Candela Obscura: Needle & Thread | Episode 3 | Broken Path

TALIESIN: Rummaging through the ruins of the Hallowharbor chapter house, the charred remains we've managed to retrieve have been identified as none other than Lightkeeper Draven Kingsley. His bleed-soaked body suggests an abundance of corruption, and evidence suggests containment was the motivation of our unknown arsonist. Perhaps our investigators successfully vanquished the magical phenomena they pursued. Perhaps they fell victim to the terrible forces beyond the Flare. Regardless, we pay our

respects to the Circle of Needle & Thread, wherever they may be. Restricted File #1593. (dramatic music) (dramatic music continues) We are delighted to announce that this episode is sponsored once again by Snag, the fully size inclusive clothing brand. Snag's products are designed for everyone who feels excluded by mainstream fashion whether due to size, shape, gender, or any other reason. To learn more, please visit snag.world/candelaobscura. Additional information about Snag will be provided a

t the break. SPENSER: We open on the Silverslip chapter house. We push in slowly, and we see a skitter of dark figures along the top, deep down into the windows. As that happens, we hear our friend, Nathaniel Trapp, here we hear our friend, Nathaniel Trapp, here reading the events that unfurled. reading the events that unfurled. TRAVIS: "Michaela and Arnie held them off "for as long as they could. "Both damn good shots from the war. "But they were soon overwhelmed and we had to fall back. "Whate

ver those creatures are ripped the two of them "limb from limb, seemingly growing in power as they did. "We tried to escape to the Fourth Pharos, "but by the time we reached the stairway "they were already on us. "There were dozens of them on the walls and the ceiling. "The one that seemed to be their leader, "more human-like in appearance and flashing between faces "was inspecting the astrolabe as "I ducked into the closet downstairs "attempting to wait them out, "but they appeared to be making

an incursion "into the Fourth Pharos to track down Allison. "I can hear them going through the archive files "searching as well. "I would surmise that Duncan and Farrah are now, too, "in grave danger. "I will keep listening. "I can't sit by and do nothing. "It seems as though these things "are trying to modify the astrolabe "for their own purpose. "There is talk about bringing through the Mother, "but that it can't happen here. "They seem to be frustrated. "I want to think that is good news, bu

t I am not sure it is. "Regardless, the Fourth Pharos is compromised "and I'm not going to make it out of here. "To whatever Candela Obscura member finds this, "you need to warn them. "They are there. Lightkeeper Dolores Finch." SPENSER: On a shot of Nathaniel holding this note left behind in the Silverslip chapter house, the destruction around him evident, the destruction around him evident, I want to remind everybody what happened last time so that we know where we're at. So I'm going to go ar

ound the table. We're going to start with the three of you who are in the Silverslip chapter house. Will you remind me what happened upon your arrival here? what happened upon your arrival here? LUIS: Hmm. Well, we arrived at the Silverslip chapter house because we were tracking down what we thought was hunting the members of that circle. SPENSER: Circle of Silver Flame. LUIS: The Circle of Silver Flame. When we came here, we found that there was a breach. When we came here, we found that there

was a breach. That this had been taken over. There was bleed emanating from everywhere. We went up into the archives searching, making sure, noticing that it was ransacked. There was a tear where the Fourth Pharos was meant to be. In there, on the other side through it, the astrolabe was through that. SPENSER: Yeah. Broken or covered in bleed. LUIS: Covered in bleed, glitching and moving backwards. SPENSER: Mm-hmm. LUIS: Anyone else want to jump in? ZEHRA: I, unfortunately, was left with the car

e of Lucas Suarez. Not unfortunately, he's a sweet little boy. But I had to run him over to the Trapp residence along with a letter from Mr. Trapp to senior Trapp and left the boy there. Made it over as quickly as I could by carriage and arrived after a rather devastating incident had happened that Marion thankfully escaped from, but very nearly didn't. LUIS: Without the doctor who helped seal the other tear I took it upon myself to absorb the bleed that was what I thought was getting in the way

of the astrolabe's functioning. It seemed to have worked. It seemed to have sealed the tear. There was something on the other side of that that was pulling me in a way. The lieutenant and Sean got-- Stopped me from getting sucked in. I think it's fair to mention that upon entering, y'all acted like badasses and basically took out all of the creatures that were flooding the space, which cleared the path to that tear. Then after that, we figured out that we needed to get to the remaining members

of the Circle of Silver Flame. TRAVIS: Duncan and Farrah. LUIS: Mm-hmm. TRAVIS: We sent Sean after Duncan located in The Steel TRAVIS: We sent Sean after Duncan located in The Steel and Farrah was in The Varnish. We sent Auntie Bee after her. SPENSER: Great. What happened when you got to Farrah's? MARISHA: Oh, suspiciously, the door was a little unlocked. A little unlocked. It was unlocked. LUIS: (laughs) Just barely. MARISHA: Just barely. Which is a bit alarming considering there were other Can

dela Obscura members posted guard outside of the other Silver-- ♪ Silverslip ♪ SPENSER: Flame? MARISHA: Silver Flame members' houses. Walked inside. Farrah was tending to some socks in her sock drawer. Farrah was tending to some socks in her sock drawer. TRAVIS: But were they matching?! LUIS: Yes. SPENSER: (laughs) MARISHA: Suspicious if they're not matching. Everything seemed to be okay outside of a gas lamp sconce Everything seemed to be okay outside of a gas lamp sconce that was slightly aske

w. But there was still a bit of a tense standoff moment as we try and figure out if each of the other one is legitimate in their claims. SPENSER: And that's when we land on Sean. Sean, will you remind us what happened when you left for The Steel? BRENNAN: Will I? (laughter) BRENNAN: Will I, Spenser? SPENSER: Please. BRENNAN: Folks, it went great. (laughter) MARISHA: Oh boy. BRENNAN: Sean took off from Silverslip, headed for Duncan's residence in The Steel, finding a darkened home. I believe the

door was shut. SPENSER: The door was open. BRENNAN: The door was open, the door was ajar. That's right. ZEHRA: Ajar, I hate that word. BRENNAN: These aliens don't like to close doors. We know that. MARISHA and TRAVIS: (laugh) BRENNAN: Nudging the door open with a shotgun, the man I believe to be Duncan got the drop on me. I dropped my weapon, announced that we were there trying to warn him. He said, "Don't you think I know that?" We proceeded to have a conversation. I said, "Just a courtesy, I'l

l be on my way." Took one step out. He fired. I got grazed across the chest, grabbed a spar of wood off the doorframe to try to kill him and managed to injure him, but not before he shot me and I lost consciousness. SPENSER: Yeah, we saw the wood go into his chest and ripple out in chromatic waves indicative of these creatures after him saying to you, again, "We are the same." So, that is where we find ourselves in this moment. We see you holding the note that was left behind. What do you all wa

nt to do? LUIS: Well, at this point, I was-- ZEHRA: I was-- LUIS: Being tended to by Jean. ZEHRA: Yes. LUIS: Because now I have all these-- My scar has spread from my chest up my body, up my neck, around my eyes. And suddenly, I got a vision of Sean in danger. SPENSER: Mm, that's right. A premonition. LUIS: Premonition. Immediately, I'm jumping up. Sean's in danger. We got to get out of here. We got to get to him. I don't think he's okay. We got to get to him. Where are you at this point? TRAVIS

: I've been going through the records. I've found this letter from Lightkeeper Dolores Finch. Would I even happen to know who that is? Totally unfamiliar-- SPENSER: Not somebody that's within your chapter house, but you would guess that it's one of the Lightkeepers from the Silverslip chapter house. TRAVIS: Okay. SPENSER: Given the context there. TRAVIS: I found something incredible. It speaks about the creatures that we've seen. There also seems to be a leader amongst them and they speak of a M

other that they're trying to bring through the rift and-- ZEHRA: The Mother. TRAVIS: Yes, the Mother, and then they say that wherever the Fourth Pharos entrance is, that's where they will be. And that we should be warned. Why, what's going on-- LUIS: Sean's in trouble. I got a premonition just now. And we got to get to him. I don't know if he's okay. ZEHRA: He went to Duncan's residence? TRAVIS: Yes. Yes. ZEHRA: Is that right? TRAVIS: In The Steel. LUIS: I'm going to get-- I'm going. I'm not goi

ng to stick around here. He's in trouble and he needs us. So I'm going to go, we got to figure out how to get-- TRAVIS: We'll go with you, yes. We'll go outside and hail a carriage. Silverslip to The Steel. Actually, it's not very far. It's a neighboring area. SPENSER: Yeah, it is. It's just south. We see you step onto the street and-- LUIS: Can we get two carriages? TRAVIS: Two? Yes. LUIS: What are we going to do with Auntie Bee? TRAVIS: She's in The Varnish, she's not-- Should we send one for

her? LUIS: I think we should. We need to get together somehow. ZEHRA: Yes, someone needs to go check on her. If Sean is in danger, did you-- It's possible Auntie Bee may be in danger as well. LUIS: I think so. Look-- ZEHRA: Should we split up? LUIS: Uh. TRAVIS: Yes, we definitely should. MARISHA and ZEHRA: (laugh) TRAVIS: This how we do this. ZEHRA: If Sean is in grave danger, I may be able to heal him. I should go with you. LUIS: If there's a fight that needs to be had, I'm not really in positi

on to fight. I think you're the fighter that we have left. TRAVIS: I am. That's what Auntie Bee always said. Brave as a lion. LUIS: I'll take the first-- I'll take one carriage to Auntie Bee and then we'll meet you there. Just make sure Sean's okay. TRAVIS: Yeah, yeah. ZEHRA: No, you're going to Sean. TRAVIS: Sean, Auntie Bee. Wait, what? Oh, Sean, Auntie Bee. LUIS: You too Sean, I think, right? ZEHRA: Oh, you don't want to go to Sean? LUIS: I do, I just-- TRAVIS: He's super fucked up. That's th

e term. MARISHA: (laughs) ZEHRA: All right, let's go to Sean. TRAVIS: Sean. ZEHRA: Duncan's residence. MARISHA: Turn of the century term. ZEHRA: Get Auntie Bee and meet us there, MARISHA: Supes fucked up. SPENSER: (laughs) LUIS: I should go to Sean, too. ZEHRA: Let's you and I go to Sean. I saw Auntie Bee and you talking rather in intimately. I feel like you should go check on her. TRAVIS: I will go wherever I am needed. I'm going to raid the armory in the same way that my boy did. SPENSER: Grea

t. TRAVIS: And look for any grenades. I'm going to fill up the revolver as well. I don't know if there are-- SPENSER: You find hand weapons. There's no military tech here. TRAVIS: Great. SPENSER: But there are hand weapons here akin to your pistol that you have. TRAVIS: Great. ZEHRA: Is there anything that I can sense is of use here that-- I didn't feel the danger of Sean, but I completely trust Marion, and based on our bond, I know that something is grave. Is there anything I can sense here tha

t would be of use in this specific situation? SPENSER: Great. Go ahead and roll Sense for me. ZEHRA: That's cute. SPENSER: You're reaching out to the chapter house to see if there's any artifacts that might've been hidden-- ZEHRA: My intuition tells me, ah, I'll need this. SPENSER: Okay. ZEHRA: Two. SPENSER: It's a two. You're taking-- It was gilded, though, right? ZEHRA: Gilded. Two. SPENSER: Okay. So here's what happens. You're going to find something, but to do it you'll be taking two marks o

f bleed from reaching out to a place that is infested with bleed. ZEHRA: I'll take it. SPENSER: From that two. LUIS: I'm going to use Premonition. SPENSER: Okay. LUIS: So as I see you reaching out and I feel like you hit a roadblock, I'm going to-- I put my hand on your hand and push you forward. But the second I see that something's going to come for you, I pull it back. You can't go too far into that. ZEHRA: Thank you, Marion. LUIS: So you resist one mark. SPENSER: Yeah. So you keep one of tho

se bleed from hitting you. You only take one bleed. What you do feel is a strong pulsation of energy What you do feel is a strong pulsation of energy from the sofa that is in here that looks like it's been torn up, but you can feel as though there's something buried in the sofa. Almost like it was a hiding place. ZEHRA: I head towards the sofa, I push away a cushion that's been mangled, and can I see? SPENSER: So as you pull away that cushion you see the spring is mangled you see the spring is m

angled and twisted up towards you. The cotton and the foam looking like the internals of a body. ZEHRA: Hmm! Very comfortable here. SPENSER: Very comfortable here. So you, with expert precision, open the couch, and what you find is a hidden compartment. As you pop that out and up, it gently raises and opens it gently raises and opens as if you were to take off the cushion and push the right thing, this is what would happen. And you find this box. LUIS: Oh! TRAVIS: Oh shit. BRENNAN: Prop. MARISHA

: (laughs) MARISHA: Prop prop, prop prop. LUIS: Yep, yep, yep, yep, yep. ZEHRA: It's beautiful. There are flowers carved on the box. I'm going to open it. SPENSER: Yeah. ZEHRA: Inside the box, I find four-- TRAVIS: Marks. ZEHRA: Five-- (laughter) SPENSER: You die. BRENNAN: Bullets, bullets, bullets. ZEHRA: Just a snake hand. SPENSER: That'd be so good. ZEHRA: I find five pouches. Perhaps one for each member of our circle? SPENSER: One for each member of a circle. ZEHRA: Oh! TRAVIS: (laughs) ZEHR

A: Dare I open a pouch to look inside at this moment in time? TRAVIS: Yes! Yes! It's an eyeball. Come on. LUIS: Ah! No. LUIS: You want to open one? ZEHRA: It is a beautiful, ornate-- Oh! Oh, it reminds me of an astrolabe. It's two golden rings on a gold thread. LUIS: Do we know what this does at all? ZEHRA: Yes. Are we familiar with this? SPENSER: So with that Sense roll and with that bleed that you took-- ZEHRA: Yes. SPENSER: You realize that these are artifacts that are sometimes held by Cande

la Obscura members. TRAVIS: Oh shit. SPENSER: That allow you to burn or to mark a bleed SPENSER: That allow you to burn or to mark a bleed to be able to add an extra die to your roll. It allows you to push yourself magickally. ZEHRA: Wow. SPENSER: Now, Candela Obscura is against the use of magick. So these things are not typical for Candela Obscura to use, but they look as though they've been hidden away in case of dire need to be used. LUIS: In case of emergency, break. ZEHRA: Ha. TRAVIS: We de

finitely need them-- ZEHRA: I'd say this is rather dire. TRAVIS: Yep, yep, yep. SPENSER: So you can take bleed to add an additional die to any roll that you make. TRAVIS: Lots of bleed to give. Yep. ZEHRA: Go ahead and distribute two of the pouches to Mr. Trapp and to Marion. TRAVIS: Good throw. MARISHA: Nice. LUIS: Yes, he got two. Oh yeah, one for Auntie Bee. ZEHRA: Oh, one for Auntie Bee. SPENSER: But Auntie Bee is not there. TRAVIS: Oh shit! (laughter) TRAVIS: I lost it in the dark! LUIS: Th

at was scary to see. MARISHA: Oh, lieutenant. (shudders) LUIS: Wasn't much of-- Wasn't as coordinated. MARISHA: I will get mine-- LUIS: Yeah, you'll get yours when you-- ZEHRA: My one hand is out of commission. MARISHA: To not be tempted. TRAVIS: It's so dark, it just-- (laughter) ZEHRA: I'll hold onto the last one for Mr. Finnerty to give to him when we see him again and heal him. LUIS: As we, I'm assuming start to head out to get the carriages, I will say to the Lieutenant: I know that Auntie

Bee has got some strong feelings towards you. She's always been looking out for us and I think sometimes she doesn't think that you are, but I know that you've been. You just got to tell her how you've been because I think that might help you. TRAVIS: I appreciate that. She let me know as much. Her intuitions serve her. She's very wise. Remind me, where did we land? Am I going after Auntie Bee or am I going--? ZEHRA: Yes, you're going to Farrah's residence. LUIS: Yes. TRAVIS: I am. ZEHRA: And we

are going to Duncan's. LUIS: We are. I'm really worried about this because-- TRAVIS: Okay. ZEHRA: Time is of the essence. LUIS: Do you have a gun? Can you shoot a gun? ZEHRA: Uh... TRAVIS: There was another pistol in the armory. LUIS: I'm taking it. TRAVIS: Okay. I'll give it to you. SPENSER: Great. LUIS: I'm going to be useless with this at this point. I think you might be a better shot than me right now. ZEHRA: I'll take it. For Mr. Finnerty, I will take it. I take the gun. SPENSER: Great. Ma

rk a hand weapon. LUIS: Oh my god. SPENSER: With that-- TRAVIS: (slurred, repeated) We're going to be great! MARISHA: (slurred) We're going to be great. SPENSER: We get the hailing of two carriages. We watch Nathaniel climb into one. We watch Jean and Marion climb into the other. A last set of looks between you as you set off. We jump to Auntie Bee. MARISHA: Mm. SPENSER: Farrah, smiling at you, says, "Circle of Silver Flame. "You asked what circle I belonged to. "It was the Circle of Silver Flam

e." MARISHA: Circle of Needle & Thread. SPENSER: "That's out of Hallowharbor, yes?" MARISHA: Correct. Listen, Hallowharbor has been compromised. It's been tossed. The access to the Fourth Pharos is completely demolished. Whatever monster that has been coming after your circle, it's making its rounds, and I'm afraid our circle is up next. You have to come with me. Together, if we combine our forces, we might actually be able to stop this thing once and for all. But if you don't, your life is in j

eopardy. Our circle's life is in jeopardy. The rest of Newfaire could be in jeopardy. Please. SPENSER: She looks at you. She looks at her Periphery badge sitting on the dresser. She looks at her Periphery badge sitting on the dresser. She looks back at you. Make a Sway roll. MARISHA: Oh, come on, bish. LUIS: (laughs) MARISHA: (sighs) TRAVIS: Do a pretty roll, bish. MARISHA: I'm going to use a drive. Come on, bish! I'm going to use a drive. SPENSER: Great. MARISHA: Train allows me to add a gilded

die to any roll. SPENSER: Just a regular die. MARISHA: Just a regular die. SPENSER: Oh, those by the way, let you add a gilded, but those do let you add a gilded die. When you use that guy, when you burn the bleed, it lets you add a gilded die, not a regular die. TRAVIS: Sick. ZEHRA: That doesn't count for one of our three. MARISHA: Five. SPENSER: No. TRAVIS: No. SPENSER: It's a five. LUIS: Nice. SPENSER: Mixed success. She digs through the drawer that she was sorting through when you entered a

nd grabs a pistol out of it and shuts it. She says, "Allison and I, "we grew up together. "We went our separate ways, "but she pulled me back into all of this." MARISHA: She's still alive. Do you know that? SPENSER: "Yes. They're holding her in the Fourth Pharos. "I can only imagine if they're breaching Silverslip "and Hallowharbor that they're looking for access." MARISHA: We got Lucas to a safe place. SPENSER: "Lucas?" MARISHA: Her son. SPENSER: "God, Lucas. She--" MARISHA: Her husband is dead

. He thinks both of his parents are dead. SPENSER: "Goddamn it," she says. "Allison could see things before they happened. "She warned us that something was down there. "That's how we knew. "She watched a man contorting, "his neck splitting and rolling back, "his eyes bulging out of his head, "and she made a run. "She saved him, "and she paid the price for that. "So I can only imagine "this thing would want to finish the job." MARISHA: Okay. SPENSER: As she says that, with that five-- MARISHA: C

ome on, come on, come on, come on, please. SPENSER: You hear skittering in the ceiling. MARISHA: Come on, come on. We got to go. We got to go, please. SPENSER: She goes, "Okay, give me a moment." She grabs the gun-- MARISHA: We don't have a moment. SPENSER: -- and she checks under the bed. As she does, you see movement, shadow pass by the door, by the front door that you're trying to-- MARISHA: Ms. Morales, we got to run. SPENSER: As that happens, you hear (shattering) as a creature bursts throu

gh the glass of the window in this apartment and grabs Ms. Morales on the back in this apartment and grabs Ms. Morales on the back and starts to yank her out the window. What do you want to do? MARISHA: (yells) It's yanking her? SPENSER: Yeah, with that five they're trying to take her. MARISHA: (frustrated yell) SPENSER: She's fighting to come with you, but they're trying to take her right now. TRAVIS: Crack out the nunchucks! MARISHA: I'm going to run. Does she have her pistol? SPENSER: She doe

s have her pistol in her hands, but this thing crashed through the window and is making a lunge for her to grab her and try and yank her out. That's what you're seeing. You're seeing a massive black hand reaching in the window. MARISHA: Does she have any dressers, bookcases in between her and the monster? SPENSER: So for positioning, this is a studio apartment. She's by the bed. The dresser is here. The window is here. There's been a crash through. The hand has grabbed her. You see disappearing

into the darkness two beady eyes, only reflecting the candlelight that's in the apartment here. MARISHA: So with that, the dresser, can I take the dresser and try and throw it on top of this creature? SPENSER: Sure. So this thing-- Well, the creature is still outside the window. It's crashed its hand in and is reaching for her with a long arm as it's doing. So you could try and grab the dresser and tilt it onto the arm if you want. MARISHA: In front of the-- Yeah, in front of the window? SPENSER

: Yeah, that sounds good. That sounds like a Strike roll to me. MARISHA: Oh, jesus christ. ♪ Not what I'm good at ♪ SPENSER: Unless there's something else that you think would be more fitting, but I think you're trying to-- MARISHA: No, that's probably right. SPENSER: -- attack a thing here. MARISHA: I'm going to burn both of my drives that I have left in Nerve. SPENSER: Okay. Sounds good. MARISHA: I need this girl, five. SPENSER: That's a five. MARISHA: I'm glad I did that. Five. SPENSER: Great

, describe for me how you bring this thing down. It's going to release her for this moment. Go ahead and describe for me how that happens. MARISHA: I know that I probably don't have the strength to physically grab her versus this creature. But seeing that, I want to try and cut off its path to her and Auntie Bee gets, like when she confronted Sean, just that kick of adrenaline, that old lady strength and she (grunts) hernia be damned, and then torques her back to throw the dresser in front of it

. SPENSER: We see the dresser come crashing down onto the long arm, the unnaturally long arm of this creature. It gets slammed down to the ground. You see it curl up in pain as it tries to pull it back, the dresser, it's exploding into shards of wood. As that happens, the skittering above you stops and you hear pounding, and all of a sudden, through the floor another creature drops. As that happens, the floorboards above give way, and a man in a chair, in a sofa-kind of chair, falls through the

ceiling and is clearly mangled in bleed. falls through the ceiling and is clearly mangled in bleed. Falls dead next to you. You realize this creature has landed on top of you here. It's putting its hands over your forehead and it's trying to dig into your eyes here. What do you want to do? TRAVIS and LUIS: (yell) MARISHA: It's landed on top of me? SPENSER: It's on your head. Ms. Morales is shuffling out of the way of the dresser, trying to push herself to safety. You're seeing that hand going fo

r the gun, pointing it at the window, but you have this thing on top of you. What are you doing? MARISHA: I just want to try and get enough space between me and it, grabbing it by the throat and pushing and I'm going to look at her and I'm going to go: Shoot it! SPENSER: (laughs) MARISHA: Shoot her! (laughter) SPENSER: I'm going to ask you to make a Control roll here to keep this thing at bay as you try and position it for her to shoot. MARISHA: Okay, that's one. I used all of my drive. Please b

e good, three? SPENSER: It's a three. MARISHA: ♪ I got a drive back ♪ (laughter) SPENSER: That's a three. LUIS: No. SPENSER: She takes a shot. It pulls itself back into you as she does, and the bullet zips by you, slams into the wall, explodes, and you feel this thing trying to climb inside of your mouth. It's prying open your mouth and diving in. You're going to take a point of body and a point of bleed here as this happens, as it's trying to force both of its hands into your mouth and down you

r throat. MARISHA: I'm going to not look at her and just say: Run. TRAVIS: No, it's more like (babbles). MARISHA: (garbled yell) (laughter) SPENSER: She looks at this thing, tries to find an angle to be able to shoot it, but it is in your face, by shooting it, she will also shoot you. She makes a calculated risk and goes running for the front door. MARISHA: Yeah. Hoping this thing follows her. SPENSER: She goes running towards the front door, and as she does, she throws it open and you see the s

hadow that was pacing in front of that front door. There is another one of these creatures that looks like, now you're getting through blood and ichor, you see it knelt down in the hallway. It looks like if a bull was small It looks like if a bull was small and it doesn't have the horns but that cow-kind of shape, but its head is pulled up and around and twisted back and its mouth opens up in five different directions. It opens up like this, hinges open and the throat zips down and it opens like

that. It is growling at her. She takes the shot, pops two into it and then tries to run by it. At that point, this thing digs into you further, not having addressed that, I'm going to have you take another body as it tries to dive into you deeper here. Trying to get her out helped her. She is now running down. You can hear her running down the hallway from this thing. But you are still stuck here in danger and it is actively crawling into you. What do you want to do? MARISHA: Okay, okay, okay,

okay, okay. Things at reach, any lantern? SPENSER: Yeah, the lantern with the sconce that was... MARISHA: No, it broke my mirror remember? SPENSER: It did break the mirror, yeah. MARISHA: But yeah, if it's-- SPENSER: There's that sconce that's on the wall, if you want to try and grab that and slam it into it. MARISHA: I'm going to exactly, try and grab it and bash it up against its head. SPENSER: Okay, what do you want to use here to do that? Strike would be the obvious one, but if you're trying

to use something that feels a little more like you're surveying the room in between stuff, I might give you that because you're trying to use the room. MARISHA: I'll take Survey if you'll allow it-- SPENSER: Okay, you want to use Survey. MARISHA: -- because I'm trying to reach and get it off. SPENSER: I love seeing the varied techniques here of trying to do this. First you tried to Strike it, then you tried to Control it. (coughs) As I'm dying, now you're trying to Survey it. So make that roll.

MARISHA: ♪ Using a drive ♪ TRAVIS: Crawling in your mouth now. LUIS: Yeah. (laughs) SPENSER: Oh god. MARISHA: Using another drive. TRAVIS: Howdy. MARISHA: Six! SPENSER: That's six, that's a six! Amazing, describe for me how this works. How do you smash this thing into it? MARISHA: I imagine it's one of those moments where as it's trying to climb its way into me, I just, with the tip of my fingers, as I'm trying to just, and luckily Auntie Bee has those long old lady fingernails, she gets it jus

t enough and I imagine that foreshadowing of seeing it a little off kilter on the wall, just allows to have that perfect leverage. SPENSER: It's tilted towards you. Yeah, by being off kilter. MARISHA: Yes, to get it just enough to be able to smash it up against its head. SPENSER: You smash it. There's an explosion of glass and flame as this thing lights on fire. It starts screaming and you realize you have a flaming creature on top of your head as you stumble and try and get it off. It falls to

the ground writhing. It's on fire, looking up at you. It's got like six legs. It's probably the size of a house cat, and it's literally in flame staring at you, screaming. It looks like it's about to pounce on you again. What do you want to do? MARISHA: I run! SPENSER: Run, great, make that Move roll for me. MARISHA: Do I see what's with the creature in between me and-- SPENSER: It looks as though it's pulled its hand out and disappeared from the window, but... MARISHA: The second one that was f

ollowing... SPENSER: The one that was following Farrah has pulled its hand back from the dresser, the dresser exploded into shards. It saw her running and disappeared out the window. MARISHA: Okay. SPENSER: You would guess probably going down. MARISHA: On my way out, I want to haul ass is the priority number one, but if there is either a mirror on the wall, but if there is either a mirror on the wall, one of those how back in the day, they had the lipstick mirrors by the door, or if she sees a h

and mirror or a lantern, something I can grab between here and my way out. SPENSER: For sure, make that Move roll for me to be able to get out. I will say that we will make this part of that Move, but I will need that Move roll to see with this thing ready to pounce on you if you're able to get there safely. MARISHA: I'm going to use the drive that I just got back to make one roll, instead of two and taking the lowest. MARISHA: Two. SPENSER: It's a two. So here's what happens. You turn to run. M

ARISHA: Yeah. SPENSER: You see a mirror in the bathroom. You also feel this creature running behind you and then pouncing onto your back. Like a cat with claws, it digs into you and starts scraping down your body here. This is not going to cause you body because of this. It's holding onto you, but it is going to cause one point of brain as you realize this thing has attached to you and it is on fire and your clothes are starting to catch fire as this happens. MARISHA: Auntie Bee is going to take

her big, quilted coat, throw the quilt off. TRAVIS: Let's go! SPENSER: Coat gets thrown off, amazing. You see a creature writhing on the ground in front of the door that was passed by Morales on her way out. You see it starting to try and get back on its legs, but it can't quite get up. She shot it pretty well. You see, in the bathroom, there is a mirror, but this thing is starting to stumble back onto its legs. You have the choice here of either going out to the mirror and facing down with thi

s thing that is getting back up at the door, or making the run for it by it and not getting the mirror. What do you want to do? MARISHA: If I run, it's just going to keep... It's just not going to stop. TRAVIS: Please tell me when you threw off the patchwork jacket, that Auntie Bee's just jacked to shit. (laughter) TRAVIS: Like a weighted jacket. BRENNAN: Linda Hamilton fucking-- TRAVIS: Piccolo from DBZ. SPENSER: No sleeves. MARISHA: She's been fighting with weights on. TRAVIS: Does the fucking

Henry Cavill like-- SPENSER: (punches) MARISHA: Click, click, yeah. TRAVIS: You fucked up creature. MARISHA: I guess it's fitting. I'm going to take off the jacket. I'm going to go for the mirror. It's not going to stop coming after me. SPENSER: Running into the bathroom, we see you grab a hold of the mirror that's attached to the wall and in jacked Auntie Bee style, just rip it off the wall. You're holding this rectangular, standardized mirror, very standard mirror, nothing fancy here. We see

you throw it under your arm as the creature in the doorway starts to pick itself back up, its neck popping and snapping, and you see the black ichor dripping out of its face as it's starting to heal its wounds. MARISHA: Is it looking towards me? SPENSER: It's looking around for where Farrah Morales went. So you have a moment here, you have the jump on it here. MARISHA: Okay, I'm-- as it's down, I'm going to take the mirror and fucking shove it in its face, wherever it's trying to look, just full

, and I want to use it to shield myself-- SPENSER: Okay, that sounds good. MARISHA: -- as I jump in its line of sight. SPENSER: Yeah, that sounds great. Make a Control roll for me as this is happening. MARISHA: Okay. SPENSER: Try and line it up, so it's seeing itself under pressure. MARISHA: Come on. ♪ Three ♪ SPENSER: It's a three. ♪ Three ♪ SPENSER: So-- LUIS: We got these dice in the middle, too. SPENSER: You do have the dice in the middle to use. Did you want to use one of those? You can rol

l one more, I'll let you. ZEHRA: Yes. LUIS: Do we know the stakes on this? MARISHA: I'll take it. I mean it feels-- SPENSER: Definitely high stakes. ZEHRA: Roll! LUIS: Figured. MARISHA: Five! SPENSER: It's a five, good! Okay, love it. MARISHA: Do I get another drive back, since those girls-- SPENSER: You do get a drive back. MARISHA: That's right, that's right. Drive back, okay. Yes, Jesus Christ. SPENSER: Yeah. LUIS: Oh jeez. SPENSER: You hold the mirror up to it. It goes skittering backwards a

s this happens. (roars) at you like-- MARISHA: I want to try and push it into a corner. I want to try and run away from it. SPENSER: Yeah, it turns its face to you, so it's not looking at itself and as that happens, it starts running at you, not looking at you. It is blindly following the sound of your footsteps rather than using its sight to be able to chase you. With that five, you know that you have the ability to run, but it's going to run after you. MARISHA: I-- I take the belt that I have

around me. I'm going to toss it into the corner to try and throw it off its track. ZEHRA: Yes! SPENSER: That sounds so good. That's either going to be a Hide or a Sway roll because you're trying to trick it. MARISHA: I'll do Hide. SPENSER: Okay, sounds good. Make a Hide roll and see if you can get it to be convinced that you're a different direction than you actually are. What is that? MARISHA: Dual ones. TRAVIS: Duals. SPENSER: Double ones. Do you have a resistance? MARISHA: Oh, I do! LUIS: Yea

h, yeah, yeah. MARISHA: I do! SPENSER: Spend that. Reroll those Hide dice. MARISHA: Yes! ZEHRA: Rise of the resistance. MARISHA: ♪ Thank you for the reminder, GM ♪ SPENSER: Yeah, of course. BRENNAN: It's really great, but also it doesn't say great things when the GM starts reminding you about the rules. MARISHA: Yeah, 100%. 100%. BRENNAN: I know when I do that. MARISHA: A one and a six. SPENSER: Six! Take that six, baby! MARISHA: Man, that, and it was not on the gilded die, but that six is more

important. SPENSER: Describe for me how this works so well. MARISHA: (groans) You know, it's like a thick leather belt, pouches on the side. I even want to try and aim for the direction that the overturned dresser is. SPENSER: Sure. MARISHA: To maybe-- SPENSER: Get it to run back into the room. MARISHA: Yes, exactly, maybe it trips it up a little bit. SPENSER: Love that. MARISHA: As it falls on wreckage. SPENSER: We see you throw it backwards (belt clunking) into the room. It sounds like footste

ps. You are able to skip it just enough that it sounds like footsteps and the creature turns and goes tearing into the room. As that happens, we cut to you in a carriage. You are riding through the Varnish. TRAVIS: (yelling) SPENSER: You're riding through the Varnish. You know that you're getting close. The person who's-- what's that called, the person who runs the coach? TRAVIS: Oh, the driver. SPENSER: The driver? BRENNAN: Coachman? SPENSER: Coachman, thank you. The coachman says, "Your stop i

s-- What the hell?" You hear a scream outside the carriage doors. You also hear a scream from inside, but we hear it from outside here with you. TRAVIS: That's me! SPENSER: As you throw open the carriage doors, you see a creature that has eight long, spider-like legs with a torso that is twisted and mangled. with a torso that is twisted and mangled. It does not look like a spider, but the closest thing you could imagine in comparison would be a spider, but the edges of the legs are all hands ins

tead of points. MARISHA: (laughing) Ugh. LUIS: Oh! ZEHRA: Oh! SPENSER: It's grabbing onto the building. It's hanging on the side of this building and Farrah Morales is looking up at this creature and Farrah Morales is looking up at this creature, pointing the gun at it. What do you want to do? TRAVIS: The creature's the size of about what? SPENSER: The creature's probably the size of an SUV. The body is the size of an SUV with eight legs. TRAVIS: Fuck. That seems about right. Farrah! This way, p

lease. I'll take out the little hand mirror in one hand and the pistol in the other and hold it up as if it would do something. I don't know. SPENSER: (laughs) Uh-huh. TRAVIS: And try and get Farrah closer towards me. I'll say: Auntie Bee, who came to help you, where is she? SPENSER: Great, make a Sway roll for me to get her to speak to you amongst the madness. TRAVIS: ♪ Amazing on the weekly top 40 ♪ (laughter) LUIS: Wow. TRAVIS: Six. ZEHRA: Yes! SPENSER: That's a six. That's a full success. So

, you call out to her. She says, "She's still inside!" and takes two shots. This thing takes two shots into its body, screams, riles up, and leaps down to grab the carriage. The coachman goes, "Fuck this!" and takes off in the carriage-- LUIS: Oh no! SPENSER: -- leaving you there. BRENNAN: The coachman, most relatable character. (laughter) BRENNAN: Giddyup! (laughter) MARISHA: Goddamn. ZEHRA: I hope he survives. TRAVIS: I'm going to put my mirror in Farrah's hand and say: SPENSER: Uh-huh. TRAVIS

: Use this, I think you know how. It doesn't like reflections. I'm going to run inside after Auntie Bee. SPENSER: Great! As that happens, this thing leaps down and stands in front of the building as you hear (unearthly, raspy screech) and it starts running towards Farrah. She's unloading the gun in her hand. TRAVIS: I wouldn't just abandon her. SPENSER: Okay. TRAVIS: I'll join and start-- SPENSER: You see this thing running towards her. You would have to run by it to be able to get up the stairs

. TRAVIS: We'll both, both angles, so it'll have to pick one or the other. SPENSER: Great. You're one angle, the other angle, both of you shooting up here. Go ahead and make a Control roll for me as you shoot at it. We jump back to you here. What are you doing? MARISHA: ♪ Hauling ass down the hallway ♪ SPENSER: Yep. MARISHA: How heavy is this mirror that I'm-- SPENSER: It's pretty heavy but I mean it's not like, you're not dragging it behind you. It's underneath your arm. Also, you said you're j

acked, so I'll let you run with it. MARISHA: Yeah, yeah. SPENSER: Let's do it. MARISHA: Secret jack. My stats do not reflect that, but sure. BRENNAN: Big triceps. SPENSER: Yeah. MARISHA: I'll actually take the mirror, having my thick knit gloves on that wire that will hang the mirror. SPENSER: Uh-huh. Yeah. MARISHA: I'm going to have it behind me and have a back-- SPENSER: Like a cape? MARISHA: Like a cape. LUIS: Oh! MARISHA: So if it's chasing after me. SPENSER: Great. MARISHA: As I haul ass no

w down the stairs. SPENSER: Yeah. I think we see it run. You're down the hall, you're almost at the stairs. You hear (clunking) out into the hallway. It turns the look at you, sees itself and (eldritch screech) recoils back into the room as you look over your shoulder. MARISHA: Flip the bird. SPENSER: (laughs) You go running down the stairs. You made a Control roll here for me. TRAVIS: It was a five. SPENSER: That's a five. Here's the choice that you have. It's running towards both of you. You s

ee it trying to decide who it's going to go after, you or Farrah. You hear this creature within screaming upstairs You hear this creature within screaming upstairs where you think Bee probably is. It's coming for her, it's chasing her. It can come at you. You can shoot it and it can come at you, or it can go to Farrah and that will open up a line of sight for you to be able to go and help. TRAVIS: I will draw it towards me. You ugly son of a bitch who has six hands! I start shooting at it. SPENS

ER: (rapid fire) Great. You start shooting. It turns itself from Farrah and reaches its arm out and it is going to try and grab you here. I'm going to have you make a Move roll to get out of the way of its massive, spider-like appendage with human-like hand on the arms. TRAVIS: Burn a drive and not use one of those yet. Threes. SPENSER: Threes. It reaches out. You shoot at it, it takes a couple of hits, but that does not deter it. It takes you into its grasp and it brings you up and it starts to

squeeze you. ZEHRA: (gasps) Oh. LUIS: (gasps) TRAVIS: (choked gasp) SPENSER: It's opening its mouth as well. ZEHRA: Oh! SPENSER: Similar mouth as the other creature, but this time much larger and on this thorax-looking body. The body opens up and it looks as though it's trying to feed you into that. You see this as you run down the stairs and are breaking the threshold of the building. Farrah, standing there firing, her gun clicking. She's out of bullets. And your friend, or your new, maybe new

friend (laughs) coming here to save you being taken into this thing's mouth. What do you want to do? MARISHA: Am I able to run and take the mirror and throw it in front of its face, cut him off between the two of them? SPENSER: This thing is pretty high, but if you were to get in front and maybe make it look at itself, that would be a Move roll to get there in time. MARISHA: All right. Yeah, I'll try it. I'll, fucking, I don't know. I'm running out of things on my person. SPENSER, LUIS, and ZEH

RA: (laugh) MARISHA: I'm going to be like: Hey, dip shit! Then try and get it to look at me. SPENSER: Yeah, great! That sounds good. Go ahead and make a-- MARISHA: You said it was a Move? SPENSER: Make a Move roll to get there in time. What I'm going to say is, in order to get there, you're going to have to run out in front of it and put the mirror in front of it. MARISHA: Yeah, get in front of it. SPENSER: You can see the eyes that are built into its thorax. MARISHA: Burning a drive just so I'm

full. Ugh, two. SPENSER: It's a two. TRAVIS: While it's also choking the life out of me, can I try and fumble in my pocket to try and get fingers on the little Zippo lighter that I have? But as I'm looking into it, can I go: (strained) What do you want? What are you here for? Just to see if I can get it to talk at all. SPENSER: Uh-huh. ZEHRA: Oh. SPENSER: Go ahead and make a-- Make a Sway roll to try and get it to listen to you here. TRAVIS: Running fucking shit out of drives. Fuck it. Double s

ixes. LUIS: Nice! ZEHRA: Yes! MARISHA: (laughs) (excited yell) SPENSER: Critical, incredible. SPENSER: It brings you right up to its face. You can feel its mouth-- Sorry, its breath out of its mouth as it breathes on you. (raspy, dry breathing) "Revenge," it says. You, for a moment, get the shot of a creature burning in your mind as it holds you. You feel it emanating with bleed, but in this moment it's connecting with you, showing you what it's here for. Then, as that figure burns, in the darkn

ess, other eyes are watching. We get the perspective of another creature on the wall watching you and Allison and Farrah all standing, and Duncan all standing there trying to fight as they watch their own burn. That's what you get in this moment. With double sixes, it's going to hold you there, connecting with a person for seemingly the first time. You fumble with the lighter. You take this moment to fumble with the lighter in your pocket. You have it in your hand with that double six. What do y

ou want to do? TRAVIS: (choked groans) Your friend isn't the only one who will burn. (lighter clicking) (laughs) I'll try and hold it, single little flick. SPENSER: Amazing. TRAVIS and ZEHRA: (laugh) BRENNAN: A huge gamble. Maybe these monsters are-- MARISHA and BRENNAN: Flammable. SPENSER: Well, we did see that one of them was, right? MARISHA: That's true. SPENSER: That's true. TRAVIS: That's all I got! BRENNAN: Wouldn't be the first time-- TRAVIS: Maybe he just doesn't like fire. BRENNAN: I've

read a lot of penny dreadfuls about aliens that get defeated by colds and glasses of water. MARISHA: Yeah! (laughs) (laughter) BRENNAN: Maybe a simple flame will do it. MARISHA: (laughs) SPENSER: You, running with a mirror, realize you're not going to get there in time. It's going to devour this until you hear Lieutenant speak up. ZEHRA: (gasps) SPENSER: Stops, holds the flame. You know what this thing does to flames because you saw it before. The flame starts to grow, and as it does, you see t

he skin of this creature catch flame a little bit. It drops you. TRAVIS: (thud) (desperate gasp of air) SPENSER: You're going to take point of body here as you go falling to the ground. You see it stumble back, having a weird connection with a human for the first time. (skittering) Skitters up the building and disappears. As it moves, you see the flame flicker outline disappears behind the building. TRAVIS: As it was holding me up and answering, was its face contorting or moving at all or just s

taring daggers? SPENSER: Just staring. Yeah, it had 12 eyes that were all looking at you. TRAVIS: Awful. SPENSER: This is not-- TRAVIS: That's 10 more than it needs. SPENSER: Right? (laughs) ZEHRA: (laughs) SPENSER: There's no reason to have that many eyes. As that happens, we see you and Auntie Bee. MARISHA: I just run up. Trapp! TRAVIS: (gasps) (coughs) I came to rescue you. MARISHA: You did, you did. Good boy. Wait. Farrah?! Where's Farrah? SPENSER: You see Farrah holding a gun, staring at th

e two of you. She drops the clip out of it. ZEHRA and LUIS: (laugh) TRAVIS: (laughs) LUIS: I heard "she drops." TRAVIS: We're in it. MARISHA: Yeah. (laughter) TRAVIS: We're in it. SPENSER: She drops the clip out of it and reloads it. TRAVIS: Dope. SPENSER: "Where we going next?" We cut away from that to-- TRAVIS: Yes! MARISHA: (sighs) TRAVIS: Good job. LUIS: Nice job. MARISHA: (heavy sigh) TRAVIS: Good job. BRENNAN: Woo! Hey! MARISHA: What the fuck! SPENSER: Sean. MARISHA: (heavy exhale) SPENSER

: We land on you in darkness. There is a moment before your eyes open that you feel something. Oh, sorry. You feel something pulsing at your stomach. Then, a light, airy breeze over your face. You come to. You see a face staring back at you. At first, you think you're looking in a mirror, but you realize the face isn't mirroring your expression and it's turned slightly left, while your head's slightly right. "Are you okay?" You hear it say. BRENNAN: No. SPENSER: You feel a hand upon your chest.

It tugs at something and as you look down, you see there's black ichor that's rubberized around your stomach that's rubberized around your stomach almost as if it's holding you together. "I'm sorry I had to shoot you." BRENNAN: I don't blame you. SPENSER: "I know you don't. "I had a little peeksie inside your head. "I know why." BRENNAN: I'm going to check my pocket for my baseball. SPENSER: Uh-huh, it's there. "Oh, I didn't take your things." BRENNAN: None of them? SPENSER: "None of them. "I di

d bring you somewhere safe." BRENNAN: Yeah. (grunts) SPENSER: "You got a lot going on in there, you know that?" BRENNAN: (coughs) SPENSER: "Come off as a jughead, but "a jarhead, but..." BRENNAN: It's like a bandage? SPENSER: "Yeah. Yeah, like a bandage." BRENNAN: I made it through three years of war, 24 confirmed kills. Nobody ever got me before. Am I dead? SPENSER: "No, no, you're living. "You know, coming through here, being in a new place, "it's scary, until you find someone who's just like

you. "Always thinking you're a monster. "We're both monsters, well, "you said that "right before you shot me, so it was payback." "right before you shot me, so it was payback." BRENNAN: Yeah, turnaround is fair play. What is it... respectfully-- SPENSER: "Sure." BRENNAN: Why am I alive? SPENSER: "You want the same thing I do." BRENNAN: What's that? SPENSER: "You tell me." BRENNAN: Revenge? SPENSER: "Not only that," he says, relaxes his shoulders. "I need you to help me. "I need you to help me ge

t my mother. "Yeah, get her out. "So, like I said, "we want the same thing. "I can give you what you want. "I can help you. We can help each other. "You want to be with your mother again; "I want to be with mine. "You want revenge, so do I. "I'm almost done. "Looks like you're just getting started." BRENNAN: What'd they do to you that you want revenge for? SPENSER: "Killed my sister. "That big fella, broad shouldered one, "he was there. He was part of it." BRENNAN: Where you come from, right, it

's on the other side of this Flare? it's on the other side of this Flare? SPENSER: "Yeah." BRENNAN: When you've gotten your revenge, what are you going to do? SPENSER: "I'll bring her here "so she can live here "among us. "There's so many of us," he says it again, "There's so many of us here, "nobody would even know." He shifts into another face, and another face, and another face and then back to you. "So. "We do our best, but, "I could only, "I could only get so far on my own "without your hel

p, "to help you, I mean," he says, smiling wider than you've ever smiled, unnatural. "I can give you what you want. "You have to let me in, though. "You have to let me in deep." BRENNAN: What does that look like? SPENSER: The creature, yourself, grabs you and props you up, and then sits cross-legged next to you on the ground. "Tell me about them. "Tell me who you want and really see them. "Picture them in your mind. "If you can see them, I can see them. "If I can see them, I can find them. "So t

ell me, who is it?" BRENNAN: There's a man. There's more than one. Arthur Duffy, Dr. Sergei Orlov. I got to get my mom out. I'm going to die. They're going to keep sending me down those holes, through those woods. All those years, everybody called me a soldier. I murdered those kids. That's what I was, I was a murderer. And when I got back-- [gunfire] [sirens wailing] BRENNAN: -- everybody called me a good man. Told me to suck it up, smile, keep walking. We'll get Mom one day, there's just one m

ore hole we need you to go down, one more jump we need you to make, one more gun we need you to shoot. Maybe if I really want to be a soldier I need them to call me a murderer. [booming] BRENNAN: Arthur Duffy, Sergei Orlov, and there's more after that. SPENSER: "Okay." Nods. BRENNAN: I can give you their faces. I can tell you where they live. SPENSER: Reaches onto your face with his hand. It's pulsing in chromatic color. Places it to your forehead, brings it down along your cheek and holds you,

staring at you. "Good. Let me in." Take a point of bleed as it dives into you. I believe that takes you over. BRENNAN: Second scar. SPENSER: Second scar. You drop your head against his palm, against your palm, You drop your head against his palm, against your palm, and he closes his eyes as well. We jump from there, back to the two of you. We jump from there, back to the two of you. LUIS: We're in the carriage, yeah? SPENSER: Correct. LUIS: We're heading to-- ZEHRA: On the way to the residence o

f Duncan. SPENSER: Mm-hmm. LUIS: I'm doing something on the way. SPENSER: Okay. LUIS: As we're going in the carriage, I am concentrating on-- I've tapped into the other layer of the world I've tapped into the other layer of the world and have been able to ping bleed, ping creatures that are essentially somehow affected by bleed, or are in their essence something connected to that realm. I want to do that, but what I'm looking for specifically, things are changing with me. I'm looking at myself a

nd I'm looking at the scar that's spread from my chest up my shoulders, down my arms and up my neck and my face, and remembering how it all started. Almost like, I guess a beacon of sorts. As we're driving towards where Sean is, I'm tapping into that realm. I'm searching for any pings, not of monsters, not of creatures, but of people like me. SPENSER: Hmm. LUIS: There's got to be more like me in the city, there's got to be other kids like that seven-year-old that I once was. SPENSER: Right, go a

head and make a Sense roll for me. LUIS: Okay. I have three dice that's gilded. I'm going to burn two Intuition drives. ZEHRA: I would like to help you. I see you deep in progress and I would burn an Intuition to lend an extra die. LUIS: Okay. I feel you reaching to me and I just know when you're near me and it's always going to bring me comfort. The highest is a five. SPENSER: Great. On a five, you look out of the carriage window and you see the world passing you by. It's not on this street, it

's not on the next one, but you get a ping, and then another, and then another. You feel others like you in the city. You feel others like you in the city. You're getting flashes of their life. One of them riding a bicycle down the street. One of them riding a bicycle down the street. The other one having a conversation with a friend in a small cafe. Another one dancing, normal people, those like you. LUIS: You know what, I think I would, the entire time, I'd be in this space. As soon as I got o

ne ping, I don't think I would ever break it until we got to where Sean is. SPENSER: Yeah, you feel the carriage come to a stop, finally. You feel it for sure. I think being where you are. LUIS: I'm lost. SPENSER: You're lost. LUIS: I'm still... SPENSER: You see Marion here, still lost even though the carriage has stopped. The driver peeks back through the curtain and is like, "We going, or what?" ZEHRA: Yes, I sense what he is doing and I am unsure whether or not I should break him out of this

reverie, I do know that time is of the essence, and (sighs). Would it be possible to wait here? I ask. SPENSER: "You want me to wait here?" ZEHRA: Yes, with him. SPENSER: "Oh, with him." ZEHRA: Until he's ready. SPENSER: "Will you pay me for the time?" ZEHRA: Of course, money is of no-- Yes. Yes, I will pay you. Please wait here. SPENSER: "I'll do whatever you want, lady." ZEHRA: I burst out of the carriage. SPENSER: Great. ZEHRA: I look at the door to the residence. SPENSER: Yeah, you see the d

oor to the residence. It is open, it is ajar. Your favorite word. ZEHRA: Wonderful. (laughter) SPENSER: As a reminder, this is a house in The Steel. There's a garage next to it, There's like a, you know, it's put together ramshackle, metal siding. Looks as though it's maybe, you know, 80 years old or so. It's aged, rusted metal. But the door is open here for you to go in, if you'd like. ZEHRA: I'd like to focus on the door. I'm trying to decide whether I use my practical side and analyze, and in

spect, and figure things out, or if I tap into this ever creeping feeling of sensation that is getting stronger and it's hard to ignore. I think I need to sense, is there current danger if I were to enter? SPENSER: Won't be able to tell if there's danger. What I can tell you is whether or not there are things that have bleed-- ZEHRA: Yeah. SPENSER: -- within. ZEHRA: Okay. SPENSER: That's what I could give you with that, if that works for you. ZEHRA: Okay. SPENSER: Okay, great. This will stay reg

ular stakes right now. But I will say you are in danger of taking a bleed if you roll a mixed success or a miss. ZEHRA: Could I Focus, then, and not use my Sense-- SPENSER: What I will say is, expectations-wise with Focus, I would say that you aren't, you can see that the door is ajar, there doesn't appear to be anything out of place here, but, yeah, there's not something else necessarily will give you clues here as to what's within just based on the door. You just, I think the shot we get here

is you standing in front of the door that's ajar, being like, "What do I, how do I do this?" ZEHRA: This is what I would like to do. SPENSER: Yeah, okay. ZEHRA: I remember that I took a bleed scar in the last game, and that the tips of my fingers glow with a bluish fire. I would like to hold my hand in front of my face and into the space where the door is open to see if I can visually see anything of immediate concern. SPENSER: Got it, so you're going up to the door and lighting up the inside--

ZEHRA: Yes. SPENSER: -- just a bit. As that happens, as you move forward quietly, I'm going to have you make a Hide roll to keep yourself hidden. ZEHRA: I don't have a Hide. SPENSER: That's okay, you'd roll two and take the lower. This is just to keep yourself hidden-- ZEHRA: Okay. SPENSER: -- from whatever's within, if there is something within, you're trying to be sneaky here. ZEHRA: Is this a rather high stakes? SPENSER: This is a standard stakes roll. ZEHRA: Okay. SPENSER: You don't know if

there's anything quite yet that would be bad. ZEHRA: Okay. Five. SPENSER: Five. ZEHRA: Five. Three and a five. MARISHA: Take the lower. ZEHRA: Oh, you take the lower, it's a three. SPENSER: Take the lower of the two. So it's a three. MARISHA: Yeah. (laughter) SPENSER: You push in. LUIS: I'm so sorry. (laughter) ZEHRA: Rules are rules. SPENSER: (laughs) As you push in, before they see you, you see them, you see two figures on the ground here in the center of the room, in the darkness. The flame l

ights up and you get a reflection on the-- The thing that gives it away is not you but the reflection of your hand in the portrait that you saw when you came in, the portrait of the family. It's of a couple generations of a family sketched up on the wall next to you. It reflects the fire that's on your hand, and you see a flicker of light into the room itself, these two figures deep within. What do you want to do? You can tell that they've noticed something is there with that Hide roll, but I'll

give you the opportunity to act. ZEHRA: Do I recognize the figures? SPENSER: They are in complete darkness. ZEHRA: Complete darkness, just see their silhouettes. SPENSER: Mm-hmm. ZEHRA: I'm concerned that Mr. Finnerty is in there and he is in grave danger. I look back toward the carriage. LUIS: We've been still for a moment, right? SPENSER: Yeah. LUIS: So I figure, at this point, I'm still tapped into the space. I've been getting maybe the same ping and it hasn't moved and there hasn't been any

one. Can I see if that gives me a clue as to us arriving and us now no longer moving? Because I am somewhere else. SPENSER: For sure. Yeah, I think that it being in the same place tells you: Oh, we're not moving anymore, and you come back to. LUIS: (reviving gasp) SPENSER: Yeah. LUIS: Jean. Jean? ZEHRA: I go back to the carriage. I see two figures inside. LUIS: Where's Sean? ZEHRA: I don't know. LUIS: I get out of the carriage. SPENSER: Yeah. LUIS: I start heading right to the door. ZEHRA: Wait.

You are severely, gravely injured. LUIS: I feel fine. I know I needed a break, I needed some rest, but Sean's in danger and I'm going to go in there and I'm going to find him. ZEHRA: Let me go in first. Just stay here. LUIS: No, I'm going right behind you. I'm not going to let you go in there by yourself. ZEHRA: I know what you're doing. LUIS: We can do this together. You can take point, that's fine. I'm used to-- I'm used to somebody taking point, being my shield. ZEHRA: If you're not, Mr. Fin

nerty will once again be that point position for you. LUIS: Okay, let's go. ZEHRA: Let's go. So I have the gun. SPENSER: Great. ZEHRA: I'm going to-- (sighs resignedly) I'm going to enter with the gun drawn. LUIS: I'm three feet behind. SPENSER: Great. As you enter, the door (hinges creak) opens wider. ZEHRA: Mm-hmm. SPENSER: Light is starting to pour in, your hand on fire pushing into the room here. You hear what sounds like lapping of liquid-- (wet lapping) LUIS: We need to get in. SPENSER: --

from the ground. The two figures you see in front of you, now that you've gotten closer, you're illuminating them. They are licking the liquid off the ground. They are licking the liquid off the ground. They turn up, both of them, their heads unnatural in their positioning, and you see the disproportionately mangled faces the disproportionately mangled faces of Duncan and an older woman. of Duncan and an older woman. As we look at the portrait again in this moment, reflecting the light, we see

them two standing next to each other, adult children in front of them as well. You also hear (echoing plunk) from the room off to the left here. They start to stand up and as they do, the light here illuminates them and you can see blood is just all down their mouth and neck and it drips off of them as they rise. It's as if they were feeding off of the blood that was left on the ground here. ZEHRA: I shoot! SPENSER: (laughs) Amazing. Okay, make a Control roll for me as you shoot towards them. ZE

HRA: I am going to burn a Nerve-- TRAVIS: (mockingly) Ah, talk first, ah. ZEHRA: -- to get an extra. TRAVIS: (laughs) SPENSER: (laughs) Not with these guys. (laughs) TRAVIS: No, uh-uh. ZEHRA: Six! SPENSER: Six. (cheering) MARISHA: Hell yeah. SPENSER: You unload a shot into-- Are you shooting at Duncan or shooting at the woman here? ZEHRA: I'm shooting at Duncan. SPENSER: Great. You watch the bullet rip into Duncan's face and this side of his mouth just explodes off. He goes collapsing to the gro

und, his body writhing, black ichor starting to drip out of there. The woman is now moving forward, but with a six, the play continues with both of you. What do you want to do? LUIS: Okay. I'm taking a defensive position. SPENSER: Yep. LUIS: So I step back a little bit. You got this! ZEHRA: I will shoot again. I learned a thing or two from Mr. Finnerty. SPENSER: Love that. We see: Boom! Then moving over to the woman here. She starts to put her head down and run towards you. Go ahead and make tha

t roll. ZEHRA: Four. SPENSER: That's a four. So with a four, what happens is this woman is running full steam at you. You fire and fire again. It rips into her, it doesn't deter her, but you see that her momentum carries her through. She just gets mangled by the bullets and slides forward, tripping over herself until she just comes to rest at your feet, her head pointed up at you, blood dripping down her mouth, her eyes wide and bulging. As that happens, you see two, what look like men in their

early 20s standing in the doorway of the house. They're also just covered in black ichor and blood here. They're looking straight at you. What do you want to do? LUIS: I'm backing up. Oh my god. Okay, so she slid and she's right in front of us. SPENSER: Yeah, but she's out and just staring up. LUIS: Okay. SPENSER: She got shot twice. LUIS: I am pulling out-- I still have this phase knife that I got from a long time ago. SPENSER: Yeah, you do. Uh-huh. LUIS: So I pull that out and I am getting rea

dy to use it if they come closer. SPENSER: Great. You see them at the doorway, their eyes rolled back in their heads. They don't even have sight right now. LUIS: I point them out to you. SPENSER: They're stumbling forward ZEHRA: I reach into my medical gear and I pull out a bottle of alcohol. SPENSER: Mm-hmm. ZEHRA: I rip off a piece of my coat with my teeth ZEHRA: I rip off a piece of my coat with my teeth and I shove it into the bottle of alcohol. I learned a thing or two from Mr. Trapp! And I

light it on fire. SPENSER and TRAVIS: (laugh) LUIS: With your hand?! ZEHRA: With my hand. TRAVIS: Yes! ZEHRA: I throw it at the men in the doorway, over Marion's head. TRAVIS: Burn clean! SPENSER: I love that. Make a Control roll for me. One more Control roll to keep them at bay. ZEHRA: I'm going to burn a Nerve. SPENSER: Great, burn a Nerve. LUIS: Nice. ZEHRA: Six! SPENSER: That's a six! That's a full success. (cheering) SPENSER: As these two come stumbling forward, (flames erupt) they get lit

up here. This house is made of metal, not of wood. ZEHRA: Yes! SPENSER: So the house itself doesn't catch, but these two get caught in the fire. They're stumbling towards you. They're starting to lean their heads down and rush, but as they do, their body's deteriorating underneath them and they flump to the ground. ZEHRA: (sighs relief) LUIS: I'd like to do a Sense roll to see if I get any other of these kinds of creatures. SPENSER: I love that. Make a roll for me. LUIS: I am going to-- Oh, I f

orgot-- SPENSER: As that's happening, we're seeing the two of you and Farrah getting in a carriage. Where are you all headed? TRAVIS: We would be heading back to The Silverslip. That's where we left people. SPENSER: You know everybody's gone from Silverslip. TRAVIS: That's right, we did all leave. MARISHA: Right, because you guys split. TRAVIS: Well, we'd be asking Farrah first. Do you know of any other locations of the Fourth Pharos? The one that we saw was compromised, broken. SPENSER: "Goddam

n it. No, they don't tell me shit." TRAVIS: Fuck. SPENSER: "But is Duncan okay?" TRAVIS: We don't know. MARISHA: (contemplative) Ah. One of our team members went to go check on him. I came to check on you. We don't-- SPENSER: "Goddamn it," she says. MARISHA: But wait. TRAVIS: But we-- We could go. We could check. MARISHA: Should we go there or the train? TRAVIS: Yes, yes. We have that location. We'll head to where the rest of the group was headed, to Duncan's. MARISHA: You said maybe they went t

hat way-- TRAVIS: Duncan Walters. MARISHA: -- because Marion saw a vision that-- TRAVIS: That Sean was--- Yes, yes, yes. That he was hurt. MARISHA: So I'm going to say: Ma'am, slim pickings right now. SPENSER: (laughs) TRAVIS: Project positively. But he probably-- MARISHA: Don't hold your breath. SPENSER: Great. She, "Fuck!" and is loading the clip and grabbing her harness. She sees you wearing one, too. Clicks the gun in. TRAVIS: Yeah. SPENSER: "Did you serve?" TRAVIS: I did. SPENSER: "Good." M

ARISHA: Have you always been a cop? SPENSER: "Yeah. I mean, not always, I had a childhood." (laughter) (laughter) SPENSER: She hails a carriage. BRENNAN: Welcome to the force, baby cop. (laughing) TRAVIS and MARISHA: Baby cop. BRENNAN: Coming the fall. SPENSER: "Baby Cop." TRAVIS: I know a snitch when I see one. (laughter) TRAVIS: That baby. SPENSER: That baby. MARISHA: Voiced by Vin Diesel, "Baby Cop." BRENNAN: Pulling a pacifier out, "5-0." (laughing) SPENSER: Wight to wemain siwent. (laughing

) MARISHA: Wight to wemain siwent. (laughter) BRENNAN: Fin Bwue Wine, yeah. ("Thin Blue Line") (laughter) LUIS: Oh my god. SPENSER: Goddamn it. I love it, it's so good. We cut back to you. You're rolling Sense to see if anything else is here. What'd you roll? LUIS: I burned it. There's so many jokes I want to make and I'm not, I'm not, I'm not, I'm not. I'm not going to keep that going. So I used a drive and I got a six, not on a gilded die, but I got a six on that. ZEHRA: Oh, great! SPENSER: Gr

eat, with a six. LUIS: Yes. SPENSER: With a six, you realize that the feeling of bleed that you're getting is coming distinctly from the figures that have gone down. There doesn't appear to be anybody else here that is under that influence. LUIS: Then I literally just saw Jean completely become Sean and the Lieutenant right in front of me and kind of, I'm impressed. I turn to you, I look at you: Nice work! And then I pick up exactly where I would've if it was with them and I'm taking that phase

knife and I'm shoving it down every single one of those creatures. To make sure that anything that's wiggling is going to remain still. SPENSER: We see (stabs) through the side of a cheek and out the other side of the cheek into the floor here. It gets pulled up. We hear it continue as you go through and stab. We stay on you here. What do we see here as this is happening? ZEHRA: As I'm watching Marion make quick work of the creatures I have just downed. LUIS: That you have already killed, but I'

m making sure they're dead again. ZEHRA: Appreciate the teamwork. I recall that I heard voices or some sort of thunking to the door to the left. SPENSER: Those were the two that had come from there, that was where the thunking was coming from. ZEHRA: Right, I am scanning the room, looking for any sign of Mr. Finnerty other than this blood pile. SPENSER: Great, make a Survey roll for me. As that happens, we cut to the two of you and Farrah in the carriage pulling up into The Steel here. You smell

the smoke of the industrial district here. You see a shanty set of houses that are here and a door that's wide open. MARISHA: Yeah, remind me, he lived in like a townhouse, right? SPENSER: Yeah, it's like a house that's sort of just put together with metal sheeting essentially. It's very ramshackle, but yeah, you're pulling up in front of there. TRAVIS: The door's ajar. MARISHA: (laughs) The door's ajar. It's not like an apartment complex. SPENSER: No, no, no, no, this is like, yeah-- It looks

maybe as though he built it himself even. It's that kind of feel. MARISHA: Took some shipping containers, kind of style? SPENSER: Yep, totally ripped those up and built a house out of it. TRAVIS: Sun is still in the sky, right? SPENSER: No, it's dark. TRAVIS: It's dark, okay. SPENSER: It's been dark. The sun is actually probably going to come up. ZEHRA: Oh shoot. TRAVIS: Oh shit, yes, yes, of course. Go in loud or quiet? MARISHA: (uncertain noises) SPENSER: We push on Auntie Bee as this happens.

(groaning) TRAVIS: Finnerty, Marion! MARISHA: Yeah, loud! I guess we're going in loud. SPENSER: You hear shouting from outside. What do you two want to do? LUIS: Looks like reinforcements have arrived, so-- ZEHRA: I rolled a four on Survey. SPENSER: Great. Great, as you two enter, you hear voices within talking and we see you searching the house for anything that you might find. You all see the doctor here scouring the room. You don't find anything but that blood that remains of Sean. Well, it'

s blood left on the ground. You saw-- LUIS: Is it where he fell in my vision? SPENSER: Yeah, exactly. You're seeing where he fell in the vision. You can tell that's Sean's blood, but he's not here. What you do see is some supplies scattered on the dining room table here. It's as if something was being prepped for. As you move over to the table, you find that there is a map laid out and it's labeled Pharos, and there is-- You know this place. This is a map of Westwreck. ZEHRA: That's where I'm fr

om. SPENSER: That's where you're from. What you would know based on this, based on all the things that you see here, the goggles, the pistol, the maps that are laid out here, the notes and details here that you find as you're shuffling through all of this. You have the realization that Duncan was probably an owler. An owler is somebody that you would know that basically knows their way around Westwreck, knows their way around the mines in Westwreck and takes people through as needed to be able t

o do that. ZEHRA: I've had to fix many an owler's chest cavity when they accidentally happened upon a mine. SPENSER: Right, exactly. So these owlers are essentially people who will shuttle people to their destination. Sometimes into the Haven Hills, right, sometimes into The Verge. But you have to go through Westwreck to do that and there are minefields everywhere. From this, you can tell that that is what Duncan was. You find this. ZEHRA: Oh! SPENSER: Which is a map. ZEHRA: Prop! LUIS: You got

it. SPENSER: Prop! LUIS: Nice, nice, yeah. Prop, prop, prop, prop. BRENNAN: You have to yell "prop" when you get a prop. (laughter) ZEHRA: Prop! BRENNAN: Prop! SPENSER: The both of you see the doctor holding up a map. ZEHRA: I share it with everyone, so everyone-- TRAVIS: We immediately draw on both of them, though. ZEHRA: Oh. TRAVIS: It's a very good likeness. LUIS: I know, I know, I know, I know. Do you remember the flower? TRAVIS: What's the name of the flower? LUIS: You first, because last t

ime you stumbled. TRAVIS: I said it last time. LUIS: You said something kind of sort of like it, but it wasn't exactly. TRAVIS: We're kind of talking around it. It's a petunia, it's fine. MARISHA: Starry night petunia. LUIS: Okay, that's right, burgundy! ZEHRA: Burgundy? LUIS: Yeah, that's my favorite one. ZEHRA: That's a beautiful color! TRAVIS: What do you have there? ZEHRA: It's a map. And I show them the map. SPENSER: You two would both recognize this because this is where you all fought in

Westwreck. LUIS: Oh. ZEHRA: Oh. LUIS: Is that blood on it? SPENSER: You know from looking at it and from your time in Westwreck, that those red dots on that map are mines. ZEHRA: It's not blood, though, it's quite poetic. These are where the mines are located. LUIS: So that's the way around it. This is the map to get through the mines. ZEHRA: This is an owler's map. LUIS: What are those Xs? ZEHRA: Do I recognize these symbols? LUIS: Yeah. SPENSER: You don't, off the top of your head, recognize w

hat those are. They appear as though they're hand drawn into the map. MARISHA: So what does that mean and how does that apply here? LUIS: Sean's no longer here. ZEHRA: Would you like to see it? TRAVIS: Are they saying that there's an entrance to the Fourth Pharos in Westwreck? ZEHRA: I've never heard tell of such thing, but it could be possible. MARISHA: Sean's no longer here? LUIS: This is where I saw him fall. Whatever Duncan was got to him. SPENSER: We cut from that to Sean. Sean, we get a sh

ot of you coming back to after taking that bleed scar and letting this creature in. It's hard to tell how long it's been. You took a scar here and had the chance to shift an action rating. What did you shift? Have you chosen? BRENNAN: I've actually gotten two scars, so it was one from Survey to Strike. Then one from Hide to Focus. SPENSER: Amazing. Was the Hide to Focus this one? BRENNAN: Yeah. SPENSER: This last one? As you're coming to, the dream that you're coming out of, how does it tell us

about that shift for yourself? BRENNAN: (sighs) BRENNAN: "Your Auntie Beatrix tells me "that you're still doing what you do best. "Killing those who are different from you "simply because you're told to. "Following orders to eradicate people "with families and loved ones, "then letting those same people "you choose to obey kill your brothers. "And now I am here in this wretched place "because of you, Sean, "because you didn't look out for our family." I move a dot from Hide to Focus because it's

time to stop hiding and it's time to concentrate on doing what I want to do for the first time. [sirens wail] SPENSER: And your vision comes to. You see in front of you are five chairs. "You let me in. "I saw who you wanted." You hear muffled screams. As you sit up, you realize these five chairs are in a semicircle around you. Sergei Orlov. Arthur Duffy. Oliver Nero. ZEHRA: (gasps) SPENSER: Douglas Vanderfeld. William Clyburn. BRENNAN: I'm going to smile. Whatever this monster is that has put t

hese men in front of me, do I sense that this is dreamlike or do I sense that I am in a real place and these real men have been brought to me? SPENSER: Make a Focus roll for me. BRENNAN: Great. It's a two. SPENSER: It's a two. It's hard to tell. Your vision is blurry from all the pain, Your vision is blurry from all the pain, but when you feel a shotgun being put into your hands, the cold feels real. They are with you. Your own self stands across from you and lets go. Your own self stands across

from you and lets go. BRENNAN: I'm going to shoulder the shotgun. I'm going to check my belongings for the artifacts I stole from the chapter house. SPENSER: We get a shot of you in the madness of the chapter house scuffle, running back into the archives. BRENNAN: Had to check. SPENSER: Putting things into your pocket and them running out and saying, "They took it all." ZEHRA: (gasps) MARISHA: This bitch. LUIS: (laughs) SPENSER: You're carrying-- ZEHRA: Fuck. SPENSER: -- strange triangular arti

facts and spinning astrolabes, all sorts of things being set out. They're all there. BRENNAN: If I can see everything I remember, it feels like some indication that I'm not in a dreamlike state-- SPENSER: Mm-hmm. BRENNAN: -- and that this creature has worked whatever it's been working in order to get these men here. SPENSER: You see the creature where you stabbed it in the chest. BRENNAN: Mm-hmm. SPENSER: It looks as though that part hasn't healed. BRENNAN: Okay. SPENSER: Like the center of its

chest, for whatever reason, everything else is fine, but the center is still dripping black ichor. You see him put his hand to his chest, your chest, his chest. In the same way that your chest is hurt, his chest is hurt. He keeps trying to sew over, but it can't. He "(sickly coughs)." BRENNAN: I'm going to go over. It's all right. Take a seat. You're going to be okay. SPENSER: He sits down cross-legged next to you. BRENNAN: I'm going to look at him, look at all those objects. SPENSER: Uh-huh. BR

ENNAN: I'm going to smile at this creature wearing my face. SPENSER: Yeah. BRENNAN: Say: Those dogs, can they think and reason? Are they like you and me, they can talk? SPENSER: "The dogs from the lighthouse?" BRENNAN: Yeah. SPENSER: "I mean, I talk to them, but "they don't talk to me." BRENNAN: I talk to dogs, yeah. SPENSER: "They don't talk back. "They're good, they're loyal." BRENNAN: I'm going to kneel down and put my forehead against my forehead and go: I killed so many of those dogs and no

t one of them put my Ma in Grayslate. I'm going to turn around and shoot Arthur Duffy in the face. TRAVIS: Oh! (laughs) BRENNAN: Dr. Orlov. I'm going to pull whatever's in his mouth off. SPENSER: Uh-huh. "Wait, no! I--" BRENNAN: It's all right. SPENSER: "I'm sorry, I--" BRENNAN: It's all right. I know that Arthur Duffy paid you. You're just trying to make money. SPENSER: "Yeah, yeah. He paid me." BRENNAN: He paid you. You know, you got this old broad, two of her sons are already dead, probably t

he third one is in the wind. SPENSER: "Of course, of course." BRENNAN: Arthur Duffy's a powerful man. SPENSER: "He is." BRENNAN: So you write a diagnosis. The old bag, she's gone batty. They cart her off to Grayslate. Arthur Duffy gets a house back that he had under contract while she was living there. I understand. SPENSER: "You get it." BRENNAN: I'm going to feel in his pocket for if he has any kind of doctor's slip or writing or any kind of stationery on him or something like that. SPENSER: Y

eah, he definitely has a notepad. BRENNAN: Yeah. All you got to do is reverse. Just say you got it wrong. Give me something. I'm going to get my buddy Lieutenant Trapp to sign it. Just say, "On further inspection, there was an error "regarding the commitment of Mary Margaret Finnerty "regarding the commitment of Mary Margaret Finnerty "into Grayslate Sanatorium," and you get to walk out of here. SPENSER: Shaking, his hands are tied behind his back. BRENNAN: Oh, your hands are tied. Hold on, let

me help you out, buddy. TRAVIS: (laughs) BRENNAN: I'm going to get a knife. SPENSER: Uh-huh. BRENNAN: Cut the binds on his hands. You're all right. Go ahead and write it. SPENSER: He reaches out and starts to write on the notepad. Hands it back to you, hands still shaking. BRENNAN: I don't break eye-- SPENSER: It says what you asked for. BRENNAN: That's great. Signature at the bottom? SPENSER: Yeah. BRENNAN: Yeah. SPENSER: "I'm sorry about her." BRENNAN: (scoffs) You know, we all do monstrous th

ings from time to time. It's funny, you know, when I tried to be a hero, that's when I was really a monster. So, you know, I never went to college or nothing, but maybe if I try to be a monster, I'll be a hero. I'm going to shoot him in the face. TRAVIS: (laughs) SPENSER: Explosion. BRENNAN: Gentlemen, I think you all can see where the evening is headed. TRAVIS: (laughs) SPENSER: Three of them look at you. Oliver Nero, Douglas Vanderfeld, William Clyburn. BRENNAN: Now this is unfortunate because

you're all going to die in a room with strangers. You don't even know each other. Allow me to make introductions. Dr. Oliver Nero's the head of NoMAD. It was a part of the Northern Economic Alliance during the war. This guy, huge asset to the cause. Brilliant doctor, was able to find out that they were developing a weapon, right? SPENSER: He's got stuff in his mouth, but he nods his head. BRENNAN: A weapon, yeah. That's a big deal. You got to stop then from making a weapon, right? You said that

, you know, these people that were being trained with these weapons, they could maybe disguise themselves. They look like anybody. SPENSER: "(muffled agreement)" BRENNAN: Maybe even look like children. SPENSER: "(muffled agreement)" BRENNAN: You could have just told the truth, Oliver. SPENSER: "(whimpers)" BRENNAN: What I don't get to this day is why you kept lying after you knew that we knew and were still too scared to do anything about it. Well, it was a surgery you recommended, so what's goo

d for the goose, right? I'm going to shoot him as well. SPENSER: (gunfire blasts) We see, at that point, Douglas Vanderfeld starts struggling with his chair as if he's going to try and escape. He's trying to pick himself up. The creature beside you, you, is laughing. BRENNAN: Mm-hmm. SPENSER: "(laughs)" BRENNAN: I'll-- SPENSER: "(laughs)" BRENNAN: I'll be like: Hey, me. You want to get this guy? TRAVIS and MARISHA: (laugh) ZEHRA: (laughs) BRENNAN: I'm going to be like, he says: You know, I used

to have brothers that looked a lot like me, too. Grab his arms. I'm going to go: Doug, you really, I know that you already knew General Clyburn here. It's a complicated thing, you know. It was such a tough break because I was in Otherwhere fighting in the same army as my two brothers when, you know, Anthony is already a war hero by the time the war started. He'd fought in the Elselands War and made a name for himself. But Doug, I don't know if you ever knew actually the whole story was that Tony

, he was a hero of the neighborhood. My older brother could do anything. He got engaged to this girl, Jane Windermere, hoity toity, upper-class broad. A kid from South Soffit? Come on. Unfortunately, the General here, his son had eyes on this girl, too. Now, we never learned what happened, but the General's son was pining. "Oh Jane, she's engaged to this Tony Finnerty." And all of a sudden my brother, Tony, gets transferred, command of a unit stationed in Roswald. Battle breaks out. Artillery ne

ver gets there. I mean, that'd be pretty crazy though, right? For a general to condemn not only a good man, my brother, but 200 men to die just so his son could get his rocks off with a girl who was engaged. I mean, that'd be pretty nuts, right? SPENSER: "(whimpering breaths)" BRENNAN: But you commissioned the transfer. You had to know something was up. When Jimmy found out, found the evidence, you beat the charge. Jimmy didn't. You had him court martialed and executed. He was found with espiona

ge papers on his person. Jimmy always had a big mouth and if I'd been there, I would've told him to keep it shut. But you killed our older brother, so of course he was going to mouth off and do something stupid. He died by firing squad. I mean, you know, you ordered it. So it doesn't feel kind of right for you to die the same way as him. So I'm going to pull the chair leg off and beat him to death with it over and over again in front of William. SPENSER: We see his face get caved in from the bac

k. We see the skull caving in until the body goes limp, and William Clyburn staring at this person next to him, covered in blood, you covered in blood. "(strained muffles)" "(strained muffles)" BRENNAN: I'm going to take a baseball out. This is my lucky baseball. Bottom of the ninth. It's the South Soffit Sidewinders versus the Red Lamp Raiders. I'm six years old, screaming bloody murder at my brothers. They got to let me play or I'm going to tell Ma. We're one run down. Tony's on third base and

it's my turn to go to bat. I'm six years old. These kids are 10, 11, 12. Jimmy grabs me by the shoulders and he says, "Don't you swing! "You better not swing! "All we need is you to get to first." Six years old, my strike zone is this big. It's good advice except Danny Minnisalli's pitching. So, (whoosh) strike one. I'm shaking. (whoosh) Strike two. I look up. Tony's on third base. He's looking right at me and he shakes his head like this, up and down. When he believed in me, there was nothing

I couldn't do. Ball came flying. Pow! Straight in the storm drain. You know, we played in the street, so that's a home run. He put me up on his shoulders. Jimmy was down in that storm drain and Tony goes, "What are you doing down there?" And he says, "I got to get the ball. "It's the only home run "this shrimp's (voice breaks) ever going to hit." They were good guys and I don't think the people who killed them ever knew that. Open your mouth. I'm going to shove the baseball into his mouth. Take

the chair leg. ("Charge" sports rally tune) ♪ Ba ba ba ba ba ba ba ba ♪ ♪ Ba ba ba ba ba ba ♪ Batter's up. SPENSER: We cut away, and we hear crack! We see the creature smiling and you hear (muffles) from the darkness. Pushes themselves up, looking at you. "You did great, kid." As he says that, you see him walk over, light a sconce, lights up the room and you see that you're in the basement of Grayslate Sanatorium. And sitting in a chair watching from the corner-- MARISHA: (gasping) SPENSER: -- i

s your mother. That's where we're going to go to break. TRAVIS: No fucking way! MARISHA: (screams) TRAVIS: No fucking way. (laughs) SPENSER: We'll be back. ZEHRA: Will we? Introducing our exclusive sponsor for this chapter of Candela Obscura, Snag. They've grown from a Scottish startup five years ago to serving 2 million customers worldwide. Snag is a pioneering, fully-size-inclusive clothing company dedicated to ensuring a perfect fit for all. It challenges the fashion patriarchy that often bla

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Do take a leisurely stroll to snag.world and explore our wondrous collection. (dramatic string and marimba music) SPENSER: Hey friends, my name is Spenser Starke. I'm one of the designers of "Candela Obscura," a brand new horror role playing game that follows a century's old secret society on their quest to protect humanity from the terrors of the unknown. It's set in a fictional world filled with turn of the century technology. "Candela Obscura" is powered by the Illuminated Worlds system a ga

me engine we've created to facilitate fast, easy to pick up, cinematic style play. I'm not going to cover all the rules here so make sure you go download the Quickstart guide if you want more details, but by the end of this video you should have enough to follow along with the show. To play, you only need six-sided dice or d6s. The game uses a dice pool system, which means you'll be rolling a number of these dice and usually taking the highest result. A six represents a full success. A four or f

ive is a mixed success. You get what you want, but it comes at a cost. And a three or below is a miss. In order to know how many dice are in your dice pool we'll need to talk a little bit about character creation. Each player will choose both a role and a specialty inside of that role. Think of these kind of like a class and a subclass. The five roles are Face, Muscle, Scholar, Slink, and Weird. Each role contains two specialties. The Face has Journalist and Magician. The Muscle has Soldier and

Explorer. The Scholar has Professor and Doctor. The Slink has Criminal and Detective, and the Weird has Medium and Occultist. When you choose a specialty, you'll then take its custom character sheet. At the top, you'll find space for your character's name, pronouns, and style, as well as your Circle, Catalyst, and Question. Under Circle, you'll write the name of the Candela Obscura group your character is a part of. The Catalyst is the moment in your character's life that led them to search out

the secret society, and the Question is what your character is seeking answers to now that they're within the society. These are jumping off points to help you build out your character's backstory. (dramatic piano music) SPENSER: On the left side of the character sheet, you'll find actions, drives, and resistances. These are the core of the Illuminated Worlds system. Each action has a rating between zero and three that determines how many dice you roll when performing that action. Those actions

each fall underneath one of three drives: Nerve, Cunning, and Intuition. Nerve includes physical maneuvers like Move, Strike, and Control. Cunning pertains to your interactions with people, like Sway, Read, and Hide, and Intuition is your mental and metaphysical aptitude, like Survey, Focus, and Sense. Whenever you make a roll, you may also spend points from the drive that action falls under to add additional dice to your roll. For example, if you're trying to convince someone to let you into a

place you don't belong, the GM may ask you for a Sway roll. You would take a number of dice equal to the action rating you have in sway, which in this case would be one, and then you could also spend any of your Cunning to add additional dice. I have six available. I'm going to spend two to get a total of three dice in my pool. Drive points are a liquid currency, so once they're spent, they must be refreshed before they can be used again. Under normal circumstances, there is only one way to refr

esh drives during an assignment, and this is done through gilded actions represented by a diamond on the left side of that action. Anytime you make a roll using that action, you'll replace one of the standard dice with a gilded die instead. If you choose to take the gilded die's result, you refresh one point in the drive that encompasses that action. For example, my Sway is gilded, so if I took the gilded result on the roll I would refresh one Cunning. Sometimes this might mean you choose to tak

e a lower dice result in an effort to earn back your drive. If you have zero points in an action, you can still roll that action. You can either spend drive points to roll that many dice, or if you don't want to spend drive, you roll two dice and you take the lower result. Lastly, we have resistances. You'll have a number of these at the start of an assignment and can spend them to reroll dice when you want to push back on the consequences of a bad roll. (folksy accordion and autoharp music) SPE

NSER: Okay, moving to the center of your character sheet you'll find your character's abilities. These vary from role to role and specialty to specialty, but you'll choose one ability from the top section and one from the bottom during character creation. For example, if you choose to play the Journalist, you might take an ability that gives you more context in the city, or lets you tell when people are lying, or gains you insider access to important people or places. Below that, you'll find you

r Illumination Keys. These represent how you earn experience within the game by offering playable goals to work towards during each assignment. (intense string music) SPENSER: On the right side of your character sheet are marks and scars. Marks are how you take damage. There are three types of marks: body, brain, and bleed. Body represents physical injury. Brain represents mental stress and fatigue, and bleed represents damage taken from dangerous magick. Each of these categories has three avail

able slots, and if you're ever inflicted with a mark, but cannot take it because the slots are already full, you'll drop incapacitated in the scene, clear the marks to zero in that section, and take a scar. You'll come up with what your scar is, then shift a point from one of your actions to another. This reflects how your character has changed because of the scar that they've taken. If you should ever need to take a scar and all three scar slots are already full your character is permanently in

capacitated or dead. Below that is a section for relationships. This is to write down the names of the other characters you're playing with and the kinds of connections you share with them. You'll also answer prompts based on those relationships that help you flesh out the details. Finally, let's talk about gear. On each sheet, there's a list of gear that is unique to that specialty. You don't need to choose your gear ahead of time. In "Candela Obscura," you select your gear only when you need i

t. You may mark up to three gear slots during the assignment declaring you brought the item with you, and in this way, your character is prepared for any situation they encounter during their investigation. There is plenty more to learn about the Illuminated Worlds system as well as the world of the Fairelands. So go grab the Quickstart Guide and follow along as we embark upon the strange adventures of "Candela Obscura." (dramatic orchestral music) SPENSER: And we return. We find ourselves in th

e past for one last moment We find ourselves in the past for one last moment before we continue forward. Nathaniel, we find you at your place of residence growing up. We see your father walking in the door. His hands are dirty, calloused, face with soot on it. He's wearing a business suit. We see you at the top of the stairs. As we see you start forward, we see your older brother run out from the first floor landing and hug your father. And we see you stop. He gives your brother a kiss on top of

the head. What do you want to do here? TRAVIS: I (clears throat) have seen this many times before. It's almost a compulsion to try and be near that warmth. It's almost a compulsion to try and be near that warmth. So I almost involuntarily start to go down the stairs thinking that some of that love might be extended my way as well. As I hit the bottom of the stairs, the finely varnished floor always catches the heels of our shoes, and there's clacking as I reach the ground floor. My brother does

n't notice, but my father does. And that expression changes ever so slightly. It's almost as if my arrival is-- Carries an odor with it. And just from his gaze alone I immediately avert my eyes looking for whatever it was I was looking for besides them. Him. SPENSER: We linger on him as he watches you and hugs your older brother tight again. We shift from there. Over to you. We see you leaving the front door of your house in Seasway. We see you leaving the front door of your house in Seasway. Re

mind us what this place looks like back all those years ago when you lived there. MARISHA: Well, it's very modest. One bedroom, tiny little kitchenette. The good thing about living in Seasway is you don't really have to adhere to any other housing ordinance codes. There's a row of identical cottages. The front porch is on stilts as it's along this cliff face that leads down to the front of the ocean. All of them painted bright colors, some kind of gaudy clashing, but personal nonetheless. Bee to

ok it upon herself to paint theirs a nice bright lavender with mint green shutters. It was a very cheap paint she probably mixed herself. Instantly started chipping against the salty wind, but it was hers nonetheless, her and her husband, Blue's. SPENSER: We see you looking out over the Glass Sea here. The Vastchasm in the distance, the giant rift in the sea where water pours straight down. The area that's provided such a barrier for so long as long as Newfaire's been here. You see ships startin

g to blockade the area where you can come into port around the Vastchasm. You see a couple of ships and a couple more. It looks different than it did yesterday. Something is happening down there. Usually, they stay far away from the Vastchasm, but today they're getting dangerously close. You see a ship almost get pulled in and have to turn its engines to full steam and have to turn its engines to full steam to keep out of the pull of this great rift that divides the ocean. MARISHA: Do the markin

gs look Halen or-- SPENSER: The markings on the ship look Halen. They are military. As that happens, you see a woman As that happens, you see a woman coming by on a bicycle. She's carrying a sack over her shoulder. She pulls a letter out from that sack, opens up the mailbox at the end of your driveway, pushes it in, closes the mailbox shut, gives you a wave and continues on. MARISHA: Bee was woken up from a nightmare in the middle of the night. Put her in an off mood all day. But nightmares aren

't real. They're just that, figments of our imagination. Our brain running rampant, running wild in the night. She doesn't have to open the contents of that letter to already know. I think she just sits on the stoop. 20, 30, maybe an hour goes by before she finally gets up the courage to check the mail. before she finally gets up the courage to check the mail. SPENSER: We sit on the mailbox alone in the foreground. We see a hand reach into it. We see you walk back towards your house, out of focu

s, opening the letter and collapsing. From there, we move to you. Your father stands before you. He is dressed in all black with a white shirt. His beard finely coiffed in front of him. His beard finely coiffed in front of him. Not flowing here. The area where a bow tie once was has been pulled at and it now sits limp on his shoulders. We see you, Jean, in a black dress. We see a flyer from a funeral still in your hands. Your mother's face drawn to perfection. Your mother's face drawn to perfect

ion. Your father stares into space, looking at you, but looking through you. He starts to speak and stops himself. What do you do here? ZEHRA: I regard him, and I regard her perfectly drawn face on this flyer that was passed out to the 50, 60 or so guests on this flyer that was passed out to the 50, 60 or so guests that had gathered for a quick burial ceremony. I think as I look upon this perfect, beautiful face I think as I look upon this perfect, beautiful face how far it is from the last time

I saw that face. how far it is from the last time I saw that face. Sunken-in eyes, cheekbones so sharp I swear I could see bone protruding from underneath her pale skin. The smell of vomit and bile and body and sick and death. The smell of vomit and bile and body and sick and death. SPENSER: We see your father over the top of her with a pendulum, swinging it back and forth, back and forth. "Look at me!" he says. "Look at me!" ZEHRA: It's not working, I-- SPENSER: "Look at me!" ZEHRA: Holding a

bowl full of herbs. It's not working, Father! SPENSER: We cut back to you after the funeral. He takes the pendulum out of his pocket. ZEHRA: Don't. I have never spoken with him in this tone of voice, but for the first time I tell him: Don't bring that thing near me ever again. Don't bring that thing near me ever again. SPENSER: He places it on the counter beside him and he disappears around the corner, leaving you alone. We jump to you. Marion. We see you in conversation here. Who's it with? LUI

S: It's with Auntie Bee. SPENSER: Okay. LUIS: In-- After our first assignment, shaken up, I go to someone I trust. Auntie Bee, I don't know if I'm cut out for this, but I know that I want to keep doing it because I want to be here with you all, and I want to be here with Sean, but I think I got to get something off my chest. MARISHA: She can't help but look at the scar when he references his chest. LUIS: Uh. There was a thing that happened during the war that I hadn't told anybody. And-- After t

he battle that got Sean promoted After the battle that got Sean promoted to whatever group he got sent to and I kind of got demoted, to whatever group he got sent to and I kind of got demoted, I got put on guard duty. I think somebody was looking out for me that got me out of the front lines. I was there the day that they executed Jimmy because I got put on guard duty in his cell when they brought his body back. MARISHA: You shouldn't have had to see that. LUIS: I was glad to see it. MARISHA: Ho

w did he look? LUIS: He looked like they shredded his skin with all the bullets that they hit him with. SPENSER: (rapid gunshots) The shot of gunfire. LUIS: Then when everybody left, I was left alone with his body and I went into the cell and I waited. and I went into the cell and I waited. SPENSER: We see Marion waiting. MARISHA: Did anything happen? LUIS: I was hoping something would. MARISHA: But it didn't? SPENSER: Body sits still. MARISHA: Maybe that's for the best. LUIS: I wanted it so bad

, though. I thought I would be there when his soul would leave and I wanted to catch it and put it inside of me. I wanted to take it from him. SPENSER: We see Marion standing over the body. LUIS: I don't want to be an empty vessel. MARISHA: I don't know if you are, sweet boy. LUIS: I wanted at least Sean to have a piece of his brother with him. Even if it changed me somehow. I don't care. MARISHA: He does still have a piece of his brother. I hate, I hate that you boys are wrapped up in this. I h

ate that-- I hate that you got sucked into this, that horrible fucking war. Claiming the lives of so many innocents. LUIS: There's nothing that could be done about it. MARISHA: No. No, there wasn't. I hate that you're all a part of this self-righteous organization. But do you honestly think me or anyone else could convince you that the rest of the boys, Jean, anyone, otherwise? Jean, anyone, otherwise? LUIS: I don't know, Auntie Bee. I don't know if I think about that stuff like that. All I know

is that I would do anything for Sean. MARISHA: I know. Which is why I would never-- Never try to convince you to not be a part of Candela Obscura. What kind of hypocrite would that make me? I'm here. You think anyone could convince me otherwise? LUIS: No. MARISHA: Exactly. We all make our choices. LUIS: Auntie Bee, do you think Sean would be mad at me if he knew what I'd try to do? MARISHA: No, I don't. LUIS: I don't think so either. MARISHA: Very noble of you. But there is a part of me that ju

st hopes if you couldn't find his soul that means it's at rest somewhere. SPENSER: And we go from there to Sean. You're staring face to face with your mother. She's in the corner of the room. Her mouth is gagged like the others. Her eyes welling with tears. BRENNAN: Hey, Ma. Sorry I ain't been to visit. I'm going to lower my gaze, speaking to the creature. If I walk out of here with her, does that ruin her chances of getting out of here the right way? Staying out of here? I hold the scrap of pap

er with Orlov's signature that I need to give to Trapp. SPENSER: Mm-hmm. BRENNAN: I want to take her out of here right now, but I don't want that to ruin her shot of staying out of here. SPENSER: You see him stand up. He contemplates for a moment and then he says, "I will take care of anything necessary--" (whoosh) His face shifts. (whoosh) Shifts again. "-- to ensure her release." BRENNAN: Okay. SPENSER: "I just need one thing from you." He steps towards you, yourself, moving towards you. "You

see, my mother, "she's not of this place. "And we," looks down at his chest, "We wither out if we're here too long. "So getting her through poses a bit of a challenge." "So getting her through poses a bit of a challenge." BRENNAN: I'm going to embrace myself. SPENSER: Okay. BRENNAN: I'm going to give this creature a hug. I'm going to put my mouth next to my own ear and I'm going to whisper: You don't have to try and trick me. I know you want your mother through here. I know what that might do to

this world. I don't care if you bring hell on earth because if they wanted to stop it, they wouldn't have let it become hell already for so many of us. SPENSER: Pulls you back, looks at you squarely, and becomes the visage of your father who died all those years ago. "That's my boy," he says. "I just need one thing from you. "I need you to go back to the circle you came with "I need you to go back to the circle you came with "because you have a vessel with you. "To bring my mother through, "I n

eed that vessel. "I need that body. "There are not many and it takes long preparation. "So many die in the process of trying to create a vessel, "but you have one, one that she could live in. "Marion." We sit on you for a moment. We are going to step behind this thing. BRENNAN: Okay. SPENSER: And we're going to talk. BRENNAN: Okay. LUIS: (heavy exhale) BRENNAN: You have the option of saying yes to his demands here or of saying no. LUIS: (laughs) SPENSER: If you say no, you could fight your way o

ut of this. It will be a dice roll. On a one, two, or three he will kill you and will replace you. BRENNAN: Gotcha. SPENSER: On a four, five, or six, you survive and he dies. SPENSER: On a four, five, or six, you survive and he dies. So that is what's at the table here. That's what's going on. TRAVIS: (laughs) SPENSER: I'm going to have you grab your dice tray. We're going to step behind the table and we're going to talk about what the decision is here. TRAVIS: What the fuck is this? LUIS: Repla

ce-- BRENNAN: You guys keep making a TV show. TRAVIS: Yeah. Yeah, yeah. BRENNAN: We'll be back in a second. SPENSER: Either-- So, yes. So you know he's coming back. ZEHRA: But we don't know who's coming back. SPENSER: You don't know who it is. MARISHA: We're getting a Sean, we just don't know which Sean. ZEHRA: What flavor of Sean. TRAVIS: Son of a B. ZEHRA: What flavor of Finnerty. MARISHA: What Comic-Con variant will we be getting. TRAVIS: You scoundrel. BRENNAN: Mm, wild berry. TRAVIS: Rat mo

ther-- LUIS: Well-- MARISHA: So, how's y'all's day going? ZEHRA: Great until five seconds ago. LUIS: (laughs) (groans stressfully) (laughs) TRAVIS: I was just thinking, you know, without Sean, we could split the Candela wages four ways instead of five. LUIS: Huh. Yeah. ZEHRA: Oh, I like this idea. We could "Weekend at Bernie's" him around. TRAVIS: We could franchise one of those carriages and perhaps start a Newfaire carriage offshoot. Like a cab. LUIS: We could open-- MARISHA: Cabbing system? T

RAVIS: Yellow carriage. MARISHA: (laughing) Yellow carriage. ZEHRA: I like these business plans. LUIS: Yeah, you know-- (laughs) Oh my god. TRAVIS: Fuck. LUIS: You know when you realize you set yourself up for something, like moments? ZEHRA: (laughs) LUIS: Now it's like, oh, fuck. MARISHA: So reflecting on all the choices you've made? LUIS: Literally this is the conversation we just had. ZEHRA: Yeah. LUIS: I'm like, why did I say that? MARISHA: Does it go all the way back to me being like: "Hey,

Luis, "I got a new show." (laughter) MARISHA: I think you'd love it. TRAVIS: You know when you wish you had more mutant abilities than you did, and you're just trying to listen as hard as you can, even though you know there's no way? MARISHA: Uh-huh. (laughs) SPENSER: (deep breath) Okay. LUIS: (flaps lips) SPENSER: You all, the four of you, outside-- TRAVIS: Who are you? SPENSER: Look at me, don't look at him. (laughter) SPENSER: The four of you hear the clattering of hooves outside of Duncan's

house. TRAVIS: It's Brennan. LUIS: (laughs) MARISHA: Just Brennan. SPENSER: It's just Brennan. (laughter) LUIS: Are you choking or did you burn your mouth? BRENNAN: I'm on the team monster now! They turned me into a frigging centaur. (laughter) TRAVIS: I knew it! (laughter) SPENSER: It is Sean on horseback. MARISHA: I imagine at this time we've been debating where to fucking go. This map probably means nothing. LUIS: Yes. MARISHA: Do we go back to the Silver spire? TRAVIS: Yeah, no that's good.

It could be plenty of things. ZEHRA: I'll take it. TRAVIS: Yes, yes. ZEHRA: It is my home after all. MARISHA: Just Duncan's bullshit. TRAVIS: There's a circle, though, there are triangles-- SPENSER: As that happens, you hear the horse coming outside SPENSER: As that happens, you hear the horse coming outside and you see Sean on the back of the horse, looking worse for wear, black scars all over-- LUIS: Oh my god. SPENSER: -- his chest and stomach here. What do you all want to do? LUIS: I rush o

ut there. TRAVIS: Yeah, we race to the door down the stairs. Because Marion's in the lead, I will practice a little bit of caution. Just standard practice. Remember the code. LUIS: Right, right. Sean? BRENNAN: (clears throat) How's it going, gang? MARISHA: Where were you? BRENNAN: (groans, stammers) Duncan's bad. Duncan's bad. LUIS: We got that much. I got it. MARISHA: Ask him the question. LUIS: What's the code? Do you remember? BRENNAN: Oh shit. Petunia. Starry. Starry sky petunia. LUIS: Uh-hu

h, but? BRENNAN: Maroon? LUIS: Burgundy. BRENNAN: Okay. ZEHRA: Yes. LUIS: Those are not the same colors. I know people think they are, but they're quite different. BRENNAN: They're close. My god, Marion. They're really close. LUIS: Not that close. They're barely. TRAVIS: You look-- If you look at them long enough you can tell the difference TRAVIS: -- like hell. BRENNAN: This is my two weeks' notice. TRAVIS: For? Yep. BRENNAN: So I'm done. All right? ZEHRA: What happened to your pin? BRENNAN: Ca

me off in the scuffle. He grabbed-- I think he needed it for something. He just went to grab my suspenders and threw me into a wall. ZEHRA: Who? MARISHA: Who? Duncan? BRENNAN: Yeah. "Duncan," yeah. MARISHA: The monster? LUIS: But Duncan was here. Where did you just come from? We came here and we found whatever Duncan had become. BRENNAN: It dragged me back through the alley. I think they're making a beeline for the Fourth Pharos. I think they're making a beeline for the Fourth Pharos. So they're

already on their way there? TRAVIS: Yes. Yes, in fact-- I'll show him the letter. We found this inside. It sounds like there is a leader, and they're trying to bring a mother through and-- BRENNAN: I'm not going to lie to you. They have everything they need. They have everything they need. The reason I'm alive right now is that in the middle of being about to kill me he got the call from the other monsters to fucking take off. TRAVIS: How are you riding? You're absolutely covered in blood! LUIS

: Maybe you should-- ZEHRA: Do you need a Patch Up? BRENNAN: Ah. You know, I don't want to put you out. TRAVIS: Yes, of course. I mean, if we're going to make a push to the Fourth Pharos and-- MARISHA: So he let you go? He willingly let-- Why not kill you before he left? You're a liability; you literally just told us everything that they were going to do. Why wouldn't he? How are you alive? BRENNAN: Well, I was bleeding to death in an alleyway. I think he just took off. MARISHA: What is-- ZEHRA:

He just let you go? Well, let me heal you. As I go to him, I notice-- Do I notice the black patch on his stomach? I'd like to focus on it for a moment to see if I'm familiar with that particular method of bonding the skin back together. SPENSER: Yeah, make a Focus roll for me. TRAVIS: Finnerty, you never cease to amaze. Truly, the amount of lives you have is absolutely incredible. BRENNAN: Hey, you know it's not about the size of the dog in a fight, right? It's the size of fight in the dog. I g

ot a couple left in me. Let's go. ZEHRA: It's a five. SPENSER: It's a five. This looks as though it is made of an organic material, like a black ichor kind of material, but it's not like anything mundane that you've ever seen. It looks as though it's almost like if somebody were to spread putty on a plumbing seal or something, you know what I mean? Like that kind. It's that kind of fix. It's like, no, we plug-- TRAVIS: It's on there. SPENSER: Yeah, we plug you to keep you. ZEHRA: Does it look qu

ickly done? Not precise? SPENSER: Oh yeah. I mean, certainly. It looks like it was spread on and then hardened in place as though it was haphazard in its application, but is working from everything you can see. Doesn't appear as though-- Although the scrapes and bruises on Sean are very apparent, it doesn't appear as though physically he has any major damage bleeding out right now. BRENNAN: I mean, I actually have two-- Mechanically, I have two scars. I have a body and a bleed scar. SPENSER: Rig

ht. BRENNAN: And then three brain marks. SPENSER: Right. BRENNAN: But my mark tracks are clear for bleed and body. SPENSER: Exactly. ZEHRA: No marks for body. Do I sense any bleed coming from ichor this patch? SPENSER: Go ahead and make a Sense roll for me. ZEHRA: On a success-- I'm going to also use Cold Read, which is, "On a successful Sense roll, "you know what ailment, stress, or loss "a person has had in their life, "even if they're hiding it." SPENSER: Okay. (laughter) ZEHRA: It's gilded.

LUIS: Wow! ZEHRA: One on a gilded die. BRENNAN: The dice do sure tell a story, don't they? MARISHA: Holy fuck! TRAVIS: Boy! MARISHA: Goddamn it. SPENSER: So with the one, you do get the sense that there is bleed coming off of it and as you touch it, you do get transferred that point of bleed. ZEHRA: On my person? SPENSER: On your person. ZEHRA: I get a bleed mark. SPENSER: Uh-huh. So you touch it, you feel that bleed, it rings in your head the way bleed does and you feel yourself have to stiffen

up to keep yourself safe from it. ZEHRA: As irritating as ever, Mr. Finnerty. Glad to have you back. BRENNAN: Yeah, glad to be back. Sorry, Doc, I didn't mean to be so irritating. How'd things go? You get walloped over at Varnish? MARISHA: Yeah, I thought the bastard was going to literally crawl down my throat, but I'm all right. BRENNAN: Why is it-- It's always going to your throat or crawling up your ass or something. MARISHA: I don't know why it's got to do that. BRENNAN: It's fucked up. MAR

ISHA: It can be a little bit more straightforward, honestly. TRAVIS: We did manage to keep Farrah Morales, though, out of harm-- LUIS: She's here with us. TRAVIS: Yeah. SPENSER: She's there with you. TRAVIS: Yeah. So we know what they were doing. BRENNAN: Is there a way for us to get any-- I mean, both the chapters we know about, they're down right now. Is there any other emergency way for us to let anyone know what the fuck is going on? TRAVIS: Not that I'm aware of. Should we ask Farrah? MARIS

HA: Farrah. SPENSER: Yeah. Farrah is staring at the map on the table that you all had. She says, "I think this is a map to the Fourth Pharos." ZEHRA: Oh. SPENSER: "At least an entrance in--" MARISHA: How do you know that? SPENSER: It's labeled "Pharos" on the bottom. She points to it, and then she pulls up some of the paperwork. MARISHA: Oh fuck, sorry. I don't have my cheaters. SPENSER: No, it's okay. No, when I described it, it was-- Yeah, but she's looking through the paperwork that's on the

table and she's like, "These look like letters back and forth. "These look like letters "that were supposed to be sent to me." She pulls one out that says, "Farrah," and it's a description from Duncan of like, "We have to escape, we have to get out, "we have to go somewhere safe. "I think I know where, from my time in Westwreck, "I think I know or I know a spot "that gets us to the Fourth Pharos. "I need you to meet me." But it never got sent because of that. TRAVIS: If you wanted a natural prot

ection for an entrance to the Fourth Pharos, a war zone would be, you know, good spot to hide it. SPENSER: On the table next to the map you also see a collection of keys. you also see a collection of keys. And that's unique for this era. That's not a very common thing to have a chain of-- They don't look like house keys. They look like something odd. TRAVIS: Can I, if you don't mind, take the keys and I'll make an inspection. SPENSER: Sure. TRAVIS: "When I make a Survey roll to gather evidence "

for what might have happened with an item or location "I gain an additional gilded die." SPENSER: Okay, great. BRENNAN: What are all these-- TRAVIS: Burn a drive. LUIS: There's one for you, too, actually. MARISHA: The doctor found them. TRAVIS: Yeah, I'll take a five on the gilded. BRENNAN: We're not supposed to use shit like this. MARISHA: No, we're not. LUIS: They tell us not to-- ZEHRA: Desperate times. MARISHA: Seems a lot is off the table. BRENNAN: Well, given that you can make s'mores on y

our left hand-- ZEHRA: Just then I start to singe the box. Oh, sorry about that. LUIS: I'll take this. ZEHRA: I have seen items like this used in the past in the name of good, but more often or not for pain and harm. I advise caution. I hand the item over. BRENNAN: Caution. MARISHA: I think we're just throwing the rule book out the window on this one. SPENSER: We see you inspecting the keys. They look like vehicle keys from the war or something. You would've had vehicle-- You see that that's the

way in which they're shaped. Not like a house key, but like a vehicle key. What you know with that-- It was a five? TRAVIS: Five. SPENSER: What you know with that five as well is that there is a door. that five as well is that there is a door. You noticed when you came in, there's a garage outside. There's a door to the garage connected to the house. TRAVIS: Please be a fucking tank. LUIS: (laughs) MARISHA: That would be sick. SPENSER: I'm starting a die back here that will count down. So I'll

let you know when that happens. But for the meantime, there's no consequence from that five besides this die. Go ahead and, yeah, what do you all want to do? TRAVIS: I don't mean to be presumptuous, but perhaps we should check the garage? BRENNAN: Oh. LUIS: Yeah. BRENNAN: Yeah, that's good. LUIS: Let's go. TRAVIS: We start looking inside the chapter house to see if there was a doorway into the garage from inside. SPENSER: For sure. You see it on the side of the house. You saw the garage coming i

n. It's very clear where it is. As you open the door to the garage, it's dark in here, but there's a window that has a shade that's right next to where the door that you're going out is. As you flip that open to let the dawn light in As you flip that open to let the dawn light in as the sun's starting to come up, you see, in front of you, a fleet of machines. These look as though they were modified from some sort of high-end bicycle, but they do not have wheels. The wheels have been removed and

instead, on the back, is a large, bulbous shape that sits above where a person would sit. You've probably seen these before. These are few and far between. They're new tech, but EONS was working on these when you were there. ZEHRA: They certainly were. SPENSER: What they are labeled as from the side of the bike as you see it, an aircycle. This is a blimp. MARISHA: (laughs) Yes! SPENSER: Motorcycle. It's used to fly in mine fields because it doesn't touch the mines. LUIS: Whoa. Oh, I like this. S

PENSER: You see six of these. MARISHA: Fuck, that's cool. LUIS: Six? SPENSER: In the garage. LUIS: Great. SPENSER: Along with this note. Left by-- MARISHA: Oh, it's (mumbles) to me. LUIS: Yeah. MARISHA: Fine, I'll take it. "Duncan, I hope these are up to your liking. "The team here has worked incredibly hard at preparing these "with the latest technology we have at our disposal. "We hope when the time comes, "you and the rest of the owlers will consider us friends. "I will be coming by with my c

rew tomorrow "to pick up payment. "I look forward to seeing you then. "Best regard, "Violet Boucher." TRAVIS: What? MARISHA: Looks like Violet and EONS have been working with the owlers. BRENNAN: So the broad on the train had the Johnny, she made these blimp cycles? ZEHRA: EONS developed it. She, of course, put her name on it as the principal engineer, but yes. BRENNAN: Did you make make them? ZEHRA: I did not make them, no, but I did have awareness that some sort of transportation device was be

ing developed at EONS. SPENSER: As you say that, you hear the bawk of a chicken. LUIS: Huh. MARISHA: Ah, that's-- SPENSER: In the back basket of these owler aircycles-- MARISHA: Wait. SPENSER: -- are chickens. MARISHA: The chickens? Are they the same chickens? ZEHRA: The magic chickens with the glowing waddles? MARISHA: The magic chickens? SPENSER: When you go to inspect it, you see the waddles are glowing. LUIS: What? ZEHRA: Chickens. MARISHA: All right, you guys. (cocks gun) BRENNAN: I'll tell

you what, you guys save a lot of money on gas. LUIS: (laughs) MARISHA: Yeah. (laughs) ZEHRA: What? BRENNAN: Corn is way cheaper than diesel, so there you go. SPENSER: They're not powering this. You don't see that they're powering it. They are just located in the back baskets. (laughter) BRENNAN: Oh no, I insist. ZEHRA: Are they Care Bear staring their waddle into the air well? SPENSER: No, they're sitting in the back of the baskets. LUIS: That's awesome. SPENSER: There's a couple of them in the

baskets on the back of these cycles. ZEHRA: How adorable. LUIS: What are these for? TRAVIS: Eggs are energy. MARISHA: What are the-- (laughs) BRENNAN: I'm going to go over and hit one and be like: Oh, this one's got a bantam. All right, not bad. TRAVIS: (laughs) MARISHA: Yeah. SPENSER: As you all are-- MARISHA: (laughs) LUIS: Amazing. SPENSER: Look, the chickens? You made them, we're going to use them, baby. BRENNAN: (laughs) MARISHA: Shit. BRENNAN: It's what we call "Yes, and," folks. MARISHA:

Yeah. (laughs) LUIS: Yep, yep, yep. MARISHA: That's a call back. TRAVIS: Oh my god. LUIS: That's a call back. SPENSER: As as you all are inspecting the center, like, the chickens? You hear a knocking. BRENNAN: This is going to be what breaks me. This is what breaks me. TRAVIS: Yeah, yeah, yeah. This one. SPENSER: You hear a knocking-- BRENNAN: This is what breaks me. SPENSER: -- on the front door. LUIS: Okay. Who's going to answer that? MARISHA: No one. No one should answer that, all right? SPE

NSER: You hear, "Duncan?" ZEHRA: (gasps) Is it a female voice? SPENSER: It is a female voice. MARISHA: Does it sound like Violet? ZEHRA: Didn't Dr. Boucher say she'd be here to pick up payment? MARISHA: (frustrated groan) "I'll be coming back with my crew tomorrow." ZEHRA: Oh. LUIS: With my crew? MARISHA: I think we should go. TRAVIS: Yeah. BRENNAN: Our response is six aircycles busting out the back door? MARISHA: (laughs) TRAVIS: Like fucking E.T., let's go. ZEHRA: Maybe I should go try to talk

to Dr. Boucher to try to maybe distract her. MARISHA: Last time we saw her, she tried to murder you. BRENNAN: How about this. You go say hello. Open the door, invite her in, jump on an aircycle, and then the lit stick of TNT that I have under the side table goes off. ZEHRA: You managed to carry your TNT through your ordeal? I'm very impressed. BRENNAN: Where I keep my TNT. TRAVIS: Yeah, there it is. BRENNAN: It's a very provocative thigh holster. LUIS: Oh no! ZEHRA: (laughs) LUIS: That's enough

. SPENSER and ZEHRA: (laugh) MARISHA: (sighs) ZEHRA: I guess-- MARISHA: It's your call. ZEHRA: She would be shocked to see me here, I can only imagine, if it is, in fact, Violet. MARISHA: Is there anything we need to get out of her? ZEHRA: (sighs) MARISHA: What do we need her for? BRENNAN: (Farrah) "Why the fuck are we waiting around? "We got cycles." SPENSER: You see Farrah-- LUIS: I jump on a cycle. (laughs) BRENNAN: Let's do it. LUIS: Let's go. ZEHRA: She could have something we might need la

ter. I try to think back to the Adjuvant. SPENSER: Mm-hmm. ZEHRA: The EONS-developed concoction that I used to keep Duncan Kingsley alive for all of 45 minutes. TRAVIS: Right. Yeah, of course. MARISHA: Well, you know what? ZEHRA: But it might possibly have gone to the doctors. TRAVIS: Go talk to her. MARISHA: There are six cycles. Why don't we invite her to come for a ride? ZEHRA: We could invite her. SPENSER: Farrah's like, "And what about me?" TRAVIS: (laughs) ZEHRA: Oh! TRAVIS: Sorry, Farrah.

(gun cocking) Nah, I'm just kidding. (laughter) MARISHA: I'll ride side saddle with one of the boys. You can have your own. SPENSER: "Fair." BRENNAN: Do you want me to-- How about this? Talk to her through the crack of the door and if it goes south, I'll be on the other side of the door and I'll hit her over the head with a fucking frying pan. ZEHRA: That works for me. BRENNAN: All right. Let me go to the kitchen. ZEHRA: I take a chicken just in case. It could provide a distraction. SPENSER: Uh

-huh. TRAVIS: You take a chicken. ZEHRA: (chicken bawk) LUIS and MARISHA: (laugh) BRENNAN: Yeah, I'll go to the pantry and get a frying pan. SPENSER: Yeah, sounds good. TRAVIS: I'll get a stick butter. ZEHRA: Make some eggs. TRAVIS: Yeah. (laughs) SPENSER: So you go fry the egg, make an omelet. BRENNAN: Over easy, over easy. MARISHA: Can't make an omelet-- LUIS: Are you calling me easy? (laughter) BRENNAN: Hey, what I heard about your guard duty back in the day, yeah. (laughter) LUIS: Oh. BRENNA

N: All right. Let's do it. ZEHRA: Let's do it. I used to work for her. I can do this. TRAVIS: If she's not alone-- MARISHA: You got this. TRAVIS: -- make it a short conversation. MARISHA: Mm-hmm. ZEHRA: Noted. SPENSER: "Duncan!" You hear another knock on the door. ZEHRA: (sighs) I walk over to the door. Is there any sort of window or eyehole I can look out the door and see what I'm working with? SPENSER: As you approach the door, you see there's a small peephole in the center there. The door get

s (heavy knocks) slammed on again. TRAVIS: Jesus. BRENNAN: I'll look at you and say: The key word, you and me, for me to go, just say, "Fascinating." Sounds like something you would say. ZEHRA: Indeed. TRAVIS: As they're conspiring-- SPENSER: Uh-huh. TRAVIS: -- can I move to the garage door? SPENSER: Yeah. TRAVIS: Is there any sort of side paneling, window, hole, crack or anything where if this does go sideways, at least I know some of our compadres will be moving from one flank and I could thro

w open the garage door and make-- SPENSER: Yeah, so there's a window that's letting in the light. It's up at about eye height for you. It's horizontal, but it's just enough. TRAVIS: Could I see the shape of the door or the steps at all to see if she's alone? SPENSER: Yeah. So what you see as you peek out, and what you see as you look through the door, is you see Violet, and then you see a band of five other EONS members behind her and one of them you recognize. Tell me about Stephen. ZEHRA: Step

hen, Dr. Stephen Kabach, a dear friend of mine at my time at EONS. We would often take lunch together. Kind eyes, deep brown, messy hair. Always prattling on about his experiments, many of them involving vessels. I am taken aback that he is here. He doesn't seem threatening to me. He's always been a friend. SPENSER: You see this same man has a gun behind his back. ZEHRA: (gasps) TRAVIS: Piece of shit. ZEHRA: (suppressed laughs) SPENSER: They're coming for Duncan, to be clear. Violet knocks on th

e door one more time. MARISHA: While we're here-- LUIS: You're going to get the door? [pounding knocks] ZEHRA: (startles) Yes, I am here. LUIS: Jesus. I'm at the entryway. I'm somewhere where I'm far enough away, but I have eyes on her. SPENSER: Okay. MARISHA: It's my favorite new toy. (laughs) ZEHRA: Are the other members who, toward the garage area other than Sean and Marion? So, okay. There is a path for them to escape should violence enter this room? SPENSER: Yeah, it appears as though there

are cars on the street. These are new, automobiles are fairly new here, but EONS has a number of them and they are out on the street. There are some people still in those automobiles and there are people that are at the door. ZEHRA: Oh. SPENSER: Just want to be clear about what you're seeing here before you. LUIS: Is it possible that Duncan stole these from them and they're coming back to reclaim them? Maybe not, I don't know. The note suggested something different. Okay. ZEHRA: Why would she b

e bringing so many folks here to collect payment? Unless it's a euphemism, which could be very possible with Dr. Boucher. BRENNAN: Hey, if there's a small army out there, we could also just run. LUIS: There's a small army out there. ZEHRA: But what about the Adjuvant? There's no guarantee she'd be carrying it with her. LUIS: I think the risk is really big. SPENSER: You also know when EONS comes to collect payment they don't fuck around. So this is not something that is unnatural for some, especi

ally with owlers. You know owlers. Owlers are-- ZEHRA: Ruthless. SPENSER: Yeah, they'll try and cut corners where they can. They'll get the fuck out when they can. So she probably thinks he's cut and run. ZEHRA: I propose-- There's two options here. I open the door, she's not expecting to see me, though I'm certainly not her favorite person. [pounding knocks] LUIS: Oh. ZEHRA: Or! Plan B: We could create a distraction with chickens. Maybe release the chickens that are on the back of the bikes. Ha

ve them running out of here. Amidst the chaos, we make a break for it. TRAVIS: Are the chickens not fueling the bike somehow? ZEHRA: I don't believe they are. SPENSER: They're not fuel for the bike. They're just sitting in the baskets at the back of the bike. TRAVIS: This is so strange. LUIS: They were meant to be delivered. BRENNAN: That's what they want you to think. TRAVIS: Yeah, yeah. MARISHA: (laughs) BRENNAN: All right. I think we got to run. Let's go. ZEHRA: All right. BRENNAN: Let's do i

t. ZEHRA: Create a distraction? BRENNAN: Yeah. ZEHRA: Or just run? BRENNAN: I'll be sad to see those chickens go, but let's do it. MARISHA: (laughs) ZEHRA: Gather as many of the chickens from the back of the bike I can. Is there any way to open the window and pop them out of there and kind of-- SPENSER: Not through the window. The only way to open it would be through the garage door opening. That would be-- LUIS: Let's just run and dump the chickens. SPENSER: Are you opening the garage door? Is

that what's happening? TRAVIS: I would probably invite them-- The door's not locked, right? We're not that smart. We'd invite them in and open the door at the same, garage door, at the same time. LUIS: Yes. TRAVIS: Better have them go this way-- ZEHRA: All right. TRAVIS: -- while we're going that way. LUIS: Right. ZEHRA: Oh. LUIS: Dump the chickens here, invite them in, we go. ZEHRA: All right. Drop the chickens at the garage door entrance. SPENSER: Okay. ZEHRA: I go back to the front door, read

y to open it. TRAVIS: Oh, Doctor, you should come back towards the garage and really sell it, though. Like really say you are upstairs. Let then make themselves comf-- You know, give it a whirl. ZEHRA: I'm afraid I don't have your gift with speech, Mr. Trapp, but I will try. BRENNAN: Do we get the sense that they'll take the door? SPENSER: They're getting ready to come through the front door. BRENNAN: So that could be-- Maybe we don't need to let them in at all. Maybe we just get on the aircycle

s, let them take the door. TRAVIS: That's very fair. MARISHA: 100%. LUIS: I'm already on the cycle. TRAVIS: I'm on as well. MARISHA: Who's taking Auntie Bee? BRENNAN: Auntie Bee, you can come with me. MARISHA: All right. Jump on. LUIS: Two, three, four, five. ZEHRA: I hop on a cycle myself. TRAVIS: Well, there's six aircycles and there's six of us. MARISHA: I don't want to-- I don't-- I stopped driving 10 years ago. I don't like driving when it's dark. TRAVIS: Floating bicycles, you just gave it

up? MARISHA: No, I'm good. (laughs) LUIS: Then I'm going to tinker with the one. I'm going to bust it because one of them is going to jump on the one that we leave behind and they're going to chase us. ZEHRA: I want to Survey or Focus. I wanted to bring my attention. My friend, Stephen, is here, Dr. Kabach, and I am just wondering if there's any utility-- MARISHA: You mean Dr. Ka-bawk? LUIS: (laughs) ZEHRA: Ka-bawk bawk! MARISHA: (laughs) ZEHRA: (gasps) He invented the chickens! MARISHA: He's b

een a chicken the whole time! BRENNAN: I'll look at you and say: You want me to grab him? ZEHRA: Yes. BRENNAN: I'll grab him. MARISHA: Who, the guy? ZEHRA: Dr. Kabach. LUIS: We're going to grab him. ZEHRA: Brown hair, kind, warm brown eyes, glasses. BRENNAN: Yeah, let's do it. MARISHA: Yeah. LUIS: Auntie Bee on my bike, then, I guess. TRAVIS: We're going to grab him and escape on the flying bicycles? LUIS: He's going to put in the middle? MARISHA: Throw him on a bike? BRENNAN: Yeah. We're going

to pop out of the garage. I'm on a flying bike, I grab Kabach. (chicken bawks) He's with the chickens on the back, and then off we go. TRAVIS: I mean, it sounds-- BRENNAN: I got a Glock, so-- TRAVIS: -- like a surety. BRENNAN: That's what we call a Kabach-bawk-bawk-ba-Glock. MARISHA: Bawk-ba-Glock? (laughter) ZEHRA: Fascinating. MARISHA: (laughs) SPENSER: (laughs) SPENSER: As you say "Fascinating," boom! The door opens. (laughter) BRENNAN: Get them! (ping!) (laughter) SPENSER: The door opens and

they start, and Violet comes in with a gun, "Duncan!" What do you all want to do? LUIS: I think the garage door is going up. ZEHRA: Flying. LUIS: I'm out! SPENSER: The garage door opens. You see members of EONS still in the automobiles outside. The rest of them turn to see Violet is inside. A couple of others are inside. Stephen's right on the doorstep. The the bikes (revving) come to life with motor and electricity. You see the blimp on top of them start to fill with air as they rise up just a

little bit higher and then (bikes zoom) take off towards the street. You're going for-- BRENNAN: Dr. Stephen. Yeah, I'm going for Dr. Kabach. SPENSER: Love that. Okay, make a Control roll for me to grab him on the way. BRENNAN: I'm going to-- SPENSER: This is high stakes, by the way. They're all holding guns. ZEHRA: Oh! Oh! BRENNAN: Yeah. ZEHRA: Gilded? Save it? BRENNAN: I am going to use my little dude here. SPENSER: Okay, great. BRENNAN: I'll take a bleed. SPENSER: Great. Get an extra die. MA

RISHA: Ho-yeah! BRENNAN: We'll go with the five. BRENNAN: Go with five, great. Take the drive and you ride up. Tell me how up until grabbing him it goes well. BRENNAN: Oh. ZEHRA: (laughs) BRENNAN: (laughs) BRENNAN: I fucking get on this thing and I look at everyone here and I say: I really enjoy our work together. (revs bike) I'm going to go out with a handgun and go: Fuck you, EONS motherfuckers! Bam, bam, bam, bam, bam! And go and fire some shots, get people to scatter. I grab the doctor and g

o like: You make house calls? I'm going to throw him on the back of the bike. SPENSER: We see the cycle zoom over and grab him. The EONS folk scatter. Bing, bing, bing! You hear shots fire by you as well. As that happens, you feel him grab onto the back of you and be like, "Where the fuck are we going?" Then the cars just take off. MARISHA: Technically, he's in between. BRENNAN: Yeah! (laughs) MARISHA: Auntie Bee is between-- (laughter) MARISHA: -- the doc and Sean. SPENSER: Yeah, that's true. T

hat's true. MARISHA: Can we say, Spense? SPENSER: Yeah, sure. MARISHA: After Sean gave a nice little ringa-ding-ding with the frying pan, Auntie Bee went: Yeah. And picked that up on the way out. TRAVIS: The frying pan? (laughs) SPENSER: I love that. MARISHA: The frying pan. So I'm full on granny with a frying pan on an airbike. SPENSER: Boom! TRAVIS: Ready to clobber him? MARISHA: As he says, "What the fuck are you doing?" Granny goes (smack)! SPENSER: (smack) He gets knocked out here as this h

appens. But with that five-- TRAVIS: That's a nice pan. SPENSER: -- you see the rest of EONS running, scattering and running back to the cars. BRENNAN: Cool. SPENSER: There are three cars positioned and what looks the starting of a motorbike here that is with them. They're making a beeline for the cars. You see Violet is shooting at you, sees you taking off, and is confused about what is happening, but then books it as well to the car. The cars peel out as all five of the machines are starting o

n their way down the street here, moving at full speed. You are being chased. What do you want to do here? ZEHRA: I want to quickly, as we're speeding away from the scene, I want to quickly survey the EONS group to see if there's some possibility if Dr. Avery Choi is among them. SPENSER: Yep, make a Survey or-- Yeah, make a Survey roll for me. ZEHRA: Five. SPENSER: Five. You search among them. For a moment, you think you see Avery For a moment, you think you see Avery staring at you underneath a

pair of goggles, but she pulls those up and puts them on her head. The cars being, the automobiles at this point, not having windshields or anything. They would have to wear protective gear. Pulling it up and scratching her eye up. It is not her. She is not with this group. But, as it happens, you also see Farrah holding the map and she points to the far side of the map and shows you this is The Steel, basically, this is where we are. You all can see on your map of The Steel, The Steel swoops d

own and then there's a little bridge that goes across water and then there's an arrow. So the water would be the water there that you all would cross. See the river right there? ZEHRA: This here. SPENSER: That there. So that would be the Stentorian River that's right down there. So you know that that's the path out to Westwreck. What do you all want to do? MARISHA: We're still being tailed. SPENSER: You're being pursued by, yeah, there are three cars and a motorbike, essentially, that are behind

you. TRAVIS: Is the motorbike staying on the ground. SPENSER: On the ground. TRAVIS: Okay. SPENSER: Correct. LUIS: Amateurs. TRAVIS: Yeah. MARISHA: Exactly. Auntie Bee knows the city like the back of her hand. As we've established, she knows every nook, she knows every cranny, and we're on air fucking bikes. Can I shout out to the rest to follow us, to follow Sean, as I guide Sean: Hard left, right, straight. I want us to cut across the river where I know, cutting through open warehouses. Like

I said, fucking bust through a hotel lobby. TRAVIS: Right. MARISHA: Go through the other side and get us across the river using-- SPENSER: Yeah, you across the river into Westwreck. MARISHA: -- our airbikes. SPENSER: Yeah, I love that. Go ahead and make a, what kind of roll do you think this is? It probably would be Survey? MARISHA: Survey was what I was hoping in my head. SPENSER: Is what I'm guessing. So we're going to say this is a big roll here, meaning that we're going to narrate a lot of t

hings coming off of this. It's not going to be like a thousand rolls to get across the river. So this is the first leg of the challenge here. MARISHA: All right, I'm going to make a-- I'm going to gild this. I'll take the five. SPENSER: Great, taking the five. What does this look like as you guide? What do we see, the description of the scene as you see it, as you guide Sean? MARISHA: (stammers) Auntie Bee is-- This is a lot, but she's trying to make sure that her brain is keeping up with how qu

ickly that the surroundings are moving around her and as she told, she shouted everybody to "Follow Sean," so I imagine she's holding onto Sean's back and she has her hands and she's like-- BRENNAN: With Stephen in the middle. (laughs) MARISHA: Yeah. TRAVIS: Got your feet in the pegs. MARISHA: She's literally trying to guide a little bit with her hand, thinking in realtime as she's trying to think reactionary and shouting: Left, right. SPENSER: We see tear through the streets, go up and down an

alleyway. The car is trying to follow you here. As you break out of the city and see the river before all of you, the cars and the motorbike are revving behind you. With that five, the motorbike catches up to you first. Who is the farthest one back right now? Who's the one that would be the farthest back? ZEHRA: I think I would be. SPENSER: You'd the farthest back. ZEHRA: Because I stayed back to see if Avery-- SPENSER: Because you stayed back to see if Avery was there. So we see the motorbike p

ull up next to you. As that happens, you see a member of EONS. They look at you. ZEHRA: Do I know them? SPENSER: You recognize them from the lab. They're somebody that would've been doing security amongst the people there. You see them, for a minute, hesitate, and that hesitation helps you here. But before they can, you know, before you have the chance to connect with them, with that five, you see a pistol be pulled out and pointed right at you side by side. ZEHRA: (gasps) SPENSER: The rest of y

ou see this. Jean has fallen back just a touch, and you see the motorbike has caught up. Rudimentary as it is, it is keeping pace with all of you where the cars can't. MARISHA: Try and cut across a park or something where the bikes can't go. SPENSER: Yeah. MARISHA: Anything we can do. SPENSER: You see the moment that the gun is out, though. So that is where we're at right now is the gun is out pointed at you. What do we want to do collectively? You can do something or if you want to rely on your

team here. Whatever you prefer. ZEHRA: I'm just curious, how high can the bikes go with these-- SPENSER: The hoverbikes? ZEHRA: Yeah. SPENSER: So they're only about maybe a foot off the ground. ZEHRA: Uh-huh. SPENSER: That's the distance that they stay, because they're just being supported with buoyancy. LUIS: Just hovering. SPENSER: Yeah, they're just hovering. ZEHRA: Is there a possibility to go lower than the foot? SPENSER: (contemplatively) Mm. Yeah, yeah, that would make a Control roll for

me. You'd have to manually let some of the air out of the-- I think you try and press it, and you see it won't go higher. TRAVIS: Dirigible above, yeah. SPENSER: But the dirigible above you, maybe you can press a lever. You, having knowledge of-- ZEHRA: I'm wondering if I could duck slightly, and that would give me enough reaction time to maybe-- SPENSER: I love that. So that's going to be a Control roll. This is going to be high stakes here. ZEHRA: Okay. SPENSER: But yeah, you can. We see a li

ttle switch, and we see you try and flip that in time as the pistol's being fired at you. ZEHRA: I'm going to roll a Control, and I'm going to burn a Nerve. SPENSER: Okay. ZEHRA: Since it is rather high stakes. Six! SPENSER: That's a six! BRENNAN: Hey! TRAVIS: Yes! SPENSER: Amazing. (switch flicks) We see you flick the switch on the bike and press down. As you do, the dirigible shrinks down a little bit. You lower. (rough thudding) You scrape the pavement with the bottom of the airbike. But they

fire and, (whooshing), it whizzes overhead of you. Able to fill it back up, releasing the nozzle, releasing the switch, you pull forward ahead of them. You all are approaching the river here. To your left, you can see, and you can even see on the map here, there is a railroad bridge. You are headed towards the river. To your left is the railroad bridge. You all can cross it because you're on hoverbikes. LUIS: Yeah. SPENSER: But you see the cars dip off and head towards the bridge. You have a mo

ment here to recollect as you head towards the river because they are not behind you. What do you want to do? LUIS: I mean, we got to keep going. They're going to catch up to us on the other side. SPENSER: Great. LUIS: They can't go through those mines. They don't know the path that we know. SPENSER: They don't. LUIS: We don't even need a path. We don't. BRENNAN: Hey. MARISHA: Yeah. BRENNAN: Born and bred in that briar patch. Should we? Let's do it. TRAVIS: Let's do it. SPENSER: Great. We see yo

u continuing towards the river here. As you get close, you see them. They have successfully made it to the bridge, but you all are still out in the open here on the plains. They're going to try and pull back in. I'm going to have one of you roll Control and the rest, anybody else can help. This is going to be another roll to try and keep things stable. BRENNAN: I'm happy to roll Control. SPENSER: Great. TRAVIS: Yeah. BRENNAN: If that works for everybody. Cool. MARISHA: Lead the pack. SPENSER: Th

en anybody else can spend drive if they'd like to, but they don't need to. We will just say this is a collective roll. TRAVIS: I'll give you a drive. BRENNAN: Okay. SPENSER: Okay. BRENNAN: Six on the gilded! SPENSER: Six on the gilded. TRAVIS: Yeah! SPENSER: Amazing. So as you approach, as all of you approach the river, you feel the bikes, dip down into the water for just a second, but they come back up, and you're able to hold them still, hold them steady as the bikes (zooming) cross the river.

You see them coming up on the left side of the bridge, but they're still pretty far off, and you're racing towards Westwreck here to try and get to the mines, ostensibly. As you come-- MARISHA: Spense. SPENSER: Yeah. MARISHA: Can I ask a question? SPENSER: Please ask anything. MARISHA: Auntie Bee is in a weird fucking headspace right now. SPENSER: Uh-huh. ZEHRA: (laughs) MARISHA: But also, there's this moment where in all of this chaos, there's also a certain quiet as there is this white noise

rushing by her ears. She is also incredibly close to Sean for the first time in a long time. SPENSER: Right. MARISHA: With her chest up against the back of him as she's holding on. Unconscious man behind her. But she is holding on, you know, around his neck-- SPENSER: Yeah, hugging him. MARISHA: -- and his waist and hugging him. She is absolutely fucking terrified at the idea that we are heading straight for Westwreck, where everyone has trauma, and it has not been good for days-- SPENSER: No, n

o. MARISHA: -- with everyone's past experiences. In her mind, she knows we are heading into the proverbial lion's den of tragedy and horror. Does she sense any type of, I don't know, any type of anything from Sean? SPENSER: That's a Sean question. MARISHA: As she's like-- We are in high stakes situation. She's got her chest up against his, her arm around his neck. She's enough of a nurse. SPENSER: (laughs) MARISHA: Does his skin feel clammy? Does his pulse seem erratic? Does his pulse seem calm,

which would almost be more alarming if his heart rate-- SPENSER: Right. MARISHA: -- is regular and not intense. SPENSER: I love that. So question here, are you trying to hide how you feel? BRENNAN: No. SPENSER: No. Why don't you describe for Auntie Bee what she feels? BRENNAN: Exhilarating, rushing joy. I am-- MARISHA: Pounding heart? BRENNAN: Pounding heart, quite literally. Even on a mechanical level in the game, one of the reasons I pushed myself with this to take a bleed was because Tenacio

us means when you have one or more bleed marks, you gild an additional die. In this past scene, I've been building up my Nerve drive again. This is the same thing as hitting the squid dogs with the back of the rifle. SPENSER: Yep. BRENNAN: It's the same thing as feeling like I feel-- LUIS: You're in the zone? BRENNAN: I'm in the zone, and this aircycle underneath me. I hit the water on the aircycle, and I call out, going like: (unhinged excitement) This is unbelievable! (revs bike) How many kids

from South Soffit got to say they took a bike out on the river? (revs bike) TRAVIS: (laughs) BRENNAN: I think he's turned around and see tears streaming from my eyes. I'm like-- MARISHA: I was going to say, I think tears are streaming from Auntie Bee's eyes, but a different kind of tears. SPENSER: Oh. MARISHA: She is going to, she's not really saying much, but she's going to take this moment to squeeze him a little bit tighter, which is probably the first time that she's able to hug him and hol

d him since before he was a soldier and when he was still a young man in South Soffit before the war. She's going to take this opportunity because she knows she might not get it ever again. SPENSER: (heavy exhale) We sit in that moment of silence. Then you all feel-- Well, those who are closest to the ground in this moment, the airbikes going up and down, feel [thud] on the bottom of the bike. MARISHA: Jesus Christ. BRENNAN: What? We lose the chickens? [heavy thud] SPENSER: You hear another bump

. LUIS: What's this? (stammering) SPENSER: As you're nearing Westwreck, you can see the ruins in front of you. [heavy thump] SPENSER: Something underneath you keeps hitting the bikes here. TRAVIS: Oh no, no. That was specifically not supposed to happen. SPENSER: You see the cars swerving back towards all of you, headed for you to try and cut you off. They're now gunning it and trying to get in front of all of you before you reach the ruins here. But something from beneath, it doesn't feel like e

xplosions, it feels like something's bumping the bottom of the bikes. LUIS: What? SPENSER: What do you all want to do? LUIS: As we're moving forward-- SPENSER: Yeah. LUIS: -- are we able to visually see objects that we would-- SPENSER: No. No. LUIS: Okay. BRENNAN: So we don't see shapes in-- Are we still on water or are we-- SPENSER: No, you've passed the river. You're headed now towards Westwreck. You're on the plains themselves. TRAVIS: The last stretch to it. SPENSER: But you're hearing [heav

y thud] boom on the bottom of the bikes as you're going forward as if something is underneath there. ZEHRA: Are we still in the air about a foot? SPENSER: Yes, correct. From what you can see. The ground is more sand-like here. TRAVIS: I mean, can I-- I'll just do the obvious and try and keep one hand on the controls, and fucking lean over. SPENSER: (laughs) Lean over and look? Great. Make a Focus roll for me. MARISHA: Fucking what Dune-level shit-- LUIS: I'm going to do another obvious thing. MA

RISHA: -- is this about to fucking be? LUIS: The other obvious thing, which is what I'm going to do-- TRAVIS: Spend a drive. LUIS: -- is I'm going to peel off and create some distance so I can see what's bumping them from maybe 10 feet away. SPENSER: Uh-huh. Uh-huh. That sounds good. If you want to spend something to help, I don't know if you have anything. LUIS: Yeah, what is it? Is it a-- TRAVIS: It's a Focus. LUIS: Focus? SPENSER: That'd be Intuition. LUIS: Intuition? Sure, I'll give you a--

SPENSER: Okay. LUIS: Yeah, I'll give you a drive. TRAVIS: Awesome. SPENSER: Great. TRAVIS: Fives. SPENSER: It's a five, okay. So what both of you see is underneath the sediment here, keeping pace with you is something rising and bumping. LUIS: Okay. SPENSER: As it peeks through, you see that it has a very light purple shade of color that keeps peeking through. Then it'll dip down and disappear. TRAVIS: Jesus fucking I'm on a T. Rex Christ. MARISHA: 100% (laughs) TRAVIS: (laughs) SPENSER: That's

what you see. MARISHA: 100%. ZEHRA: Here's Johnny. SPENSER: (laughs) BRENNAN: Yeah. SPENSER: With that five-- TRAVIS: Mama! MARISHA: Yeah. (laughter) SPENSER: With that five, I'm going to have you take a brain mark because you're seeing this thing literally underneath you bumping your bike. TRAVIS: (groans) (laughter) LUIS: It's just-- SPENSER: The stress. It's something large beneath the ground that is bumping up underneath Nathaniel's bike, but also underneath some of the others, too-- ZEHRA:

At all of our bikes. SPENSER: -- as you're looking at them. LUIS: So we already have a sense of the size of it? TRAVIS: Oof. SPENSER: Correct. LUIS: Okay, okay. BRENNAN: Sandworm, it's fucking Shai-Hulud. LUIS: Yeah. BRENNAN: Yeah. MARISHA: Yeah. SPENSER: Fucking Eldritch horror sandworms, baby. BRENNAN: Oh, I love it. MARISHA: (laughs) TRAVIS: (laughs) BRENNAN: I'll look at Auntie Bee and say: Hey, you got Johnny on you? MARISHA: Yeah. BRENNAN: Can I see him? MARISHA: Sure, you think she wants

this kid back? BRENNAN: Yeah. MARISHA: Okay, okay, I mean we can relate to it. BRENNAN: Huck it. MARISHA: Yeah! BRENNAN: (whooshing) Off, I straight up take this and fucking throw it as far as I can. TRAVIS: Towards the cars? SPENSER: Make a Sway roll for me. LUIS: Yeah. BRENNAN: Okay. MARISHA: Towards the cars. Towards the cars. SPENSER: Oh, towards the cars! Oh, it's so good. The cars are swerving up ahead, so you have to throw it in front of you. BRENNAN: Wait, this is a Sway roll? Can someon

e throw more persuasively than me? (laughter) SPENSER: I can give you something else, Control. BRENNAN: Control. Okay, okay. SPENSER: Yeah, Control would work, too. BRENNAN: I'll do Control. SPENSER: You're right. I was trying to say, you're trying to convince them to do a thing, but you're trying to-- MARISHA: Can I aid him in this? SPENSER: Sure. MARISHA: Since I am there with him. I support this. I'm going to pop open the containment-- SPENSER: Uh-huh. MARISHA: Or just, I'm not going to pop i

t open. SPENSER: Just crack it a little it? MARISHA: Loosen the cap, yeah. Loosen the cap. I'm going to say: Every mother wants to be reunited with their kid. ZEHRA: Aw! TRAVIS: Oh, yeah, yeah, yeah, yeah, yeah, yeah. BRENNAN: Good luck, little buddy. (laughter) BRENNAN: All right. MARISHA: It's a theme! SPENSER and TRAVIS: (laugh) BRENNAN: Here we go. Okay, trying to think. Okay, and you're giving me-- MARISHA: I'm going to aid. Can I-- He was asking about a Sway. Can I aid with a Sway in that

with drive? SPENSER: So he's going to roll Control, but because you're aiding here, because we called for Sway before, I will allow you to spend a Cunning to help here. MARISHA: All right. SPENSER: Normally, that's not rules as written, but because of the situation, I will rule it that you totally can do that. MARISHA: Okay. He's got the-- BRENNAN: Six on the gilded! SPENSER: That's a six on the gilded. So you take that back, take back that drive. MARISHA: Oh, that's right. When it-- That's righ

t. SPENSER: But only on the gilded, not on yours. MARISHA: Only the gilded. SPENSER: Not on yours, only on his. MARISHA: Not on mine. SPENSER: Sorry. MARISHA: Oh, I'm thinking of the other fucking ability from the other group. SPENSER: Uh-huh. Yeah, yeah, yeah. LUIS: (laughs) SPENSER: But you do still have two gilded dice in the center of the table-- MARISHA: It's if they fail. But yeah. SPENSER: -- as a reminder. Yeah, you chuck this thing towards the cars. They're trying to beeline in to cut y

ou off. The motorbike is first up ahead. With that six, (whooshing) the tube goes flying. As that happens, you see breaching out from underneath the sand-- TRAVIS: (nervous laughter) SPENSER: -- a massive version of that creature. LUIS: Wow. SPENSER: (whooshing) It reaches up and grabs the vial with, grabs the thing with its mouth. Then, boom! Crashes back down into the sand here. As it happens, the person on the motorbike launches off of them-- MARISHA and ZEHRA: (laugh) SPENSER: -- and flies i

nto the air. They're headed towards all of you, but they're up in the air. You see them flying over the top of both of you. MARISHA: Wilhelm scream. Yow! SPENSER: But then you feel the bump, bump [heavy thud] underneath you of more of these creatures that are here. ZEHRA: Oh! LUIS: No. SPENSER: What do you all want to do? LUIS: There's more? Oh god. BRENNAN: Want to pass this around to him? MARISHA: But we gave them back Johnny! SPENSER: Yep, yep, yep. You guys are headed towards Westwreck. I'm

making a-- ZEHRA: We think-- SPENSER: I'm making a countdown die that basically means that you will have cleared this area. TRAVIS: Oh, jeez, oh god. SPENSER: I'm setting it to five, so. MARISHA: How close to some of these mines? SPENSER: You can see Westwreck in front of you. TRAVIS: Yeah. SPENSER: It's probably another, you know, couple hundred yards to Westwreck-- LUIS: Oh god. SPENSER: -- to where the mines actually are. But they're trying to intercept where you're-- They're trying to get be

tween you and the mines. We see them pulling the cars, or running those perpendicular to you. Then the one that's in front pulls a lever and skids, and now it's facing you driving backwards. ZEHRA: Oh. TRAVIS: Jesus. SPENSER: The other ones are short on their tail as well, but they're trying to keep level with you. You see that two of them rise up and are pointing guns. You feel boom underneath you again, boom-- [heavy thud] SPENSER: -- underneath you again as these things are underneath you. Wh

at do you want to do? ZEHRA: All these things that all these, all that these androphages want to do is burrow and eat organs. Can we direct them to a source to feed upon that's not us? TRAVIS: Oh, like livestock in the fields or something like that? ZEHRA: Yes, could we look and see if there's anything living nearby other than eat other people? SPENSER: You hear a cluck in the back of the bike. MARISHA: (laughs) BRENNAN: On principle, no. (laughter) BRENNAN: No. I'd rather it be me than Gertie a

nd Matilda, I refuse. SPENSER: There's a reason. LUIS: This is where you draw the line? MARISHA: This is, yeah. LUIS: This is the line for you? BRENNAN: You got to draw it somewhere, Marion! You got to draw it somewhere! LUIS: This?! SPENSER: There is a reason there are chickens in the back. LUIS: Not the chickens. BRENNAN: There is a reason there's chickens in the back. SPENSER: Of all these bikes. LUIS: This is maybe the reason. TRAVIS: Oh my god. MARISHA: (laughs) ZEHRA: I'm glad we didn't us

e all of them for distraction earlier. MARISHA: Self-proclaimed murderer-- SPENSER: There are a couple. MARISHA: -- and monster, but he's a vegan! (laughter) BRENNAN: I mean, I'll eat chicken. SPENSER: Welcome to Los Angeles, right, I mean, right? BRENNAN: Chickens are in. I named them. SPENSER: All these people are goddamn monsters, but they're vegans. TRAVIS: We have life plans for all these chickens. SPENSER: So must be okay. (laughter) MARISHA: Oh my god. TRAVIS: Oh shit. LUIS: Okay. ZEHRA:

We also have Dr. Kabach. Is he still knocked out? SPENSER: He's still knocked out. At this point, he's just back there doing this thing. BRENNAN: Right, we'll start with chickens and then move to Kabach. TRAVIS: Yeah. Who's doing it first? LUIS: Dang. SPENSER: Who's dropping them? LUIS: All of, I mean, if I got a chicken, I'll drop this chicken. SPENSER: Got one in the back. LUIS: Yeah, badink, bye, chicken. TRAVIS: You just drop it, you throw it in front of you. BRENNAN: What lever did you use?

What's the button that does that? SPENSER: I love that, I love there's a lever that drops the bottom of the basket, and it comes falling out. LUIS: I mean, in my mind, I was just kicking the whole basket out. SPENSER: I love that it's programmed into the fucking mechanic. We see you press the lever. TRAVIS: They spent time. SPENSER: Yeah. TRAVIS: Blueprint it. SPENSER: We see you press the lever. We see the gear turn in a very, what's that from the Sherlock films, where it's like it's close in

on each-- ZEHRA: Those machines? TRAVIS: Jules Verne's-- ZEHRA and SPENSER: Rube Goldberg machine. We see it click over-- BRENNAN: Whenever, like EONS' convention, the Javits Center, and some guy's like, "This machine was a mental ray gun "that will mind control at a time." The next guy's like, "I've invented a basket that drops chickens off "the back of a flying bicycle." TRAVIS: Yeah. MARISHA: I'm also imagining "Fast and the Furious," where they always hit the nitro when it comes into the car

buretor. SPENSER: (swishing) LUIS: Oh yeah. MARISHA: At the end of the track, the chicken just goes-- TRAVIS: (clucks) (laughter) LUIS: Yep, yep, yep. SPENSER: So good, we see the flipped switch, the gears turn, the lever's pulled, and then-- LUIS: It's such a complex device for all of that. MARISHA: Chicken dispenser. SPENSER: The basket drops, and you see a chicken go flying out behind you. As it does, it tumbles, and one of it. (clucks) Then you see, vroom. BRENNAN: You can't put the visual i

n my mind-- (laughter) BRENNAN: -- of a glowing chicken! (lip-trills) (laughter) TRAVIS: But it only glows when the head's going over. BRENNAN: It's like, (rave music) little rave like chicken-- (laughter) SPENSER: You see the-- BRENNAN: -- strobing down the highway. SPENSER: You see the giant androphage leap up, swallow the chicken as it dives back down. You watch as, for just a moment, it disappears, and then [heavy thud] underneath, it explodes. ZEHRA: Oh. MARISHA: We need more chicken. BRENN

AN: Chickens are bombs. LUIS: Oh! These are bombs. MARISHA: Oh my god. BRENNAN: Fuck! SPENSER: As that happens-- BRENNAN: You guys think of everything! SPENSER: As that happens, the two other cars make their way to be in front of you. They switch gears and start driving towards you. You have androphages chasing you with chickens being dropped behind you, as these things keep leaping into the air. You have three cars flying towards you. The person on the motorbike's nowhere to be found but these

three cars are driving towards you as you drive towards Westwreck. What do you want to do? LUIS: Pull out a rocket launcher. (laughter) SPENSER: Not possible. LUIS: Oh god. MARISHA: We knew we needed that moment, you guys, the chickens. SPENSER: Yep. Yep. TRAVIS: We really did. SPENSER: Hey, we had a hell of a first half. MARISHA: Yeah. SPENSER: We got to have a little fun. BRENNAN: I was like, you know, I don't think I've ever had this observation before. Our world's not very fun. Is it? MARISH

A: Yeah. BRENNAN: You know, it's kind of grim and horrifying. This is the most joy I've ever experienced. These chicken bombs aren't-- LUIS: I would be normally having fun if our lives weren't so on the line right now. But yes, I'm glad you're having a good time, Sean! BRENNAN: Is there a button that only does one chicken, because I feel like mine's double barrel? I don't want to lose both of them. LUIS: Press all the buttons. BRENNAN: All right. SPENSER: The baskets are split and it has, yeah,

yeah. You can just do-- it's double trigger. ZEHRA: There's eggs that come out of the exhaust pipe one at a time-- BRENNAN: What are you saying, eggs are grenades? What's going on here? All right. Yeah. SPENSER: Yeah, these three cars driving towards you, you're going towards them, as you're headed towards Westwreck here. What do you want to do? BRENNAN: I'll take a shot at a tire of the car in the lead to try to like-- SPENSER: Oh, I love-- BRENNAN: -- spin out a car that's in front of the othe

r cars. SPENSER: Great, make a Control roll for me as that happens. BRENNAN: Okay. Let's see here. Da, da, dum. TRAVIS: What time of day is it? SPENSER: It's now the morning. TRAVIS: Okay. SPENSER: Yeah. It's now full-on morning. Dawn hit when you all were at Duncan's. BRENNAN: Another six on a gilded die. MARISHA: Hell yes! SPENSER: Ooh baby, that's a six. You hit the tire. The car that's in front goes sideways. The rubber starts to peel off the car, twists and turns in the sand kicking up dirt

. The other two cars are headed towards you but that car kicks up and stops spinning on its end. This is not the one with Violet in it, but you see a bunch of people being thrown from the car here. What would you like to do? LUIS: Question. SPENSER: Yeah. LUIS: These are EONS' vehicles, right? SPENSER: These are, correct. LUIS: And we understand that they're the ones that are synthesizing magick with technology-- SPENSER: Correct. LUIS: -- so I am going to, I'm assuming then that there's some so

rt of magickal component to these cars. Some kind of other perhaps engine, I'm not sure, but I'd like to Sense to see if I can locate that part of the vehicle. SPENSER: Yeah, sounds good, make a Sense roll. LUIS: Look, I can't do anything physical anymore because of all the scars I took and all I can do is Sense shit now. SPENSER: Makes sense. LUIS: Can't fight, can't fight nothing anymore. Five. SPENSER: That's a five. LUIS: On the gilded. SPENSER: On the gilded. Love that, you can tell that th

e engines are being powered by something magickal here. They are electric combined with some sort of magick here. On that five, as that happens, you see-- What's up? You okay? LUIS: Fuck. No, I'll have to wait to do this next time. SPENSER: Okay, as you see, the two cars that were headed towards you, they got lost in the dust storm from the other car flipping. So they are gone to you for a moment as you look around and see that there's just debris. You've lost them. You're driving towards the cl

oud of sediment You're driving towards the cloud of sediment that has been kicked up. For the moment, you are not sure where they are. You can hear engines around you, your adrenaline's racing. But for right now, those cars have disappeared in that dust. LUIS: Okay. SPENSER: What do y'all want to do? TRAVIS: Cars are out of sight? SPENSER: Yeah, there's a massive dust storm that is kicked up and the cars were lost in that. It seems like they should have emerged, but something isn't right. LUIS:

I don't like that dust storm. I'm going to try to go around it. SPENSER: Yeah, as you-- LUIS: If there's a way to, it's like little-- SPENSER: So as you go around, you see the cars have, you see the car on the right has pulled much farther right. As you curve around the edge of the dust storm you find yourself now headed straight for the car. LUIS: Okay. SPENSER: You and the car are about to collide. LUIS: Okay, so now this is what I want to do. SPENSER: Yeah. LUIS: Since I know that there's mag

ickal energy inside of that engine and I have reached into that magickal space and interacted with that before, I'm going to clear my mind for a second. I'm going to reach into that magickal component of the engine. I'm going to rip it to shreds. SPENSER: Ooh, of the car? LUIS: Yes. SPENSER: I love that. Go ahead and make a Sense roll for me to do that. What I will say is this is high stakes. A failure here will result in taking some serious marks. What I will also say is that no matter what, re

aching out to do this will cause you at least a bleed mark. LUIS: That's fine. SPENSER: Even on a success. Even on a full or critical success. BRENNAN: You have three scars. LUIS: I have three scars, but I don't have any bleed marks. BRENNAN: Oh, good. TRAVIS: He said a bunch of-- MARISHA: (laughs) LUIS: I just had a rest! TRAVIS: Just so you know, he said a bunch of marks if you fail. BRENNAN: You're at the threshold of death, not leaning in through it. LUIS: I only got one body mark. ZEHRA: Is

it worth a gilded, if it's high stakes? TRAVIS: I mean, yeah, he said if you fail, it's a bunch of marks, not a bunch of-- LUIS: Take a gilded die, yeah. Oh right, right, right. Whoa. Okay. All right, I got one, two, three, four, five. I will burn two drives. SPENSER: Okay. ZEHRA: Oh! LUIS: Yeah? Oh? Huh? Oh. TRAVIS: That was an exhale. ZEHRA: Concerned. LUIS: Oh! Ha! Come on, work, work, work. TRAVIS: Nervous exhale. MARISHA: Oh! LUIS: One, two, three, four, five, six. TRAVIS: You roll your di

ce, you takes your chances. LUIS: I got a five. SPENSER: A five. Okay. LUIS: Damn. MARISHA: Wow, with all those dice. LUIS: That's crazy, two, three, four, five, six. ZEHRA: You have resistance? MARISHA: ♪ The dice want to tell a story. ♪ LUIS: I have a resistance. BRENNAN: I would-- MARISHA: Need a six. BRENNAN: Getting a six here is going to save you from getting a lot of marks. LUIS: I know, I know. Yeah, I'm going to burn that. But I can only reroll my original. SPENSER: You can only reroll

your original. LUIS: Okay, so I will use the-- SPENSER: But the other thing I will note, is that if you use the resistance, you have to take the new result. LUIS: Oh, I can't keep that five? SPENSER: You cannot not save the old result. You have to take the new result, if you-- LUIS: So now-- BRENNAN: Is that five on one of your original dice or is it on one of the gifted ones? LUIS: I mean, it's not on one of the gifted-- I mean, I don't know. It's not a gilded one, it's not-- SPENSER: It's not

a gilded one? LUIS: It's not on that gilded one. Damn, that's a big risk, it's a lot. SPENSER: It is a big risk. MARISHA: Can I be a shitty meta above the table and say I don't trust him. SPENSER: (laughs) MARISHA: And he might be trying to make you spend a resistance right now. LUIS: (laughs) ZEHRA: Or incapacitate you so he can crawl inside your body. MARISHA: Save it for later. TRAVIS: That just sounds like a concerned friend. BRENNAN: I think we should all be using our resources as I build m

y Nerve drive back up. TRAVIS and MARISHA: (laugh) LUIS: I can't. That's too much of a risk. SPENSER: That's too risky. LUIS: Because I'm only rolling three. SPENSER: Okay. LUIS: So I'm going to stay with the five. SPENSER: Great. MARISHA: (laughs) SPENSER: You reach in and and do what you're looking for. LUIS: Yes. SPENSER: Describe for me what it's like to do this. LUIS: So here's the thing, is for a while now, since we have arrived at where Duncan was I have been wrestling with how physically

inept I've become over our last, I don't know, the last couple weeks since the last couple sessions, assignments. Marion's not used to, he's been working with Sean. Sean helped him become more physically adept since they were kids. He taught me how to pitch. So I'm doing the only thing I-- This fucking sucks. I'm seeing everybody else do something. I'm reaching into that shit with the only thing that I have left to do, that I can do. I am pulling that part of the engine apart and basically shre

dding the entire vehicle with whatever magickal energy that's in it. Just having it spread from one direction out to another, hopefully destroying it. SPENSER: So, here's what happens. LUIS: And it's exhilarating. SPENSER: You reach in. You feel yourself connecting with this magick. You watch as the car in front of you stalls. The engine (whoosh) blows apart underneath it. The car stops. You continue forward. You feel yourself collide with the car, moving at speed here behind you, you feel still

. LUIS: Wow. SPENSER: As you fly through the air, land face down in the dirt here take a body, a brain. LUIS: A body, a brain. (groans) SPENSER: You land face first. The dirt around you makes you lose your bearings here as you hear the sound of engines. You all watch as Marion goes flying off of their bike. The other car emerges from the dust storm, the one carrying Violet. She has a gun and she's making a circle around to try and get to all of you. Marion's laying on the ground next to a car th

at has stalled out, where the rest of them are all piling out of the car that has stopped to try and figure out what to do next, where to go. They're headed towards Marion. What do you want to do? ZEHRA: I see Marion down and I instantly, in a heartbeat, race down there to where he is, land and get out. I am already reaching into my medical kit to see if I can help patch up his body and EONS be damned. I will face them, if I need to. SPENSER: You feel yourself, you feel your adrenaline pulsing a

s you run towards Marion, your bike, your aircycle sitting alone now. You see one of the EONS members go and grab-- LUIS: No! SPENSER: -- the aircycle, as you do this, but you are by his side. You feel hands come and grab you on your shoulders but you knock them off here. Suddenly they are scared of something you see boom and an eruption of another one of these androphages from the dirt they scatter, leaving you to be for just a moment. You have the chance to administer some sort of help here. W

hat are you doing? ZEHRA: I'm going to patch him up. SPENSER: Okay. ZEHRA: I'm going to make a Focus roll to heal an ally, one body mark. My Focus roll is gilded and I'm also-- Oh, I can't burn Intuition to do it because I need it for the Patch Up! TRAVIS: You could also just grab him. LUIS: We got to get out of here. You fix me up later. They're going to come and get us. We don't have time to do it right now. ZEHRA: My bike is gone, right? LUIS: Let's punch that guy out and get on the bike. SPE

NSER: That guy has already taken off. ZEHRA: He's already taken off, so it's just us. LUIS: I'm okay, I'm okay, I'm okay. You can get me later. I'm okay. BRENNAN: Can we circle back around to try to grab them? Is there space on your bike? TRAVIS: Yeah. Yeah. Yeah. BRENNAN: Cool. ZEHRA: He already took the bike. He's on the bike. SPENSER: He's already on the bike and off. MARISHA: But you guys still have a bike. BRENNAN: One of you jump on Farrah-- SPENSER: No, this one broke. This one slammed in

the car-- LUIS: He's gone. SPENSER: And sent him flying. TRAVIS: Ah, I see, he took his bike. SPENSER: No, sorry, that bike's fucked. TRAVIS: Then I'll be coming in right behind the doctor. BRENNAN: There's a stolen bike, so we're down to four bikes. SPENSER: Down to four bikes. BRENNAN: Okay. TRAVIS: Yeah, I'll be cutting a beeline across, hauling her-- MARISHA: Oh right, we got Farrah. SPENSER: Farrah's with you as well. BRENNAN: LT, grab Marion, you jump on Farrah's, and then we're out of he

re. LUIS: We got to go, we got to go, you'll get me later. I'm okay, I'm okay, I'm okay. We just got to get out of here. ZEHRA: I just give him a stern look. SPENSER: I'm going to have you make a Control roll here to be able to get your bike there safely. Get your aircycle there safely. TRAVIS: Drive. It's a five on the gilded. SPENSER: Five on the gilded. Great. That is a mixed success. You swing over, Farrah swings over and grabs the two of you. As that happens, you see the speed, or the speed

er or the aircycle pull up alongside the car that Violet was in. Violet pushes the guy off that is on it, grabs it and starts to ride towards back all of you. You see that she has a masterful control of this thing. She was part of the team that built it. As all of you are racing towards the minefield here, you are now mere moments away from that threshold there. You have a-- BRENNAN: Violet? SPENSER: -- Violet pursuing you. What do you all want to do? BRENNAN: I'm going to look at Auntie Bee and

say: Can you grab the handlebars? MARISHA: Yeah. BRENNAN: I'm going to-- MARISHA: I say: I got the frying pan on my back. BRENNAN: I'm going to say: This could be a little awkward. And without getting behind her, I'm going to swing my legs around to be facing, so we're nose to nose with her reaching around me. I'm going to say: Try to hold your shoulder steady. Going to take the rifle, put it on her shoulder and leaning aside, so we're like cheek to cheek. SPENSER: Uh-huh. MARISHA: I just try t

o relax, knowing what he's doing. BRENNAN: I go: Hey, Auntie Bee. MARISHA: Sean. BRENNAN: I really appreciate everything you've done for me all these years, everything you did for Tony and Jimmy, too. And I know if you could keep it solid with the three of us, the delinquents we were, you can keep it solid riding a flying motorcycle through a minefield with a crazy scientist chasing us on a motorbike that she designed that, I think, does run on chickens. (laughter) MARISHA: And I say: Ain't that

the goddamn truth? BRENNAN: And I'll burn a Nerve drive. SPENSER: Okay. BRENNAN: And that's going to be-- TRAVIS: Can I also, I'm going to send you a Nerve. I'm going to assist by looking over and seeing the batshit body arrangement that's happening over there. I'll look over at Farrah and go: My hand mirror. I'll grab the hand mirror, and I'll try and point it back. But now that the sun is up, I'm going to try and angle it towards-- MARISHA: Right in her eyes. TRAVIS: Violet's eyes. SPENSER: I

n Violet's eyes, Yeah, I love that. TRAVIS: Get her to, like, what the fuck? SPENSER: We see the mirror being used for a different purpose here, reflecting the sun. We see her put her hand up as this happens taking a hand off of the motorbike here. Go ahead and make that roll. BRENNAN: That's a six! SPENSER: That's a six. MARISHA: Oh my god. It looked real bad for a second. BRENNAN: That is a six. ZEHRA: Yeah, yeah, yeah, it looks bad. BRENNAN: It looks bad if you look at it-- MARISHA: Well, the

re was the one that was hidden. BRENNAN: If I was rolling damage, that would've been really sad. MARISHA: Yeah. (laughter) SPENSER: Here's what happens. You cross the threshold into Westwreck. The motorbikes or the aircycles are flying through the minefield. We get a shot here of one of the old mines below the ground and then we rack across the desert here and see all of the other mines. They are laid out in droves here as a motorbike or as an aircycle, voom, passes over the top of one. As that

happens, we see Violet, boom, take a shot to the shoulder from the rifle. She drops the gun that she's holding and she's grabbing onto the cycle with one arm. She is still pursuing you, but she is not looking very good here. Her face obviously contorted in pain as she's driving. What you do see with that, is that she is swerving left and right and the aircycle is dipping up and down, dangerously low to the ground here. What do you all want to do? TRAVIS: When she dropped the gun, had we entered

the minefield or-- SPENSER: We're in the minefields. Everybody is in the minefield now. She's still pursuing you, but you can see her control over the aircycle is not what it was. She's starting to dip down and up and down and up. What do you want to do? ZEHRA: I want to call out to her. SPENSER: Yeah? ZEHRA: Because I want to tell her to turn back. Her fight is not with us, and if she'll turn back, I will tell her what I know about the Anitithenai, what she was so curious to know about from me,

to the extent that I do know. Is that a possible-- SPENSER: Yeah. ZEHRA: -- action at this point? SPENSER: For sure. You call out to her from behind. You are having to slow down to do this. You're telling Farrah to slow down, slow down, slow down so you can shout to her. She's riding up right behind you. You see her struggling-- ZEHRA: Her gun is gone. SPENSER: The gun is gone. She's struggling, looking up at you. The blood running down her shoulder here. I'm going to have you make a Sway roll

for me. As that happens, you all realize, the three of you realize you have breached the threshold of Westwreck and you are suddenly in the place that you all served, in the place where those battles happened. You start to feel the hairs in the back of your neck, stand up. Go ahead and make that roll. ZEHRA: So, technical question. SPENSER: Sure. ZEHRA: When I don't have any marks in that action, I roll two and I take the lowest? SPENSER: Correct. ZEHRA: What if I have a drive in Cunning? Can I

burn that? SPENSER: So you can spend as much Cunning as you want and you would add that. So if you were to spend one Cunning on that, you'd roll one die. If you spent two Cunning, you'd roll two dice, et cetera, et cetera. ZEHRA: Extra? SPENSER: So right now you're rolling two dice and taking the lowest. ZEHRA: Yeah. SPENSER: If you spent a drive, then you'd roll one die. ZEHRA: And take the result of that. SPENSER: And take the result. If you spent two Cunning, you'd roll two dice. Now, you can

push yourself. you can take bleed and add dice to your roll. ZEHRA: I see. Okay. SPENSER: Because of your artifact. ZEHRA: I'm going to roll two and take the lowest result to start. SPENSER: Yeah. Okay. LUIS: Oh. ZEHRA: Three, three and a six. I have-- (laughs) I have a resistance in Cunning. SPENSER: Okay. ZEHRA: How high are the stakes of this roll? SPENSER: They're high. ZEHRA: They're high. I mean, you're not going to die here if you don't get it, but they're fairly high, right? You're tryi

ng to convince her to turn around. What I will say is the stakes are high for her. ZEHRA: Yes, I swore to do no harm. SPENSER: Right? ZEHRA: And strangely, I feel I owe it to her. SPENSER: Mm. ZEHRA: She still has some hold over me. One. BRENNAN: Oh no. SPENSER: What do you say to her? ZEHRA: Violet, your fight is not with us. Turn around now. SPENSER: We see your hair whipping past, whipping past your face. We see the hair whipping into her face, and for just a moment, there's silence between y

ou two. Still 10, 15 feet apart here, but she's able to hear you perfectly and she guns it forward. On that one, she puts her last ounce of life she puts her last ounce of life into this maneuver as she rides up behind you and clips the bike. You feel yourself flying through the air here. You see Violet flying through the air here. You see, as you're tumbling, as you're moving through in space, her jacket open and bottles of Adjuvant inside. ZEHRA: (gasps) SPENSER: You watch as Farrah falls forw

ard in front of you. You see mines scattered across the fields here. Tumbling forward, your heel barely missing the top of one of those mines. You are going to take a body and a brain here. As you go tumbling forward, you see Violet land. As you go tumbling forward, you see Violet land. She pulls her shoulder up. You're looking at each other on the side of the, on your sides. She holds it as she rolls back. You can see her looking at you, afraid. ZEHRA: It's all right. It's all right. I try to c

onvey reassurance to her in this moment. SPENSER: "You betrayed us. "You betrayed us. "I knew you would. "I knew I couldn't trust you." ZEHRA: I had no choice. SPENSER: "How can they trust you? "How can anybody trust you? "Your father, he was so happy when I told him-- "(breath catches)" ZEHRA: (gasps) SPENSER: "-- that you weren't coming to see him anymore. "(laughs)" She smiles and you see her roll over and she's on top of one of the mines, and she rolls off of it. TRAVIS: (gasps) SPENSER: A m

oment here to be able to react. What do you want to do? ZEHRA: How far away am I from being affected by the explosion of the mine? SPENSER: You're within 10 feet of the mine here. TRAVIS: Oof. SPENSER: You got to book it-- TRAVIS: Ooh! SPENSER: -- if you're going to get out of the way. ZEHRA: Do I have anything spiritual on my possession that could provide any kind of shield or help? TRAVIS: You do have one ward that will soak a bleed. SPENSER: You have a ward. But that is-- LUIS: A bleed. SPENS

ER: That is to soak bleed. This is not going to soak body. ZEHRA: I see. I'm going to have to roll. Is the opposite direction clear of a mine, if I were to roll away? SPENSER: You're going to have to get up and sprint. LUIS: Run. ZEHRA: Get up and sprint. Okay, okay. SPENSER: Out of the way. TRAVIS: (mine activating) MARISHA: Yeah. ZEHRA: I suppose that is my only course of action. I'm going to burn a Nerve to do it. My last Nerve. SPENSER: This is a high stakes roll. MARISHA: Life or death roll

? SPENSER: I won't say it's a life or death roll, but it is a high stakes roll, you will take serious body on a fail here. You might even still take some, you will take some on a mixed success. ZEHRA: (sighs) I've spent this, as I'm thinking in the split second, as I try to get up. SPENSER: Mm-hmm, yeah. ZEHRA: I think about how I've been walking through a fog this entire time. I swore to do no harm. I swore that I would never touch magick after seeing what my father wrought with his charlatan w

ays that caused children pain. I swore I would never do harm. I would fix and I would work for the good. In the process, I have betrayed every promise I have made to my friends. I have not been strong enough to stand up when they needed me. And feeling this utter guilt and shame, I think the last thing I can do now is at least run and try to sort this out later. No magick, no science, just me running as fast as I can. It's a three. SPENSER: So here's what happens. You get up to run. You push you

rself to your feet, and you feel the tremor below the earth before you hear it. Your body carries you forward out of instinct. There's a moment here where you're back on the battlefield. You've heard these explosions before. You've seen what they have done. You've patched up the bodies that have come back from these mines. You run, and there is an explosion behind you. You're going to take six points of body. You all watch as Jean's body flies across the battlefield. And you see, in an instant,

the bodies of Violet Boucher and Farrah Morales vaporized by the blast. [gunshots] SPENSER: You lay unconscious on the ground, all of you seeing your doctor here in the mine fields. For the three of you, it's a reminder of what it was like all those years ago. For you, it's your first insight into the life of your boys. into the life of your boys. MARISHA: My husband. SPENSER: Life of your husband. So, you watch as that explosion rattles the landscape here. What the three of you know is, when on

e goes off-- MARISHA: Yeah, that's what I was afraid of. SPENSER: Could be more. In the split second you have, what do you all do? LUIS: LT, we got to go back and get her. No man left behind. TRAVIS: We go. SPENSER: Great. This is a high stakes roll to turn the bikes towards Jean and pick her up, even as the threat of more mines erupting here stand before you. This is a very high stakes roll. TRAVIS: Is this a Move, a Control? SPENSER: It is a Control or a Move, whichever one you'd prefer. ZEHRA

: Leave me. I try to think into the void. LUIS: I'm going to spend a drive to give you another die, LT. I'm helping keep a lookout and helping guide him towards her. SPENSER: Mm-hmm. BRENNAN: I will also. Can I burn a drive to give another die? Do you want to get all the way up to six? TRAVIS: Yeah. I can use Saw This Coming, and I'm going to say that another drive, I know that when one goes off-- SPENSER: Yep. TRAVIS: -- it can lead to a few more. MARISHA: Oh fuck, I also have Saw This Coming.

BRENNAN: Yeah. So I'll throw another die your way. TRAVIS: That's six. BRENNAN: Okay, great. TRAVIS: I'll take the six. LUIS: Yeah. BRENNAN: Hell yeah. TRAVIS: I'll take the six, not gilded. SPENSER: Describe for me how you just nab her in time as other mines start to explode. TRAVIS: So I would say, we didn't wait for the chitchat. We knew that as soon as she fell, and as soon as she had that weathered look on her face, we'd seen that before. We were already moving in her direction. We didn't g

et there in time for the first blast, but we were there as she skidded to the earth. As the parts of Dr. Violet Boucher started to rain down, we collected Dr. Jean and booked it out of there just as it got really hot behind us. SPENSER: Explosions are going off behind you. I need everybody who was in the war to take one brain for me. BRENNAN: I'm down. TRAVIS: I'm down, too. ZEHRA: Do I put the brain as well or am I-- SPENSER: You're okay, you're already down. ZEHRA: Okay. SPENSER: So here's wha

t I'll say. LUIS: I'd like to do something. SPENSER: Yeah. LUIS: As soon as I see that those-- I'm assuming you're right with me, you're close by, because we all saw this happening, we're helping get her back up. MARISHA: I imagine we're still on the bike. I'm just watching him go down in front of me. SPENSER: So what you see-- TRAVIS: Actually, no. I'm going to use Death Defy. SPENSER: Okay. TRAVIS: And I'm going to soak that mark. SPENSER: Okay. TRAVIS: Once per assignment I take one or more m

arks, you instead escape unscathed-- ZEHRA: Whoa. TRAVIS: -- from your quick thinking. ZEHRA: That's awesome. LUIS: Oh wow. So you didn't get any marks from that? TRAVIS: Not that one. Just not the one brain. LUIS: Not the one brain. But what other mark did you get? TRAVIS: That's all he said, was one brain if you were in the war. SPENSER: That's all. SPENSER: One brain if you-- Yep. LUIS: Oh my god! SPENSER: But you feel Sean go limp in your arms. SPENSER: But you feel Sean go limp in your arms

. BRENNAN: Wait, I'm still facing the other way, so I've taken a shot and I think I just go to sleep. I think just the-- I think there's, I just go, I just-- MARISHA: The brain just shuts off. LUIS: Shuts off. BRENNAN: It's just too much. MARISHA: Yeah. BRENNAN: It's like adrenaline, adrenaline, adrenaline. I think it's coming full circle. MARISHA: Pounding in the ear. BRENNAN: The heartbeat goes so fast that it just flat lines and I pass out. SPENSER: You feel Sean pass out in front of you, the

bombs going off around you. You're watching as explosions are causing shrapnel to be thrown. You're keeping your eyes forward, but you're seeing the explosions happening around you as we see the shot of you driving your vehicle as well. We get you just barely keeping it together here, as, boom, explosion after explosion go off behind all of you. You have the path to where you need to go. LUIS: Stick to the path. SPENSER: Stick to the path. TRAVIS: Yeah. MARISHA: So wait. So you're still up? TRA

VIS: Yeah. MARISHA: But you also, you went down? LUIS: I'm up. No, I didn't go down. MARISHA: Oh that's right, you soaked it. LUIS: I was going to do something, but I'm not doing that. SPENSER: Okay, you're going to hold it. LUIS: Yeah. MARISHA: Okay. SPENSER: So these two, both of these two are down right now. MARISHA: Okay. SPENSER: But given that nobody else is on your tail and you rolled a six out of there, you continue that path towards the spot on the map that it says. You see the wreckage

of the wasteland behind you. Westwreck has always been a place of grief, Westwreck has always been a place of grief, a place of horror. It's never more clear than as we see the remnants of the bodies left behind here. the remnants of the bodies left behind here. You all make it, you have a moment here where you're standing, as the map tells you where you should go, on the lip of what looks like a canyon, on the lip of what looks like a canyon, but it's as though a scar has been torn in the eart

h but it's as though a scar has been torn in the earth and there's a path down. As you look down below, the three of you look down below off of the bikes, you see there's water here. off of the bikes, you see there's water here. This is what's called a cenote, they happen near places that have oceans. They are essentially underground rivers, underground lakes. On the map, you can see those places that are blue, some of those are in fact underground rivers here. The spot with the circle is where

you currently are. TRAVIS: Mm-hmm. SPENSER: The spot with the X is where they believe the entrance is. You have a few moments here to collect yourselves. What do you all want to do? LUIS: We got to get them back up. TRAVIS: Yeah, of course. SPENSER: Great. LUIS: So give them a moment. SPENSER: Mm-hmm. LUIS: Got to help get them up. MARISHA: Auntie Bee's just holding Sean, once again, thinking back to when he was a little boy before his brain was completely messed up from everything he's been thr

ough. I think she just goes into instinctual mother mode and just rocks him. Just starts humming to him, stroking his hair a little bit. LUIS: I'm doing a similar version of that here. SPENSER: You see the parallels between the two. LUIS: Yeah, I'm giving, she has nursed me back to health and the same kind of tenderness and care that she has shown me, I have her sprawled before me and I'm holding her in my arms, and I'm just like caressing her forehead and just waiting tenderly, waiting for her

to open her eyes. TRAVIS: I'll go over to Auntie Bee and put a hand on her shoulder and say: I can see how much you care for him, but if I may-- And out of my pocket, I'll take a little flask and unscrew it and say: For you first. Offer a swig. MARISHA: Bless you. TRAVIS: This is one from the field itself. I'll just hold it under Sean's nose real close so we can get the pungent odors, and I'll say: Officer on deck! BRENNAN: Sorry, did I go, what happened, did I fall off? TRAVIS: You did. MARISHA

: Yeah. TRAVIS: Brilliantly. BRENNAN: Thanks, LT. SPENSER: You feel Auntie Bee's fingers in your hair. That's when you come to as well. You find Marion standing with you, holding you. ZEHRA: I killed her. LUIS: No, no, no, no. There's no time to think about that. ZEHRA: I killed her. LUIS: We killed a lot of people. Welcome to war. Look, look, look, look at me, look at me. No, no, no., stop, don't get trapped in the past. That's not the past. That might as well have happened a hundred years ago.

What matters is what's ahead of us. ZEHRA: Ahead. I reach up, (winces) there's a searing pain at the back of my head down my neck and down my entire back. My posterior chain, the entire back of my body is raw, bleeding scar tissue. It absorbed the force of the blast, searing it instantly. Once perfect skin, now mottled, and starting to scab over in parts. (winces) Ah! The past. She goes to adjust her hair and finds there is no hair on the back. and finds there is no hair on the back. I'm as goo

d as my father. LUIS: You're not the same as him at all. ZEHRA: I killed her. LUIS: She killed herself. What are you talking about? ZEHRA: I killed her. LUIS: You told her to go back and she didn't listen to you. That's on her. That's not on you. ZEHRA: My mother. I killed my mother. You know I killed her. (trembling breath) She adjusts what's left of her coat. The lapels are intact, but the back, there's a lot of give because the back doesn't exist anymore. Dr. Kabach. Dr. Kabach, is he-- SPENS

ER: He's on the back of your-- LUIS: Your bike. MARISHA: He's unconscious. ZEHRA: (heavy sigh) MARISHA: Look, maybe, maybe we should go back. What are we even doing here? ZEHRA: Back to where? LUIS: I don't want to go back. MARISHA: Home. BRENNAN: Whatever was waiting for you in The Varnish, whatever was waiting for me in The Steel, it's back in Newfaire. We go back tomorrow or tonight. Just been up all night. Tonight, it's the same story, and the night after that, and the night after that, and

the night after that. If Candela Obscura never finds out what happened to us, think about everything we know about these creatures. If we die, what stops them? MARISHA: Ah fuck. TRAVIS: We know what it's like to be a small cog in a large machine and we may yet again be finding ourselves just a gear amongst incredible horrors. But if we don't stop now, there is nothing that will keep that Fourth Pharos from ripping open and this being the norm for everyone back in Newfaire. I, for one, would like

to try to make a difference, especially after all we've lost. ZEHRA: Their deaths can't have been for nothing, Ms. Monroe. MARISHA: I know. I know, you're right. So was positing the question, I suppose. TRAVIS: I can't now see why they wouldn't let us see Allison Suarez. Working for Candela is absolutely brutal. ZEHRA: Hearing Allison mentioned, I think about Violet and her coat flapping open with the vials of Adjuvant and I think while Dr. Kabach is knocked out, and I think while Dr. Kabach is

knocked out, I want to search him to see if he has any. SPENSER: You walk over. Doctor is laid down on the ground. He's awake, but not completely, his mind going in and out. He's breathing. You feel inside his coat pocket. At first, nothing. And then the other side. There's still nothing. Wait. You feel a vial underneath your fingertips. ZEHRA: With shaking hands, I pull out the vial with that telltale green liquid flecks. This could be the key to helping Allison. TRAVIS: Or one of us. We have

to help ourselves if we're going to help Allison. (sighs) MARISHA: My dear, I want you to start mentally preparing yourself for the reality that she might be too far gone. And that's not your fault. ZEHRA: I won't fail you this time, Auntie Bee. I promise. MARISHA: Sweet child, what makes you think you have ever failed me? Never. You do realize it was you that reinvigorated the spark inside of me to not give up, to not let every death for years be in vain. That was you. You could never fail me.

All right? ZEHRA: That was you, too. MARISHA: Just give her a kiss on her hand. ZEHRA: Let's go. MARISHA: Let's go. We got to get up this river really fucking quick, right? SPENSER: You see that there essentially is a hole in the ground that leads to an underground lake/river system. You can see it on the map there. There's a little underground water system there. TRAVIS: Ooh, spelunking. MARISHA: I hate spelunking. Like, as a person. SPENSER: As Marisha, you hate spelunking? MARISHA: Yes, it's

why-- SPENSER: That's a strong stance. I know; it's such a strong stance. ZEHRA: Do you just hate the word? MARISHA: No. I just. TRAVIS: So, wait, there's a spelunking experience you need to tell us about right now? MARISHA: It's just the idea of, why not for kicks I'm going to put myself in a dark, cold, claustrophobic environment where if something happens, that's it! BRENNAN: You think you spend so much of your life avoiding going into the ground. LUIS: Yes. MARISHA: Yes! Yes. That's a fantas

tic way of putting it. No, not knocking anybody who enjoys-- TRAVIS: It's actually a sweet preview, man. MARISHA: If you enjoy spelunking, you do you. SPENSER: Yeah, look, spelunk your heart out, right? MARISHA: Spelunk your heart out, it's just not for me. ZEHRA: The next chapter will be all about spelunking. LUIS: Yikes. SPENSER: We see you jump, each of you into the waters below. You're taken by the cold here. It's refreshing on your body. Everybody here in this moment can clear one brain mar

k. (gasping) SPENSER: A moment of sweet relief. MARISHA: A gift from on high. ZEHRA: (laughs) SPENSER: Nah. BRENNAN: Well, I just got a scar. LUIS: I know, and you didn't have one. SPENSER: Doesn't help. (laughs) BRENNAN: We couldn't have heard that saying before? SPENSER: Could've done that-- TRAVIS: (laughs) ZEHRA: While we're in the water, I do have a question. SPENSER: Sure, please. ZEHRA: Is the surface of the water reflective? SPENSER: It is. Uh-huh. ZEHRA: We see ourselves in it. I look o

ver at Mr. Finnerty. What is-- and do I notice anything? Can I see his reflection? Is he a-- LUIS: Does he have a reflection? ZEHRA: Does he have a reflection? Is he looking at the water? I just glance over. SPENSER: Make a Survey roll for me. ZEHRA: (sighs) MARISHA: Ah. Ah. Ah. BRENNAN: I have my explosives and my ammunition over my head. SPENSER: Up above your head. LUIS: Oh my god. (laughs) Love it. ZEHRA: We Saw This Coming. MARISHA: Saw This coming. So you can take another die. Because we'v

e been just waiting for the right moment to see the moment that Sean walked back through that front door. ZEHRA: Six. LUIS: Ooh. ZEHRA: And a five. SPENSER: You catch Sean's reflection in the water. Grimacing and holding the gear above his head. But the reflection looks like him. MARISHA: Is he averting his gaze? TRAVIS: Jesus. LUIS and TRAVIS: (laugh) TRAVIS: That's fucking suspect. LUIS: I know. TRAVIS: You fucking-- BRENNAN: My gaze is fixed towards where we are traveling to. LUIS: I'm going

to move next to-- TRAVIS: No chill. I'm going next to Sean. SPENSER: Yeah. BRENNAN: Do I notice the doc looking at me? SPENSER: Sure. Sure. BRENNAN: I'll whisper to Marion: Think the doc is mad at me? I think she... LUIS: Why would she be mad at you? Why do you think she might be mad at you? BRENNAN: I feel two scopes on the back of my head. TRAVIS: (laughs) BRENNAN: She can kind of, when she get rattled, you know. LUIS: Well, kind of. BRENNAN: You get involved in a confrontation with your mothe

r in a landmine chain explosion and all of a sudden. TRAVIS: (laughs) LUIS: Yeah. Yeah. BRENNAN: Everybody's got something to say. LUIS: I mean, does everybody have something to say? BRENNAN: I don't know. LUIS: I got something to say. You scared the shit out of me. I had this vision of you when you were at Duncan's and you hit the ground and I thought you were gone and you're not allowed to leave my side. While we're still on this mission, whatever it's that we're doing with Candela and I see y

ou quit. If you quit, I quit. I don't want to do this without you. I'm not doing this without you. The only reason why I'm doing it is because of you. So, are you really quitting? Are we really quitting? Because there's a whole lot of other shit that we could be doing with our time. BRENNAN: If we survive this where we're going, I need you to know something. This place, organization, it is a fucking monster that will chew you up and spit you out. They will watch you burn the light inside yoursel

f to the bottom of the candle. And when it finally goes out, nobody will say thank you. They'll just find another like you. So yeah, the pin's off. You are worth more than the things that happened to you. You are worth more than the things that happened to you. You are worth more than what other people see in you to exploit. Even if you didn't have this gift that you have to see things, you would still be the best man I know. Fuck a soul. You got a good heart. And that's the rarest thing in the

world. LUIS: Sean. BRENNAN: You got people that you need to take care of that you don't even know about. LUIS: I found some. When we were going to the town I tried to sense more and there's kids out there that are like me. BRENNAN: Then you find-- LUIS: Sean. BRENNAN: Then you find them. LUIS: No, we find them. BRENNAN: I'm not good with kids. You find them. You take care of them. You are more than, you're more than just a magick trick, my friend. LUIS: I know, Sean, I appreciate you telling me,

but I tell you what, you don't got to tell me anymore because you've been telling me that in so many ways ever since I met you. BRENNAN: When it comes down to it, what would make me the most happy, Marion, is to know that when the chips are really down that you have the ability to choose yourself. SPENSER: As you say that, you all reach the edge of the cave system here. You see the X on the map, but the cave wall stops, but you still feel the pull of water down below your feet, pulling it towar

ds the wall. What do you all want to do? TRAVIS: There's a downdraft almost of the water that's pulling away from the surface? SPENSER: Correct. TRAVIS: That sucks. MARISHA: Yeah, it does. TRAVIS: Are there any obvious handholds in the walls or pockmarks that we might be able to get some traction on? Or is it smooth? SPENSER: The wall's fairly smooth because the water keeps hitting it. So it's very smoothed down. But as you go over to feel that and inspect it, you feel your feet for just a momen

t slide underneath the wall here. As you look down, you see there's a tunnel. MARISHA: It is, oh, there's a tunnel that goes underneath. SPENSER: You see on the map-- LUIS: Jeez. SPENSER: -- it says, "128 feet" with a line. TRAVIS: Yeah, I saw that part. I was hoping that was something else. LUIS: Wait, what? BRENNAN: Is there any way to protect my explosives or ammunition going down, though? SPENSER: Sure, we can say that you have them wrapped up. TRAVIS: Wax wrapped. SPENSER: Yeah, wax wrapped

. They can just come that way. MARISHA: Fuck, that sucks, how long. LUIS: It's 128 feet. This means 128 feet. That's the distance? Or the-- SPENSER: From what it looks like there, that is the distance to whatever this entrance is to the Flare to where the Fourth Pharos is underneath the water from what you can tell. MARISHA: Does it feel like this-- LUIS: What the-- MARISHA: There's a dip. Does it feel like this tunnel is completely flooded? When we're first coming through the tunnel? SPENSER: I

t doesn't even appear as though the tunnel's flooded. It appears as though there's a hole in the wall that the water is continuing through. It just happens to be below water level. TRAVIS: Yep. BRENNAN: Oh my god. LUIS: Oh my god. TRAVIS: I do have one flare on me. Because I assume it's very dark in this tunnel. ZEHRA: I have my-- TRAVIS: Oh yeah! ZEHRA: I could put my hand in the hole and see what we can see. TRAVIS: Does your hand-- LUIS: Put her under the water. What happens? TRAVIS: Put your

hand in the hole. MARISHA: Yeah, does it still do an underwater flame sitch? ZEHRA: Oh yes. SPENSER: You dip it under the water and all of you hear the bubbling. MARISHA: Cool! SPENSER: A fire and you can feel it warm underneath the water. When fire's underneath water-- BRENNAN: Could make tea. SPENSER: Sort of like a volcano, right? When it's erupting underneath the water there's lots of bubbles that are formed. It's hot and still. Yeah, your hand is still hot. The flame doesn't dance the same

way it did, but your fingers glow like magma. ZEHRA: Ah, fascinating. (laughter) SPENSER: We see Sean turn. TRAVIS: Yeah. Yeah. BRENNAN: I set my own trigger word. TRAVIS: New trauma, new trauma. (laughter) TRAVIS: New trauma. BRENNAN: Sorry. LUIS: Don't hit me! Don't hit me! BRENNAN: Nah, nah, nah. All right. Alright. TRAVIS: 128 feet is, it's a swim. Unless there are pockets of air on the way. BRENNAN: But that's going to be the current, right? I mean, we can probably make that fast enough to

hold your breath, just getting on it. TRAVIS: You hope. BRENNAN: Let's find out. I'm going to go straight down. LUIS: Oh my god. TRAVIS: Do you want the flame? Oh, he's-- SPENSER: (laughs) As you go down, you see the darkness of this hole before you, it's literally a black hole that you're moving into as the water's pulling you towards it. I need you to make a-- I need you to make a roll here. It's probably a Control or a Move roll. One of the two. I will say that this is a high stakes roll dep

ending on if you get caught on any of a myriad of rocks or stalactites or anything that's underwater that this could deal some serious-- TRAVIS: Not our natural space. SPENSER: -- damage regret. Remind me what your marks are right now to just clear-- BRENNAN: I have one bleed, and three scars, and nothing else. SPENSER: Okay. Thank you. MARISHA: I hate this. SPENSER: You see Sean disappear below the surface. TRAVIS: Were you not an underwater kid? ZEHRA: Do I still need to keep my hand in here t

o light it up? MARISHA: I'm fine within the water. But it's spelunking! (laughter) TRAVIS: We finished that part. SPENSER: Specifically spelunking. This is. TRAVIS: We did a cliff jump. We were, no problem. MARISHA: I watched. TRAVIS: All of our knees stayed intact. MARISHA: I watched so many videos over the pandemic-- TRAVIS: You don't need to go there. No, don't do it. MARISHA: -- of people who died scuba diving in underwater caves. ZEHRA: Oh no. LUIS: Was it fun? Why'd you keep watching these

? MARISHA: I like spicy stuff. Because I like the way it hurts. You know? It's one of those. I love horror, I love horror. TRAVIS: We're going to get the tunnel roll. MARISHA: All right. Make the damn tunnel roll. BRENNAN: I will make the damn tunnel roll. SPENSER: What I want you to do is I would like for you to make the roll and then I'd like for everybody to close their eyes and you to give me the number on your hands. ZEHRA: Oh, what is with this private show? SPENSER: Okay. Not yet. BRENNAN

: Cool, cool cool. MARISHA: Wait, what did you say? SPENSER: Look at me while he's making the roll. I'm going to have everybody close their eyes. He's going to give us what number he rolls. TRAVIS: Okay. MARISHA: What? Why? What? Why? TRAVIS: Just, ha! We don't know why! SPENSER: Okay. All of you see Sean disappear. TRAVIS: No. SPENSER: All of you see Sean disappear beneath the surface. TRAVIS: Non-committal. SPENSER: What do you all want to do? MARISHA: I guess we wait, see if he comes back? ZE

HRA: (sighs) TRAVIS: No, I'm not good with that. I am going to light the flare and dip it under the water. SPENSER: Great. It stays lit. TRAVIS: You always need a dive buddy. See you on the other side. ZEHRA: Oh! TRAVIS: I'll go in under him. MARISHA: That's true. TRAVIS: Just in case it's complete dark, there's nothing to see him. SPENSER: Great. LUIS: He's got the only flare. TRAVIS: He can't-- Yeah. He just can't go by himself. SPENSER: Yeah, you see underneath the water as the flare goes int

o the cave, into the underwater cave, it just goes on. You can see the tail end of Sean's feet as his body is careening down. You see a stone pillar looking thing. You see a stone pillar looking thing. Not a built pillar, but a natural sort of divider. TRAVIS: A mineral deposit, yeah. SPENSER: A mineral deposit. You watch as his body slams into the pillar and he goes spinning forward. ZEHRA: Oh! TRAVIS: Fuck! LUIS: Oh no! SPENSER: What do you want to do? TRAVIS: Yeah, I'm going to dolphin kick a

nd drive towards it. I'm going to try and use that pillar to grab him, and I'm going to throw one arm around his shoulder and neck. SPENSER: So I'm going to have you make a Move or Control roll here to be able to catch up to him because you are not-- He is already taken by the current. This is probably a good, you know-- TRAVIS: All right. SPENSER: -- couple, 10, 20 feet in front of you. TRAVIS: Do I have anything for this? BRENNAN: Any marks for me? SPENSER: Yeah, it's going to be a body mark f

rom you from that thing, which is the-- TRAVIS: Not really. SPENSER: Yeah. You know why. BRENNAN: I know. TRAVIS: Great, ♪ don't want to take that. ♪ Okay. I'll take a five. SPENSER: Yeah, you take the five. TRAVIS: Fuck! SPENSER: You dive underneath. You catch onto Sean's legs. Sean is trying to right themselves after hitting the mineral deposit. I mean, you feel yourself slam into the wall, and your whole body is scraped against the wall. ZEHRA: Oh! SPENSER: As this happens, you're also going

to take a body, but the two of you are continuing forward. All of you see the flare is quickly disappearing. You're being left in darkness as the hole is starting to go darker and darker. ZEHRA: I have my hand. SPENSER: You have your hand-- LUIS: That doesn't produce light underwater, does it? SPENSER: It's like a little ember. It's like magma. ZEHRA: Oh, you can't, I see. SPENSER: It looks like magma. It produces a little bit of light, right? But-- ZEHRA: It's not strong enough. LUIS: As soon a

s-- SPENSER: It's okay. It's just not as strong as the flare. LUIS: As soon as Nathaniel went down, I turn to the other two. There goes our light. We got to go now or not. If you're turning back, then I get it. And I go down. ZEHRA: Ugh, we can't let him go in darkness. MARISHA: Go! ZEHRA: I dive in. SPENSER: You go. You're by yourself in the cave. You hear the splashing of water against the cave. It reminds you of the sea. LUIS: Shit. MARISHA: Auntie Bee starts to hyperventilate a little bit as

she thinks about that nightmare all those years ago where she woke up in the middle of the night, and the dream of screams, screaming men and women on a merchant ship as the ship sinks, and water starts rushing into the hull. Flashes of her husband in his final moments. The whole thing that started the war. (exhales sharply) She's going to try and steel her breath as much as she can. SPENSER: In that memory, Blue looks at you and smiles. MARISHA: Blue, what do I do? (shakily) What do I do? SPEN

SER: "You do what you always do, honey. "You go with the flow. "I'll see you on the other side." MARISHA: Promise? SPENSER: And the ship floods. MARISHA: (rapid breaths) SPENSER: Take a breath. MARISHA: (exhales) SPENSER: Everybody who's going, make a Control roll for me or a Move roll. LUIS: Or a move? SPENSER: One of the two. MARISHA: What did you say? SPENSER: Control or Move, one of the two. MARISHA: I had too much blood in my head. SPENSER: Yep, nope, I hear you. (laughs) MARISHA: Control o

r Move? SPENSER: Control or Move. TRAVIS and SPENSER: (heartbeat thumps) MARISHA: All right. SPENSER: I need a heartbeat thing on here. MARISHA: Yeah. SPENSER: I'm missing the heartbeat thing-- TRAVIS: I don't think you do, Spencer. We don't need that shit. SPENSER: I'm sorry. (laughs) You feeling-- LUIS: Yeah. TRAVIS: Whew! LUIS: I feel my own heart beating enough. SPENSER: Yeah, I can do the-- [heavy thumps] TRAVIS: Okay! MARISHA: Oh, that works! Six. [heartbeat thumping] ZEHRA: Four. LUIS: Tw

o ones. TRAVIS: (screams) Wha? LUIS: What are the stakes here? ZEHRA: (laughs nervously) SPENSER: This is high stakes. ZEHRA: Oh, good to know. LUIS: Going to burn a resistance. MARISHA: Stakes are drowning. SPENSER: Yeah, stakes are drowning. You're not dying because you're going to end up on the other side with everybody, but yeah, you might take some-- LUIS: Burning a resistance. BRENNAN: Six, six on the gilded. SPENSER: Great, thank you. MARISHA: I-- So you're rerolling. Can I? Fuck-- Can I,

you're bad, right? TRAVIS and LUIS: (laugh) MARISHA: You're bad. Can I-- LUIS: I'm not great. MARISHA: Can I Saw This Coming reroll for resistance? SPENSER: Not typically, but I think we're in the final hours here. Go for it. TRAVIS: ♪ It's the final ♪ SPENSER: As long you want to burn that final one that you have. MARISHA: I technically have two. SPENSER: You have two more? Okay, yes. MARISHA: Two, because I-- SPENSER: Then you can burn one of the-- MARISHA: Forgot about that ability for a hot

second. SPENSER: (laughs) No problem, so-- MARISHA: And haven't used any. SPENSER: That's right, okay, yeah. MARISHA: Except for that one. SPENSER: You can definitely spend one of those. MARISHA: So having literally almost a supernatural vision MARISHA: So having literally almost a supernatural vision of Blue guiding me through, and Auntie Bee was last so she's pushing so she would come up on a stuck Marion. so she's pushing so she would come up on a stuck Marion. SPENSER: Mm-hmm. MARISHA: And

would grab him and try and guide him in the right direction. SPENSER: I love that. MARISHA: So add a die to your roll. SPENSER: Add an additional die to the roll. MARISHA: Did you add a die? LUIS: I did. MARISHA: Okay. LUIS: And I got a four on my gilded die. SPENSER: That's better than-- MARISHA: That's better than ones. LUIS: Than one. SPENSER: Better than a one. TRAVIS: Whew. SPENSER: So-- LUIS: I get back. SPENSER: Marion, you're going to take a body. LUIS: Got it. SPENSER: You rolled-- ZEHR

A: Four. SPENSER: Take a body. You already made your roll. MARISHA: Six. LUIS: I'm going to need a break after this. SPENSER: You grab him. LUIS: A little patching. TRAVIS: Margarita. LUIS: Yeah, right. SPENSER: As you feel your body being taken, you almost run out of breath. LUIS: (wheezes) SPENSER: But you feel yourself caught by Auntie Bee, pushed along. The panic subsides. You find peace in this moment. The panic subsides. You find peace in this moment. What do we see you doing to hold on he

re, to steel yourself here because of that help that Auntie Bee gave you? What's the place that you go to? LUIS: I feel remarkably light, way lighter than you remember me feeling. And-- (sighs softly) I think for a moment I actually consider, as I struggle, and then I relax. I'm ready to go if it's time. SPENSER: Mm-hmm. LUIS: When you live your entire life at least since you were seven years old thinking every time you go to bed wondering if you're going to wake up because you don't even know w

hat you are, every day that you wake up (gasps) is like a gift. SPENSER: Hm. LUIS: I think since I got my last scar, I'm not afraid of death because I think I've lived pretty good. So as I start to go into that in between space of consciousness, wondering if I'm going to make it through this cave, I start to see all these flashes of these moments when I first met this guy and his brothers, of these moments when I first met this guy and his brothers, remembering the looks that the Lieutenant woul

d give me when I actually did a good thing. Remembering all the times that Auntie Bee supported me through anything I ever needed. There's all these good times, good times, good times, good times, good times, good times. And all those pieces of them lead up to, I think, a life pretty well lived. So I just let go. SPENSER: As you let go, you feel your body being taken. All of you feel yourselves rushed along by water. Your flare goes out. Your hand still there, glowing just faintly underneath the

stonework around you. As you look forward, you see darkness. Suddenly, all five of you are looking into just darkness before you. Then you find yourself standing in a line looking at the light peeking through a doorframe. looking at the light peeking through a doorframe. You're wet, but there's no river around you. What do you all want to do? TRAVIS: I check Sean. Awake? BRENNAN: Whatever blood from hitting the pillar I'm like-- (laughs energetically) TRAVIS: Oh! BRENNAN: (laughs energetically)

TRAVIS: I do not get the same enjoyment out of this that you do, but I'm glad-- BRENNAN: What a rush. That could be the last time we ever do something like that. LUIS: I don't ever want to do that again so that is the last time I'm doing something like that. I'm not-- I start limping and I start to get a little bit dizzy. I sit down. You know, this has been real fun, everyone, but I'm not doing so hot. ZEHRA: I go to his side. Here, let me try to patch you up before we go any further. LUIS: Tha

t would be real nice. ZEHRA: Please. TRAVIS: So Doc, I'll take my Zippo and try and give you-- LUIS: Don't light me on fire. I see you light so many things on fire. ZEHRA: Yeah. SPENSER: You're in a room where the walls are just obsidian. MARISHA: Oh god. SPENSER: Black. You look down and see that the floor beneath you is obsidian, black behind you, just an empty void. In front of you, just a single doorframe and a wall that looks like it goes on forever to the left and to the right. MARISHA: Ca

n I make, while they do that-- SPENSER: Yeah. MARISHA: -- can I make a Survey roll? SPENSER: Absolutely. ZEHRA: Oh-- TRAVIS: I am sure we are all alone in here. MARISHA: Yeah, I want to see-- LUIS: Right? MARISHA: Yeah, I want to see what's up. ZEHRA: I rolled a two, but I'm burning my last Intuition resistance to-- SPENSER: To reroll. ZEHRA: -- reroll. Six on the gilded! SPENSER: Yes! TRAVIS: Yeah. LUIS: Nice. ZEHRA: So as I only take one Intuition, I spend one Intuition to patch up one body ma

rk. LUIS: Yes. ZEHRA: (sighs) I have more Intuition. I would love to patch you up again if it would help. LUIS: Well, sure. You see me completely relax and melt into you as you start to put your hands on me. ZEHRA: I give him a kiss on the forehead. LUIS: I grab your face when you do that. I should have done this a long time ago, and I plant one right on your lips. TRAVIS: Ooh! ZEHRA: Ooh! TRAVIS: ♪ Long live our love ♪ ZEHRA: I might be taking out a body mark soon. SPENSER: (laughs) ZEHRA: Four

. SPENSER: That's a four. ZEHRA: I'm going to take a brain to take the four-five result instead. SPENSER: Okay, great. ZEHRA: So I'm taking a brain. SPENSER: Take a brain mark. What's that leave you at? ZEHRA: Do I burn two intuition for the four to five? LUIS: That's a four. ZEHRA: I know. Oh, it was a four! LUIS: Uh-huh. ZEHRA: I'm dumb. LUIS: No, no. SPENSER: You just got kissed. It's okay. ZEHRA: (laughs) SPENSER: It flustered. ZEHRA: True. LUIS: Your welcome. MARISHA and ZEHRA: (laugh) BREN

NAN: I'm going to look at LT and say: Do they have to talk to a Candela Obscura HR department? MARISHA and ZEHRA: (laugh) TRAVIS: So yeah, we'll be reporting this. BRENNAN: Yeah, tell our Lightkeeper, "Hey, people are fraternizing--" ZEHRA: Our Lightkeeper is dead! Auntie Bee killed him. BRENNAN: There's no-- ZEHRA: We already killed him. BRENNAN: There's no fucking rules, I guess. SPENSER: That is true. Wild West. BRENNAN: LT, you and me? What do you think? TRAVIS: Hey, hey-- LUIS: While they'r

e going on, I'm locking eyes with Jean and I'm saying: I don't know, I don't hear nothing. I don't hear. They're just little chitter chatter. And then I just plant another one because why not. MARISHA: Aw. ZEHRA: So it was a four, and I've burned the last of my Intuition. LUIS: Okay. So is that another body mark you get? ZEHRA: Another body mark. You're looking a lot better. LUIS: I feel a lot better, too. MARISHA and ZEHRA: (laugh) ZEHRA: I wish I could say the same. I mean, no-- I'm just a lit

tle woozy is all. LUIS: You look great to me, so I don't know what you're talking about. ZEHRA: That's very kind. I do blush through my pale three-body-marked complexion. There is a faint rosy glow that emanates through, as tired as I am. SPENSER: So good. We cut back over to you. You're surveying here. What did you roll? MARISHA: I rolled a four. SPENSER: Four. It's hard to know. You've never been in a place like this. But what you do gather from what you've heard in your time with Candela Obsc

ura is that the Fourth Pharos is a place outside of standard space and time. MARISHA: Hm, is any of this reminiscent to the feature that I stumbled upon in Oldfaire? SPENSER: Yeah, we get a flash of you stumbling upon this ancient tomb in Oldfaire in South Soffit. You seeing spirits, dark, black walls being built of obsidian like this one. It's hard to know. MARISHA: Right. SPENSER: But it definitely appears as though it is not unrelated to the kind of structure that would be built by the same p

eople who would build the thing you stumbled into. MARISHA: I'm going to hold out this little magickal trinket. SPENSER: Mm-hmm. MARISHA: With its spinning spheres. I hold it out and see if it reacts in any way. If it is reminiscent of when the vault If it is reminiscent of when the vault in our chapter house started glitching out, if it rotates, if it has any similarities. SPENSER: You see it rotate in your hands, spinning. Nothing out of the ordinary. MARISHA: All right. TRAVIS: Any sign of, h

eh, ichor, blood, bodily fluid of an undesired origin? SPENSER: No, no. Just darkness behind you, a doorframe, lit from behind in front of you. LUIS: Should I, I guess, reach out and see if I can sense something on the other side of that? TRAVIS: I mean-- LUIS: Or should we just walk in? TRAVIS: Yeah, no, I mean-- BRENNAN: I would say, Marion, I don't know how you're feeling bleed-wise, but I would say maybe reaching out and sensing is something that, given that we're in-- The Fourth Pharos is--

LUIS: Well, we know-- BRENNAN: -- in the Flare, right? LUIS: I know I'm going to get-- I know I'm going to sense the stuff because I'm not that stupid. (laughter) BRENNAN: Yeah. LUIS: But-- BRENNAN: But you look stupid, so I-- LUIS: Hey, yo, no, that's enough. BRENNAN: Yeah. LUIS: No, no, no, no, no. I looked stupid as a kid, but then I grew out of that. ZEHRA: He's very handsome. LUIS: And I look-- thank you. BRENNAN: I didn't say he wasn't handsome. (laughter) BRENNAN: I just said the guy-- L

UIS: You know what? You know what I hate about you giving me shit? BRENNAN: What's that? LUIS: Nothing. I don't hate it at all. (laughter) ZEHRA: I could reach out and sense, since I took my physical burn scar, I moved a point away from Move because I was piss poor at moving away from the mine exploding, and I moved my point to Sense because now I am ever more embracing of the spiritual part of me in the wake of my physical weakness. SPENSER: I love that. We see you reaching out. As that happens

, there's a pendulum in your pocket that starts to spin. MARISHA: Oh-- (laughs) (pendulum spinning) MARISHA: Oh boy. ZEHRA: I hold up the Candela pendulum, and then from my pocket I pull out-- LUIS: Oh! ZEHRA: -- what looks like a wristwatch, but embedded in it is a pale green stone that is glowing and pulsing and turning. It's a stone that has been the source of much pain in my life, but now I regard it. (sighs) Holding it in my palm, I whisper: Now is your chance. I hold it, and I feel the sid

e of my head prick, flash and through it that energy crackles, and I feel it channeling through my body out of my fingertips and into the green stone and out as I reach out and see what I can sense. Whoops, doesn't count. SPENSER and LUIS: (laugh) ZEHRA: Six! LUIS: Oh! ZEHRA: But there's a five on the gilded. SPENSER: So, up to you. ZEHRA: (groans) How high stakes is this? SPENSER: This is not a high stakes roll. ZEHRA: If I take five on the gilded, I will get back a point of Intuition, which co

uld be used for patching up. So, I will take the five gilded result. SPENSER: Great, take the five gilded. TRAVIS: Nice, Doc. LUIS: Nice. BRENNAN: Way to go. Way to go. SPENSER: You reach out, and you sense this whole place is magickal. That five, I'll ask you, I'll let you ask an additional question here, knowing that information is probably, you know, knowing that information is probably, you know, pretty well known given where you were going. What else would you like to know here? ZEHRA: (sig

hs) Specifically, how does my circle enter access to this place without doing us harm? SPENSER: Hmm. ZEHRA: Without taking bleed. How do we safely enter and access the Fourth Pharos? SPENSER: Yeah. So, you feel at the door. This is an access point. What you gather by that Sense roll is that there have been many who have come through here over the last thousand years when they need a quick escape. This is not a traditional means of getting through, but this is a means of getting here in an emerge

ncy. So, what you gather is, walking through that door, you're moving to somewhere that should be the safest that anywhere could be, given that it's inside of the Flare. It will not harm you to go through this door. ZEHRA: I open the door-- SPENSER: Mm-hmm. ZEHRA: -- and step inside. SPENSER: As you open the door, you find yourself in a long hallway. There are doors that are lining both sides, but the whole corridor twists-- BRENNAN: Ooh. SPENSER: -- around in a corkscrew fashion. LUIS: Wow. (re

tches) SPENSER: You look to your left, you look to your right, and you see this long corridor twisting through space-time here. BRENNAN: I've heard of a turn in a corridor before, but this is ridiculous. SPENSER and LUIS: (laugh) LUIS: I punch you in the arm. SPENSER: With that five-- (laughter) SPENSER: With that five, you also immediately notice something else, which is not the door that's straight ahead of you, but to your left. ZEHRA: Oh. SPENSER: There is a door where at the top, it's label

ed, Silverslip. ZEHRA: (gasps) LUIS: Oh. SPENSER: The door looks as though it's come off of its hinges and the portal within is flickering with bleed. With that five, I'm going to have you take a point of bleed here from that, as you reach out and that bleed emanating from that portal hits you. You can see the marks on the wallpaper here of things skittering out of that portal, and you can see the ground where, from that door, it looks as though it's worn more away than it normally would be. You

can see that there are places within the wall where there's been a puncture by claw marks and something has probably crawled within, the wallpaper flapping open. Things were coming through here. ZEHRA: Mm. SPENSER: Taking the Pharos by, you know-- Secretly, essentially. By secret. Yeah, go ahead. BRENNAN: But we don't see-- It seems like because we shut it down-- SPENSER: Correct. BRENNAN: -- it looks like it's not active right now. SPENSER: Correct. BRENNAN: Got you. SPENSER: It's not actively

doing that. BRENNAN: Do we see ours, Hallowharbor? SPENSER: As you look down the halls, there are ways left and right. So, I have you make a Survey roll. This is low stakes here, as you step out. BRENNAN: Ooh. Three. SPENSER: A three. Yeah, not from where you are, although you think that it probably would take some walking down these hallways to tell. There are different spots all through the Fairelands that you're seeing labeled above the doors here. So, presumably maybe somewhere in Hallowhar

bor, but not somewhere you know about. LUIS: But the names-- They're the names of the chapter houses, right? They're not the names of-- SPENSER: Correct. TRAVIS: Seems like it. LUIS: The locations of-- SPENSER: Correct. TRAVIS: The door in front of us is down this twisting hallway. SPENSER: So the door, to be clear, the hallway-- You are looking out of a door to another door, that door's closed. We'll say that one's The Varnish, right? Then if you look left and right, that's when you see the hal

lways twisted. TRAVIS: Yeah. LUIS: I just, as we walk down the hallway, I'm taking note of all these different doors. I think this is the first time we're seeing how many potential circles there are. I mean, I don't know if these are active right now, but there's, you know, it's nice to know that we're not the only ones left. SPENSER: You're passing by door after door. TRAVIS: I take out a notepad and I just start writing the locations down. SPENSER: Yeah. TRAVIS: Just in case. SPENSER: Briar Gr

een. LUIS: Oh. SPENSER: The Sidle. LUIS: They do have those there. SPENSER: Red Lamp. ZEHRA: (gasps) LUIS: Oh, that's-- SPENSER: You're seeing all of these different places. Also, there's different indications of places outside of the city itself. BRENNAN: I'm going to look and say: The Red Lamp Circle, they got to be a bunch of bums. Red Lamp's all bums. LUIS and MARISHA: (laugh) LUIS: That rivalry's still persisting, huh? BRENNAN: To this day. To this day. MARISHA and ZEHRA: (laugh) LUIS: It's

just a game, Sean. God! BRENNAN: It's not just a game. SPENSER: You see something that catches your eye, which is a sign labeled: Vault. ZEHRA: Oh. SPENSER: It's at the end of the hallway. It's upside down because of the way the hallway is twisted, but it's sticking up from the ground. It's labeled, and then it has an arrow, and you see a little inlet, not a door, but an inlet where there's a set of stairs. MARISHA: Does the rotation of this hallway seem to mirror almost the pacing of the-- (sn

apping) LUIS and TRAVIS: Astrolabe? MARISHA: Astrolabe. SPENSER: There's no astrolabe here. MARISHA: We don't see any astrolabe? SPENSER: No. There's no astrolabe in this space. MARISHA: But does it feel almost like the same cadence in pace? SPENSER: Oh, yeah. So it's not moving, it's staying where it is, It's twisted in space. So, as you walk, you're noticing that gravity is keeping you on the floor, but the whole rest of the hallway is like-- BRENNAN: It's like M.C. Escher, you're walking-- SP

ENSER: Yeah. BRENNAN: It starts, the floor starts to helix. MARISHA: Oh. SPENSER: Exactly. MARISHA: So it's-- Okay. So we stick with the gravity, not like those fun house-- SPENSER: No, no, no, no. MARISHA: (dizzily) Wah! SPENSER: No, you're just walking, and as you're walking, you're slowly realizing you're walking on the wall-- LUIS: Oh god. SPENSER: -- and on the ceiling, but to you it all feels correct. Everything else looks like it's wrong. ZEHRA: Uh-huh. Uh-huh. TRAVIS: The vault looks lik

e what we came here for. The letter said they are there, but we haven't seen any of them here. If we are first, then perhaps we have a chance to lay a trap, or an ambush, or even move Allison before. BRENNAN: They got a concierge in this place, or a receptionist, or something? LUIS: A sign-in sheet, maybe? ZEHRA: A librarian? TRAVIS: I don't think so. BRENNAN: Uh-huh. All right, well. Yeah. Do you think the vault is where Allison is? TRAVIS: I do. LUIS: I think that's what they said before. BREN

NAN: They're keeping her-- They got gravity magick, and I'm sleeping on a cot in the side room, and they got Allison in a sick bed in the vault? TRAVIS: Maybe it's the only thing that can contain Allison. MARISHA: Yeah, maybe she ain't so sick. BRENNAN: Oh, you mean it's not a hospital, it's a infirmary-jail kind of situation. MARISHA: You know, like that little tube that Johnny was in? BRENNAN: Yeah, like this is your habitat that you're not allowed to leave. MARISHA: Yeah. ZEHRA: Containment.

TRAVIS: Hopefully more of a body shop. LUIS: I see. ZEHRA: I pull out the Adjuvant. Mr. Trapp, I think you should have this. I'm dangerously close to fainting, and in case I go down, I want you to have it in case-- TRAVIS: And how does it work? It inject, or-- (gulping) ZEHRA: Via syringe into the bloodstream. I pull out my medical kit. Syringe I had used earlier on Mr. Kingsley. I spray some-- I rub it down with alcohol. (laughter) ZEHRA: Allison will have to make do with what we have, I'm afra

id. I hand over the syringe. TRAVIS: All metal action? How long a needle are we talking here, doc? ZEHRA: It's about four inches. TRAVIS: Ah! LUIS: (groans) TRAVIS: Sounds good. ZEHRA: Directly into the arm. TRAVIS: Uh-huh. Mm-hmm. ZEHRA: Or posterior. MARISHA: Damn, that's a horse. TRAVIS: Yes, excellent. I will hold it like a dagger for the time being. ZEHRA: (laughs) LUIS: Wow. SPENSER: You reach the place labeled the vault. You see that there is a staircase down to what looks like a sort of

escalator, or not escalator, elevator kind of unit. TRAVIS: Mm-hmm. SPENSER: As you all climb out, you see that there is a long descension down ahead of you. You're standing on a-- God, what is it called? A parapet looking down into darkness, and there's the walls of the Fourth Pharos around you. From here, looking up, you can see the light of the lighthouse that is the Fourth Pharos, (powerful, slow rotation) as you stand on the edge of this parapet. But what you realize as you look down is tha

t this is actually essentially a moving unit. There's a lever to go down and a lever to go up. There's a vault, and then there's, you know, there's obviously floors up above you as well. But yeah, there's a way to be able to start that process of going deeper into the Pharos. Can we press forward? MARISHA: Yeah. TRAVIS: We can either go down or up, but it seems-- SPENSER: You can go up. You can see the lighthouse up above if you want. TRAVIS: Yeah, okay. SPENSER: It appears as though the area yo

u've fallen into is a wing of the Pharos that is dedicated to Newfaire, to the Fairelands. TRAVIS: Just to be wary of the letter that we sent, I know it's probably useless, and it will burn out in one second like a radiation detector in Chernobyl. But could I take out the bleed detector just as we start-- SPENSER: Sure. TRAVIS: -- to enter this and head one way or the other? Just to-- SPENSER: Yeah, it's spinning, but things are magick here, that's kind of what you would expect. But because it's

within the Flare, you would guess that it is more safe here-- MARISHA: Hmm. SPENSER: -- than it would be elsewhere. At least for the time being. TRAVIS: Just in case, I don't know. SPENSER: Yeah. MARISHA: That's a good idea. TRAVIS: We'll press on. LUIS: Yeah. SPENSER: Great. You see the entire elevator unit start to grind down mechanically. As you look up, you see a set of counterbalance weights that are starting to lower, and the whole unit-- Or raise? It's hard to tell here in this place whe

re gravity is different-- LUIS: Hmm. SPENSER: But the whole unit starts to move down. On that path down, you have a few moments here before getting to the vault. Is there anything that you'd like to do before we enter? TRAVIS: Reload my revolver. BRENNAN: (clicking gun) SPENSER: Great. TRAVIS: Yep. SPENSER: We see the shotgun, and again. LUIS: I got my phase knife. I'm using that, I guess if we need to. You see me hold it, but it's heavier than it was before. (sighs) What? I got, I got very litt

le, but-- TRAVIS: I have an idea, actually. Everyone get together. LUIS: Okay. TRAVIS: Yeah, shoulder to shoulder. It's a very slow elevator. For posterity. LUIS: What about you? TRAVIS: Just in case they-- Oh fuck. LUIS: You got a-- BRENNAN: You got long arms, right? ZEHRA: You have a timer on that thing, don't you? LUIS: Yeah. TRAVIS: You almost need to make a stick to put this on. Say cheese. Cheese! LUIS: Cheese. TRAVIS: (camera flashes) SPENSER: (igniting) It lights up as you say that. As t

he light goes off, we see the shine of the Pharos lighthouse above hit the backs of all of your heads, giving you a halo for just a moment in the image, and then darkness. You feel yourself hit the bottom here. LUIS: I want to say something to them. SPENSER: Sure. LUIS: Look, I know that we're going into danger, and we're a little bit beat up, and there's no guarantees right now, but I just want to say that it's really been a pleasure to do what it is that we're doing with you all. For me. It's

really hard to try to make sense out of all this, but I think that we really have done some good, you know? We've helped some people, and I think that it's impossible to know what it will actually mean in the end. But at the very least, I felt, with you all, like I finally found the place where I belong. I'm sorry for getting a little sentimental, but you know, I-- It just means a lot to me. It's felt really good, and I think that I know that we've all lost people. I've always thought, you know,

you're supposed to live real big, you know? You know this, I've seen you live real big. That's what you've done your whole life, and then it went away from you. That's why whenever I see it come back, that's why I love it when you give me shit, because that's when I see it start to come back. But I think we're supposed to live for them, you know? If you lost somebody, then you're supposed to live double. You're supposed to live your life not just for you, but for them, too. So, I think that I j

ust want us to keep them in mind while we're down here, you know? We got to-- We're doing this for them. They're all pieces of us, and you're all pieces of me. Thanks for helping me. That's it, I don't know, I just really felt like I really needed to say something because we're about to get into some deep shit, and I wanted you all to know that I have a kind of love for you, that's all. That's it. SPENSER: As you say that-- [heavy impact] SPENSER: There's a thunk of the elevator unit landing at

the bottom, and the vault door starts to open. It's about four stories high, large wall. The counterbalance weights lifting it up, you all feel this wash of light come over you. You have a moment standing here at the edge before entering the vault. MARISHA: To the Needle & Thread. LUIS: Get that booze out, we're drinking. TRAVIS: Oh, yes, sorry, Finnerty gulped it earlier. LUIS: To the Needle & Thread. BRENNAN: I'll go last, I gulp. LUIS: Yeah, you do. ZEHRA: To living big. LUIS: Yeah. Don't dri

nk at all. BRENNAN: We're doing-- LUIS: We got to have a celebratory drink at the end. BRENNAN: That's right, we do. Well, it'll be a very small little sip at the end for everybody. MARISHA: Tastes like victory. SPENSER: And we see a massive astrolabe circling above. It spins, keeping everything here, all the bleed from everything here in this vault contains. As you step forward into the threshold, you see rows, and rows, and rows of cages with large metal blinders on all sides. You hear inhuman

sounds from within. You see they're organized like a library. By name, to your left, you see Bs, Cs, stretch on. MARISHA: Sorry. (laughs) I thought you meant there's just a cage-- SPENSER: Bees. MARISHA: -- filled with bees. SPENSER: No, no, no, things labeled-- BRENNAN: The bars are so close together. SPENSER: They're so little! BRENNAN: I want to see. There's chickens and bees, it's-- I didn't expect such a farmyard kind of vibe to Candela Obscura. (laughter) SPENSER: To your right. TRAVIS: T

hey aren't even. SPENSER: Ts and Us, we see. MARISHA and SPENSER: (laugh) SPENSER: We hear, bzz. (laughter) LUIS: Great, now we're going to have to fight a giant bee. (laughter) ZEHRA: Great, squid dog bee. SPENSER: It is Bee, you're Bee. LIUS: Oh. MARISHA: I'm Bee. BRENNAN: There you go. SPENSER: In front of you-- ZEHRA: Oh yeah, you're Bee. MARISHA: Bee pin. SPENSER: In front of you, in one of the vaults, one of the vault cages, you see something slam against the metal. TRAVIS: Oh god. SPENSER

: Repeatedly, over-- ZEHRA: God. SPENSER: You hear, "Help! Let me out! "Let me out!" TRAVIS: Zippo lighter. (clicks, ignites) SPENSER: You're walking through, it's pretty well lit here, but everything is behind metal, sealed. As you start walking, you realize that the metal is also lined by one more reflective surface. It's a yellowish color. In fact, if you look around, you'll see some of it here, back here. A yellowish green. TRAVIS: Oh. SPENSER: There's leaded glass to contain the bleed in th

is place. You see the astrolabe turning slowly, and you see the aisle for S. What would you like to do? TRAVIS: I'd like to approach. And... (breathes deeply) (sighs) I take a deep breath, and push into the aisle. The cells are open, the metal dividers are in between each of them, but it's open facing? SPENSER: Correct, correct. Like aisles of a library, essentially. TRAVIS: I'll step in front of the first cell to see what happens. SPENSER: As you step in, you look to your left, and you see a yo

ung man who is covered in boils up all along his face. He runs to the bars, his hand comes out. You see a smile grow wide on his face, wider than it should, his eyes go yellow here. (whispering) "Hello?" TRAVIS: Hello? SPENSER: "Your father, "he didn't like you very much, did he?" MARISHA: Stick to the assignment, Lieutenant. TRAVIS: Right. I'll try and push down the aisle. SPENSER: Yeah. His hand, "Wait, wait, don't go, wait! "Wait, please, wait, please!" He falls back into the shadows. You see

his form shift and change as he melds into the wall here, and becomes just a ticking clock. TRAVIS: Oh. SPENSER: You hear-- [clock ticking] TRAVIS: I actually turn, I come out of the aisle, I find the others. I have a debt. I have to at least see if she is beyond saving. However, we know they're coming. We should take up defensive positions, and be ready to defend this place. BRENNAN: Do I hear clock ticking as well? Do I see anything weird going on with the astrolabe? SPENSER: Make a Focus or

a Survey roll with me, for me. Make it with me. TRAVIS: (laughs) BRENNAN: One. LUIS: Oy. ZEHRA: Oh. SPENSER: You... see it turning as it should. Within the holes in the wall behind it, these spinning bits, some of them empty here, you see a set of eyes. BRENNAN: A set of eyes? SPENSER: Watching. Not sure what that means, but you know something or somebody is watching you. BRENNAN: Defensive positions. TRAVIS: Corners, line of sight. LUIS: Okay. TRAVIS: Distance. MARISHA: Is this the only entranc

e to this aisle? It's a dead end on the other side? SPENSER: No, there's an opening on the other side as well. It's a good, you know, couple hundred meters. So it's long, like couple football fields long. MARISHA: Yeah. SPENSER: This place is massive, infinite. TRAVIS: I'll be quick. MARISHA: I'm going to go with you. ZEHRA: You have the Adjuvant? TRAVIS: I do. MARISHA: No one should go diving alone. TRAVIS: Fair. Dive buddies it is. Let's go. I push down the aisle. SPENSER: Mm-hmm. ZEHRA: I wan

t to see if I can use my pendulum to sense where's the best place for me to set up with my handgun. SPENSER: Hmm. ZEHRA: Whether it's that opposite end. Is there a specific spot? SPENSER: I can give you-- So what you know is that if you set up in the aisle here, you're going to have the best shot if somebody comes down the elevator in some way, right? You know that if you-- but you can see a couple hundred yards down the straightaway of this, what looks like bookshelves, almost. But they're cage

s, essentially. Some of them are holding artifacts, some of them holding people. ZEHRA: Mm. SPENSER: The scale, the size is different depending on, you know, what the scale of the thing that it's holding is. LUIS: Hmm. SPENSER: But it continues really far down. So you could make your way all the way down there if you wanted to. But there doesn't seem to be a best place as far as defensive position for shooting is concerned. ZEHRA: I see. SPENSER: Unless you have a specific need that you want, ri

ght? Unless you're looking to stop somebody coming down the aisle this way, or if you're looking to see things-- ZEHRA: I see. SPENSER: -- from the other aisles. ZEHRA: In that case, I want to stick close to where these two are set up. SPENSER: Okay. ZEHRA: But I do want to see if I can sense-- I noticed Mr. Finnerty glancing at the astrolabe. I want to see if I can sense from what direction danger may come. SPENSER: Mm. ZEHRA: Is that a possibility at the moment? SPENSER: Yeah, roll a Sense for

me. LUIS: Whoa. ZEHRA: It's three ones, one on the gilded. LUIS: Wow. ZEHRA: But I'm taking that result, so I get a drive. MARISHA: (laughs) SPENSER: Great. MARISHA: Damn. LUIS: Wow. ZEHRA: (laughs) I did this to myself. SPENSER: That's okay. ZEHRA: Damn it. LUIS: How do you roll that? ZEHRA: Yeah. LUIS: (laughs) ZEHRA: Very carefully. TRAVIS: Like that. LUIS: Are you rolling with this hand, or that hand? ZEHRA: This one. LUIS: Okay, maybe, I don't know, maybe the burning hand is better for wha

t we're trying to do. ZEHRA: The bleed-scarred hand. SPENSER: For a moment, you find yourself distracted by all of this magick all around you. Something that your father told you was real, that you refused, that you believed killed your mother, and now you're standing in the hub of everything. This is real. And given the massive astrolabe on the wall, you know this is also as dangerous as you always knew it was. I'm going to have you take one more point of bleed for me. LUIS: Uh-oh. ZEHRA: That'

s a scar. SPENSER: Mm-hmm. ZEHRA: That drops me down. SPENSER: There is not danger here in this moment, so you are able to hold onto your senses here. You are going to take the scar, but you do not have to drop, because there is no immediate danger. ZEHRA: Okay. SPENSER: You feel yourself overcome by this realization. ZEHRA: I feel it start in my chest. SPENSER: Mm-hmm. The pain, the heartache, the loss, the grief of seeing my mother die, of doing nothing to get her medical treatment, but admini

stering herbs and potions my father told me to, as he swung that pendulum over her dying body. I feel the heartache, and I feel the hardening of my heart against these magick forces. Then, in an instant, I feel that hardness shatter, based on everything I've experienced, and everything I've seen, and all the gifts that I naturally possess. This shattering of bleed feels like little spots, little glass shards of ichor throughout my entire form, shards, shiny, translucent, glowing. They creep up m

y entire body, and the sides of my neck into my temples. Bleed shards of glass. SPENSER: We see glistening on your whole body, as that bleed affects you here. All of you see the doctor suddenly overtaken by something. You're taking up a defensive position, we see you moving. LUIS: I'm doing-- well, I see this happen, and I look at you, and I think: This looks good. ZEHRA: (stifled laugh) LUIS: You're-- This is just more of who you are coming out; it's good. I'm going to-- MARISHA: Marion, holy s

hit. (laughs) LUIS: I'm going to-- dark matter. I'm going to-- let me explain this. Everything around us is bleed. I want to sense the not-bleed. Because that dark matter is what I want to focus on, and I am going to ping the antithesis of it, and if I can see it moving, then I know that there's people that are here. SPENSER: Hmm. BRENNAN: Wow. SPENSER: I love that, make that roll. As that happens, the two of you are walking side by side down the aisle. You've speared off to one side, you're goi

ng down the other side. LUIS: (groans) That is a one, a one, and a two. SPENSER: Incredible. So-- ZEHRA: (laughs) SPENSER: Fascinating, I should have said. BRENNAN: Fascinating, clang! LUIS: Yeah. (laughter) SPENSER: What you get here-- LUIS: I know what it is. SPENSER: Are you going to do anything? LUIS: I mean, look, I think that I am-- I was distracted by what I saw her do, and I'm not perceiving this as bad. SPENSER: No. LUIS: I'm seeing-- ZEHRA: ♪ It's my third scar ♪ LUIS: I'm not perceivi

ng any of my scar as bad. This is good. This is... fucking awesome. So as I try to reach into all of that, I feel that instead, that attention gets boomeranged, and it goes right back onto you, and I'm left staring at you for what feels like forever. Then I snap out of it. Defensive positions, right? Where we going? BRENNAN: I think I'm already, we're fanning out. LUIS: I asked that where you were, not even noticing that you had moved. SPENSER: We jump to the two of you. As you are moving down t

he aisleway here, you're hearing the calls out from each of the cells. You're seeing artifacts floating in the air, turning on their own, flying towards the bars, and vibrating, the shaking of the bars as the clock ticking fades away behind you. You're deeper in here now. You go through the names until you reach S-U A-R E-Z. There's a figure within. They're crying in the corner. They don't know you're here. What do you want to do? MARISHA: I'm just here for support. TRAVIS: (clears throat) Ms.--

Allison? SPENSER: You see a face turn. Long hair. You remember her, but she looks different as she stares at you in the eyes. Her face contorted, her body broken. She looks you up and down. TRAVIS: Do you--? SPENSER: "Why are you here?! "No, no, no, no, no, no! "First him, now this?" TRAVIS: First--? Do you remember me? SPENSER: She looks angrily at you. You see her body rising with tension. She says, (screaming) "You're the reason I'm here!" TRAVIS: (stammering) SPENSER: "You're the reason I'm

here!" TRAVIS: I don't understand, you said, "First him." Who? SPENSER: Then you hear a tapping behind you. As the two of you turn, you see a humanoid figure standing behind the bars, has the face of a man. You recognize it is the face of your father. You see him slip between the bars. LUIS: Whoa. SPENSER: Almost like water moving through holes, and then lean back against them. "Hello." TRAVIS: Father? SPENSER: "Hmm." He smiles at you, and his face turns to Sean. You're staring at Sean in front

of you. "We call this a two for one, "isn't that right, Lieutenant?" Reaches out his hand, and attempts to pierce you through the chest, and also Allison-- LUIS: Oh. BRENNAN: Through the chest. It's going to go through both of you. You see this happening. What do the two of you want to do? TRAVIS: The momentary relief of seeing my father's face disappear into Sean's. I will feel a twinge run up my spine. Those elongated vertebrae almost catching fire. SPENSER: Mm-hmm. TRAVIS: With instinct, and

knowing how important flanking can be in a military situation, I will use the Prestige. SPENSER: Oh fuck, okay. It's the first time you're using this, right? TRAVIS: Uh-huh. ZEHRA: What? LUIS: What is it? TRAVIS: I pulled it from another class. ZEHRA: Fu-- TRAVIS: "My magick is usually all smoke and mirrors, "but I have one trick I've learned that's real. "I'll roll Sense when I perform it, "and on a success, I'll take a bleed mark, "and it will "teleport me a short distance" behind him. LUIS:

What? SPENSER: What we get here is a flashback. We hear it first, we hear the rushing of a river. We see you standing too far away to help, your brother wading in. The part of the memory we didn't see last time was you running, and running, and running, and closing your eyes. In an instant, you were gone from where you were, and you were in the river. You had your hand out to him, and it, you tried to hold on, but it slipped. The water was too strong. Your ability too weak. And he disappears. Yo

u know you failed last time you did this, so you never did it again. But here you are, standing here, in this moment, and you disappear from where you're standing. I believe you take a bleed mark for that, correct? TRAVIS: I do. SPENSER: Take a bleed mark there, you disappear from where you are. The hand (whooshes) pushes through where you used to be, extending out, otherworldly, and pierces Allison's stomach. You see him stop for a moment, trying to realize, trying to figure out what just happe

ned. He pulls it back out, and Allison stumbles back. She's bleeding now. Her body contorting, scared. She looks down and then makes eye contact with you over his shoulder. You're standing behind him. What do you want to do here? TRAVIS: An advantage is an advantage. I'll take the needle, I'll shove it in the Adjuvant and I'll shove it in my chest and plunge the syringe. Pull out my revolver, stick it in its back, and pull the trigger. SPENSER: We see the Adjuvant go into your body. We feel you

be regenerated for just a moment. Go ahead and clear any bleed marks that you have. You get about halfway through before the needle drops from your hand onto the ground. Administering it yourself is not what you were expecting. You felt a surge. We see the syringe roll, dripping Adjuvant onto the ground, but it's enough. The pistol goes in the back of this creature's body, and the trigger is pulled. You watch as an eruption of black ichor comes out the front of it. It (guttural writhing) and scr

ambles around, its face flashes in a thousand different people. It stands dripping. "She's coming. "She's coming and you can't stop her!" TRAVIS: You won't be here to see it either. Beatrix, run! I'll grab him and just start pumping the revolver into him. LUIS: Nice, nice, nice. SPENSER: So you start pulling the trigger. As you do, you see him try and scramble away from you. I'm going to have you make either a Strike or Control roll here to hold onto him as you try and shoot him. Beatrix-- MARIS

HA: I'm going to slide and I'm going to grab the syringe that's on the ground. You said there was still a little bit left? SPENSER: There's still half of it left, it wasn't enough to be able to, yeah. MARISHA: I reach through the bars to Allison and I jab the rest of it into Allison. SPENSER: You see she's bleeding from the stomach. As the needle goes in, it expunges into her shoulder. She sort of writhes up and then you see the scar on her stomach start to circle and close. You see that her sho

ulders start to drop. Her face goes more human here than it was before. She starts to scream as she looks at the at the hole that she has. She's backing away into the cage. She's putting her hands on a combination of black ichor and blood coming out. But it looks as though the bleed is fading off of her just enough for her to gain her bearings here, just enough for her to have a clarity. She locks eyes with you. MARISHA: First I yell: Sean! Then I go: What do we do, how do we beat it? You know,

you are it! SPENSER: Then you hear an explosion. You look shocked. BRENNAN: (stammering) SPENSER: You look shocked, but you sent me a message. BRENNAN: Saying that I set the explosives. SPENSER: Yes, you did. TRAVIS: Oh! ZEHRA: Oh! TRAVIS: (yell turns to laugh) SPENSER: So. ZEHRA: (laughs) TRAVIS: You failed the roll?! SPENSER: Tell me how this happens. (laughter) BRENNAN: What makes you think I made the roll? TRAVIS: (laughs) ZEHRA: Oh! MARISHA: Yeah. BRENNAN: Sean is-- So I go to the astrolabe

, I set the TNT, I light it, and I immediately begin stalking in whatever direction it makes the most sense for me to be stalking in. SPENSER: Yep, great. BRENNAN: Got my rifle in my hand. SPENSER: Uh-huh. BRENNAN: Do I see these two first or do I see these two first? SPENSER: So here's what we get. We get the astrolabe, you hear the explosion, and you get the astrolabe above you. Everybody stops, looks up for a moment and the creature with a thousand different faces flashing on it says, "She's

here," and the astrolabe stops. MARISHA: (laughs) LUIS: Okay. SPENSER: And a rift starts to form in front of the astrolabe, four stories tall. It rips down the center. We see it flapping in the wind, the ethereal wind, as a hand grabs one side and the other, and parts it. And for the second time in your lives, you see The Mother. You saw it once before in the lighthouse that you all closed. Now the massive astrolabe has been stopped. A rift four times the size it was before sits in front of you

and you see her hand reaching through and you hear, "That's my boy." BRENNAN: You look good, Ma. I'm going to start-- TRAVIS: (laughs) BRENNAN: I'm just, eyes down: ♪ Take me out to ♪ the ball game ♪ I'm going to begin to hunt the party. SPENSER: Yep, sounds good. MARISHA: I still have Allison's arm? SPENSER: You still have Allison's arm. MARISHA: We know Sean's compromised? SPENSER: So make your roll here, what is it? TRAVIS: I will take the six. SPENSER: You're going to take the six, great. Yo

u unload shots into him. He scrambles away, but is-- he/she/it, whatever it is, scrambles, pulls itself away. It's not able to get a hit on you here because of that six. TRAVIS: I'm not moving away, it's just from the hip. SPENSER: The clip empties. As that happens, you watch as it starts to drip with black ichor, still a wound in its chest from before. It's stumbling, it's looking up at you. "You're too late, you're too late. "She's going to kill you. "She's going to kill Allison. "She's going

to have revenge... everybody." And then it collapses. TRAVIS: You're just nothing but a disappointment, and I take my Zippo lighter, throw it on his body. SPENSER: It lights up. As that happens, you hear: (screeching) and out of the astrolabe come the creatures that came through before in the Silverslip portal, they come tearing down the walls of the vault here, leaping up onto the tops of the library, set up here. They're running towards the four of you. You hear, "♪ Take me out to the ballgame

♪" Reverberating. MARISHA: I'm trying to stay focused. I'm looking into Allison's eyes. SPENSER: Great. MARISHA: Tell me what you know. How do we fix it? SPENSER: She looks terrified. She says, "I saw it. "I saw it come through. "That's all I saw!" she says. "I'm scared. I just want my son and my husband." MARISHA: What's the lock like on this cage? SPENSER: It looks as though it's steel. There's no opening. They lock it in and it does not open again. But that doesn't mean you can't get in. Doe

sn't mean there aren't other ways. TRAVIS: I raided the armory like our friend Finnerty did before. So I have a small cylindrical device in my hand, and I'll walk over and use the flaming refuse that's bubbling in front of me to light the fuse of it. I'll start jogging back towards the middle of where all this chaos is. SPENSER: Yep, as you're jogging towards it, you're seeing descending upon all of you leaping into the aisles now are a plethora of these creatures like you faced before. They hav

e eight, nine, 10, 12 limbs as they come running towards you. Their faces open in that weird multi-- Flang? Flange? What's the right word? Flange? TRAVIS: Appendage or phalanges? SPENSER: Yeah like-- BRENNAN: Mandibles. SPENSER: Yeah, mandibles. You see them running towards you here as you're holding a stick of dynamite. You are standing watch here, right? LUIS: On the other side. I mean, yeah. SPENSER: You hear this happening, you hear Sean singing. LUIS: I don't understand what's going on, I m

ean, I heard gunshots, I hear the singing, I hear chaos, I'm going towards it because I don't know anything else. Something is happening with them, I need to help. Yeah, I pull out my phase knife and I call out: Lieutenant? Auntie Bee? TRAVIS: Can I hear him? SPENSER: Yeah. TRAVIS: Over here! LUIS: What's going on? Sean? BRENNAN: Do I hear these voices? SPENSER: Yeah. BRENNAN: Do I have eyes on them? SPENSER: Make a Survey roll for me. BRENNAN: I'll use my thing. SPENSER: Yeah, that's good. BREN

NAN: Sorry, one second. TRAVIS: Because we could only hear the explosions. We have no idea what caused it. SPENSER: No, don't know what happened. BRENNAN: I'll actually burn an Intuition drive to add another gilded die to this Survey roll. ZEHRA: Oh, good. BRENNAN: Four. SPENSER: It's a four. You can hear where the voices are coming from. You're able to know roughly the vicinity. You don't have eyes on them immediately, but you know where that would be. As that happens, you see the creature part

ing the veil here. LUIS: Do we see that, too? SPENSER: You all see it. LUIS: Oh no. SPENSER: It's parting the veil. LUIS: Not this again. It's reaching out with its hand. The hand is probably a good 80, 100-feet long. It's reaching out and grabbing its son, holding him up like this in front of its face. You watch as flashing chromatic light comes down its hand. MARISHA: Its son being--? ZEHRA: Sean? SPENSER: No, the creature. ZEHRA: Oh, the one that you shot full of lead. LUIS: A bunch of times.

SPENSER: It's holding its hand out like this, and you see it (cracking) coming back to. MARISHA: Cool. SPENSER: Yeah. TRAVIS: If I could see it, I will try to run up. Oh god, I sucked at baseball, but I did play outfield and I'll crow hop and fucking wing that stick of dynamite as far as I can. SPENSER: That sounds good, make a Control roll for me as this is happening. TRAVIS: (mumbling angrily) Five. SPENSER: Five. MARISHA: (laughs) SPENSER: It spins. It hits the creature, The Mother through t

he veil, drops in front, explodes. You see her stumble back for just a moment. She looks as though she's trying to crawl through. LUIS: No. SPENSER: This stops her for just a moment. But her body is so massive that that kind of hit feels like a small little pinprick to her. You see that the flap that she's trying to part, she's starting to rip it wider and wider. The new version of whatever this creature was, she set down in front of it. It's trying to get its bearings and she's like, "Come back

, please come back." As she opens that wider, with that five, what we get here is an immediate eyes to you. LUIS: From her? SPENSER: From her. LUIS: So her son is now dropped on the ground. SPENSER: Yep, and he's starting to reform. She's trying to get him back up, but he is not quite-- LUIS: But he was dead? SPENSER: Correct. LUIS: Okay, I'm watching this happen and I want to try to see if I can understand the channel of-- I'm interpreting this as all magick. SPENSER: Yeah. LUIS: I want to see

if I can understand the flow of how the magick is being channeled from her, and into this thing that she just brought back to life. And-- hmm. And I want to reverse it. SPENSER: Okay. LUIS: So whatever she's pushing into it, to imbue it with energy so that it can pop up again, I want to take that and push in the opposite direction, reverse the flow. SPENSER: That's going to take at least a bleed, even on a success, but more potentially. LUIS: Okay. Yeah, I'm going to use a drive. ZEHRA: I would

like to help on this. Given that I have knit together a rift before, I want to Focus on it or Sense it and see if there's anything that I can bring and remember from that time when I sewed it back together that could assist in this reversal process. SPENSER: So you feel the magick welling up inside of you. You've broken free of the chains you used to have. You reach out and touch Marion, and you know by doing that, you're going to infuse that power towards this. ZEHRA: Do I need to burn--? I mea

n burn up, you get an additional die. LUIS: A drive? ZEHRA: A drive, a drive. LUIS: Okay. Should I use that? MARISHA: Is this a turning point, a pivotal moment? SPENSER: You're trying to keep this being from coming back alive. LUIS: Yeah. SPENSER: So whatever the stakes are-- I mean it's a high stakes roll. BRENNAN: I feel like a roll-- This is Brennan above the table. I feel like a roll later is going to need that gilded die. MARISHA: If we try to close the portal. ZEHRA: Oh, oh you do, do you?

(laughter) BRENNAN: Are we doing collaborative storytelling here or are we playing Monopoly, you know what I mean? I can be a prick, but not be a prick about it, you know what I mean? TRAVIS: It's trending in a unique direction, that's for sure. LUIS: The highest is a four. SPENSER: Four. LUIS: Two, three, four, three. SPENSER: So here's what happens here. This creature locks eyes with you. TRAVIS: Oh boy. SPENSER: In that moment, you realize she's been pulling you the whole time. Since you wer

e a child, you've seen these eyes. It's been pulling you and pulling you all these years. You reach out, with a four, you get what you want, but it comes at a cost. The creature in front of her stops moving, The creature in front of her stops moving, stuck in-- frozen in movement, frozen in life. Its eyes are open, its mouth is wide, its face was flashing before, now it's just stuck on Sean's face, staring at you. And with that, you hold off this thing being revived for the moment. You're going

to take a point of bleed. LUIS: Okay. SPENSER: But the consequence of that is that you now see exactly where Marion is and exactly where Jean is. LUIS: I have a question. SPENSER: Sure. LUIS: Based on what I just began to understand, is this what took my soul in that first moment? Or is this something different? SPENSER: You know here, that eye that looked at you through that split in reality all those years ago in the garden-- LUIS: Was this. SPENSER: That thing that took your soul. LUIS: You s

tarted to take my soul, but you didn't, you left just enough. (groans) Fuck. SPENSER: We cut over to you. (laughter) BRENNAN: So I can see the two of them. I can see the two of them, but Marion is the vessel. SPENSER: Mm-hmm. This one seems to be holding off, seems to be helping. BRENNAN: Cool. TRAVIS: (barked laugh) ZEHRA: Do we have any-- Oh, we hear him singing. SPENSER: You heard him singing previously. ZEHRA: Can we take that to-- BRENNAN: And you're not hearing any singing right now. MARIS

HA: I'm heading towards him, by the way. TRAVIS: The seventh inning stretch. ZEHRA: Can we interpret that we know Sean is dirty? (shouts) Because I'd like to shoot him! BRENNAN: (laughs) TRAVIS: This is a very important question, because otherwise it's very meta, he's been-- MARISHA: I know. TRAVIS: He hasn't shown us a thing. LUIS: Yeah, we haven't-- ZEHRA: Right. SPENSER: I would love for you to make a Read roll for me. This is to tell the hairs on the back of your neck that somebody's pointin

g at you. ZEHRA: Is this high stakes? SPENSER: It is incredibly high stakes. ZEHRA: I am going to, thank you, roll, and I'm going to burn all of my Cunning drive, which is three points-- SPENSER: Okay, okay, that sounds good. ZEHRA: Of Cunning. Make a Read roll. I gaze at Mr. Finnerty. Five. SPENSER: That's a five. You turn. Describe for me what Jean sees here as she turns towards you. BRENNAN: Rifle in hand, the singing has stopped. I meet your eyes. (sighs) I know what it's like to kill people

that don't deserve it. It's another day. SPENSER: The hairs on the back of your neck stand up. You see this look. You've seen this look in soldiers before. ZEHRA: I'm going to shoot him. BRENNAN: Yeah, I raise my gun and shoot. SPENSER: So, this is a high stakes roll. What I will say is that if there's any failure, that will be four body marks for the person who failed. On a mixed success, you'll get two. On a full success, you will both miss. We will gauge based on that. So, it will be a roll

off, essentially, whoever rolls higher is going to shoot, and then the consequences will be-- BRENNAN: I'll also, if I see the gun coming up, I'll be ready to dive into a row of cells as the-- SPENSER: Totally. BRENNAN: You know, vanish after the attack. SPENSER: Totally. TRAVIS: Also, you have a pistol, right? ZEHRA: I would like to say-- I do have a pistol. MARISHA: Yeah, and he's got a fucking shotgun. ZEHRA: He got a shotgun. I also have three body marks. If I am not a six, I die on this rol

l. MARISHA: If what, what, say that one more time. ZEHRA: If I don't get a six, I'm dead on this roll, because I can't take it. I've met three scars and three body marks. BRENNAN: And you got to take that gilded die. ZEHRA: I've got to take that gilded die, (shouts) or is there another way? TRAVIS: Hmm, she says to the table! SPENSER: You can take bleed. ZEHRA and TRAVIS: (laugh) BRENNAN: You have your golden thing, you can take bleed, yeah. ZEHRA: Oh, my golden thing to add another die and take

bleed. BRENNAN: And it's gilded when you take it with that, yeah. SPENSER: Yes. LUIS: Can you use two charges of that at once? Take two bleed, and add two die? TRAVIS: I already did that. ZEHRA: Okay, I have to do this because he is going for Marion, and I am going to protect Marion if it's the last thing I do, and it may very well be-- LUIS: (huge sigh) ZEHRA: -- the last thing I do. So, I'm going to, is it all right to take this gilded? MARISHA: I feel like you're the only one who can close t

he rift. ZEHRA: (sighs) TRAVIS: So take it. ZEHRA: So I have to survive this roll. MARISHA: Because you've got the book, you're the only one who can-- TRAVIS: I mean, I can try and sew some shit, but it'll look like I'm just conducting a ghost orchestra. ZEHRA: If-- (laughs) LUIS: I closed a rift once. ZEHRA: He closed it once. And I think it's ability in all of us to be able to close the rift. SPENSER: (laughs) MARISHA: Yeah. SPENSER: Take the die. ZEHRA: All right, so I'll take it. LUIS: You c

an use two charges of this, if you want. ZEHRA: Two charges to take two bleed? LUIS: Yeah. ZEHRA: Okay. LUIS: And take two more gilded as a result. ZEHRA: Okay, I'm going to do it. SPENSER: So, you're both eye to eye, gun to gun, shooting at one another. TRAVIS: Pistol to rifle. MARISHA: I will still head that way. ZEHRA: Make sure. TRAVIS: Soldier to doctor. SPENSER: Yeah, sounds good. ZEHRA: Control. TRAVIS: (laughs) SPENSER: I will say that depending on the first roll-- TRAVIS: Do you want to

place side bets? ZEHRA: And this is gilded. We'll see how that goes. BRENNAN: I'm rolling six dice as well. ZEHRA: I have five. Is there any other possible help I can summon from what I have, or from-- LUIS: Control. TRAVIS: Hey, four to one. MARISHA: Four to one odds? (laughs) Do you-- Right? Hundred percent. LUIS: I mean, I want to give you, I can give you a Nerve. SPENSER: Yeah, you can give a Nerve. LUIS: While I'm seeing that happen, I think somehow, I-- SPENSER: Control rolls, right? LUIS

: Yeah, I can give a Nerve drive. SPENSER: Great, you steady her the way she steadies you. LUIS: I see her pull her gun up, and my eyes go, and I start to reach out into you as well, and say to you-- SPENSER: Let's clarify what's going on here, because you're both rolling six dice. MARISHA: (laughs) ZEHRA: Yes. SPENSER: I want to make that as dramatic as possible for us. PVP rolls aren't canon to the system. We are going out-- we're bucking the system right now. BRENNAN: We're off-road. ZEHRA: W

hat does PVP mean? ALL: Player versus player. ZEHRA: Got it. SPENSER: What I will say is-- MARISHA: (laughs) SPENSER: -- that on a success from both of you, that both of you-- MARISHA: (laughs) SPENSER: -- will only take, what was it? Both of you will successfully get out of each other's way, right? That is how we're going to rule it. That it's a shot, but both of you miss. ZEHRA: Yeah. SPENSER: If somebody gets a six, and somebody gets a four to five, then we're going to say that person does no

t take any marks, but the four to five person does take marks. BRENNAN: Got you. SPENSER: Okay? Two four to fives, you'll both take some marks. Two failures, both of you will take a lot of marks. Cool, is that fair? TRAVIS: Oh man, and this is some! ZEHRA: Yes. SPENSER: Okay, okay, great. TRAVIS: Whoo-hoo-hoo! BRENNAN: "Candela Obscura," buy it at your local game store. (laughter) LUIS: Fun times are had. MARISHA: Friendly local game store. LUIS: Good times. SPENSER: All right. MARISHA: Let's go

. BRENNAN: Six. LUIS: I see a six. ZEHRA: (shouts) Six! With the gilded! LUIS: With the gilded. SPENSER: Both sixes? BRENNAN: Both sixes. SPENSER: Okay. ZEHRA: Ah. SPENSER: Describe for me what happens here. LUIS: You get-- You get-- I can't talk-- TRAVIS: Wow, wow! LUIS: But you did that thing-- ZEHRA: What do I get back? LUIS: You get a Nerve. You get a drive back. ZEHRA: Oh, I get a Nerve! I get a Nerve! LUIS: A drive back, a drive back. TRAVIS: Wow! ZEHRA: Okay. SPENSER: Describe for me what

happens here, from both of you. You can collaborate on this. TRAVIS: The doc decides to do harm. ZEHRA: I feel steady, with my pistol, I feel support behind me from not only dear Marion, but the goodwill of my entire Circle as I (shouts) face this thing (louder shouts) that has taken my friend! And I shoot, steady as ever, at its head. SPENSER: We see Sean, the Sean that we've always known on full display here. BRENNAN: As I see the gun coming up-- Because I did nothing to indicate it. It's pur

e instinct that's making the doctor fire at me. A smile of the most genuine pride you have ever seen crosses my face as I fire, uncharacteristically going over your shoulder, and happily leap into the shadows. (mirthfully) Hoo-hoo-hoo! TRAVIS: (laughs) Oh no! BRENNAN: With the six, you disappear into one of the other aisleways here. You see this happen. You are running towards Sean here, towards this whole event happening here. MARISHA: Yeah. SPENSER: As it's happening, you're seeing that there

are these creatures headed straight for you, a giant beast. MARISHA: Do I see him fire towards Jean? SPENSER: For sure. ZEHRA: (quick exhale) MARISHA: Okay. I'm going to walk up-- SPENSER: It's all on the table now. MARISHA: -- seeing the general direction of where he went. Sean? Sean, please, I just want to talk to you. TRAVIS: I run up behind Auntie Bee. SPENSER: Mm-hmm. TRAVIS: Pistol reloaded over her shoulder. What are you doing? MARISHA: Please let me-- TRAVIS: You saw the same thing I did

, that's not Sean. MARISHA: I know. I know. Trust me. TRAVIS: I-- MARISHA: Listen to me. TRAVIS: Go ahead. MARISHA: Get Jean to the rift. Let me handle Sean. Get her safely to the rift. TRAVIS: Whatever you say, Auntie Bee. I'll back up, scanning. I'll catch up with these two. SPENSER: Yeah. We see you shooting creatures to get through. They're, (creatures falling) overturn, we don't need to roll for it. TRAVIS: Yeah. SPENSER: We know you've done this before, you clear rooms, we see you taking t

hem out one by one, making your way back over to the two of them. As you're running towards them, you see Jean turning to face Sean. you see Jean turning to face Sean. You watch that whole exchange happen here. And you, you're looking-- Still, this thing is keeping its eyes on you, this creature. You see its hand come out, leaving behind the child. You see its hand come out, leaving behind the child. LUIS: Hmm. SPENSER: Realizing who you are, what you are, takes its hand-- LUIS: I back up. SPENS

ER: -- as it starts to cage. LUIS: Mm-mm. But as it's doing that-- BRENNAN: Mm-mm! MARISHA: Mm-mm! SPENSER: Mm-mm! LUIS: (laughs) As it's doing that, I-- BRENNAN: I'm so glad you're alive. I didn't want-- SPENSER: (laughs) MARISHA: (laughs) LUIS: That will get her. ZEHRA: Okay, high five. LUIS: Yeah, holy shit. BRENNAN: Theater! (laughter) LUIS: Oh. Oh, you know what? TRAVIS: Free the kids! MARISHA, ZEHRA, and BRENNAN: (laugh) LUIS: As it's doing that, I see it happen-- SPENSER: Yeah. LUIS: I ma

intain eye contact with the kid. SPENSER: Yeah. LUIS: Now, why couldn't you take the whole thing back then? I was just a kid, what stopped you from taking the whole thing? SPENSER: As the hand comes over the top, you hear sound emanating from the hand itself, almost as if it's in your mind. You hear, "Because I needed you." "You survived. "That was you. "You are strong. "Most die. "You didn't." LUIS: And you need me empty, right? If I still had my soul, you couldn't do whatever it is that you ne

ed from me? SPENSER: Smiles. You see her head tilts. LUIS: Okay. Okay, okay. I'm looking around, I'm looking at what's happening. I caught this because I gave her-- SPENSER: Yeah. LUIS: I saw what's happening. Sean, what's going on with you? SPENSER: Sean has ducked around the corner, you can't see Sean, but you can call out to him. LUIS: Yeah, I just call that out. ZEHRA: It's not Sean. LUIS: So Sean's gone, huh? I'm looking at all of this, and I don't know what else to do. But I don't like tha

t this thing took my soul. SPENSER: Mm-hmm. So I'm going to do something. I am going to do-- It's called Not Again. SPENSER: Okay. MARISHA: (gasps) BRENNAN: What-- MARISHA: What, what? LUIS: Once per assignment, I can have an automatic full success on an action. ZEHRA: (excited squeak) LUIS: When I do, I get a scar. ZEHRA: Oh! MARISHA: (gasps) LUIS: I take it as if I've had the scar all along. ZEHRA: Oh? LUIS: And now I'm supposed to tell my circle how I got it, and why the lesson I learned is h

elping me succeed here. (laughs) SPENSER: So. MARISHA: Oh my god. ZEHRA: Why-- SPENSER: This creature reaches out and puts its hands over the top of you. You feel a connection with it, and it says, "I'll make you feel whole again." LUIS: I already feel whole. I had to learn to do that after everything you took from me. What you tried to do didn't work. I feel whole. I love what I'm becoming. I take my hand, and I reach into the space right in front of me-- SPENSER: Mm-hmm. LUIS: -- and I tear an

other rift-- ZEHRA: (gasps) LUIS: -- into the past. SPENSER: Mm. We see a rift open up as you do this. What are you doing? LUIS: The scar that I've had on me all along. SPENSER: Mm-hmm. LUIS: I go back to the garden in front of my parents' house, moments before this thing took my soul from me. SPENSER: Mm-hmm. LUIS: I see a seven-year-old version of me sleepwalking, walking towards this portal. There's the garden, the starry night petunias are in the background. I look at my seven-year-old self.

SPENSER: Mm-hmm. LUIS: I say to him as he starts to wake up: I'm so sorry for doing this to you. And I'm reaching into him, and I'm taking his soul out of him-- TRAVIS: (gasps) LUIS: Before this motherfucker shows up and takes it from him. MARISHA: Whoa! SPENSER: We see a rift in space as you reach in and take it. A hand, just like you felt. The rift in space closes in front of you. You're holding a soul in your hand now. We get a shot of your seven-year-old self. The scar already on your chest

. The thread being pulled, being plucked, but you already being empty, and you hear, "A vessel." We cut back to you in the moment. You are holding your soul in your hands. LUIS: I'm remembering all that now. SPENSER: Mm-hmm. LUIS: Oh my god, I did this. SPENSER: Mm-hmm. LUIS: I did this. SPENSER: It was your hand that was reaching through. It was your hand that was taking your soul. LUIS: And that's why when she showed up, she showed up to an empty vessel. SPENSER: Mm-hmm. MARISHA: Wibbly, wobbl

y, timey wimey. SPENSER: That soul in your hand spins. She looks confused, scared. But that is your fourth scar. LUIS: Or it's my first scar. SPENSER: Or it's your first. BRENNAN: (gasps) SPENSER: And we watch your hand drop, and your whole body drop, and your soul float up. And you're free. You did have a soul. It's always been right here. LUIS: Do I have any agency at all? SPENSER: You watch from above as everything is happening here. LUIS: Can I move? SPENSER: Make a Move roll for me. In thes

e last moments, as your soul is drifting up. BRENNAN: If this this-- This, zip. Sean over here. If this is-- SPENSER: Uh-huh? BRENNAN: Marion's first scar. SPENSER: Yeah. BRENNAN: In other words, if it says you have a success on anything that you're doing. But mechanically, we didn't decide what was happening in-game, correct? So, would it be possible for the roll that Marion has an automatic success on to erase his first scar off his character sheet, thereby not giving him his fourth scar? It w

ould just be giving him his first of three. ZEHRA: Yeah. LUIS: This is my first of three scars, is what I said. TRAVIS: Complete his third-- His first of three. ZEHRA: Yeah. MARISHA: GM on player on GM bargaining, let's go! ZEHRA: Care Bears Stare us-- MARISHA: Care Bare Stare! SPENSER: You get a full success, correct? LUIS: I get a full success on what I'm about to do, but I haven't decided what I'm about to do yet. TRAVIS: This is some paradox shit. MARISHA: Yeah, a hundred percent. SPENSER: U

h-huh. LUIS: It's as if I've had this scar all along. MARISHA: This is why people hate time loops. LUIS: I tell the Circle how I got it. I just showed everybody how I got it. SPENSER: Uh-huh. LUIS: And it was the scar that I had all along. ZEHRA: Yeah. That's three to me, baby. SPENSER: That's three to me. BRENNAN: I mean, you get out a calculator, but that sounds like three scars! (laughter) SPENSER: We see your soul floating here, floating up and away. You're watching from above as she yells,

"No!" Thrashing at the rift here. She looks for anybody else. She crashes a hand down. As she reaches her body forward, you see (tearing). The side of her face starts to sizzle as the Flare protects her from making an incursion here on her own. ZEHRA: Mm. SPENSER: She needs a vessel. She's looking around to all of you. Distracted by that, we watch as that soul floating above starts to drift back down. MARISHA: (laughs) SPENSER: You feel yourself take a breath. (gasps) (thumping) That is your thi

rd scar. ZEHRA: Oh! BRENNAN: Yeah, baby! MARISHA: Whoa, crazy! TRAVIS: Also, it's your first. BRENNAN: That is the coolest piece of magick-- That is the coolest piece of collaborative fucking improv. TRAVIS: You just "Time Copped," expecto patronumed, that was so-- MARISHA: Holy fuck, that was the craziest shit. TRAVIS: Time wrinkle. BRENNAN: You can't fire me, I quit! SPENSER: I'm going to fire-- (laughter) LUIS: (groans) I feel like I need a break. (sobs) MARISHA: Oh! BRENNAN: (long exhale) LU

IS: Oh. SPENSER: This thing is thrashing, trying to find-- MARISHA: Wow! SPENSER: -- where it's going to get its next soul from. You see it set its sights on you, and then on you, evaluating how much it would take. What do you all want to do in this moment of thrashing? ZEHRA: While it's distracted, I want to focus on this rift and see if there's a way that I can repair it. MARISHA: Come on, girl! SPENSER: Yeah. BRENNAN: (drumming) MARISHA: Come on! SPENSER: You steady yourself here. TRAVIS: I'm

just on defense and counting the shrinking number of bullets in my pocket. SPENSER: We see you shooting at the creatures. We see you fighting them off, Auntie Bee as well. We see Sean here hiding in the corner. MARISHA: I'm still calm. I'm looking for Sean. TRAVIS: (disembodied voices) SPENSER: We see you standing in front of the rift. Marion, dead, maybe, in front of you. You know that repairing this is going to cost you-- TRAVIS: (laughs) ZEHRA: Yes. SPENSER: -- some bleed here. ZEHRA: Some b

leed? SPENSER: But you might be able to close it. ZEHRA: How much bleed? SPENSER: Depends on the roll. ZEHRA: (sighs) MARISHA: Are you trying to close it? ZEHRA: I would like to try to close it. MARISHA: How many dice you rolling? ZEHRA: I am rolling two on-- Was it Focus? SPENSER: It's going to be Sense. ZEHRA: Sense! Great! BRENNAN and TRAVIS: (laugh) ZEHRA: That's three, and one is gilded. Then I'm adding, I'm going to burn my last Intuition. LUIS: Your last drive. MARISHA: I-- ZEHRA: My last

drive. MARISHA: How many is that? ZEHRA: Four. MARISHA: I'll burn my last Intuition drive-- ZEHRA: Thank you. MARISHA: -- to support this as I-- ZEHRA: You're the one who told me it's only surgery. MARISHA: As I say: You've got to do this. SPENSER: Yep. Uh-huh. MARISHA: It's only surgery. TRAVIS: You want a sixth die? ZEHRA: Yes! TRAVIS: Take it. ZEHRA: Thank you. SPENSER: As that's happening, we turn to you having a conversation with Sean. Yeah? As we see you standing in front of the rift. TRA

VIS: That's true. SPENSER: Don't roll yet. You are standing there trying to-- MARISHA: So much is happening at once! LUIS: (laughs) TRAVIS: You wanted to go talk to Dahmer? MARISHA: Fucking time. TRAVIS: Go talk to Dahmer. MARISHA: I see where he is. SPENSER: Other side of the shelves here, of the vault here. MARISHA: Sean. BRENNAN: I loom out of the shadows. Auntie Bee. MARISHA: Focus your rage towards me. BRENNAN: You got it. MARISHA: I know-- wait. I know you have to do this, and you know wha

t? I agree. I support this, and you know, I think it's my time. I miss good old Blue so much. I'm so tired. I just want to be with him again. And I can't think of a more honorable person, to send me to see him. Can-- can I just get one more hug from my boy before you do this, please? You're like a son to me. BRENNAN: I think this whole time, my understanding is that I must pursue, unflinchingly and unfailingly, I must. So I think this whole time you're talking to me you just see me approaching y

ou down a long aisle of cells. I cannot... I cannot honor this emotion and maintain what I need to maintain, so I'm just walking towards you. MARISHA: Just one last gentle touch. BRENNAN: (footsteps) I'm going to look at you and say: She's at Marion's. Make sure she doesn't wash the ball. And I'm going to crack the butt of the rifle over her head. TRAVIS: (gasps) SPENSER: Are you trying to avoid this? MARISHA: Does he get close enough to me? What I had, hidden in between my forefinger and middle

finger, is my hand weapon, my blade, that I keep on me. ZEHRA: Yes. MARISHA: So as I see that he's about to lunge, I want to take the knife and jab it in his neck. ZEHRA: Yes! SPENSER: It's another PVP. MARISHA: Yeah. ZEHRA: (gasps) BRENNAN: You got it. SPENSER: It's going to be Control. MARISHA: All right. SPENSER: It's going to be Strike, Strike or Control, either one would work for me that it's being, you're trying to be sneaky with it, or actually, what? Hide is actually what it might be. Y

ou are trying to do this without being, you're trying to deceive him. You're trying to do this without being seen. TRAVIS: You said, "She's at Marion's, "don't let her wash the ball"? MARISHA: She's at Marion's? Don't let her-- TRAVIS: Watch? MARISHA: Is that--? ZEHRA: Oh! Don't let her watch--? TRAVIS: Square up. BRENNAN: Wash. TRAVIS: Wash the ball. ZEHRA: Wash. LUIS: The ball? BRENNAN: I'm going to-- MARISHA: The baseball? BRENNAN: I'm going to burn a bunch of drive. I'm going to burn that on

e, actually. MARISHA: I Saw This Coming. ZEHRA: I'm going to give you my last Nerve. MARISHA: I'll take it. SPENSER: So here's what we're going to say. MARISHA: Then I have a Train die. SPENSER: We're going to reverse the results this time. ZEHRA: (rewind noise) SPENSER: Meaning that on sixes, both of you take down each other. BRENNAN: Cool. SPENSER: On four to fives, it's less marks. TRAVIS: I'm here for it. SPENSER: On fails-- TRAVIS: Fucking gravity's weird, might as well. ZEHRA: (laughs) SPE

NSER: On fails, you guys don't hit each other. BRENNAN: Cool. MARISHA: This as well. I'm burning everything I have. SPENSER: Because you're both going for it, we see the swing, we see the knife coming. MARISHA: (laughs) BRENNAN: Six. TRAVIS: Oh! MARISHA: Triple sixes. (cheering) TRAVIS: (laughs) LUIS: Auntie Bee! ZEHRA: Came from hell! TRAVIS: What we averted. SPENSER: As you go to strike Auntie Bee with the butt of the gun, you find a knife in the side of your neck. Take four body marks here. Z

EHRA: (gasps) SPENSER: So you feel the blood run down your neck. As you go to swing forward you know that you can hit her here. You know that you will, do you continue your strike? BRENNAN: I have to keep my end of the bargain, right? SPENSER: You do. BRENNAN: I keep my end of the bargain. No flinching from anything. Complete commitment from every moment. MARISHA: Auntie Bee is thinking, in these final moments what she told Jean. Be mentally prepared if he's too far gone. SPENSER: You feel a cra

ck on the side of your head. Three body marks. MARISHA: That's my first scar. ZEHRA and LUIS: Oh! SPENSER: We see you drop, bleeding on the ground. We sit with Sean, watching Auntie Bee laying unconscious, fading in and out here. His final moments, what do we see? BRENNAN: I'm so happy. I'm so happy. I can feel the life going out of me, going out of my neck. I kept my end of the deal. SPENSER: You see your mother at Marion's. Safe. BRENNAN: I think in her hands she's got a baseball and a slip of

paper saying that her diagnosis was wrong. SPENSER: We see her make eye contact with you in this moment. BRENNAN: Hey, Ma. I'm sorry. I know you wanted me to come home, but the truth is, I'm not that different from Tony and Jimmy. What happened out there, I don't think I could ever come home. SPENSER: You see tears well up in her eyes. BRENNAN: There's better people than me, and there's people that'll make sure you're happy. I don't know how to be around things that are soft and growing anymore

. I'm not a gardener. The world doesn't need me, and it's better for me to go away. I hope things stay green and growing for you. I know Marion needs a lot of love. I know Auntie Bee will keep you company. I know Doc will look after you if you get sick. And I know LT will look after you if anyone else comes to try to throw you in the trash again. I'm really sorry. I don't know where I'm going, but if I find Tony and Jimmy, I'll tell them you said hi. SPENSER: She smiles and says, "My boys, "back

together again. "I can see you now, "running in the field "playing soldier." BRENNAN: No. No, Ma. I don't want to play soldier no more. I love you. SPENSER: And you're gone. We see the creature thrashing, looking for any source, another vessel somewhere here looking between you and you, looking at this one dropped on the ground and you feel a pull. MARISHA: I'm unconscious, right? SPENSER: You are. MARISHA: Just took a scar. SPENSER: You watch as your soul rises out of your body. You are the so

ul and you are the body, and you watch simultaneously in both as a pulse. We see the creature, the Mother, pulling at that thread with its fingers, trying to make another one, hoping, hoping it can weave it right, wanting to be with its son, wanting to be out here, stuck. All of you watch as that soul starts to rise out of Auntie Bee What do you all want to do? LUIS: Am I awake now, too? SPENSER: You're up. LUIS: Okay. Go ahead. ZEHRA: I'm at the rift. SPENSER: You're at the rift. ZEHRA: If I cl

ose this rift, will it stop this creature? SPENSER: That's what you presume. LUIS: Maybe. ZEHRA: That's what we presume. I have to try to mend the rift. SPENSER: I will warn you that any attempt to close the rift here will cause you bleed. But yes, that is what you understand to be true. We see you stand before it, your hands moving with precision as they always do. You start to stitch. It realizes what's happening, realize it needs to quicken its work. Its thread is between its fingers, as it's

trying to weave quicker than you're able to, trying to stitch faster than you can, pull the soul towards it. We see Auntie Bee's body start to rise up off the ground. Her soul being pulled towards her, her body following shortly. It's pulling her in. What do you want to do here? LUIS: I feel like my soul is still like a ball that I'm holding, right? SPENSER: You see it your chest, spinning, moving. LUIS: I'm in a cage. Am I still in a cage? SPENSER: You're not, it's lifted off and it's now usin

g its fingers to pull this soul of Auntie Bee towards you. It thinks that you are dead. It thinks you got, it thinks you died and got rid of, its vessel is gone, that's why it's going after her. LUIS: Ah, so my understanding is that it won't go after a corpse. SPENSER: Correct. LUIS: It needs a living vessel. SPENSER: Mm-hmm. LUIS: Okay. SPENSER: Correct. That's why it was after you. LUIS: Okay. I'm going to start to move towards the rift. I'm going to help you close it. ZEHRA: I think back to w

hat you showed me, the memory of my father standing over you with the pendulum, me, the girl with the bowl, and I remember you showing me the thread coming from the pendulum into your heart, into your body, going through me. I am, upon remembering this thread that connects all of these disparate pieces, and I see this thread of the creature pulling Auntie Bee's soul. I'm wondering is there any way I can strengthen the thread I am using to connect this rift with the creature's own thread, taking

it into me, and through me, and through my hands. SPENSER: That sounds like a Sense roll to me. LUIS: You feel a hand on your back, as I close my eyes and I'm going to give you a drive. SPENSER: You're attempting to strengthen the thread. ZEHRA: Strengthen our thread, yes. So this is the original stitching roll. SPENSER: Exactly, so what I will say is you feel that thread go into you, you feel it emboldened. LUIS: Do I sense that you are using this to close the rift? Is that-- SPENSER: Yeah. LUI

S: Okay, great. Then yeah, I give you a drive. ZEHRA: Yes, yes, yes, yes, I have-- SPENSER: Have as many dice as you can. ZEHRA: I have six. SPENSER: This is life or death for you, for you here, no, for you here, actually. This is life or death for you for sure. TRAVIS: I got a gun. (laughter) BRENNAN: Here we go. MARISHA: (laughs) ZEHRA: It's just surgery. MARISHA: Come on! ZEHRA: Six! SPENSER: That's a six! BRENNAN and LUIS: Yes! ZEHRA: And all the rest are fours. SPENSER: Wow. LUIS: We got to

get something for that, no? SPENSER: No. TRAVIS and MARISHA: (laugh) SPENSER: So. BRENNAN: Shortly. LUIS: (laughs) SPENSER: Here's what happens. The rift starts to stitch closed. Creature fearing it's running out of time, drops the thread, (whooshes) the soul comes flying back into you, Auntie Bee. You awaken with a start, feeling your soul drop back into you. It grabs at the stitches and starts to pull at the suture as though the scar is being reopened. You know, you've seen soldiers do this w

hen they're afraid they're ripping their stitches back open, terrified of what's happening. You're watching that viscera within. But then you feel the pendulum in your pocket, you feel the hand on your shoulder, you feel the thread through your heart. It strengthens. You know, with that six you're going to do it. But you also know that we established it's going to take bleed. This is the largest rift you've ever done this with. It's going to be three bleed. Do you take that? ZEHRA: I take it. SP

ENSER: We see the pulsing, we feel the pulsing in your head. You see this thing tearing at the rift, trying to open it as you're trying to close it. We see you stitching the needle and thread. Its fingers are getting caught in the stitching almost like a person who gets their fingers underneath a sewing machine. You see the needle going in and out of its fingers. Its not able to keep hold anymore. The rift (whooshing) seals, and slowly it fades, a couple of fingers left falling to the ground. Th

e astrolabe stopped, but the rift closed. ZEHRA: As I fade into whatever is next, I murmur: Now that was my finest work. LUIS: I'm doing something. SPENSER: You see Jean drop. LUIS: I look back and forth between my dead best friend and this woman that I've fallen in love with and I haven't taken my action yet. That gives me an automatic success because you haven't had me roll anything. SPENSER: Your success was getting, was doing the scar. LUIS: Was getting--? SPENSER: Let's do this. LUIS: Eithe

r way, I have this soul of mine that's here. SPENSER: Mm-hmm. LUIS: And I know that I've lived with it tethered somewhere else. So I'm going to take it-- ZEHRA: No. LUIS: -- and I pull it out, and I'm putting it inside of her. ZEHRA: No. SPENSER: Make a Sense roll for me. See if you can bring her back. We see you hold it in your hand, it's pulsing, you feel yourself empty again. You start to fade, starting, your eyes flitting, you're starting to go, but you press it against her. LUIS: I take a b

leed from this, so I can get an extra die. Is it gilded? SPENSER: It's gilded. LUIS: All right, okay, okay, okay. I'm going to use a resistance. My highest roll is a four, and I'm not satisfied with that. So I lose that. Oh yeah, I lose that, because I had to, yeah, fuck. ZEHRA: No! She wouldn't want you to do this. LUIS: Five, on my gilded die. SPENSER: You pull your soul out. You feel your body starting to fade. In the last moments of your life, describe for me how you put that soul in Jean. L

UIS: Hmm. I'm holding her and I'm remembering waking up in her arms the first time from when after I was injured in the war, and seeing someone and seeing someone not regard me in any weird way. And I'll never forget the way that her hand felt on my chest, and the good that she's done, and the people that she's fixed. And as I place it gently right into her chest, I see flashes of the life I know somewhere out there I would have with her. You just hear in your head: The past doesn't matter. It's

what got you to who you are. What matters more than the past, is all the different possible futures that you can have. And you see in your head like a movie, a collage of us together, getting older, having kids, and it's beautiful. ZEHRA: (breathes shakily) LUIS: Live as big as you can, maybe live for two. SPENSER: We feel you pulled away. As that happens, you come to Jean, and you look down, and you have a starburst scar across your chest. All here is quiet. Just a moment. We pull up, looking

down on the archives here. The vault, rows, and rows, and rows of people just like Allison, of people just like Marion. We see Sean dead on the ground. We see Sean dead on the ground. We see Marion dead on the ground. We see Auntie Bee down, but breathing. You, holding off the horde of creatures that dissipated as that rift closed. You're left there standing with a gun, looking at Allison, scared in the corner, bleeding. We land on you, seeing the man you couldn't help. seeing the man you couldn

't help and the man you did. We cut out of there. We land on Auntie Bee. This is a couple of days later. Where are you? MARISHA: Good question. That question would require an answer to where is Nathaniel Trapp? SPENSER: Hmm. Nathaniel, where are you? TRAVIS: I've changed clothes. I've stopped by my family estate to ensure that Lucas was in good hands. And I'm standing in the office in the Nine Irons, visiting a very special lady and making sure that a promise is kept. MARISHA: In this time, I wo

uld've taken Sean's advice, gone and found the note wrapped around the baseball, delivered it to Trapp. SPENSER: Mm-hmm. MARISHA: As I anxiously await with a freshly laundered pair of clothes from Miss Peggy. Imagine I'm waiting on the front stoop of the Gray, waiting at Grayslate, hoping for a positive verdict. After everything, it's all she has left. SPENSER: We see Peggy, hand in hand with you. She's walking down the street, free. She has a baseball in her hand. MARISHA: Is this a vision or i

s this truth? SPENSER: At first you feel like it could only be a dream, but it is true. MARISHA: I tell her there's a boy that I think needs her. SPENSER: She looks at you, eyes wide. MARISHA: It's not Sean. SPENSER: Her shoulders drop a little bit. "Is it one of yours? "One of the ones you take care of?" MARISHA: I think it is now. SPENSER: We get a shot of Lucas. He walks over. Runs out of your arms. As you meet, Lucas grabs her hand. MARISHA: Mr. Lucas? SPENSER: (Lucas) "Yeah?" MARISHA: This

here is Peggy. SPENSER: "Peggy," he holds his hand out for a handshake and she takes it. "Do you think that I'll be able to see my mom soon? "I miss her." MARISHA: You know, I think that's something your good old Auntie Bee can work towards. SPENSER: He smiles at you. "Thank you, Auntie Bee." Locks eyes with you. We see your father behind you, watching this exchange. We see your father behind you, watching this exchange. You hear him, the clack, clack of his feet mirroring the vision, flashback

that we had before, that same sound. He puts his hand on your shoulder. Doesn't say a word, but he squeezes it. He waits. Then he nods, turns away. TRAVIS: Lucas, one day you will learn the full story of your mother. It's a difficult one to tell, but I can tell you this. In the meantime, it's up to you to write your own story. Me and Auntie Bee will be there to help every step of the way. SPENSER: We get a shot of him and you and your father behind you watching you say these words. We see him wi

pe a tear from his face, collecting himself, and continue walking. And finally, we land on a garden. ZEHRA: Yes. SPENSER: Starry night petunias growing. ZEHRA: Yeah. SPENSER: What is Jean doing? ZEHRA: I'm kneeling down in this garden, Marion's garden. And I adjust the scarf I've tied over my head to cover the back of it and I look up at the sky. It's dusk. The first stars are starting to appear. And I look at the petunias, and I ever so gently snip, take a cutting of one. I'm going to grow this

in my own garden along with several other herbs and plants that I learned about in my childhood that my father found valuable. I'm going to start a beautiful garden of my own. SPENSER: We see you grab the flower clipping, and as you stand up and turn to go, and as you stand up and turn to go, we watch a single thread come out from that starry night petunia still growing here in the garden, searching, weaving, catches up with you moves into your back, fills you. You feel Marion there with you on

e last time, as you turn to look, but the thread is gone. It is now living in you. And that is where we're going to end tonight's session and Chapter Two of Candela Obscura. (clapping) SPENSER: Thank you all so much. TRAVIS: So good. SPENSER: A wild, wild ending. Thank you all. I think we need to decompress after this. (laughter) MARISHA: Woo! SPENSER: So we'll go do that. Make sure you take care of yourselves at home, and we'll see you next time.