these bones are.

TALIESIN: Okay,
they are visible.

Never mind.
LIAM: They're glowing,

radioactive green.

ALEXANDER: Guessing
what has to be done

from the attempted shoveling--
LIAM: Yes.

ALEXANDER:-- Edgar
is going to

try and run over,
and as fast as he can,

to hold these bones as
little time as possible,

is going to grab them and
throw them in the box.

LIAM: Throw them in the box?
ALEXANDER: Yeah.

LIAM: Okay.

IMARI: Oh no.
LIAM: Okay.

IMARI: Where is the box?
Where is the box right now?

AIMEE: What's in the box?
LIAM: From your point of view,

you're halfway down
some stairs.

Nothing's in
the box now, baby.

It's out of the box.
IMARI: It's out of the box.

LIAM: You're halfway
down the stairs.

They are in a little bit
of a semicircle or triangle

facing away from you,
and the box is a good,

it's about 10 feet
away from Grimoria,

who has just taken a couple
of little hobbling steps

towards it, and you see as
she bends even further down

and her hands scoop through
the air a little bit

and pauses there,
he begins to move forward.

ALEXANDER: Now, I do
have an ability

that may not be
applicable here,

but I want to see if you'll
let me get away with it.

LIAM: Pitch me.

ALEXANDER: I have Dissection.
LIAM: Mm-hmm.

ALEXANDER: "When you
use a Focus roll

"to inspect or dissect a
piece of organic matter,

"I am not affected by bleed
and I gild an additional die."

TALIESIN: A container.

LIAM: Yes, that's right, and
you said you're wearing gloves?

ALEXANDER: I'm wearing gloves.
LIAM: Okay.

So, you are able to approach,

and the exposure

just to the air down here
for too long

is going to be lethal
for all of you,

but you walk through

this burning sensation

that you can feel,
again, in your teeth.

ALEXANDER: I feel the entire
left side of my body flare up.

LIAM: All up those marks up
the one side of your body.

The bones are pulsating,

and the pain in your body
goes in waves along with it.

You're standing above them.

The box is knocked over
on its side.

Two of these bones are on the
ground, awash in the corner.

You're using that skill?
ALEXANDER: Using that skill.

Having handled
bleed-infused flesh

and organic matter before,
I try and pick them up

as gently as possible and
move them into the box

as quickly as possible.
LIAM: Okay.

IMARI: Can I ask a question?
LIAM: Yes.

IMARI: I have
a bleed containment vial.

Can our containment
vials dampen the effects

that the bones are
giving off right now?

I mean,
I know that it's powerful,

but can we offset it
just a little bit,

weaken it just a little bit,
so it gives us more time?

LIAM: If you wanted to,
say, retroactively,

and I'm fine with that
because we're new in our story

and with our characters and
the functions that they have,

if you want to say, rather
than taking that bleed,

shielded yourself, I would
allow that to transpire.

IMARI: Okay, all right,
I'll do that.

LIAM: Okay, so we can
erase that bleed.

IMARI: All right.

LIAM: It was soaked.
Where was it soaked?

IMARI: It was soaked,
so this is my hand.

LIAM: It might be time
to tell us.

IMARI: When I was
with my unit,

before the Great War
was over,

I was sent to investigate a
phenomenon with my squad.

Upon investigating,
it was an artifact

that was loose and glowing.

It evaporated
my entire squad.

In doing so, I reached
out to one of my members

with this hand.

I attempted to grab him,
to try to hold him in,

and this... energy

evaporated my hand

to the point where the flesh
is almost all gone off of it

and there's just
nubs right here.

Disintegrated my fingertips
all the way down to the nubs,

and this right here is a
special prosthetic that I use

so I can still function
in battle and in life.

It covers the scars,

but also it has little
levers and triggers.

It's almost gauntlet sized,
and it's made out of copper.

Rivets can be seen
on each digit,

and I'm able to have
75% to 85% function,

depending on the day
and the weather.

Within it, I have
my bleed detector

as well as
my bleed containment vial.

LIAM: So built into a
compartment in that hand--

IMARI: Built into a compartment
that's right in the center

of my prosthetic hand.

LIAM: As soon as you
come down those stairs,

you feel the corrosive
effects of this artifact

and grip your hand

and absorb as much
as you can in there.

This is an ongoing threat,

so it has tided
you over for now.

IMARI: Right,
there's a limit.

LIAM: So, Doctor.

I'm going to meet you
in the middle.

ALEXANDER: Yeah.
LIAM: Because these bones

once belonged to a
flesh and blood person.

That was
a very long time ago,

and I can't swear by the
chemical composition

of their inside anymore.
ALEXANDER: Fair.

LIAM: So I'll tie it
to a roll.

Give me a...

Let's make it a Focus
roll as you attempt to

not be horrifically
scarred by touching these.

ALEXANDER: Five gilded.

LIAM: Five gilded.

IMARI: Fabulous.

LIAM: Okay.

So you kneel down
before them,

your face awash in their
light, and you are gloved,

so you take some
confidence in that,

and you are very familiar

with the structure
of the human anatomy.

You attempt to grip each bone

in the most slender portion

of each limb and lift
as carefully as you can,

the same way you've removed

hazardous materials
from bodies before

in the world's most
dangerous game of Operation.

You can feel the burn
in your fingertips

as you start to
lift one bone in.

The chest is still upside
down at the moment.

ALEXANDER: Flip it!

AIMEE: I think Grimoria slash
old man hears this, takes the cane,

and feebly, but, you know,
powerfully, I guess,

tries to either
hook it and flip it

or hook it and
then bring it down.

LIAM: You are awash--

IMARI: Can I run to
assist her with that?

TALIESIN: I was pretty
close at this point.

LIAM: Everyone can run to assist.
TALIESIN: Yeah, I was--

LIAM: Multiple people
can assist.

AIMEE: Yeah, and so obviously
the cane doesn't work,

but she can use her foot,
she's using her foot.

LIAM: Again, you become
awash in two places at once

in moments like this, and
so for a split second,

you remember, and then
get your hands on it.

Now, your fingers
touch the inside,

and you can feel the burn

reaching through--
AIMEE: I was going to do the foot.

LIAM: Oh, your foot?
AIMEE: Yeah.

LIAM: That's fine, too.
AIMEE: She is wearing a shoe.

LIAM: It is heavy.
It is made of gold.

You start to lift, but
you are slight of frame.

You guys are assisting?

IMARI: Yeah, I'm running
over to assist.

LIAM: Okay, does that
mean we're adding drive?

AIMEE: Lift my foot.

LIAM: Or you're just
coming in for flavor?

IMARI: No, I'll add a drive.

TALIESIN: I don't have Nerve
drive, but I'm there for flavor.

LIAM: Okay, great, so
you guys come over,

and everyone starts to
try to get a foot under.

Leo, you place your hand

on this old man, Grimoria's
shoulder for support.

I think you would make
a Control roll for me,

because it's super heavy.

AIMEE: Oh, and I got
a drive from someone?

IMARI: I give a drive, yeah.
AIMEE: So that means I take--

ALEXANDER: You spend a drive.
AIMEE: I can spend my own drive?

LIAM: Yes, yes.
ALEXANDER: That would give

a two die roll.

AIMEE: Two die roll, okay,
great, because I have none.

Okay, great.
Oh, come on, baby!

Four.

LIAM: Four.

AIMEE: Four is
my fucking number today.

LIAM: Okay.

TALIESIN: You don't have a
resistance there, do you?

AIMEE: I do.
TALIESIN: You can use the resistance.

ALEXANDER: You can use the
resistance to reroll.

TALIESIN: One, or--?

AIMEE: Yeah, how much can I
reroll if I use a resistance?

LIAM: If you use a
resistance, you can only use

the base of the stat.

AIMEE: Which is zero.
LIAM: So you can't add in any drives.

AIMEE: It's just
one die, then.

LIAM: That's kind of a long
shot, but you could do it.

AIMEE: Worth it?

ALEXANDER: If it was
the base of the stat,

then you'd be rolling two
die and taking the lower.

LIAM: You got a four,
which is a mixed success.

AIMEE: Let me think.

ALEXANDER: I think you
should keep the four.

AIMEE: I'll keep the four.

LIAM: You keep the four?
AIMEE: Yeah.

LIAM: Okay, you lift,
and for a split second,

you think you're not going
to be able to do it,

because I don't know
if it is solid gold,

but this thing has gold
built all around it.

AIMEE: Yeah.
LIAM: That is something

that you guys are
aware of in Candela,

that gold in the old world
was often used as a barrier.

It took a knowledge
of alchemy,

and then gold was
often a component,

so this thing is heavy, and
you lift with all your might.

You think you're
not going to do it,

but then you feel Leo's hand
on your shoulder squeezing,

and then Malcolm is at
your other shoulder,

and you feel comforted
a little bit,

and you lift, and it manages
to clatter backwards.

But the combination of
everything that has happened,

the storm,
the bones themselves,

the injuries that you and
obviously your friends have taken,

it's too much.

You take a brain.

AIMEE: Does that mean
I'm out?

ALEXANDER: No, just
fill out another brain.

LIAM: Edgar, the box hits
the ground and manages

to land with the back,
the lid, hanging open.

You're able to drop the bones in.
ALEXANDER: Drop them in and shut it.

LIAM: Shut it down.

Grimoria, you see this disc
now that clamps into place,

and you can tell that it is
not in the right position.

AIMEE: Okay.

LIAM: So,

let's get it in position.

I need you to
make a Survey roll.

TALIESIN: I can help
with this.

AIMEE: Survey, okay,
and I will also--

LIAM: That is to
understand this--

AIMEE: Three, yeah.
What's that?

LIAM:-- this alchemical
wheel that the Red Hand

has crafted to seal
the bones in this box.

TALIESIN: I've been doing this
for a little bit of time.

I've read a few things.
I can help, yes.

ALEXANDER: You're adding--
TALIESIN: Yes, I am adding a drive to this.

AIMEE: Oh, thanks. Four?
ALEXANDER: Yeah.

IMARI: Okay, this is--
AIMEE: Okay, no, that's good.

That's good enough. Ready?

Okay.

IMARI: Oh my god.
I'm going to--

Fudge. Can I add
a resistance to her?

LIAM: Not after the
fact. What'd you get?

AIMEE: Can I resist?
I don't have one.

LIAM: No, you don't have
a resistance packed.

All failures?
AIMEE: Yeah, they're all ones.

TALIESIN: No way! No way.
ALEXANDER: Wait. You've got...

You would have three, because
if you only have three here,

and three here, you
would have three here.

AIMEE: So I do have a resistance?
ALEXANDER: You do have a resistance, yeah.

AIMEE: I'm going to
use my resistance.

ALEXANDER: So just roll one.

AIMEE: One.
IMARI: One!

AIMEE: Come on, baby.
Do me good.

Four.
TALIESIN: (groans)

IMARI: (laughs)

AIMEE: She's going to be
dead, the first episode.

Oh my god, thank you.

LIAM: So, here's
what happens.

You lay hands on the
physical chest and this wheel,

and as soon as you do,
it burns at the touch,

like fire and ice in one,

and you begin to
turn the wheel

and watch as three
or four sigils,

which mean more than
they should to you now

as you see through
the double vision

of a long-dead old man
and your own,

and they slide and stop,

and you know that
that is not right.

You continue,

and you watch as
two of the sigils

at different points
on the clock change

literally in front
of your eyes,

and because you have the knowledge
of the ancients with you,

you then reverse direction.

You know that it is
right, and turn back,

and it clicks in place
where it was,

and all of the sigils
and all of the linework

all over the chest,
it is faint,

but there is
a thin little shimmer

over every single line
at once,

and all of you in here
hear a little (clunk)

and then Grimoria collapses
on top of the chest,

taking too much bleed.

The bones are contained,
and Grimoria,

whether it is exhaustion,
physical pain,

or the damaging effects
of magick in this world,

you men don't know,

she falls
still and unconscious

on top of this golden chest.

The rain actually

has abated at this point.

It's not gone, but you
have been too distracted

to focus on anything but
imminent danger and your friend,

who you are afraid is
dying in front of you.

With time,

crew members come and
duck their heads down here,

telling you that the storm
has indeed moved past

and behind the Dandridge,

towards the Vastchasm
behind you.

ALEXANDER: Okay.

LIAM: It slowly, slowly
starts to sink in

that you are not going
to die tonight.

ALEXANDER: We need to bring both
Grimoria and this man upstairs.

I need to take a look
at them both.

IMARI: Let me help you.

LIAM: Okay, so in the rain,
and now it is just rain,

Malcolm lifts
Grimoria's tiny body

and brings her up
to the cabin,

which is a terrible mess,

just like every person and
every inch of this ship.

Leo and Edgar,

you carry this man together,

who's ravaged.

He is dead.

There's not enough of
him left to call dead,

and lay him in the room on
the floor by Grimoria in bed.

The captain,
who you have not seen

since before things
really kicked off, Edgar,

sticks his head in.

"Is she going to
be all right?"

ALEXANDER: Hopefully.

Unfortunately, he won't be.

LIAM: "Shit.

"We're going to have a lot of
work for you in the morning."

ALEXANDER: (scoffs)

Wonderful.

Knowing he is dead, I'm
going to attend to Grimoria

and make sure
she gets through.

LIAM: The three of you set a
little vigil around Grimoria.

She is breathing.

You inspect her,
as the surgeon you are.

Open an eyelid.
There is eye movement.

Then, sliding us
forward in time,

after maybe a half hour
of intense worrying,

she doesn't wake,
but she stirs,

and you're hopeful that

it won't be her last
encounter with danger.

ALEXANDER: You're going to
have to wake up sometime, Grim.

LIAM: I think--

I think that's where
we'll leave it for now,

with the clouds beginning
to part ever so slightly

and the storm
a far away threat now,

that wall of rain
traveling away.

The assignment was done,
is done.

It was supposed to be easy,
but the cost,

as it often can be, was high.

And with that, we'll see
where Grim and the rest lie

after our break.

LIAM: Another sunrise breaks
over the Glass Sea.

The wrathful elements have
retreated from the heavens

and the sky is now littered

with slowly passing clouds,

the sun sharing its rays

through the breaks it
finds in their cover.

It's a beautiful sight
to look on,

though the air is
still bitter cold.

This far out at sea,

a touch of the Shiver that has
overtaken the Faraway lands,

known as the Shiver,

but a cold snap,
almost a mini Ice Age,

it can actually be
felt here out at sea

with the more temperate
climate of the Fairelands

awaiting you at home.

I would like to take
a moment here as we resume

to do a little bit of
upkeep for your circle,

which is a little bit
off the cuff,

but despite last night's
unexpected danger,

you can still consider
your assignment at a close.

You have the artifact.

You're heading home.

So we're bending a bit here

so that you can
take care of yourselves.

The sea is near smooth as
the glass it is named for.

All that is left for you guys

is to travel back to the
port of Hallowharbor.

Get to the Fourth Pharos,

Candela's home within
the Flare and hand off.

That's it.

Since that's the case,
I would like to ask

how you guys would like
to tend to yourselves

in the time you have
left on the Dandridge.

So just talking
in gameplay terms,

we won't do a full--

We won't do the full deal here
using the Illumination Key,

but if anyone wants to,
at this interim moment,

take a Stitch, a Refresh,
or a Train, now is the time.

The only cost for it

is to tell me how that factors
into the world we're in.

Actually,
I'm getting ahead of myself.

Let's start
with you, Grimoria.

You awake in bed in the cabin

that the four of you
have been sharing

on this cramped little boat.

The fellows aren't
here right now.

The room is still akimbo.
It's still a mess.

It's sunny outside
coming in through

the glass of the windows,
the portholes here.

You've taken enough bleed in
to earn yourself a scar.

So, a couple of things.

One, in the freneticism

of the first part
of our story today,

I don't think we've got
the full picture of you

as a human being
in this world.

So I would love for you to
tell us what she's wearing,

how she appears,
and then how she's changed.

AIMEE: And that's it?

No backstory?

Which is fine.
We can save that--

LIAM: No, no backstory.
AIMEE:-- for another time.

Well, she's wearing this.

LIAM: Okay.

AIMEE: But obviously,
it's kind of been waterlogged

and her hair is
not as nice as this.

It's definitely, she's
got naturally curly hair

and it's definitely
showing at this point.

As far as how she's changed,

I think with this scar,

she's always had
this supernatural ability

compared to the average person
walking around Newfaire,

but it's always been very
linked to artifacts or touch.

If she touches something
that is imbued with a spirit

or someone deceased
living in it,

she can intuit that.

I think now with this scar,

something that,
like you said--

What did you call it?
It was like a--

LIAM: A problem-tunity.

AIMEE: A problem-tunity.

I think that this isn't
something she can control,

by any means,
but it's almost like

now a different part of
her brain has been awakened

and it's auditory.

I think that she's
hearing sounds and voices,

maybe from spirits,
she doesn't really know,

but in times of stress,

it only adds to the
discomfort of her gift,

which can also be a curse.

So I think,

I don't know how it's
going to manifest long-term,

but I think when
she wakes up,

she doesn't realize there
are no people in the room

because she just
hears many voices.

LIAM: You have had
a sensitivity,

a certain kind of sensitivity

since you lost your parents
at the end of the war.

When your gift or curse,

however you want
to look at it,

first manifested itself,

you had had a sensitivity
to the other side.

Now, as you prop yourself up

on a pillow in
the cabin of this ship,

you are just experiencing

the first moments
of a new sensitivity.

It is hard to
get accustomed to.

You wonder if it will
always be this challenging

to listen and hear,
or if it's temporary,

but it's undeniable.

So that means you've taken
your first scar in our game,

and you have to do
a little rearranging

of your character sheet.

So we will move a point from
one of your actions to another.

What is that change
going to be?

AIMEE: One of my actions
to another.

It can be in any
of the boxes. Correct?

LIAM: If there is one
that you would love

to be even better than ever,

you can pull from one
and slide in there.

Or if there's something
that makes sense to you

with the kind of scar
you've taken--

AIMEE: Mm.

I think that
I'm going to move.

But if I move one that is
bolded, one of the circles,

does what I move it to
also become a bold?

LIAM: No. No.

So if you have
a gilded ability,

you would remove
a point in it,

but that would stay gilded.

It would just be

harder to succeed
with that gilded ability.

AIMEE: Gotcha. Okay.
So I won't move a gilded,

but I think that
I'm going to use--

I'm going to take from Move,

and I'm going to
put it to Hide.

LIAM: Okay.

AIMEE: It's not very strategic,
but I feel like if she can't--

LIAM: If it feels right,
it's right.

AIMEE: If her
equilibrium is off

because of the hearing
whatever,

then she might get
better at just hiding.

LIAM: I have a--

Let's do that.
I have a pitch for you.

AIMEE: Yeah, I'll take it.
LIAM: But it's not my choice.

It's your choice.
AIMEE: Let me know.

LIAM: If you have--

Speaking as someone
who has hyperacusis,

which is an increased
sensitivity to sound--

AIMEE: Huh.

LIAM: Your Sense might be more
acute if you are hearing--

AIMEE: Oh, great.

LIAM:-- more greatly.

But that's just an idea
that popped in my head.

It doesn't mean
it's the right idea.

AIMEE: That's good.
LIAM: It's just a thought I had.

AIMEE: Okay. I'll do that.
Then I'll move Move--

ALEXANDER: To Sense.
AIMEE:-- to Sense.

LIAM: You're sensing--

More than ever,
you're sensing too much.

AIMEE: Yeah.

LIAM: Don't want to railroad
you into anything.

AIMEE: No, that's
so smart, actually.

LIAM: It was just
an idea I had.

AIMEE: That's a good one.

LIAM: Okay.
AIMEE: Thank you.

LIAM: (sighs) Okay, so.

As you gather
your thoughts and

grapple with
the new sensitivity

you have woken up with,

let's now have everyone
weigh in, including you.

Does anyone want
to take a Stitch,

which would clear
all marks for yourself,

wipe the slate clean?

Refresh means
you would recoup

all used drives
and resistances.

Then Train means you're
going to take a little time

to reflect or study something
and be ready for the future.

You would have 1d6 that
you could use with any roll

in your next assignment.
TALIESIN: Oh.

LIAM: So that's like
a one-time bonus.

TALIESIN: We can only
pick one of those.

LIAM: One. You can
pick two of those.

TALIESIN: Oh.
LIAM: Two of those things.

But you have a very limited
allotment of them

and when they're gone,
they're gone.

TALIESIN: They're gone-gone.

LIAM: Remember that
I didn't wait

'til the end of this game
to do it.

So I'm burning through the,
if you use them now,

which I encourage,
it's great,

but you're burning
through them sooner.

And boy howdy, am I going to
come at you, so.

AIMEE: Do we get
the drives back anyway

after like a long rest?

LIAM: No.
AIMEE: We don't?

LIAM: No.
ALEXANDER: Mm-mm.

AIMEE: So it's--

LIAM: The ways to get
your drives restored are to,

with your limited
amount of times,

choose Refresh
in moments like this.

Or you can gain drives back
using your gilded abilities,

only in those gilded actions.

So, yeah, it is
diminishing returns.

So you have to make
your choice wisely.

Is this the moment?

Am I really close to taking
another scar and dropping,

or do I just have
like one in a couple?

I'll probably be fine.
I'll be fine.

What's the worst
Liam could do?

But I do need you to
make some decisions.

TALIESIN: He won't
have them later.

ALEXANDER: I'm not going
to do anything.

IMARI: So if she
uses a Refresh,

it just works for her,

but it doesn't work
for all of us, right?

It's just for her,
like her just refreshes her.

LIAM: If she picks a Refresh,
it is for her.

IMARI: Okay.
LIAM: So you guys are saying,

is anyone going to take one?
All right.

That's the last time that one
is ever going to be used.

Please take it, Aimee,
or please take it, Imari.

AIMEE: But we have
five of those.

LIAM: In each.

IMARI: In each.
LIAM and AIMEE: In each.

IMARI: So we can use, yeah,
so we can use each a Stitch,

a Refresh,
and Train five times.

LIAM: If you're close to
taking a scar in another one,

it's maybe a good idea
to take a Stitch.

If you're totally empty of
drives, which is, again,

that's like,
I got to really buckle down

and make this roll work,

if you don't have any drives,
you might want to do that.

The Train, for me,
is one that's up in the air.

AIMEE: Yeah.

Okay. You said you're
going to take one?

IMARI: No.
AIMEE: Oh, no, you--

LIAM: I mean, they still--
If you don't use them,

they never get used.

ALEXANDER: I'm going
to hold off.

TALIESIN: I'll hold off right now.
IMARI: I'll hold off right now.

AIMEE: Do we have an
opportunity to do this mid-game,

or is it only when you
give us the opportunity?

LIAM: I will tell you. It is
at the end of an assignment.

Usually, that lines up
with the end of a game,

and we're mid-game.

But I'm telling you that
your assignment is done.

You're going home.

IMARI: Yeah.
I mean, you know it's--

TALIESIN: Do you have
anything sitting in a--

AIMEE: Yeah, I have
a choice to make.

Maybe you can help me
make it as a group.

So I've got two.

I have a new scar

and I've got two brains
for two brain marks.

But then I also have like,
my drives are kind of,

and resistance
have been fucked.

IMARI: What about,
so when she gets a scar,

doesn't that wipe her other--

LIAM: Not everything.
Just that one.

IMARI: Just that
one category. Okay.

LIAM: Only thing that
wipes the slate clean

for the level of marks
you're at is Stitch.

TALIESIN: Drives come
and go, in my opinion.

Marks on the other hand,
if you're going to--

LIAM: That's right.
TALIESIN:-- clean right now.

LIAM: You guys also

have the circle ability of
In This Together.

So when you help
each other on rolls,

like, "I need help
driving this car,"

"I need help
fighting this weirdo,"

and you fail, which
you're going to a lot,

you'll get drives.
That will generate drives.

Nothing is going to
take away the marks.

There's very
few things, though.

Sometimes there's an ability
that some people have.

I don't think anybody
has stuff like that.

ALEXANDER: I didn't take any of those.
TALIESIN: No, no.

AIMEE: I think, if
that's okay with everyone,

I will take a Refresh.

IMARI: Yeah.

That's fine with me.
LIAM: Totally fair.

ALEXANDER: Or Stitch.
TALIESIN: You want us--

LIAM: Are you trying
to get rid of,

bring your drives
back or wipe?

AIMEE: No, sorry.

I want to wipe my mark.
LIAM: So you want Stitch.

AIMEE: I want to Stitch.
Sorry about that.

LIAM: You want
to Stitch. So--

AIMEE: So right now,
all I have is a scar,

but no other marks.

LIAM: So there is,
on our table is that.

So wipe away one Stitch.

Anybody else? Anything?

ALEXANDER: No.
TALIESIN: I think I'm fine.

I'm going to press this.
IMARI: Yeah.

I have two brain marks
right now.

TALIESIN: Would not be
insane to take one,

but you could be fine
one way or the other.

ALEXANDER: I've got one body,
one bleed, and two brain.

AIMEE: Wait.
LIAM: You mad lad.

TALIESIN: That's
a little crazy.

IMARI: Yeah,
I would take a Refresh.

I mean,
I would take a Stitch.

AIMEE: He's intent
on killing us.

What are you doing?

ALEXANDER: I'll
take a Stitch.

LIAM: Oh, I did it.
TALIESIN: I'll hold.

I've got one in each right now.
LIAM: I suckered you just now.

ALEXANDER: You did.

TALIESIN: My Nerve is shot--
LIAM: Deplete those resources.

TALIESIN: But I'm
just going to--

LIAM: So that is two--

TALIESIN: Hope you on alert.
LIAM:-- Stitches of five gone.

You two, your slate
is wiped clean

and you guys
are holding fast.

IMARI: Yeah.
LIAM: I love it.

IMARI: I mean,
I have two brain.

I get a brain,
I get like what--

AIMEE: It's like Sam's flask.

IMARI: (laughs)

Got to stay hydrated.

LIAM: Edgar.
ALEXANDER: Uh-huh.

LIAM: A few hours
into the morning,

Grimoria has not yet woken,
at this point.

You are out on
the deck of the ship,

just ruminating on
everything that happened.

The cook, Gabi,

comes up to you.

ALEXANDER: Gabi, wasn't it?
LIAM: Gabi.

Gabi is the woman who was
thrown across the cabin.

"Morning."
ALEXANDER: Morning.

LIAM: "Sorry.

"I just wanted to
thank you for last night."

ALEXANDER: Oh,
you're welcome.

LIAM: "You haven't eaten
anything yet, I don't think.

"You should come by
the kitchen."

ALEXANDER: Thank you.
(stammers) I will.

LIAM: "Okay.

"Sorry.
It's just the boat's--

"Everyone's a bit shaken.

"Losing Heath last night."

ALEXANDER: Yeah, understandably.

LIAM: Heath is the gentleman
who lost 30% of his body mass.

ALEXANDER: Right.

Yes, that was, um, very sad.

LIAM: "Do you think you could
come look in on Sunny?"

ALEXANDER: Yes, absolutely.

If you would show me
where they are.

LIAM: "Sure. I'll take you to
the crew quarters."

ALEXANDER: Thank you.

LIAM: She leads you back
towards the rear of the ship

where you've been, but not
spent a lot of time back there.

The four of you
have been forced

to share a pretty
cramped cabin

near the front of this
small, again, steamship.

But in the back
is crew quarters

and there are people milling
about walking in and out.

But in the rear of this room,

once you walk inside the
deck house, you see Sunny

and he is, again, the
gentleman whose leg got wrecked

and he is on his side,
shallow breathing,

and sees you and
weakly pushes himself up.

ALEXANDER: Don't.
You don't need to get up.

LIAM: "(labored breathing)

"I guess you tried
to save my life."

ALEXANDER: So far it
seems to have worked.

LIAM: "Yeah. I don't think the
fates wanted to make it easy."

ALEXANDER: No, they did not.

LIAM: "How does it look?"

ALEXANDER: Do
I smell anything?

Un--

LIAM: I understand you're
wondering if you smell anything.

Oh, make a Focus roll.

ALEXANDER: Six.
LIAM: Six.

ALEXANDER: Perfect success.
LIAM: You don't.

Yes, a success. A success.

You don't smell the thing
you're fearful you will.

You don't smell
any festering.

On closer inspection,

the wound is burnt from
your quick work last night,

but it is raw and
it is oozing a little bit.

It could be cleaned
and rebound.

ALEXANDER: I'll take
the time to do that.

Could you bring me--

Do you have any--

I wouldn't. Do I have?

I wouldn't have any on me.

The cleanest alcohol you have.

LIAM: "Oh."
ALEXANDER: Clearest.

LIAM: "Like whiskey?"

ALEXANDER: Do you have
anything less dark?

LIAM: "Gin?"
ALEXANDER: Yes, gin would be great.

LIAM: "Your friend has gin."

ALEXANDER: That's right, he
does, doesn't he?

LIAM: She scuttles off
and is gone for a moment

and leaves you with Sunny

and there are a couple
other crew members,

a man and a woman in the room

hanging by the door and
they're quietly watching.

ALEXANDER: I have to
clean this out;

it's probably going to hurt.

LIAM: (pained) "Okay."
ALEXANDER: But

less than it did
the other night.

LIAM: "I was going to
say, I don't think

"anything's going to
compare to last night."

ALEXANDER: No.

LIAM: "Worst fucking night
of my life."

ALEXANDER: Understandably so.

It was bad for
a lot of people.

LIAM: "What are you even
doing on this tub, doc?"

ALEXANDER: An unfortunate
choice in transportation.

LIAM: "(pained ironic laughs)

"Everything in here
is covered in rust.

"Not exactly the best
place for a surgeon."

ALEXANDER: No, but I'm making
the best of it.

LIAM: Gabi returns with a bottle
of hooch that she filched.

"By the way, your
friend seems to be up."

ALEXANDER: Oh!
LIAM: "The young woman."

ALEXANDER: That's good, okay.

LIAM: "Also I took a nip of
this, I hope that's okay."

ALEXANDER: I don't care. It's not mine.
LIAM: "Okay."

ALEXANDER: I proceed to clean
the wound as best I can,

rebind it.
LIAM: Right.

ALEXANDER: Then I will rush
back to see Grimoria.

LIAM: Yeah, I'm not going
to make you roll anything

since you went to
medical school for this.

You work at the
Grand Halen Hospital.

You are a top tier surgeon.

You clean the wound,
you pour gin on it.

He does scream.

I won't role play that--
ALEXANDER: (laughs)

LIAM:-- and you

bind it tightly and for the
first time with this patient,

you feel like he is not
teetering on the edge.

ALEXANDER: That's good.

Unfortunately, this is
going to leave a scar.

LIAM: "At least
I get some time off."

ALEXANDER: Yes,
I would hope so.

LIAM: "Thanks, doc."
ALEXANDER: You're welcome.

LIAM: "Don't come on
our boat again, okay?"

AIMEE: (laughs)
ALEXANDER: You couldn't pay me.

LIAM: "(chuckles)

"Wish they paid me better."

Grimoria,

Edgar pops his head in
at the front door and

you're not alone for the
first moment this morning.

ALEXANDER: Hey.

AIMEE: Hi.
ALEXANDER: You're awake, good.

AIMEE: Yes.

Thank you.

ALEXANDER: You're welcome.
That's what I do.

But you took quite
a lot last night.

AIMEE: Well, seeing as that
was my first time on a boat

and hopefully my last time--

ALEXANDER: Yeah.

AIMEE:-- I'm, I guess,
just happy to be alive.

ALEXANDER: We all are happy
you're alive.

How does your face feel?

I'm going to walk towards
her to inspect it.

AIMEE: It feels hot.

Does it?

ALEXANDER: It's all bruised, I assume?
LIAM: There is a dark flower

on her upper forehead and
cheek around one eye.

AIMEE: But I do feel
this odd ringing.

It's not a ringing...

It's like I'm hearing voices?

ALEXANDER: Okay.

AIMEE: I don't know if
that's a medical thing.

ALEXANDER: It could be.

It's not really my area of
expertise, but considering,

well, it is either

you hit your head very hard.

AIMEE: I definitely did that.

ALEXANDER: So that could be
the cause of it,

which would be unfortunate.
AIMEE: Yeah.

ALEXANDER: But it could be something
to do with the exposure we had,

that we all had last night and
you had quite a bit of it.

AIMEE: (gasps) What happened
to the box?

ALEXANDER: You managed
to close it again.

AIMEE: Is it secure?

ALEXANDER: Yes.

As far as I know.

LIAM: Grimoria, as Edgar is
talking to you, you are hearing

his voice and you are
hearing ghosts of his voice

almost stuttered out
or delayed

occasionally just
before he speaks.

AIMEE: Hmm.

LIAM: Every once in awhile,

you hear a voice
that is not his.

AIMEE: Can I make out what
that voice is saying?

LIAM: It's

whispers,

it's syllables.

Sometimes you think
you're imagining it

and then at other moments,
there's no denying it.

AIMEE: Sorry, can you
repeat what you just said?

ALEXANDER: That's fine. You
managed to close the box

and seal it and it's secure
as far as I know for now.

AIMEE: Okay.

Well, how much longer
do you think

we have left
before we get back?

ALEXANDER: It shouldn't be
that much longer.

I don't know for sure.

I'm not that acquainted
with sea travel.

AIMEE: Yeah.

ALEXANDER: It shouldn't be
too much longer.

AIMEE: I have to get
back to work.

ALEXANDER: Yeah,
I understand.

I'll have to get back
to the hospital.

AIMEE: Okay.

ALEXANDER: Well, you should
definitely rest.

I'll let everybody else
know you're up,

but I'm glad you're awake.

AIMEE: Thank you.

LIAM: Just as you're reaching
this moment in the conversation,

Gabi actually pops
her head in again.

ALEXANDER: Hello, Gabi.
LIAM: "Hi.

"The Captain's Looking
for you guys."

ALEXANDER: Okay, all of us?
LIAM: "Yeah.

"Do you know where
the rest are?"

ALEXANDER: Not off
the top of my head.

LIAM: "Okay, well, just come
up to the, sorry, not up.

"Go back to the radio."

ALEXANDER: Okay.
LIAM: "Over past the kitchen

"when you find him."

ALEXANDER: Come on, let's go.

I'll help you.
AIMEE: Okay.

May I

hold your hand?

ALEXANDER: Yeah, it's fine.

AIMEE: Thank you.

LIAM: Edgar, just because
my memory is so spotty

and it was
so hectic last night,

can you give me one more

visual description of
our good doctor?

ALEXANDER: Yes.

It would be difficult to
pick him out in a crowd.

He's not

exceptional looking
in any way.

He very much blends
into the background.

He is a

relatively,

(sighs)

he's tall, but not overly so,

and he is wearing
clothes that

would be considered
current and fashionable,

but it seems as though he
didn't pick them out for himself.

Someone told him
to get these.

He's not wearing them well.

He has small round glasses

that he uses for reading
and other things and he

has a very,

it doesn't look like he's
slept or sleeps well

and he wears

almost always very full
coverage clothing.

He doesn't wear anything
that really-- always collars

with ties and long sleeves
and things of that nature.

He likes to be covered

and is always

neat.

LIAM: Grimoria, you take the
hand of this tall, but not too tall,

very neat doctor and
head out onto the deck.

Where do you think you two
gentlemen are this morning?

TALIESIN: I have probably been,

do I have anything
resembling a private room?

No.
LIAM: You wish.

AIMEE: A suite.
TALIESIN: I assume.

LIAM: You wish. You are climbing
the walls on this ship,

even before the storm.

TALIESIN: I would have
found a place to sit.

There's a bar
of some kind, I assume,

or some sort of--
where's the kitchen?

LIAM: The disappointment that

you're feeling now--
TALIESIN: I'm so sorry,

I'm thinking of a larger--

LIAM:-- would be the
disappointment

on day one, which is yes.

This is--

TALIESIN: Oh, I know
exactly where I am.

LIAM: This is a tramp steamer.
TALIESIN: Okay.

LIAM: Off the books,
this is a ship,

the Dandridge is a ship that
the Candela has commissioned

from time to time, it's
your first time on it,

to do things that they
do not want recorded.

TALIESIN: I am sitting as
close to the radio room

and as close to the
activities of the ship,

whatever people are doing,
whatever work they're doing

and I'm sitting
as gracefully as I can

under the circumstances, working
and writing in a journal.

LIAM: Okay.
TALIESIN: Just listening to the sound

of people going by,

waiting for news.

LIAM: Excellent, and you
do hear some sort of

radio chatter for a moment,
but the door is shut

and it only lasts for a moment.

You see

a younger squirrely guy
who you think somebody

referred to as Doug at
one point a few days ago

run out for a minute and
then he pops back in,

shuts the door
tightly behind.

What about yourself, Malcolm?

IMARI: I have
the closest thing

that resembles a cup
of coffee in my hand.

LIAM: They got that here.

IMARI: I have that and I'm
overlooking on the bow,

the ship, overlooking
into the ocean.

I'm thinking about last
night, taking it in.

The arm is still sore.
It's still banged up.

LIAM: And Leo

and then to you, Malcolm, but
give me the full picture.

Paint Leo for me.

TALIESIN: Leo is sitting in

whatever his second
pair of clothes were.

It's still very nice.

I will say the robe is the
same robe from last night.

It is drenched.
AIMEE: (laughs)

TALIESIN: It is slightly
burnt at the edges, but still

the most comfortable thing
possible in this weather.

It is a very nice, small
leather-bound journal.

It's got wonderful
texture on the front.

It's got a paisley
burned into it

with a little gold leaf and

just a man attempting to be

comfortable sitting
on the ground,

listening to people wander
by and trying to put

as much of what happened
down on paper as possible.

LIAM: The sound of
that busywork

is a comfort to you, I know.
TALIESIN: Very much.

LIAM: Malcolm,
cut a figure for me.

IMARI: Well, even though I
have a vest on right now,

I am down to my
undershirt of last night,

which is folded up in
the corner as neat

as it can be because
years of military service

has strengthened traditional

orderly morning routines,

which would either be
making my bed,

grooming myself or putting
myself together for the day.

I'm right now in
an undershirt.

I have my slacks on still.

Should I go over
how old I am now?

LIAM: Sure.

IMARI: I'm about
32 years old.

So I'm not recovering as fast

as I used to when I was in
my early 20s, but it's fine.

ALEXANDER: (laughs)

IMARI: I'm used to this
kind of action where lives

are put on the line since
I did military service.

So I am basically trying
to reorganize myself

to try to not let that--
There's ways that

you can compartmentalize
things when you see

tragic events happen or
things that might scare you

and I have a way of
compartmentalizing that

or moving on from it
or digesting it

and going on to
the next thing.

So that's what
I'm doing right now.

I'm still dirty
from the night before.

My skin has, you know
when salt dries on it?

AIMEE: Oof.

IMARI: You have those little
patches of salt on your skin?

AIMEE: The worst.
IMARI: It still hasn't washed off

because I saved
these two gentlemen.

So I'm in need of a bath,
but my face is washed

because that's what I was
able to do at the time.

LIAM: Yeah.

IMARI: I'm still disheveled
a little bit,

but I'm still very stoic,
very calm

and prepared for
what may come next.

LIAM: Compartmentalization,
something you learned very,

very fast during the war,
for survival.

IMARI: Yes, sir.

LIAM: So you two
coming out of the cabin

do a quick loop and near
the rear of the ship,

you spot Leo squatting on the
floor writing in his journal

and not too far off, paying
Leo no mind is Malcolm

contemplating the sea.

AIMEE: What are you writing?

TALIESIN: Oh, look at you.

I'm going to get up properly.

(groans)

The little method
actress is awake.

AIMEE: Thank you
for your help.

TALIESIN: Oh, it was literally
the least I could do.

Literally, it was
the least I could do.

I wish I could have
done more.

That was quite a bit.

I am writing down
what I can recollect.

It's important to write
these things down.

It's going to change in your
mind and change and change.

AIMEE: That's smart.

TALIESIN: I can get you
one of these if you like.

I highly recommend it.
AIMEE: Oh, sure.

TALIESIN: Yes,
it's nothing better

than looking back and seeing
what an idiot you were.

AIMEE: Can you repeat
that last part again?

TALIESIN: It's nothing
like looking back

and seeing
what an idiot you were.

AIMEE: Oh. (laughs)
TALIESIN: Are you all right?

Did we get some water
in the ears?

AIMEE: I think I might have.

TALIESIN: Oh, we'll have
to have that looked at.

AIMEE: Yeah.
ALEXANDER: Some side effects.

We'll get them worked out
when we get back to the city.

TALIESIN: Oh dear, oh dear.

AIMEE: Malcolm, are
you feeling all right?

IMARI: I'm just relieved
that you're okay.

I want to give her
a big hug, if I can.

How are you feeling?
ALEXANDER: Gentle.

AIMEE: I'm feeling good. I'm
worried about getting back home.

IMARI: Yeah.

AIMEE: I have somewhere
to be, but that's okay.

We'll get there
when we get there.

I have a good excuse.

LIAM: Up the side of the ship,
the door next to you pops open

and that little squirrely
young man Doug looks around.

"Oh, you're
right there, jeez.

"Come on, you got
a call on the radio."

He pops back in.

You all follow into
a pretty small,

cramped little room with--
Doug sits at a chair

and the Captain is here
too. Captain Devir.

ALEXANDER: Captain.

LIAM: "Glad to see that
you're up and about.

"We were a little
worried last night."

AIMEE: Yes, well,
I appreciate your concern.

I'm sorry about
your crew members.

LIAM: "I haven't seen a storm
like that in 15 years."

ALEXANDER: It's good to know
that doesn't happen often.

TALIESIN: You've been in
a storm like this before?

LIAM: "In my
younger days, yeah."

TALIESIN: Oh my god,
I wasn't lying.

ALEXANDER: No,
apparently not.

IMARI: (laughs)
TALIESIN: I feel better.

LIAM: "Doug,
how are we doing?"

"Yeah, I'm trying to
reestablish connection.

"Sorry, hold on a second."

He's fiddling with

a mass of dials and

trying to hook in.

"Hold on one second.

"I'm going to try to
reestablish connection."

[radio warbles]

[radio static]

[radio chimes]

"Yeah, ma'am,
are you there?"

(British woman) "Hello?

"Yeah, hello, do you read me?

"Edgar, Grimoria?

"Are you there?"

AIMEE: Yes.

LIAM: (Doug)
"Everybody's here, ma'am."

(British woman)
"Oh, thank goodness."

Despite the
spotty connection,

you cannot mistake
the deliberate voice

of your Lightkeeper,
Zora Manning.

All of you are naturally
intimately familiar with Zora,

meeting with her regularly
at Leo's flat

on Tivery Lane in the
Red Lamp, your chapter house.

Zora, for all of us,

is a tall, gaunt woman
in her 60s

with an owlish shock of
short, dark hair

with strains of white
running through it,

usually very serious,
but not without a bit of

sentimental fondness
for your Circle.

It's comforting to
hear her voice,

even through
the tubes of a radio.

"I understand you were in

"a bit of
a predicament last night.

"I'm sure that's
an understatement.

"How are you all holding up?"

IMARI: We've seen better days,
but we're alive. (chuckles)

LIAM: "I'm so glad nobody's
the worst for wear.

"Grimoria, I understand

"it was looking a bit dodgy
for you last night?"

AIMEE: Yes, I would say I got
my sea legs or maybe not.

I don't know the term.
(chuckles)

LIAM: "You sound
all right now, though."

AIMEE: Yes.

LIAM: "Well, I look forward
to a proper play-by-play

"in Leo's sitting
room when we're back.

"I'll rest a hell
of a lot easier

"once all my chicks
are back in the nest.

"I have an excellent
vintage, Mr. Amicus,

"one that I think can
compete with your collection.

"I'm hoping we can put
it to the test."

TALIESIN: Oh yes,
that would be lovely.

It is everything I
could use right now.

LIAM: "Just, I'm so relieved.

"We couldn't reach
you last night.

"I'm just so relieved."

IMARI: We're safe now
and we can't wait to see you

when we get back to shore.

LIAM: "Right.

"Well, listen,
there is one thing

"I needed to talk
to you all about.

"I'm sure the last thing
you want right now is me

"sending you on
another errand,

"but I am hoping to ask
you all for a favor,

"or, well, maybe it won't
seem like a chore at all,

"I don't know.

"It's been a while since
you've seen him, I believe."

ALEXANDER: Who?
AIMEE: Who?

IMARI: Who?

TALIESIN: No.
IMARI: Wait.

TALIESIN: No.

LIAM: "I'm a little concerned
about Decklan Murphy."

IMARI: What happened?
AIMEE: I thought he was reassigned.

LIAM: Decklan Murphy.

Decklan Murphy.

Not that you have anything
but the utmost trust

and reliance on your
fellow circle members,

but hearing that
name out here

after the night you had,
you find yourself

really wishing
Decklan were here.

You all came to Candela in
your own roundabout ways,

some directly
scouted by Decklan.

A couple of you met
him upon arrival.

But all four of you mentored
under him to a degree

when there used to
be five members

of the Circle of
the Crimson Mirror.

Zora is your Lightkeeper.

Zora gives you your marching
orders, but it was Decklan

who guided you when
you first began your

strange and hidden
second life.

He used to be
a history teacher.

History was his vocation.

When he joined Candela
a few decades back,

history became his purpose.

A born leader,
charming, affable,

knew everyone,
could talk to anyone.

In the early days, when you
were a little less sure

of this new life
you'd embarked on,

he was the glue that
held you together.

Eventually, he was reassigned
to another circle

to do for them what
he'd done for you,

as Zora tells it.

So, hearing him brought up
in this particular moment

makes his absence
feel very pronounced.

"You see, he left town
a few weeks ago

"and has dropped
all communication,

"which isn't like him,
you know.

"You know Decklan.

"I'm sure it's nothing.

"I know exactly where he is.

"He's told me, or left
a note, anyway,

"through the usual methods.

"He's, well, he's been in the
weeds for several months,

"you see, and recently
dropped me a note

"letting me know he's gone
home for a couple of days,

"his childhood home,
to the isle of Serenity.

"You're about a day's
journey from there now.

"I--

"I'm maybe being a
nervous Nellie, I suppose,

"but I just want to
know he's all right.

"I'm sure he is,
but as all of you know

"after the night you had,
the work can get to you.

"It's about a day
from where you are.

"It's on the way home
to Hallowharbor.

"Would you mind terribly
much looking in on him?"

IMARI: Of course.

You didn't even have to ask.

TALIESIN: I'm quite
glad you did ask,

and no, I think it would be,

it's the perfect time to
see him, rather remarkable.

AIMEE: Anything for Decklan.

TALIESIN: Objections, doctor?

ALEXANDER: No, as long
as the ship's willing

to take us there.

LIAM: (Captain Devir)
"Ah, yes, sir.

"Doc, I talked briefly
with Ms. Manning

"and certainly doesn't
add any fuel costs

"and be there in a day,
it's on the way."

ALEXANDER: Great.
AIMEE: I may need to use

your radio to notify
my employers.

LIAM: (Zora) "Ah, well,
you took the week,

"didn't you, darling?"

AIMEE: Has it been--

TALIESIN: It feels like a week.
LIAM: It's been about

four days that
you've been at sea,

so this was--
AIMEE: Oh.

ALEXANDER: Four days, okay.

LIAM: It's a good
thing to bring up.

You do live a double life.

You all live double lives

and you work for
the Foggs, dealers,

curators of the
fabulous and strange.

But you have had to slip
away and it took asking

for a bit of vacation time
for this longer trip, but--

AIMEE: Great.
LIAM: You secured it.

AIMEE: Great.
LIAM: But you only have a couple days,

so you do have to get
home relatively soon.

LIAM: "Well, is there anything
I can do for you at home

"before you arrive?

"Are you sure
you're all right?"

IMARI: We're fine.

We just want to make
sure Decklan's okay.

ALEXANDER: It was a
stressful night,

but we all got through it
somewhat in one piece.

IMARI: Like we always do.

LIAM: "It sounds like it
was a little hairier

"than normal, Malcolm,
but I'm glad to hear.

"I'm glad to hear.

"All right, well,

"I'm sorry, Captain,
I don't want to take up

"any more of your time.

"If you need me, I'm here,
I can be reached.

"Once you see him, drop
me a line, let me know,

"let me know that he's okay."

IMARI: Ms. Manning, is
there anything that we should

be aware of before we,

before we pick him up?
Is there anything

that you're concerned about
that's on your mind

that we should pay
special attention to?

LIAM: "No, I'm sure I'm
just jumping at shadows,

"but he's been on
a prolonged mission

"with his current circle

"and sometimes I worry
that it's getting to him.

"That's why I retired
from the field.

"It gets to you,
I understand."

TALIESIN: I don't suppose you
have access to those files,

and I don't suppose you can
give us access to those files.

It is the sort of thing that
I'm aware is difficult.

ALEXANDER: Oh dear.

LIAM: "I'm afraid it's on
a need-to-know basis."

TALIESIN: Mm.

LIAM: "Apologies."
TALIESIN: Yes, yes, yes.

LIAM: "Anyway, it's
where he grew up.

"I hear it's charming,
Serenity, so

"it may very well
be a lovely stop."

ALEXANDER: It would
be quite the name

if it wasn't charming.

LIAM: "All right, well,
I'm just blathering.

"I have a Cocker Spaniel
to feed

"and I look forward
to your return.

"The vintage, Mr. Amicus,
the vintage.

"I do hope you'll like it."

AIMEE: Maybe save me
some of that vintage.

TALIESIN: Always, always.

LIAM: "Oh, it's a
crate, darling.

"I'll see you in a few days."
IMARI: All right.

LIAM: "Hear from you sooner."

IMARI: Yes, Ms. Manning.

TALIESIN: One glass, please.

AIMEE: Yes.

TALIESIN: I'd find the
tiniest bit of privacy

before we have
this conversation.

ALEXANDER: Fair.

Captain.
LIAM: (Captain Devir) "Yeah."

ALEXANDER: The man that
passed last night.

LIAM: "Yes, that was Heath."
ALEXANDER: Heath.

May I take a look at him?

LIAM: "Of course.

"He is, we've put
him in cargo."

ALEXANDER: Thank you.

LIAM: He leads
you out on deck

and in less than
a minute you--

ALEXANDER: It doesn't
have to be now,

it can be after we
have this talk.

LIAM: Okay.
ALEXANDER: I want to eventually

take a look at him.
LIAM: "All right, all right.

"You know where to find me."
ALEXANDER: Thank you.

LIAM: Are you finding a--

Maybe off to your
cabin to have a chat?

TALIESIN: Yeah, or at
least outside of it

where we can see
in any direction.

LIAM: Okay.

AIMEE: So do we
feel safe leaving

the artifact here unattended
when we disembark?

ALEXANDER: Well,
if everything goes well,

we shouldn't be
there that long.

It may just be a stop
off to say hello

and then get back on
board and head home,

but if it--

LIAM: I will dip in to say
I understand that reservation,

but Manning, Zora Manning,

this was her arrangement

and she seems to put her
faith in this crew

and has used them
multiple times.

AIMEE: Okay.

TALIESIN: Well--
ALEXANDER: If we do

as much as I assume
they're trustworthy,

if we see anything
that leads us to doubt,

we can always take it off.

It'll take some effort,
but we could remove it

from the ship, if possible.

TALIESIN: I find
it interesting

that we go through

an experience like this

and the first thing that
happens is we're sent

to see Decklan,

which is exactly what
I would do if I wanted

to smooth everything over
with a group like ours.

ALEXANDER: Mm.

TALIESIN: It makes
me suspicious.

Not terribly,
but a bit suspicious.

ALEXANDER: Well, I mean,

it's not like--

I don't know. I mean, it was
just a storm, they happen.

We got into a
particularly bad one.

TALIESIN: Well, there are
storms and there are storms,

and sometimes when
you're carrying something

that has a gravity
of its own,

things get pulled
towards you.

Also, just because a place

is called Serenity
means nothing.

All it means is either
it is serenity

or it's exactly the opposite

and they were hoping
people wouldn't notice.

AIMEE: (sighs heavily)

IMARI: What are
you alluding to?

ALEXANDER: Seems like you're
jumping to conclusions.

TALIESIN: Caution.

I don't trust anything
right now and--

ALEXANDER: We all had
a very bad night.

TALIESIN: Very bad.

ALEXANDER: That's going
to make us jumpy,

but that doesn't mean
that the storm

was part of a
larger conspiracy.

TALIESIN: No, just--

IMARI: If anything we can
trust, it's Ms. Manning,

and it's definitely Decklan.

Now, if someone maybe might
be manipulating Decklan,

or he might be wrapped
up in something,

I think it's our
duty to investigate

and to assess the situation
and to act accordingly.

ALEXANDER: I mean, it is
also possible that he just

is out of contact for a
perfectly legitimate reason.

IMARI: I mean, he
could be undercover.

We don't know what the mission is.
ALEXANDER: He went home

to take a break.

AIMEE: Well, if it
breaks the tie,

I would like to feel
dry land under my feet.

ALEXANDER: Yes.
TALIESIN: Fair.

IMARI: I wouldn't mind
a nice bath.

TALIESIN: Well, we are
clearly going anyway,

he is family and we
take care of family,

even if we haven't seen
them in quite a while.

ALEXANDER: It is not--

I'm not saying I don't
want to see him.

It is a little bit
of a coincidence

that we happen to be so
close on the way home,

I understand that,
but it is--

it will be nice to see him,
regardless of the situation.

IMARI: Mm.
TALIESIN: This is true.

ALEXANDER: But we should
all try and relax,

and as your physician,
you should rest

because last night was a lot.

LIAM: Would now be a good time
to go look in on the corpse?

ALEXANDER: Yeah.
LIAM: Okay.

ALEXANDER: I grab my medical
bag and head down.

LIAM: Okay, so in less than
a minute you are there.

You traipse down the
same set of stairs

that lead to the now secured
remains of Atia Griffia.

In a separate corner
on its own,

laid out on a blanket,

are the remains
of a new corpse.

It is like a portion of
one side of this man's body

evaporated away and left.

It's not a bisection
or a clean cut

leaving that display,
but it is hills and valleys

of melted-over and
unfinished anatomy.

ALEXANDER: I'm making notes
as I examine the body

and journal.

Are the edges rough
or are they smooth?

If I inspect very closely
the edges of the skin,

where they disappear,
the evaporated flesh,

are they charred?

Are they rough?
Are they smooth?

LIAM: It is not charred.

There is no burn here.

It is relatively smooth with,

and if you run a single
finger down it,

it has a bit of a
texture or a mottling.

Mottling, not modeling.

But definitely to the
eye, it looks smooth,

it doesn't look
scorched burned.

ALEXANDER: I'm drawing

diagrams and making notes

and trying to record
everything that happened,

examining the specific
way he died.

Is there the effect that
I witnessed last night

with the black and the
stuff drifting off,

and that has stopped,
it is still now.

LIAM: It has been halted.

ALEXANDER: I'm going
to take--

LIAM: I will add that in the
event that happened last night,

his body lay the closest
to the remains

in the final moments.

ALEXANDER: I'll take a little
vial out of my medical kit

and scrape,

or cut off some flesh to keep
and put it in the vial,

put it away just
to have a sample.

LIAM: Okay.

All right,
keep track of that.

ALEXANDER: It's unfortunate.

Sorry this happened to you.

AIMEE: While he's doing that,

I think Grimoria
takes his advice

and tries to rest,

but I'm curious, as a player,

I took on Let Them In,

which, can I read it?

LIAM: Yes.

AIMEE: It says, "Whenever you
take one or more bleed marks,"

which I have four,

"you also gain
additional information

"about the phenomenon
that harmed you.

"Ask the GM one question

"about the source
of the bleed."

LIAM: Okay.

You can ask me a few.

AIMEE: Yeah, okay, great.

So I think while she's
in this kind of restful,

fitful state--
LIAM: Reflecting.

AIMEE: Reflecting, I wonder,

I don't remember where
they all came from, but

can you tell me
anything about

what makes this particular
artifact so powerful?

I guess that's
my first question.

LIAM: Well, you have all
familiarized yourselves

with who this woman was
in history, which was,

she was listed
in general history

as a high seat in
the government of the time

of the ruling class.

But in texts that
are harder to find,

and have come into Candela's
collection over the centuries,

from what you've learned,
you understand, you believe,

you know that Atia Griffia

was a highly powerful
alchemist in her time

and served at the right hand
of Emperor Calinus.

There's a market in Newfaire
called the Calinus Market.

It's named after this man.

He was the last person
to rule before,

I guess Candela believes

the people of that time
flew too close to the sun

and it all came apart.

Whatever it is that
caused the Vastchasm to erupt,

whatever caused the end
of the city of Oldfaire,

some belief can be
traced back to Calinus,

and this woman was
in his daily life.

AIMEE: Okay.

LIAM: And very powerful.

She disappears.

I'm going to call
this a couple questions.

She disappears from those
history books for a while.

There seemed to have been

some sort of split
between Calinus and Atia,

and there are some
records that believe

that she fled Oldfaire

for parts unknown.

AIMEE: I'm going to
reserve one question,

but maybe for later--
LIAM: Mm-hmm.

AIMEE:-- to see what
I can come up with.

But I guess something--
ALEXANDER: (laughs)

AIMEE:-- that
I'm curious about.

LIAM: It's got to be--

AIMEE: All at once.
LIAM:-- connected to the thing that caused--

AIMEE: No, for sure,
but maybe something--

LIAM: Oh, okay.
AIMEE:-- later will come up

in the story.
LIAM: Okay, I like it, I like it.

AIMEE: But I do
have one question.

LIAM: Yeah.

AIMEE: Considering my abilities
to connect with deceased spirits--

LIAM: Mm-hmm.

AIMEE:-- and also this,
that I have Let Them In,

is there something that

this person would
want us to know?

A message?

LIAM: There is no answer
to that question.

The rules text for
this feature is,

"Ask the GM one question about
the source of the bleed."

Or am I thinking
of a past one?

AIMEE: Well, I got four bleeds.
LIAM: "Take a bleed mark,

"but if there is no answer to
be given, to return the bleed."

I might be remembering
a past version of this.

AIMEE: Oh, I don't know,
and that's not on mine,

but cool if it is.

ALEXANDER: Hmm.
LIAM: I'll tell you what,

I'll factor that into
how hard I go on you

with bleed in the future.
AIMEE: (laughs) Okay.

LIAM: And there is no answer.

AIMEE: Damn, well,
had to ask.

LIAM: Mm-hmm.

AIMEE: Okay.

LIAM: Out on the deck,
Malcolm returned to your spot,

staring out at the sea,

and thinking about the
conversation you just had,

and a woman named Joan
comes up to you.

"Hey."

IMARI: How do you do?

LIAM: "I'm good.

"I just wanted to thank
you for last night.

"You saved my friend, Burke."

IMARI: Oh, well,

well, you're very welcome.

How's he doing?

LIAM: "He's
a little embarrassed,

"and shaken up,
but he's okay."

IMARI: Mm.

You tell him he's brave,
he hung on,

so, it's a pretty brave soul
you got there, as a friend.

LIAM: "I think so.

"He's a little more
than a friend, but."

IMARI: That's, you said,
your husband, right?

LIAM: "Oh, I said friend, but--"
IMARI: Oh.

LIAM: "More than a friend."

IMARI: More than a friend?

Well, then I'm really glad
that I saved him, then.

LIAM: "Me too.
Did you serve?"

IMARI: Yes.

Yeah, yes, you could say
I did, yes, yes, I did serve.

I was in the war--

ALEXANDER: (laughs)

IMARI:-- but it was,

eh, kind of traumatic,

to say the least.

LIAM: "That's kind of
the whole bag, isn't it?"

IMARI: Mm-hmm.

Definitely.
LIAM: "Yeah, I thought so.

"I did, too."

IMARI: You did?
LIAM: "Yeah."

IMARI: Where'd you serve?

LIAM: "(sighs) Well, I was,

"I was in Westecklyn."
IMARI: Oh.

LIAM: "Close to the city."

IMARI: So you saw a
lot of action, then?

LIAM: "In the
early days, yeah,

"but I took a bullet,
and they pulled me out,

"and--"
IMARI: (sighs)

LIAM: "I was out about a half a
year before the worst of it."

IMARI: Wow.

LIAM: "Still saw
my share of shit."

IMARI: Of course
you did, so.

(knowingly inhales)

It was all for
the good cause, right?

So we tell ourselves.
(laughs)

LIAM: "Yeah, there's
some truth in it,

"but it's complicated,
right?"

IMARI: It always is.

LIAM: "(sighs) Well,

"anyway, genuinely,
thank you."

IMARI: Oh, well, thank you
for thanking me.

I appreciate it.

LIAM: "I'm going to let him
know how glad I am he's alive.

"Have a good night."

IMARI: Tell him there's some
extra strong coffee down there

for him if he wants to
take a sip. (laughs)

If he feels so inclined.

LIAM: "I read you."

TALIESIN: If, oh,
if it's all right--

LIAM: Yeah.

TALIESIN: I would love to be
sitting, writing just far enough

away to hear some of
this conversation.

LIAM: Mm-hmm.

TALIESIN: Then once
they walk away,

Malcolm,
do you have a moment?

IMARI: Uh-oh.
AIMEE: (laughs)

IMARI: Yes...

(sighs) I can already
feel this coming.

TALIESIN: Congratulations on
saving that lovely stranger,

and saving the heart of
that other lovely stranger.

IMARI: Mm-hmm.

TALIESIN: Mm.
IMARI: But?

TALIESIN: I have no buts,

I am not enough of
a fool to argue

with a gambler on
a winning streak.

IMARI: (laughs)

TALIESIN: I just,
I want you to know,

I don't pretend that
I would understand

what it was to be raised by
your parents and your family.

IMARI: Hmm.

TALIESIN: Clearly,
it was difficult,

but family--

IMARI: Mm.

TALIESIN: Family is a
very precious commodity.

IMARI: Hmm.

TALIESIN: Some people
have very little of it,

and it is worth quite a bit.

IMARI: Hmm.
TALIESIN: Some people

have so little that it's
worth that box of bones

at the bottom of the ship.

(sighs)

Putting a stranger
ahead of family,

risking your family
for a stranger,

that's,

well, that sounds more like
your brother to me, doesn't it?

IMARI: Mm.

TALIESIN: If you're going
to emulate your brother,

I would prefer if you found
a better trait to emulate.

Do you understand me?

IMARI: Yes, I understand.

TALIESIN: I doubt that.

IMARI: Well, you need to
understand something, too.

TALIESIN: Mm?

IMARI: The reason why
we do what we do

is not just for our own gain,

it's for the protection
of those that we are

supposed to be serving
within the shadows.

That's everybody,
that's anyone,

that's from the ship
hands, to the captain,

to a president.

What I did was

what I've been
asked to do ever

since I started
joining Candela, so.

TALIESIN: I sincerely disagree
with that reading of it.

IMARI: Well, you know that I
can't watch an innocent life

just fade without being
able to do something,

but I understand
what you're saying,

and I apologize
for worrying you.

TALIESIN: You know enough to know
that I don't have a lot of family.

She's family.

And as lovely as
that conversation was,

and believe me, I understand
how lovely it was,

if you had not been there,

the conversation that
you would have directly

after that one would've been

so much more unpleasant.

IMARI: I know.

TALIESIN: I don't
think you do.

IMARI: I have a hunch.

TALIESIN: Well, I hope you
don't ever have to learn.

Get your head together.

I can see too much of
your family in you,

and it's disappointing.

ALEXANDER: (laughs)

TALIESIN: You're better
than that, I swear it.

I'm going to close my book,

having just written down the
advice that you gave me--

IMARI: (laughs)

TALIESIN:-- and
walk to my cabin.

ALEXANDER: I would like to
come out on deck

after examining the body.

LIAM: Mm-hmm.

ALEXANDER:-- and see them
walking away from each other.

Malcolm.

TALIESIN: Sorry.

ALEXANDER: Malcolm.

IMARI: Huh, yes.
TALIESIN: (laughs)

IMARI: You want a little
go at me too this morning?

ALEXANDER: No, I don't care.

I want to take
a look at your hand.

AIMEE: "No, I don't care."
(laughter)

ALEXANDER: Can I see
your hand, please?

IMARI: Of course.
ALEXANDER: It hasn't been exposed

to that much water before,

and I just want to take a look
at the connecting tissue.

IMARI: Oh, thanks, doc.

ALEXANDER: I just want to
take a quick look over it,

and see if it's working.

LIAM: Sure.

ALEXANDER: I don't know anything
about the actual mechanics,

but just where it's connected
to his actual physical body.

LIAM: Right, right, right.

ALEXANDER: In case any damage
has been done,

or it looks inflamed.

LIAM: Remind me,
Malcolm, it is

there for the world to see--
IMARI: So, there's 10--

LIAM: Or it is gloved?

IMARI: It's a
gauntlet-esque contraption,

where it's a synthetic
rubber mixed in with metal.

LIAM: Okay.

IMARI: Below here is a clasp,

that connects my flesh to,

that's fused,
it's fused to this glove,

to this prosthetic hand.

But I can remove it in order

to do maintenance within it.

That's, it's painful
when it happens.

LIAM: Okay.
ALEXANDER: I don't need you to remove it,

but I just want to look
at the connection.

IMARI: Of course.

But I've been used
to the pain,

it's not like, you know,

I've had it
checked over many times,

so, it's not something
that I can't endure.

Not, or can not endure.

ALEXANDER: Does the skin
look inflamed,

or is there any bleeding,
or anything?

LIAM: You take a minute to
gently turn the hand over,

and you've examined
this hand before.

You guys got to know each
other in a hospital.

There isn't, this hand was

a gift of sorts
from Malcolm's family,

sort of a parting gift

when he became less welcome

at the house,

the mansion in the Eaves.

But it was top of the line,

because the Trills family is

an old one.

ALEXANDER: Right.

LIAM: They have
very large coffers.

But it seems all right.

ALEXANDER: All right,
you can put it away.

Seems fine.
IMARI: Thank you.

Yep, it looks, it feels, it's
a little stiff from the,

what I assume would be
the sea water,

but nah, (sighs)
ALEXANDER: Well--

IMARI: I think it'll
still do the duty.

ALEXANDER: Good.

(sighs)

LIAM: Leo-- oh.

TALIESIN: I will eventually go
looking for that one, but go ahead.

Sorry.

LIAM: Well, I'll wait.

TALIESIN: No, no, no.
LIAM: No, no.

AIMEE: (laughs)
LIAM: No, no, I'll wait.

ALEXANDER: Just talk to
each other. (laughs)

TALIESIN: Where would you be,
would you be at the room?

AIMEE: I think
I'd be in a room,

I guess maybe what we,
the room we share,

and trying to...
trying to sleep,

but not being able to,

and maybe writing down
in my little,

I mean, it's an occult text,

but just writing,
making a note.

LIAM: It's your occult text.
AIMEE: It's mine,

but making a note about
what you said about the,

about Atia--
LIAM: Mm.

AIMEE:-- and her history,
making some notes under it.

TALIESIN: Oh, I'm so sorry,

I didn't know that you
were actually working.

AIMEE: Oh! No, I just,

I just keep having these
thoughts, you know,

about yesterday, and
how are you doing?

TALIESIN: Oh,
the usual, I suppose.

We're worried about you.

AIMEE: Thank you.

TALIESIN: Are you writing about
whatever the person was that--?

AIMEE: Well, I didn't get much
information, but-- (laughs)

TALIESIN: It's not about that.
AIMEE: About her.

But I did--
She was very powerful,

and who she worked for,

Ken--

LIAM: Calinus.

AIMEE: Calinus, Cannula.

Cannalis. (laughs)

Was a very powerful--

TALIESIN: Mm.
AIMEE: Well, we know,

there's a street
named after him.

That's really all I know,
but it's nice to

put details in where
there are none.

TALIESIN: Anything you saw,

what sort of person
they were, honestly,

I was just a, mm.

When you talk, it
comforts me, that's all.

I was just hoping
to hear a little bit

about what it was like.

AIMEE: Oh, well, I can just

I guess, just tell you
about the whole thing.

TALIESIN: What a,
there was a,

I saw you doing
a thing with your hand.

AIMEE: Oh, (laughs) yeah.

Well, I'm still
getting used to that--

But sometimes when I,

I guess, channel someone--
TALIESIN: Hmm.

AIMEE:-- I feel like
I'm in their body,

and I'm wearing
their clothes,

and sometimes I try to
use maybe what they have,

and then I realize, "Oh
wait, I can't." (laughs)

It takes some
getting used to.

TALIESIN: Mm.

AIMEE: But you really
came in, and were a hero.

TALIESIN: Oh, pfft.
AIMEE: Thank you.

TALIESIN: No, I was middle
management at best.

There's not a lot
I can do in these

sorts of situations
other than worry, but--

AIMEE: That's enough for me.

TALIESIN: Yeah, just,

mm, I don't know
who else I would talk

to on this boat right now
without getting angry, so.

AIMEE: Huh.

TALIESIN: I just needed to
clear my head a bit,

you know how I get.

AIMEE: Well, do you want me
to read from my book again?

TALIESIN: That would be--
AIMEE: Just to keep you company?

TALIESIN: You do need to sleep,
but a moment would be lovely.

AIMEE: I can't sleep.

She just starts
from page one.

(laughter)
AIMEE: And just starts reading.

IMARI: I like it.

TALIESIN: I'm going to
occasionally fix grammar.

AIMEE: Yeah, right.
(laughter)

TALIESIN: I know the... so,
this is for a little bit.

LIAM: Do you think that would
take you guys to bed that night?

Close this out
when the moon is out,

and it is the exact opposite
of the night before,

it is clear and hauntingly
beautiful on the ocean.

You have a night
of rest ahead of you,

and part of the day left before
you'll reach your errand.

The next morning, uneventful.

Everyone gets up, and
putters around the ship,

and begins to get ready
for their next stop,

but the one thing
that I'll throw in,

Leo--
TALIESIN: Mm.

LIAM:-- while you're out
on the deck on your own,

it's pretty early,
staring out,

looking for any sign
of an island

that you'll be arriving at,

and about three or
four hours out, though.

The other man who ended up
in the drink that night,

the other night, sidles up
next to you on the ship.

TALIESIN: Oh hello.

LIAM: "Hey."

TALIESIN: Hmm.

LIAM: "Man.

"Completely different than
the other night, huh?"

TALIESIN: Feels almost
like an apology.

(laughter)

LIAM: "I like the quiet,
don't you?"

TALIESIN: Never quite got
used to it, actually.

I--

I don't like my thoughts,

I try and
drown them out a bit.

LIAM: "What, you don't
like the quiet?"

TALIESIN: Mm, not too much.

LIAM: "Hmm."

TALIESIN: You?

LIAM: "I like it
when I like it."

TALIESIN: Hmm.

Mm, probably means
you like yourself,

since it's the moment
that you are

just with your own company.

LIAM: "I saw you writing
in that book yesterday.

"What'd you write
in that book?"

TALIESIN: Oh.

Just then, I definitely
pick a page

that does not have
anything too scandalous.

(laughter)

TALIESIN: Just a bit
about what happened.

I like to remember things.

I can barely remember names,
so this helps.

LIAM: "That's cool,
I don't know any writers."

TALIESIN: Pff, I don't
either, believe me,

this is terrible. (laughs)

LIAM: "So, you don't
want it quiet, huh?"

TALIESIN: No.

How long, I mean,
if you must, if you,

how long have you
sailed on this ship?

LIAM: "Ah, three years,
at least."

TALIESIN: You don't look it,
you look great.

LIAM: "Ah."
ALEXANDER: (laughs)

LIAM: "Well--"
TALIESIN: Mm.

LIAM: "If you
don't like quiet,

"you want to go
make some noise?"

AIMEE: (gasps)

TALIESIN: Mm.

Yes, desperately.

(laughter)

LIAM: "I hear we got three or
four hours before we land,

"come with me."
TALIESIN: Mm.

That's a shame, I had
easily six hours of ideas.

ALEXANDER: Oh my god.
AIMEE: "Six hours of ideas."

LIAM: He leads you off--
AIMEE: (claps hands)

TALIESIN: And--
LIAM: To the rear of the ship.

AIMEE: Someone's having
a good time.

IMARI: He gets
booty on the ship?

I don't get
booty on the ship.

AIMEE: Thank god Grimoria
can barely hear.

TALIESIN: Have to work
in your flexibility--

IMARI: Goddamn.
TALIESIN:-- to get booty on a ship.

IMARI: Not fair.
TALIESIN: Sorry.

ALEXANDER: Christ,
I wasn't expecting that.

AIMEE: I love it.
(laughter)

AIMEE: I love it.
TALIESIN: I was hoping.

LIAM: Eventually--

TALIESIN: Hmm!
(laughter)

LIAM: Eventually--

AIMEE: Rated S for Smut.

LIAM: One can hope.

Off in the distance,

you finally see an island
rise on the horizon,

and it takes an hour or so
to get closer,

but eventually,
you start to make out detail.

Let me see.

What you see is beautiful.

You see it's
a fairly small island,

but the coastline to
this place is rough,

but breathtaking.

AIMEE: Wow.
LIAM: It's bleakly beautiful,

stretches of stone beaches.

occasional single homes of
stone caved in on themselves,

sometimes on a high rocky
outcropping along the way,

fields of grass
bending in the wind.

You can, at this distance,

you think you see
little flecks of white

and wonder if you're seeing
sheep this far out.

Eventually, the Dandridge
draws close enough to Serenity

for you to spot a small
seaside village of sorts.

Before long,

you dock, and
the four of you are standing

on a humble wooden dock
in a place you

might hesitate to call
a village, really,

a dirt and gravel road
runs along the coast here,

ordered by a low stone wall.

There's a string of
small meager cottages,

and what appears to be a pub

directly up the path from where
you now stand, you assume,

because it has a little
painted sign out front

that says,
"Edge 'o the Isle."

IMARI: Hmm.

LIAM: You see a few people
walking about town,

they are humbly dressed,
this is

remote as it gets.

Some of you have heard of
Serenity before in passing,

it is remote.

Sometimes people talk
about it mockingly.

Decklan never did.

He was fond of it.

While, at the same time,

admitting that he couldn't
wait to leave as a young man.

Some tourists have tried
to make a go of it here, too,

but it never really
quite stuck.

It is just half of a village

on the edge of the known
world in the Fairelands.

AIMEE: It's perfect.

ALEXANDER: Did,

I don't remember, did
Zora give us the address?

AIMEE: No.

ALEXANDER: Are there
addresses here?

There's another question.

LIAM: Well, looking at--
ALEXANDER: (laughs)

LIAM:-- a small handful
of homes that are here,

you actually don't see any

street signs or

house numbers.
ALEXANDER: Well.

LIAM: They are all very
humble little cottages.

There are thatched roofs
on all of these places.

AIMEE: I bet if
we ask at the pub.

ALEXANDER: I was going to say,
it is town this small,

they probably know.

IMARI: Yeah, I'm sure
Leo would deal

for a nice good
proper drink, anyway,

so it's killing two
birds with one stone.

TALIESIN: Are we not having
a drink at the pub?

IMARI: (laughs)
TALIESIN: It seems very rude not to.

IMARI: Well, let's go.
TALIESIN: And I don't drink alone,

so everyone's drinking, too.

You only get one a day, though,
we've had that conversation.

AIMEE: Yes.

LIAM: So, you step up
this muddy little path

away from the docks.

ALEXANDER: I turn
around to the ship.

We'll go and check it out,
figure out what's going on,

and we'll come back
as soon as possible

to let you know
the situation.

Keep you updated when we can.

LIAM: "Sure, but we're
leaving today, right?"

ALEXANDER: As far
as I know, yes.

AIMEE: Do you want
anything from town?

ALEXANDER: (laughs)

LIAM: "Whatever they
got in that place."

TALIESIN: Mm.

IMARI: I thought
you'd say that.

TALIESIN: I'll also say, if
anyone strange comes up,

let's not let
anybody on board,

and perhaps at night, let's

dock far enough
away that nobody,

it'll make it a little more
difficult to sneak on.

LIAM: "Would you like me to
pull out and go a ways away?"

TALIESIN: Not too far. Stay
within signaling distance

just in case. Just in case.

LIAM: "All right, well--"
TALIESIN: I've had too much happen.

LIAM: "We won't go so far
that we can't have eyes

"on this spot.

"So, this is the spot,
all right?"

TALIESIN: I believe this
will be the spot.

IMARI: If your gentleman can
take the different shifts

to the basement to make
sure our shipment is secured,

that'd be greatly
appreciated.

LIAM: "I would like to
think that the trouble

"we had the other night
was a one-time thing.

"I run a pretty tight ship,

"normally we don't
have any issues."

TALIESIN: Mm.

LIAM: "If you ever wanted to--"
ALEXANDER: I'm sure you do.

LIAM: "-- hire us again,
I wouldn't expect the same.

"Again, 15 years since I've
seen anything like that."

ALEXANDER: Just
being cautious.

IMARI: Yeah. Yeah.

LIAM: Okay. So you
watch from the dock,

you delay for a moment, and
the ship slowly pulls away.

You don't watch
it for too long,

but you see it withdrawing
from the island of Serenity.

Turn and look up at
the Edge 'o the Isle,

as you stand on the
edge of the isle.

Heading on in?

ALEXANDER: Yeah.
IMARI: Yep.

LIAM: Okay.
TALIESIN: Oh dear.

LIAM: Well, it is
a room barely bigger

than the table
we're sitting at.

There is a little peat stove,
which smells wonderful,

and there are wooden tables
and stools on a dirt floor.

There is a barkeep,
there is a man standing

at what really just looks
like a wooden plank.

He's in his 50s, has graying
hair and a beard to match,

warm brown skin,
a broad nose,

and well-worn wrinkles
at the corner

of his almond eyes and smile.

(Irish accent)
"Morning to you."

IMARI: Morning, sir.
TALIESIN: Morning.

LIAM: "Morning to you."
IMARI: Morning, sir.

TALIESIN: Absolute pleasure.

AIMEE: Can we get four glasses
of alcohol, please?

ALEXANDER: (laughs)

LIAM: "Right, well we have--"
AIMEE: With her--

LIAM: "-- choices for you."

AIMEE:-- bruised face.

LIAM: "Yeah, I'm sorry. I
didn't mean to stare at you."

AIMEE: It's a birthmark.

IMARI: (laughs)
TALIESIN: You should see the other guy.

LIAM: "Mm. (laughs)

"Well, you bring
trouble to Serenity?"

AIMEE: No, no.

We're actually just looking
for an old friend.

LIAM: "Oh, all right."
AIMEE: Last name--

IMARI: Perhaps you've
heard of him. Sorry.

AIMEE: No.
IMARI: I didn't mean to step

on you.
AIMEE: No, please.

TALIESIN: I mean, a bit of
a drink first before we begin.

LIAM: "Well, we've got beer.

"We've got Poitín.
TALIESIN: Mm.

LIAM: "And we've got,
if you got coin to spend,

"I got one bottle
of whiskey."

IMARI: Oh, I think we
need some whiskey.

TALIESIN: I think we have--
I had so many thoughts,

and then you said that,
and I believe the bottle

of whiskey will
do quite nicely.

LIAM: "All right."

He leans back
behind this desk,

and a cat, a mangy cat
walks out onto the bar,

swishing its tail, and then
lies down and flops,

and stares at
you guys lazily,

tail swishing as it goes.

He turns around
and he's got a whiskey

and four glasses
that are clean-ish.

ALEXANDER: This town
seems fine.

Did you all have any trouble

with the storm
the other night?

LIAM: "Oh jeez,
it was terrible.

"Yeah, there was
thunder for hours.

"Me own house,

"part of the fence
got knocked down,

"and three of my sheep,
I still haven't found them."

ALEXANDER: Oh dear.
I'm sorry.

Yeah, we were on
a ship during then,

so we're a little happy
to be on land right now.

LIAM: "Oh, Mother above."

TALIESIN: It was quite a lot.

LIAM: "Mother above,
that sounds terrible."

ALEXANDER: Yeah.
ALEXANDER and TALIESIN: (laugh)

AIMEE: This isn't
a birthmark.

LIAM: "I know, lass. I know."
ALEXANDER: (laughs)

AIMEE: Didn't want
you to worry.

LIAM: You notice for
the first time

that there are two more
people in the pub.

Because they were to
the right of the door,

so you just walked
right past them.

It's a pale, drably dressed
elderly woman

with stringy white hair.

There's a small boy,
filthy face,

sitting next to her
in the corner,

and he's eating a bowl
of porridge or something.

She's drinking a glass
of something dark.

IMARI: Hmm.
TALIESIN: What do you think

of this whiskey, do you
have an opinion on it,

out of curiosity?
LIAM: Who are you asking?

TALIESIN: Oh, the bartender.
I'm so sorry.

LIAM: Oh, okay.
AIMEE: The child. (laughs)

TALIESIN: I actually
haven't gotten

his name yet either.
LIAM: Oh, Dermot.

"My name's Dermot."

TALIESIN: Dermot.
LIAM: "Dermot Gallagher."

TALIESIN: That's a good name.

LIAM: "Thank you."
TALIESIN: No, it's fabulous.

I collect them.
LIAM: "(laughs)"

"I'm sorry, what
was the question?"

TALIESIN: What do you
think of this whiskey?

LIAM: "Oh. Well, it's the
only whiskey we can get here."

TALIESIN: You've had
a glass before, though.

LIAM: "I have."

TALIESIN: Would you
like a glass now?

LIAM: "Are you offering
to buy me a drink?"

TALIESIN: I'm offering
to buy you,

and I think she looks
a little rough, too.

Not the child, obviously,
I'm not buying him a--

He has to pay
for his own, but.

LIAM: "This one?"
TALIESIN: Yes.

AIMEE: Just a nipper.
LIAM: "(laughs)"

TALIESIN: Everyone had
a rough night.

LIAM: "You're already
picking up the accent, huh?"

(laughter)

TALIESIN: First
time traveling,

we're very excited.
AIMEE: I'm very good with accents.

LIAM: "You know,

"that's charming. Yours is
on the house. Not yours."

AIMEE: Thank you.
TALIESIN: Oh, thank you.

ALEXANDER: I wouldn't
expect it.

LIAM: He begins pouring--
TALIESIN: Mm.

LIAM:-- five drinks.
TALIESIN: We've all had

a rough night.
LIAM: (old woman) "What about me?"

AIMEE: Oh.
LIAM: (Dermot) "You've had enough."

(old woman) "I haven't
had enough!"

Boy is just spooning
porridge into his face.

(Dermot) "Mag, you've
had enough,

"and I don't want to
hear another word."

(Mag) "(sneers) You're
not the boss of me!

"My money's good as his!

"Another glass!"

He shakes his head at you.
TALIESIN: Mm.

LIAM: (Dermot) "(sighs)"

TALIESIN: Speaking of
trouble, actually--

LIAM: "10 years I've been
listening to this one. Sorry.

TALIESIN: No, I mean, she's--
Is it 10 years on that one?

LIAM: "Thank the Mother, no."
TALIESIN: My god.

LIAM: "She's old enough
to be my mother."

IMARI: (laughs)

AIMEE: I never want to judge.

TALIESIN: No.

Well, since you
brought up trouble,

we actually have a friend
that we were looking for,

who actually is from around
these parts, I believe.

LIAM: "Oh, do tell."

TALIESIN: It was Murphy,
Decklan Murphy.

LIAM: "Well, there's,

"there's the
Murphys up on the,

"two miles up
the island, yeah."

TALIESIN: Mm, two miles up--

LIAM: "Yeah, you head out
the pub and take a right.

"There's not a lot here,
if you haven't noticed."

TALIESIN: No, it's
very peaceful.

AIMEE: So, which Murphys
live here most of the time?

LIAM: "Well, it's a family.

"I knew their mother,
Margaret,

"for a spell.

"But they keep to
themselves mostly."

TALIESIN: So, you've
never met Decklan?

No stories or anything?

He's a bit of an odd duck.

LIAM: "No, I mostly
knew his mam.

"I've heard his name said,
not in a long time."

AIMEE: Well, we--
TALIESIN: How's my bullshit

detector right now,

out of curiosity.
LIAM: Hmm?

TALIESIN: How's my bullshit
detector right now?

LIAM: Well, you have
to roll for that.

TALIESIN: I'm happy to.

Where's my glasses?

That would be--

What would that be?

AIMEE: Roll for bullshit.
LIAM: Your skill

called Lie Detector,
which you'd love

to read out to the table.
TALIESIN: It's Read, yes,

I've got Read, which is
interpret body language,

spot lies, gather motives.

I also have a thing
called Sweet Talk.

IMARI: Oh.
TALIESIN: Which is,

after I've made small talk

with someone for
a little while,

I can add an extra die on
to any Read roll I make

in which they are the target.

IMARI: That's how you
get booty on a ship.

TALIESIN: If the target, if
the Cunning, my Cunning--

AIMEE: That's how you
get booty on a ship.

IMARI: Booty on a ship.
TALIESIN: Your current Cunning

resistance is two or higher,

then one of the
dice is gilded.

LIAM: All right.
TALIESIN: So.

LIAM: Take your pick.
Pick your poison.

TALIESIN: Wait, I'm trying to
see if Cunning resistance is--

LIAM: Which one
are we focusing on,

Lie Detector or Sweet Talk?

TALIESIN: No, that
is Sweet Talk.

I also have Lie Detector.
I was going to do both.

LIAM: Oh, you're stacking it.
TALIESIN: I'm sorry,

that was a Sweet Talk.
LIAM: Woo!

TALIESIN: It's when I do
a Read roll in an attempt

to figure out whether a
person's telling the truth,

I can gild an additional die.
LIAM: All right.

TALIESIN: So, that's
two gilded dice.

IMARI: Very nice.

TALIESIN: Read, so that's
one, two, three dice,

and two are gilded.

It's four dice and two
are gilded, excuse me.

No, wait. One, two, three.

Three dice and two are
gilded, excuse me.

All right.

Two sixes, both on gilded.
IMARI: Oh wow.

LIAM: Wow.
IMARI: Two Candelas.

TALIESIN: I don't even know
what that means anymore.

LIAM: Both, wait, do you--
AIMEE: Two candies.

TALIESIN: Two Candelas.
LIAM: Okay.

TALIESIN: Both gilded.
LIAM: Okay, okay.

ALEXANDER: As we have
dubbed them, Candelas.

LIAM: So I suppose you'll
take the gilded, right?

TALIESIN: I'm going to
take either of them.

LIAM: So you drink in this
man's charm, and his accent,

and his story, and a lot
of it seems true to you.

A lot of it.
TALIESIN: Hmm.

AIMEE: But.
LIAM: But it does seem off.

He does seem to be
circling something.

His smile's just
a little too wide,

or quick to your jokes.
IMARI: Ah, hiding something.

LIAM: Something about it.

IMARI: Mm.

LIAM: "Anyways, let
me pour for you all."

TALIESIN: Thank you.

IMARI: Where am I

when he's having this
interaction with Leo?

LIAM: "Right.
What's your question?"

IMARI: No, for you.

LIAM: Yeah.

IMARI: So, where am I
in the room?

LIAM: Oh, it's
a very small room,

so you guys are basically
crowded in the center of it.

IMARI: So I would hear
what was going on.

LIAM: Oh, you can't
escape the conversation.

The little kid can hear every
bit of this conversation.

IMARI: I want to talk
to the barkeep.

LIAM: Sure.

IMARI: You seem a little
nervous to me, sir.

Is there anything that might
be troubling you at all,

or anything?

LIAM: "Well it's not often we
get visitors to the island,

"but I don't
feel nervous, no."

IMARI: No?

Have you seen anything
out of the ordinary

in the past two days?

You said the Murphys
are up the hill.

LIAM: "Yeah."

IMARI: You say you
know the mother.

Anyone else in the family
might come along,

might frequent the pub,

or maybe might make
rounds into the town?

LIAM: "No, I haven't seen
any of the Murphys.

"I seen one of the daughters
maybe a month ago."

IMARI: Daughters, huh.

ALEXANDER: Hey.

We're looking in
on old friend,

and we've never visited
them at their home before.

So we're just asking
some questions.

LIAM: "Well,
the Murphys are there,

"they've been on this
island for decades.

"They come down in town
a few times a year,

"but a lot of people here
keep to themselves.

"That's the beauty
of Serenity."

(Mag) "That's the
beauty of Serenity!"

TALIESIN: Mm.

IMARI: I want to have
a chat with that lady.

ALEXANDER: Oh god.

IMARI: Where is she,
how drunk is she?

LIAM: (buzzes lips)

IMARI: Is she
vomiting in the--

LIAM: She's not vomiting.
TALIESIN: Is there any actual

water in her,
is what I want to know,

or is it just pure,
it's all straight liquor.

LIAM: It's all dust,
it's all--

IMARI: I want to
walk over to her.

Madam, how do you do?

LIAM: "I'd be doing better

"if I had another
glass of whiskey."

IMARI: Oh, I bet you would.

I bet you would.
I can smell that.

LIAM: "(sniffs)"
AIMEE: (laughs)

IMARI: Have you noticed
anything strange?

LIAM: "What's your name?"

IMARI: My name is Malcolm.
What's your name?

LIAM: "(sighs) Beatrice."

IMARI: Oh, that's
a beautiful name.

LIAM: "You're
a handsome one."

IMARI: Well, thank you,
my lady.

You're quite
charming yourself.

Do you mind if I ask you a
few questions, Beatrice?

LIAM: "Aye."
IMARI: Would you be up for that?

I want to whisper with Leo.

Get her a small
little something,

just enough to
keep her awake.

LIAM: "My hearing's not that bad, lad."
TALIESIN: Oh no.

IMARI: Get her something
stronger then.

TALIESIN: I am not
getting involved

in this one, excuse me.

I'm going to back up,
and I'm going to side eye

the kid really quickly,

and then I'm going
to walk outside.

I'm going to give the
kid a little bit of,

so sorry, I can't
believe this is.

I'm going to go sit
outside to see if,

see if I, yeah.

AIMEE: I'll come out with you--
LIAM: See what you see.

AIMEE:-- and pull out a
little, what's that game

you used to play with kids?

It's like a pick-up--
LIAM: Jacks.

AIMEE: Jacks.
IMARI: It's Jacks.

AIMEE: I don't know why I
would have one, but I do.

(laughing)
AIMEE: Maybe whatever--

TALIESIN: I'm a big fan of--

AIMEE: Whatever
bench we're on,

but I would love to sit

in front of the
window the kid's at

so he can see us play.

TALIESIN: Oh, even
just the-- Yeah.

I'm just sitting, taking it.

AIMEE: But maybe hoping
that he'll come out

and play with us.
TALIESIN: Yeah, no.

I'm trying to--
Yeah, because--

AIMEE: Yeah.
TALIESIN: Since the mom's talking.

AIMEE: Right.
LIAM: Okay.

ALEXANDER: I watch
them both walk out,

and I guess I'm
in charge of him.

IMARI: Beatrice, have you
noticed anything strange

in the past couple of days?

Anything that might've
been out of the ordinary?

LIAM: "Well,
you lot showed up."

IMARI: Before the lot
showed up,

was there anything
maybe similar,

or equally as strange--
AIMEE: 10 minutes ago. (laughs)

IMARI:-- before we showed up
that you might have noticed?

LIAM: "Are you talking
about the storm?"

IMARI: Yes, the storm.

Was there something that
happened before the storm?

Anyone that you
might've noticed

before the storm occurred?

Someone out of place.

LIAM: "That bastard, Pete
Mulligan, was in my yard."

(quiet laughter)

IMARI: Hmm. Pete Mulligan.
Is that your neighbor?

LIAM: "Aye, he's
a dirty wee fucker."

IMARI: Hmm.

So, I take you two
haven't dated, then.

LIAM: "Say again?"
IMARI: Nothing.

So, Pete Mulligan,

anything else besides
Pete Mulligan?

Anything that
you might have seen,

or have you heard
of the Murphys?

Are you familiar
with the Murphys?

LIAM: "I don't truck
with them."

IMARI: No. Why not?

LIAM: "Eldest daughter's
a bitch."

IMARI: Hmm.
ALEXANDER: (laughs)

IMARI: What's the eldest
daughter's name, by any chance?

ALEXANDER: (sighs)

IMARI: You remember that?
LIAM: "Maybe Gráinne."

IMARI: Gráinne.

That's the oldest
daughter, huh?

LIAM: "Yes.

"The only other
thing strange is

"I have a urine infection."

(laughter)

IMARI: Hmm.

That sounds tasty.

ALEXANDER: Oh no.

IMARI: Well, Beatrice,
(laughs)

I think this has been
a lovely conversation.

Before I make my leave,

anything else you want
to recollect?

Hemorrhoids, or something
else you want to confess?

(quiet laughter)

LIAM: "You're
a handsome one."

IMARI: Oh, thank you so much.

You have yourself
a lovely day, Miss Beatrice,

take care of yourself, okay?

You can get her
some water, please.

TALIESIN: I'm not here.

Oh yeah, and the bartender,
yeah, sorry.

LIAM: "I have
another whiskey."

ALEXANDER: Let's go outside.

IMARI: I'm going
to go outside.

TALIESIN: Did the kid
leave, or no?

Is the kid still there?

LIAM: Kid scrabbles out
just before Malcolm leaves,

and he silently
comes and sits down,

and just watches
you for a bit.

ALEXANDER: What is
wrong with you?

That was the most conspicuous
thing I've ever seen anybody do.

IMARI: (sigh)

You win some, you lose some.

ALEXANDER: How were you
ever going to win that?

IMARI: You never know.

Who knows where you can
get your information from?

Sometimes when you're a
little bit high on the drink,

you get a little more
information than you think.

ALEXANDER: No, I'm not--
IMARI: I made it rhyme.

ALEXANDER: Never mind.
I'm not talking about her,

I'm talking about
you. (laughs)

LIAM: The boy looks
like he's never seen

so wonderful a toy as Jacks.

AIMEE: Do you want to
learn how to play?

Well, she teaches him how,
because Aimee doesn't know.

ALEXANDER and IMARI: (laugh)

LIAM: Oh, well.
AIMEE: (laughs)

LIAM: You bounce the ball

and see how many
jacks you can get.

AIMEE: Okay,
you bounce the ball

and see how many of
these you can get.

Why don't you try?

TALIESIN: How old's
the kid, by the way?

LIAM: Like five.

Jacks go everywhere.

AIMEE: Oh, you're doing
such a good job.

Isn't it fun?

IMARI: Can I ask
the kid a question

while she plays Jacks?
ALEXANDER: No.

TALIESIN: I shoo you
away immediately.

(laughter)

AIMEE: You go ahead.

TALIESIN: Take the
scary robot hand away.

LIAM: It's not
totally abandoned.

You see a woman,

maybe in her 30s,

with a basket of
clothes or wash

or something walking
up the road.

She passes,
she exits one building

and heads up the road
and then walks off,

not the distance or direction
you were told to go,

but in the opposite
direction.

There's some old man sitting
up the road on a stool

in front of one of the
cottages on the way to,

apparently, the Murphys.

But it's quiet here.

IMARI: The old man walking
towards the Murphys, you said?

LIAM: There's a man sitting.
IMARI: Sitting, okay.

All right.

Listen, I think what we need
to do is go to the house

and then investigate
the Murphys right now.

ALEXANDER: Yes.
TALIESIN: We'll be one moment.

IMARI: Are we going to
sit here with the--

TALIESIN: Oh, we have
shooed you both away.

I assume, yeah,
this is just--

ALEXANDER: I'm sorry,
are you objecting

to them sitting
with the child

while you talked to that
woman for 45 minutes?

IMARI: Oh yeah.
TALIESIN: Oh, that's true.

This could have been happening
beforehand actually.

AIMEE: That's true.

Why don't you guys
get a head start?

We'll meet you there.
TALIESIN: We'll catch up.

Walk slowly.

LIAM: Okay, so you two
are moving up the road

in the general direction?

TALIESIN: Mm-hmm.
ALEXANDER: Yeah.

LIAM: And you two
are hanging back?

ALEXANDER: No, they're hanging
back, we're on our way.

TALIESIN: We're
playing Jacks.

LIAM: Who's playing Jacks?
TALIESIN: The two of us.

IMARI: The two of them are playing.
LIAM: Jacks check.

AIMEE: Yeah, jacks check.
LIAM: Okay, you two are playing Jacks,

and you two--
AIMEE: And the child.

LIAM: You two gentleman are--

The kid has not said a word,

but he is enraptured.
AIMEE: For sure. For sure.

TALIESIN: I feel like-- Mm.

IMARI: Can we take
the child with us?

AIMEE: No.
IMARI: (laughs)

ALEXANDER: No!

IMARI: (laughs) Because
we could have been--

TALIESIN: This is a
very small island.

AIMEE: Why don't
we start with:

Have you ever seen
this game before?

You know, it came all
the way from Newfaire.

Have you heard of
that city, Newfaire?

Yeah. Have you ever met
anybody from Newfaire?

Anyone come by,

any strangers lately?

Can you point me to where
they live or where they are?

LIAM: He points in
the direction

that Malcolm and Edgar
are walking.

AIMEE: Do you want
to ask him anything?

TALIESIN: It was
a man, I suppose.

Was he alone or
did he have friends?

Just him.

Was he scary,
did he seem nice?

Was he scary?

Hmm.

We're worried about him.
He's a friend of ours,

but we haven't seen him
in a very long time.

So we're just trying to
figure out what happened.

LIAM: It has been so long
and the boy has said

absolutely nothing,

and it starts to
sink in at this point.

He can't or doesn't talk.

TALIESIN: I'm fine with that.

I'm enjoying the game.

AIMEE: Hey.

You can keep this if you
want, for all your help.

LIAM: He looks in
the window at--

AIMEE: His grandma?
LIAM:-- Beatrice, who is now

semi-leaned into the window.

TALIESIN: You're smart
enough to know

to hide these, correct?

Yes, when you take them,
you put them somewhere safe.

I'm going to make sure that

the next few bowls of
porridge are on the house.

You've been really helpful.

If you hear anything,

just let us know.

Just give us a little.

AIMEE: (laughs)

TALIESIN: Or knock on wood.

If I hear a knock,

if we say something stupid,
please let us know.

LIAM: In addition to you guys
are being so kind to this boy

and that's obviously
having an effect,

he also is marveling at

your outfits and your hair.

Even though it's
a little bit crimped

from everything
you've gone through,

he has not seen anything
the looks of you,

especially you two.

TALIESIN: I'm going to go in
and put a little money

down on a tab.

It is a very big world
out there, child.

Take your time, this is
going to be terrible, but

you will find something

delightful if you
wait a little bit and

go over the horizon.

You're too smart
for this place.

I'm going to go in
and put $20 on,

just for food on the
kid no matter what.

LIAM: 20 bills.
AIMEE: 20 bills.

LIAM: 20 bills.
TALIESIN: 20 bills.

Thank you, I was
trying to remember.

LIAM: Sure, sure.
AIMEE: While he does that,

she straightens up
his little hair,

tucks it behind her ears,
grabs a little bit

of her thing and
wipes his face off,

and then makes sure,

she grabs him by the hand and
walks him back in the pub.

Thank you.

LIAM: He silently goes over
and pushes himself

up on a bench and looks
at his grandmother.

Looks at her big tall drink
and then picks up his bowl.

AIMEE: (laughs)
TALIESIN: We've all got one.

AIMEE: (laughs)

IMARI: Poor thing.
AIMEE: So sweet.

LIAM: So, you guys hung back a little bit.
TALIESIN: I'll double time it up.

LIAM: So you both
headed up the road.

ALEXANDER: Walking slowly.
LIAM: Slowly, sure.

TALIESIN: We'll double time.
LIAM: Yeah.

Again, when I say village
on the edge of the isle,

there's maybe 20
buildings here, tops.

You can see in the distance,

the coast here
bends and curves

and there's one single
cottage in the distance

that is not two miles away.

This seems to be the
center of Serenity.

But as you guys reach the
end of this little road,

this row of cottages,
you reach this

very wiry old man,

vaguely reminiscent of the
persona that Grimoria took on.

AIMEE and ALEXANDER: (laugh)

LIAM: He has barely
a shock of white hair.

You can see more
scalp than anything,

and he is gaunt and hunched.

There is a stick

or a cane lying on the
ground next to him,

and a tall glass in the
dirt next to him on a stool.

As you approach him,

he doesn't look,
but says, "Oh, hey.

"We've got visitors again.
How's all?"

ALEXANDER: Good afternoon.

LIAM: "Afternoon to ye."
IMARI: Visitors again?

ALEXANDER: Yes, we're
on our way to see

some friends who
previously went this way.

LIAM: "Previously
went this way, eh?

"Well, are you going
to the Murphy's?"

IMARI: We are.

LIAM: "Hmm."

IMARI: Do you know of them?

LIAM: "Oh yeah. They've lived
here time out of mind.

"Oldest girl there is a bit
of a surly one, but

"they're all right.
They're good folk.

"Their son's in town."

ALEXANDER: Yeah,
that's our friend.

LIAM: "Oi?"
ALEXANDER: Aye.

IMARI: Have you seen him?
Have you seen him recently?

LIAM: "(wheezy laugh)

"I ain't seen
nothing for years."

IMARI: Oh, he's blind.
(laughs)

My apologies.

LIAM: "Oh, that's all right,
I'm just fucking with ye.

AIMEE: (laughs)
LIAM: "No, but I can't see.

"But I--"
(laughter)

LIAM: "Though I did talk to
him a handful of days ago.

"He was heading home.

"Hasn't been in a while.

"Comes once or twice a year.

"So, we're friendly-like."

IMARI: Is he the only
one who's there now?

Does he have his family
there as well, or--?

LIAM: "I believe it's
him and his mom,

"and he's got three sisters.

"He's the oldest
of four children."

IMARI: Oh, he's the oldest.
What was his

oldest sister's name again?

LIAM: "Oh, that's Gráinne."
IMARI: Gráinne, that's right.

AIMEE: She's a little bitch.
TALIESIN: Yeah.

LIAM: "Let's see,
there's Gráinne.

"She's a tough one.

"There's Nora

"and wee Pegeen."

AIMEE: Cute.

LIAM: "Anyway,
yous looking for him?"

ALEXANDER: Yeah.
IMARI: We are.

LIAM: "You got to
take him back home?"

IMARI: We just want to
make sure he's okay.

Why would you want to leave
such a beautiful place anyway

if you don't have to
right away, right?

LIAM: "Oh, it's the most
beautiful sight you ever seen.

"(wheezy laugh)"
(laughter)

LIAM: "All right,
well enjoy our island."

ALEXANDER: Thank you.
IMARI: Thank you so much

for your information, sir.
LIAM: "Right, right."

ALEXANDER: There will be
two of our company

that arrived with us
following us up the road.

They're just a
couple steps behind.

LIAM: "I can hear them."
AIMEE: (laughs)

LIAM: "There's a
little one there

"and a regular
size one I think."

ALEXANDER: That
would be them.

LIAM: "Ah.

"Hello to ya!"

AIMEE: Hello.
TALIESIN: Hello.

LIAM: "I was right."
IMARI: Finally you guys come.

LIAM: "I'm always right."

He picks up the glass,
he feels gently for it

and finds his glass and
takes a big swig of it.

Places it back down.

LIAM: "Ah.

"Fucking rain
the other day."

ALEXANDER: It was a lot.

LIAM: "Where was ya for it?"

ALEXANDER: On the ship.

LIAM: "What ship?"

TALIESIN: That one
over there.

ALEXANDER: The ship
that dropped us off.

LIAM: "Ah right,
that's how you got here."

TALIESIN: Yeah. (laughs)
AIMEE: He can't see.

LIAM: "I'm usually
quicker than that.

TALIESIN: Mm.
LIAM: "Gentlemen and lady,

"apologies, apologies."

TALIESIN: Oh no,
I'm already delighted.

LIAM: "Well, my name's Ned.

"I live here.

"If you need to find Ned,
Ned's here."

AIMEE: Thanks, Ned.

IMARI: Thanks, Ned.
ALEXANDER: Very helpful.

IMARI: I want to give him
10 bills for his trouble.

LIAM: "What is this?"

IMARI: It's just something
for your trouble.

LIAM: "Oh."

IMARI: Maybe treat you
to a meal for tonight.

LIAM: "What's the
number on this bill?"

IMARI: That's the
number 10, Ned.

LIAM: "Oh.

"Fuck me."
AIMEE: (laughs)

IMARI: Buy yourself a
few meals with that, huh?

TALIESIN: And figure out
which pubs are honest.

So you'll know very quickly

if they tell you it's
anything other than a 10.

LIAM: "There's
only the one pub."

TALIESIN: Well, then
you're in trouble.

I don't think
he's very honest.

LIAM: "Oh."
(laughter)

LIAM: "Oh, he's all right.

"Dermot's all right."

TALIESIN: Does Dermot have
anything against the Murphys?

Is there any interesting--

It's a small town,
please, I miss gossip.

LIAM: "Sure. Oh no,
gossip we have here.

"Everybody knows each
other's business,

"I fuckin' tell you what."
TALIESIN and AIMEE: (laugh)

LIAM: "Everybody knows
what this one's

"got a grudge on him for that

"and she wants to strangle
that one with her bare hands.

"You know, we're trapped
in a small space here."

TALIESIN: Oh no, I know, my
family was the exact same way.

I haven't seen them in years.
I miss this sort of thing.

I don't know, I got a read.

I got the vibe that he
was not necessarily--

LIAM: "Well, I don't know
any bad blood between

"Dermot Gallagher and
any of the Murphys, no."

TALIESIN: They're friendly
with each other then?

Even the older one?

LIAM: "No, you want to avoid
the older one there."

TALIESIN: (laughs)

Oh, that's what everyone
keeps telling me.

LIAM: "Well."

TALIESIN: Oh, that's good.

I love not liking people.
LIAM: "Truth is truth."

AIMEE: I bet she's
just misunderstood.

TALIESIN: Hmm. There's only
one way to find out.

LIAM: "Sounds like someone

"who hasn't met the
eldest Murphy girl."

AIMEE: (laughs)

You're right, I haven't.

Thank you for your help, Ned.

TALIESIN: Mm.

LIAM: "Oh sure, lass.

"How are you today?"

AIMEE: Oh, we've seen better.

Well, I've seen better.

Oh, sorry.
IMARI: (laughs)

LIAM: "(wheezy laugh)"
TALIESIN: (laughs)

LIAM: "It took me a second."
AIMEE: (laughs)

LIAM: "And it's me own joke."
AIMEE: (laughs)

LIAM: "Well.

"Well, well, well. I hope
yous have a fine day

"and Ned is here,

"I'm Ned."

AIMEE: Thanks, Ned.
IMARI: Thanks, Ned.

TALIESIN: Absolute pleasure.

ALEXANDER: Goodbye, Ned.

LIAM: You guys
begin to stroll away

from the edge of the isle

and this small
cove of cottages

and make your way
along this really

hauntingly beautiful
coastline.

You pass by, you begin
to walk for awhile.

It is such a stark change
from your night on the ship.

You do see other people
though, still.

There's a field
in the distance

on a gently-sloping hill,
and there's a couple,

a man and woman, maybe
they have married vibes.

I don't know,
that's just a guess.

But they're traveling
with a whole flock

of sheep around them
and when they spot you,

they just

hold and stare.

TALIESIN: I'm going to wave.

IMARI: That was interesting.
TALIESIN: Hold on.

I'm going to wave again.

LIAM: This is at a distance.
TALIESIN: Okay.

LIAM: They never stop
staring at you.

They're probably
2,000 feet away.

They're up a hill.

TALIESIN: Is it public
or private property,

does it seem like?

Are there fences?
LIAM: It's hard to read

property lines here.

It just looks like a--
TALIESIN: Okay.

ALEXANDER: It would
make sense

that we're getting
these reactions.

We don't look
like anyone here

and I don't think
anyone comes here.

TALIESIN: I have had a lot
of reactions in my life,

but standing perfectly still
like a deer is unusual.

Normally it's
forward or backward.

LIAM: You get close to
that one solo cottage

which has got
a little bit of smoke

coming out of the chimney
through its thatched roof.

You saw this from the distance
and as you get closer to it,

a door opens and a gentleman,

probably like 25,

in a white shirt
rolled up at the sleeves

and he's carrying some
sort of a leather satchel

as he walks out
and he sees you guys.

AIMEE: It's a birthmark.

LIAM: He walks on, he doesn't
even respond to that.

He just walks
past you on the road

and you see him travel
down the way you came.

ALEXANDER: I think we just
look weird to them.

I think we're just odd.

TALIESIN: I'm not certain.

Again, I'm used to
an awful lot of reactions.

These are strange.

ALEXANDER: You're just
used to the city.

LIAM: You're a little bumped, Leo.
TALIESIN: Fair.

LIAM: I'll say,
as you pass this cottage

and you look back over your
shoulder and you see the man,

he's still walking,
but you see

that couple again up on
the hill and they are--

AIMEE: Are we close to
the Murphy cottage?

LIAM: You don't see.

You've only been walking
for a couple minutes.

They said two miles.
AIMEE: Oh shit, okay.

LIAM: It's 20 or 30 minutes.
AIMEE: Yeah.

LIAM: Right?
IMARI: All right, so I guess

we're going to
go definitely--

I mean, grab the clue.

TALIESIN: Give me two
and half good reasons

why I shouldn't go talk
to that couple right now.

IMARI: I'll give you
no good reason.

I think we should go
talk to the couple.

ALEXANDER: Oh my god.

IMARI: I am in agreement
with you.

TALIESIN: Doctor, you're
the smart one, please.

ALEXANDER: I just think we
should leave these people alone.

AIMEE: I kind of agree,
I think we should keep going.

ALEXANDER: We should
just go see. Look.

We're just here to see if
Decklan's here and all right.

IMARI: Yeah, but ever since
we got to this island--

ALEXANDER: That's on
the two of you.

We just have to check in,
say hello and then we go home.

TALIESIN: Everybody
I've talked to has been

very generous and reasonable.

IMARI: Well,
why don't we do this?

Why don't we
scratch our itch,

and why don't you guys
go to the cottage

and then we'll meet up
at the cottage

and we'll catch up with you?
ALEXANDER: We'll wait for you.

Just go talk to them,
it's fine.

IMARI: We're going to go try.
ALEXANDER: (sigh)

LIAM: Okay, yes?

TALIESIN: Just a little bit.

I want to see what
their reaction is

if we start walking
towards them.

(quietly) Let me
do the talking,

just for the beginning
until things get strange,

which I think they
inevitably are going to.

LIAM: Well, they are staring
at you and you go off road,

which means you
are pretty quickly

wading through
very tall grass.

TALIESIN: Any way I can avoid

as much of it
as humanly possible?

LIAM: There's stone,
too, so when you can,

you are billy goat
hopping from--

TALIESIN: Any reaction?

LIAM: Yes.
TALIESIN: What are they?

LIAM: They are watching
from up high

and when you get like
30 feet off the road

coming their direction,

turn around and they walk
in the opposite direction--

TALIESIN: Ooh.
LIAM:-- through their sheep.

They're not running.
They're just walking away.

TALIESIN: Hmm. Which
direction are they going?

LIAM: Up a hill.

TALIESIN: Is there any structure
over there or anything like that?

LIAM: No, not from this view.

TALIESIN: Well...

That seems like an invitation
that has been taken away.

AIMEE: Am I hearing any
interesting sounds, voices?

LIAM: You are still hearing
a bit of distortion

or maybe it's that
everyone's voice

feels a little more
crisp or intense--

AIMEE: Okay.
LIAM:-- in your eardrums.

But also, you know, there's
wind blowing on this island

and you know--

AIMEE: Pretty quiet.
LIAM: Every once in a while, though, you--

(ominous fleeting whispers)

AIMEE: But nothing
I can make out.

LIAM: No.

TALIESIN: I'm fine
to turn back.

I just wanted to see what it
would take to spook them.

I think that they have--

Hmm.

I think that there's
a very...

I think they're afraid
of where we're going.

I don't know. Maybe
I'm just paranoid now.

IMARI: All right.
LIAM: Okay.

IMARI: I'll turn back around.

TALIESIN: If you're
satisfied, I'm satisfied.

IMARI: I'll trust
your instincts.

LIAM: You wade back down
to the grass

and join your colleagues

and continue along this
dirt road for a while.

It is just quiet and windy

and you want to enjoy it,

but it is hard to
deny the oddity

of some of the people
who live here.

You walk for five minutes
or 10 minutes

and there is, you start to
approach this stunted tree

at one bend in the road

and in a spot where there's
no other defining feature.

You walk past and
you couldn't see her,

but right there on the
other side of the tree

is a tiny elderly woman
in black

with a head scarf on.

She is a little shorter
than you are

and she has a face
like a dried apple.

IMARI: Oh god.

LIAM: She has got
an apron on,

shawl, headscarf, and...

ALEXANDER: (gasping sigh)

AIMEE: Well, hello.
IMARI: (shocked gasp)

LIAM: Like she's 15 feet
away from you

and you didn't see her
and she's just--

AIMEE: (gasps)
LIAM:-- staring at you.

ALEXANDER: Hello.
IMARI: (timidly) Hi.

ALEXANDER: Sorry.
You startled us.

TALIESIN: I'm so sorry, ma'am.
What's your name if you don't mind?

LIAM: "Oh, my name's
Rosheen."

TALIESIN: Rosheen.

You give me the sense of
someone who knows something

that we should know,
like we're making--

I don't want to
talk out of turn,

but we are from out of town.

I don't know if you can tell.

(laughter)

TALIESIN: Everyone seems to
be getting very nervous.

LIAM: "We don't get a lot of
outsiders here on the island."

TALIESIN: People
come home, though.

People leave.
People come back.

LIAM: "I don't know
about that."

TALIESIN: Hmm.

IMARI: We have a friend
who might have come back.

Maybe you might know of
him. His name's Decklan.

You ever know of a Decklan?

Murphys.

LIAM: "We know of
the Murphys.

"They live up the road
about a mile."

IMARI: Yeah. Yeah.
LIAM: "Yes."

TALIESIN: What do you
know about the Murphys,

other than the eldest
daughter is a bit much?

LIAM: "The eldest daughter
is a bit of a bitch."

TALIESIN: Mm.
AIMEE: (laughs)

(laughter)

AIMEE: Are you sure she's
not just misunderstood?

LIAM: "I don't know if
she is or if she isn't.

"What are you doing
here on Serenity?"

AIMEE: Well, we're just
looking for a friend.

ALEXANDER: We're friends
with one of the Murphys

and we're coming
to visit him.

LIAM: "We don't get
a lot of visitors

"on Serenity."
ALEXANDER: I gathered.

AIMEE: He told us so much
about this beautiful town.

We just had to see it
for ourselves.

TALIESIN: It's so beautiful.

Why do you think you
don't get many visitors

if it's so beautiful?

LIAM: "Ah, they tried
for years,

"but they don't like it
in the end."

TALIESIN and AIMEE: Hmm.
LIAM: "Because there's nowhere to go."

TALIESIN: Do you like it?

LIAM: "I don't know if
I do or if I don't."

TALIESIN: That's fair.

You like the Murphys?

LIAM: "I don't have much
business with the Murphys."

TALIESIN: I am trying
to read this woman.

I know it's a lot to push.
IMARI and ALEXANDER: (laugh)

TALIESIN: I just feel like she's--
ALEXANDER: Eating an apple.

TALIESIN: She's nervous about
something and I'm trying to hit it.

I don't think I'm ready
to roll quite yet, but...

What's wrong?

Can we help?

We're happy to help.

Anything to...

This place is just lovely

and we do eventually
have to leave,

but I would like to
give a good impression.

LIAM: "I don't know what
to tell you on that."

TALIESIN: Do you need help?

Is there trouble?

You'd be amazed
what we can do.

LIAM: "It's a hard life
on Serenity."

TALIESIN: Mm.

LIAM: "A lot of
our young ones leave."

TALIESIN: That can happen.

LIAM: "Just like
me own brother."

TALIESIN: What was it--
LIAM: "Nigh on

"70 years ago, went
to live in Newfaire."

TALIESIN: It's a shame that
they don't come back after a while.

LIAM: "You think that
Murphy boy, he come back?"

TALIESIN: We think he did.
IMARI: We think he did, too.

We're actually
looking for him.

ALEXANDER: He's a friend of ours.
LIAM: You should try the Murphys,

a mile up the road.
ALEXANDER: That's... where we're going.

TALIESIN: Do you have any advice
for talking to the Murphys--

IMARI: (laughs)

TALIESIN:-- when you talk?
LIAM: "Avoid Gráinne."

AIMEE: Yeah.

TALIESIN: Yeah. Town
seems to think that.

Well, if you think of
anything we should know

or if you have any
advice about anything,

I'm always excited to
learn something new.

IMARI: If you don't
mind me asking,

what is it about Gráinne
that people don't like?

I'm very curious.
TALIESIN: (laughs) I like it.

LIAM: "She never has a kind
word to say about anyone."

IMARI: Hmm.
TALIESIN: Hmm.

LIAM: "Sometimes she can
be a bit much."

TALIESIN: I'm excited--
IMARI: Bit much.

LIAM: "I try to avoid."

IMARI: Bit much like
violence, conniving?

What's a bit much?

What would you say? Bit much.

LIAM: Just means she's
a bit of a bitch."

TALIESIN and IMARI: Mm.

TALIESIN: Well, to be fair,

Decklan can be a bit
of a bitch as well.

IMARI: (laughs)

TALIESIN: Well,
we're going to go.

I don't know.

Obviously, you haven't seen
Decklan and I don't even know

the last time you've
talked to the Murphys.

Do you talk to the Murphys?

LIAM: "I don't talk
to nobody."

TALIESIN: Mm.
LIAM: "I don't want

"to be talking to you."

ALEXANDER: We can tell.

TALIESIN: And, yeah, other
than that lovely couple

over in the field over there
who seemed quite nice,

I'm trying to remember
their names.

What are their names?

IMARI: There's sheep
around them.

What was their names?
I forgot.

LIAM: "There's sheep
all over the island."

TALIESIN: Oh, the couple that live over there.
LIAM: "Won't find anyone

"who doesn't have a
sheep on this island."

TALIESIN: I'm just pointing,
the couple that live over there.

LIAM: "McNamaras."
TALIESIN: Hmm?

LIAM: (emphatically)
"McNamaras!"

TALIESIN: The McNamaras.
They all right?

LIAM: "They're all right."
TALIESIN: All right.

Well, I'm sure we're taking
up way too much of your time,

but it was lovely having a
chat with anybody out here.

LIAM: "Right then."

ALEXANDER: Have a good
rest of your day.

TALIESIN: Yes.

LIAM: "Right then."

TALIESIN: If you need anything,
just ask for the strangers.

I'm sure we're
the only ones right now.

ALEXANDER: I'm sure.
LIAM: "True enough.

"True enough."

TALIESIN: We owe you a favor.

AIMEE: I put my hand
on her shoulder.

I'm so sorry for your loss.

LIAM: She doesn't respond.

She freezes up,
stiffens at your touch.

ALEXANDER: After we
walk away for a bit--

TALIESIN: Yeah, I'm giving the
two of them a little room.

ALEXANDER: I'll wait
'til you're done.

Do we continue up the road?
AIMEE: (laughs)

Oh!

LIAM: I don't know.
Something about to happen?

Did I miss something?
AIMEE: No.

I just was shooting my shot and
seeing if she said anything,

but she's shocked.

So maybe she's shocked
into silence.

IMARI: I think
it's time for us

to make our leave
to the Murphys.

LIAM: She doesn't respond
and she doesn't move.

She just watches you go.

AIMEE: (whispers) He's
here with you always.

IMARI: (laughs)

LIAM: "Fintan?"

AIMEE: Yes.

LIAM: "That's not possible."

AIMEE: It is possible.

LIAM: That makes her
scurry down the road.

AIMEE: You got to
shoot your shot.

TALIESIN: Mm. No.

ALEXANDER: Have you all ever

spoken to someone
in a normal manner?

Any of you?

TALIESIN: These are
not normal people.

I do not know of normal people.
ALEXANDER: They're perfectly normal people.

They're just people
who live on an island

and don't have a lot of
communication skills.

TALIESIN: You were doing
your thing, weren't you?

ALEXANDER: Oh my god.
AIMEE: I was trying it.

TALIESIN: What name
did you get?

AIMEE: Vincent.
TALIESIN: Oh, Vincent.

That's so good.

Do you know dead brother,

dead son?
AIMEE: Oh, I don't know.

I was just guessing because
she was wearing all black.

TALIESIN: Mm. Good job.
Good job.

ALEXANDER: They're going
to think we're witches.

AIMEE: (laughs)
TALIESIN: We are.

(smugly laughs)

LIAM: So we're heading
further up the coast.

ALEXANDER: Yes.
LIAM: Closing the distance.

Okay, so you walk

and the landscape
bends and twists,

but stays largely the same.

Just white caps on the sea
and sheep on every hill.

Eventually you see a house
away from the coast,

up on a new hill.

It looks like there's
a thorough fire going

because there's
smoke curling up

and you can see to the
rear of the house,

there's a little
fenced-in area,

there's a pen and a an--

Oh, there's one single
tree outside this home.

There's a rope swing,
two ropes.

It's a slat hanging,

blowing in the
nonstop wind out here.

It's been about, it
doesn't say "The Murphys,"

but it's been
about two miles.

It's a safe bet.

AIMEE: Do we have any idea what
his family thinks he does?

Like, you know what I mean?

Like what his day job is
or his cover?

LIAM: From conversations
you've had with him,

you gather
they probably think

he is still
a history teacher.

AIMEE: Ah, cool. Okay.

ALEXANDER: I'm going to walk
up and I knock on the door.

LIAM: Okay.

In moments, you hear
(light footsteps),

a door opens and
you see a woman,

late thirties and
shoulder-length brown hair,

a flinty expression,
and she just--

AIMEE: Gráinne?

IMARI: Gráinne.

LIAM: "What do you want?"
IMARI: (laughs)

ALEXANDER: Excuse us.
We're here to see Decklan.

LIAM: "Well, he's not here
right now. Who are you?"

ALEXANDER: We're friends
of his from Newfaire.

AIMEE: The university.

We're students.

TALIESIN: I'm not.
I'm a teacher.

LIAM: "What'd you
come here for?"

ALEXANDER: He's
a good friend of ours

and we wanted to
check in on him.

We hadn't heard from
him for a while.

LIAM: "He's visiting
the family."

AIMEE: Oh. Well, he didn't take
a leave of absence or anything

and I was hoping
he'd grade my paper.

ALEXANDER: We were just a little
concerned about our friend.

LIAM: Another woman
pops in behind her.

(Woman 2) "What are you
doing over here?"

AIMEE: Nora?
LIAM: (Gráinne) "I don't know.

"Who are they--"

(Nora) "Yes?"

"I'm sorry.
Go mind the pigs."

(Gráinne) "Telling me to
mind the fucking pigs.

"I'll mind the fucking
pigs when I want to."

She stalks off
into the house.

(Nora) "I'm sorry.
Who are you?"

ALEXANDER: We're friends
of Decklan's

and we came to visit
him and check on him.

LIAM: "Oh, well, my
brother's not here.

"Would you like to come in?"

ALEXANDER: We'd love to.

LIAM: "All right.
Yeah, sure."

You step in and you can
smell a fire burning.

There's a little
fireplace in here.

It's humble.

It's not awful. It's not
dilapidated or anything.

It's cozy, but it's old

and it's one large room
and there's a door

that leads probably towards
the rear of the home in here.

There is an old woman
sitting in a rocking chair

by a window, like 20 feet away
from you, across the room.

The rocking chair's rocking

and she's
a stockier older woman

with graying,
reddish brown hair.

The rocking chair is rocking.

She's just staring
out the window,

so you're just seeing
the back of her head.

"Come in. Come in."

Nora says.
ALEXANDER: Thank you.

LIAM: "Yeah.

"My brother, he's out
for a walk right now.

"I can't imagine
he'll be gone long.

"Is everything all right?"

ALEXANDER: Yes, everything's
fine as far as we know.

We just, we're sailing
by or returning home

and he had told us that
this is where he grew up.

LIAM: "Oh, goodness."

ALEXANDER: We knew that
he was here visiting.

LIAM: "So you're coming
from the big city, then?"

ALEXANDER: Yes.
TALIESIN: Yes.

LIAM: "Oh!"
TALIESIN: I'm clearly.

LIAM: "Oh my."

ALEXANDER: I know we look
a little out of place.

LIAM: "Oh, my."

A third sister comes in.

The woman you were just
speaking to, Nora,

has very short,
short-cut hair,

on the verge of pixie cut,
but a little mousier.

Then this third woman
that comes in is petite

and has her same color hair,

but it's tied tightly back
into a ponytail

and she's all smiles.

"Oh my.
Did you come from Newfaire?"

ALEXANDER: We did.

LIAM: "That's amazing!"
AIMEE: Hello.

LIAM: "You came to see
Decklan, did you?"

ALEXANDER: Yes.
TALIESIN: Oh, yes.

LIAM: "Oh, goodness.

"Oh, he's out taking
a walk right now.

"Would you like
a bit of tea or something?"

ALEXANDER: That would be lovely.
AIMEE: That would be great.

LIAM: (Margaret) "I would
like a bit of tea."

(Pegeen) "Ah, Ma?"

"All right. Tea?"

AIMEE: Yes.
IMARI: Sure.

I'd love a spot.

AIMEE: Go up to Margaret.

Hello, Mother Margaret.

I'm Grimoria.
I'm a student of your son's.

How are you doing?

LIAM: (Margaret)
"I'm hungry."

AMIEE: Oh, we should get
you something to eat.

LIAM: "We should get me
something to eat."

She looks back
out the window.

AIMEE: Are you
looking for someone?

LIAM: "Decklan's out."

AIMEE: How long
has he been gone?

LIAM: "Part of the day."

AIMEE: Oh.

But he always comes home?

LIAM: (Pegeen) "'Course
he always comes home.

"Doesn't he always come home?

"You're always worrying.
He's fine."

(Margaret) "He's gone up by
the fairy homes."

AIMEE: Fairies.
IMARI: Fairy homes?

LIAM: "Aye."

She turns away from you,
looks out the window.

Nora leans down the hallway
that leads out the back,

going like, "How are they?

"Do they have to be fed?"

(Gráinne) "I'm
fucking feeding them.

"I said I would.

"Mother above."

AIMEE: I would be in
a bad mood, too,

if I had to feed the pigs.

TALIESIN: I'll see if they
need any help with anything,

I see a kitchen, and I
desperately want to see it.

LIAM: There is a kitchen.
Although, so,

we've got-- Gráinne went
out the back to the pigs,

and Nora and Pegeen
are playing House,

although Pegeen
is working out,

and there's a tea kettle
over the fire,

and she's stoking the fire,

and getting it going
to make the tea.

There is a kitchen. No
one's in there right now,

but there is-- it's
a drab little place,

and there is a little icebox,

and a simple wooden table,

and there is a painting on
the wall of four little kids

of various age, probably
between eight and 15.

TALIESIN: Does it seem
like a family portrait?

LIAM: Yeah, it's the kids together.
TALIESIN: Okay--

ALEXANDER: (laughs)
LIAM: Yeah, there's one boy,

and three girls.
TALIESIN: I was just making sure

it was the boy
and three girls.

Are they--
AIMEE: It's the kids

they fed to the pigs.

TALIESIN: Are there--
AIMEE: There are no good questions.

TALIESIN: It's entirely--
weirder things have happened.

AIMEE: Totally.

TALIESIN: Sometimes it is the
photo that came with the frame.

AIMEE: (laughs)

LIAM: (Margaret)
"It's not right."

TALIESIN: I was going to say,

I'd be happy to help
cook, if you like,

I desperately miss it,
and I'm quite good at it.

LIAM: Nora says, "Ah, that's
okay, we do have some biscuits.

"Do you want biscuits
with your tea?"

ALEXANDER: Biscuits
would be grand.

LIAM: "All right."

TALIESIN: What sort of
tea is this, by the way?

I'm always-- is this local?

LIAM: "(laughs) Aye, just about
everything here is local."

TALIESIN: Excellent.

LIAM: "If you want, the
biscuits are in that cabinet

"by the stove, if you
want to get it."

TALIESIN: Thank you, yes,
I hate not being useful.

LIAM: (Margaret) "I'm hungry."
TALIESIN: And I'm going to go up and--

AIMEE: Maybe we should get Mother
Margaret a biscuit, quick.

TALIESIN: Yes, oh,
everyone gets a biscuit.

LIAM: You scuttle off to the kitchen.
TALIESIN: Mm-hmm.

LIAM: All right.
TALIESIN: I am--

looking around.
LIAM: You three are in here.

You're by--
ALEXANDER: Sorry to drop in on you

like this, unannounced.

LIAM: (Nora) "No,
it's all right, you know?

"I'm sure he'll
be back any minute.

"He's been gone
about an hour or so."

AIMEE: You all seem pretty
worried about the fairy houses.

Can you tell me more, a
little bit about that?

LIAM: "Don't worry
about what me ma says,

"she took-- she's a
bit doddy, you know?"

IMARI: What are the
fairy houses, though?

LIAM: "Ah, they're old,

"you know,
they're old stone huts

"that have been
there for ages,

"ages and ages.

"And--"
IMARI: Interesting.

AIMEE: Nobody lives there?
LIAM: (Margaret) "It's not right."

AIMEE: What's not?
LIAM: She turns to you.

AIMEE: What's not
right about it?

LIAM: "It's not right.

"Poor boy.

"Don't you believe him?"

AIMEE: I would love
to believe him.

LIAM: "It's not right."

You hear behind you
(pattering footsteps).

Pegeen, who was
stoking the fire,

has an iron poker,
and she goes,

(heavy slam).
IMARI: Oh fudge.

AIMEE: At what?
LIAM: Into the mother's head.

IMARI: Oh shit.
LIAM: Which splits,

and cranial matter, and brain,
and blood goes (spurts).

AIMEE: (gasps)
LIAM: Your face goes (spatters).

Malcolm,
behind you, you hear,

(quick footsteps)

Gráinne is there,
and you turn around,

and she goes (whooshes)

and blows something
into your face,

and you go--
IMARI: I knew it.

LIAM: (sputtering and coughing)

Start coughing
as something just

went up into your nostrils,
and down your throat--

IMARI: Shit.
LIAM:-- you immediately

feel burning in the back of
your throat, and in your nose.

The mother's body leans
in the wheelchair.

Excuse me, the rocking chair,

and begins to slowly spill,
pour out onto the rug,

and blood starts
going (glubbing).

AIMEE: Ugh.
LIAM: (blood gurgles)

TALIESIN: I think we
should move at high speed.

I'm going to try and find--
LIAM: Pegeen turns.

(pants) And runs at you.

AIMEE: Okay, before
she does, can I move?

Can I do something?
LIAM: You can attempt to move.

AIMEE: I'm going to
attempt to move, and also,

from my little
magician's kit,

I have what's sort of
a smoke bomb

that I use sometimes
in my performances.

As she goes to strike
either one of us,

I attempt to throw it,
and create some smoke

to frazzle her.

LIAM: Okay.

I will say that the room,
I will pause that die roll,

and say that the room
instantly fills with smoke,

and we hear the sound of Nora
and Pegeen are both coughing.

Everyone's coughing, now you
are coughing a bit as well.

AIMEE: Yeah.
LIAM: You especially

are coughing--
IMARI: What is this bullshit?

LIAM:-- your whole
throat, and especially

the inside of your nostrils,
and behind your eyes

feels like it's itching.

There's a burn back there.

It is hard to see
in here for a minute,

and we can all see
silhouettes moving

in your magician's
improvised trick.

AIMEE: Yep.

LIAM: The iron poker
that she was holding,

you hear it,
go (quick whoosh).

You hear

what you think was
the middle sister,

Nora, go, "(groans and gasps)."
AIMEE: Oh god.

LIAM: The smoke
starts to clear.

AIMEE: Okay.

LIAM: You are in the kitchen
when this happens,

and you, out the back
window, you see Gráinne,

you see her running
away from the house,

out the back, with
something in her hand.

She is running out the
back pen in this moment.

AIMEE: Towards us?

LIAM: Away from house--
AIMEE: No, away from us, okay.

LIAM:-- out the back.

(sighs)

TALIESIN: Is there a way
out in the kitchen, or no?

LIAM: No.
TALIESIN: Shit.

AIMEE: Just wondering.
LIAM: The kitchen is off

of a long hallway, and
there's a couple more doors,

and Pegeen, the smoke is
starting to clear. "(pants)"

Nora is on the ground,

and there is blood
pouring down her rib,

and there is a huge
gash, because the poker,

an iron poker,
if you're unfamiliar,

has a long spike--
AIMEE: Yeah.

LIAM:-- then it's got a hook.
AIMEE: There's a little hook, yeah.

LIAM: That hook went
(intense impact).

But Pegeen "(pants)"
rips the poker out,

and she sees you coughing,

and she comes running, and
starts to swing at you.

IMARI: Okay, well, I definitely
want to dodge and parry.

LIAM: Okay, make a Move.

TALIESIN: You're going
to dodge and parry?

IMARI: Yeah, well, I'm sorry,
parry and strike, sorry.

TALIESIN: Parry, well, no, I
mean, I was, I was thinking--

IMARI: Isn't this parry?
TALIESIN: Well, I have nothing

dealt with, I don't--
IMARI: I'm going to do dodge.

LIAM: Mm-hmm.

IMARI: Okay, so that's
a Move, right?

AIMEE: Think I just got nauseous.
LIAM: Yeah.

IMARI: Because--
ALEXANDER: I think

Edgar's just been sitting in
the chair he was sitting in,

he hasn't fully understood what's
happening all of a sudden.

He's just staring
at the mother,

trying to figure out

what happened.
IMARI: Five.

Five gilded.
LIAM: Five gilded,

so you choose that
gilded, you get a drive,

a drive in there--
IMARI: Then I will

happily fill that drive.

LIAM: Okay, you refill that drive.
IMARI: (increasingly higher-pitched doots)

LIAM: (sighs) So you
see her coming at you

with an up-handed swing,

and you throw yourself
out of the way,

and feel your foot step
on the old woman's arm,

and you fall backward--
IMARI: Oh god.

LIAM:-- and stumble, and
lightly rap your head

on the side of
the rocking chair,

and you are now
on the ground.

She is pulling the poker
out of a dresser cabinet

that she has obliterated
the tabletop of,

going, "(intense grunts)"

IMARI: I want to put her in
a bare naked choke hold.

LIAM: That'll be
Control, I think.

Finesse, yeah.
IMARI: Awesome.

LIAM: No, or we, you can
do-- Let's do Strike.

IMARI: Oh, Strike?
LIAM: I think that's Strike.

IMARI: Okay.

Oh my god, no, baby,
no, baby, no, no.

Two.

LIAM: Two?
TALIESIN: Didn't you say you have a--

Well, no.
IMARI: No.

It's a two.

LIAM: You go--
IMARI: How do I not get her

in a bare naked choke hold?

LIAM: You pull yourself up,
you were on your back.

You get up and you
try to dive at her,

and she somehow manages
to pull the poker free

and then bap the handle of it
off the side of your face,

pushing you down.
She scrambles away,

and plows into the
side of the door,

grunts as she hits it,
and then turns to stand.

Nora on the floor,
who is bleeding profusely,

you see a glint of metal,

and she is swinging
around from the floor,

and shoving a knife
towards your thigh--

IMARI: Oh shit.
LIAM:-- Edgar.

So you can make-- You
can do anything you want.

But you're getting
stabbed at the moment.

ALEXANDER: Oh, good.

So Edgar, catching
eyes with Nora

shakes him out
of his confusion,

and then registers the knife,

and goes to essentially
spin out of the chair,

away from Nora.

So just to make a dodge.

LIAM: Okay.

ALEXANDER: That is a four.

LIAM: A four?
ALEXANDER: Mm-hmm.

LIAM: You lunge out of the
way of this oncoming knife

and you feel it tear
through your pant leg.

You stumble back and feel
yourself crash into Pegeen

by the door, by the hallway
that leads to the kitchen

and out to the back.

Who knows where Gráinne
is at this moment,

but you now have stumbled
into this younger woman

with a--
ALEXANDER: With the poker.

LIAM:-- a poker
in her hands.

AIMEE: Am I
anywhere near him?

LIAM: Yeah, it's not
that big a room.

She, as soon as you come
in close, takes the poker

and then throws
it over your head

and begins to pull up
and press into your throat.

ALEXANDER: I, if I can,
reach into my coat--

LIAM: Yes.

ALEXANDER:-- where
I do have my tools.

LIAM: Yes.

ALEXANDER: I take the scalpel
and I'm going to stick it

in a very particular
part of her thigh

that will cause
a lot of bleeding.

LIAM: Okay. So that is,
for you, a Focus roll.

ALEXANDER: A Focus, because
I have Anatomical Strike,

which I know where the
body is most vulnerable,

and when attacking an enemy,

I may roll Focus
instead of Strike.

AIMEE: Yeah, baby.
LIAM: Great, so,

you go tumbling backwards,
feel yourself plunge

into this maddened woman,

and then you feel a metal
bar under your throat,

and you feel it
starting to press hard

into your Adam's
(grunting) apple.

(choked grunts)

ALEXANDER: Ooh, that
would be a four. (sighs)

LIAM: A four.
ALEXANDER: I am distracted.

IMARI: All these fours.
ALEXANDER: But I get my gilded back.

AIMEE: Oh, I know. It's the
curse of the set or something.

LIAM: She screams in
pain as the scalpel,

as you dig it into
what you know

is a point that will start
to let the most blood.

She screams, but you
feel both of your bodies

start to fall backward
into the hallway.

ALEXANDER: Yeah.
LIAM: You land on top of her,

causing her to
scream further.

But the poker goes
(choking gasp)

into your throat

as you hit.
ALEXANDER: (chokes)

LIAM: You take a body.

AIMEE: At some point, can
I follow him and try to,

I guess, a lack of a better
word, straddle his chest,

and try to grab the
poker from her?

I'm assuming because
she's been hit--

LIAM: Absolutely.
AIMEE:-- it's kind of loose,

and I can do that.

LIAM: She is,

she's on the ground
with a scalpel

shoved into her
now between them.

AIMEE: Yeah.
LIAM: Yes, you can.

You want to try to rip,
or pull away?

AIMEE: I'd like
to pull it away.

LIAM: Okay, yeah. So, he
is gasping just the way--

AIMEE: Yeah.
LIAM:-- this man is.

That would be--

That could be Strike,

Strike or Control for you.
AIMEE: (scoffs)

I'm going to--
ALEXANDER: Both equally great.

AIMEE: Both equally horrible.
I'm going to spend a drive.

LIAM: Okay.

TALIESIN: Mm.
AIMEE: All right.

So if I-- Just one. (laughs)

Great.
TALIESIN: Oh.

Okay.
AIMEE: Oh, come on.

ALEXANDER: (laughs)
IMARI: What'd we get,

baby, what'd we get?

AIMEE: It's a one!
IMARI: Oh no!

No, no, no--
TALIESIN: Do you have any resistance

or anything?
AIMEE: That's a one. I do have

resistance, but I have one.
TALIESIN: I mean, you might as--

AIMEE: So yeah.
This is important.

I'm going to use
a resistance.

TALIESIN: Can't be worse.
AIMEE: Which means just--

ALEXANDER: Reroll your--
AIMEE: Just do one. I'm going to

re-roll a different
one, okay?

I'm going to take this one.

IMARI: Get rid of that die.
AIMEE: Get rid of that,

that one's in jail.
ALEXANDER: No, it's re-rolling

the base roll, so you now

roll two, and take the lower.
LIAM: So you don't get to

add drives or help
or anything.

AIMEE: No, just rerolling
the one that I--

ALEXANDER: You roll the
two and take the lower,

because you're not
adding the drive--

AIMEE: Oh, I roll two--
TALIESIN: Yeah.

AIMEE:-- and take the lower.
Okay, well, that's--

LIAM: It's harder.
AIMEE: You think?

TALIESIN: Can't get worse.

ALEXANDER: Yeah.
TALIESIN: Yeah.

AIMEE: Oh! Both fives!
IMARI: Yeah!

LIAM: Both fives?
AIMEE: Yes!

TALIESIN: See?
LIAM: Wow!

AIMEE: Worth it!
LIAM: Wow, that's amazing.

AIMEE: Hoo!

LIAM: So--
TALIESIN: Mm!

IMARI: He's upset,
he's like, "Damn it."

LIAM: Pegeen and
Edgar go down,

and you step through this

minefield of a home, and lunge
and get on top of Edgar

and grab the bar--
AIMEE: Yes.

LIAM:-- and start
to pull at it.

Then you feel this whole knot
that is the three of you

buck as this smaller,
larger than you--

AIMEE: Yes.
LIAM:-- but smaller woman

begins to push up
with her leg,

and teeter-totter this
whole knot over it,

and you feel yourself
lunging forward,

so you're going into
a headstand position--

AIMEE: Sure.
LIAM: Then rolling

into the hallway.
AIMEE: Yep.

LIAM: You go clattering
into the ground.

It's not too bad,

the poker gets ripped away,

and goes-- (clanging)
ALEXANDER: (gasps for breath)

LIAM:-- in the hallway at
your feet in the kitchen.

You take a brain.

AIMEE: Okay.
LIAM: Because this is fucked.

AIMEE: Yep. Can I still--

Can I grab at the thing
though that fell?

LIAM: Yes, you can.
AIMEE: Okay.

LIAM: At the poker, you mean?
AIMEE: At the poker.

I'd like to have the poker.

LIAM: Can you tell me
how many brain you are?

That's one, right?
AIMEE: That's just one.

LIAM: Because you took a Stitch.
AIMEE: Because I did my Stitch.

LIAM: You took the Stitch.
Thank you.

ALEXANDER: I'm--
IMARI: Thank god you did.

ALEXANDER: So am I
still on top of her?

LIAM: Yes, and
she's writhing--

AIMEE: I'm fucked.
ALEXANDER: Okay.

LIAM:-- like
a freaked out cat.

ALEXANDER: I need
you to know--

LIAM: Mm-hmm.

ALEXANDER:-- that I'm going
to pull this out of your leg,

and you're going
to bleed a lot.

Now, if you want me
to stop that bleeding,

you have to not try
and kill me again.

Do we have a deal?

LIAM: She's just ferally
grunting at this point.

"(grunts)"
ALEXANDER: Okay.

I pull the scalpel out.
AIMEE: Yeah, bitch.

ALEXANDER: I start
trying to get up.

TALIESIN: I'm going grab the
poker and back up again.

AIMEE: Oh, I have you the poker.
LIAM: You've got the poker.

TALIESIN: Oh, wait.
AIMEE: I have the poker.

TALIESIN: You have the poker.
AIMEE: Yeah, yeah, yeah.

TALIESIN: Okay.
LIAM: Okay.

Okay.
TALIESIN: See if I can find

the teapot. What's in
the kitchen is the--

AIMEE: Knife?
LIAM: Well, there are

kitchen knives visible,

and there is a tea set
platter, and--

TALIESIN: There's not a
hot pot of tea, is there?

LIAM: No, the tea
is on the fire.

TALIESIN: Mm.

AIMEE: Ah, shit.
TALIESIN: It's okay.

But there are kitchen knives.

LIAM: There are
kitchen knives,

there are three
kitchen knives,

and one of them
is a big fatty

like you're hoping for.
TALIESIN: Mm-hmm.

IMARI: (laughs)
AIMEE: (laughs)

LIAM: (sighs)

Malcolm, your eyes
are starting to

redden a little bit.

You're feeling
like you're having

some sort of
allergic reaction,

and you don't know what.

You're having trouble
breathing in here,

and you feel like you want
fresh air right now.

AIMEE: At any point,
can I yell: I think

Gráinne has gone
to get more villagers.

We should get
the fuck out of here.

TALIESIN: Mm-hmm.

AIMEE: Gráinne.

LIAM: So you pull
the knife out.

ALEXANDER: I pull
the scalpel out,

and I'm now trying to
disentangle myself from her.

LIAM: She is trying to
disentangle from you.

She starts to crawl away,

and you do see a little
smear of blood on the floor

as she moves.

Nora is on her feet
now, though.

AIMEE: Oh, okay.

LIAM: She has got
a knife in her hand,

and she awkwardly flips it
around so it's in this position,

and she is now walking
towards the two of you.

AIMEE: I got the poker.

ALEXANDER: I have my scalpel.

LIAM: She sizes you up
really fast,

and then she instead turns,

and shoves the knife
towards Malcolm's chest.

IMARI: Oh great.

ALEXANDER: You can take--
AIMEE: We have time to react,

or no?
ALEXANDER: Or, I--

I don't think so.

IMARI: I got to move.
TALIESIN: Yeah, I was going to start--

LIAM: Anyone can try to
do anything as long,

soon as you call it--
TALIESIN: Oh.

LIAM:-- you make it reality.
TALIESIN: If it was clear,

I was going to try and
start sneaking around her

to see if I could
get a shot behind her.

LIAM: (clears throat)

TALIESIN: I took, I pocketed
the other two knives.

LIAM: I would say that
you can catch up with her,

but since I called the--
TALIESIN: Yeah.

LIAM:-- the action
of the scene,

that that precedes it.

So--
ALEXANDER: But-- (grunts)

LIAM: All of you see this.

Now, it can proceed
any way you want,

you can try to
get out of there.

AIMEE: Can I--
Am I close enough to try

to swing at her head
with the poker?

LIAM: I think so.
AIMEE: Okay, I'd like to try

to do that, try to disrupt it.
IMARI: I would like lend her

a drive for that,
too, by the way.

AIMEE: What is that,
Strike, right?

ALEXANDER: Yeah.
LIAM: How do you help?

IMARI: I want to try to, in my--
I'm gagging, I'm gagging,

I want to try to
shove her closer to Grimoria,

so that she has a more of
a better chance to strike her.

To get her off balance
so that Grimoria can--

LIAM: Okay, sure, I could
say you can see Grimoria

with poker in hand.

She's coming at you
to kill you.

So I think you could try

to bat her away
as you're hacking.

IMARI: Yeah, because
I'm (coughing).

AIMEE: Okay.
LIAM: You can take that drive.

IMARI: Out of desperation.
LIAM: You got it.

AIMEE: Which just
means I get the one.

Okay.

Fuck.

ALEXANDER: (laughs)

LIAM: (impacts)
IMARI: I'm dead.

AIMEE: I'm so sorry.
LIAM: Sinks into Malcolm's chest

up to the hilt in the side,

and you feel cold steel run
into the center of your body.

You take a body.

IMARI: Yep.

LIAM: Is that three marks,
or your fourth?

IMARI: That's two.

AIMEE: Oh god.
LIAM: Two?

TALIESIN: I'm going to take
this opportunity to try

and get right around
into the neck

and hit her in the neck

since her weapon's
currently stuck.

LIAM: So you're coming
at Nora, right?

TALIESIN: Yeah, I'm coming
around and trying to get in.

LIAM: Sure.
So you see that happen.

She is completely engrossed

in the act of violence
that she is committing to,

and you follow up,
a chain reaction.

You make a Strike.
TALIESIN: Mm-hmm.

This is going to suck unless
anybody's got any way to help.

AIMEE: I literally don't have
anything to give you.

TALIESIN: I know
AIMEE: I'm so sorry.

TALIESIN: That's okay.
IMARI: Wait,

I'm going to burn a drive.
TALIESIN: Thank you.

IMARI: Yeah.
ALEXANDER: How would you help?

AIMEE: All my drives are gone.
IMARI: Oh, I already burned a drive.

Shit, I'm out of stuff.
TALIESIN: You've got her--

IMARI: Shit.
TALIESIN: Honestly, you've got her.

LIAM: A knife in your chest.
IMARI: Yeah, yeah.

LIAM: That doesn't
mean you can't move.

If you can give me a narrative
explanation to how you help.

IMARI: The knife
is right here,

so maybe I hold onto her--
LIAM: Mm-hmm.

IMARI:-- as he's going
so she doesn't move,

so I give a better strike.

LIAM: You draw her in and
hold the knife in your chest,

so she can't retract and get away.
IMARI: She can't retract any. Yeah.

LIAM: It digs deeper

and it hurts like hell.
IMARI: (groans)

LIAM: Here comes Leo.

TALIESIN: Come on.
IMARI: (grunts)

Four.
LIAM: Four.

TALIESIN: (grunts)
AIMEE: I need to start

fucking warming up

this fucking hand, let me tell you what.
LIAM: The knife sinks into this woman's,

into her shoulder and neck.

It's a knife,
it is a kitchen knife.

It is this long, and
almost all of it goes

(knife thrusting)

and sinks into this
middle-aged woman's back,

this villager,
this normal person.

She screeches while
her sister Pegeen

is dragging herself along the
floor and trying to stand.

She flails wildly
back into you

and the two of you go
stumbling into Pegeen

and all three of you get
caught up in each other

and fall towards the fire.

Nora stops short

with the blade in her shoulder,
standing in the room,

and you and Pegeen fall past
and stumble into the fire.

You smack your head on the
mantle of this fireplace

and Pegeen stumbles
absolutely into the fire,

her face in the fire.

You take a body.

TALIESIN: Yeah, that's great.

AIMEE: They're going to
think we did this shit.

LIAM: You hear in
the fireplace,

"(desperate groaning)"

IMARI: Oh, man.

LIAM: One sister
is in the fire

and the other one is groaning

and trying to
pull a knife out.

She is going to run at you,

charge at you with
a knife in her back

and try to plow, tackle you.

AIMEE: Can I--

ALEXANDER: Okay, so
what I'm going to do,

as she charges me--

This is so difficult.

Edgar's going to
fall to the ground.

LIAM: Drop?
ALEXANDER: Drop backwards.

As she charges,

I'm going to stick
out the scalpel

and slice the back
of her tendon.

TALIESIN: Ooh! No, no, no!

IMARI: Surgical precision.

AIMEE: Like the Achilles?
TALIESIN: (groans) Feel that.

Oh no.
IMARI: Yeah, me too.

TALIESIN: I feel that
right in the-- Ugh.

ALEXANDER: Six.
LIAM: Six.

IMARI: Oh nice.
TALIESIN: Fuck!

IMARI: Candela!
TALIESIN: Candela.

LIAM: This woman with her--
AIMEE: We're getting some Candelas.

LIAM:-- pixie haircut--
AIMEE: All ones.

LIAM:-- in her mid-30s
with a steak knife

coming out of her back

comes lumbering at
you like a steer,

like a freight train,
and leaps and you go limp,

tall noodle
that you are,

and you've still
got the scalpel.

She runs up and on you,
and you see the opening

and you reach out and slice.

It cuts through her tendon

and you feel the muscle,
that thick tissue separate

and she stumbles, crashes
over you, hitting your head,

inconsequentially, as
she falls into the hallway

and is now dragging away from you up--
AIMEE: Jeez, will not die.

LIAM: (moaning)
ALEXANDER: We're trying to kill her.

LIAM:-- towards
he back door.

Pegeen has gotten up
and is burning,

her hair is burning and
her face is charred

and she is beat to fuck.

IMARI: (laughs)

LIAM: She starts to lumber
towards the front door

that you came in and
pushes the door

open.
ALEXANDER: Please sit down.

Stop! What are you doing?
LIAM: She is, her arms hang slack

by her sides and she
begins to walk lamely

down the muddy path
away from the home.

AIMEE: We got to get her.
ALEXANDER: I'll walk--

AIMEE: We got to get her.

ALEXANDER: I got to
attend to Malcolm.

Please, you two go get her.

TALIESIN: I'm going to start
following her down

and I've left that one knife,

I've got two others now and I'm
going to start walking down.

AIMEE: I think she, we
just, if you are cool

with grabbing her by one arm

and we'll drag her back

because if I'm these villagers
fucking see her, we're--

TALIESIN: I'm
knocking her down.

AIMEE: Oh, perfect.
TALIESIN: I was going to pull her down.

AIMEE: Right.
LIAM: You knock her down.

As she rolls over onto the
floor, onto the ground,

the earth and she flips
over and her hair is muddy

and bloody and streaked
through her face

and she's staring at the sky
and her arms are weakly--

TALIESIN: Where is Decklan?
LIAM:-- swatting into you.

TALIESIN: Where is Decklan?

AIMEE: We got to get her out.

LIAM: Arms are hitting you.

TALIESIN: Where is
your brother?

Where is he?

LIAM: Her arm slumps
into the mud.

AIMEE: I'm going to grab
her by the feet

and start dragging her
back into the house.

TALIESIN: I'll help.

LIAM: You begin to pull her
body, her corpse through the mud

and Leo grabs the other half
and you get her inside.

You are calming.

It is calming.

The intensity is lessening,

but one of those women
just did something to you

and you don't know
what they did.

ALEXANDER: Hey, hey,
hey, hey, calm down.

It's going to be okay.

I got you.

IMARI: (gasps)

ALEXANDER: Just slow breaths.

Concentrate on breathing.
TALIESIN: I'm going to--

Where the fuck is that bitch?

ALEXANDER: It's just an allergic reaction.
LIAM: Nora has made it within about two feet

of the back door down
that longer hallway

and is slow like a slug--
TALIESIN: I'm going to walk over there.

LIAM:-- with the knife
protruding from her back.

TALIESIN: I'm going
to grab the ankle.

AIMEE: Yeah, I'll grab
the other one.

TALIESIN: Not right now.

What are you?

What?

LIAM: She flexes around and
reaches at your throat--

TALIESIN: I am staying back.

LIAM:-- and is reaching
for you, ineffectually.

TALIESIN: Where are
the Murphys?

What's wrong with
the fairy houses?

LIAM: "(lightly gasping)"

TALIESIN: I am backing up
now and I'm going to throw,

grab the plate of crisps
and throw it at her.

AIMEE: Crisps. (laughs)

LIAM: They batter off
of her face.

One hand drops down

and one continues to
pathetically grab at the knife

in her back and the hand
gets her on the handle,

and her body sinks
into the wall

and you watch her face press

and she lies still like that,

holding the knife in
her own body.

TALIESIN: I'm going
to grab the poker.

You have it, right?
AIMEE: Yeah, here, here.

TALIESIN: I'm going to very
gently get her hand off the knife.

(thumps)
LIAM: (thuds)

And lumps onto the floor.

AIMEE: I don't know
what to do here.

They're going to
think we did this,

so either we run
and leave Decklan,

or we burn the house down,
cover all the evidence.

I don't know.

TALIESIN: Oh, I think they
know damn well

what was going to
happen up here.

ALEXANDER: Where did
the third one go?

AIMEE: Probably to
get everybody else.

ALEXANDER: Which way?

TALIESIN: One of them ran,
but she looked normal.

LIAM: She left to
feed the pigs.

You saw her at the kitchen.

TALIESIN: She ran.
LIAM: Running out the yard.

ALEXANDER: Did she go towards
town, or did she go towards where?

TALIESIN: She did not.

LIAM: You look out the
window in the back now

and you can see a pen and you
do see three pigs in the back,

nosing around in the mud,

and there's a field
that becomes more stony

as it goes and raises up
into a hill.

You do see some,
in the distance,

there is some dark mound
or something,

ball on the wall.
ALEXANDER: Okay, here's the thing.

I got to take care of Malcolm
and then when we can move,

we'll follow her,

but right now I have to
make sure he's okay.

TALIESIN: No.

ALEXANDER: I'm going
to attend to Malcolm

who is stabbed
and also choking.

LIAM: Yes.
TALIESIN: I'm going to--

LIAM: He's not
choking, sorry.

He's not choking anymore.
ALEXANDER: Okay.

LIAM: Malcolm,
you are breathing.

IMARI: But I have this
knife that's in my chest.

LIAM: That is the problem.
IMARI: Right.

LIAM: The breathing, the burn
is subsiding, it's fading.

IMARI: But then also, like,
I'm like--

ALEXANDER: Just chill.
LIAM: It's down here.

IMARI: Down here.
LIAM: Yeah.

ALEXANDER: Where exactly?

In the side, okay.

Here, look, we're going
to have to take it out.

IMARI: Just do it, dude.

Just pull it.

Pull it!

TALIESIN: Grimoria, let's go
somewhere else while this is happening.

ALEXANDER: Move your hand.
TALIESIN: Come on.

IMARI: Ugh.

ALEXANDER: Okay, and
there's a possibility

you're going to have
a punctured lung.

IMARI: What?

ALEXANDER: We're going
to find out in a minute.

IMARI: All right.

AIMEE: Do you need us to
put pressure or anything?

ALEXANDER: I need you to
grab me a kitchen towel.

AIMEE: Okay.
TALIESIN: We already-- Yeah.

I'm running into
the kitchen and grabbing.

AIMEE: Yeah.
ALEXANDER: I...

pull it.
IMARI: Oh!

(gasps)

ALEXANDER: Then I slam
the towel against it.

Okay, how's your breathing?

IMARI: That's good.
ALEXANDER: Can you breathe?

IMARI: Oh god.
LIAM: It is...

It is, you don't hear
any bubbling or liquid.

ALEXANDER: Okay, I think
you're going to be okay.

TALIESIN: I am tearing
the cabinets apart.

I'm looking for anything,
especially anything, any powder.

I'm looking for
anything unusual

going through.
ALEXANDER: Grimoria--

LIAM: Make a
Survey roll, yeah.

ALEXANDER:-- look
for a belt.

I need a belt.

AIMEE: I'm going to try to
search the bodies for a belt.

LIAM: Yeah, I would say
that Nora has a belt

and she is wearing slacks.

Pegeen was in a skirt.
AIMEE: Okay.

So I take the belt,
give it to you.

While he does his
thing with the belt,

is there any opportunity
for me to--

I know it's like
they just died,

but is there anything
there for me to glean,

like left behind any
residual spirit energy

that I might be able
to connect to?

LIAM: You can Sense.
You can try Sense.

AIMEE: Okay.

ALEXANDER: I'm going to,
I want--

AIMEE: Three die.

One gilded, okay.

So if I have three and
then I use a gilded,

I just replace one of those.
ALEXANDER: Yes.

AIMEE: Okay. Here we go,
you dumb fucks.

Oh! Five on the gilded.

LIAM: Five on the gilded.

ALEXANDER: So you can
replace one of those.

TALIESIN: Four gilded on mine,
but I'll wait until this is done.

AIMEE: Sorry.
TALIESIN: No, no, no.

We're all doing the work.

LIAM: What I can tell you

as you kneel by
each of these bodies,

one after the other,
is that you

have learned to feel

souls on a very subtle level.

And you

feel emptiness in
both of these two.

It has happened in your time,

your short years, living
amongst the dead,

where you have felt

souls staying behind,

or restless, or even
just there for a moment.

Not every time.
AIMEE: Right.

LIAM: You don't bat 1,000.
AIMEE: Right.

LIAM: But you don't
feel anything now.

AIMEE: Damn it,
I got nothing.

LIAM: They didn't
stay behind.

AIMEE: They didn't
stay behind.

LIAM: No.

AIMEE: This is a stupid question,
but were they human souls?

IMARI: I was going to say,
were they there to begin with?

TALIESIN: Were they ever there?
IMARI: Were they ever there?

LIAM: It's a hard question
for me to answer.

You're searching?

TALIESIN: I am, and I
got four gilded.

LIAM: Four gilded.

It's not a big house.
TALIESIN: No.

LIAM: You spend two
or three minutes.

Side note,
oldest sister Gráinne

left those two or
three minutes ago.

ALEXANDER: Yeah, I know.

LIAM: You find all manner of
cutlery and women's underwear

and pill bottles, anything
that you would find

in a house out here in
the middle of nowhere.

You do find a little

pouch, not in the house.

You finally end on
the sisters and--

TALIESIN: I'm going to,
I'm also going to--

LIAM:-- in Nora's pocket
there is a little pouch

of something. Dust.

TALIESIN: I'm going to--
I have a bleed detector

I have not had the
chance to use yet

and I'm going to
pull out this,

it's a strange
little contraption.

It looks like
a snuff box almost,

but a snuff box
lighter combination.

It's a little odd
and it has this wheel

and you spin it and I
spin it with my thumb

and it has this little,
it looks like a lighter,

it either glows red or it
sometimes it glows green

just as I--

LIAM: And red means?

TALIESIN: Red means nothing,
but when the green hits,

there's something odd
and I'm running it over.

LIAM: Yes, you bring it in
proximity to this stuff and

it puzzles you because it,

you look at it
for a good half minute

and you're wondering
if you're getting

a false positive.

It is

faint

to the point where
you're mostly doubting,

you're thinking
you're imagining it

or you want to see it,
you expect to see it.

Or maybe you are.

TALIESIN: I'm
bringing it out.

It's odd and I'm trying
to see if it's a powder

or a herb, or--

LIAM: It is,

here in this little
living room in a cottage,

it looks like a dry,
white, inconsistent powder.

Like it's not fine.

There's texture
or larger grains.

TALIESIN: Does it look like--

I think I got a hint
of what happened there.

Does it look
(puffing) like it would.

LIAM: It could be that, yeah.

TALIESIN: I think this may
be the culprit, maybe not,

and I'm going to
gently close it

and I'm going to feel,
is it spongy?

Is it sand?
LIAM: It's dry.

TALIESIN: Okay.
LIAM: It feels dry to the touch.

TALIESIN: There's only
one bag that I found.

LIAM: Yeah.
TALIESIN: Okay.

ALEXANDER: I've cut up
the side of his shirt.

I've opened it up
and I'm looking at it.

It's just, did the
knife wound get twisted

or is it just a slice?

LIAM: Straight in.
ALEXANDER: Straight in, okay, so

I go into my medical kit.

Grimoria,
please apply pressure.

I go into my medical kit,

I get gauze or a small
something of the like,

and I'm going to press it,
remove the towel,

press the gauze in there,

and then I'm going to
take the belt

and I wrap it
around your chest

and tighten it
against the wound,

leaving that there.

That's going to have
to do for now

until I can suit you up.

IMARI: Gotcha.

ALEXANDER: How are you?
Can you stand?

IMARI: Yeah, I think so.

TALIESIN: Yeah, come on.

Come on, let's get you up.
IMARI: (grunts)

ALEXANDER: We need
to follow her.

TALIESIN: Yes, yes we do.

AIMEE: All right.
ALEXANDER: I just--

TALIESIN: I don't think
they have a walking stick,

but you can try
using the poker.

IMARI: Ugh, fucking poker.
AIMEE: Is it worthwhile,

one of us taking him
back to the ship?

IMARI: I'm not
going anywhere.

TALIESIN: I don't think
that's a good idea.

ALEXANDER: I don't think he
would go even if I told him to.

TALIESIN: No, he
really wouldn't.

IMARI: Figure this
out right here.

LIAM: So you guys move out
the back of this house past

three little pigs in a pen

and move through the
grass and start to move

through this small field
behind their home.

The land is already moving
up almost immediately.

You're climbing a hill,
and the grass fades

pretty quickly and you
start to see more stone.

The whole landscape
really becomes cracked

chunks of rock,

almost like what you'd
expect if you looked--

You guys have looked
through a telescope

and peered and
imagined the moon.

You could almost imagine you
are on the moon, except here,

shoved in between
all these stones,

you see occasional wild
flowers growing out of it.

Again, this island, just

eerily beautiful

but barren, and you
have to start to climb.

The stones get larger
and you are climbing

your way up now
a pretty steep incline.

It's not like you need
rock climbing equipment,

but you don't want to
stop paying attention.

If you take a tumble,
it won't be good.

You eventually make
it up to a plateau.

This is five minutes later,

so it was pretty close.

About 100 feet ahead
of you on this

bumpy plateau of stone,

broken up chunks,

you see what looks
like a stone dome,

almost like part of an egg,

maybe 20 feet high

and with the clouds
moving overhead,

it's a gray day and
there is a dark,

rough, rectangular hole
at the base of this.

So maybe this
is a fairy home,

but it's shaped like
an egg or a beehive

and it's just
sitting by itself.

IMARI: That's odd.

TALIESIN: This is worse
than I imagined.

AIMEE: Can I use Illumination
Key to Sense Phenomena?

LIAM: You can Sense, you can
do an action to Sense, yeah.

AIMEE: Why not?

A roll?

I will use a gilded die.
LIAM: Yeah.

IMARI: ♪ Boo boo boo,
doo doo doo ♪

TALIESIN: Every time after.
LIAM: Yes, of course.

Of course.
IMARI: (laughs)

LIAM: Yeah, hit me with
what you got, guys.

AIMEE: Well, I got a Candela.

TALIESIN: Yeah!
LIAM: A six?

AIMEE: It's not on
the gilded, yeah.

ALEXANDER: A six.
IMARI: Candela.

AIMEE: A Candela.
TALIESIN: Candela.

Yeah, no, you win that.
That range.

LIAM: In this moment
of fear and doubt,

you close your eyes and

listen to those
voices that have

been whispering in
your ear all day

and part of yesterday.

In those whispers,
you feel like you can hear

Decklan's voice mixed in,

and he's reaching out

in the way only you
are able to reach out.

It's obvious

he's waiting for you,

in some way calling to you.

AIMEE: I share that
with the group.

TALIESIN: I'm running the
bleed detector quietly

like a fidget toy.

ALEXANDER: Okay.

LIAM: It's not
a false positive.

TALIESIN: No.
LIAM: It is starting to

glow.

TALIESIN: I have
the bag as well.

LIAM: Every step
closer you take,

it brightens.

TALIESIN: I put it away.

I have the bag
and I'm probably

just touching the
knife in the pocket.

LIAM: Okay.

Knife, poker.

Scalpel.

AIMEE: Wait,
who's got the poker?

TALIESIN: I have two knives.
LIAM: Oh, I thought we gave it

to Malcolm.
ALEXANDER: Imari has it.

AIMEE: Oh no,
you should keep it

because he's injured.
IMARI: I need that poker.

AIMEE: He's got the poker.

TALIESIN: I grabbed one
knife in the sister

and then I had two
other in my pocket.

I took the whole
batch of them.

AIMEE: Can I grab one
knife from you?

LIAM: Yes. Yeah.
TALIESIN: No, yes.

LIAM: You guys would
be foolish not to.

AIMEE: Yeah.
TALIESIN: Yeah.

LIAM: You are slowly
marching towards

this fairy house.

TALIESIN: Oh.

LIAM: You close the distance.

Edgar, you looked like you
had something on your mind?

ALEXANDER: I'm looking
at this fairy house

and I do have a Occult
Researcher as a skill.

LIAM: Mm-hmm.

ALEXANDER: Where I can take
one brain to ask the GM

an important occult detail
that I would recognize

from your studies that has
not yet been revealed.

If there is none,
I clear the brain mark.

AIMEE: Cool.

LIAM: Clear the brain mark.

ALEXANDER: Okay.

LIAM: But I will

give you a non-phenomenon

bit of knowledge, and that
is that Oldfaire was a,

for its time, very advanced,

you all know,
through alchemical

artistry,

a mighty place, but it was not
the only thing in the world

and there were other cultures
that lived in and around it

and held onto their identity
in the outskirts of Oldfaire.

Many of them

lived in

stone structures built
by hand roughly

where the weight--

There's no mortar,
there's no anything

holding it together except
for early engineering.

ALEXANDER: Okay.
IMARI: Hmm.

ALEXANDER: (sighs)

LIAM: So we walk our way

toward this structure.

IMARI: I'm going
to get my gun out.

LIAM: Okay.

50 feet away.

30 feet away.
IMARI: He's just holding like that.

TALIESIN: Anything
following us?

Anything around?

LIAM: You don't
see anything--

TALIESIN: Okay.
LIAM:-- easily.

20 feet away.

10 feet away.

AIMEE: I'm going through
my Rolodex in my head.

LIAM: You're standing
outside of this stone hut

and you can just see a bit of
the dim sunlight fading in,

dirt floor on the ground.

You don't see anything, but
you hear far from you inside,

"(soft, shuddering breathing)"

IMARI: Oh shit.

LIAM: "(shuddering breathing)"

AIMEE: That's Decklan.

IMARI: I'll race to
assist immediately.

LIAM: Do you race in?
TALIESIN: Whoa, whoa, whoa.

ALEXANDER: Wait.
IMARI: Well, it's a bleed.

Oh sorry, before
I do that, sorry.

Let me stop being impulsive.

Are all our bleeds
going off right now?

Is it strong right now?
LIAM: Bleed is damage you take.

Bleed is a negative effect.
ALEXANDER: Bleed detector.

IMARI: I'm going to use
my bleed detector, sorry.

TALIESIN: Mine was going nuts

as we were walking up.
AIMEE: Oh yeah, there is

definitely magick.
LIAM: Leo's has already gone off.

TALIESIN: It was very obvious.

IMARI: I mean, how else are
we going to figure it out?

LIAM: Grimoria believes
she's heard him.

AIMEE: Yeah, he's definitely
in there, that's him.

IMARI: I would say
I'd go in there.

TALIESIN: Mm.

LIAM: So your friends are
putting a hand on your arm.

IMARI: All right.
LIAM: But anyone

wants anything can do
anything they want.

ALEXANDER: You can.
TALIESIN: Decklan.

ALEXANDER: Yes.
What was her name?

What was the sister's
name that ran away?

LIAM: Gráinne.
AIMEE: Gráinne.

IMARI: Oh yeah.

ALEXANDER: Gráinne,
is that you in there?

Can you hear me?

LIAM: "(soft,
shuddering breathing)"

ALEXANDER: Or is that
you, Decklan?

LIAM: "(soft whimpers)"

ALEXANDER: Can you hear me?

All right, go in.

IMARI: We're going
to have to freaking

rip the bandaid off,

gents and lady.
LIAM: You walk in the door

and as soon as
you step under,

you have to lean down
to get in here

and you move your head
in and you immediately

on your right hear
dirt scrabble

and look and you see

Gráinne with an axe--

IMARI: I shoot her.
LIAM:-- swinging down at you.

IMARI: Straight up.
AIMEE: (laughs)

IMARI: Shit, I got my
gun ready to go.

AIMEE: Pow pow.

LIAM: The axe
blade is moving.

So you've got two ways
of handling this.

You can try to get
out of the way of it.

IMARI: Oh.

LIAM: Or you can say screw it

and take the hit
and shoot this woman.

IMARI: Oh dude, no, no.
LIAM: But

you are in this moment.

IMARI: I'm going to
get out the way.

AIMEE: Yeah.
LIAM: All right.

IMARI: Because I can't get
anymore damage,

I might mess myself up
even worse.

(laughter)

TALIESIN: I was like, that's a bold--
IMARI: I'm going to burn a drive

with that too, by the way.
TALIESIN:-- move going in there.

Going to burn a drive here.
Burn it!

TALIESIN: Yep.

Oh man.

AIMEE: I wish I had
one to give you.

IMARI: Give daddy some bacon.

Give daddy some bacon.

All right, I got a four.

LIAM: That's a four?
AIMEE: You got it back with the--

TALIESIN: You got a gilded.

IMARI: Yeah, I get it back.
AIMEE: Yeah, you get it back.

IMARI: I just left it.
I didn't erase my drive.

TALIESIN: Anything
to help with?

IMARI: It's all good.
It's all good.

LIAM: In a split second,
you hear that dirt scrabble

and you realize she was
fucking waiting for you.

Then you try to twist
your trajectory

in time and pray
that it is enough,

and you feel the wood come
crashing down on your noggin.

AIMEE: Goddamn it.
At least it's the wood.

IMARI: Yeah, at least
it's not steel.

AIMEE: Fuck.

LIAM: I'm going to
shift it to brain

because it was a solid clock
and it certainly hurt,

but more than anything,
you just came

within a split second
of getting your head

cleaved in half,
and you are stressed.

So take that brain.
IMARI: Got that brain.

LIAM: Okay,
what happens next?

TALIESIN: Can we see her?

LIAM: You see her legs
and lower half

there inside the doorway
of this stone structure.

TALIESIN: I will
start to back up,

but I will take the
bag of whatever it is

and start to threaten to
pour it, and have the knife.

Does it seem to do anything?

IMARI: Bro, she's
crazy right now.

LIAM: She is locked
on Malcolm--

TALIESIN: Okay, she's not there.
LIAM:-- and doesn't may any--

It makes sense to me.

However--
TALIESIN: She's just not.

LIAM: She is in it.

ALEXANDER: I'm going to go
through and try to push her

away from Malcolm and take her
down to the ground if I can.

LIAM: Okay,
make a Strike move.

TALIESIN: (exhales forcefully)

ALEXANDER: ♪ I don't have
anything in that ♪

AIMEE: I wish I could
give you something.

ALEXANDER: Two.
LIAM: Two?

ALEXANDER: I have to roll
two and take the lower.

LIAM: Oh!
TALIESIN: Do you have nothing to--

ALEXANDER: No.
TALIESIN:-- burn at all?

AIMEE: We're all out of drives.
ALEXANDER: I only have one drive.

TALIESIN: Drives are terrible.
AIMEE: Yeah.

We're going to have
to rethink that.

IMARI: I'm going
to shoot her,

because my drives are plentiful.
Because I just took a--

LIAM: Hold that thought.
TALIESIN: Oh shit.

IMARI: I just took a mark.

LIAM: Edgar goes
running in as you

hold your head and
move off to the side.

You charge her

and she turns,

and with the axe--

You got a two?
ALEXANDER: Mm-hmm.

IMARI: Oh man.
LIAM: She doesn't

have a chance to swing it,

but she manages to whack
it up under your chin.

ALEXANDER: Okay.

LIAM: You go falling
back into the dirt.

You take a body.

As you, your jaw is--

ALEXANDER: (groans)

LIAM:-- maybe broken, and
you hit the ground and look

stunned as you are with this
woman standing over your body.

I will get to that gunshot
in a second.

Across the hut, you see

Decklan Murphy cowered
into the corner,

arms up,

his face pale

white, mottled,

some sort of growth
around his eye

and up into his hairline.

"(fearful whimpering)"

Over to you.

IMARI: Oh my god.

So Decklan's over there,
he has a growth.

He has a growth on his face.

LIAM: Yes, and looks out
of it and terrified

or heartbroken or wrong.

IMARI: Or wrong, okay.

So at this moment,

his sister is--

LIAM: She's just--
IMARI: Boom.

I want to shoot her.
LIAM:-- maybe broke her jaw.

AIMEE: Shoot her.
LIAM: Has her back to you.

AIMEE: Yeah, yeah, do it up.
IMARI: Okay, now--

One of my abilities
is Sharpshooter.

LIAM: I know it well.

IMARI: All right, so that's
"When you want

"to make a ranged
attack with a weapon,

"you may spend one Nerve

to steady your aim
before shooting."

LIAM: Yes.
IMARI: "And add 2d

"to your next shot
at this target."

LIAM: Yes.
AIMEE: Here we go.

IMARI: So the first-- So
how does that work for me?

So my one Nerve would be--
LIAM: So if you got a Nerve,

you erase it, it's gone.
IMARI: Okay.

LIAM: You add two dice to
the roll, and if anybody--

TALIESIN: Oh, is it--
ALEXANDER: Does that take time

to aim shots?
TALIESIN: Wait, what kind

of Nerve does it take?

Does it take a drive?
LIAM: That's just him,

that's just making
this moment count.

ALEXANDER: Okay.
TALIESIN: Okay, it takes a drive.

IMARI: I take one drive.
LIAM: She has turned away

from him and
rocked your world

and is looking to you
to then turn the axe

around for the kill.
ALEXANDER: That was my worry.

LIAM: So she's got
her back to you.

AIMEE: Shoot that bitch.
IMARI: So if I have--

So I add two more to
the shoot, right?

LIAM: Yes.
IMARI: I have one Control.

LIAM: So using that
ability burns a Nerve.

IMARI: Right.
LIAM: You get to add

two dice to whatever you have

for Strike-- Or,
excuse me, for Control.

IMARI: Control.
LIAM: For shoot.

If you want to burn drives
if you have them,

you can add more dice.

IMARI: I'm going to add,
because I'm obviously

not doing well
right now with that,

I'm going to add
another drive.

LIAM: Okay.
IMARI: I want her done.

AIMEE: Wish I had
one to give you.

It's Nerve, right?

LIAM: Yes.
IMARI: I got four.

AIMEE: Yeah, I don't
have anything.

IMARI: ♪ Oh,
a handful of dice, ♪

♪ Handful of dice ♪

♪ Give Malcolm ♪
something nice ♪

Oh, I got a four.
LIAM: You got a four?

AIMEE: We'll take it.
We'll fucking take it, man.

IMARI: Just shoot
the girl in the butt.

Shoot her in the booty.
(chuckles)

ALEXANDER: Control.

IMARI: (laughs)

How dare you shoot her.
AIMEE: Dude, I got nothing.

IMARI: Shoot her somewhere.

LIAM: The back of
her head erupts.

AIMEE: Oh, thank god.
IMARI: Perfect,

but with cost.

LIAM: Spraying you--
AIMEE: I don't--

TALIESIN: No.

LIAM:-- with all the
backside of her brain.

You shot her from
six inches away.

IMARI: Okay, maybe it was
a little too--

I maybe overdid it
a little bit.

AIMEE: No, it's fine.
LIAM: Well, I put you six inches away

because of everything
you burned.

You spent a lot
to make that shot count.

IMARI: Yeah.

LIAM: It was a small,
enclosed place.

She was going to
kill your friend

and you have just ended her.

She's struck,
staggers forward,

and topples over
on top of you.

So many people toppling
on top of you.

AIMEE: So skinny.

LIAM: And

you hear a scrabble in
the dirt behind you.

AIMEE: Oh no.
LIAM: Decklan gets up

and starts to run through
you all towards the door.

ALEXANDER: I grab him.
LIAM: Past you to the door.

Makes his way out.

You're still outside.
AIMEE: I'm still outside as well.

LIAM: You're still outside.
TALIESIN: I have the bag.

LIAM: You have the bag.

Sunlight hits your friend

and his face is decayed
around the lip.

AIMEE: Does it look like
the guy on the ship,

like that sort of--
LIAM: No.

AIMEE: Okay, different.

LIAM: No, that guy was--
IMARI: Melted off.

LIAM: Sort of evaporated away.
AIMEE: Yeah.

LIAM: Decklan's face
has got growth on it.

AIMEE: Okay.
LIAM: There is some

sort of mottled
white and pink growth

on his face and
he crashes into you.

He comes crashing towards you.
AIMEE: Decklan!

LIAM: "(gasps)"
TALIESIN: Push him away.

AIMEE: Are you all right?
LIAM: "(pained groans)"

Runs right into you.

IMARI: Okay.
AIMEE: Okay.

LIAM: If you don't
move, he topples over,

stumbles into you onto
the ground. "(gasps)"

TALIESIN: Back! Back!
And I pull it away.

IMARI: He might
be contaminated.

LIAM: Bits of
his face sort of

fall away and

not the dust that went
into Malcolm's face,

but chunks of his skin
on this side of the face

are spongy and break easily.

You got little chunks
falling in your face

and little bit of it
goes in your mouth--

IMARI: Oh no.
LIAM:-- you think, and he--

AIMEE: Throw up immediately.

LIAM: You take--
AIMEE: Yeah, literally.

TALIESIN: I was trying
to drag her out of it.

LIAM: I'm going to say
you take a brain.

And you take a bleed.

ALEXANDER: I'm getting
out of that hide--

LIAM: He doesn't
stop, though.

He falls on top of you
and coughs and sputters.

AIMEE: Well, I, at this point
there's enough time that I'm,

I get hit, but I'm not
going to stay down there.

LIAM: Yeah, but he actually
is moved over and past you.

AIMEE: Sure, sure, sure.

So he's away from me,
and wait, so, quick.

I get a special thing
with bleed.

What is the source
of the bleed?

LIAM: What is the source
of the bleed?

AIMEE: Yes.

LIAM: Decklan is the
source of the bleed.

Decklan is a phenomenon now

by definition.
AIMEE: He is fully not himself.

ALEXANDER: Someone grab him.
LIAM: It's parsing language.

AIMEE: Is it fairy bleed,
like is it anything?

LIAM: There's no fairy
bleed in this world.

AIMEE: Okay, I don't know.

LIAM: No, there's fairy tales
and tales of fairies.

AIMEE: Gotcha.
LIAM: Anyway, he's up on his feet

and he is running--
TALIESIN: Is he up on his feet?

LIAM:-- over these unstable
rocks away from you

back towards the house.

TALIESIN: I wouldn't have, yeah--
ALEXANDER: Charging him.

TALIESIN: I was going to say,
I wouldn't have let him get up.

ALEXANDER: (sternly)
Somebody grab him!

TALIESIN: Yeah, I wouldn't
have let him get up.

I would've run and pushed.

LIAM: All right,
so that would be a--

TALIESIN: I know.
LIAM:-- Strike.

TALIESIN: Yeah, that's going to suck.
AIMEE: Can't help you.

IMARI: Don't say that.
TALIESIN: Well...

Two.
LIAM: Two.

IMARI: Four, you have four.
TALIESIN: I have nothing out of this.

LIAM: You run into him
and his arm slaps you

in the side of the face, not
enough to truly harm you,

but you get knocked
back a foot or two

and he continues to run.

You see him fall in these
rocks because it's very uneven

and there's huge wedges
that it's easy

to twist an ankle in here.
ALEXANDER: Malcolm, grab him!

He's going to
fall off the edge.

LIAM: He stumbles
and hits the ground.

IMARI: I'm going to go
back from there.

I'm going to seize upon
the moment to go there

and catch up with him
and subdue him.

LIAM: All right, make a
Move to catch up with him.

He's about 40 feet
ahead of you.

IMARI: All right.

Candela.
LIAM: Candela.

AIMEE: Get that drive back.

IMARI: Can I get
that drive again?

TALIESIN: Jeez.

LIAM: You go running along
this plateau of stone

and you are watching
your steps as you go,

stepping on stone, careful
not to make one wrong step

and wrench your ankle
as you go.

You catch up to him and
you barrel into him

and knock him down
to the ground.

You get him on
his back on stone,

and he is struggling
against you with his arms

and his eyes really don't feel
like they're taking you in

and he's just
swatting at you.

It's not enough to hurt you.

You have the upper hand here.

IMARI: I have him, come
over here and help me out.

LIAM: "(gasps)"
TALIESIN: I'm walking over.

IMARI: I want to--

Is there anything I can--

I'm like: Decklan,
wait right here, man.

Are you there?
TALIESIN: Keep-- be careful.

Don't, but
his breathing is bad.

Do not get anywhere near it.

AIMEE: Could I maybe use--
ALEXANDER: Let me see him.

AIMEE:-- connect with someone
to see if he will tell me anything

or I can hear anything
through the voices,

anything like before
where I could sense him

before I saw him?

LIAM: You could try to
learn something new

by rolling Sense again.
AIMEE: Okay.

I'll keep rolling it
'til I get something.

ALEXANDER: Decklan,
can you hear me?

It's Edgar.

AIMEE: Oh!
No, I got a Candela.

LIAM: You got Candela.
AIMEE: Just not on the gilded.

IMARI: (laughs)

AIMEE: We're going
to call it that.

LIAM: He is there.

You can feel him there,

but he's not, which means
his soul is present.

AIMEE: It's like, but
it's like fighting for--

LIAM: He's not responding
to you, Edgar.

ALEXANDER: Okay.

TALIESIN: I don't know
what the powder would do.

I'm going to take out
a handkerchief

and use it to at least
keep him from coughing.

AIMEE: We can all try.
ALEXANDER: Just wait.

I'm going to take some,

in my medical kit, I assume
I have ether or chloroform

or something like that,

some sort of thing to
knock, to put someone out.

LIAM: Yeah.

ALEXANDER: I'm going to put
him out, just knock him out.

LIAM: He struggles
against it.

ALEXANDER: Hey, you're going
to go to sleep for a little bit.

It's going to be okay.

LIAM: His body goes limp.

ALEXANDER: We need to
get him down from here.

IMARI: All right,
let me help you out.

ALEXANDER: We got to carry him,
we got to carry down the hill.

TALIESIN: I can't even feel
my throat anymore. Okay.

ALEXANDER: Let me get the
legs, you get the torso.

AIMEE: I mean, I'll help.
LIAM: Yeah.

AIMEE: We'll all help.

ALEXANDER: Before we
bring him down.

LIAM: You guys carry him.

AIMEE: Yeah, and if
you're going to carry,

can you also point a
gun while you carry?

IMARI: Well, I don't
know if I need to yet

because we're, I mean

we don't have--
AIMEE: Maybe I can just have it.

IMARI: Yeah, why don't you
hold onto it.

AIMEE: I'll hold onto it
because we're going to help me.

IMARI: You need that.

TALIESIN: Take a second
to truss him up.

If you don't mind, can I
borrow you for one second, dear?

AIMEE: Sure.

TALIESIN: I'm going to
walk back to that egg.

ALEXANDER: Yes.

TALIESIN: I'm going to pull
out my lighter and walk in slowly

and look around

and I'm not going to breathe.

I'm going to--
LIAM: Cover your mouth.

It's a very old place.

You can see in the
far end where he was,

where you found him,

that there is traces
of white chalky

dust mixed with
the soil here.

There's no belongings.

TALIESIN: Is it similar to
the dust that's in the bag?

LIAM: It could be,
it could be.

It's a similar color.

TALIESIN: I back out.

AIMEE: Get going or,
down the hill?

IMARI: We have to
make a decision.

All right, it seems like

if he himself is a bleed,

and we do not know
the source of,

we don't know
what's causing the bleed,

we don't know
what's affecting him,

that we should contain him
and bring him back for--

LIAM: The way to do that
is to bring him home.

IMARI: Bring him home?
ALEXANDER: Yeah.

IMARI: We got to
knock him out, though,

and how far is home
from where he is?

TALIESIN: Home is home.

LIAM: You're about a
half day away from--

IMARI: Half day away.

AIMEE: I'm sure he's got plenty
of that chloroform or ether,

like you keep
knocking him out.

IMARI: I bring him
back to the shower,

if we go back to
the house at all.

TALIESIN: Keep him tied down.

ALEXANDER: Once we get him on
the ship, we can restrain him.

Knocking him out
over and over again

is not a good idea,
it's not good for him.

IMARI: Yeah.

ALEXANDER: We need to
get him on the ship,

but that's going to
raise questions

when we walk through town.

The ship's not there.

IMARI: So they have
their farm.

Is there any wheelbarrow-like
instrument we can use

to cover him up so that
we can go through town

and disguise him,

the fact that we have
him in the wheelbarrow?

How long will
chloroform work?

ALEXANDER: Depends on
his system.

TALIESIN: Also,
we can tie him up.

It'll be easier to
carry down the hill.

ALEXANDER: Look--
TALIESIN: What?

ALEXANDER: What we have to
do-- we sent the ship away.

It's not going to be
there waiting for us

and we can't just
stand on the dock.

TALIESIN: We'll be able
to do simple, but yes.

ALEXANDER: What we can
do, I'm sure people

on this island have rowboats.

We steal a rowboat, we
row out to the ship.

We don't make a noise, we don't
make a fuss, we just leave.

AIMEE: Do we see any
rowboats nearby?

LIAM: Well--
ALEXANDER: Not here.

AIMEE: No, no, no, but
like, or, you know,

we can't be far from water
or from another house.

LIAM: Here's what
I'll do for him.

You get him down
to the house.

That takes 15 minutes.

You get out on
the road with him

and get near the coast,

and it doesn't happen
right away,

but you do find a rowboat.

This is a seaside place.

No one challenges you
and you climb in

and lay your friend in the
hull of this small boat

and spend the next hour

rowing your way back
to the Dandridge.

You're a day away from
knowing anything,

if you'll ever know anything.

I think with all
that you have suffered

in the last 48 hours,

we'll end things here.

Return to the Dandridge
and heading home

to see if you can figure out

why your friend is
not your friend.

That's where
we'll end our game.

Well survived.

AIMEE: Not for
lack of trying.

TALIESIN: Mm.
IMARI: Yeah.

I know. (laughs)

Boo yeah baby.

High five, team.

LIAM: That was a good time.

IMARI: (laughs)

AIMEE: My blood
pressure's like--

LIAM: Same.

Same, same, same, same.

TALIESIN: Badder badmouth.

LIAM: (sighs)
Well, I'm sorry.

I didn't mean to
hurt you too bad.

Thank you very much for

going to sea and traveling
to Serenity with me.

Too bad we didn't find any.

IMARI: (laughs)

AIMEE: Yeah, well, for
a split second there.

But you lose consciousness,
kind of serene.

LIAM: Well, we've
made it to the end

of the first piece
of our chapter.

Do me a favor, you guys,

you were such
lovely players tonight.

Will you please
remind the audience

of who you are here
on Earth One

and who you are playing

as here in the Fairelands?

ALEXANDER: My name
is Alexander Ward.

I was playing Edgar
or Dr. Lycoris.

You can find me on the
internet under that name.

I'm around.

AIMEE: Hi, I am Aimee Carrero

and I'm playing Grimoria who
is a Weird Medium Magician.

IMARI: (laughs)

AIMEE: That's clearly a
little homebrew action,

thanks to our
wonderful Game Master.

IMARI: My name is
Imari Williams

and I'm playing Malcolm
Trill, Till, sorry.

AIMEE: Trills.
IMARI: Trills.

I should know
my own last name.

I'm a voiceover actor.

You can find me on Instagram
under Imari Speaks

or on TikTok under
Imari_Atari_Ferrari.

(laughs)

I love it, came up
with that myself.

AIMEE: Give us your Finsta.

IMARI: Malcolm is--
He's ex-military.

He comes from
a very powerful family

and I've survived
a great tragedy

that struck me while I
was serving in the war,

the great war of Newfaire

and I'm basically the muscle

with a heart of gold,
I would say.

TALIESIN: My name
is Taliesin Jaffe.

I'm a voiceover actor

and you can find me
deep in the nightmares

that dreams have
when they sleep.

IMARI: (laughs)

TALIESIN: I was playing
Leo Amicus, who is a,

technically speaking,
the Journalist

class in Candela, but
of course, we can play,

so he is in fact actually a
professional man of leisure.

LIAM: Well, I had a
lovely time with you all

and thank you for joining us.

I'm Liam O'Brien, your Game
Master on this chapter,

the Circle of
the Crimson Mirror

here in Candela Obscura.

Sleep well, family.