All language subtitles for Candela.Obscura.S04E02.1080p.BEAC.WEB-DL.AAC2.0.H.264-FFG_track3_[eng]

TALIESIN: Knowledge of
the Flare

is not exclusively held
by Candela Obscura.

There are many in the
Fairelands who try

to exploit the magickal bleed
we work to quell.

In the gilded halls
of the Varnish,

the wealthy gather
to celebrate

their collected
avarice and gluttony,

but beneath their revels,

sinister plots cast shadows
of the past onto the present.

When Newfaire's most powerful

find themselves
in competition,

it is those
who work in their shadows

that suffer the consequences.

The Circle of
the Crimson Mirror:

Assignment #4316,

The Gilded Graveyard.

♪ (tense mysterious music) ♪

LIAM: (Irish accent)
"You want to give up.

"I can see it in your faces,

"and I get it.

"I do. I've been there.

"(joyless laugh)
You're asking yourselves,

"why on earth did
I choose to do this,

"to go stick in my
nose in places

"it's better to
steer clear of?

"(sighs) To Tottergrass of
all places, coming here.

"And that's valid.
It's a harsh fucking world.

"You can sometimes
feel like you're mad

"doing the things
we do for Candela.

"The monsters of this world
will come looking for us

"without ever
lifting a finger.

"So why should we be
seeking them out, right?

"No one, not me,
not anybody would judge you

"for walking away.

"Except, I know why you
showed up to begin with.

"You're doing it for
yourself, sure,

"(sighs) but you're doing
it for all of them, too,

"for the people
you've already lost

"and for everybody else who
stands to lose just as bad.

"We do this because
we owe them.

"What we do,
it's taking a stand.

"We're not just throwing
up our hands and saying,

"well, what can you do?

"That's just how it is.

"We want something better

"for Tottergrass,

"Westecklyn,

"your homes, mine,

"for every person
under the sun.

"And for fuck's sake,

"all that pain's got to
be good for something.

"You can let it overwhelm you

"or you can take hold of it
and use it for something.

"Use it to make
the world better,

"and yourselves
better for it.

"Anyways."

Grimoria.

Edgar.

Leo.

Decklan Murphy
lies before you

on a plain brass bed,

unmoving,

draped in perfect
white sheets.

You're staring at him through
a large round window

in an adjacent room.

He lies still, his chest
rising and falling slowly.

His shoulder, neck, and face,
misshapen and mottled,

crusted over in
growth as white

as the tiles that
surround him here.

You three now stand
within the twisting walls

of the Fourth Pharos,

Candela Obscura's
lighthouse stronghold

that resides beyond
the mundane world,

floating somewhere
in the Flare.

With you now are your
lightkeeper, Zora,

and another doctor, a
shorter man, about five feet.

Bespectacled, bald,

wearing slacks
and a white shirt

with the sleeves rolled up

and a smock tied back
behind his waist.

This is Dr. Hector Aguilar.

Dr. Lycoris, you have
been working with him

for the better
part of a week.

"I am sorry.

"He has fallen into a coma

"while you all were sleeping.

"His respiratory functions
have been improving somewhat,

"but right now we
are concerned most

"about brain inflammation.

"We can't know more
without going in.

"(sighs) The only
positive change

"is that the level of bleed

"we've been monitoring
on Mr. Murphy

"has actually been dropping.

"Dr. Lycoris,

"I think you should step
away for the time being.

"Your help has
been appreciated.

"But if we are not prepared
to put him under the knife,

"I really think at best
you should step away

"from a case so personal
to you, in my opinion."

ALEXANDER: (sighs)

I understand.

AIMEE: Can I ask, why?

Why are we not
prepared to operate?

LIAM: "Well, we
don't know enough

"about what we're
dealing with.

"A little nervous of
making matters worse."

Zora Manning interrupts.

(Zora) "Yes, well, we are
also hoping to get word

"from Decklan's other circle,

"hoping to learn something
more about the circumstances

"of this affliction
or whatever it is.

"They've been away on
their current assignment,

"but are due back
any day now.

"So for the moment,

"we feel it is better to
wait, at least for now.

"The good news is,

"I'd like us all to swing by
and find Malcolm this morning.

"We'd like to
send you all home.

"(sighs) Well."

ALEXANDER: You--

You will keep us updated
if anything changes?

LIAM: "Of course.

"Of course, but right now,

"I think at best you all get
back to your lives in Newfaire.

"It's been a week, I'm sure

"that there are logistical
problems for you at home.

"Since you all seem to be

"in good health,

"Malcolm as well,

"for now, we trust you
all to look after your own.

"You of the Crimson Mirror.

"Come.

"We can pick this
up with Malcolm."

You leave Decklan Murphy

in this isolation chamber
within the Fourth Pharos

and step out into
a long hallway.

Even though you've
been here a week,

even though you've become
accustomed to it, it never--

The jarring-ness of this
place never goes away.

As you walk down
a long curving hall,

your view of it,
imperceptibly--

AIMEE: Hmm.

LIAM:-- rotates.

Spins. Perspective
is funny here.

You make your way down
a long hallway.

At a certain point
you see a door,

one of many doors running down
both sides of this hallway.

One opens on a man in
a peacoat and a beard quickly,

and in a huff storms across
the hallway ahead of you,

closing the door behind him,

opening one across
the way and disappears.

AIMEE: Hmm.
LIAM: You continue on.

Certain point crossing an
actual screen on the wall

that has a woman
in a dark blue robe

with a wide flat belt
tied around her back

and she's wearing
sandaled feet,

slides that screen
out of the way.

As you're passing,

you see three more
people dressed similarly

in a wooden room with a wide
immaculate mat on the floor

and a low, squat table.

In the middle of the
table a peacock stands

and there is a ring of
little glass crystal beads

placed around the bird.

The three people and the woman
opening the screen look up

as you pass, nod.

Then the woman who was
in the hallway with you

slides the screen,
and you travel on

for several minutes.

You eventually
arrive at a door.

Zora stands before it

and reaches her hand
out to the knob.

She twiddles her fingers
for a second and waits

and then turns it,
and you step in.

In a similar room to
the one you came from,

you find Malcolm.

Malcolm, you've
spent the last week

in an isolated
hospital room here

within the Fourth Pharos.

You've been run through
a barrage of tests

every one of those days

as Edgar and the medical
staff here within the Flare

have tried to ascertain
what, if anything,

has happened to you,

as well as tending
to that knife wound

you acquired on Serenity.

Opinions have been
tentative to be sure.

Every day the mantra
has been the same:

"Let's see where
we are tomorrow."

There's a knock outside
and then you see Zora

and your friends enter
the chamber, the antechamber.

You see them through
a large round window,

which is convex.

The image of them is
skewed, they seem--

You know how close they are,

but they seem
so much farther away,

barely rotating in
space in your view.

(sighs) Like so
much of the Pharos.

Zora closes the
door behind them.

"Hello, Malcolm.
How you feeling today?"

IMARI: Well,

I've stopped feeling like
a human pin cushion.

Now I'm feeling like a human
bandaid, but I'm doing good.

ALEXANDER: At least
you're human.

IMARI: (laughs)
AIMEE: (laughs)

IMARI: For now.

AIMEE: (laughs)

LIAM: "I'm sure Dr. Aguilar
and Edgar here

"have been taking
good care of you."

IMARI: They have.
They have, they have.

They've seen every
inch of my body.

I'm sure you'll never forget
that, will you Edgar? (laughs)

LIAM: "How are your ribs?"

IMARI: (coughs) They're--

It's a little sore.
It's better.

I can actually cough without
feeling a little bit of pain.

It's a little sore now,
but it's good.

It's healing quicker
than I thought it would.

LIAM: "That's good to hear.

"Now, I have what
I hope you'll feel

"is some good news for you.

"You've been given
the okay to leave."

AIMEE: Oh, wonderful.
IMARI: Oh.

I'm not sure if I want to,

I'm a little scared to go
outside after-- (laughs)

LIAM: "Well, we can't
put you up forever

"and honestly, your circle
will monitor you.

"We put our trust in them.

"Just if you could
stay in town."

IMARI: Of course.
LIAM: "We'd appreciate it."

IMARI: I'll be over at the
Glass Cat getting mended.

(laughs)
LIAM: "Of course."

AIMEE: Grimoria blushes.

IMARI: (laughs)

LIAM: "Yes. Well, quite.

"For the moment,
please just return

"to your day-to-day lives.

"We will be in touch.

"Mr. Murphy is not doing as
well as you, I'm afraid."

IMARI: What's his prognosis?

LIAM: Zora opens her mouth
to speak for a second,

but catches herself and--

IMARI: It's that bad, huh?

LIAM: You can tell that she is
on the verge of tears a bit.

ALEXANDER: He's
asleep for now.

LIAM: "You know, I don't know

"if Decklan ever
mentioned this, but,

"I was in his first circle

"when he was
a much younger man,

"shortly before I retired
from field work myself.

"So I have to admit this feels
a little more personal

"than these moments
sometimes can.

"But we put our
faith in each other

"and I put my faith in you,

"just like I know he would
put his faith in you.

"We will hope for the best.

"I was telling the others,

"once the Circle of the Wyrm
returns from their latest work

"down in Oldfaire,

"we are hoping they
have any information.

"We haven't spoken
to them either in,

"oh, almost two weeks.

"But we expect them
back soon, so."

IMARI: Do they think what has
attached himself to Malcolm,

"to Malcolm, to Decklan
is what's attached to me

"or what I could
have breathed in

"with what was blown
in my face or?

LIAM: "Quite possibly."

IMARI: (sighs) Delightful.

LIAM: "Sure he's all
right, doctor?

"Seems a little out
of sorts still."

IMARI: What do you
think, Edgar?

Anything you can
detect inside me?

ALEXANDER: From this
distance? No.

IMARI: Well, I mean from
a week of examination.

ALEXANDER: You seem
as fine as your--

(sighs) You seem to
be healing normally.

TALIESIN: That's code for
you look terrible.

ALEXANDER: Everything else,

there's no sign of anything
else happening to you.

IMARI: Hmm.

ALEXANDER: So either this thing
is very insidious and subtle,

or you're fine.

50-50.

IMARI: Guess we'll find out
one way or another, won't we?

LIAM: If I can slide into
the game mechanics lane

for a second, I will let
everyone know watching at home

that before we
started rolling today,

we did take advantage
of our circle resources.

So people are doing a little
better than they were

when we last saw them
on the island of Serenity.

Leo, you took
Stitch and Train.

TALIESIN: Mm-hmm.

LIAM: Malcolm took
a Stitch and a Train.

IMARI: I sure did.

LIAM: Grimoria took
Refresh and Train.

Edgar, you took
Refresh and Train.

So everyone hopped to
onboard the Train.

(laughter)

LIAM: "Now back into
the Fourth Pharos.

"All right, well,
I have a lot of paperwork

"to work through today, so

"if you will let me
escort you back home."

She walks to the door
separating these two rooms.

Other than food
being delivered

and doctors coming in
to stick you with needles

and take your blood,

Zora opens the door.

"Mr. Trills, if you will."

IMARI: (sighs)
Well, here we go.

(sighs)

LIAM: You leave
solitary confinement

for the first time in a week

and begin to move down
this long, curving,

slowly rotating hallway

floating in the Flare.

You walk for a good
15 minutes in silence,

just footsteps clicking
down this hallway

and eventually she stops

and stands in front of a door

and reaches out
her hand to open it.

But before she can, it actually
opens up into the hallway

and a blast of icy cold air
spills into the room.

A woman with a parka

and goggles lifted up over
her eyes comes walking in.

"(pants heavily)"
Her breath steams.

She looks around
at all of you.

"Oh, I'm sorry.

"Wrong door."
She shuts it behind her.

(Zora) "Very silly person.

"One moment."

She waits a beat,

turns the knob
and opens the door.

Now instead of
the airplane hanger

somewhere in the world
that you just saw--

AIMEE: Was it Amelia Earhart?

LIAM: You instead see--

(laughter)

LIAM: Leo Amicus' flat
in the Red Lamp.

Now, Leo, I could
describe this apartment,

but I think you're
better equipped

and I would really
love to hear it.

TALIESIN: Oh boy.

Okay, let's begin
at the beginning.

Leo's apartment is in
the Red Lamp District.

It's on the second floor
of 802 Tivery Lane.

It's one of those
pie-shaped buildings,

a very, very thin wedge.

It's right above
a coffee shop,

which is at the bottom floor

of the building called
The Endless Well.

His apartment
is very opulent.

It's cluttered, but cluttered
with impeccable taste.

The apartment itself
if it where empty

is Art Nouveau in design.

It's got detailing
and painted edges

all over the ceiling
and walls.

It's packed with
photographs on the wall

and a very well
curated collection

of local artists in the,
what you would say,

Impressionist style
quite a bit.

It's quite a bit.

Most of the windows, most of
them have stained glass in them,

including a central large round
window in the living room

that really dominates
the room quite seriously

with the lights and color

of the red light
gleaming through it.

There's beautiful velvet
curtains around it

draped in an asymmetrical
organic style,

expensive rugs, beautiful
glass lamps in every room.

He owns, among other
things, a record player,

a radio, some beautiful
small music boxes,

a wax cylinder player,
anything of that sort.

He's got a grandfather
clock because you must.

(laughter)

AIMEE: Why not?

TALIESIN: Each surface and
each shelf is filled with oddities

detailing less of
the Memento Mori

of a lot of people who
are part of Candela.

More of a love of opulence,

a love of travel of
seeing what one can

and of adventure and taste.

But most striking in there

is a vanity table
in the living room,

which has a beautiful
big mirror,

except the mirror glass
itself is crimson red

and it is sitting precisely
opposite to Leo's bedroom door,

which he usually keeps closed

because there are
areas of the apartment

that are very messy
on occasion.

Next to the door is
a small round table,

almost a plant table,

but it's got a nice
vase of fresh flowers

and a little silver tray.

At the moment, since he
wasn't expecting company

at the moment, instead of his
normal dining room table,

he's got a couple
couches and some chairs

sat around for company.

It is a very comfortable
bohemian reality.

Welcome in.

We are actually
stepping in oddly

from the bedroom door,
which is strange.

IMARI: Oh.
TALIESIN: Not the front.

LIAM: As you enter and see
this red-tinged mirror

across from you, you can
see yourselves obviously,

and Zora in the hallway
slowly rotating behind

in the Fourth Pharos.

Before leaving you,
Zora with her shoe--

She sort of knocks
with her toes

on a little crate
next to the table.

LIAM: "Leo, the vintage
I mentioned.

"I've left you
a couple of bottles.

"Cheers to being home,
darling."

TALIESIN: Thank you.

Thank you very much.

This will be very useful
in the coming hours.

IMARI: (laughs)

LIAM: "All right, well--

"We'll be in touch. You
know how get ahold of me.

"Fingers crossed.
Fingers crossed."

IMARI: You should get
some rest as well, Zora.

If you can.

LIAM: "No rest for
the wicked.

"All right,
enjoy the sunshine.

"Get back to your lives.

"Try at least."

She shuts the door.

Now, the mirror just
reflects Leo's bedroom door

and those bottles, by the
way, there's three of them

in a small crate and the labels
on them are in a language

that you do not read
and do not recognize.

TALIESIN: Oh, thank god
that's fucking over.

I go and grab one
of the bottles,

immediately move
to the little table

with all of the necessary
tools for this sort of work.

Quickly pop open the bottle.

I'm barely looking at
it, pouring glasses.

Yes, yes, yes.

You don't have a choice.

That's all right.

Here we go, if you don't
want it, I'll drink yours.

I'm collapsed in
the bloody couch.

AIMEE: Well.
TALIESIN: (sighs)

AIMEE: One little nipper
before I leave.

IMARI: Everyone, cheers.

AIMEE: Cheers.

IMARI: Cheers, Edgar.

ALEXANDER: Cheers.

TALIESIN: (exhales)
IMARI: Oh, that's good.

LIAM: So you find yourselves
spit out the other end

of a very traumatic week
and are home in Newfaire.

It is quite a few days past
the time when multiple people,

you might be the exception
to this, Leo,

were expecting you home.

So there may be some
difficulty upon impact,

but it is hard not
to savor the moment

and the little nipper here
in this opulent retreat.

Leo's home,
your chapter house,

the place where you meet
at least once a month

to discuss your work.

(sighs)

It is hard to
know what to do.

AIMEE: Well, I think
I have to get going.

But, I look forward
to regrouping.

Mr. Amicus, Mr. Trills,
Dr. Lycoris,

thank you.

Takes another little nipper

and she's going to try
to hail a streetcar

or whatever they
have available.

LIAM: Sure.
AIMEE: (laughs)

TALIESIN: The door's always open.
AIMEE: In the red--

TALIESIN: Just please
take advantage.

LIAM: You make your way downstairs.
AIMEE: Thank you.

LIAM: Head off and find
your way to a trolley car.

AIMEE: A street car,
yeah, trolley car.

LIAM: Ride off.

Would you like to go somewhere
directly at the moment?

AIMEE: Yes, I would
like to go to my home

and work, place of employment
in the Eave neighborhood.

Yeah, I think I've
gotten as much as I can,

as far as flexibility
from my employers.

So I'm worried about
their reaction

and probably
need to get back.

LIAM: You spend the
next 30 to 40 minutes

returning to the Eaves,
where the Foggs,

Oliver and Cynthia Fogg have
their curio and curiosity

dealings from their home.

We find you eventually
at the steps

of the four-story townhouse
owned by the Foggs,

your employers,
your wards to a degree--

AIMEE: Yes.

LIAM:-- after they took
you in, after the war.

When they brought you
in originally it felt

like a kindness
or a blessing.

You quickly realized
the strings

attached to that invitation.

They've kept you
hard at work here,

and the work has been unique.

The townhouse
is perched along

one of Oldfaire's many
surviving ancient rooftops.

The Foggs aren't wealthy enough
for any of the real estate

along the massive
Oldfairen archway

that runs through the
center of the Eaves.

But the Foggs
and their new money

are at least
successful enough

to have a good view
of the city's elites.

You pause here, Grimoria,

hesitant to enter
for obvious reasons.

It's been several days past
your promised return now.

You're unsure of the
welcome you'll receive.

As you reach your hand
out to open the door,

it actually opens
in front of you

as Mrs. Fogg, seemingly
heading out for the day,

stops right in the
doorframe, eyes bulging.

"Why you!"

She grabs you by the wrist

and drags you inside
through the inner hallway

back into Oliver's study.

"Well, look who I found."

AIMEE: I'm so sorry.

I know I was due
a few days ago,

but I've come from a
really interesting place

and I think that I
finally cracked the code.

I'm hearing voices and I'm
ready to go back to work.

LIAM: Oliver is standing
there at his desk

and he's got a bronze
dagger that he's pulling

bits of stuffing
and packing off of.

He's pulled it out of a crate

and he stares at you apoplectic
for a moment and says,

"Three appointments.

"Three! Three appointments!"

AIMEE: I'll make up, I'll make up--
LIAM: "You missed."

AIMEE: Yes, I will--

LIAM: "Do you have any
idea how much money

"you might have
cost us, Alma?"

AIMEE: Well, thank you
for using my real name,

but I will say, and she pulls
out her little occult text.

I've got some new things
I've learned

that might prove
even more lucrative

in our next appointment,
if you know what I mean.

LIAM: "Pitch me.
I'm listening.

"This is going to improve
our business, how?"

AIMEE: Well, I did
get my hands on--

Well, not quite my hands on,

but a certain ancient
set of bones.

Really ancient from Oldfaire.

I've got a kind
of hieroglyphics

that now I know how to use

and I don't know,
I can maybe--

Well, I think it's better
if I show you

during an appointment.

LIAM: "You have bones?"

AIMEE: No, I don't have the
bones, but I've seen the bones

and I've gotten very close

and I think that it
might be impressive to,

I don't know, sort of bring
up in the next appointment.

I think you won't
be disappointed.

LIAM: "All right, well,
I'll consider it."

AIMEE: What is that
you have in your hand?

LIAM: "Oh, this is a
knife out of antiquity."

AIMEE: Well, that's exactly
what I've been handling

the last few days, antiquity.

LIAM: "Well here,
get acquainted with it

"because we've got an
appointment tomorrow

"and I need you to make up

"for everything we've
lost this week."

AIMEE: Great, we'll sell
this and something else.

Just find me something
else that's ancient.

LIAM: Cynthia steps in,

"All right. All right.

"Go and get your face
on will you, all right?

"Not another word."

She ushers you
back out to the foyer

and this is a townhouse and
she shoos you up to your room,

which you have to go
up the winding stairs

until you get to a very
small single bedroom

at the top of
the entire building

with one of those little
arched oval windows

and little round--

There's a round window and
there is a simple bed in here

and a dresser and a desk.

It's not fancy,
there's not much in it.

The few things you've been
able to collect on your own.

They don't pay you so well.

There's a nice roof
over your head.

Sitting on your bed with this
bronze dagger in your hand

and you take a moment
to look at it.

You've been doing this
for a while for them

and looking at the grip
of the hilt on this,

you're seeing a sort of a
faded green leather thong

wrapped around it like
a string, right?

A tie.

You know that you've seen

this material before,
twice before.

You're fairly certain
you're holding

a forgery in your hands.
AIMEE: Yeah.

LIAM: So it'll have
to be a bit--

When the customers arrive
and you're expected

to get in touch with the
other side for their benefit.

AIMEE: Yes.
LIAM: It's going to be more

of a theatrical
presentation than anything.

AIMEE: Yeah.

LIAM: You set it down
on the bed next to you

and look at your desk
where there

is a little picture
postcard of Westecklyn.

AIMEE: Yeah, I think she
picks it up, looks at it.

Maybe if she's got a small
mirror or something,

looks into it,

and just briefly mourns
her real self.

Maybe through a tear or two

smiles and starts
at her work,

which is maybe
fixing herself up,

working on the story that
she's going to weave,

the narrative of this dagger.

Doesn't allow herself
too much indulgence.

But Mr. Fogg's use
of her real name

was definitely maybe
more traumatizing

than the last few days.

LIAM: You sit there for
a good 15 or 20 minutes

mulling all of this
over in your mind

and eventually from the
little heating grate

that keeps this fourth floor
room warm in the winter months

as you have on
many past occasions,

it's the way you heard about

the remains of Griffia
in the first place.

You begin to hear a conversation
bubble up from down below.

AIMEE: Hmm.

LIAM: (Oliver)
"I need to talk to you."

(Cynthia) "Why? What is it?"

(Oliver) "Did you hear
what she said?"

(Cynthia) "No. What?
I'm busy."

(Oliver) "She's
talking about bones.

"Bones, she can't be
talking about

"the artifact
that Tama-Kai--?"

(Cynthia) "Yes."

(Oliver) "Can she?"

(Cynthia) "No,
that's not possible."

(Oliver) "I don't know,
it doesn't make sense, but--

"It doesn't make sense.

"Tell you what
we're going to do.

"When we go to that masquerade
at the end of the week,

"we're going to get to
the bottom of this.

"I'm going to talk to Aroha.

"It doesn't make sense,
but it can't be.

"(laughs) I swear
that guy is ruthless.

"Imagine, he sells half
of a centuries old corpse

"to some rube
and turns around

"and drives up
a bidding frenzy

"over the rest of
the bag of bones.

"He's double dipping on
the same Oldfairen crone.

"Priceless."

(Cynthia) "Who was
the first buyer?"

(Oliver) "Well, no one
will tell me.

"I don't know,
but what that kid said.

"Shit.

"Well, maybe we can dig it out
of someone at the auction.

"Tama-Kai means to
show it off to

"a few of his upper crusties
guests in private

"away from
the rest of the auction,

"probably in that
overblown little museum

"he has on the third floor."

(Cynthia) "Oh,
I've got those busts

"ready to send over
for the auction.

"Did you remember to pick up
our masks for it?"

(Oliver) "Fuck!

"That kid's more trouble
than she's worth."

AIMEE: I think she's
going to write a note

to be sent off to Mr. Amicus
and in some sort of code,

a Candela code of sorts
or something,

maybe requesting
an impromptu sort of meeting

regarding past events.

LIAM: Okay.
AIMEE: (laughs)

And I don't know if the Foggs

are wealthy enough
to have those people,

like a butler or something
that can go deliver it

or if she has to go do that,
but she sends it off.

LIAM: They are
very well to do.

I think you can get
a messenger boy.

AIMEE: Yeah, she sends it off

and starts to plot
a way to get herself

invited to this masquerade.

Maybe she will try
to convince the Foggs

that in light of her absence,

maybe she can
make this up to them

and put on
a great show if they--

I don't know how
she would do it, but

make herself available
that evening maybe for free

and say that she's
desperate to make up

for lost time if there's
an extra appointment

or any extra things
she can do to make it right.

She would love to do that.

LIAM: Okay.

Tell you what.

Let's put a pin here.

The letter's been
sent off to Leo.

The Foggs are scurrying
about the house,

readying for
tomorrow's appointment

and preparing for
a masquerade,

an auction, speaking about--

Just so we're clear,

the remains that you--

AIMEE: Yeah, fucked up.

LIAM:-- received, yeah.
AIMEE: Yeah.

LIAM: Intimating that their,

that Aroha has
more of this body.

Okay.

From there,

I think we will shift
over to you, Malcolm.

I believe you wanted to
make your way to the Red Lamp.

Out into the Red Lamp
where you are currently,

heading to the
Glass Cat Casino?

IMARI: Yes. Yep.

Malcolm, in his spare time,

he is sort of like
a hero for hire.

Does odds and ends
within the Red Lamp

for those who
aren't so well to do

or can afford the protection
of other security forces

who might be there, those
who might not have the means.

Malcolm on his spare time
does side hustles.

He works as a bouncer,
different clubs.

But his prominent location
that he's the security

is over at the Glass Cat

ran by Miss Cordelia Clask.

Glask, sorry.

Cordelia took him in,
gave him a room.

So he likes to heal up
there between missions

and so he's going back there

to get a little bit of rest,
a little bit of attention

because it's sort of
a house of fun.

He's going to make his presence
known around the Red Lamp

and let people know
that he's back.

LIAM: As you walk through the
streets on the way there,

you can't help but smile

at the busy city streets,

alive with people going
about their days.

After the Dandridge
and Serenity

and the day spent sequestered
in the Fourth Pharos,

the bustle of Newfaire
is deeply welcome.

It's pretty early
as you head over.

So all the lights
and the delights,

that Red Lamp
turns on at night

have yet to make their appearance,
but busy all the same.

You pass
the usual storefronts,

shops you see on the regular,

the same buskers out on
their corners making music.

You cross that one street

where you took a shot
in the eye last year,

breaking up a fight
that ended up in a bar

with the two guys sharing beers
and helping them bury the axe.

AIMEE: (laughs)

LIAM: You spot a few kids
chattering and laughing

coming your way up the block.

You know these kids
very well.

You see them all the time.

They call out and
wave at your approach.

One kid throws up a hand
for you as they pass by.

You know the people at
Red Lamp and they know you.

Halfway down the next block,

you spot a disheveled older
man you see from time to time

sitting on the sidewalk, a
tin cup held out to passersby

and a faded old Halen military
bag opened beside him.

You're pretty sure your family's
company makes those bags.

You watch him for a while

and all the people
who walk past him

without so much as a glance,

like they can't see him,
or won't.

IMARI: We'll go over there and
put my regular $1 in his cup

that I give him on the daily,

but this time it's
a little bit more

because I've missed
a few days.

He uses that to get food,
although he won't tell me

because he's a proud army vet

and he won't let me know exactly
how dire his situation is.

He always holds up
a steady chin

and a valiant gaze
whenever I talk to him.

LIAM: "Mother bless you."

IMARI: Of course. You get
something to eat today?

LIAM: "Yesterday."

IMARI: Yeah. Enough?

You want me to go
get you some food?

How are you feeling
right now?

LIAM: "Oh, that's plenty,
what you gave."

IMARI: Yeah? Okay.

All right. All right.

Well, I want you to make sure

that you get yourself
fed today, all right?

LIAM: "Haven't seen
you in a while."

IMARI: Yeah.
You know how I am.

Here today,
gone for a couple.

LIAM: "Yeah. Yeah."

IMARI: Anything happen
when I was gone?

Anything I should
be aware of, or--?

LIAM: "No.

"Same old, same old."
IMARI: Mm.

LIAM: "Kids getting up
to trouble as kids do."

IMARI: (laughs) Especially those
two little pesky ones running about.

LIAM: "Not when
you're around."

You pass on and pause
outside of The Glass Cat,

looking at the red-hued lamps

ready to be lit
for the night soon.

With everything that happened
out at sea and on the island,

where's Malcolm at?

IMARI: Right now, Malcolm
is healing and I've seen,

with Candela, I've seen
the oddities before

and so I know that our
missions can get out of hand,

but this one obviously took
a toll on me physically.

Mentally, I'm still wondering
what blew in my face,

but I'm trying to not
be consumed with that.

Mostly thinking about Decklan
and about how he's doing

and trying to really
come to reality

with what transpired

and how close I came to
losing my life, basically.

LIAM: You have a tickle
in your nose

and you sort of sniff twice

and can't help but wonder

if you just had
a tickle in your nose

or is it something more?

You don't know, but stepping
into The Glass Cat,

all the house lights are dim.

It's not open for
business really yet.

You find Miss Glask
here, Cordelia Glask,

owner, proprietor, queen,

standing at the bar and she's
actually counting out bills

and sees you coming in.

"Oh."

IMARI: Got a little bit of
that pile for me, Cordelia?

IMARI and LIAM: (laugh)

LIAM: "You'll have to put
in a few hours first.

"We've missed you a few nights.
Is everything all right?"

IMARI: Oh, peachy, peachy.

You know how it is.

Little--

Life took me in another
direction for a few days,

but now I'm back, healing.

LIAM: "Healing?"
IMARI: Yeah.

Well, you know, I've got a
little bruise, shall we say,

but I'm feeling fine now,
especially being back in here.

How's everything
going with business?

LIAM: "Just getting bigger
and bigger every month."

IMARI: I could see by that
stack of cash you have there,

aren't you?

(laughs)
LIAM: "We do all right.

"Are you sure you're
good for tonight?

"We can always call
Dutch or Grace."

IMARI: Nah, nah, I think
tonight will do me good.

You know, it's nothing
like getting back to it

in order to get your mind
off of things.

LIAM: "Okay. Well, you
don't have to bottle it up.

"We're always here and if
anything is ever bothering you,

"you don't have to
soldier through it all."

IMARI: I know.

I appreciate you, Cordelia.

Nah, I just need time

to get back into the old
swing of things, so to speak,

and being within your
presence, my queen,

is doing me a good amount of
good, fair amount of good.

LIAM: "It's good
to have you back."

IMARI: It's good to be back.

LIAM: "Well, as you can see,
I have a bit of accounting to do.

"So why don't you go
see Shirley?

"She's not busy at
the moment."

IMARI: Oh, Shirley here. Hmm?

I think I will.

LIAM: "Very good."

She goes back to her work.

With that, I'm going to
shift over to you, Edgar.

We find you now after
you have returned

to the Grand Halen Hospital
over in Silverslip.

There's a bit of an awkward
return to work for you.

Feathers were definitely
ruffled by your absence,

but you took the blowback with
your usual quiet dignity.

You slide right back into
your work at the hospital

on your same schedule,

putting one foot in front
of the other like always.

Your first day back,

we find you in the operating
theater surrounded by eyes,

despite everything that's
happened in the last week.

Your first patient,

a worker for the Halen
West Railroad Company.

A horrific accident

over by the foundry
station in the Steel,

railroad spike blown through
the roof of the mouth

and out the top of the skull.

The body is rolled in

and placed before you.

You shave the scalp
around the spike's exit,

clear out
the coagulated blood

and small fragments of bone,

slide a finger in, probing
for foreign bodies,

and then replace the sections
of skull that were detached

and use adhesive straps

to hold all of your
delicate work together.

All the while,

you look down on this man
and his ruinous injury,

you can't help but see

Decklan Murphy's face,

his mother's, his sisters',

and ultimately, your sister

staring back at you
from the past,

always with you,

all these 18 years since
that day in Regent Park

when you watched
Elizabeth blow away

like so much
dust on the wind.

Do me a favor and
roll for Control.

ALEXANDER: Five.

LIAM: You stand above your
patient in a fugue state,

barely hearing
your colleague's voice.

"Patient is stable.

"Excellent work,
Dr. Lycoris."

ALEXANDER: Good.

LIAM: Moments later at
the washing station,

you scrub your hands, staring
at yourself in the mirror,

feeling some of that
residual ache in your jaw

from the run-in
with the Murphys.

Tell me, what is running
through your mind?

ALEXANDER: I'm
having a hard time

equating the thing that
I've spent my life doing

outside of Candela

with what I just recently
did while working for them.

I seem to not match.

I've...

spent my whole life
helping people

that I could fix.

I can fix problems when
they are presented to me.

When I was not in
my normal place,

when I was out of where
I was comfortable,

the minute something
went wrong,

I killed someone.

(tearily) I'm not
supposed to do that.

I'm supposed to--

(steadily) I'm supposed
to fix and save people.

I'm supposed to
fix what's wrong.

I instead flipped my
knowledge on its head

and used it to
end a woman's life

who may have just been sick,

may have just been confused.

LIAM: Self-defense
to be sure, but--

ALEXANDER: (short laugh)
It doesn't matter.

LIAM: It doesn't matter.

ALEXANDER: I watched

this poor old woman's
head explode

and I just sat there

while all of my companions

jumped into action and I sat

and I looked at her and
I didn't know what to do.

I did nothing until my
immediate life was in danger,

and I spent the entire two
hours we were on that island

telling everybody it
was going to be fine

and they were
just normal people,

and I was
spectacularly wrong.

That is what I am thinking

while I wash my hands
in a hospital.

LIAM: "Doctor,
are you all right?"

ALEXANDER: Yeah, I'm fine.

I have been having trouble
sleeping, you know?

I'm just tired.

LIAM: Look down at your
hands, which are red and raw

in the near-scalding water
pouring out of the faucet.

ALEXANDER: I'm fine.

LIAM: With that, we will turn
our eyes over to you, Leo,

alone for a time
in your flat,

comfortably so,
thankfully so.

What do you want to do
with your time alone?

TALIESIN: Well, first
thing I'm going to do

is set up the dining table

since I clearly haven't
had time to do that.

Push away the couches,

push the table back
where it should be.

Bring it out, set it up.

I put a very nice
tablecloth on it.

I set it up for
two, wine glasses,

everything somebody needs, candelabras.

I'm going to go cook.

I sit down, see what's
in the cabinets.

I see what I have saved.

Cook a chicken,
some potatoes, asparagus.

It's a nice,

a small strawberry
custard pie for dessert,

a little bit of
cold pasta on the side.

It's just beautiful plates.

I make these two plates

and I put them down
at the table.

I've put on a record.

It's the music maker that's
close enough to the kitchen.

I have a little pile of them

and they sort of move and
flip from one to the next.

I'm almost at the bottom
of this particular pile.

I set the whole thing
up, dish out everything,

and I sit at one end and
I listen to the record

and the record ends.

Then I'm going to sit up
and flip the record over

and I'm going to
pick at my food

while the second side
of the record plays.

Then I'm going to
take a second

and walk over to the mail slot
in the front door,

pick up everything
that's collected,

go through one day, two days',
three days' worth of mail,

three days' worth of mail.

Three days. Three days.

I'm going to put three days'
worth of mail in the dresser

and I'm going to take,

I have a wonderful little
calendar that's made of brass

and you give it
a little click

and it goes one day at
a time and moves forward.

And I'm

going to take a second
to remember what day it is

and

I just raise my glass to
the empty plate of food

that's getting cold.

LIAM: As you stand there
in your reverie,

you notice out one of
the windows in this room,

the barest bit of
glow from downstairs.

You can tell,

you're reminded that
The Endless Well

is open right now.

TALIESIN: I put my glass,

(sighs) put my glass down.

I go stand next to the
window and I look down.

The record ends

and I count
to 10 in my head.

Then I quickly move
to the front door

and I head my way straight
down to The Endless Well.

LIAM: Oh.

You approach the door of this
coffee shop, The Endless Well,

which has a well-lit sign

with the name of
the establishment.

There's also a simple
painting of a well

that all of you in the
circle are familiar with,

most people in Newfaire are.

It is a well that has survived
from the ancient times

that is in Groundswell that
supplies water to that area.

Push the door open.

It's not too busy.

There's maybe six or seven
customers in here right now.

It's a dark wood interior.
It's very charming.

Simple carvings of Oldfaire

and architecture in
the panels of the wall

with lapping waves
accenting the paneling.

Charley, the woman
who runs the place,

spots you as you come in.

"Leo!"

TALIESIN: Charley!
Oh, I'm so sorry.

I've missed the last couple days.
LIAM: "It's been a bit!"

TALIESIN: I know.

I would say they've
brought me out for work,

but of course,
that's ridiculous.

My work can be anywhere
when your work is nothing.

AIMEE: (laughs)

LIAM: "How's that life
of mystery treating you?"

TALIESIN: The life of mystery
has been mysterious,

a little wrought with danger,

a little bit of fun,
a little bit of fun.

LIAM: (laughs)

TALIESIN: Do you
have anything,

I'm looking for something--

Let's start with
something complicated,

anything that you think
would be interesting,

and then something
I can take upstairs

and maybe mix with something
that young pleasants

brought over to my apartment
a couple days ago.

LIAM: "Can I surprise you?"

TALIESIN: Oh, please.

LIAM: She begins to move
about behind the counter,

adding syrups and
different shots of liquids

that she has in
bottles back there.

"So you found somebody--"

TALIESIN: Well--
LIAM: "-- over the week, eh?"

TALIESIN: Somebody.

I found something, at the
very least, over the weekend.

AIMEE and LIAM: (laugh)
TALIESIN: It was very, very,

it was short, brief,
exciting, deeply anonymous.

(laughter)

TALIESIN: You know,
(excited stammering)

I will give you a hint,
at the very least.

You know how they
say that a sailor

has a lover in every port?

Well, a lover in every port
has a sailor on every ship.

LIAM: "Ah. (laughs)"

TALIESIN: Somebody wins
in that equation.

LIAM: "Love must be in
the air. I met a girl."

TALIESIN: Oh!

In here? Somewhere else?

I assume you leave
here on occasion.

LIAM: "I do. No, it was
over in the Varnish.

"We went out on two dates this
week. She's really great.

"I kind of feel like

"I could spend the rest
of my life with her."

(laughter)

LIAM: "I'm being silly, but."
TALIESIN: No, no.

LIAM: She stops, and
bottle in hand,

stares out the window.

She's been smiling
this whole time,

but then she drops it.

"Yeah, it's just been real
tough since '04, you know?"

TALIESIN: Yes.

LIAM: "I know the war ended,

"but it hasn't
always felt that way.

"But maybe it doesn't
have to be like that.

"Maybe things can be better.

"Maybe I am in love."

TALIESIN: Not to be cheap,
but love is special.

Love is wonderful.

Love is always different.

It's honestly a dull word,

we use it for far
too many things.

I wish I could love someone,
love my friends,

love a cheesecake all
in different ways.

But unfortunately,
we've been given one word

for all of this.

Enjoy it.

It will always be different,

but it's the first and
easiest thing to begin,

and it makes the sound

of whatever happened
to you before

quiet just a bit for
a little while.

LIAM: She knocks twice
on the wooden counter.

TALIESIN: Mm.

LIAM: Finishes making
your drink.

You hear the bell ring,
jingle on the door behind you

and you see Felix,

Felix the music shop owner
from a couple blocks away,

stumble in,
comes up behind you.

(Felix) "(laughing) Well.
Hello, stranger."

TALIESIN: Hello.

I know I missed
our appointment.

I know I have probably a
pile of things to purchase.

LIAM: "Look at this guy.
Where's he been?"

(Charley) "I don't know.
He won't tell me.

"Just on a ship, I think."

TALIESIN: A bit of a, I would
say a cruise, but actually,

if you've ever been on
a cruise, it was a cruise.

It was awful.

LIAM: "Oh."
TALIESIN: As they are.

LIAM: "Well, I'm getting
conflicting information

"because he just told me
he had a lot of fun."

(Felix) "What kind of fun?"

TALIESIN: Well, that fun,

I had that kind of fun,

but that was really
only a small section

of the whole event.

Honestly, the most eventful
and most interesting,

but these things
can be very dull.

The company was
a bit dull, but--

(quiet laughter)

LIAM: (Felix)
"What's the news?

"Got any scuttlebutt?"

TALIESIN: Mm.

Nothing particularly
interesting at the moment,

but I don't know.

It's been odd.

My friends outside
of this place

are a little disjointed
right now.

I suppose it's going around.

How have you been,
out of curiosity?

LIAM: "Fine. I'm fine.

"Hanging in.

"Shop's doing all right,
I suppose."

TALIESIN: Oh, it'll be
doing a bit better.

I'm pretty sure I have a
pile collecting right now.

I do apologize.

I was not expecting to be
away for quite this long.

LIAM: "No, don't
worry about it.

"Maybe we can get ourselves
into that masquerade

"happening in the Varnish
later this week

"and knock back a few."

TALIESIN: I had
completely forgotten.

If you're interested,

do you want to be my plus
one or should I be yours?

LIAM: "(laughs) I don't
have tickets.

"It's a little higher than my
normal rung on the ladder."

TALIESIN: Interesting, interesting.

Who owes me a favor?

Do you know who's throwing
this little shindig?

LIAM: "Well, it's being
had at the Hayden House

"in the Varnish."
TALIESIN: Mm.

Interesting.

LIAM: "It's some sort
of an auction,

"if I understand right.

"Someone told me about it
in the shop yesterday."

TALIESIN: Hmm.
LIAM: "Then I heard somebody

"on the trolley, too,

"talking about
the same thing.

"But, you know,
talk of the town."

TALIESIN: Auction.

LIAM: "So you're the one with
the connections, not me."

TALIESIN: Vintage,
like antique auction,

that sort of thing?

LIAM: "I don't know.

"I know vinyl."

TALIESIN: Well, I will start

with the most
interesting person

and slowly make my way up
to see what's available.

If it does happen, let's see.

Charley, god forbid if
I get tickets to this,

can you help me
dress this man?

LIAM: "Dress me?
This isn't good enough."

(Charley) "Well, I mean,
it's okay for here."

TALIESIN: No, it's not good
enough. Absolutely not.

If I'm your plus one, you have
to look better than I do,

and if you're my plus one,

you have to better
look than you do.

It's just inevitable.

LIAM: (Felix) "I leave
myself in your hands."

TALIESIN: I am always excited

to bring out the best in
someone, clothing-wise.

LIAM: "(good natured grumble)"
(laughter)

LIAM: Let us put
a pin there--

TALIESIN: Mm.

LIAM:-- and return
to you, Grimoria.

So you sent off a messenger.

You have made it
known to Mrs. Fogg?

AIMEE: That I sent
a messenger?

LIAM: No, no, no. I'm sorry.

Remind me, because I might've
been juggling in my head.

You mean to proposition
Mrs. Fogg,

say that you
could be of help?

AIMEE: No. So, yes.
LIAM: Did I misunderstand?

AIMEE: Well, quickly, I sent
a letter to Leo in code,

letting him know that
we needed to meet.

LIAM: Yes.

AIMEE: Our whole team.
LIAM: Right.

AIMEE: Because
something was afoot.

And then I feel like

either through our
appointment, the next day,

I can sort of, I don't know.

I'm trying to find a way to
pitch the Foggs to get me in.

LIAM: To get you in.
AIMEE: And I think

I might be able to do that

through tomorrow's
performance.

LIAM: Right.

Well, maybe let's workshop
it with the circle.

AIMEE: Okay.
LIAM: Let us--

That letter would've arrived

by the time you'd
had your coffee

and talked within
The Endless Well,

so I'd say you'd find that
letter pinned to your door,

actually, upon arrival.

So now you have
this information.

I think we don't need to get
bogged down in the details.

Let's say that the
very next morning

is the soonest that all
of you have gotten word,

first from Grimoria
to you, Leo,

and then word finally
reached you the morning

after your fun and J-O-B,

and you after I'm sure
a very restful night of sleep.

AIMEE: (smirks)

LIAM: By about 11:00 or so the
next day, you sneak out--

AIMEE: Yep.
LIAM:-- of the house

in the Eaves.

We find you now gathered,

your dinner from the night
before cleared away,

sitting in the reflected
light of this Crimson Mirror.

AIMEE: I'm so sorry.
Forgive me.

I don't have a lot of time.

I have to make it back
for an appointment,

but I thought it was
important we meet.

I overheard a conversation
between my employers

about an auction
or a masquerade,

it's unclear, where they
are going to be either,

I don't know, auctioning
off something of high value.

I want to say that
it's related somehow

to Atia's bones

that we delivered
to the Red Hand,

or maybe not to the Red Hand.

Who did we deliver that to?

LIAM: You delivered
to the Red Hand.

AIMEE: We delivered
it to the Red Hand.

IMARI: There possibly could
be more of that out there.

AIMEE: Yes, and I don't
know if it's half.

He said something about
someone selling

half of the bones

for a really cheap price,
or something like that.

So I just have a feeling.
LIAM: For clarity.

AIMEE: Yes.
TALIESIN: Mm.

LIAM: You heard him say that
a man named Aroha Tama-Kai--

AIMEE: Yes.
TALIESIN: Tama-Kai.

LIAM:-- sold half
of an ancient

historical figure's remains

to one party--

AIMEE: Yeah.
LIAM:-- and kept the other

and is now trying to
sell the remains

of what Candela believed they
were in full possession of.

AIMEE: Right.
So she relays that.

(laughs)
LIAM: Yeah.

AIMEE: I think that we
have to somehow make it

into this masquerade.
Mr. Amicus,

I think if anyone can,
it could be you.

I have a plan to persuade
my employers to let me come.

TALIESIN: Well,
let's take a second

before we busy ourselves
with the frogs.

What was the name of
the person throwing it?

I didn't write it down.
I was flirting.

LIAM: Aroha.
TALIESIN: Aroha.

LIAM: Tama-Kai.

TALIESIN: Oh, that
was the name

I heard as well when--

LIAM: No, no.
TALIESIN: Thank you, no.

LIAM: You didn't get a name.
AIMEE: Right.

TALIESIN: Okay. I thought
there was a--

ALEXANDER: Was it a location,
I believe.

TALIESIN: Oh, it was a location.
LIAM: The Hayden House.

AIMEE: Hayden House
TALIESIN: Hayden House.

AIMEE: Yes, because in our
first chapter of this--

LIAM: Yes.

AIMEE: You mentioned
Aroha Tama-Kai.

LIAM: Yes, I briefly
mentioned

a high-level contact

within the Red Hand.

AIMEE: Yeah.
LIAM: Which you all know,

being part of
Candela Obscura--

We're in our
Mind Palace, no worries.

A high-level member of the
Red Hand who are traffickers

in ancient relics, artifacts,
curios, expensive art,

and occasionally
dangerous things.

Candela learned of the
Red Hand's possession,

contact was made, and the
Red Hand agreed to sell.

AIMEE: Mm-hmm.
LIAM: Candela often goes,

sends people off to find
things, secure them.

This time they weighed
the pros and cons

and decided that forking
over a mountain of cash--

AIMEE: Yeah.
LIAM:-- was worth it

because of the significance
and danger of these remains.

AIMEE: Right. So I'm afraid
we've come into possession

of only half of the remains.

IMARI: Oh.
TALIESIN: That is unfortunate.

Would I know Haven house?

Would I know of it, also

would I assume it was in Haven Hills?
LIAM: You have heard of it.

No, it's actually in
the Varnish.

TALIESIN: Okay.
LIAM: Am I remembering

that correctly? Yes.
AIMEE: Yeah.

LIAM: It's in the Varnish.
It is in the eastern portion

of the Varnish.

You've actually been
there once or twice

because it is a very
expensive, opulent home,

a large home in the Varnish

that is used for
galas and events.

You've never known that it was
in any way tied to this man,

Aroha, or the Red Hand.

But it's hard to know who
owns what in this city.

TALIESIN: That's fair.

LIAM: There's a lot of
grease and grift.

TALIESIN: Well, it's funny that
you should mention all this.

I was already trying to
get tickets to this event.

AIMEE: Oh.

TALIESIN: So that is
quite a coincidence.

I heard about it last night.

AIMEE: Oh.

I don't know the
rest of the plan,

but I think that we
should try to somehow,

I don't know,
disrupt this auction

and make sure that
those remains are safe.

IMARI: Disrupt it indeed.

ALEXANDER: I think
the best course

is to just let Candela know

and they can decide.

It's not necessarily our job

to go getting something we
weren't asked to get, is it?

IMARI: Well, we should
definitely get

this information to Zora.

Have you contacted her yet?

AIMEE: I haven't, no.
I should've.

LIAM: The way that you
customarily do that

is in this room.

There is a small little side
table next to the door

to Leo's bedroom with
a silver tray on it,

and notes are left there and
they just seem to disappear

and sometimes notes
just appear there.

TALIESIN: Edgar,
if you wouldn't mind,

for some bizarre reason,

you seem to have the best
handwriting in the group

despite the clear stereotype,
if you wouldn't mind.

ALEXANDER: Sure.

TALIESIN: Pen's
on the vanity.

ALEXANDER: Yes, yes, yes.

I'll write a note conveying
all the information

that we've heard,

adding that may
or may not be true,

and then send it off.

TALIESIN: Still, since
I was already going

and you were
already plotting,

it wouldn't be
out of the ordinary

to do some reconnaissance,

not get involved, necessarily.

Just to take a look around.

ALEXANDER: There's nothing
to starting the process

of trying to find tickets.

I just don't think
we should necessarily mean

to disrupt an entire gala.

IMARI: Edgar, are you worried
about wearing a mask to a gala?

Not your style?

ALEXANDER: I don't need
to worry about that.

TALIESIN: I'm worried
about jumping

two feet forward
into something again.

I think I've had quite
enough of that for a while.

AIMEE: Well, I guess I just--

I don't know.

My eagerness was only
meant to prevent anything

like what happened on
the ship to happen again.

IMARI: This is
valuable information.

If there's any kind of,

any inkling that these bones
might be out there

and what we went
through on that ship

could be here in Newfaire,

we definitely need
to investigate this

and we need a report
what we find back to Candela.

ALEXANDER: I didn't mean to
imply that your impulse was wrong.

I just--

AIMEE: Oh, no, that's okay.

ALEXANDER: Just want
to exercise caution

so that we don't all
get beaten up again.

AIMEE: Yes, you're right.

You're very wise.

LIAM: Edgar, you look past
Grimoria's shoulder

and notice that the note
you left in the tray

has already vanished
from the tray.

TALIESIN: Well.

IMARI: I guess we sit
and wait, huh?

TALIESIN: Well, I'm certainly
not going to sit and wait.

I have people to talk to

to see if I can
make this happen.

I have my ways of
procuring some tickets.

I assume you have your ways
of procuring some tickets.

IMARI: Oh, of course.
TALIESIN: Although, obviously,

you can't mention my name

and I certainly can't be
any plus one of yours.

That would go very poorly.

IMARI: Well, I don't think
I can be a plus one

under my family name
either, but you know,

we'll figure it out.

TALIESIN: That's very fair.
IMARI: (laughs)

TALIESIN: Doctor, do you have
any notions of anybody

who owes you a favor
in this direction?

ALEXANDER: I don't
go to parties,

if that wasn't clear already.

TALIESIN: Oh no,
it's very clear.

I would hate to imply
that it isn't.

It's just that there's
nothing more enticing,

especially to someone
who has enough money

to be consistently bored,

than a person who refuses
to ever speak to them

suddenly having a
moment of weakness.

ALEXANDER: I'll do my best
to find a ticket.

TALIESIN: I'll do my best to
make sure you don't have to.

As quickly as possible.

IMARI: I think you should make
him squirm a little bit

and ask someone a favor,
but that's just me.

AIMEE: I think I
have to leave now.

I have to make
my appointment,

but thank you for meeting
at such short notice.

TALIESIN: Always.
IMARI: How are you doing back with

the family, Grimoria?

AIMEE: Oh, terrible, but
I think it'll be better.

IMARI: Are they too hard on
you for missing those days?

AIMEE: Not too much.

IMARI: Let me know
if I need to--

AIMEE: (laughs)
Yes, thank you.

TALIESIN: Let me show
you out really quickly.

AIMEE: Okay.

TALIESIN: Once we're out of
earshot of the other two.

My dear, I know, and you
have a very good idea

to go through your employers
to find a way into this,

and I think the way that
you're looking to go in

is very clever.

If I can find something
first, I'd let you know.

The least that we can
involve those dreadful,

dreadful people would
be best for all of us,

and definitely you as well.

AIMEE: I agree.

But will they see me there
and question why I'm there?

I mean, can a mask
really do so much?

TALIESIN: I'm honestly a bit
irritated that they even

could get into
something like this.

They're so awful and dull.

AIMEE: This is their
line of work.

TALIESIN: Well, you are sadly
the most interesting thing

they have to talk about,
so you are always

the thing they
will put forward.

AIMEE: (laughs)
TALIESIN: Dreadful

fucking people.

AIMEE: Thank you.

She gives him a kiss
on the cheek.

TALIESIN: Do what you can,
don't take them too seriously,

and just be careful,
be careful, be careful.

AIMEE: I will.
TALIESIN: Call if anything

happens, send a note.

AIMEE: Yes, I will.

TALIESIN: Oof, all right.

Let's get to work.

IMARI: I think what I'm going
to do, I'm back in the room.

LIAM: Mm-hmm.

IMARI: What I think the best
course that I should take

is utilizing maybe,
to take another cover

than as someone who's
invited to the party,

maybe I should be
a worker at the party.

I have some connections

with those who might
be catering the event.

I might be able to slip in.

Maybe I hear something

from behind the curtain
so to speak,

that might be
beneficial to us.

Or maybe some whispers
in the background

that I might be
able to pick up--

LIAM: Okay.
IMARI:-- and report back to you.

I'm going to see if I
can investigate that.

TALIESIN: It might have
been long enough now that,

you know, especially
with the mask,

no one will remember
your face too terribly.

There's a wonderful line
where they even stop

remembering what
you look like.

It's very helpful.

IMARI: (laughs)

TALIESIN: That takes
care of that.

Doctor, if you
think of anyone.

If not, I will try
and think of somebody.

ALEXANDER: I feel
like there's a--

Well, I'll do my best.

TALIESIN: Excellent.

And yes, I will let you know.

Yes, we will discuss options,

hopefully soon.

ALEXANDER: Okay.

TALIESIN: Very good,
very good.

LIAM: Well, which one
of these threads

would we like to pull first?

AIMEE: Well, we can jump right
into Grimoria's performance

if we'd like.
LIAM: Sure.

IMARI: (laughs)

LIAM: So you scuttle
out of Leo's apartment,

quick as you can,
trying to get back home.

Again, it takes
at least 30 minutes

to get there from here.

Hopefully before
you're missed.

And you do, you use the rear
entrance that deliveries,

food, and other
things are made

and hear them in
discussion in his study

and glide into the house.

AIMEE: To the show room?
LIAM: Mm-hmm.

LIAM: Now, it's still
about an hour before

the man in question is
here to have his viewing

and be pitched to
this "ancient" brass,

excuse me, bronze dagger

from, it's probably
two weeks old.

What do you do to prepare?

AIMEE: Well, I think
maybe I do a little bit

of a dress rehearsal
for the Foggs.

I think it's, you know,
she's made up,

she's got this beautiful robe

and a lot of rouge
trying to look,

I guess as medium-istic
as possible

considering that she
is an 18-year-old girl.

IMARI: (laughs)

AIMEE: So they've got the,

he set the dagger
in front of her and

I think she starts
the performance.

It's very different
than how people

perceive Grimoria.

I think she slips right into

a sort of accent

which is maybe
mysterious to some.

To us, it's a version
of something

(fortuneteller-esque) that
sounds like this, you know?

She starts the
performance with the dagger

and she says:

Betrayal.

Traición.

This dagger.

Very powerful dagger.

It was used in the
ultimate act of betrayal

to stab

a high priest.

She is thinking

of the man she
channeled on the boat.

She's got a party trick

where you bite into something

and it could be cyanide,
but instead it's blood.

She chokes up-- (gags)
LIAM: She's got a little squib?

AIMEE: (gags)

ALEXANDER: It could be
cyanide, you don't know.

LIAM: (laughs)
AIMEE: I mean, it could be.

He served ancient
gods and died for it

in an act of betrayal.

Or maybe it was
a sort of revenge.

Mr. Fogg, give me that vial

you showed me yesterday.

The ancient vial.

She winks.

LIAM: This is during
a performance,

or, a rehearsal?
AIMEE: This is the dress rehearsal.

LIAM: The dress rehearsal.
AIMEE: (whispering) Mr. Fogg,

give me the vial.

LIAM: "What the fuck
are you talking about?"

AIMEE: The other vial you
showed me the other day.

LIAM: "The vial?"

AIMEE: Yes.
LIAM: "Oh.

"Shit, I'm sorry. Hold on."

ALEXANDER: (laughs)
LIAM: He leaves the room for a second.

You hear drawers
opening and closing

and something knocks over.

AIMEE: She looks
at Mrs. Fogg.

Hopefully this
will be worked out

before the gentleman comes.

LIAM: (Cynthia) "Well,
once we have the lights down--

AIMEE: Yes, I understand.
LIAM: "-- and I go down

"and work the pull that makes

"the table do the thing."

AIMEE: Yes, this tastes
very bad so the sooner

we can do it the better.
LIAM: "I got it, I got it.

"(grumbles) What
are we doing?"

AIMEE: Oh, thank you.

You see,

these two artifacts
go together.

This vial--

(sniffing)

Ugh!

Contained a poison.

Yes, an act of betrayal.

They must not be separated.

They must come as a
package, you understand?

I am sensing an
ancient high priest

was killed

because he poisoned
someone named--

Oh I,

I can't get her name.

A very,

very powerful alchemist.

How was that?

LIAM: "(laughs)

"You know, even when she's
full of shit, she's brilliant!"

AIMEE: Well, I think if
we could sell two,

you know, at once.
LIAM: "Yeah! A two-fer."

AIMEE: A two-fer.

You know, and it's ancient.

So, I don't know,

I feel pretty
good about that.

I was thinking--

LIAM: "I'm still
a little ticked off."

AIMEE: I know.
LIAM: "I've got to be honest."

AIMEE: I understand, and as
a way to make up for it,

I sort of overheard
that you might

have had some
plans pretty soon.

An auction of sorts?

What if you bought
some of your artifacts

and I could sell them
for you at this auction?

LIAM: "Were you talking
about the thing?"

(Cynthia) "I don't
think so."

AIMEE: Maybe I heard one
of the servants talk about

you being gone or procuring

some sort of
masks or something.

I just guessed.

I just wanted to make
myself available to you.

We can move some product.

LIAM: Mrs. Fogg looks
stricken and says,

"I'm going to kill that maid.

"She's out. Get another one."
AIMEE: Oh, it's not her fault.

I just want to be of service

and I feel so terribly about
not being back in time.

LIAM: (Oliver) "I don't know.

"It's a little irregular.

"This is not a
party for everyone.

"You understand. I mean--"
AIMEE: I understand.

LIAM: "We love you."

AIMEE: Yes, well
I can work on it.

I mean, I think
I just sold, hopefully,

two for one.

LIAM: "The proof's in
the pudding, kiddo."

AIMEE: Yeah.
LIAM: "Proof's in the pudding."

There is a ring at the bell

and Mrs. Fogg gets it.

(Cynthia) "Oh, Gerald,
come in.

"We have been
waiting for you!"

She ushers in a very,
a rotund man

in a jacket with tails

and a pocket watch

hanging off to the side.

He has got a walrus
type mustache.

AIMEE: Hmm.
LIAM: (Gerald) "I--

"I am very excited
about this.

"I've heard a lot about you."

AIMEE: Welcome.
LIAM: "Grimoire, is it?"

AIMEE: Grimoria.
LIAM: "Oh!

"Oh, she's lovely.

"Do I sit here?"

AIMEE: Yes.

LIAM: "Excellent,
excellent. Okay."

AIMEE: Before we start.

LIAM: "I have to get back to
the bank in like 20 minutes.

"Is this quick?"

AIMEE: Very quick.

I'm getting-- Is there--

Where is your mother?

LIAM: "Uh, well.

"She was in the Silverslip."

AIMEE: Yes.

She wants you to know
she is here with you, too.

LIAM: Mrs. Fogg has dimmed
the lamps in this room

and quietly closed
the curtains around you

and now it is
very dark in here.

AIMEE: We start with:
Betrayal.

ALEXANDER: (laughs)
IMARI: (laughs)

AIMEE: She does
the performance.

LIAM: Absolutely, absolutely.

AIMEE: (laughs)
IMARI: (laughs)

LIAM: About halfway through,

as you go into
your performance,

to your very
skillful bullshit,

Mrs. Fogg disappears
and goes down

into the, there's
a pantry down below

and a hole has been drilled
into the ceiling of that room

into the floor of this one.

You know, as you continue

and start to spit
blood on the table,

the table starts to
slowly rotate in the room

and the man is like, "(gasps)

"Oh!

"Oh my gosh.

"This is magick.

"I've always wanted
to see some magick!"

(laughter)

AIMEE: She makes sure
to cough a little more.

Maybe some spills
right in front of him,

right on the table
in front of him.

(coughs dramatically)

LIAM: "Whoa."

AIMEE: Wait, Mr. Fogg.

The vial.

LIAM: (Oliver) "Oh,
I've got it right here."

AIMEE: Yes.

These two go together.

Oh, you must not
separate them, Gerald.

You must not.

LIAM: (Gerald) "I--
I will never!

"I'll take them both!

"I'll take them both.

"Do you take checks?"

(Oliver) "Of course
we do, sir.

"Of course we do.

"Do you have
a hanky, Grimoria?

AIMEE: Of course.

She hands him a hanky--
LIAM: Hands it to him.

AIMEE:-- that she spritzed
with some perfume.

LIAM: (Gerald) "(coughs)"
IMARI: (laughs) Oh, nice touch.

AIMEE: Before.

LIAM: Shoves it
in his pocket,

and they head out of
the room into the study

and you can hear
them signing the deal

and a check being written.

Mrs. Fogg is left
in the room with you.

She's sort of judging you.

AIMEE: I'm cleaning
up the blood.

How was that?

LIAM: (Cynthia) "Okay,
okay, that's good.

"That's good.

"All right, I'm sure we
can work out a ticket,

"but you have to be glued
to us at this event."

AIMEE: Absolutely.
LIAM: "This is not

"a place to misstep.

"If you say the wrong thing,

"it's over for us--"
AIMEE: It's over.

LIAM: "-- in this crowd, okay?"
AIMEE: Yeah, yeah.

LIAM: "So just keep
your mouth shut

"until it's your
time to act."

AIMEE: Okay.
LIAM: "All right?"

AIMEE: Whatever you say.
LIAM: "We're bringing

"a couple of busts
to the event."

AIMEE: Fabulous.
LIAM: "Those are going to

"be auctioned off."

AIMEE: Okay.
I'll work on those.

Who knows?
One of them might be--

They're both going
to be great.

LIAM: "Party starts
at 7:00 and then

"the auction kicks
off at 8:00.

"Just, this,
you've got a little--

"Did you have
a spill or something?

"There's a ghost of a--"
AIMEE: Oh, yes.

Well, I thought maybe
we could work it in.

LIAM: "You want to go for a
smudgy look then, all right?"

AIMEE: Yes, yes, of course.

LIAM: "Okay. Okay, okay."

AIMEE: Thank you, Mrs. Fogg.

I won't disappoint.

LIAM: "Hm.

"Okay."

Then we shift over
to Leo Amicus.

TALIESIN: I am staring
at a small Rolodex.

LIAM: Mm-hmm.

TALIESIN: Deciding how much
I'm going to hurt myself.

LIAM: It is bristling
with many, many names.

AIMEE: (laughs)

TALIESIN: How important
is this?

Hm.

LIAM: Leo, as you're
looking at the Rolodex

for what feels like
five minutes

unsure of where
or how to proceed,

you notice an envelope,
a new one,

with a very
beautiful calligraphy,

letter Z in the
silver tray by the door.

TALIESIN: (sighs)

I get up,
I turn off the current thing

that's playing
on the wax cylinder

of my little
wax cylinder player.

Because I hate
listening while reading.

I open it up and
I quickly blaze over it.

LIAM: Okay.

(thinking noises)

It is a note from her
that says,

"Looked into it.

"Tama-Kai has played us.

"We need to meet tonight.
Possible?"

TALIESIN: Shit, that
solves everything.

I write a overly fancy "Yes"

on the same piece of paper.

(laughter)

TALIESIN: Thick enough
to bleed through the page.

LIAM: Mm-hmm.
TALIESIN: Fold it back,

put it on the silver tray,

turn around, stare at
myself in the mirror,

straighten myself.

The things I do for
you fucking people.

LIAM: (laughs)

TALIESIN: I think I'm going
to go try and corner,

get a nice little
corner table at--

Well, first I'm going to
write some quick notes.

Did this seem like
it was just for,

was it me or to the circle?

Did it seem to be the more--

LIAM: It was for the circle.

TALIESIN: Okay. That's
what I thought. All right.

I was trying to
remember the wordage.

I'm writing three
quick notes.

LIAM: Mm-hmm.

TALIESIN: One I take
a little longer with,

I take a little longer with
yours than the other two.

Write them down,
distribute them.

Well just, I have a service.

LIAM: Mm-hmm.

TALIESIN: This money, my god.

LIAM: You are still
ridiculously wealthy.

TALIESIN: If it's a problem
money can solve,

it's not a problem.

I have someone
come to pick it up,

make sure that the--

It is taken care of.
LIAM: They are whisked away.

TALIESIN: I'm going
to go find--

Dress a little more
inconspicuously

and I'm going to go find
a corner at a restaurant

that I know

Aunt Leanna frequents.

LIAM: Leanna is your angle.

TALIESIN: They cut down
the amount of time I had,

didn't they?

AIMEE: (laughs)
LIAM: Okay.

Was one of those messages
sent off for Leanna?

TALIESIN: No, it was
one of each of theirs.

LIAM: Each of them.
TALIESIN: I just know

this is a place
she likes to eat

and I'm giving myself
an out to reel into Walter

if I don't see her over lunch.
LIAM: Okay.

TALIESIN: I'm just letting
fate handle it.

LIAM: Okay, so you head off

and in under an hour,
you are walking in the door

of this restaurant and you do
a quick scan across the place.

Sure enough, in a back booth,

in the best seats
in the house,

you see Aunt Leanna
in her sixties.

She has a small dog
in a purse

next to her on the bench

and a wide flower, an orchid
coming out of the lapel

of her fancy jacket
and a wide brimmed hat.

She is on her own

drinking a midday cocktail.

She looks up and--

TALIESIN: I sit down quietly.

Just to get it out of the way,
you look fantastic.

LIAM: "Hmm."
AIMEE: (laughs)

TALIESIN: That's as much
small talk,

obviously, as we need.

LIAM: "Are you all right? Have
you burned through the money?

"Is there anything amiss?"

TALIESIN: Oh, the temptation
to burn through the money

is very powerful,

but no, I've actually been
relatively conservative with it,

especially considering
my taste.

LIAM: "Hmm."

TALIESIN: Ah, this is
not about money.

This is about a friend
who needs help.

LIAM: "Charity case."

TALIESIN: Well that, and
also I may actually--

I'm working.

I'm working on a man, putting
some feelers out there.

It's two birds
with one stone.

LIAM: "I sense
a long story coming.

"Have you spoken
with your father?"

TALIESIN: You've got to be
fucking kidding, right?

Has he spoken to me?

AIMEE: (laughs)

TALIESIN: You know
the answer to that.

No.

Honestly, I don't know
if I have the stomach

for it right now,
it's been a bit difficult.

LIAM: "You know,
at some point

"one of you is going to
have to bridge that gap

"and your crank of a father
is too stubborn for that.

"It is really going to
have to be you, Leo.

"I know it's a lot to ask."

TALIESIN: I'm not saying
I can't be bribed,

but what I'm asking for
is not enough for that.

He, I should point out,

could very easily
put the word--

He wouldn't even have
to put the nice word out.

He could send bloody
Arty down to talk to me

and that would be enough.

Even if it were just to argue

about the amount of
money I was spending.

LIAM: "All right, all right.
I thought maybe I could

"work out a miracle.
I have to try.

"I still care about
you both, Leo.

"It pains me, but fine."

TALIESIN: I do appreciate it, but--
LIAM: "Downstream it goes.

"So tell me, what is it

"that you need
from your Aunt Leanna?"

TALIESIN: There's
an auction happening.

Tomorrow, I believe.

LIAM: "You want to go to
the Hayden House?"

TALIESIN: I do. I would
love a plus two,

but I would take a plus--

I would love a plus two,

but I will take
a plus one, if I have to.

LIAM: "Plus two.

"So you need three
tickets total?

"You want to go to
the Gilded Garden

"tomorrow night for charity?"

TALIESIN: Most likely
I only need two,

but three would be--

It's for a good cause,
I swear.

LIAM: "Mm-hmm, mm-hmm."
TALIESIN: I really do.

LIAM: "All right,
I can do three.

"There will be strings
attached to that, though."

TALIESIN: I know.

LIAM: "I am championing

"the Hallowharbor Women's
Society right now.

"They're doing amazing things
for that district.

"You should come with me and
see what they're doing.

"It is really quite,
quite phenomenal

"what the people in that
stratosphere have to deal with

"and they're very brave,
these women.

"So if you would
care to make,

"you know, a contribution
in the ten-ish region,

"I can acquire you

"as many tickets as
you want within reason."

TALIESIN: I swear I will not
ask for five.

LIAM: "Make it 15
and it's done."

TALIESIN: For you?
Absolutely.

Why can't they all
be like you?

LIAM: "(sighs)

"Well, it's not
about winning,

"but if I get to be
your favorite aunt

"and pull in the biggest haul
for my charity of choice,

"I'll take that win."

TALIESIN: Ah yeah.
LIAM: "Give us a kiss."

AIMEE: (laughs)

TALIESIN: You don't know
what this means to me.

LIAM: "(sighs) You are
going to need--

"Do all of your pluses have
the formal attire required?

"Do they have--

"You're going to need
masks, all of you."

TALIESIN: Oh yes, I can shop.

It's one of the things
I'm best at.

LIAM: "Hm, it's amazing

"you have not burned
through all that money."

TALIESIN: I've been trying
to be frugal on occasion.

I don't eat out anymore,
except right now, really.

LIAM: "All right, well, I'll
run a young man past your place.

"What time is it?

"I can get it over by
the evening, I think.

"Your auction, if you're looking
to make a bid on anything,

"is at 7:00 tomorrow."

TALIESIN: At 7:00.

Auction.

That will do very well.

Haven, yes.

LIAM: "All right, now
have a drink with me

"and tell me about this man

"and then I'll be off.

"I'm having
my cheeks worked on."

(laughter)

TALIESIN: Oh yes,
it's about time, isn't it?

LIAM: "I'm going to give
them a good beating.

"Rub on some liniment oils."

TALIESIN: Well, Felix--

LIAM: "You can join
me if you want."

TALIESIN: Oh,
let me know when.

I may take you up on that.

It's been a bit busy
with my side projects,

which I will only talk
about when it's time.

LIAM: "Well, it's
here to there.

"So if you have to be
somewhere soon, I would--"

TALIESIN: Sadly, I do have a
quick meeting to take care of.

LIAM: She waves to the
waiter who comes over

and fills that drink and you
spend the next hour gossiping

with your aunt
about the family

that you spend
so little time with now.

We had a thread here,
I believe.

I would say that from
your time in the service,

you definitely knew
a mess hall cook

who in the years since

has ended up in
the catering business.

You can find him
in the Sidle.

He works part-time
in a bar down there

when he's between
gigs for catering.

So I think you would
follow that thread

and we'll make our way
into sort of

the middle class sprawl
of the Sidle.

As we get later on
in the night,

there are electric lights
warming up the neighborhood.

As we get darker around here,
you walk past an old bookshop

that reads The Antiquarian
in the window

and look in and can
see a man wheeling by,

pulling a book off the shelf

and a little dog trotting
out behind him, a puppy.

You walk on past.

At the end of the block
is this bar, Skiffs.

Sure enough, you walk in
and see your guy,

your friend Gail
working the bar.

IMARI: Gail?
LIAM: Mm-hmm.

IMARI: Hello, sir.
How are you?

LIAM: "As I live and breathe.
What do I owe the pleasure?"

IMARI: Well, you know,
little bit of mischief.

A little bit of, you know--

Little bit of inquiry,
if I may.

LIAM: "Oh, we're
talking business.

"All right, I'm all ears."

IMARI: Listen, I know you--

I know you have a catering
business going on right now

and I was happen to
wonder if you heard

about a certain event

that's going to be held
recently for the,

shall we say, upper crusts?

LIAM: "Well, that's going on

"almost every night
in this city.

"There is the Caribou Club."

IMARI: I'm looking for more of
a select group of individuals.

Maybe something that might
be a little more hush-hush.

Something--
LIAM: "You're talking about

"the Hayden House."

IMARI: I'm talking about
the Hayden House.

LIAM: "What kind of trouble
are you looking to get into?"

IMARI: No (scoffs).

AIMEE: (laughs)

IMARI: Nothing too big.

I just wanted to stick
my head around.

It's such a mystery,
that house.

You know, I want to

hear if there's
any whispers of--

You know how my
side business, I put,

keep my ear to the ground,
make sure that you know--

LIAM: "I do. That's why
I'm asking the question.

"I don't want anything
to lead back to me,

"and I'm not
working that one.

"I know a guy.

"I know a guy who is
part of that outfit."

IMARI: I guarantee that
if you help me with this,

nothing will get back to you,

and I will definitely
not use your name

in passing, in conversations.

What I'm trying to do is
simply gather information.

Nothing more.
Not trying to cause trouble.

You know that'd be bad
for my business, too.

Want to keep to the shadow.
Something innocuous.

A server job. Yeah.

LIAM: "Yeah. Yeah,
We can do that."

IMARI: Oh, because we're--

LIAM: "All right.

"Well, you were always
straight with me

"and I owe you a lot
more than that, so."

IMARI: I might be willing to
wet the whistle, so to speak.

"If you want me to have a
little conversation with my--

Back at the club,
maybe I might be able

to get you
a little extra time.

Just saying. I mean, I know.

I know you have a girlfriend--
LIAM: "I'm not going to say no."

IMARI: But I'm just saying.

You know the offer's there--
LIAM: "I'm not going to say no."

IMARI: The offer's there
if you want it, hush-hush.

LIAM: "I'm not going
to say no.

"So if you want to
work that out."

IMARI: All right.

LIAM: "Anyway,
have a shot with me."

IMARI: Oh, of course.
What are we having?

LIAM: Picks up two
different bottles.

One brown, one clear
and begins to mix them

in a glass.
IMARI: Ooh, a concoction.

I like this.

Are we talking about
an all night thing,

or we talking about just a
little hair of the dog thing?

LIAM: "(sighs) I'm on work."

IMARI: Ugh, shucks.

I was hoping that we'd get
into a little bit of trouble.

LIAM: Slides it across.

IMARI: To friendship.

LIAM: "And the ones we lost."

IMARI: Cheers.

LIAM: You guys knock back.

I'm going to slide
over to you, doc.

Ask if you mean to,
sounds like we're covered,

but I would love
to see you squirm.

Is there anything
you want to do here?

TALIESIN: Just the safety.

ALEXANDER: (sighs)

Having never really tried to
do anything like this before,

but having spent enough
time with these people,

the first thought
that comes into my head

is that I should--

I've treated enough people

that I'm sure
I've worked on someone

who is well to do
in those circles.

LIAM: Mm-hmm.

ALEXANDER: So I'm going to
call, I'm going to--

Well, not call, but
I'll call upon one of them,

and ask if there's any way

I could acquire a ticket.

LIAM: Okay.

You actually

call upon the head of
the hospital's board

who you saved two years ago,

when you removed a tumor
from the man's brain

and he has been
walking ever since.

He's not someone that you
are friendly with, per se.

You work for him, ultimately,

but a debt is a debt.

You find him, or I should
say you find his office

at the Grand Halen Hospital
and approach Vera,

his secretary,
who sees you coming.

"Doctor Ly--"

ALEXANDER: Lycoris.
LIAM: "Lycoris. Dr. Lycoris.

"Hi, can I help you today?"

ALEXANDER: Is he in?

LIAM: "He is. He's busy.
Is it important?"

ALEXANDER: Not desperately.

I wanted to run over
something with him.

I had more of
a question, really.

It's not desperately important.
I can come back later.

LIAM: She swivels around in her
swivel chair and looks back.

The door is like--

You can't see him, but
she looks to look in the gap

of his office door.

"One second."

She trots over there
and pops her head in.

"(mumbles)

"Yeah, okay. Come in.

"He says he'll see you."
She takes her seat.

ALEXANDER: I walk in.
LIAM: "Good day, Doctor."

You find--
ALEXANDER: Thank you.

LIAM: Quentin Gunner
sitting at his desk.

He is a tall, thin man,
not quite as thin as you,

with a graying white comb
over and very thin beard.

He is wearing a white
coat and a red tie,

and has a very auspicious
golden pin

with the crest of the
Halen hospital on it.

"Dr. Lycoris."

ALEXANDER: Mr. Gunner.

LIAM: "This is irregular,
but not unwelcome."

ALEXANDER: I actually, I
don't mean to bother you,

but, something's come up

and I want to say,

I wanted to ask you
for a favor.

I've become aware, to
make a long story short,

I've recently acquired
an interest in,

or at least a desire
to decorate my house.

I hear there's an auction
happening at the Hayden House.

I've heard there'll be
some interesting artifacts

or pieces there that I would
love to take a look at,

but unfortunately
I don't have a ticket.

I was wondering if you
had any connections

or know about how I would
go about getting one.

LIAM: "I'm sorry. I'm sorry.

"Didn't you just miss
three days of work?"

ALEXANDER: Yes.
AIMEE: (laughs)

LIAM: "Well. That is amusing.

"(sighs)

"Well, that aside,

"I have spent the last two years
with my three grandchildren

"and I don't know that that
would've been possible

"without you, Edgar.

"So as much as I want to laugh
in your face, I'm sorry--

"So as much as I want to laugh
in your face, I'm sorry--"

IMARI: (laughs)

LIAM: "I can't ignore
the debt that I owe you.

"Many conflicting
feelings here.

"Of course, of course I can.

"Just the one ticket?"

ALEXANDER: Just the one.

LIAM: He suddenly
looks sheepish.

"Forgive me, forgive me.

"Our time in
this world is precious.

"I'm grateful for every extra
minute that you've afforded me.

"I didn't mean to write
off your hard week.

"I hear you've looked a bit
grim on premises, actually.

"So, apologies."

ALEXANDER: It's fine.

There was a lot of unforeseen

circumstances that happened.

LIAM: He's rubbing
the back of his head,

which is where you
operated on it.

"Yes. Life has a way of
doing that, doesn't it?

"Never seems to stop.

"Well, this is
tomorrow night.

"Is there somewhere
where I can have,

"I actually have two tickets.

"I'm not going to go."

ALEXANDER: I'm sure
there's a friend of mine

who would be happy to go.

LIAM: "I'll have them
brought by your office."

ALEXANDER: That would be lovely.
LIAM: "By end of day."

ALEXANDER: Thank you.

I am very sorry again

about the unexpected
missing of work.

LIAM: "I was just busting
your chops. I apologize."

ALEXANDER: I know.

But I also--

You don't-- As much as
I'm very appreciative

of what you're doing,

you don't owe me
for what I did.

LIAM: "That is not true."

ALEXANDER: That's not
why I do this.

LIAM: "You're a fine doctor
and we're lucky to have you.

"I hope you have a wonderful
time and happy hunting

"for your home."

ALEXANDER: Thank you.
I appreciate it.

I'll hurriedly
leave the office.

IMARI: (laughs)

Throw up in the trash can.

(laughter)

ALEXANDER: As I go past
the secretary I say:

Thank you again.

LIAM: "All right.

"Charmer."

You head down the hall
to your office.

A little bookkeeping.

Remind me, Leo,
your note to Zora.

The gist of that was one more
time, to keep me on track?

TALIESIN: "Yes."

LIAM: Just yes?
TALIESIN: It was to meet at what time.

LIAM: At what time?
It was this evening.

TALIESIN: It was this evening.
Perfect.

LIAM: Okay, I am going to
sweep us forward in time

where all of you have
convened at Leo's house.

On the table we have one,
two, three, four, five.

TALIESIN: One's
going to Felix.

LIAM: But currently you
are in possession of five

and you are in
possession of two.

We are looking down at seven
dark green pieces of paper,

embossed silver filigree,
and printed on them

It says, "Journey to
the Gilded Garden,

"masquerade and auction
of and for Hale's finest.

"Mask and ticket required.

"Hayden House,
632 Cornelia Street.

"Doors open at 7:00.

"Auction begins promptly
at 8:00."

ALEXANDER: Before we proceed,
I do have one question.

You sent three notes,
one to each of us.

What did they say?

LIAM: That's a good callback.

TALIESIN: I conveyed
to the two of you

that we have been asked for a
meeting tonight at my house,

that we should convene.

Drinks and a light spread
will be available.

(laughter)

AIMEE: Little charcuterie.

TALIESIN: A little
charcuterie plate

just because I like
to keep busy.

Yours

very quickly at the bottom

in slight handwriting said,

"I feel I know you
well enough to respect

"that we should never know
each other that well."

IMARI: (laughs)

TALIESIN: "But--

"I feel the pallor
and if you ever wish

"to decompress at someone
who will not yell back,

"my door is always open
and relatively soundproof.

"Please figure out a
way to unwind. L.A."

ALEXANDER: I get that note
and I read it and I--

(heavy sigh)
(laughter)

ALEXANDER: Okay.
TALIESIN: That's exactly...

LIAM: So we're all met
in Leo's apartment

trying to decide
what to do here.

It isn't too long though
before the door opens

behind you all and Zora
strides into the room

holding a satchel in one hand
and a mask in the other.

Closes this door behind her
and she finds an empty seat

and says, "All right, we have
some things to figure out.

"I have brought
a few party gifts

"and I want to hear
what you're thinking

"and I want you
to know what I know.

"We need to act
tomorrow night.

"I have sent feelers
out as quickly as I can

"and it does appear that
Tama-Kai has had us.

"and it does appear that
Tama-Kai has had us."

ALEXANDER: Hmm.

LIAM: "I know that you have
only just arrived back in town

"the other day,
so forgive me,

"but this is
your new assignment.

"I need the four of you
in there tomorrow night.

"I need you to make sure

"that those remains do not get
handed off to any other buyer

"and that they leave that
place tomorrow night

"in our possession to be sealed
within the Fourth Pharos.

"So you tell me what
you are thinking

"and maybe I will
add my two pieces."

AIMEE: My employers are,
I think,

one of the lesser auctions
before the big auction

and I can at least
provide a distraction

for about five minutes or so

and maybe that will help.

LIAM: "Oh, I'm going
to jump in already.

"That is not what I'm
hearing is happening.

"There is a general auction
for the night, but--"

IMARI: A secret auction
is going on.

LIAM: "Correct."

TALIESIN: Oh!
LIAM: "Correct.

"Aroha is going to be
showing off his prize

"to a very select few away
from the general auction.

"I believe that this party

"and the auction are a
bit of a smoke screen

"for the real game
behind the scenes."

IMARI: Do you know
if we need to,

of course this is going
to be a dumb question.

Will it be within
the premises,

will be outside
the premises?

It'll be within
the property I assume,

in the secret location of the
property and one that we know.

LIAM: Grimoria, when you were
overhearing the Foggs talk,

Mr. Fogg talked about
Aroha's little museum

on the third floor.
AIMEE: Right.

LIAM: So it seems
a logical conclusion.

AIMEE: I relay that.

ALEXANDER: Good to know.

IMARI: All right.

LIAM: "Are you all set
for formal wear, or--?"

ALEXANDER: Yes.
AIMEE: I go put on my costume.

LIAM: "Your costume?"

AIMEE: Yes. It's a robe.

I'll be going with
my employers.

It's rather a shock,
but try not to laugh.

TALIESIN: I've seen
a bit of it.

I think it's quite good.
IMARI: You look lovely.

Whatever you wear.
AIMEE: Thank you.

TALIESIN: I would love some
emergency formal wear for you,

for both of you, actually.

That might not be a bad
idea in case chaos ensues.

LIAM: "Shopping might be in
order if you all are not set."

IMARI: Well, I actually will
be wearing something less formal.

Well, more of
a workman attire.

I'll be with the servers
behind the scenes, so to speak.

TALIESIN: Sure. But just in case
we need to do a quick flip.

It might not have be bad
to have an option B.

IMARI: Of course. Of course.

Always, always.

TALIESIN: Since we have enough
invitations to make things work.

IMARI: You just want
take me shopping.

TALIESIN: Really, this is--

I mean, it's wonderful.
Please don't get me wrong.

You need more of it.

No, not at all.

IMARI: Functional, tactical.

LIAM: "All right. That
sounds excellent."

AIMEE: Let--
LIAM: "Yes?"

AIMEE: What is the
best course of action?

Should one of us pose
as a buyer?

I don't know how to get
the artifact out of there.

LIAM: "I believe the buyers
have already been contacted.

"This is for a select few.

"Here is what I propose."

She takes the satchel
and opens it up

and she pulls out
a small clay wheel

with sort of the etching
of a sun in it.

There looks to be some
sort of chip of quartz

in the middle.

There are the lines of
little alchemical glyphs

cut into the radius of it.

"So, these are
hard to come by

"and they can only
be used once.

"What I propose is that
you find your way,

"acquire the item,

"and then you need only to plant
this on the nearest doorway

"and it will bring you
into the Pharos.

"It's going to be difficult
to get to Griffia's remains,

"the rest of her remains.

"But once you have them, I
don't want to create a scene.

"I just want you to be gone.

"So the challenge will be
getting in,

"but thankfully not out."

ALEXANDER: Well, hopefully.

Considering what we
acquired the other half in,

I'm assuming they have
another secure box.

This time we are not on a ship
in the middle of a storm.

So it'll at least be
a little more stable.

IMARI: Yeah. Thank god.

ALEXANDER: So as long as
we can get our hands on it

and get to a door.

Easy.

You sure those work?

LIAM: "They work. You need to
press it firmly to the door

"as hard as you can
and then turn

"whatever knob or latch
is prepared.

"It'll only work once,
a single time,

"so choose wisely."

IMARI: And we each get one?
LIAM: "No.

"These cost a fortune."
IMARI: Only get one.

LIAM: "Yeah. It's just the one."
IMARI: Oh!

That's lovely.

ALEXANDER: So no jumping into
the ocean while we're in there.

IMARI: Where's
the fun in that?

TALIESIN: See, if there's
somebody with a, you know,

someone's choking on
a shrimp cocktail.

I just hope, you know,
just let them go.

Just clearly they must have
money. It's really not worth it.

IMARI: Not even a pat
on the back, huh?

TALIESIN: Maybe a very hard
one, but make it quick.

ALEXANDER: Okay.

AIMEE: Do we know
who the buyers

that have been selected are?

IMARI: Good question, Grimoria.
AIMEE: Thank you.

LIAM: "Only one.

"That is a member that I am
friendly with in the OUP."

IMARI: Interesting.

LIAM: "They are trying
to get it for--"

IMARI: Is there
any possible way?

LIAM: "Sorry."

IMARI: I just
thought of something.

What if we took the place
of one of the buyers?

Is there a list
that we can procure

to see if we can maybe,
I don't know.

ALEXANDER: I'm going out on
a bit of a limb here,

but I'm going to say that
all the buyers are going

to be already known
by the seller.

TALIESIN: Certainly by each other.
ALEXANDER: And by each other.

IMARI: But they're
going to be disguised.

Are they not? Masks?

LIAM: "Well,
it's a masquerade."

IMARI: Masquerade.
LIAM: "I think to keep things

"as anonymous as possible."

IMARI: We just need
to find someone

who resembles
some kind of body type.

My shade gives me away,

but maybe there
might be somebody else

who might be of some
(laughs).

TALIESIN: I practically
guarantee there will be one

or two people of
your family in that room.

Which is the problem, though,
is that this is the sort of

place where both of us are
going to have a difficult time

not being recognized.
IMARI: Lay low.

ALEXANDER: I'm going to
get a full coverage,

more of a helmet than a mask.

TALIESIN: Sadly, I have a very
distinctive way about myself.

I even don't know how
much mask it would take.

AIMEE: Well, no one really
knows me, I can--

ALEXANDER: Me neither.

IMARI: My family is
so above it all,

they would never notice
a serviceman

or any kind of server.

So I think I'm pretty safe,

as long as I don't serve the
dish directly to their table,

I think I should be fine.

TALIESIN: Or you know, yeah,

make too much of a scene
in front of them.

But which is honestly,
to the table,

not just you, to the table.

LIAM: "Perhaps,

"you'll want to wait until
the auction begins."

ALEXANDER: While everyone
is distracted.

LIAM: "Yes.

"That should increase
your chances,

"at least have
less eyes on you."

IMARI: Find out where
they're storing the item.

TALIESIN: It would be a shame

if Mr. and Mrs. Frogg
became ill

and couldn't go to the show

and had to send
you all by yourself.

AIMEE: Wouldn't know
how to do that.

TALIESIN: Hmm.
ALEXANDER: I do.

IMARI: (laughing) Oh!

ALEXANDER: Not that I condone
that in any manner,

but I'm just saying
there is a way

if that's the course of
action we need to take.

I don't particularly
want to, but--

TALIESIN: Or at the very
least, once they're there,

we could get them to leave
a bit early if we need to.

Which honestly, well,
you've probably performed

for a few of the
people in that room

I suppose, haven't you?

AIMEE: Yes, but they
never really see me.

TALIESIN: Touché. Hmm.

Well, we have many options
available to us, don't we?

ALEXANDER: My god, I got
two tickets all on my own.

IMARI: Oh, Edgar, congratulations.

TALIESIN: I'm so
proud of you.

IMARI: How did that feel?
TALIESIN: You're a charmer.

AIMEE: Well,
I genuinely think

that's very impressive,
Dr. Lycoris.

IMARI: I do, too.

LIAM: "So I'm sorry, you
have enough tickets or--"

TALIESIN: Oh, extra to be honest.
ALEXANDER: I think we have more than enough.

LIAM: "Do you really?"
IMARI: Here's our little--

TALIESIN: I'm bringing a date.
LIAM: "Oh."

IMARI: Here's the money I owe
you from our little side bet

to see if--
TALIESIN: Mm-hmm.

AIMEE: We sure could use
someone like Decklan

on this assignment.
ALEXANDER: I love how much

faith you all have in me.
TALIESIN and IMARI: (laugh)

AIMEE: I do.

IMARI: You won that one.

ALEXANDER: Also, don't
worry about the costume.

I also wear a costume
at work. It's fine.

AIMEE: Thank you.
LIAM: "Well, Dr. Lycoris,

"I know that I'm retired
from the field--"

ALEXANDER: Mm-hmm.
LIAM: "-- but perhaps

"I can be eyes
and ears for you

"at this event as well?"

AIMEE: Oh, that'd be great.
ALEXANDER: It's your decision.

You outrank me,
it's your decision.

LIAM: "Well,

"I'm not good for a scrap, so

"if things go belly up--"
ALEXANDER: Neither am I.

LIAM: "-- I'm going to
fade into the crowd."

IMARI: Zora out in the field
again, that should be fun.

TALIESIN: Now I want
to see this.

IMARI: I do, too.
TALIESIN: Mm.

LIAM: "You should have
seen me in my heyday."

IMARI: Oh. I can imagine.

AIMEE: I think you look
really elegant now.

You'll fit right in.
LIAM: "I try."

All right, let us slide
forward in time, then.

Help me understand,

I think I'm getting
the picture here,

but you have a ticket
and you have a date now,

and you have a ticket
and you have a date.

Shopping will be
done, I assume.

TALIESIN: Oh, I was
hoping Charley

was just going to take
care of that, but yes.

LIAM: Okay.

AIMEE: I think you have
an extra ticket, too.

Don't you have three?

TALIESIN: I do have,
I have more than three.

AIMEE: So maybe if--

TALIESIN: I have an emergency
one for the two of you--

AIMEE: Yeah.
TALIESIN:-- in case things go wrong,

where clearly you don't
work here, you are guests.

IMARI: Mm-hmm.
AIMEE: Right.

TALIESIN: So.

AIMEE: That's good.
LIAM: You're going to go in,

Malcolm, through the back
entrance, so to speak,

and you are going to
go in with the Foggs.

AIMEE: I'm going to go
in with the Foggs

and maybe I wouldn't
be opposed

to maybe slipping a little
something in their,

a little Visine-like
product in their drinks.

ALEXANDER: Oh my god.

IMARI: A little dysentery
for the evening.

ALEXANDER: (laughs)
AIMEE: A little something

to get them to leave.
IMARI: (laughs)

LIAM: I love it. The night
before or in the hour--

AIMEE: Well, I need
them to come in,

so maybe in the cocktail hour
before the performance begins.

LIAM: Okay.
AIMEE: I think

they have no choice but to
leave me with the busts

and try to make a sale.
LIAM: Excellent.

ALEXANDER: Ethically
speaking,

I can't tell you
how to do this,

but if I were to accidentally
leave a book somewhere

that had that
information in it,

I can't control what you do.

AIMEE: Understood.
LIAM: I, Liam, will say

that you should totally do
that, it's pretty great.

AIMEE: Yeah.
(laughter)

TALIESIN: Oh no, they're
going to get sick

in front of everybody

who vaguely pretends
to respect them.

AIMEE: Yeah. I go grab their
little champagne drinks

and just boop-boop.

I mean, nothing terrible.

Just enough to make
it uncomfortable

and need to go home.

IMARI: Just enough
to make a gurgle.

LIAM: It's just a little bit
of the shits. It's no big deal.

AIMEE: Just a little
bit of the shits.

TALIESIN: If that's
all and if that's

what you want, that's fine.

AIMEE: Just enough to
get them to leave.

TALIESIN: I just always
hope for more.

LIAM: So.

ALEXANDER: Shits.

AIMEE: (laughs) Shits.

LIAM: Help me close us out

for this half of the game
and paint this picture.

Malcolm, you arrive earlier
than any of your friends.

You show up with Lou
and his catering company.

You are all supplied with
your garb for the night.

You are given black
slacks, black shirt,

a black apron with gold lining
all along the edges of it,

and a simple black mask

that really only covers
your eyes and nose.

All the wait staff are going
to be dressed in this manner.

It's a crew of
about 20 servers,

and that doesn't include
the people who hang back

and prepare the food.

You show up a few hours early

and find your way in

and see this place
in advance.

It is, on the drive up,
a gorgeous

and rare Art Nouveau style
manor set on a small hill

on the edge of the Varnish,

just on the edge of crossing
into the Shriveline, actually,

which is big time
Ascendancy territory.

It is church town
in that neighborhood.

But we are just on the
edge of the Varnish.

There's delicate
gold filigree

lining every edge
of the building.

As the van that
you come over in,

or I'm sorry, the truck
you come over in,

you see a wide open terrace
hovering above the entrance.

There's already people
setting up tables

out front when you arrive.

There's large and elegant
Nouveau stained glass windows

on the building.
It's quiet now,

but you can see how this
place is going to be

the bee's knees
later tonight.

Anyway, you drive around
to the back entrance

and begin to set up
for the night.

You are in on the
first and second floor

of this three story
opulent building.

Later,

you and your date and
you and your date.

Can you please describe for me
the garb you are arriving in

and the masks
you are wearing?

AIMEE and IMARI: (laugh)

ALEXANDER: Edgar arrives
wearing a nice,

but plain black suit with
a white shirt and a bow tie,

the most generic

and basic thing you could
wear to an event like this

along with a mask that covers

the top half and
has a sort of veil

that runs down the left side.

LIAM: A veil. Okay.

ALEXANDER: It's covering the
left side of his neck.

LIAM: Mm-hmm.

ALEXANDER: It is plain silver

with a silver veil attached
and hangs down

and has a sort of--

The left side arcs down,

the right side arcs up
into points.

LIAM: You and Ms. Manning
cut a striking pair

because she's also
dressed all in black

and her shock of black hair
with strands of white in it

are peeking out behind
a raven feathered mask

that comes diagonally
down across her face,

covering both eyes
and coming down

in a tear curve
around her cheek,

and it has the barest bit
of a little beak on it.

She has a black gown
for the night,

which also has plumed
feathers going out

in a splay off
of one shoulder.

You both march up the walk,

up the stairs of
this building,

which is now glowing
in the night.

That balcony has already
got throngs of people,

and the stained glass windows
are lit from outside.

So now there are
beautiful colors

of red and green and blue.

There are, obviously,
walking up and around you,

the most affluent
people of this city.

You are awash in
titans of industry,

and starlets, and what
look like luminaries

in the scientific world.

All the movers and shakers
hidden together

here at the
Hayden House tonight.

You stride up and in.

ALEXANDER: I don't know
if you would know this,

but I don't really
go to parties.

LIAM: "It's easy, dear.

"Stay by me, fake it
'til you make it."

AIMEE, IMARI,
and ALEXANDER: (laugh)

LIAM: She walks in.

A few moments later--
ALEXANDER: Easy.

LIAM:-- Leo, you and
your plus one arrive.

I think you better describe
both of you for me.

TALIESIN: Well, we'll
start with Felix.

LIAM: Mm-hmm.

TALIESIN: Felix
is dressed in a,

I don't want to
quite say modern,

but certainly it's clear

that someone with
some youth in taste

may have had something
to do with this.

LIAM: I need that youth.

TALIESIN: Yes.
IMARI: (laughs)

ALEXANDER: Give me your youth.
LIAM: (laughs)

TALIESIN: It is a nice,

loosely cut suit
in a deep green

that seams at the edges
and with the tailoring

to almost straight and twist

into this nice
painted copper.

Almost a reverse,

almost as if patina was
slowly turning copper

rather than copper
turning patina

at the edges.
LIAM: You are too much,

Taliesin Jaffe.

You are too much.
(laughter)

IMARI: Patina. That's a new,
I'm going to have to always--

(laughs) That's my
nickname for you.

TALIESIN: Patina green
that goes into copper

rather than copper
going to patina green.

LIAM: Mm-hmm, mm-hmm.

TALIESIN: A wonderful mask
that is done up

in this very, very
dark scarlet velvet

that just covers very,
very nicely

and comes up into two points

revealing more of the
face than is normal.

Felix has a bit of a,

definitely a bit of a silver
fox thing going on.

LIAM: Mm-hmm, mm-hmm.

TALIESIN: No facial hair
or anything,

just hair that's
been allowed--

It would be a little shaggy

if it wasn't always
very well sculpted up.

Very, very dignified.

I have gone, I don't want
to say conservative,

but knowing that
this is a crowd

that I might get
recognized in,

I have a black suit

with a nice deep
scarlet red liner.

The shirt itself is,
depending on the light,

as either black or red.

It kind of changes
at the time.

Open collar to,

the collar opens
just to the edge

of a relatively high vest.

Nice shoes, and then the mask

is a half-face mirror mask

of gently cracked glass.

AIMEE: Good grief.
TALIESIN: That completely

covers and goes
slightly down.

Then small beads hang down
that are black and red

that looks like
drops of blood

that cover just the
edges of the face.

LIAM: I think I just
shifted into the Flare.

AIMEE: Yeah.
LIAM: (laughs)

Amazing.
TALIESIN: Do not fuck with me.

LIAM: Amazing,
amazing, amazing.

The two of you walk,
stride, own these stairs

as you march up

and into the Gilded Garden
to see what delights await

and what danger.

We will end with the Foggs

and their ward as you
step out of your ride.

The two of them flank you
as you march up the stairs.

You are a fish out of water--

AIMEE: Yes.
LIAM:-- Grimoria.

These are the wealthiest,

most dangerous
people in the city.

But you cut an
impressive figure,

small in stature
though you may be.

As you stride,

perhaps somewhat nervously,
up these stairs

to march into the
wealth of Newfaire,

people stop and turn

and notice the weight

that this young survivor
carries with her.

Some of it's theatricality, learned.

AIMEE: Yeah.

Best thing about putting
on this performance

is that there is an otherness
to her that she embraces

and can play on.

I think nothing rich people
like more than intrigue

and a survival story.

So,

she sort of takes it in,
wearing the mask of--

I don't think she's
wearing a mask

because she's
there to perform,

but I think she does
have a lot of makeup

and she's taken
Mrs. Fogg's suggestion

that she blend it all out.

So maybe it looks
like a mask of makeup,

how they used
to do in the twenties.

Just very, very dark shadow

that blends into her bruise

and makes it
look intentional.

ALEXANDER: (laughs)

AIMEE: She takes in the
room and clocks people.

I think part of the reason

why she's such
a good performer

is that she can pick up on
little details, right?

If someone's wearing all black,
maybe they've lost someone.

She can use that.

If someone is there alone
or with, I don't know,

a teenage daughter,

she might be able to:
Well, where is your wife?

Is she passed on?

She might be able to use
these little parlor tricks

in order to impress
these people

that are not so
easily impressed,

but easily impressed by this
sort of otherworldness

that they are interested in.

So she uses that
to her advantage.

But the first thing
she does is say:

I'm going to go grab you two
a drink. I'll be right back.

LIAM: Okay.
AIMEE: She goes over

to a waiter holding,
I would imagine, glasses

of champagne or something.

Very surreptitiously,

she is wearing
these large sleeves,

puts a little drop and
a little other drop.

LIAM: You look up and Malcolm
is smiling down at you.

AIMEE: (clears throat)
She hands them to the Foggs.

LIAM: (Oliver) "Oh!"

AIMEE: I look forward to
a very lucrative evening.

LIAM: They take the glasses
and cheers.

"To a successful night."

AIMEE: A successful night, indeed.

LIAM: They both knock back.

Mr. Fogg especially
downs the whole drink.

As you turn away from them

and stare into the
golden array around you,

which we will get to
in a little bit,

you hear a voice off
to your side say,

"Oh goodness,
that's Grimoria."

You take in that
little boost of confidence

and stride into the party.
AIMEE: Yeah.

LIAM: And that is where
we will take our break.

LIAM: As you take in your
surroundings in the foyer

of the Hayden House,

handing over your tickets,

you find yourselves, at last,
entering a resplendent

dimly lit garden of gold,

like some impossible
Art Nouveau fever dream,

from the filigree
on the walls

to a forest of sculpted
metallic plants

and even some trees
artfully placed about,

a series of
interconnected chambers

full of freshly arrived
party goers.

Also, two very large active
bars on display down here

with guests crowding around
them to swoop up libations

as well as roving waiters

and waitresses with
trays of champagne.

Right by the entrance
from the foyer,

a standing placard
points guests

to the bars here
in the front,

the actual auction hall in
the rear of the first floor,

as well as an arrow
pointing towards

a grand central staircase
here in the foyer

to the second floor,

where one can get
a closer look at the art

and curiosities in advance of
the auction at eight o'clock.

As you're walking in, Leo,

immediately,
you are pretty sure

you are coming within three
feet of Walter Timley,

an older man in his seventies

wearing a lightly
feathered mask,

an antique dealer you know,
and he totters right past you.

Doesn't even
pay you any mind,

goes right off
into the crowd.

TALIESIN: I'm noting
what he looks like.

LIAM: Mm-hmm.

It is starting
to get crowded.

There's maybe 50 or 60
people here milling about

amongst the bars
and here in the foyer.

You haven't been
upstairs yet.

We're walking in at about,
let's call it 7:10.

You have 50 minutes
before this auction kicks off

and presumably everyone
in the building,

most of the people in
the building, hopefully,

all come downstairs
and congregate

to go into the auction hall.

I'll also remind you

of Mr. Fogg, perhaps
foolishly sharing details

about one of his
business associates

and his third floor museum.

So you have that in the back
of your noggins as well.

AIMEE: Is there a way
to identify

♪ Do, do, do, do, do ♪

Aroha Tama-Kai?

Is he present in the room?
Is he hosting?

LIAM: Well, all of
you are masked

and everyone around
you are masked,

even the wait staff
and the barkeeps.

None of you have ever
seen Aroha Tama-Kai.

You were told about him
before setting sea

to go close that business
deal that went so well.

So no, you don't really
know what he looks like.

AIMEE: Okay.

TALIESIN: Well, there
would be two ways

to find him immediately,

which is either he's
not in the room yet

because he wants
to make an entrance,

or he's the person
everybody's trying to talk to.

IMARI: Hmm.

ALEXANDER: Have we found
each other yet in the crowd?

TALIESIN: Oh, I assume--
LIAM: Well, let me ask you,

Malcolm, what's your
flight pattern?

You are keeping
up with the job?

IMARI: I'm in the back.

LIAM: Mm-hmm.

IMARI: I was helping
people with set up.

I'm making my way
around the house

in areas where
I could be expected,

but maybe looking at areas

I'm not supposed
to be very quickly.

You know, I don't want
to give myself away.

LIAM: Right, and they keep
offering you trays of champagne

to go dole out--
IMARI: Yeah.

LIAM:-- when you
show up back there.

IMARI: Yeah. So what I'm
doing is I'm taking my time

with the platter of champagne.
LIAM: Mm-hmm.

IMARI: Lingering around
people, conversations.

LIAM: Okay.

IMARI: Leo gave me the idea

that the person of interest
might be surrounded by people.

LIAM: Okay.
IMARI: So I'm looking out

for that as well.
LIAM: Okay.

IMARI: So I'm keeping my ears

to the ground, seeing,

also seeing if there's
people going off

in different locations.

If there's maybe a bouncer

or some other person
that's guarding a door.

LIAM: That's a good point
to bring up.

There is security
at this event.

The security are men
and a few women

who are dressed in black
suits with gold detail.

They're wearing black masks

with gold trim
around as well.

They're unified
in their aesthetic

and matching the aesthetic
of the party.

There were several on
the steps out front

and you notice
one at the door

to the auction room
in the back.

Occasionally, you see one
of these men or women

walk through the bar area,

but they're not really
stationed in there.

I guess give me a--

If you're trying
to figure out

if you can spot Aroha
in this crowd,

why don't you give me
a Survey roll.

IMARI: Survey roll. Yep.
LIAM: Mm-hmm.

IMARI: I want to burn
a drive on this.

LIAM: Okay.

IMARI: Boop. I like this
digital. It's nice.

AIMEE and IMARI: (laugh)

AIMEE: Ooh.
IMARI: Candela.

LIAM: Candela.

("Italian" accent) That's a Candela.

AIMEE: ("Italian" accent) That's a Candela.
LIAM: Okay.

TALIESIN: Blessed.

IMARI: Candela.
LIAM: So you were here earlier.

You were here earlier
than your friends

and you've made
several loops.

I would say after
you ran into Grimoria

and supplied her with
champagne for her wards,

you did another couple
rounds, always looking.

On the most recent,

as your friends who you've
seen through the crowd

and they've been here for
three or four minutes now,

you spot a throng of people
moving up the stairs

from the foyer up to
the second floor,

which you haven't
even touched yet.

There you do see a man
on the shorter side

of 5' 6" or 7"
with black hair,

and you only catch him from
the back in a black suit.

But he is surrounded
by a bunch of people,

including a woman
right at his elbow

who you can see for a second.

You only know this
because she holds up a--

No, what's a placard?
What's the--

AIMEE: Program?
LIAM: What am I thinking of? No.

Clipboard, that's
the word. English.

She holds it up to get a
better look in the dim lighting

as she writes down
some sort of note

and she walks up
behind this man.

Then this crowd,
maybe 10 or 11 people

disappear up into
the second floor.

IMARI: Mm-hmm.

LIAM: Could be--
IMARI: Okay, I would like to--

I would like to investigate.

Also, what I want to
try to also say

is that I might know
some of these people

who are bouncing, since
I am a bouncer myself

and work security sometimes.

LIAM: Okay.
IMARI: It wouldn't be impossible

that I might know--
LIAM: It's not impossible.

IMARI:-- just want to throw
it out onto the atmosphere.

I am going to find a new

because I've just handed
out my last glass.

I'm going to find, I'm going
to take a tray from a person.

Let me lighten your
load a little bit

and I'm going to casually jaunt
myself up to the second floor

and see if I might be able to
offer them some champagne.

LIAM: Okay.

You trot up
the stairs briskly

and you get up to
the second floor,

which is your
first time up here.

Let me see, let me see.

The Gilded Garden motif
continues up here,

but now there are beautifully
crafted glass lamps dispersed

amongst it all to better
illuminate the prizes

that are up for grab tonight.

You can see in all of
these different cubbies

and corners that
have been made,

both from the rooms
that they're in,

but also the placing

and displaying of all
of these golden plants.

Just little areas that are
highlighting paintings,

both modern and stuff that
looks like it dates back

to the Halen Renaissance,

and objects that surely
have come out of antiquity

that are here as well.

Modern sculpture.

You see a pair of busts
off in one corner

of a man and woman who look
they may be from

the 1200 or 1300s, that era.

You make your way around and
you do see that gentleman

with maybe
half as many people

making his way out onto
the balcony right now.

As you pass through,

you're struck by the
intimate vibe up here

of this floor especially,

the lighting and the lay
of the golden forest.

All the couches and
loveseats scattered about

make it really easy to
break off in privacy

because it's really dim

and cozy in a lot
of different spots.

So it is easy to
get privacy here,

both conversational
or otherwise.

You follow out
onto the balcony

and you see
the man stride out

and place his hands on
the rail with this woman

and her clipboard
walking up behind him

and he just stands there.

He shoos somebody away and
stands looking out at the city

and you come up behind
him with your tray.

You take in the view, too.

I'm going to let you
know that from here,

when you look out up one way
off this balcony up the street,

you can see to the north.

Not too far off is
the Shriveline.

That's the area of Newfaire

that is where
the Ascendancy resides.

It is church town, basically.

There are gothic architecture

and bridges going from
tower to tower over there

and impressive cathedrals
you can see in the distance.

If you turn to the left,
a little farther off,

not much farther off,
you see Silverslip,

which you're even
more acquainted with

because that is where
the Primacy resides.

IMARI: Mm-hmm.
LIAM: The judges.

The courts, business,
lawyers, everything.

The titans of the industry.

Your family reside
in Silverslip

and it strikes you as you
look from left to right

that you are tucked
neatly between church

and state right now.

He is relatively unguarded
at the moment

with his back to you.

IMARI: Does he seem like
he's, when he's looking out,

does he seem like
he's comfortable

or like it's a familiar
sight to him?

Like it's nothing that
would rattle him.

LIAM: He seems relaxed

and taking in the city.

IMARI: Okay. All right, okay.

He is with a woman
with a clipboard.

Is he just, is he by himself?

LIAM: There's people
all around you.

IMARI: Is he saying anything
to her, I meant to say?

LIAM: He had on the way over.

At the moment, he is
lost in his thoughts

and she's giving
him deference,

which might lead you to think

that she's some sort of a
underling or assistant.

IMARI: Gotcha.

LIAM: But you're not alone
out here on the balcony.

There are many people
who have come out here

to get fresh air.

IMARI: I don't want to
approach him just yet.

I want to keep my eye on him.

I don't want to
scare him off too much

because I am, after all,
part of the waitstaff

and if I were to
approach him,

he would definitely be
snide with me, I feel.

I'm going to hand out
some champagne casually,

have a perimeter
around where he is

so I can still hear if he
happens to say something.

LIAM: You're hanging
on the balcony,

IMARI: Hanging on the
balcony, lingering.

LIAM: Understood.

Let's put a pin there
and return downstairs.

Below, you and the Foggs,

they gather you at your
elbow, Mrs. Fogg does.

They're like, "Come on,
we're going to go upstairs

"because that's where
the magic happens."

AIMEE: Wonderful.
LIAM: She takes you

under the elbow and
they begin to march you

up this grand staircase
up to the second floor

and you find yourself
in this dimly lit,

very conducive for the
kind of work you do--

AIMEE: Right.
LIAM:-- space.

You guys float about,

looking at all the different
things that are up for grabs.

The paintings, portraits.

Eventually, they hover you in
front of these two busts--

AIMEE: Right.
LIAM:-- that they donated

to the auction, or not--

Donated isn't the right word.

That they have contributed
to the auction.

It is here for profit.

Aroha is the Red Hand--

AIMEE: Yeah.
LIAM:-- which you all know.

Everything here
is for profit.

AIMEE: Yeah.

LIAM: (Oliver)
"Well, hopefully--

"Hopefully we
can get a buyer.

"Is there anything you
can do with these?

"I mean, normally--"
AIMEE: Oh, yes.

I've already thought of it.

I have a whole performance
ready for them.

LIAM: "What's the play?
Tell me please."

AIMEE: Well, I think what--

You know, you said it was--

I'm talking to
our game master.

LIAM: Sure.
AIMEE: They're the 12th century

busts, you said?

LIAM: I think I was referring to--
AIMEE: Or these are just

a different--

Oh, a different bust? Okay.

LIAM: Paintings. These are busts, yeah.
AIMEE: Great. That's even better.

I have a plan.
LIAM: Yes?

AIMEE: I think that we acknowledge
at the top of the performance,

you know, that these rooms
are filled with antiquities.

What makes these
two busts special?

Well, they floated up
from the chasm, you see?

I'll put on a different
voice as usual.

What's interesting
about these busts

is that they witnessed the
fall of a civilization

and they're imbued with
the pain of two sisters

who were crushed to death,
but not before trying--

Is this not working for you?

LIAM: "I don't know
shit about history."

AIMEE: Oh, I do.
LIAM: "But that sounds good."

AIMEE: Okay, great. Yeah, I
could also throw in something else.

You know how in olden
times, daughters would--

Fathers would, you know?

No?
LIAM: "No, no.

"We're good.
I'll tell you what."

AIMEE: Yeah.
LIAM: "We're going to make the rounds.

"I'm going to find a mark, okay?"
AIMEE: Okay.

LIAM: "I'm going to
find us a fish."

AIMEE: Great.
LIAM: "Stay close."

AIMEE: I'll be right here.
LIAM: "You be ready to go."

AIMEE: Yes.
LIAM: "When I get back here,

"I want to be
able to see you."

AIMEE: Okay. Yeah, of course.

May I ask, who is that
man on the balcony?

LIAM: "Why do you ask?"

AIMEE: Well, he seems
pretty important.

LIAM: "Well, he's the one
footing the bill for the party."

AIMEE: He's the host?
LIAM: "Oh yeah."

AIMEE: Great.

LIAM: "Why do you ask?
What do you know about him?"

AIMEE: I don't know
anything about him.

Just in my line of work,

I learned to sniff out
what's real and what's not.

LIAM: "You know, I'm happy
to have you in my house."

AIMEE: I'm happy to be there.

LIAM: "But

"know your place, all right?"

AIMEE: Of course.

LIAM: "You work for us."

AIMEE: Absolutely.
LIAM: "I don't need you

"asking a million questions.

"I don't need you listening
on my conversations."

AIMEE: Yes.
LIAM: "All right?"

AIMEE: Absolutely.
LIAM: "We have a good thing going--"

AIMEE: A great thing.
LIAM: "-- here."

AIMEE: I won't
disappoint you.

LIAM: "All right, come on."

They wander off
into the party

and you are
shoulder to shoulder

with the luminaries of
the city on your own.

Is there anything that you
want to do in this moment

while you have your time?

AIMEE: Yeah, I would like
to find a way

to catch the attention of
the gentleman on the balcony,

but in a very sly way.

Maybe make some sort of
an ooh and aah commotion

where he's forced
to turn around

and see what it is.

I don't know if that's
picking several people

and maybe doing a reading
of some sort or--

With the reading,
maybe doing a little magic.

LIAM: Okay.

AIMEE: Yeah.
LIAM: So you want to maybe--

I'm going to suss
this out with you.

You want to go out onto the
balcony so that you are--

Because this is a big,

sprawling spot.
AIMEE: Oh sure, if it's a big--

Yeah.
LIAM: So you make your way

to the balcony.
AIMEE: Yeah.

If you want to do a reading,

I assume you have
cards on you

because that
makes sense for you.

AIMEE: Yes.
LIAM: Then the goal

is to just get his attention?

AIMEE: Yeah, I think the goal
is to cause enough fanfare.

You know, if I'm there,

if I hear a "Ahh!"
and maybe he turns around

and takes her in,

but not anything
that she's willing

to meet his eye or anything.

Just to maybe see if
he will take the bait.

One way she could do that

is while still staying
close to the Foggs,

still staying close
enough to them

where they feel like
she's working for them,

find a group of people
that seem receptive,

maybe a group of
socialites or something--

LIAM: Sure.
AIMEE:-- that are there

and are willing to
have their cards read.

LIAM: Let's go give it a whirl.
AIMEE: Yeah.

LIAM: Okay, you step your way
out of the inside crowd

and out into the balcony
and take in the city lights

and the distance
and the stars overhead.

There are lots of little
gaggles of socialites out here.

There is a younger table,

and a more antiquated,
shall we say, group.

AIMEE: Spinsters?
LIAM: Who you going for?

AIMEE: I think I'm going to
go for the younger group

because I think they're
probably easier to impress.

LIAM: Okay, they are a bunch
of spoiled rich kids

in real refinery
and great masks.

They are probably
a little too uproarious

and laughing their
asses off at some joke

that one of them just told.

They're there before you.

How do you get
their attention?

AIMEE: I think
I get their attention

by saying:

Hello.

ALEXANDER and IMARI:
(chuckle)

AIMEE: I think you're going to
find that I have information

that might be interesting
to you regarding a husband.

LIAM: What was
that last part?

AIMEE: A husband.
LIAM: A husband?

AIMEE: Mm-hmm.
LIAM: You're saying this

to a woman then?

AIMEE: Yeah.
LIAM: Okay.

AIMEE: To any of the
socialites there--

LIAM: Great.
AIMEE:-- that might be of that age.

LIAM: Great.
AIMEE: That might be interested

in marriage.
LIAM: So

you come in and whisper
this almost at the ear

of two of these people
in this group, as this

laughter is dying down.
AIMEE: I'm going to pick

the most homely looking girl.

LIAM: Okay.
IMARI: Oh, nice.

LIAM: Okay.

The circle splits open

and a woman with
sandy blonde hair

that is bob length
turns around.

"You're going to what now?"

AIMEE: I have a sense
about you.

You're so special,

and I don't think people
treat you like you are.

LIAM: "(laughs)" She looks
at the group around her.

There's a guy who
looks clearly like

a young, finance hopeful guy

with close cropped
brown hair.

Pretty handsome, square jaw.
AIMEE: Hmm.

LIAM: (young man) "Oh,
this should be good.

"Hey, check it out!

"We're about to
see a little something."

AIMEE: Now who's brave enough
to have their cards read?

LIAM: (homely woman) "Well--

"I'm not scared."

AIMEE: Great. Have a seat.

LIAM: She sits down.

AIMEE: Starts
laying out cards.

(heavily) Oh.

LIAM: "What is it?"

AIMEE: I sense

a very deep

loyalty in you.

But no one sees it.

You're very underappreciated.

LIAM: She steals
a glance at the

young banker and then back.

AIMEE: But not for long.

I sense a man has already
come into your life.

LIAM: "It doesn't really
say that, does it?"

AIMEE: It does.

The cards don't lie.

But I'm getting
a voice in my head.

A grandmother?

An aunt.

LIAM: "I have a grandmother
and an aunt."

ALEXANDER: (snickers)

AIMEE: Anyone,

oh,

who's maybe passed on?

LIAM: "Yeah, my
Aunt Millie died."

AIMEE: Oh, yes.
LIAM: "Three years ago."

AIMEE: I've seen an M.

An M.

She says--
LIAM: "That's crazy."

AIMEE: (gasps)

I think--
LIAM: "Is it bad?"

AIMEE: No.

I think the man is
here with us today,

tonight,

in this room.

He's a man of great wealth,

or maybe soon to be wealth.

Of great importance.

Yes?

LIAM: "I think you're
onto something."

AIMEE: I think all you have
to do is be yourself.

LIAM: Another voice
in the circle's like,

"You don't really believe
any of this, do you?"

(homely woman) "Shut up,
Gracie!"

ALEXANDER and IMARI: (laugh)

AIMEE: Gracie.

Oh, Gracie.

Oh.

I'm so, so sorry.

LIAM: Gracie's like,
"What's wrong with me?"

(snickering)

AIMEE: I can't.

IMARI: (laughs)

I just, I--

I--

She takes one of her
little smoke bombs,

(laughs)

puffs it.

I've got a message
for you, Gracie.

LIAM: Smoke starts
to billow up,

out from under the table.

They have no idea where
it's come from.

Everyone starts to get a little
quietly low-key freaked out.

AIMEE: Be kind

to your friends.

LIAM: They erupt in,

some of them in
nervous laughter,

but most of them going, "Oh!

"Oh, that is so weird!"

Everyone around on the
balcony starts to turn

and look at the spectacle

that's happening
in this corner.

Then Malcolm, and of course
you, Grimoria, you see

this man turn at the balcony
to take in what's going on

and you get a good look.

He's got a jet black cat mask

that matches deep black hair--
AIMEE: Hmm.

LIAM:-- that comes down to
about there on the back.

He is wearing
a tight black suit

with a gold tie, gold gloves.

Then the woman with
him turns as well.

She's wearing more of
a standard carnival mask

and wearing a checkered red
and purple vest over her suit.

AIMEE: I think
Grimoria looks,

sees him at the
corner of her eye,

and she's been waiting
for this moment.

I think she's prepared,

taking into account
the vision of green

that emanated from the bones,

has prepared maybe a gas

or something that could
achieve that effect.

I think she turns away from
the group really quickly,

and as she does,
she lets this trickery

of green emanate
from her robe,

just enough for him to see.

LIAM: I think it's certainly
plausible that you have

one of your little smoke
bombs stained green.

AIMEE: Yeah, and I think--
LIAM: Some green smoke

trails out from behind you.
AIMEE:-- nothing too crazy.

It's not as loud

and boisterous
as the other thing,

but just enough to
catch his attention.

She's banking on the
fact that he knows

what this magick
and this bleed looks like.

She really wants him
to take that in.

LIAM: Well, I'll say he turned
to see all the ruckus

and then he's already
starting to turn away

and green mist starts
to waft out of your robe.

He does a gentle
little double take.

He seems like a
pretty cool customer.

AIMEE: Yeah.
LIAM: "(amused smirk)"

AIMEE: She goes
back to the Foggs.

LIAM: He starts to walk

away from the rail
through the balcony.

Malcolm, I'm going
to say that

you are close enough to hear

the assistant say to him,

"Aroha, where did you want
the LeFoye put for now?"

(Aroha) "In the back is fine.

"And have them open three
more cases of champagne.

"I'm going to dip
downstairs for a bit.

"I'm going to check on the
VIPs and move things along.

"Oh, and another thing.

"Someone spotted the
Foggs on the premises.

"I am at the end of
my rope with Oliver.

"He's a drunk and a moron.

"If he sticks his nose in
my business one more time,

"he's going to get a one-way
ticket to the Vastchasm."

AIMEE: Shit.
LIAM: "Keep him away from me.

"No exceptions."

He strides away from her--

AIMEE: Shit.

LIAM:-- into the
crowd inside.

IMARI: What's she doing?

LIAM: What's who doing?
IMARI: His assistant.

LIAM: Oh, she starts
to scribble a few notes

and she heads off
the balcony as well,

but she starts to move

off to the right
when she enters

and goes in a different
direction than the boss.

Let's pause you guys
for a moment

because we have more
people downstairs.

I want to know what you

and Ms. Manning
are doing right now.

ALEXANDER: So as we're
in the crowd,

I'm holding a drink, as

you would do.

I see Grimoria
walk up the stairs,

leaving with her employers.

LIAM: Mm-hmm.

ALEXANDER: Ms. Manning,

I do have a question.

LIAM: (Zora) "Yes."

ALEXANDER: It does
seem a little odd,

and I know that
everyone joins

Candela of their own volition
for one reason or another.

I'm just curious why you let

Miss Grimoria join at
such a young age.

LIAM: "(sighs) Well,

"it did cause me pause
for quite some time.

"It was a very

"weighted decision I made.

"But her abilities
are so rare, Edgar.

"There is so much
promise in her.

"I don't think
I've met anyone

"as in tune

"with herself and with
everyone around her

"as Grimoria."

ALEXANDER: Hmm.

LIAM: "I was looking at
it as an investment in

"her and the future.

"I also,

"in the early days,
tried my best to

"steer her away from
the thicker work.

"The boat,
an obvious misfire."

ALEXANDER: Well,
that wasn't your fault.

I'm not judging.
I was just curious.

I'm quite fond
of Grimoria and

I just--

This isn't some--

I know why I'm here.

But it's not something I
necessarily wish on people.

I guess more than anything,

I wish she didn't
have those gifts.

But that's beside the
point of why we're here.

Why did you

all of a sudden decide to
come on this little outing?

LIAM: "I suppose
I feel invested.

"There are a lot of
threads here that are

"pulling at each other.

"Mr. Murphy is so

"important to me."

ALEXANDER: Hmm.

LIAM: "I can't help but

"sense some sort
of thread here."

ALEXANDER: Between what
happened to him and this

item or these--

LIAM: "Well,

"I'm more thinking of
his circle and he.

"I also suppose I just,

"on a lark,

"thought it would be good
to get my feet wet again.

"I did love it in my day.

"You are right, though.

"It is a lot to ask
of one so young.

"I have never
stopped struggling

"with the choices I've
made and have to make,

"especially as
a Lightkeeper."

ALEXANDER: I can't imagine.

She seems to be
handling it fine.

Better than some of us.

LIAM: "Oh, wait a tick.

"Would you wait
here a moment?"

ALEXANDER: Yes.
LIAM: "I'm going to go

"over there."

She squeezes your
elbow and walks.

We're on the first
floor still.

She walks off towards
one of the bars

and up to a girthier,

tall, broad chested man

with a buzzed side of hair
on the side of his head

and a mustache,
a thick mustache,

which you see because he
is removing an elephant mask

to take a swig of a glass.

Then he puts it back

and you can see just
the bottom of his jaw.

Zora gets up to him
and you can just

barely hear over the
tinkling of glasses

her saying,
"I thought it was you.

"Hello, Reginald."

(Reginald) "Zora,
is that you?"

(Zora) "Yes. Yes, it is."

AIMEE: (laughs)

LIAM: "I daresay you
weren't expecting me

"to be here this evening."

AIMEE: (laughs)

(Reginald) "Well, no.

"I'm here solo,
stag as it was.

"Why are you here?"

(Zora) "I know why you're
here, Reginald.

"Did you make your bid yet?"

(Reginald) "I did.

"I don't think
it was enough."

(Zora) "Well,

"I daresay, I'm relieved

"because it's not going to
be safe in some warehouse

"here in the city,

"what you're trying to
get your mitts on."

(Reginald) "Speak
for yourself.

"We do a very
good job downtown."

(Zora) "Where are they?"

(Reginald) "What
do you mean?"

(Zora) "You know what I mean.
Stop playing stupid,

"you big loaf of an elephant.

"Where are they?"

(Reginald) "Well, you're not
going to get in there.

"Up on the second floor,

"in the rear.

"If you walk away from the
balcony off to the right,

"there's a bit of
a hall down there.

"But the host is
bringing his bidders up.

"You can't just get up there

"and tip Red Hand
at the door.

"Strangle the
life out of you.

"You're not going up there."

(Zora) "Yes, I suppose
you're right.

"Well, it's good to
see you, Lumpy."

(Reginald) "(laughs)"
AIMEE: (laughs)

LIAM: "You used to like it."

She chins his elephant jaw,

wanders away, and
comes back to you.

ALEXANDER: Friend?

LIAM: (Zora) "Sure.

"Let's call it that.

"I think I have an
idea where we can

"follow the trail.

"Second floor, rear
of the second floor,

"somewhere off to the right
of the balcony, he says."

ALEXANDER: Good to know.
LIAM: "Where's the group?

"Where is Leo?"

Where is Leo?

AIMEE: (laughs)
IMARI and ALEXANDER: (laugh)

TALIESIN: Leo,
Leo and his date,

have wandered
over to the bar,

picked up a drink, something
that's complicated looking,

but not quite as
alcoholic as it looks.

Felix has an understanding
of what's going down.

So I've already put
forward the notion

that I may have to
separate for a little bit.

God forbid, something
goes strange,

feel free to say that
you don't know who I am,

whatever you need,
or that I just asked you

to be the plus
one for a thing.

This can be, you know,

a first date.
LIAM: "We're not the kind of--

"I'm not going to ask
questions like that."

TALIESIN: Bless you.

I'm on a bit of
a clandestine mission.

There was an old man
who came in through here,

old in his 70s.

I don't know if you've
ever met Walter.

Maybe you haven't.

I'm going to quickly

try and track down
an old friend.

I will find you in
just a few minutes.

LIAM: "All right,
I might go on

"a clandestine mission
of my own."

(laughter)

TALIESIN: Cheers to that.

Let's see who does better.

LIAM: He wanders off
into the crowd.

Are you off in search--
TALIESIN: Cheers.

LIAM:-- of Walter?

TALIESIN: I saw which
direction Walter was going.

LIAM: Yes, he was staying
on the first floor as well.

He wandered off towards
the bar earlier.

So you're off to find him?

TALIESIN: At least see
if it's possible

to hit him in the crowd.

If not, I'm keeping an eye out
for people who I know

or at least know of.

LIAM: So you start
moving to the crowd,

trying to get eyes
on Walter again.

You make it about
15 feet, when

a young woman
all in gold herself,

a gold stylized
butterfly mask

and a gold shimmery dress

and a hair of
gold blonde ringlets

comes and pokes her finger
in your chest going,

"What are you doing here?

"I knew it was you."

IMARI: (laughs)

LIAM: You start to realize
you're looking at your niece.

TALIESIN: Niece.

LIAM: "What are you doing here?
You never go out like this."

TALIESIN: Oh, I do
go out like this.

You're just never here,
are you?

LIAM: "I go to
all the parties.

"You are a bad liar."

TALIESIN: That's fair,
I'm really not

going to be able
to fight that.

What are you doing here?
What are you looking for here?

Are you bidding on anything?

Are you being bid
on anything?

LIAM: "(inhaled laugh)

"I'm hunting for a different
prey than paintings, Leo."

TALIESIN: Sculpture?
No, I'm fucking with you.

I know exactly what you mean.

Did you come here
as someone's plus one

and you've decided to
abandon them or are you--

LIAM: "Oh, we came
in a gaggle.

"Bentley's upstairs."

TALIESIN: Oh no.
LIAM: "I think I saw him

"on the balcony
a few minutes ago."

TALIESIN: Oh no.

LIAM: "Walter Timley is here.
The old coot."

TALIESIN: Yes, I'm well aware

of Walter.
LIAM: "I don't know why."

TALIESIN: Is there
any other family here?

LIAM: "Um."

AIMEE: (laughs)

LIAM: "I think that Auntie
said she was going to skip it."

She looks really uncomfortable
for a second

and then scans the crowd.

"Leo--"

TALIESIN: You don't have
to say a name just--

Yes.

How bad?

LIAM: "Your dad's here."

TALIESIN: For fuck's sake.

(laughter)

AIMEE: I love this.

LIAM: "How bad is that?"

TALIESIN: Well,
we'll see, won't we?

It will be a very
interesting conversation.

The first in
a very long time.

I appreciate the heads up.

You will not be--

LIAM: "Do I want to be
around for it?"

TALIESIN: You know,
I think you think

you wanted to be
around for it,

but honestly, perhaps you
could use the character

if you happen to watch it.

LIAM: Make a Sway.
TALIESIN: (sighs)

LIAM: A low stakes Sway roll.

TALIESIN: Oh.
IMARI: (laughs)

TALIESIN: Candela.

LIAM: Candela.
AIMEE: Yes!

ALEXANDER: All right,
I'll buy in.

LIAM: (sighs)
IMARI: (laughs)

ALEXANDER: It's called
a Candela now.

LIAM: (laughs)

TALIESIN: It's nice.
(laughter)

LIAM: (sighs) She just
pouts. "All right."

TALIESIN: I can make
you a deal.

I hear rumors that you flirt
at a reasonable level,

certainly college level.

AIMEE: (laughs)
IMARI: (laughs)

TALIESIN: What can I say?
Your reputation gets around.

I am trying to get a
couple special things

from the auction.

LIAM: "What's your poison?"

TALIESIN: I mean, that which
doesn't kill you, yada yada.

If you know somebody who can
help get me up to the auction,

or, because I know you're you,
(sophisticated) the auction.

AIMEE: (laughs)

LIAM: "I'm sure I don't know

"what you're
talking about, Leo."

TALIESIN: Well, I think
better of you,

apparently, than I should.

Well, if you could get
me into the auction,

or, now that I've put
that into your head.

LIAM: "Okay, I'm going to go
see if I can figure out

"what the hell you're
talking about."

TALIESIN: Mm.
LIAM: "Good luck!"

She disappears into the crowd.
AIMEE: (laughs)

TALIESIN: She's going to be
irritated by that for hours.

LIAM: Hmm.
AIMEE: (laughs)

TALIESIN: Fuck. (sighs)

Father, all right.

AIMEE: I would watch that spinoff.
LIAM: Back to you, Malcolm.

Where are you at this point?

So the gentleman has
walked off the balcony,

and talked of going down
to the first floor.

Where are you
headed right now?

IMARI: Part of me wants
to go to the assistant

and give her a little flirt.

LIAM: Okay.
IMARI: See if I can squeeze

some information as to
where the artifact is.

LIAM: Okay.

So with your
tray of champagne,

you exit the balcony

and curve around
to the right.

You make it about
10 or 15 steps

when a very tall, broad man

in a very colorful purple
and green and gold mask

that covers about this
much of his face

steps in front of you and
puts his hand on your chest.

IMARI: Hmm.
LIAM: "Are you fucking

"kidding me right now?"

IMARI: Oh,
I'm sorry, I just--

LIAM: You're staring into
your brother's eyes.

TALIESIN: Yeah...
IMARI: I was told

that I should pay
special attention

to the lady who
just went away,

that I should give her
whatever she needs, drinks.

LIAM: "Stop talking.

"What the fuck
are you doing here?

"What is this?"

IMARI: Reginald?

LIAM: "What are you doing?
Are you here to embarrass me?

"What is this?"

IMARI: Oh my god. No.

LIAM: "You're waiting tables?

"I don't see you for months,

"and this is how you get

"into my business?"
IMARI: Of course

you're at this party.
LIAM: "What you doing here?"

IMARI: Listen,

don't worry what I'm
doing at this party,

I'm trying to make a little
extra cash on the side.

I can assume why you're here.

Is anyone else from
the family here?

LIAM: First, make a--

TALIESIN: Oh no.

IMARI: (laughs)
LIAM: First, make a Sway roll.

ALEXANDER: (laughs)

IMARI: Good old
brother Desmond.

All right, I'm going to
burn a drive on this.

LIAM: Okay.

IMARI: Because he's going to
cause me trouble if I don't.

ALEXANDER: It's your
yearbook quote, at this point.

IMARI: (laughs) Shit.

He might totally
blow my whole cover.

Candela.
ALEXANDER: Jesus.

AIMEE: You are on a roll!

TALIESIN: Every time I look
over there, it's just hateful.

(laughter)

AIMEE: You just got one, too.

TALIESIN: (sighs) Oh,
and I enjoyed mine.

I don't know if he feels it

anymore.
AIMEE: Yeah, yeah, he's not,

he doesn't feel thing.
TALIESIN: That's the difference.

IMARI: (laughs)

LIAM: "I don't get it.
You're waiting tables now?

"Is this altruism?"
IMARI: Listen, I don't

have to explain myself to you.
LIAM: "What's the angle?"

IMARI: You've made it
very clear

where I stand
with the family.

You have what you want

and I have what I want,

a little bit of freedom to
do what I want, as I please.

I don't answer to
the family anymore,

I don't answer to
you anymore.

I'm working, and I was told
to pay special attention

to the lady who is
now out of my view.

LIAM: "(scoffs) I just
don't understand.

"I can't with you."

IMARI: Listen--
LIAM: "You had everything

"this family wants,

"and you're throwing it away.

"And now you're
here tonight?"

IMARI: You see, Desmond, that's
always been your problem,

that you've never tried to
understand where I come from,

or how I feel,
or what I want to do.

It's always been
what you want to do

and how you
approach the world.

I don't approach the
world like you, Desmond.

I'm not interested
in all the power

and all the prestige
that you seek out.

It doesn't mean
that much to me.

Now, what does mean a lot
to me is keeping this job

and make sure I don't get
fired from this job.

LIAM: "(scoffs) That's fine,

"I can't waste my time
with you all night.

"I have to make the rounds."

IMARI: All right.
LIAM: "Grease the wheels."

IMARI: Well, let me know
where you are,

perhaps I'll bring you
a brandy or two.

LIAM: "You're a very small fish
in this stream now, Malcolm."

IMARI: (laughs)
LIAM: "Best you follow

"the current downstream."

He grabs a glass off
the tray and walks off.

IMARI: Well, it's a good thing
I know how to swim, isn't it?

(laughs)

(sighs)
LIAM: Disappears into the crowd.

She's not immediately
visible anymore.

IMARI: Shit.

(sighs) Do I have an idea
of where she went off to?

LIAM: I would say that you
kept eyes on her long enough

to see that she veered
to the right

when she left balcony.
IMARI: I want to trail her.

LIAM: Okay.
IMARI: I want to trail her.

LIAM: Well, you
don't see her,

but you're going to follow
along in the direction

you think she went.
IMARI: The path I think she is.

LIAM: So give me
a Survey roll.

It's low stakes.
IMARI: Okay.

I'm not going to burn
a drive on this one.

I'm going to...

Five.
LIAM: Five.

Okay, so you wander in

and stop to make
sure that people

are getting supplied with
champagne as you go.

You wander through
several little stations,

passing a painting of a
nude woman on a chaise,

and then passed
one of a field,

with a man lying on his back,

staring up into the sky,

and some sort of
a ruin in the rear.

Pass that, and you get
to what feels like

a dead end back here.

You get off the balcony,

it winds and winds and winds,

and then it stops.

She's not here,
but what is here,

excuse me, about 40 feet away

are a man and a woman

standing at the bottom of a
thin set of black stairs.

They are in black masks
with gold trim,

black suits, golden gloves.

Standing, just
watching the room.

IMARI: Hmm.
LIAM: But she's not here.

IMARI: They're
guarding that door?

LIAM: They are for sure,

got their backs to the
foot of these stairs.

IMARI: Interesting.

(sighs)

I think I'm going to go back

and I want to relay this
information back to the team.

LIAM: Okay.

You are also down to
one glass of champagne,

by the way.
IMARI: Yeah, so I think

it's a good time
for me to refill.

LIAM: Mm-hmm.
IMARI: I would like to offer

the two guards, actually,
a glass of champagne,

and see how they
receive that.

LIAM: Okay, sure.

You can do that while
making another Sway roll.

Very low stakes,

please don't burn
any drive on it.

IMARI: ♪ Sway with me ♪
AIMEE and ALEXANDER: (laughs)

IMARI: ♪ Keep my drive ♪

♪ Stay alive ♪

Oh! They're going to
throw it in my face.

I have myself a three.

(laughs)
LIAM: A three?

AIMEE: They might take a sip, but.
LIAM: It's low stakes,

it's not that intense.

You just get there

and the woman
cranes her head a bit,

but the guy on the
other side just goes.

IMARI: Mm.
LIAM: Doesn't even speak,

he just gives you the hand.

IMARI: Oh, ah,
perhaps another time.

LIAM: You wind away
into the crowd.

Grimoria.

Mr. Fogg comes storming
out onto the balcony,

looking all over the place,

sees you, comes walking
over to you, and he's like,

"Come on, I told you
to wait by the busts.

"(sighs) Cynthia
is in the shitter.

"Come with me."
AIMEE and IMARI: (laughs)

AIMEE: Oh, the what?

LIAM: "The loo,
the water closet."

AIMEE: Oh, sure.
IMARI: (laughs)

AIMEE: I think I might've--
LIAM: "She's not feeling well."

AIMEE: Oh, that's too bad.

I think I might've procured
some interested parties.

I was telling them
all about the bust.

LIAM: "Oh, I have
someone waiting

"where you were
supposed to be.

"Now! Let's go."
AIMEE: Oh, great.

LIAM: He drags you over,

and there is a couple,
a man and a woman,

who are in their late 60s.

The man has
a tight little bow tie

and a little almost
mechanical-looking mask

with little gears glued on.

AIMEE: (laughs)
LIAM: She is wearing

what looks like
peacock feathers

streaming out from
the side of hers,

and she has long gloves on.

They're just
waiting, looking,

appraising these two statues.

(lady) "I don't know, I don't
know where we would put it."

(man) "Ah, I think it could go
maybe in the front sitting room

"or the back sitting room,

"that one."
AIMEE: She overhears this.

LIAM: Mm-hmm.

AIMEE: I think you have
the perfect place for it.

LIAM: (man) "Oh, is this her?"

(Oliver) "(claps)
Grimoria, please."

AIMEE: Hello.

LIAM: "Reveal the invisible."

ALEXANDER and IMARI: (laugh)

AIMEE: Well, you both
seem so artistic.

LIAM: "Oh."

AIMEE: You might
really appreciate...

This accent's all
over the place,

but pretend it's
like a really exotic--

LIAM: You had me sold.

TALIESIN: They don't know.
AIMEE: Okay, well, anyway,

for those watching at home.
TALIESIN: They're useless, yeah.

AIMEE: (laughs)
LIAM: I love going to the theater.

AIMEE: (laughs)

I can tell.

I bet your favorite is

"Hamlet."

IMARI: (laughs)

AIMEE: "Macbeth."

ALEXANDER: (laughs)

LIAM: "I don't know
those names!

"Are those new plays?"

AIMEE: Yes.

IMARI: (laughs)
AIMEE: Now, these busts,

they're not just
ancient busts.

LIAM: I want to interrupt just
to tell you that Mr. Fogg

is watching behind
them, he's smiling,

and there's sweat glistening
on the side of his face.

Proceed.
AIMEE: His bubble guts?

IMARI: (imitates fart)
AIMEE: She gives them a display.

IMARI: (laughs)

AIMEE: In fact,
they hold in them,

you see, they're entombed,

the star-crossed lovers.

LIAM: "That's fascinating."

IMARI: (laughs)

LIAM: "How do you know?"

AIMEE: I feel it.

In fact, let me
tell you a story

about these
star-crossed lovers.

They came from
dueling families.

Once upon a time, you--

LIAM: You think you hear
the sound of a wet fart.

AIMEE: (laughs)
In fair Verona.

ALEXANDER: Oh my god.

AIMEE: (laughs) Then she
proceeds to say the plot

of "Romeo and Juliet."
LIAM: (laughs) Right.

IMARI: (laughs)
LIAM: Which doesn't exist

in this world.
AIMEE: No, but she knows it.

LIAM: So it's
an original story

of Oldfaire.
AIMEE: Sure. It's an original story.

IMARI: (laughs)
TALIESIN: Somewhere out of the bleed,

infinite monkeys have put
together a script for--

AIMEE: Yeah, yeah.
TALIESIN: Yeah.

AIMEE: Or it's the
version of, right?

It's something slightly
familiar to them,

if they really
are theatergoers,

they've thought
about it too much,

they might've noticed
the recycled story.

But she's essentially
telling them

the story of
star-crossed lovers.

LIAM: Do me a favor, as
you're giving me this vibe,

will you roll
a Sway roll for me?

AIMEE: Yes, and I will use--
LIAM: In addition

to the great stuff
that you're saying.

TALIESIN: Am I anywhere--
ALEXANDER: In Oldfaire-ona,

where we lay our scene.
TALIESIN:-- near this?

LIAM: You for sure can be.

TALIESIN: I would like to
assist in this Sway roll.

AIMEE: Thank you.
LIAM: So you are looking around

and wondering if
Dad's around,

and you stumble upon this.
TALIESIN: I stumble upon this,

and I see what's happening,

and I walk up

and I begin to get
next to the couple

and I get enthralled.

AIMEE: Hmm.

TALIESIN: Go on.

AIMEE: That's a four
on the gilded die.

LIAM: Okay.

TALIESIN: That was
including my extra?

AIMEE: Oh.
ALEXANDER: You have an extra die.

IMARI: You roll the extra die.
TALIESIN: I gave you one more die.

AIMEE: Oh shit.

TALIESIN: Just add one more.
LIAM: Take another die

and roll one in there.
TALIESIN: Just add one more.

LIAM: Don't touch the
ones you rolled already.

IMARI: Just roll an extra one.
AIMEE: Okay.

Candela!

LIAM: (laughs)
TALIESIN: There we are.

IMARI: ♪ Ah ♪
AIMEE: (laughs)

LIAM: Yahtzee. (laughs)
IMARI: Candela.

TALIESIN: Yes, yes, I'm so sorry.
LIAM: (laughs)

TALIESIN: Go on, go on,

don't mind me.
IMARI: Alex is like...

TALIESIN: What?
ALEXANDER: In Oldfaire-ona

where we lay our scene.
AIMEE: Yes, in Oldfaire-ona

where we lay our scene.
LIAM: Ah!

You brought it home. (claps)

IMARI: (laughs)

AIMEE: Then she wakes
up from this poison

to see her dead lover--

LIAM: "Oh my goodness."

AIMEE:-- laid across
her tomb.

LIAM: "You have
the heart of a poet."

IMARI: (laughs)

AIMEE: I'm only channeling
what the spirits tell me.

LIAM: "Oh!"
AIMEE: And--

TALIESIN: How much
for these two?

I'm so sorry.

AIMEE: Oh, I could
never put a price.

Mr. Fogg, maybe you can

assist these buyers.
IMARI: (squelchy fart)

LIAM: "We could
discuss what's...

"will you excuse me?"

IMARI: (imitates fart)
LIAM: He just starts

duck waddling away--
AIMEE: Okay, yeah.

LIAM:-- into the crowd.

AIMEE: (laughs) Oh boy.
LIAM: And he's gone.

AIMEE: Okay, so
then what I'll do

is that I'll think of maybe
a price that I'd heard.

LIAM: Yes.
AIMEE: I don't really know.

I'll just very coyly:

This isn't really
my part of things,

but you see my employer
seems to be indisposed,

is that a word?

TALIESIN: Mm-hmm.
AIMEE: At the moment.

Writes down a figure,
slips it,

or actually sees
who wants to take it.

LIAM: "(gasps)"

AIMEE: Oh.

LIAM: "Oh, this is a steal.

"We'll see you in
the auction house."

TALIESIN: I'm going
for a hook

to grab the paper.
AIMEE: Oh, no, no.

LIAM: To grab the paper?

TALIESIN: I want to see.

I will double it, I will--
LIAM: I'm not going to make you

roll for paper. (laughs)
TALIESIN: Oh,

you got rid of it?
AIMEE: Oh.

LIAM: No, no, no.
AIMEE: Oh!

LIAM: I was like,
"Should I have him roll?

"It's piece paper."
TALIESIN: No, no, no,

just to go.
LIAM: You've got it.

AIMEE: Mister, mister, I think
I've got just the thing for you.

I mean--

LIAM: "We'll see you
in the auction house.

"These are ours,

"these are ours."
TALIESIN: No, I'm handing it back,

this is too rich
for me. (sniffs)

It's too rich for me.
AIMEE: Oh,

I'll show you something else.

TALIESIN: Yeah, I'll go on.
LIAM: As they walk away,

they're walking away
from you,

you hear the woman
say to the man,

"You were so virile,"

and disappear into the crowd.
AIMEE: (laughs)

Okay so we've made the sale.

TALIESIN: That was delightful.
LIAM: Well, it's an auction.

TALIESIN: It's an auction.
AIMEE: Oh,

that's true, okay.
LIAM: This is for people up here

to get excited.
AIMEE: Get excited about it.

LIAM: They got excited.
AIMEE: Okay, okay.

Oh, thank you.
LIAM: So did Mr. Fogg.

AIMEE: Thank you, Mr. Amicus.
TALIESIN: Oh, no,

you were doing very well.

AIMEE: Thank you.

TALIESIN: Yes,
no problem, yes.

AIMEE: Do we have any clue
as to what's happening?

Any updates?

TALIESIN: What it would be
worth, do you think, to--

If you could have--

Hmm.

If you had the opportunity
to maybe put this to rest,

but you had to do
the most unpleasant thing

you could possibly think
to do, would you do it?

AIMEE: But you put it
to rest forever?

TALIESIN: Well, at the
very least, maybe

make whatever it is that

we dealt with on
the boat go away.

AIMEE: Oh, I would say do it.

I can help.

TALIESIN: My father's here.

AIMEE: Oh.
TALIESIN: My father's here.

AIMEE: Oh no, how does
that make you feel?

TALIESIN: Well,
we haven't spoken

since, you know, since before.
AIMEE: Yes.

TALIESIN: Since before.

AIMEE: (sighs)
LIAM: Off in the distance,

you hear a bell ring

and you hear
a man's voice call out,

"15 minutes 'til the auction,

"15 minutes."

AIMEE: Oh no.

Well, I will assist you
in any way I can.

I understand that it's
a really hard thing to do,

but it might be worth it.

TALIESIN: Fuck.

Fuck!

I'm going to--

People are starting to
get together for the auction?

LIAM: Some people
are starting,

many people heard that

and just went back
to their conversations,

but some people
are starting to

grab a bag or fetch a person

and start making their way
off the second floor.

TALIESIN: Have we seen where
the third floor is going,

or where the entrance
to the third floor.

LIAM: Only Malcolm
has seen those stairs,

and he, in this
pinprick of a moment,

is in the kitchen
reloading champagne.

I'd like to know where
you and Zora are.

ALEXANDER: I believe
we were going to

head up to the second floor--

LIAM: Okay.
ALEXANDER:-- having acquired

the information of
where that door was.

LIAM: Okay, so as they're

having this conversation.
TALIESIN: I'll assume, yeah,

that Walter would know

to come up as well.
LIAM: You're wondering like,

"Where is that?"

that Edgar appears at
your shoulder with Zora.

TALIESIN: Excellent.
ALEXANDER: Hello, you two.

AIMEE: Hello.

TALIESIN: We're looking for
the extra auction access.

Does anyone see it?
ALEXANDER: Well, we have

information--
IMARI: I want to try to make

my way back over,
once I load up my tray,

I want to try to get
my way back over there

so I can deliver
the information.

LIAM: Okay, well,
let's just say then--

IMARI: Yeah.

LIAM:-- that many things
are happening at once.

You went back to the kitchen

and you got another tray
of champagne and came out.

You intersect
about 30 seconds

after this group
has intersected.

So they're into
their conversation,

Edgar is mid-conversation,

and then you walk up
offering champagne.

IMARI: Hello, friends.

ALEXANDER: Ah, hello.

As I was saying,
Zora, kindly,

was able to find out the
information we were looking for

and that there is a door
down the end of this hall

to the right

that apparently leads
to where we need to be.

IMARI: That's
fascinating information

because I happen to know
where that door is.

I can actually
lead you there.

LIAM: One point of clarification:
Set of stairs.

ALEXANDER: Set of stairs, sorry.

LIAM: No worries, no worries.

ALEXANDER: But it is guarded,

as far as I'm aware.

IMARI: There's
about two guards,

one male, one female.

TALIESIN: Did have
some sort of list.

Is somebody wearing anything?

I'm looking for
anything that--

AIMEE: Yeah, like
a pin or something.

TALIESIN: Have we noticed
a lapel or anything like that?

AIMEE: Yeah, like
a little ribbon

that might indicate people

that are invited
to the third floor.

LIAM: To the third floor, no.
ALEXANDER: From what Zora said,

the man himself is bringing

the invited buyers
in there himself.

IMARI: Oh, fudge.

We're going to have
to infiltrate.

Unless someone knows
one of the buyers,

they might be able to snag a,

snag a--
LIAM: "Well--"

TALIESIN: Fuck.
LIAM: "I have an old friend,

"but he's already
been up and down."

TALIESIN: Whom?

LIAM: "Reginald,
he is from the OUP

"and evidently did not tickle

"Aroha's fancy
with his offer."

IMARI: Hmm.

AIMEE: Do we see
Aroha anywhere,

or is he gone?
LIAM: Make a Survey roll.

AIMEE: Oh.

I just do one?
ALEXANDER: Survey, you just do one.

LIAM: It's low stakes.
AIMEE: Come on Candela.

LIAM: You're not going to fall
out a window if you fail.

AIMEE: Two!
IMARI: Aw.

LIAM: Two.

ALEXANDER: It's such a good--
LIAM: Still pretty crowded in here.

So you'll scan around
and don't see him.

TALIESIN: I'm still looking
for Walter or dear old Dad.

LIAM: Okay.
AIMEE: I have to be downstairs

in 15 minutes.
TALIESIN: Survey again?

LIAM: Yeah. Survey.

TALIESIN: Oh wait.
IMARI: We have 15 minutes.

15 minutes.

TALIESIN: I'm going to
take the low one and roll.

because one's
supposed to be gilded.

LIAM: Okay.

TALIESIN: A gilded five.

That actually doesn't matter

because I'm filled up
on that one anyway.

Yeah.

LIAM: You, while
they're conversing,

are slowly spinning around
up here looking,

looking, and you see
at the last second,

an older man with a,

an upside down moon mask,

it's very severe looking,

and it comes down
to here on the front,

there's a little dip down,

disappearing from view

and moving off
towards the direction

you recognize as the stairs.

IMARI: Interesting.

That man is going
in the exact direction

where those two
guards I spotted

are actually in
front of that door,

which I believe--
TALIESIN: Shit.

IMARI:-- holds our treasure.

TALIESIN: I take one,
I'm going to take

the champagne I'm
currently drinking,

I'm going to down it
and grab another

and start walking
in that direction.

LIAM: Okay.

You bee-line it away
from the group

and hook around
and start, again,

it's a bit of
a twisting journey

to get there through
a couple of rooms.

TALIESIN: Oh yeah.
LIAM: You almost

pass your father, you
don't make it to stairs,

and you find him sitting
alone in a corner

with a brandy in his hand,

just staring at the floor.

It looks, in this brief
moment, like he is just

not into it and has
found a moment alone.

Does not notice you
for the moment.

IMARI: Mm.

TALIESIN: You look like shit.

AIMEE: (laughs)
LIAM: "(grumbles)"

"Oh, for fuck's sake."

TALIESIN: Mm, 23 years,

this is the first words
I've gotten out of you.

LIAM: "Hello, Son."

TALIESIN: (sighs) Raymond.

LIAM: "Right."

TALIESIN: I've heard that you

have been wanting to talk,

but I was assuming
it was just shit

from people who are trying
to make something happen

that's not going to.

LIAM: "Who fed you
that bullshit?"

TALIESIN: (laughs)
You can guess.

LIAM: "Never stopped trying."

AIMEE: Mm.

TALIESIN: I will believe
that you believe that.

LIAM: "Haven't I done enough?"
TALIESIN: Mm.

LIAM: "Haven't I given
you a pile to sit on

"for your own disposal?

"Don't question it,
don't interfere.

"Don't get in your way."

TALIESIN: I don't question,

I don't interfere,

and I certainly do not
get in your way.

LIAM: "Mother's sake, you
act as if I were the one

"who wounded you and not
the other way around."

TALIESIN: For what it's worth,
no, I blame Mother,

I just blame you
for going along.

LIAM: Finally looks
directly in the eye.

"Well, drink it in.

"You won't have this
view for much longer."

TALIESIN: If it makes
you feel better,

I'm not here for you.

I have something upstairs
that I was hoping to

(contemplative sigh)
take out of circulation.

LIAM: I'm going to ask you
to make a Read roll.

TALIESIN: Hmm.

IMARI: What kind of roll?
AIMEE and LIAM: Read.

TALIESIN: I'm going to play
with this. Hold on.

AIMEE: Wish I could assist,

but we're so far.
TALIESIN: No.

IMARI: No one is there.

ALEXANDER: No, this is a--
TALIESIN: Fine.

I'm going to pull
a drive for this one.

Read roll.

Eh, I'll take it.

It's a five.

IMARI: Oh, nice.

TALIESIN: Actually, hold on.

Actually, I'm going
to use Sweet Talk.

I'm going to do an extra,
I'm going to add one more die

just to see, which is
also a gilded die.

LIAM: Okay.

TALIESIN: Nah.
LIAM: Okay.

You stare him down for
a solid 10 seconds

and he just
eyeballs you back.

You dropped that comment,

and you slowly realize
and believe

that he has no idea what
you're talking about.

And he stands.

TALIESIN: You don't know
where you are, do you?

Oh no.

LIAM: "Make this
the last time.

"Doesn't matter, I'll be
dead in six months anyway."

He turns and walks
back the way you came.

They don't know what
he looks like,

so that's the end of that.

TALIESIN: I'm going to try
and whisper as he walks by:

That'll be six months
more than half my life.

Well fucking done.

I'm going to go sit
down where he was

and just finish
my fucking drink.

IMARI: Cold.
♪ Cold blooded ♪

LIAM: I just have to draw
attention to the visual

of you finding your old man
with a drink in his hand

and then he leaves and
you fill in the exact same.

(chef's kiss)
(laughter)

LIAM: Back with
the rest of you.

Anything?

ALEXANDER: Everyone's going to
get called into the auction soon,

in a few minutes.

There's nothing we can
really do until then.

I don't particularly have
a plan of infiltration,

but that's not
really what I do.

But Malcolm--

IMARI: I do have an idea,

but it's going to be messy.

ALEXANDER: That's not
why we're here.

Very specifically said,
do not be messy.

LIAM: "Please, I do not
want you to be messy."

ALEXANDER: Yes.
LIAM: "We are not

"trying to cause a scene."

IMARI: It could be messy.

ALEXANDER: Again, no.

IMARI: It might be our
only course of action.

I'm thinking I distract
that guard at the door.

ALEXANDER: Two guards.

IMARI: No, one guard,

the guard that's big enough
for me to fill his clothes.

I get him somewhere,

and I want to take
over his position.

LIAM: Okay.

Leo, while you're
sitting there,

Aroha comes through the room

out from where you assume
those stairs are.

He is with a very tall
redheaded woman.

You can tell
that she's older.

She's in a silver dress
with a wide frill

and a very Nouveau mask.

He is placing a hand on
her shoulder as they pass

and he shakes,
with his gold hand,

he shakes hers and says,
"We'll be in touch.

"Thank you."

They walk a little bit further.
AIMEE: Shit.

LIAM: Then he wanders back
in front of your vision

and disappears from view.
TALIESIN: Wait, wait, wait.

Who was this?

LIAM: So Aroha and a stranger.
TALIESIN: Okay, Aroha, yeah.

LIAM: A tall, older,
redheaded woman

came together, shaking,
did a little handshake

about 15 feet away from you,

and then traveled back
on out towards the balcony

and the main part
of the second floor.

Then Aroha returned
into your view

and returned the way he came.

TALIESIN: I didn't have
time to register enough.

That would've probably
been way too much

what the hell
is happening to--

LIAM: Right.

You just went through
what you went through

and you are down,

you're on your third
drink, possibly.

TALIESIN: Yes.

LIAM: You just ogled
it as it happened

and only sort of sunk in

by the time he
was passing back.

TALIESIN: Who's the
fucking redhead?

ALEXANDER: I have an idea.

Is there, other than--

I'll let you have your plan,

but if we're doing
this without a mess,

is it possible we wait
for the auction to start,

and we ask our friend, Leo,

if it's possible for him to
leverage his family name

to get us past those guards?

They obviously would
know who he was.

He's here on behalf
of his family,

using maybe his
brother's name,

but the last name
is what's important.

To get through the doors,
to look at the artifact.

And because

the host of this party's busy

with the real auction,

that we've been sent up
to take a look at it

while he's busy.

AIMEE: I think the host is

showing off the artifact.

ALEXANDER: He is, but he
is the host of this party

and the actual public event
is about to happen.

There's no doubt
he's going to need

to be there at least
for a little bit.

LIAM: You hear a bell ringing
in the distance.

"10 minutes 'til the
auction. 10 minutes."

IMARI: Here's a problem
with that plan.

ALEXANDER: It's not
messy enough?

AIMEE: (laughs)
IMARI: No.

This is an extremely
secretive auction and

you're going to have
to give a little more

proof than that, I believe.

If it comes down to
repping a family's name,

there's going to
have to be proof

that you can
actually do that,

that they might
ask at the door.

From what I saw, those
guards aren't going to be

an easy sway, so to speak.

Now, unless we find
another way in the back--

Do we know if that room
leads to anything?

Is there any way we could
sneak in that room?

LIAM: Which? The one that--
IMARI: The one that the--

The lay of the land
of the house, do we--

LIAM: All you know
at this point

is that Mr. Fogg,
old Mr. Shits Himself,

had mentioned a museum of
sorts on the third floor.

You've only been as
high as the second,

and you only have had eyes
on this set of stairs

with two guards at
the bottom of it.

IMARI: This is on
the third floor?

LIAM: You're on the
second floor right now.

The stairs lead
to the third floor.

IMARI: Third floor.
AIMEE: Have we seen

Aroha come into the room yet?

IMARI: With the woman in red,

the red woman.
LIAM: He didn't make it out

as far, you guys never
saw him in this last--

AIMEE: Sure.
LIAM:-- five minute period.

Leo saw him pass in
front of his vision,

and then 30 seconds,
come back.

AIMEE: Oh, so he's back.
Okay.

LIAM: Assumably, he
walked with a client,

sent them on their way--
AIMEE: Yeah.

LIAM:-- and then returned
from whence he came.

AIMEE: Shit. I mean,

if I can get to him,
maybe I can do something,

but I haven't seen
him in the last--

ALEXANDER: This is Leo's--
AIMEE:-- few minutes.

ALEXANDER:-- territory as
far as I'm concerned.

TALIESIN: At this point, I've
gotten my shit together.

I'm standing up, I'm walking
in the direction of, yeah.

LIAM: Of which? The stairs?

Or the group?
TALIESIN: Well, I saw, yeah,

I saw the group.

Well, I saw him going
back towards the group.

LIAM: So you're in chair,
and on your left

is where you think you would
go to get to the stairs,

although you haven't
made it that far.

If you were to go
to your right,

you would head back to
where your friends were.

TALIESIN: I'm going
to hop to the left

just to see what's
down that hall.

LIAM: Okay, you stroll over,

this about four or five
minutes after you saw Aroha

with the woman.

You see these two guards
standing at the bottom

of a pretty slender
set of stairs

that lead up to some sort of,

you can just make out the
edge of a hallway up high.

But as you get there,
excuse me,

you see Aroha again,

and he's not alone.

He is coming down the
stairs with a tall man

with a purple and green
and gold mask

with darker brown skin.

As they get there, he is,

Aroha is tugging off
his glove as he comes

and offers his
hand to that man,

and they shake.

They both come
down the stairs,

first this stranger to you
and then Aroha after him.

Make a Read roll.

TALIESIN: Yes.

I'll burn another drive
because I'm in the mood.

Five.
IMARI: Nice.

LIAM: Five.

For a mixed success,

I'm going to deem it that you

realize that you are
looking at a man with Aroha

who bears a striking
resemblance

to Malcolm Trills.

IMARI: Oh wow.
LIAM: The failure of it--

TALIESIN: Shit.
LIAM:-- is that it is

the brother of
Malcolm Trills.

IMARI: Oh shit, it's Desmond.

LIAM: They come
down the stairs.

TALIESIN: It's the--
Well, I wouldn't, yeah,

if it's the baby brother,
I would have no, yeah--

IMARI: No, they're older.

TALIESIN: Oh, it's fucking--
IMARI: It's Desmond.

TALIESIN: Oh, okay.
It's Desmond.

All right. It's been a while.

LIAM: They walk together
past your position.

You guys finally see Aroha
now turning the corner.

You see your brother,
you are holding champagne,

and he comes around
the corner smiling

and then "(sighs)."

AIMEE: I want to make sure
Aroha sees me,

and I do a little green,
another green.

But I'm away from
the group at this point.

LIAM: Okay.

AIMEE: I want to appear
like I'm alone.

LIAM: Okay.

AIMEE: I want to do another
little green puff

and hope that he cares.

LIAM: Make a Sway roll.

TALIESIN: In the back,

I've come 'round the back
to try and just--

AIMEE: I'm going to
burn a drive for that.

TALIESIN: Just come back.

LIAM: You see the
intersection from behind

and then go back
to where you came from?

AIMEE: Oh shit.
TALIESIN: I see that I was going to

try and head this off.

AIMEE: A five.
LIAM: And it happened.

TALIESIN: Too fucking late.

Shit.
AIMEE: That's a five on the floor.

LIAM: That's a five on the floor.
TALIESIN: Five on the floor!

IMARI: On the floor, baby.
AIMEE: I burned a drive.

LIAM: That's a good speakeasy--
AIMEE: Yeah.

LIAM:-- for Newfaire,
AIMEE: Five on the Floor?

IMARI: Five on the Floor.

TALIESIN: That's good.

LIAM: To get his attention?
AIMEE: Yeah.

LIAM: Okay, so yes,

he actually starts to
"(coughing)" cough

and look over at the group.

It distracts your brother,

who also looks over

and sees a bit of casual

familiarity maybe between you

and the people you're around,

like, you know,

in this moment don't seem
quite like a server to him.

IMARI: Hmm.

Uh-oh.
LIAM: He bee-lines away

and heads down the stairs
with purpose.

AIMEE: Who does? His brother?
LIAM: Leo. Brother.

Aroha turns back,

Not as sharply as I just did,

he turns back and sees
his client stalking away

and he looks at you.

AIMEE: Can I, as I pass him,
can I whisper:

I know how to unlock it.

LIAM: "I know how
to unlock it?"

What's the goal here?

So I can know

how to judge on it.
AIMEE: I want to get in

that fucking room.

LIAM: I know how to unlock it.
AIMEE: Unlock it.

Then I show, and
if he looks interested,

I've painted--
LIAM: This needs a new Sway roll.

AIMEE: That's fine.
IMARI: Oh man.

AIMEE: Well then, I won't
tell you what's in my hand.

LIAM: Okay.
AIMEE: But I'm going to burn

another drive.

IMARI: Secrets, secrets are no fun.
AIMEE: Because it seems worth it.

IMARI: Secrets, secrets
hurt someone.

AIMEE: Five.
IMARI: Ooh.

Watch you, girl.

LIAM: All right,
I still have to understand

where you're going with this.

AIMEE: Okay, so if he
looks interested--

LIAM: Yeah.

AIMEE:-- on the palms
of my hand,

I've painted that figure

that you described.

ALEXANDER: That was on the chest.
AIMEE: That was on the chest.

The key

to lock the box that
the bones were in.

I'm assuming that these bones
are in a similar box.

Does that make sense to you?

LIAM: Yes.

AIMEE: I sort of,
if he wants to see it.

LIAM: So you are,
let's be perfectly clear.

AIMEE: Yeah,
so it's a risky thing.

LIAM: You are outing
yourself to him

as someone who has seen
his forbidden goodies.

AIMEE: Yeah, I think I'm outing
myself as someone who might--

LIAM: Like that
you are the person.

The only way for--

AIMEE: Unless he believes in magick.
LIAM:-- you to know this design,

means you saw the box
that he sold to initially.

So this is you,
I'm going to let it happen,

if that's what
you want to happen,

but this is you going, hey,

I'm the person
you duped initially,

No, that's not what I'm try--
LIAM: Because that's what

he would see.
AIMEE: Oh, well then, no.

IMARI: Might I say something?

AIMEE: That sucks, I was trying
to do something cool and not--

IMARI: Might I say
something, though?

AIMEE: Yeah.

IMARI: This actually
might be able to work

if you utilize your gift,

which is to reach spirits.
AIMEE: Yeah, I wanted him to think

I was like a cool medium.

IMARI: But he doesn't
know your power yet.

Does he know what
Grimoria does?

LIAM: No.

IMARI: Okay, so--
LIAM: He barely gives two shits

about her employers.
AIMEE: Right, right.

IMARI: Okay, so he does
not like the Foggs.

We know this, right?
AIMEE: Sure.

IMARI: So he's going to think
you're automatically a scam.

LIAM: I'll roll with
anything. I just want--

AIMEE: No, no, no. But if
he's going to think that--

LIAM:-- to have us have
the same Mind Palace

shared at this table.
AIMEE: No, I just--

I want to get in,

and I don't know another
way to get in.

So it's a Hail Mary pass.

He hates this idea.

But we don't have
to go with it.

LIAM: I will roll with
anything that happens.

IMARI: I would say you give
in to your mysticism

and I'd say you enthrall
him with what you can do,

and that you have a feeling.

I think you should give
in to your ability,

and I think you should sell
the man with your ability.

AIMEE: I mean--
IMARI: It would be a risk.

TALIESIN: I'm behind
you right now,

and I can assist with this

when it comes time,
so it's okay.

IMARI: Or if I'm the same
size as my brother,

slip that fool a mickey
and I grab his mask.

AIMEE: Yeah.
IMARI: I go in place

of my brother.

AIMEE: I'm trying to
figure out a way in,

whatever the best way is.
Because right now,

we're all like:
How do we get in?

IMARI: I mean, my brother
has a mask.

They'll be paying
attention to the mask.

They won't pay attention
to my suit.

AIMEE: Right.
IMARI: If we could

slip him something that
would knock him out,

I could take his mask.

LIAM: I'm going to drop a
pebble in the stream here.

AIMEE: Okay.
LIAM: Because I was

a half a tick away from saying
it in the first place.

AIMEE: Right.

LIAM: Then you make your call.
AIMEE: Okay.

LIAM: Because the
stream could go

in 50 different directions.
AIMEE: Yeah.

LIAM: With you where you were
at the rear of the group

with eyes on the
stairs, and Aroha

seeing Trills head
down the stairs.

He looks to you,

and you've done your
green smoke moment.

AIMEE: Mm-hmm.

LIAM: A person in a black suit
with gold tie and black mask

is making their way
through the crowd quietly.

AIMEE: Okay.

LIAM: Totally avoids
you guys,

doesn't interact
with you at all.

Gets to the bottom
of these stairs,

which you still have
eyes on, only you,

and leans in close

to one of the two men at
the bottom of these steps

and whispers, and starts
to pull them away.

Then he motions for the
woman to come as well,

and she shakes her head
no, and he goes back--

Or he spots the secretary

and grabs her by the
arm and plants her.

The secretary is there,

and these three
start trotting off.

Not trotting, because
we're in a party,

but start quick walking back
out and start to wade through.

TALIESIN: Back towards us?
LIAM: Yes.

IMARI: Oh, they could
be transporting it.

LIAM: Okay, so there
is a secretary

at the bottom of
these stairs,

and three of these presumably
Red Hand security

moving through the party,
passing you right now

as Aroha is there.

And I only say that
because I don't--

IMARI: (sighs) Okay, we
got to follow him.

AIMEE: No, I'm going
to change my idea.

LIAM: I hate the idea of thinking
of slapping down a moment.

AIMEE: No!
LIAM: I wanted to make sure

you understand.

AIMEE: No, if that's the case,
if he's not going to buy it,

then I'm going to say:
I know how to unlock your box.

Then he can take that
as a sexual innuendo

and we can move past it.
LIAM: Okay.

Okay. Okay.
IMARI: (laughs)

AIMEE: I definitely don't
want to out the group.

I just wanted to
get into the room.

But if that's not going to--

if he's too smart to fall
into, he believes in magick,

then that's not it.
LIAM: The guy is--

IMARI: He knows
magick, though,

because he has
a magickal property.

So he does believe in magick.

AIMEE: Right, but if he's going to--
LIAM: He is a,

this world's version of
a criminal mastermind.

IMARI: Yeah.
AIMEE: Right, okay.

So then I will say

that weird sexual innuendo
and keep it moving.

LIAM: Okay. So that reaction
that he gets is--

IMARI: (laughs)
AIMEE: Then I'll go--

IMARI: (laughs)
LIAM: (laughs)

Through your mystical smudged

makeup and your spooky vibe.
AIMEE: Yeah, and I'll play it

crazy and go (scoffs).

TALIESIN: I might just go for
a Hail Mary here then.

AIMEE: Yeah, do it.
TALIESIN: Let's all get together

and let's just go--
ALEXANDER: Yeah.

LIAM: He shakes this off.
Doesn't know what it is.

AIMEE: Let's hope so.

LIAM: And heads off
after runaway brother.

AIMEE: Yeah.
LIAM: He even sees

guards running, so now he's
going with triple purpose.

AIMEE: Great.
ALEXANDER: Leaning back over,

I still think Leo's
our best chance

in getting through that door.

TALIESIN: I'm standing, waving.

LIAM: To the group?

TALIESIN: To the group, because

the door's in this direction.
LIAM: Oh, letting them know

that it has eased up a bit.

TALIESIN: Yes.
AIMEE: Okay, great.

So we follow.
IMARI: All right,

we've got to follow. I mean--

AIMEE: Yeah.
LIAM: Okay.

IMARI: But can I say one thing
before we do that, though?

AIMEE: Yes.
IMARI: Those three people.

So if you're going to
have that extremely--

If you're going to
have that artifact,

it's going to need security.

It's like, you know,
if you give someone--

AIMEE: Right. Right, right.

IMARI: I mean,
when you lend out

a necklace that's
worth millions

and you have an
actress wear it--

ALEXANDER: Like you do.
IMARI:-- they have,

it's a company. Security, right?
AIMEE: For sure.

IMARI: So if they're going to
have security guard the door,

that means it's definitely
not behind the door yet.

That is 10 minutes--
ALEXANDER: No, it's upstairs.

IMARI: Well it's upstairs,
but it looks like

they're going to go--

It's upstairs.
TALIESIN: It's absolutely upstairs.

ALEXANDER: The guards are at
the base of the stairs.

We have to go upstairs

in order to find the room.
IMARI: Up the stairs.

ALEXANDER: So this is
just the first hurdle.

TALIESIN: It's like
you've forgotten

what it is to have money.

Come on, let's give
this a fucking roll.

IMARI: All right.
Well then, old boy,

I think you should
work your magick.

LIAM: A reminder that Malcolm

is dressed as
a waiter right now.

AIMEE: I know, and I'm
dressed like this.

LIAM: That's the package.
AIMEE: Yeah, it's--

LIAM: Make your choices,

but I'm just reminding you
of the Mind Palace.

ALEXANDER: Maybe
hang back a minute.

Let's see. We'll go--

I'll accompany Leo.
Zora will come.

LIAM: "I am going
to actually,

"I think I'll get
a bit of air and--"

ALEXANDER: All right.

LIAM: "I'll just watch
the aftermath,

"and deal with what I can
in the ways that I can."

ALEXANDER: Leo and I will go.
AIMEE: Okay.

ALEXANDER: When we get past
and give the signal,

you two dressed as you are--

AIMEE: I have to go downstairs
and sell my busts.

ALEXANDER: That's valid.

LIAM: The auction
is taken care of

by staff in this building.

AIMEE: Oh, great.
LIAM: Everything on

the second floor was so
that people would be like,

"I like that, I think I want to get--"
AIMEE: Oh, okay, okay, okay, okay.

So I've done my job.
LIAM: I get to see it

from five feet away.
AIMEE: Okay.

LIAM: So that when I see
it from 50 feet away,

I'm like, "I want that one!"
AIMEE: Oh, perfect.

So maybe the best
thing for us to do

is have a costume change,

which we planned for.
TALIESIN: I was going to say,

go find a costume change.
ALEXANDER: Yes, that's exactly

what I was going to say.
TALIESIN: That would be the thing to do

right now.
IMARI: I would definitely

change costumes.
AIMEE: Great.

TALIESIN: Someone who's
got their invite.

IMARI: Now, did Leo sneak me
in an outfit or something?

Because he said he was
also going to have a--

LIAM: You had talked
about a spare.

TALIESIN: You have it in your bag.
LIAM: But I will say

that Zora--
IMARI: Okay cool.

LIAM:-- pulls you
off to the side

and pulls her mask off.
AIMEE: Great.

LIAM: She offers it to you.
AIMEE: I'll take this off

and presumably have something
suitable underneath--

ALEXANDER: Underneath.
LIAM: Mm-hmm.

AIMEE:-- that would fit
the costume of the day.

LIAM: She also unpins

this raven-feathered
display that she has,

and she does her best
to fasten it up top.

AIMEE: Great, and the mask,
I'm assuming,

covers the makeup.

LIAM: Yes, and it's not
a perfect look at all.

AIMEE: No, but it's enough.
LIAM: But you no longer

look like--

AIMEE: Great. (clicks tongue)
LIAM:-- a spooky mystic.

AIMEE: I'm ready.

IMARI: I'm going to go back
to my bag that I packed

and retrieve my garb that--
LIAM: Sure. You have regular clothes.

LIAM: You'll look
a little underdressed.

TALIESIN: I can help with that.
LIAM: Ding, ding, ding!

TALIESIN: If anyone asks,
you're muscle.

You know the
actual name to use.

LIAM: (announcer)
"Three minutes!"

TALIESIN: I cannot believe
we're doing this.

LIAM: "Three minutes!"

TALIESIN: Heading towards
the back door.

AIMEE: I grab a champagne.

I guess I'll just
wait in the--

TALIESIN: You can come
out if you're good--

AIMEE: I'm dressed. I'll

grab the champagne.
TALIESIN:-- we can go up.

I'll let them know
you're coming.

LIAM: Malcolm, you are--

TALIESIN: Doing a clothing change.
LIAM:-- booking it.

IMARI: Booking it.
LIAM: Throwing on your clothes

and coming back here
in three minutes.

IMARI: Yep.
LIAM: Okay.

So you guys are waiting.

Malcolm disappears
with a full,

well, half tray of champagne.

You make it just as you hear,
ding, ding, ding, ding!

"Now it is time for us to bid

"in the Gardens of Delight."

You hear all the people,
what few people were left,

are realizing that they're
those people at the theater

who waited forever at the bar

and then they try
to run in at the

last second to get their seats.
AIMEE: Yes. (laughs)

LIAM: All those few people,
only one or two or three.

There's someone
on the balcony,

two people in the balcony

who are not interested
in the auction.

There's very few people,
you guys are almost alone,

and Malcolm comes running up,
definitely underdressed,

but no longer
dressed as a waiter.

AIMEE: Great.

LIAM: You still
have your mask.

IMARI: Gotcha.

TALIESIN: I was going to come
up with this motley crew

and I was just
going to move with,

hmm,

rich entitlement towards--
LIAM: Okay.

TALIESIN:-- angry, rich
entitlement towards the door.

LIAM: Towards this woman
in the carnival mask

with her clipboard.
TALIESIN: Yes.

LIAM: You're just
marching up to her?

TALIESIN: Mm-hmm.
LIAM: (Woman) "Oh, I'm sorry.

"The party is not
beyond this point."

TALIESIN: I'm well aware.

There should be a Steedwell
on that list.

(emphatic) There should be
a Steedwell on that list.

LIAM: "Oh, one moment."

She starts to rifle through.
TALIESIN: (aggravated sigh)

LIAM: "And you--"

TALIESIN: If it helps, it's
probably alphabetical.

LIAM: "Okay. First name?"

TALIESIN: It's, my god,

Raymond Junior,
for fuck sakes.

It might be under
Leonard, if I must.

Sometimes they use
the middle name.

LIAM: "Okay.

"All right.
And now what happens?"

TALIESIN: I was supposed to

take a look at
the merchandise.

I have my experts.

I have my personal security.

I was supposed to go up
and have a look at it,

and instead, I have been
getting a run-around.

LIAM: "I don't think that's
how this is supposed to work."

LIAM: "I don't think that's
how this is supposed to work.

"I could be confused."
TALIESIN: Do you--

You might be confused.

You could be confused
all the way

to three or four floors down.

What sort of job do you think
you could have at some point?

LIAM: Make a Sway roll,
and Leo,

this is high stakes.

AIMEE: I'll help.
IMARI: Okay.

LIAM: How?
AIMEE: I will help by--

TALIESIN: I'm using my extra.

AIMEE: I will
help by saying--

I will help by
racking my brain

for another really high
value artifact, you know,

and use my knowledge
and try to confuse her

by saying: Ma'am, you
have to understand,

this is da-da-da,
and you know,

he's acquired, through me,
this and this and this.

Just blow her head
up with garbage.

LIAM: Okay, so you pump
up his knowledge

and place in the
world of antiquity.

AIMEE: Place of antiquity,

using my knowledge
of the antiquities.

IMARI: I will also
lend a drive.

LIAM: Okay.

IMARI: I will mutter,
or I will convey the fact

that his father will be
extremely pissed off

if we don't secure the item.

LIAM: Yeah, you drop a comment
off to the side about how--

IMARI: Off to the
side, about--

LIAM:-- this is
going to blow up.

IMARI: Yeah, and that--
ALEXANDER: All right,

how many dice are you at?
TALIESIN: I'm good, I'm good.

LIAM: You have six?
IMARI: I lost a shift.

TALIESIN: I'm at six.
ALEXANDER: Okay.

TALIESIN: Also, just to have
a moment before I go this:

I'm sorry. I'm just
having one of those days.

Families can be so pressure.

I am sure you understand
what it's like

to have inappropriate
pressure put upon you.

IMARI: This is Sway? This
is a Sway roll, right?

LIAM: Yes.
TALIESIN: Yeah.

IMARI: All right.

TALIESIN: There's definitely
a Candela in there.

AIMEE: Yes!

TALIESIN: That was deep.

I burned everything for that.

LIAM: You see the gears
in this woman's eyes

turn for five
seconds straight.

You're not being direct
and just waiting.

You are trying to look
officious and snotty

in the way that only
wealthy people can be.

ALEXANDER: Although I can't
add drives to that roll,

I take my pocket watch out,
look at it and just (sighs).

(laughter)
ALEXANDER: And close it again.

LIAM: Pushed it over the edge.

AIMEE: Dr. Lycoris,
great acting.

LIAM: She looks super unsure,
but the talk about

loss of placement shook her.

She says, "Well, all right.

"I will have Mr. Tama-Kai
join you when he returns."

TALIESIN: We shouldn't be long.

LIAM: "It's just up the hall.

"I'll be here."
ALEXANDER: Thank you.

TALIESIN: For your trouble.
I pop 200 in her hand.

LIAM: "(uncertain fumbling)"

She moves and walks over to
one of the golden metal trees

that has fallen over
and starts to prop it up,

and then she starts to
look away into the party,

potentially for her boss.

But there is no one on
these stairs right now.

AIMEE: Fab.
LIAM: You guys start to--

ALEXANDER: Let's go.
LIAM:-- climb the stairs.

Okay.
TALIESIN: This has been a day.

LIAM: You walk up this thin
staircase, up 20 steps,

and you see a long
hallway before you

with gold pattern nouveau
all along the floor,

and there's stained
glass windows

down the right side
of this hallway.

You can see,

you walk 10 feet and the
light is just as intimate,

pink or red-tinged
in here as well.

Something feels off
to you immediately.

You see a curtain
billowing, just one.

When I say curtain,
I mean thin and gauzy.

AIMEE: Yeah, yeah.
LIAM: They're all along

the hallway, but it's blowing

as if there is a lot
of wind hitting it.

There's a doorway
all the way down,

across from it almost
exactly, but not,

a little bit off,
a doorway open into the hall.

AIMEE: (sighs)

ALEXANDER: We need to
do this quickly.

TALIESIN: Yes, we do.

AIMEE: Who's got the quartz?

ALEXANDER: I have it.
AIMEE: Okay.

LIAM: The little
piece of clay.

AIMEE: Or the--
LIAM: The chip of quartz, yeah.

AIMEE: The chip of quartz.
ALEXANDER: I have it.

AIMEE: Great, okay.
So we keep walking?

TALIESIN: Yep.
Keep your eyes open.

Look for anything,
anything at all.

LIAM: You move slowly
down this hallway

towards this billowing bit
of gauzy curtain there.

You are about five or
six feet away from the door

and you hear

(low, ominous rumbling)

from around the corner.

ALEXANDER: We're not seeing
green light, are we?

LIAM: No.

AIMEE: You said no?
LIAM: No.

AIMEE: Do I hear anything
in my newfound auditory--

LIAM: I haven't mentioned
that constantly,

but it is like
a background noise.

AIMEE: Yes, of course.

Is there anything specific?
LIAM: Almost like a spiritual tinnitus.

AIMEE: Yes.

LIAM: No, no.
AIMEE: Okay.

LIAM: It is not
your eavesdropping tool.

AIMEE: Okay.
LIAM: It is just--

AIMEE: It's just
background noise.

LIAM: Yeah.

AIMEE: Okay.

ALEXANDER: Okay, well,

I guess we follow the noise.

TALIESIN: Is it my turn or
is it someone else's turn?

ALEXANDER: I can go.

TALIESIN: No,
you look like shit.

I am going to
gently open the door.

LIAM: Oh, I'm sorry. Door is
open, that's what I'm saying.

TALIESIN: Okay, I'm going
to gently make my way in,

looking left, right,
up, down.

LIAM: Okay, well, immediately
upon entry, on the floor,

you see a man in
a black suit and gold tie,

except the gold tie
is smeared with blood

and there is a gaping well
in the man's chest.

His gold gloves are
splayed out to the side.

You have one second
to let that register

and you look up and
you see two,

you believe men wearing
fox masks in full suits,

and one of them is
staring intently

as another one is holding
a long sword in their hand.

The sword has
a pale blue sheen to it,

and he is pressing the blade

through a bolt on
a metallic band

holding a
familiar-looking chest

to a dais in here.

There is already another band
with a lock on it

that you see has
been burned through,

almost as if someone had used
a welding tool to cut it,

and this blade is
going (sizzling, clangs)

and it breaks,

and in that second,
they look up and see you.

It's almost like
a Shining moment.

Just two fox masks
go like this,

and one of them
grabs the case--

AIMEE: ♪ What does
the fox say ♪

LIAM: They pivot
away from you

and run to the rear
of this chamber,

and there are objects on
shelves all around here

and things on pedestals,
and the gold box a second ago

was in the center
of this room,

but now it is being run
towards a stained glass window

as these two men (crashing)
leap through the window

and skitter out
onto a wet roof

and go running away from you.

AIMEE: Okay, can we peer down
the window? How far is the fall?

LIAM: It's not a fall.
It's two feet down.

AIMEE: Okay.

LIAM: They are already
30 feet away from you

and they are sliding down
a sloped bit of roof

down to, you guys are
on the third floor,

they slide down roof and hit
what is likely the second floor

and begin running along
the top of this building.

IMARI: I'm giving
chase immediately.

LIAM: Okay.
Malcolm's out the window.

AIMEE: I don't know
what else to do.

TALIESIN: Oh god.
ALEXANDER: (groans)

TALIESIN: I try and
safety dive down there.

(laughter)

LIAM: As everyone--
TALIESIN: (wails)

LIAM: Yeah, that's true, so
they've got a good lead on you

because you guys
just stood shellshocked

as they started to book it.
AIMEE: Yeah.

LIAM: Everybody make
a Move roll for me.

It's going to account for

a couple little
dips and turns here

as you start to slide
down the roof.

ALEXANDER: Candela.

LIAM: Candela!
IMARI: (laughs)

Five, gilded.
AIMEE: Four.

Oh, nice. Four.

LIAM: Okay.
TALIESIN: Four.

LIAM: Four. You got a,
I'm sorry, Grimoria?

AIMEE: Four.
IMARI: I got a five.

LIAM: Oh wow.

IMARI: Oh,
baby getting trippy.

AIMEE: I know it.

LIAM: All of you guys start to
slide down at different paces,

Malcolm in the lead,

and you realize quickly
that you are sliding down

stained glass as well.
AIMEE: Oh.

LIAM: You couldn't tell--
TALIESIN: Oh!

LIAM:-- in the darkness up here.
AIMEE: That sucks.

LIAM: Somehow you,
Edgar, manage to go down

through the seam
between two windows

through no skill
or intention.

You just lucked out.
AIMEE: Just luck.

LIAM: But the rest of
you start sliding down

and then feel it break
under you to a degree.

It is not a fall
into a chamber.

It is glass over
a solid roof.

AIMEE: Oh thank god.
LIAM: But it is enough

to start to cut into you,

and all of you who got
a mixed success,

take one body as
you cut yourselves

on the slide down.
AIMEE: Ah, shit.

LIAM: You pick yourself up,

wincing in pain

at lacerations in your--
AIMEE: I probably

have many layers
of petticoats,

just to be clear.
IMARI: (laughs)

LIAM: They've just been
cut to ribbons.

(laughter)

LIAM: Body, body, body.
IMARI: Look at the glee

on his face.
AIMEE: I know, I know.

TALIESIN: "I am a librarian!"

AIMEE: Yeah, yeah,
yeah, yeah.

LIAM: So Edgar almost
runs past you, Malcolm,

because you slide up
and get onto your feet

and go and then turn

because they're not
with you right away.

They jump up and you
guys start booking it.

You see these two masked
figures go from this roof

to an adjoining building.
AIMEE: Good grief.

LIAM: You guys run
after them.

It's two feet.

I'm not going to
make you roll,

but they're still
ahead of you

and you see them hit a ringed
over metal fire escape ladder

and they both disappear from
view and start to go down.

AIMEE: Fuck.

LIAM: You run and get up to
the side of the building

and you see them just as they
get to the sidewalk below,

and two masked faces
look up at you,

and then they start
to run up the road

towards the Shriveline.

You can see the glow of
this blade on a man's back

in modern day Newfaire
running up

like he's some knight
out of the the 1200s.

We're still going, right?

ALEXANDER: Yeah.
IMARI: How far away are they?

LIAM: They're probably
halfway up the block

while you are still at
the top of the building.

IMARI: Fuck.

So it's too far away for me
to shoot with my gun, huh?

AIMEE: Yeah.

LIAM: Uh...
ALEXANDER: That's messy.

LIAM: You can also see some
people in the periphery here.

You're not at the front of
the building at the entrance,

any of that.

You are on a side street
right now.

AIMEE: Yeah.
LIAM: But you still see a few people,

and a couple of people
catch them as they run by,

but then shake it off.

They are near
a costume party,

and they keep walking away.
IMARI: I'm giving them chase.

If I fire my gun, it's
going to draw attention.

AIMEE: Yeah.
IMARI: It might draw

a noticeable attention.
LIAM: Seems plausible.

IMARI: Let me go ahead and I'm
going to continue to chase.

LIAM: Okay.

IMARI: I'm going to
try continue chase

until I see a--

Okay, what's good
to do chase?

Let me see what
that leads me to.

ALEXANDER: Okay.

I'm running as hard as I
can to catch up to them

because I have an idea.

LIAM: Chase the danger, baby.

So Malcolm is the first
one to hit the railing

and you just barely
even take the steps.

You do a lot of sliding down.

The rest of the party
follows after.

You hit the the bottom
and you can see them.

They've already crossed the
street onto the next block

and you start running.

You guys run through this side
street through the Varnish

and you can just start to
understand their trajectory.

They are headed for
the Shriveline,

and the city is not
segmented into like,

"This is this box
and this is this,"

but one neighborhood
gives way to another,

and you start on the next
block that you cross,

you already pass some sort
of small seminary building

and realize that you're starting
to get into that bleed over

between the neighborhoods.

You give chase
as fast as you can,

huffing down the block.

If they hadn't gotten
such a good start,

if you hadn't raked yourselves
down stained glass,

you might've been
right behind them.

But instead they have
got about a block,

block and a half lead,

and you see them--
AIMEE: Damn it.

LIAM:-- running towards
a fenced in area,

large open field.

As you're running,

Leo, you're at
the back of this group

as they run
as fast as they can,

but it is slowly
starting to dawn on you

where you are going.

TALIESIN: No.

LIAM: Right now,
they are running towards--

TALIESIN: (groans)

LIAM: That's right.
TALIESIN: (emphatic groan)

AIMEE: What?

IMARI: What?

LIAM: They are
running towards

the Sacred
Ascension Cemetery.

IMARI: Oh shit.

LIAM: They blow past a gate
entrance as they go in.

You lose sight of them

because it is
way darker in there.

It's somewhat lit on the
city streets at this hour.

There's not as much
light in, say,

a modern day New York
City, but there's some.

But as soon as you
get to the cemetery,

that's lights out, baby.

And they are in.

IMARI: Is there anything--

Is there a moped

or a motorcycle I can jack?
AIMEE: Bike? Bicycle?

What?
LIAM: A jack?

AIMEE: Bicycle chases.

IMARI: Well,
procure or steal.

LIAM: Oh!

I thought you said
is there a jack

as a noun.
IMARI: No.

LIAM: You had me with
moped bicycle.

IMARI: Is there
like a motorized--

LIAM: There are not
those in this world.

TALIESIN: Where they're going,
it's not going to help.

LIAM: They're already--
ALEXANDER: Where are we going?

LIAM: When you say that,
when you're asking that,

they have already,

I literally just said they
had bust through a gate

and were in a cemetery.

IMARI: Okay.

LIAM: They are disappearing
from view rapidly.

ALEXANDER: (sighs)

LIAM: As you guys
get closer yourselves,

you start to see

there are pins attached

all along this fence.

AIMEE: Pins?

ALEXANDER: Yeah.
LIAM: Yes.

It is a Newfaire custom

that has to do with burial.
AIMEE: Oh, yeah, yeah, yeah, yeah.

Yes, that's right.

LIAM: You run in,
and this is a--

You know this because you
were here a long time ago.

TALIESIN: Yes.

LIAM: For a very
special night.

TALIESIN: Yes.
LIAM: It is a large sloping cemetery

that goes on for three
or four city blocks--

AIMEE: Jesus.
LIAM:-- the equivalent of which,

and it's hills
and valleys through.

They are definitely heading
on an angle that you know.

You know where
they're heading.

TALIESIN: Yes.
LIAM: You give chase.

You pass that outer fence.

You can just barely make out
for the first seconds you're in

glimpses of shadows
running in the night,

but then you
lose sight of them.

However, far in
the distance, you three,

you see a darkened building,

a structure in the distance
with a little bit of light

peering out of
gaps or breaks.

You get closer and closer,

and realize you are looking
at a very old church

in the farthest corner of
these cemetery grounds.

The door,

when I say door,

there's breaks in the
walls in this place.

There's holes in the roof,

there's bits of scaffolding
on the outside of this.

This place is
a relic of the past.

It is not a church
that is in use.

It is more like--
AIMEE: Like ruins?

LIAM: It is ruins.

There is definitely
walls and roof,

but it clearly is not a place

where services are given
to the mother anymore.

Not in this day and age.

You can see a little
bit of lit stone.

So clearly there
are people in here

or there are light
sources in here,

but if they're in there,
they're in there,

and you guys are now
catching your breath,

standing amongst
a bunch of gravestones,

which if you squint
at you can,

I mean it's dark,

but they're also the ones
that are closest to you,

these are so old
that the names

are mostly worn away
with time.

Probably centuries old.

I'm not talking Oldfaire,

but like founding of the
city, the modern city.

200 years old, 300 years
old, some of them.

TALIESIN: Have the
people in the fox masks

made it into the church yet?

Because if they haven't,

I am booking in
that direction.

LIAM: You lost sight of
them about a minute ago,

and you're going
on assumptions now.

You don't see them.

TALIESIN: I'm going in
the fastest direction.

If there's a shortcut,
I would know it,

and I am heading that way.

LIAM: Okay, so you
are running to the--

The fastest way in
is the front door.

When I say front door,

obviously it's
a huge church's arch,

but there is no--

The wooden doors that must
have been there at one time

are not there.

It is open to the world.

So you are rushing in?

TALIESIN: Or can I see them?

LIAM: As you run up, you see--

Yes.

You see one man moving
around towards the rear,

dragging some sort of a
drape or a blanket out,

and then you see
somebody cross your view

and you catch a glimpse
of that blade glowing

and then disappear as
he moves about inside.

TALIESIN: I stop directly at
the fucking line of that door.

LIAM: Outside it?

TALIESIN: Yep.
LIAM: Okay.

AIMEE: Well, I wouldn't
know any better,

so I'd probably run into you

because I think
we should keep going.

TALIESIN: I will grab you.

AIMEE: Okay.
LIAM: Let's hold on for a second.

TALIESIN: Yeah. I will
pull away from that door.

IMARI: Oh, here we go.

LIAM: Leo.

Feet from the door
of this church,

you catch yourself rigid,

half of you wanting to stride
in and half of you paralyzed

because you have come back.

You've come back, Leo.

It's been 23 years,
but you are here.

The place where you ripped
your life up into tatters.

The moment The Dawn Society
went dark forever,

along with any normal
life you might have had.

It's just how
you remember it,

though I know
you wish you didn't.

You can see through the gap,

seconds before these people
notice your presence

silhouetted in the door here,

another very important
doorway off to the side,

leading into that room

where you and your friends
drew a circle on the ground.

Where you set
down that clock.

You wound that
infernal clock.

What happened here, Leonard?

What did you fucking do?

TALIESIN: We wound,

I-I-I-I-I wound the clock.

It was, it was,

(sighs)

I wound it.

I sat in the circle.

It-it-it ticked and ticked,

and we waited.

It was going to be a game.

It was a game.

It was just a stupid,
stupid game.

The lights went out and then,

and then-- Do you hear that?

Then it,

Uh, um.

It's so hard to think with--

LIAM: (whispers) Do you
hear them screaming, Leo?

TALIESIN: It-it-it ticked.
LIAM: (whispers) Those teenagers.

TALIESIN: And ticked
and ticked and ticked.

LIAM: (whispers) Your friends.

TALIESIN: There was
something in the dark,

and I was so, so, so scared.

LIAM: (whispers) Where's
your sister, Leo?

TALIESIN: I heard her scream.

I heard her scream and
run, and then I heard--

It shouldn't have been a
scream, whatever it was.

It was too much.

And I watched.

I watched the other two
who stayed.

I stayed.

They just stopped.

They, whatever they
saw, they just stopped.

Their bodies just

broke and cracked.

And then I broke.

And then, and then,
and then it just,

it's, it's...

(shouts) Can you hear that?

Can anybody hear that?

It's, ah!

LIAM: (whispers) You're all
alone in this moment, Leonard.

TALIESIN: There were eyes.

There were eyes.

And each,

with each tick,
they got closer,

and they found the others
and they chased the others.

It wasn't,

it wasn't the tick,
tick, tick, tick,

tick, tick, tick, tick.
(thudding)

It just, it wouldn't.

It wouldn't.

It would just find--

Time just bent.

I was so scared and I woke
up and the world was--

Different.

I don't. I woke up and
I don't know what I--

I don't, they were dead.

They were all--

I don't know why
I'm not dead.

I don't know why.

I don't know why
I'm not dead.

It's just, it's still in.

It's still.

Okay-- Please make it stop!

Can you please make
it stop? (sniffles)

LIAM: Everyone loves
a party, Leonard.

All of you come crashing
back in behind Leo,

in the doorway and four
people inside of this church

turn and spot you.

Two are ready. They are
wielding these shimmering blades

in the dark lighting
in this church.

A priest, modern day,

except his shirt
is split open,

and he has vestments
hanging down,

standing in front of
the altar of the church

with a shroud placed over it.

His arm is reached
out to one man

who is holding
this golden box.

The priest at the altar
yells, "Heretics!

"Do not wait!"

One of the men
with a sword says,

"You shouldn't be on
this hallowed ground.

"You will leave this place."

A third man steps forward
with this golden chest.

His hand reaches
around to the front,

and he says,
"This church will be cleansed

"by the Flint and the Flame.

"Into the pit with you."

His hand turns and clicks
that disc on the front.

ALEXANDER: Oh shit.

LIAM: A high-pitched
keening sound begins

to whine up quickly
on your three o'clock,

and a streak of green-hued
light arcs out

from a break in
the wall on the right,

quick and precise.

Now, stay with me here

because this next bit
happens in seconds.

That energy strikes
the man holding the chest

and before your eyes,

his entire body is enveloped
in that sickly green color

that you know so well now.

In seconds, his body,

his whole body is
starting to disappear.

Simultaneously, a man in
a black suit with no mask

is stepping over stone
into the church.

As he does,
he's lowering his hand,

which is sheathed
in some sort of thick,

partial leather gauntlet.

This thick glove
has a few coiled wires

running up to the elbow,

and the forearm has some
sort of short brass cylinder

that clearly has alchemical
sigilry carved into it.

and the masked man's body
holding this golden chest

begins to blow away

in a soft green tinged mist
as the golden chest--

We're still one and
a half seconds in--

Begins to fall
to the ground.

It strikes the stone floor,
popping open

as a skull burning green

bounces across
the stone floor,

rolling faster
than you can react

and comes to a rest

just against the tip
of your toe, Grimoria.

You feel the gnaw of
bleed in the air

and an eruption of
billowing light envelopes you

where you stand.

Everyone sees Grimoria's
body go rigid.

Her head thrown back and
she lifts an inch or so

off the ground, held there.

You take a brain,
you take a bleed.

Malcolm and Edgar,

in addition to seeing your
friend pinned in the air

like a butterfly,
you also now see a shadow

hovering above
the golden chest,

wavering for a second
where that man has stood,

and then it evaporates
like smoke.

The man on the ground
with no mask, yells,

"Package is in play,
secure it!"

Another high pitched whine,
and a streak of green

arcs down from a high point
in the ceiling.

A hole in the roof or a bit
of scaffolding is visible.

Another streak of green
streaks down the man

behind the altar.

The older man,
the priest obliterated.

Another shadow just
hovering and wafts away.

These new arrivals

are carrying themselves
like military.

Meanwhile,

three seconds later,
four seconds later,

five seconds later,

your vision doubles.

The color and definition of
the church fades from your eyes

as another reality
comes closer to clarity.

You see your own hands.

You are high on a hill

at the top of winding
white stone stairs,

holding a staff in one hand.

You can still see the church
and Edgar on your right,

but they're clear,
ghosts of themselves.

As cypress trees
come more into clarity

swaying in an ocean breeze,
the air feels warm.

A group of men

cautiously make their
way up towards you.

They are dressed in armor,

the likes of which you have
only seen in the museum.

They speak in a language
that is unknown to you

and yet you inherently
know its meaning.

As you do.

(man) "Do not make us
spill your blood.

"Return what was taken.

"You defy your emperor."

A voice answers.

Your voice.

In language largely
forgotten by time.

(Atia) "He would
destroy us all.

"His hunger is too great.
His wisdom a lie."

One of the men strides
forward, weapon in hand.

(man) "This witch knows
only defiance.

"We take it, now."

But your hand streaks
out and claws the air.

The man's body is
pulled from the step

and thrown viciously into
a boulder on the hill.

IMARI: Oh shit. Possessed.

LIAM: But then they are
all closing in on you.

You feel the point of a spear

thrust into your
ribs at your heart.

"Better I die here than
allow the mad emperor

"one more drop of power."

You rip the spear
from your chest,

then break the staff
over your knee,

and the hillside and
everything on it glows

a white hot light,

(light exploding outward)

and is gone.

All of you see a woman
hovering in the air

wreathed in a spectral haze

wafting inches off
of the stone floor.

Her hair is long and white

and undulates around
a deeply tanned face.

She wears rough-hewn robes
of blue and white pattern.

Atia Griffia,

return from old.

And now we are in it.

One, two men armed with
strange weaponry in the roof

and at the side.

There are two of these men.

Pyre agents.

You know this

because before the priest at
the altar was obliterated,

you saw a tattoo you've
seen in your past.

A tattoo of a sword
of this sect,

a hidden sect of the church
whose mission it is

to assume magick,

heretical magick,
to wipe magick out,

wrangle with the curse
to destroy it for good.

Or so the cell believes.

What do you do?
IMARI: (laughs nervously)

LIAM: Things are moving fast.
ALEXANDER: Liam,

the way those people
are disappearing,

does it look the same?

LIAM: It looks faster
and more precise.

The day your sister was
obliterated behind your back,

you turned in time
to see her passing,

fading, and blowing away.

That's been a
mystery for 18 years.

The sound you just heard
two times in a row

is like a condensed,
precise version

of what has haunted
you for 18 years.

What's the connection?

You'll have to
figure that out

because there is a man
whipping around now,

holding his hand out
and seeing you all

and turning his head quick

between these two
knights of Pyre

and the strangers rolling in.

He begins to walk towards
the chest on the ground

and he twists the
cylinder on his arm.

You watch as green energy
slides out of the chest

and wafts to that cylinder
and then sucks inside of it.

You hear (energy charging).

What do you do?

IMARI: Oh my god.

LIAM: One of the knight runs
towards that man on the ground

and begins to swing his sword

as that guy is finishing
up his power up.

TALIESIN: I am going to
duck for cover at this.

IMARI: Is the guy who's
going with the sword,

is he trying to kill
the guy with the cylinder?

LIAM: Looks like.

IMARI: So it could be a mix of--
ALEXANDER: It could just

go into the box.

IMARI: It could be a
mix of Red Hand though.

LIAM: Yeah, let me clarify
a few things for you

because any of you

could be disintegrated
in a moment here.

IMARI: Right.

LIAM: There is a pulsating
green skull

just beneath Grimoria.

AIMEE: Yeah.
LIAM: Atia.

Which, we don't know.

You have agency here as well.
AIMEE: Yeah.

LIAM: The box is open
and on its side

and you can see
multiple bones in there.

They look like
rods of uranium

strapped in velvet grooves

inside the box and they
are wafting green.

But the box is on its side

and they mercifully have
stayed clipped in place.

Only the skull
has rattled out.

TALIESIN: How close and how
far-- This changes things.

How close is this little run?

LIAM: She's 10 feet
in front of you.

TALIESIN: Okay.
LIAM: Hovering

six inches off the ground.
AIMEE: Up in the air.

ALEXANDER: Okay.
TALIESIN: You are as conscious

as they are.
AIMEE: Yes, I--

LIAM: You have overlapped
consciousness right now.

AIMEE: Yeah.

I would like to, if I can,
talk to Atia.

LIAM: Yes.
AIMEE: Okay.

I understand everything that
maybe her last moments were

and I feel very
deeply for her.

I want to ask her:

How can I help you?

I want to release you.
How can I do that?

LIAM: She doesn't reply
like a conversation.

But in language from long ago,

a phrase bubbles up through
the communication gap.

End his legacy.

AIMEE: Then I try to say:

The only way that I can
think of doing that

is to take your remains

and give them a resting
place in a safe place.

Because as you can see,
people want to use it.

LIAM: This conversation
is happening

in a grain of sand of time.

They are slowly
moving around you--

AIMEE: I just, I want--
LIAM:-- as you commune.

AIMEE: Yes, I want to relay to
her that she's safe with us

and we don't want to use
her power for anything

but to give her
a resting place.

LIAM: You're hovering
in the air

and you can feel your
toes wafting there.

She doesn't reply with words
of the era or of her own.

AIMEE: Sure.
LIAM: Instead, you feel power

surge through your chest,

through your arms.

IMARI: Yeah, baby.

LIAM: You are more
than you are--

IMARI: Oh!
LIAM:-- in this moment.

IMARI: Tasty.

LIAM: The Pyre agent
shoves a sword

into the gut of this man,

who cries out in pain

and palms the head
of this assailant.

You watch as the head just
(energy explosion).

AIMEE: Jesus.
LIAM: And blasts backward

in instant mist.

For a split second,
you see globules

of red mixed with green,

and then it is just
mist, and a shadow

in the form of this former
religious zealot hovers

and then blows towards
the door through you,

out the door
into nothingness.

A man above looks down
and sees the lot of you

and doesn't know
what to make of you

and aims his hand and fires.

Atia, I need you
to make a Move roll.

IMARI: I would like to
add a drive to that.

LIAM: Yeah.
AIMEE: Thank you.

IMARI: Because I want to
shoot him as he does that.

LIAM: Okay.
IMARI: So that would be

my distraction
if I can do that.

LIAM: Okay. Yes.

We will resolve
the Move first.

IMARI: Okay.
LIAM: You see the gun

goes off and the guy jerks
just perceptibly enough.

AIMEE: Candela!

LIAM: Candela.

IMARI: Oh, beautiful.

LIAM: I love it.
IMARI: Gorgeous.

LIAM: Malcolm sees
that man above

aiming his hand down at
your friend transformed.

You see it in a split
second, Malcolm.

You draw, quick draw
up and then shoot,

and the bullet goes.

It startles him enough
that the energy goes wide

and scorches along the ground

and you see the stone go
(sizzling)

and there is a
six-inch deep groove,

a messy groove in the ground.

Now we'll resolve.
Take your shot.

IMARI: I'm going to use
Sharpshooter on it.

That's three die then, right?

LIAM: Yeah.

IMARI: Plus my two--

Plus my Control,
so that's three die.

LIAM: Okay.
IMARI: Okay.

AIMEE: Do you feel like you
need help here or are you--

IMARI: Ah, no.
AIMEE: Okay.

IMARI: I think three die
should be good.

ALEXANDER: I'm going the man
on the floor that got stabbed.

AIMEE: Ooh, ooh!
LIAM: Yes.

Yes.

AIMEE: Man, you are

fucking lucky today.
LIAM: Candela? How many?

IMARI: One Candela.
LIAM: One Candela.

Six is great.

His shot scorches
the stone floor,

Atia also shifts in the air

a good three or four inches to
the side just getting missed.

The bullet,
gun goes off, bullet flies

and it flies
straight through the man's eye

out the back of his head.

He just stands there,
the hand flexed for a second

and his face just goes blank

and he crashes down
into the scaffolding he's on

and rolls off,

and you watch as his body
falls three stories.

(thuds) And hits
the ground and splatters.

Head broken open,
like a melon.

AIMEE: So who do
we have left?

TALIESIN: Where's the box?
Where's the clock?

LIAM: Where's the clock?

AIMEE: Clock?
TALIESIN: Where's the clock?

It was in here, wasn't it?
Or was it not in here?

LIAM: You think you
might hear the clock.

TALIESIN: I definitely know I hear--
LIAM: Do you remember the room?

TALIESIN: I do. Is there
a clear shot to it or no?

LIAM: You can try. Certainly.

IMARI: (laughs)

TALIESIN: Who's in my way?

Yeah.
LIAM: Currently, there's no one

in your path.

There is Atia hovering
above the skull.

Keep in mind we are going
in slow motion beats here

because I want you guys
to live, I swear.

You start running--
TALIESIN: I got a plan.

LIAM:-- towards the door.
TALIESIN: Well, I'm going to--

I'm going to pull off my mask.
LIAM: Yes.

TALIESIN: I'm going to
try and use it

to shove the skull
towards the box.

Just like a fucking--
LIAM: The box.

TALIESIN: Oh, is the box
too far away from that?

LIAM: Oh, the chest.
TALIESIN: The chest.

LIAM: We're talking
about the chest.

TALIESIN: Yeah, at the moment.
LIAM: Thank you.

I thought you were
talking about--

TALIESIN: Oh, I was curious
if I could hear it

and if it's visible.
LIAM: It has not--

It has stopped for them.
It has not stopped for you.

TALIESIN: Okay, cool.

LIAM: You want to
get to the chest?

TALIESIN: It depends on
how close it is.

LIAM: From you, it is about
20 feet away, towards...

Past Atia, past the skull.

TALIESIN: I'm going to try and
use my mask to grab the skull

and basically toss it
in that direction, so it's--

LIAM: You're tossing your mask
to try to hit the skull?

TALIESIN: Using the skull.

No, using the mask
to scoop and running by--

LIAM: To scoop the skull?
TALIESIN:-- and throw.

LIAM: Got it. I forgot to
tell you to take a bleed.

AIMEE: I did.
Yeah, I have a bleed.

Another one?

LIAM: I think so.

Great, let's make
that finesse.

TALIESIN: A finesse?
LIAM: Well, you're trying--

If you're just trying
to run to get to a place,

I'd say Move.

But you are trying to use
a party mask to scoop up--

TALIESIN: Yeah, it's--
LIAM:-- a radioactive skull

of a 2000 year old sorceress.

TALIESIN: To toss it in
that direction. Yeah.

LIAM: To use it like
a lacrosse thing

to send it towards the skull?
TALIESIN: Lacrosse. Yes, a little bit.

LIAM: Still finesse.

TALIESIN: Okay, which one is a--
LIAM: Control.

TALIESIN: Control.
LIAM: Sorry,

finesse is
in the description.

TALIESIN: It is, I'm so sorry.
I always never look.

This is going to suck.
Let's see what happens.

LIAM: I see that--
TALIESIN: Fuck, but it's the lowest.

So that's a three, but I'm going
to use the resistance to--

Do I reroll one
with resistance?

ALEXANDER: Reroll the base.
LIAM: The base.

TALIESIN: The base roll.
Okay, so that's just one.

LIAM: Is it one that
you have nothing in?

TALIESIN: Yes. So two.
LIAM: Then you roll two again.

IMARI: Let's do it.
TALIESIN: No, same roll exactly.

I rolled a three.
IMARI: God, no.

TALIESIN: Tried.
IMARI: No Candela.

TALIESIN: Unless anyone
wanted to help, but--

LIAM: Leo, you are so
unnerved by the ghost

of a clockwork tick in your
mind as you run forward

that you misjudge
the distance

and you go to smack the skull

towards its home.

Unfortunately,
you're about two inches shy

and your hand drives
the mask into the stone

and the mask shatters.

The mask is made of many
little pieces of broken glass.

Your knuckles and hand
are lacerated instantly.

You crash just beneath Atia

and you take a body.

Your hand now scored
and gored along the back.

AIMEE: Who else do we have
at play in this room?

LIAM: You see--

You see Edgar rushing
towards a man who is pulling,

painfully pulling
a blade out of his gut.

But you also see

an additional man
with vestments on

coming out from behind a corner
in the rear of the church.

He's another priest.

This man has a gun

and he is now walking

and he sees the most obvious
target in here is the witch.

AIMEE: Sure.
LIAM: Which is what he screams

and he is moving towards you.

I want to get to Edgar

because you were
running towards--

ALEXANDER: The man pulling--
LIAM: This guy

pulling the sword out.

ALEXANDER: This is the man
with the glove with the thing,

that's making the noise
that's causing the thing.

LIAM: He has just drawn in
energy from the chest.

ALEXANDER: Okay.

(heavy exhale)

But he's pulling a sword
out of his stomach.

LIAM: Yes, currently.
He was stopped mid-motion.

ALEXANDER: Yeah.

LIAM: You know what?
That's not right.

I have to rewind because
he just shot the face

off a man.
ALEXANDER: Yeah.

LIAM: So he is just
pulling the sword out.

So what do you do?
ALEXANDER: I walk up.

LIAM: "(pained grunting)"

ALEXANDER: I'm a doctor.
I'm here to help.

Then I immediately punch him
right in the larynx

to stop him from speaking.

Using my Focus.
LIAM: Yeah.

Yes. Yes.

IMARI: Sneaky.

ALEXANDER: I'm going to use
my extra die from my Training

that I took at the beginning.
LIAM: Yes. Yes.

All that shadow boxing
in the hospital gym.

IMARI: Shit.
ALEXANDER: Holy shit.

That's three ones.

I'm going to burn
a resistance.

AIMEE: Yes.
LIAM: Wow!

ALEXANDER: That was wild.

AIMEE: What's that?
What did you use?

What are you using there?

ALEXANDER: I'm using
Intuition.

AIMEE: Fuck.
IMARI: Wait, wait, wait.

ALEXANDER: It's fine.
It's fine.

IMARI: Let me see if I can add.
ALEXANDER: My base roll was good.

TALIESIN: I don't know if you
can add to a resistance.

ALEXANDER: Yeah, you can't
to my resistance.

AIMEE: Right.

Oh.
ALEXANDER: Five.

On a gilded.
LIAM: Five?

Whoof!

What a whoo hoo hoo hoo!

ALEXANDER: Yeah.

LIAM: You strike out

with precision and get him
right in the throat

and he goes, "(choking)"

ALEXANDER: I know I said
I would help.

LIAM: "(choking)"

ALEXANDER: But I need you
alive because I have questions

and you're going
to answer them.

LIAM: Bullet goes off
for your mixed success.

The priest, striding out--
AIMEE: What?

LIAM:-- aiming at you, sees
his friend suddenly coming under

attack and retrains.

IMARI: Okay.
LIAM:-- and fires.

IMARI: Fuck.

LIAM: The bullet

pierces through
your shoulder,

and spatters the man in
front of you with blood.

This man who is "(choking)"

Take your body.

IMARI: Oh, dude,
this is nasty.

ALEXANDER: (heavy breathing)

LIAM: Tell me, sorry
for clarification,

what was the last thing
you said before you got shot?

ALEXANDER: I said:

I am going to help you
and keep you alive

because I have questions.

LIAM: Questions. Okay.
"(choking)"

So he's hacking up
a bit of blood.

You have just been shot.

You have shot a man.

The man who was about to
shoot you has just redirected.

Is there anything--

What are you doing
in this moment?

AIMEE: I want to point
a hand or something

and tell Atia:

You don't have to
let these men

come at you.

See if that inspires--

LIAM: If you could do anything
here, Aimee Carrero,

as Atia Griffia,
what would you do?

AIMEE: I would shoot them.

I would shoot out whatever
green bleed out of my hand

and kill the man
with the gun.

LIAM: Why don't you make a--

Why don't you make
a Sense roll for me?

AIMEE: Oh good.

Candela!

LIAM: Candela?

So here's what happens.
AIMEE: Okay.

LIAM: This hidden priest comes
out with a gun aimed at you,

marching forward
at the last second.

He turns and
shoots your friend--

AIMEE: Yeah.
LIAM:-- through the shoulder,

through the back.

You--

Within your fugue here,
ask, what can I do?

You feel that power
and you surge and you know.

You strike your hand out.

No green energy
fires from your arm.

But the man,
instantly, his body--

(whooshes) gets
hucked backward

into the wall behind him.

You hear--

(crushing)
AIMEE: Oh!

LIAM: And

you watch as his skull

flattens a bit,

and presses into the wall.

You start to see
blood pour down

his eyes into his mouth,
out of his mouth.

His hands are quivering
against the wall.

(crushing)

He continues to crush
and crush into the wall

and then peels away and
falls in a bloody mass

on the ground.

The skull is pulsing

beneath you.

Take a bleed.

AIMEE: That's
my fourth bleed.

LIAM: The man crumples
to the ground.

You feel euphoric!

Like a goddess
in this moment.

Then without warning,

it starts to leave you.

You both, behind her,
see, you are too busy,

see that form melt away.

There is Grimoria,
young as she is,

collapsing down to the ground

and hitting the stone
where you take a body.

AIMEE: Can I say one thing
before she--

LIAM: Yeah.
AIMEE:-- passes out

to Atia?
LIAM: Yeah.

Absolutely.

AIMEE: Which is just:
Let me help you.

That's all I say.
LIAM: Your head strikes stone

and you are unconscious.

What are you two doing?

IMARI: She's messed up, dude,

I have to make sure
she's good.

Where am I? Where am I
in conjunction to this?

LIAM: Your problems left
in the room, seemingly,

at this moment, are the doctor
who has just been shot.

There is a man
who has been stabbed

and punched in the throat.

So he's not doing
too good either.

They are a sorry sight.

The skull of Atia Griffia--

Bleed, bleed, bleed.

ALEXANDER: Edgar
turns around--

After being shot, holding,

putting pressure
on his own wound,

turns and goes: Put the skull
in the box and let's leave!

You see as he's turned,

there is what looked like
glowing fingers pressing

into the side of his neck.
IMARI: Oh shit.

ALEXANDER: We are going now!

Find a door!

IMARI: I'm going to go
and I'm going to use--

I'm going to
rip off my jacket

and try to scoop the skull up

and run it to the box.

LIAM: Yeah, let's do that.

Let's do Control
to grab that thing.

IMARI: Okay, cool. So we're
going to do Control on that.

So that's one. I'm going
to burn a drive on it.

I will burn a drive.

Oh, wait, I got to--

Wait a second.

Each mark--

Oh, wait a second. Oh.

I got a bleed and a body.

So that's two more marks that
I can fill up in my drive.

LIAM: Tell me that
one more time.

IMARI: Okay, so I have
Adrenaline Rush.

So for each mark I take--

LIAM: Yeah.
IMARI: I can immediately

refresh a drive

point of my choice.
LIAM: That's right.

So for every mark I've
given you in this church,

you should have
restored a drive.

IMARI: Awesome. So I'm
going to restore two.

So I'm going to burn one.

I'm going to restore my Nerve
drives to max after this.

Just to let you know.
LIAM: Yeah, okay.

IMARI: Okay, so I'm going
to burn a drive

and I have Control,
which was--

What was it? What was
it with Control?

I have two.
LIAM: That's right.

IMARI: All right.

Here we go.
LIAM: Just the two?

For your Control?

IMARI: I'm going to--

Oh, do I want to do that yet?

I'm going to use my, this
is serious, I'm going to use--

AIMEE: Oh, shit,
forgot about that.

IMARI: I'm going to use
my extra die on this.

LIAM: You can use it
next time.

IMARI: (shushes)

AIMEE: Oh.

IMARI: (laughs)

AIMEE: Looking at it.
ALEXANDER: Your luck is ridiculous.

AIMEE: I'm looking at it.

IMARI: I should've
gone to Vegas today.

LIAM: Okay.

IMARI: Candela.
AIMEE: It's Candela.

It's a Candela.
IMARI: It's a Candela.

LIAM: Edgar snaps
into your brain.

You nod to him
and grab your coat

and run forward and
don't even touch it.

You whip it around under

and catch it into
a bowling bag more or less.

You run it over,

kick the chest onto
its rightful position,

and then open the jacket
and the skull falls

awkwardly into the groove
inside of this chest

that held it before.

And, I assume,
kick the lid shut.

IMARI: Yep, immediately.

LIAM: The box still
continues to glow.

In the interim, this man
behind you who's hacking--

Slowly, more slowly than

the first time someone
in this room charged up,

green has been wafting
its way into this thing

and he sees now

that it has achieved
the status that he needs.

ALEXANDER: Do I--
LIAM: He is going to

stretch the hand out
towards Malcolm,

who's standing
over the chest now.

ALEXANDER: I see him moving.
LIAM: What do you do?

You, of course, see--

ALEXANDER: This church
is ruined, correct?

There's, I assume,
there's dilapidated things.

There's bricks, there's--

LIAM: Yes, there are--
ALEXANDER: I immediately

grab a brick and
I slam it in his temple.

IMARI: Oh, yes.

LIAM: You can make any kind of
move you want to make here.

TALIESIN: What kind of roll
are you using, really quickly?

ALEXANDER: Well,
I'm aiming for the temple,

using know exactly

where to strike in the head.
So I'm using--

TALIESIN: Oh, wait--
ALEXANDER:-- Anatomical Strike.

TALIESIN: What does
Anatomical Strike use?

ALEXANDER: Sorry,
it's Intuition.

TALIESIN: It's Intuition?
ALEXANDER: Yeah.

TALIESIN: Okay, he said,
"Find a door."

LIAM: Yeah.

TALIESIN: I'm finding
the door.

LIAM: Yeah.
TALIESIN: So I would be walking

by this right now.

I might be a little
distracting for this

because I know where
there's a door.

LIAM: Okay, so
you're distracting.

TALIESIN: Accidentally.

But I just got up
when he said that

and I know exactly
what door I'm going.

Just (ticking).

I'm heading

probably right by this--
LIAM: Okay, I'll say--

Here's what I'll say.
TALIESIN: Yeah, I know.

LIAM: You knowingly walk
in front of Malcolm.

TALIESIN: Mm.

LIAM: Risking, but also

confusing his shot
in the moment.

Maybe in that split second,

it will give him
a hairline of pause.

Take the drive.

TALIESIN: Tick,
tick, tick, tick.

ALEXANDER: Triple sixes.

IMARI: Oh god.

AIMEE: Yeah. Three
Candelas right there.

LIAM: Wow! You got three
ones a few minutes ago.

AIMEE: Yeah.
IMARI: Candela. See?

That's how it works.
AIMEE: That's how it works, baby.

IMARI: Three Candelas.

LIAM: I'll tell you
what happens.

He reaches his hand out
towards Malcolm.

You see that cylinder,
all the little

line work in it start
to glow and wind up

and you hear that sound that
you heard 18 years ago.

And something fucking snaps
in your brain, Edgar.

With one hand,
you slap it down

on the glove
and rip it off his hand.

With the other,
you swing that stone

clear across his face
and you watch as his

forehead, nose, and eye socket
get ripped out and off

and you can see
his teeth exposed,

as you hold a brick
in your hand,

covered in blood and
one fucking tooth in it.

ALEXANDER: (screams)

LIAM: "(choking)"

The man hits the ground
and crawls.

Lamely, pathetically,
to the center of the room.

"(choking)"

And starts to sink
into the stone.

Looking directly
into Grimoria's face.

"(choking)"

You are alone.

The case needs to be sealed.

IMARI: We've got to
get Grimoria up,

she's the only one who
knows how to seal the case.

ALEXANDER: (pants)

AIMEE: I'm hoping
you guys remember

that I have a book
in my pocket,

with the sigils
and the equation.

LIAM: That is true.
IMARI: But would we know

how to decipher that?
AIMEE: Yes,

because you saw it.
LIAM: That is true.

AIMEE: You saw it.
LIAM: That is true.

IMARI: Okay, all right.
AIMEE: You saw it on the ship.

ALEXANDER: We can do it.

IMARI: Okay.

Are you sure, Edgar?
LIAM: It's true, it's true.

I know where he's
going with this.

TALIESIN: Mm-hmm.
ALEXANDER: (sniffles)

I go over to her body
and I look for the book.

LIAM: Okay, you look
through her pockets

and you find
that leather book

with your
friend's handwriting.

ALEXANDER: (sniffles)

I'll go over to the chest.

Try and find the page,

and try and lock this thing.

LIAM: You find it,
you find it.

ALEXANDER: (sniffles)

Okay.

LIAM: This is going to
take for you, I will say--

I will let you choose

to use your brain
or your spirit,

so Focus or Sense.

ALEXANDER: Focus.

LIAM: Mm-hmm.

You've spent enough time
with Grimoria.

ALEXANDER: Yep. (sniffles)

LIAM: You watched her
do this the last time.

You'll remember,
you'll remember.

ALEXANDER: Candela.

AIMEE: (laughs)

LIAM: (clacks)

The symbols alter and change.

(clacks)

(sighs)
(hisses)

The case is sealed,

and you are, in fact, alone.

Your friend,
unconscious on the ground.

In your hand, Edgar,

the strange contraption
of a gauntlet,

a legacy of pain
in the palm of your hand.

What happens now?

IMARI: Now I find the
damn door and open that shit,

and I'm going to freaking
throw that box through

that door immediately.
AIMEE: What door?

Don't we have the quartz?
IMARI: Well, where's the door now?

AIMEE: The quartz.

ALEXANDER: I have it.
IMARI: You have the quartz?

Who has the quartz?
ALEXANDER: Just need a door.

LIAM: There is a door.

You know where the door is.
TALIESIN: I'm already--

I have--

I walked away from this.

LIAM: So you've gone to the door?
TALIESIN: The minute that was gone,

I am down that
fucking hallway.

LIAM: I believe that.

IMARI: I'm going
to run after,

since I know he
has the quartz,

so I'm going to run after.

I'm going to go take the box

and I'ma run after.
LIAM: You pick up the box.

It's heavy.
IMARI: Yep.

LIAM: Leo's ahead of you.

IMARI: (grunts)
LIAM: You--

TALIESIN: I'm walking quickly.
LIAM:-- check it out,

you actually open the door

before they get there.

And, Leo, it's there.

It's years later
and it is still there.

You can see
the intricate carving,

the beautiful wood of this
strange clockwork device,

decorated and combined
with pieces of stone

dug up from the old world.

Little animals with bits
of gem and quartz and stone,

thousands of years old.

You can hear the bell

and the moving parts.

You can see
the eyes blinking.

What do you do
with this clock?

TALIESIN: I find the first
figurine as it's moving,

and I take it

and I just snap its head off,

and I put it in my pocket.

I take the next one
and I rip an arm off,

and throw it across the room.

I just, piece by tiny piece,

bend and break.

I take my bleed detector

and I shove it
in there and twist.

I take my lighter,

and I pull the kerosene out

and I pour it into it.

I start hitting it
with my broken hand,

scraping the glass into it.

I will find any way
to hurt it

as slowly
as humanly possible.

Can I hear the ticking?

LIAM: It is incessant.

Leo, I need you to take
two brain.

IMARI: Oh.

LIAM: Malcolm, you
come up behind Leo

and stand in the door,

and you see him hunched over,

like an imp,

scraping his broken, cut hand

against a large stone
in the middle of the room,

punching the stone,

pouring kerosene
on top of a rock

that is part of the
foundation of this church.

He's whispering to it,

and rocking back and forth
on his heels.

IMARI: Leo, what the fuck
are you doing?

TALIESIN: It can break,

it can break.
IMARI: Leo, you got to get

your shit together,
we have to get this--

We have to get the door

open now.
TALIESIN: Tick, tick, tick,

tick, tick, tick.
LIAM: The door is open.

you need this door to work.

IMARI: Where's the quartz?

LIAM: You need him
out of here--

IMARI: Leo.
LIAM:-- so you can affix

the sun to the door.

IMARI: So I have to get,
so he needs to do it then.

ALEXANDER: I have it.
IMARI: You have it.

LIAM: You all need to be on

one side of the door--
IMARI: Where are you?

ALEXANDER: I'm still
back in the room

with Grimoria.
LIAM:-- and use it.

ALEXANDER: You took a chest
and walked to him.

IMARI: Fuck.
ALEXANDER: So I'm walking

over to Grimoria.

IMARI: Edgar,
I need you here now!

Get here now!

ALEXANDER: I... know.

TALIESIN: I pull out
a small knife

that I had just
hidden in my pocket,

and I start trying to dig
into the fucking gears.

I'm trying to bend them
to make the sound stop.

I am finding
the eyes in the lights.

LIAM: He's not moving.

IMARI: He's locked in.
LIAM: He's in his thing.

IMARI: He's locked in.

My main objective is
to get this box through

so that I can get
them out of danger.

LIAM: You guys need to be on one
side of the door or the other,

and use it.
AIMEE: He's inside the door?

ALEXANDER: We're in two rooms.
LIAM: We're making a magick door.

ALEXANDER: Yeah.
LIAM: You guys

are on opposite sides,

which is not
what you need, so.

AIMEE: I can't do shit--
ALEXANDER: The man who I--

AIMEE: I'm passed out.
LIAM: That's right.

ALEXANDER:-- hit in the head.

Quickly look for a wallet,

and I take it.
LIAM: Mm-hmm, okay,

you've got it.

ALEXANDER: Then I go
pick up Grimoria.

LIAM: Yeah.

ALEXANDER: I walk
towards the door.

LIAM: Okay.
ALEXANDER: When I pick her up:

I go: Hey.

You have to stop
passing out, Grim.

IMARI: (laughs)
ALEXANDER: I get up

and walk to the door.

AIMEE: In my head,
I'm going (scoffs).

ALEXANDER: It's not healthy.

LIAM: You pick her up, you say?
ALEXANDER: Yeah.

I'm happy to roll over this
because I am fucked up.

LIAM: No, your eyes
flutter awake.

You're too weak to move.

You are hurting,

but you are
just barely conscious,

as Edgar carries you,

turning to enter this room.

All four of you are in here.

Why not?
Leo, take another brain.

TALIESIN: I am out.

LIAM: He collapses
over the stone.

AIMEE: Might be easier,
honestly, if he has--

LIAM: His head on it
like a pillow,

and his hand on his own face,

scored with blood,

and there's chunks
of glass coming,

and the other hand
is bloody, too,

because he's been
punching this rock.

He just, (pants)

with a half smile,
collapses against the stone.

But you are all in
one room together.

IMARI: (grunts)

ALEXANDER: Put
the chest down,

and get the thing
out of my pocket.

It's in the inside
pocket of my coat.

I can't move
that arm that well.

You got to put it
on the door,

and then we open the door.

The door has to be closed.

We slap that on
as hard as you can,

and then open the door.

IMARI: I'm going to do that.

LIAM: Okay.
IMARI: (grunts)

LIAM: It's a piece of clay.

It is slightly pliable.

It plants against the door.

You take it away
and you smash it

and it flattens out.
IMARI: (grunts)

LIAM: And mars the
design of the sun.

IMARI: (grunts)
LIAM: There is a visible tremor

down through the door,

clear like water or waves.

You hear a (clacks).

You open the door,

and you are looking
at a set of stairs

going down, down, down,

and twisting
ever so slightly.

IMARI: I'm going to
scoop that box up,

and I'ma go down those stairs

immediately.
ALEXANDER: Hey,

you got to drag him in, too.

IMARI: That's fine.

Before I do that,

I'm going to make sure Leo's
on the other side of the door.

Since he has Grimoria,

I'm going to make
sure that Leo,

before I get the box,

I'm going to drag Leo

on the other side
of that door.

Then I'm going to
quickly get the box

and scream at everyone to
get the fuck through the door.

LIAM: Okay, you drag
an unconscious Leo Amicus

down the first six or
seven of these stairs

and leave him lying,

staring vacant eyed

at a hallway in
the Fourth Pharos.

You return for the chest.

It will be difficult,

but we are at
the end of our chapter here.

You hoist this thing
under your arm

and move in,

and you follow Gary and Grimoria.

Grimoria, you look
over his shoulder

at a scene in a church
that you will never forget.

The door swings
closed behind you.

The clay goes brittle

and falls away in dust.

I'll leave you,

as you guys slowly,
painfully step your way down

an impossibly long stairwell,

into the Fourth Pharos.

And that's where we'll
end our story for the night.

IMARI: (sharply exhales)

Got to send a welcome party
for god's sake.

AIMEE: (laughs)

IMARI: Rude.
LIAM: That was so much fun.

IMARI: (claps)
TALIESIN: (finger snaps)

AIMEE: (laughs)
IMARI: Woo!

LIAM: Oh, you four
fabulous people,

sign off for the night,

one more time.

ALEXANDER: My name's
Alex Ward.

I do this sometimes.

(laughter)

ALEXANDER: I'm on the internet,
you'll find it. (laughs)

AIMEE: I'm Aimee Carrero
playing Grimoria,

the Weird Medium Magician.

IMARI: My name is
Imari Williams,

I am Malcolm Trills.

TALIESIN: My name is
Taliesin Jaffe,

I am the remnants of
Leo Amicus' parental damage.

(laughter)

LIAM: (sighs) And
I'm Liam O'Brien,

your Game Master
for this chapter

with the Circle of
the Crimson Mirror.

I am utterly terrified
before these games start,

and then I get to the end

and I've had
so much fun with you.

Thank you, thank you.
(applause)

LIAM: Thank you, and you.

And hey, thank you.

AIMEE: (laughs)

LIAM: See you in
the Fourth Pharos.

AIMEE: Oh!