The Between 33 - Leaving a Mark

[00:00:02] Welcome to Aint Slayed Nobody. This is an actual play podcast intended for adults, and may contain material that some people find disturbing. Please see the episode notes for content warnings, and listen with care. Hey, this is Cup from Aint Slayed Nobody asking you to join our Discord chat community. This is a fantastic group of people, and it's the best place to talk about the show, tabletop gaming, and anything else that's on your mind.

[00:00:31] This is where we prefer to interact with fans. So head over to slayed.me slash discord and discuss the episode that you're listening to now. That's slayed.me slash discord. I'll see you there. It's very dark. There are candles lit already, even though she wasn't there.

[00:01:00] The door into that room just slams behind you. And that's when you see a pair of red glowing eyes. A pair of red glowing eyes that belong to a very big, muscular, shaggy black dog.

[00:01:22] Your mother says, I'm very sorry, Edward, but we can't let you and your colleagues at Hargrave House stop our great work.

[00:01:34] I was expecting something, but I don't think I was expecting the red-eyed dog. So that's going to take him back a bit. But I think that what's going to happen is he's going to look down at the ground, and if his mother looks too, she's going to realize that he has spread a circle of plague pit dirt around the table, around where they're standing. Yes, good.

[00:01:56] What he's going to try to do is because he now has in his possession the bloodied noose from St. James Street, he's actually going to try to work that over his mother's head and kill her. And because that is the noose from St. James Street, what he's trying to do is push out the spirit of Lenore and replace it with his mother. Oh, interesting indeed. How's that going to help you with the dog, though?

[00:02:22] It's not. So that was his plan. So he's going to have to take his chances with the dog attacking. But he also has his ritual kit. So he's going to try to drive the spiritual knife, or he was going to, probably into his mother's liver. But he may turn that on the dog if he needs to.

[00:02:42] Also, I'm imagining because of all the spider imagery that his spider, that venomous spider that he carries, it probably like suddenly had like a sack, like a huge sack that it was carrying. And that just burst with spiders. So this room is just crawling with venomous spiders now.

[00:02:58] I love it. This is Rites of Salt and Smoke, it sounds like.

[00:03:29] Yeah, yeah. Oh, do I get a bonus for using my noose? Is that in your personal quarters? Yes. Then you can mark it and get advantage, yeah. Oh, wow. All right. I didn't need it. I rolled 11 plus, what, three? Whatever my sensitivity is. Yeah, I rolled a 14. You'll have control of the scene, so be thinking about what that looks like. We'll check in on you in a moment.

[00:03:56] Ms. Ennis, there are a pair of bathers trying to spew spiders all over you. Ms. Archer, you are covered in spiders as you don't have your weapons handy, right? What do you do? So what I was going to ask is like, so Viola's reflexes are pretty good. Once the person started to explode with the spiders, I think that she probably would have put her hand on top of Moira's head and pushed them both under the water. Oh, that is good. Yeah. To try to avoid just that, being covered by spiders.

[00:04:26] Can I do something a little cheeky? I love it. I think that Moira loves that. And once you're underwater, it's just sort of locked eyes with Ms. Archer. And I think we can see the bodies and different things getting closer and closer to us. Ms. Archer, as you go to move, I think you realize that you're kind of locked in the water, in the position that you're in. Like, you're not able to move for some reason.

[00:04:53] Like, the pressure is being held against you, holding you down as well. And it's not until the very last minute where someone is about to reach us that Ms. Innes just removes all of the water around us with the cosmic passage. And I want to just basically take the entire bath water and elevate it to the ceiling. Nice. I love that.

[00:05:20] And also, I think while they're under the water, while you're maintaining it, while we're looking at each other, I think Viola would mouth the word towels to you. And then, as the water is moving, I think she's going to try to, like, head towards whatever little shelf or whatever the bathing towels are on so that she can grab one, soak it in water, and, like, rat tail it up. So now she's got a little bit of a whip. A weapon. I love it.

[00:05:47] Just so I'm clear on what's happening here, Josephine, what is exactly happening with the water? What are you hoping to accomplish here? Okay, so I can move and control sources of water with an eyesight. This essentially, but mechanically, this gives my next role with advantage. As long as I'm controlling waters to do it, right? So that they are elevated above us, almost like an aquarium tank above us. Oh, I see. Oh, you're, like, moving the... Oh, that's very good. You're, like, kind of trapping them up there. Yeah, that's good. I like that. That's going to be the night move.

[00:06:17] Obviously, you get the advantage of your cosmic passage move. What are you afraid is going to happen if you fail? Actually, I think Miss Ennis is afraid of something happening to Miss Archer. So I think that... Because Miss Ennis was playing with the timing of it all and kind of, like, playing this sort of, like, ooh, I'm letting them get to the last, you know, possible moment. And I was trying to show some level of, like, control over Miss Archer in that moment.

[00:06:40] And so I think what she's scared of is that, like, oh, I toyed a little too much and actually might put Miss Archer in danger here. Interesting. Well, and, of course, because you're the reason why Mr. Kessler's dead, right? So this is a natural thing to be worried about. So fantastic. I don't want to put Miss Archer in danger because of your die roll, but I will say it's worse than... Necessarily. But I will say it's worse than that.

[00:07:09] I think probably what's going to happen is you actually end up putting not only Miss Archer, but also everybody in the baths in danger because your water magic goes wild. So I think if you want to continue, that's going to be the knight move with sensitivity. Great. Okay. And so I'm rolling with advantage here.

[00:07:39] You got this. Okay. Well, thank goodness. It's a 10. Nice. That will work. Be thinking about what it looks like to keep them trapped. And Miss Archer, I think despite that, you will have to fight a few of them. Oh, hell yeah. This is going to be the knight move. What are you afraid is going to happen if you fail?

[00:08:00] I think what Violet is afraid of is that she doesn't fully understand what Moira's plan is and she's worried about doing something that will damage their newfound fragile kind of connection that they're in the process of developing. They were having this lovely moment and now all these fucking spiders. So weirdly, she's less concerned about physical damage than she is about the kind of the damage to the relationship.

[00:08:23] Oh, it's worse than that because you'll also be swarmed by these individuals who will vomit spiders into you. So we'll fill you up with spiders. So let's have a knight move with vitality. So that is a 14. Wow, these power rolls. Think about what it looks like to fight them off. Mr. Melmoth, you've got to follow three big moves here.

[00:08:51] Well, I think what is going to help Sebastian here more than anything else is his natural disregard for the well-being of others. Because Julius and D.I. Pettigrew, they can worry about their own problems now. Having seen these witches or coven members or whatever gathered outside, he is just going to sweep over towards the front door, throw it open and step outside.

[00:09:18] He's dressed in long green flowing robes and he's got this garland of green orchids again, his hair. And Sebastian is not a large man, but he draws himself up to his full height. He's dropped his practiced insouciance completely and just with blazing eyes looks at the three witches and says, I am trying to host a garden party.

[00:09:48] And what I want to do is just distract them completely from what they're doing, break their concentration. I love it. Fantastic. This is going to be... I'm going to give you the benefit of the day move because of the way you've framed up the scene. It's going to be with... I think it's actually composure. Yeah. What are you afraid is going to happen if you fail, though?

[00:10:11] What I'm afraid of is actually something that Sebastian is afraid of in a lot of situations, which is just they're going to ignore me. Well, I'm actually going to put you at disadvantage also because this is what they wanted you to do. They wanted you to come out. And so because of Most Beloved, I'm putting you at disadvantage. Okay.

[00:10:33] Can I counteract that, though, with using unquenchable thirst when you perform an action that leverages your physical appearance role with advantage? I'll take that. Yeah. Okay. Yeah. Let's see how this goes. That is a six. A six. I have an idea. We'll come back to it then.

[00:11:03] Mr. Quiet, please describe how the scene ends for you. Yeah. So I think I had previously narrated with a mask that after his mother sort of died that he was left with an unkind uncle. So I think he has a lot of built up resentment over that. He looks very stressed, obviously, with everything happening. He's going to say, I am so sorry that I have to do this. His mother will probably notice that he's looking at the doll and not looking at her.

[00:11:32] And then he's going to throw the noose around her neck, pull it tight. And what he's doing is relying on all the malevolent entities that follow him around to kind of hold off the dog while he's doing this.

[00:11:47] I think what's going to happen is that Lenore's mouth is going to open and spiders, of course, are going to flow out of the mouth and crawl up his mother and just enter her body through her ears, her nostrils, her mouth, her eye sockets. And she's just swarmed by spiders as the dog kind of, which has more power.

[00:12:09] But there's so many entities that he's communed with over his years, especially with his sexual encounters with them, that they all come together at this moment and hold the dog off as he finishes this ritual. Do you then just escape the dog or do you do something to the dog as well? Ooh, I like to think that the entities actually are able to pull the dog back into the between, back into that kind of world between worlds. Nice. Describe that. What does it look like?

[00:12:38] Yeah, so I think it actually, as like vicious and fearsome and malevolent as this dog was with the red eyes, I think the red goes out of the eyes and they're just completely blank. And then you can hear the sounds in the room like a mundane hound kind of whimpering and howling as it's vanquished from this world, from the waking world. Fantastic. That concludes your day phase. Ms. Ennis, please describe your magic.

[00:13:09] Oh, God, I feel like it's going to get a little messed up. Oh, yeah, because nothing else we've done has been messed up. I don't know why I'm suggesting this is new. Okay, so as I described, it is almost like an aquarium above us. Everyone gets, you know, lifted up above to the ceiling above, almost like this mural, new mural, but it's full of bodies.

[00:13:38] In a small, like a lake of water. And you can see Moira is just fixated looking up at them and looking at the water from below, this really unique vantage point that she's never really had.

[00:13:56] And you see as the people in the water just slowly, you know, they struggle as they try to get air and slowly drown above. But rather than fall limp as they die, she's manipulating the water and making them move amongst it. Almost like she's directing her own little play.

[00:14:23] And she's just like muttering under her breath, probably for no one to hear. You're just little fish in the sea. While that's happening, Ms. Archer, give us your Belmont clan whip fighting here. Give us an action scene.

[00:14:51] Yeah, so I think as the water's lifting up, she's going to run over to the towel. She'll grab three. One of them, she plunges in water. She like leaps up, plunges it in water so that it's soaking wet because that kind of like soaking wet terry cloth or like cloth has a rigidness to it, like a fucking weight to it. Yeah. And though the people are trapped in the water, the spiders are actually finding their way out.

[00:15:17] So you're getting these like masses of spiders that just kind of drop out maybe from the water. And they are running at both Moira and Viola. So she's just going around and she is kind of like whipping at them to get their attention, strategically taking out one or two. And then once she feels like she's drawn their focus, she'll back up a little bit to pull them away from Moira, to pull them away from herself.

[00:15:41] And then she'll use the towel to latch onto a rafter and then like swing herself over to another section where she can then from a distance begin again, like taking out these spiders. She's stepping on them as they come at her too. Maybe once or twice she will, she'll like latch onto one of the bodies that's in the water still and she'll use that as leverage to swing, which pulls it out. So then she'll just like crush, she'll step on their throat, crush their windpipe, make sure that they're fully, fully dead.

[00:16:08] At some point throughout this, it's not even clear when, she's put a towel demurely around herself and then over, she'll go over to Moira with the other one and she'll, she'll wrap that around Moira so that they're not, you know, standing out in their birthday suits or whatever. Moira is like totally, like totally transfixed. Yeah. So you're like doing all of this stuff around, like, and she's just staring up at the water. Just a flurry of activity. And I would love it if she could actually hear the, you're just little fishy's remark. And just for one moment, she's just like in the middle of this fury.

[00:16:36] She's just trying to just ruin everything. And then she just looks over at you and just kind of has this like, hell yeah, hell yeah smirk. That's your day phase. Mr. Malmoth, they certainly do ignore you. They ignore your bluster and they part to reveal.

[00:17:03] They have like a little rolling platform or wagon type thing behind them. And arranged atop it is a beautiful miniature rendering of your theater. There you can see little working velvet curtains. They even have little porcelain figurines on the stage. And there's little tiny wooden seats all around.

[00:17:34] And one of the coven members raises her hand. And there's just a single dancing mote of flame on her palm. And she tosses that mote of flame on the little miniature theater. It ignites immediately. Sending the real thing up in flames. The smoke rising up over the London skyline.

[00:18:03] And you no longer have the power of the masterwork. You fall down. Centuries of stained soul, of age, of your malignancy, of your evil begins flooding, pouring into you all at once.

[00:18:29] I will give you the benefit, Scott, of at least describing what it looks like when you wither away. Yeah, it is. It's a slow process. Or at least comparatively slow. Enough to see the years stacking on each other. Sebastian's toned body withering away. His skin becoming a mass of wrinkles and scars.

[00:18:58] His fine gown just rotting away, revealing the emaciated form underneath. His eyes shriveling into his head and his hair falling out. But it's more than that. It is, as you say, the evil as well. It's seeing the naked cruelty in his expression that his charming smile normally disguises.

[00:19:22] It's seeing fingers that curl like talons grasping. It's seeing the... As his mouse peels back, it's seeing the bare grin of cruelty and disregard that that reveals before he collapses to the ground. Is that the end?

[00:19:50] No, I am going to use a mask, I think. I am. Very well. Instead, what happens is they have lured you into a trap. They do part. They do show the little stage. Your presence must be required and requested. Requested and required for the magic to work. They are getting ready to toss the fireball onto it. You can put two and two together pretty quickly. What do you do?

[00:20:19] I look round at the coven members and smile and say, Yes, you could do that. You could burn my theatre and all that represents. But I'll say indicating behind me, isn't your true target Hargrave House itself? Oh, very good.

[00:20:49] I think we just end the day phase. Jesus. With the coven. With the coven walking in through the front door of Hargrave House. D.I. Pettigrew weeping on the marble floor as a party guest helps him with his bloody eye. Julius being gingerly escorted back upstairs by members of the orphans.

[00:21:18] A number of the particularly enthralled Emerald Orchid guests are standing in a strange sort of, well not strange, but they're standing in a semicircle. Kind of watching all of this with great interest. Indeed, watching the coven enter Hargrave House with great interest. And the coven makes a beeline for the kitchen.

[00:21:46] Indeed, for the area beneath Hargrave House. But you are safe and sound, Mr. Melmoth. That's all that matters. Oh my goodness! Oh! Ms. Archer, your connection to the beast has grown. At the start of the dusk phase, please roll with presence. Heh heh. I leveled up, so I went from a negative one to presence to a zero.

[00:22:16] Hello. It didn't help. I rolled a five. All right, let's read what it says here. On a ten plus, you would take advantage of your next move. On a seven to nine, you'd also take the condition bloodthirsty. I'm going to just give you the condition bloodthirsty. Unfortunately, you already have the condition bloodthirsty. So double bloodthirsty? You do not have double bloodthirsty. You have to mark a Janus mask automatically. Ooh! Ooh!

[00:22:45] Okay. Be doing that. Yeah, yeah, yeah. And is tonight a night for moonlight upon the waves, Ms. Innes? I don't think so, right? I mean, unless it's strictly to get me back to the house faster. We'll see. We'll see how it goes. Maybe you can change your mind later. Do we want to try to answer one of these questions? Also clues. I owe a clue, I think, from D.I. Pettigrew. Yes.

[00:23:13] He will tell you after he calms down something he noticed before everything went to hell. Holding his eye. Oh, no. He noticed that some of the cooks who we believe are maybe enthralled to the emerald orchid, one of them had a collection of vibrant pigments and ingredients to craft them.

[00:23:38] Minerals, bones, dried roots and berries, metallic beetle shells, and iridescent green petals, some freshly ground to a fine powder. He's managed to grab some. Poor D.I. Pettigrew. He deserved better. Hey! So sad.

[00:24:00] Mr. Melmoth, do you tell the other members of Hargrave House that the coven is down in the basement? I suppose it depends how distracted I get between the time I sent them down there and the time everyone else comes back to the house. Because, obviously, I'm going to have to play nursemaid to D.I. Pettigrew. Yes.

[00:24:27] He and I have something of a bond on that front, and I can't just let the poor man suffer. Maybe we'll play out that scene. Maybe another hunter will come upon you tending to D.I. Pettigrew. We can do that in the night phase. So we don't know yet whether you're telling them. Is that the idea? If it comes up in conversation. Oh, my God. Everything is TBD. Very good. Very good. Okay.

[00:24:56] What about these other threats? Do we want to try to answer questions here? If everyone's happy to do the Reaver's Last Victim, I think we could do that one. That's totally been your show, I feel like. Yeah, go for it. I was kind of thinking that this happened in between scenes.

[00:25:15] That Mr. Quiet was at the church, and when he was doing that scouting, based on kind of Scott and Nick's description of painting the scene, I think he actually fell into one of the plague pits. And while he was in there, one of the bodies was wearing, like, tattered clothing. It clearly wasn't as old as the other remnant skeletons and bones and things like that. Yeah. So I think that was the Reaver's Last Victim that he actually fell upon. That's Anton Farrow.

[00:25:45] And it fits with the beautiful locales, because this church had been converted into sort of a park to, you know, kind of mask the fact that it was this plague pit. Fantastic. I love it. Let's just roll to see if you're correct, first thing. It's a plus one. Yeah. Okay, it's an eight. Okay, you're correct. And you can spend your night phase basically telling the Farrow's and letting them put Anton to rest. Yeah.

[00:26:15] Well, then what's everybody else doing then? Mr. Melmoth, it sounds like maybe you're tending to D.I. Pettigrew, at least at the start. Yes. Well, I'm tending to. What I'm doing is I'm finding one of the serving staff, who I assume knows first aid. If not, they'll muddle through it somehow. And telling them what to do in terms of mopping out the blood and cleaning the wound. In the meantime, I'll just offer some comforting words to D.I. Pettigrew.

[00:26:44] I think you'll look terribly dashing with one eye. And some people can't pull it off. But you, you have the chiseled features for it. With you, it'll be dashing. Maybe we can try out some eye patches. I think I know just the cut that will suit you. Or maybe some sort of prosthetic. Like, we could try to find something that matches your other eye. But that'd be frightfully mundane.

[00:27:13] I think perhaps something that captures your personality. Maybe the eye of a raptor. Fantastic. We'll have that scene in a moment. Well then, Ms. Innes and Ms. Archer, what are you doing? At least at the beginning of the night phase. Oh, man. I think Ms. Innes walks back, like, just in the towel, too. Like, back to the house. And is just kind of, like, upset that she missed the party. I don't know.

[00:27:42] I think she's staying in Hargrave House tonight. Sounds good. After all of that chaos and this, like, magnificent demonstration of Moira's power and control over water. I think Viola does. Well, first of all, she definitely reclaims her weapons. And so she just has her clothes with her. She puts those back on. Maybe they just, like, walk out in front of the bathhouse. Viola will look at Moira. And she'll just kind of nod and say, well, see you back at the house. And then she'll just take off.

[00:28:11] Almost an acknowledgement of, like, you don't need protection. You don't need an escort. Like, you're cool. And I have to go dig a little more about this green orchid situation. Because I do want to find a way to just, like, mess with Mr. Melmoth for a little bit. So I'll be back. Let's paint the scene of Hargrave House and take a look at the reception hall. Which feels appropriate given the circumstances today. Do you feel unsettled or at home when you enter Hargrave House?

[00:28:40] What do you perceive in the reception hall that reinforces that feeling? Jeez. Well, I think Sebastian feels rather at home. But only because he has installed the most magnificent oil painting of himself in the entrance hall. And with a commanding view of the front door. So that it's the first thing anyone sees as they walk in. Sure.

[00:29:08] This is so interesting because you've asked us to do this, like, you know, later on. And I think, like, if we described this place, you know, near the beginning, it would have not been to make Miss Innes feel at home. But I think maybe at this point it's starting to feel, make her feel at home when she enters at least the reception of Hargrave House. As opposed to the City of London. You know, I think it's that it has withstood, including this portrait hanging in there.

[00:29:34] It has withstood all manner of, like, wet, shaking-haired Moira. Akin to a wet dog shaking off so many times. And nothing seems to wither or be damaged from it. And it's a comforting thought for her. I'll say Viola maybe on her way to... I forget the name. It's not Cremhorn. It's the other... Kew Gardens? Kew Garden. Thank you. Kew Gardens. Kew Garden.

[00:30:04] She maybe thinks, ah, damn, I forgot my favorite knife. Anyway, she'll kind of swing by Hargrave House via the rooftops. And then she'll pause when she gets in view of the entrance. And maybe she sees a little bit of the disruption. She can hear maybe some of the commotion. Maybe she even watches Moira enter in. And then there's this moment of, oh, this is another... It just was starting to feel like home.

[00:30:34] It was just starting to feel a little bit like a place of mine. And this is a reminder that no, no one is what they seem. No one is really tied to anyone else. This is now just an unsettling other place that she is sometimes, but is no more welcoming or comforting than any other place in the world.

[00:31:02] Edward is going to feel at home because the portrait and any other paintings that are around the reception hall, the eyes all follow him, which makes him feel at peace like the entities are with him. Of course. Oh, just a house full of little weirdos. Well, the unseen. We're going to do...

[00:31:31] A drink at the Four Magpies. The Four Magpies is a pub popular with working class gay men run by the butch landlady Polly O'Donnell. While it seems like any other cramped, rowdy, spit-and-sawdust pub, it is an oasis of relative safety in a dangerous city. Polly does what she can to protect her boys. There are a few small rooms available upstairs, and some of the lads make a bit of extra coin entertaining wealthier guests. Everyone does paint the scene.

[00:31:59] Prompt two will be... Nick. Prompt three will be Scott. Prompt four will be Josephine. The Four Magpies, everyone please paint the scene. Describe a moment we see of men sharing a moment of intimacy that would be unwise to do elsewhere. There's a small group of young men sitting in a table in the corner, and one of them is visibly upset about something.

[00:32:26] If we were to listen to the conversation, we'd hear snatches that would tell us that he's going through a particularly bad breakup at the moment. He is fighting back tears, and his friend next to him has just put his arm around him, got his head resting on his shoulder, and is gently stroking his hair in a way that would probably attract the wrong kind of attention in any other pub.

[00:32:52] Even though it's a pub, there is a dance floor. And there are occasionally musicians that come in to play these kind of soft songs where people can just dance, can just be close to each other and hold each other. Because I assume that there is at least some subsection of London society that would view homosexuality as very artistic or very fashionable or risque or something.

[00:33:19] But this speaks to more of those small moments that have no social cachet and are just two people kind of connecting with each other in a very real and loving way. Two men that had been hanging around, having pints together, what have you, and the moment that one of them decides to walk away and starts making his way up the stairs and stops halfway to look back.

[00:33:48] And there's that look across the room that anyone could catch back to the man at the bar before he follows moments later. Sure. We're at another table with two kind of rough-looking men, maybe they're dock workers, and they have a bunch of tarot cards laid out in front of them. And what's interesting is that they're not doing a reading or anything like that. It seems like they're playing a game where each tarot card represents some moment of intimacy.

[00:34:18] So like when they turn the moon card over, it's a secret kiss and, you know, intertwining fingers, things like that, depending on which cards they're turning over. And they're just kind of giggling and playing this game, even though they're like really gruff, you know, looking men. Ms. Archer, I'm going to give you an X on your hunt for how you dispatched the spider zombies. And I would like to know a little bit more about your hunt. Yeah. So Ms. Archer's head is all turned around.

[00:34:47] She is, she doesn't feel like she has firm footing anymore. Even these moments of violence, the one at the bathhouse was kind of, like the set dressing for it was this moment of like connection with another human or human with another being. And so even that violence didn't feel satisfying or normal in the way that it normally does.

[00:35:15] And the conversation also, I would say, around her family and her ancestors and the kind of like inevitability of her own monstrosity. I think that she feels specifically motivated to resolve everything. It's time to kill the beast. So she goes someplace that she never would have expected going except in extreme need, moments of extreme need. She heads back to the forgotten octopus.

[00:35:45] She's going to go. She wants to resolve this issue. She wants to further understand this connection of it's the ritual. Somehow it all hangs on the ritual. Her assumption was that violence was going to be the answer. That was how everything was going to resolve. But now she thinks there's probably a better way. There's probably a more final way for her to deal with everything.

[00:36:09] So she's just kind of running along the rooftops of London, heading towards this bookshop and its insufferable owner. Mr. Melmoth, you're tending to D.I. Pettigrew in your way. And I think maybe if it's okay, I'd like to say that he's in your personal quarters, like in your chambers, you know? Of course, yes. And, you know, he has the bandage over his eye.

[00:36:37] And he's maybe like kind of casually, like, you know, picking up letter openers or other objects and just kind of examining them. And he says, Mr. Melmoth, I don't consider myself an emotional man. I am not one who is prone to outbursts.

[00:37:05] But, well, the terrible events of earlier today, the strange effect of this house, just everything that's going on in the city. It has shaken something loose in me, Mr. Melmoth. And I must confess it to you. If you must. I... I've grown rather fond of you, Mr. Melmoth. Oh, dear.

[00:37:35] We'll cut there and go over to Mr. Quiet. Mr. Quiet, are you in funereal black? Are these your funeral blacks as opposed to your regular blacks? Like, what's going on right now? I think it all looks the same. One thing that I think is different about him is that he's now carrying Lenore and she's bound and gagged and blindfolded because his mother is in the doll.

[00:38:04] And he doesn't want her to do things that she shouldn't be doing from the doll. And I think maybe under the other arm, he has the crystal ball from where Madam Starlight did all of her readings and such. And maybe Lenore's in the ball now because she didn't really have a place to go. So she might be at least temporarily in the crystal ball that he's now carrying around as well. But she's mad at him, so he's not sure if she's in there because she's not reacting or answering or anything like that.

[00:38:32] But yeah, he's dressed in all black and I think he's going to go tell... Was it Mrs. Pharaoh? The Pharaohs, yeah. Yeah, he's going to go tell the Pharaohs that he found their son. Yeah, maybe there was like a locket or something with the body that he can bring as evidence that he actually found him, yeah. Yeah, that's perfect, yeah. I think we'll fast forward a little bit and just show you arriving at the sort of like little dug up hole on the grounds of the church.

[00:39:03] The other son and Mrs. Pharaoh, who's quite old, they're also dressed in black and they're already there waiting. Ms. Innes, what do you do when you get back to Hargrave House? Such a good question. I don't know that I have like a normal answer. Okay, so she was going to knock at Mr. Melmoth's door, but I think, you know, when she hears that there's someone inside, maybe hesitates, you know, to interrupt.

[00:39:30] And so I think she's just going to sit against the door and listen. Listen, she's got on an item from her personal quarters. She's wearing the shirt of her captor and it is like this kind of night, although now it's very old, this old white shirt, but it has the embroidered, you know, AA on there for Alistair Archer's initials.

[00:39:58] And she's just kind of sitting and it almost looks like just like a big nightgown as she's just sitting out in the hallway listening in. And we'll see what happens. Let's go back to the four magpies. Nick, Curtis Jackson is a young barrel boy who has heard rumors of the four magpies, but never visited before. How do we see him make his first nervous steps inside? How is he drawn in? Curtis Jackson, a barrel boy. He is from a large family, all boys.

[00:40:28] So he's the youngest of five brothers. And his job then is to be the one to take all of the, you know, like the greenwares, the vegetables and things like that from not the farm, but from wherever they get them from and sell them basically out of his wheelbarrow. He heard about this place from one of his brothers. They're joking about it. They are derisive. They, you know, they talk about those people. They are dismissive.

[00:40:55] And Curtis knows it would be very, very bad for him to show any interest at all. But he finds himself kind of wheeling his barrel by the door every so often. And then he starts wheeling it by kind of later, later in the evening, well past when it would be appropriate to be selling vegetables, especially outside of a pub. And also, you know, he's very clearly kind of lurking outside. He doesn't want to be the one to go in. There's a part of him that feels like this is not a place for me.

[00:41:24] One of the patrons, who's a regular, notices him after a while and, you know, kind of approaches him gently, but with, you know, like an off-color joke about the shape of some of his vegetables. And then kind of escorts him, invites him in, again, with this understanding of like, he doesn't know who he is. This is a young boy, possibly on a journey of self-discovery. So this is not going to be a, like a harsh reality for him.

[00:41:52] He's just trying to be a guide into this place. The front door rings at the esoteric bookshop as you go inside, Ms. Archer. Mr. Regulus is behind the counter and he says, Oh, splendid. Exactly who I wanted to see at the end of a long day of work.

[00:42:17] Mr. Regulus, it occurs to me that I have purchased as much as is possible from your shop as payment for your services. And there is simply no more room in Hargrave House for any manner of candle or tapestry or bushel of sage. I swear it smells like a witch's arsehole in there. I wonder then if perhaps there is some other way that I can repay you for your kindness and for this information, of which I will need more now.

[00:42:44] I wonder if there are any accounts that need settling. Some patrons of yours who are reluctant to fulfill their obligations via their invoices that might be, I don't know, particularly vulnerable to my kind of persuasion. Well, Ms. Archer, I don't know about all of that.

[00:43:09] But I would perhaps very much like your help getting all of these people out of here. And that's when you realize that upstairs, downstairs in the little reading tables, there's a bunch of people in here. This place is normally pretty empty. Yeah. He says, they all just arrived quite suddenly. They had no specific requests?

[00:43:38] Are they looking for something in particular? Well, funny thing, they're not very talkative. If Ila looks around, anything noteworthy about these people? One of them looks up from the book they're reading, and they have very vivid, brilliant green eyes. Ah. Let's cut over to Mr. Melmoth.

[00:44:05] Mr. Melmoth, D.I. Pettigrew's just made his confession. What do you do? I sigh deeply and turn and start looking out the window. Hello. I do quite understand, D.I. Pettigrew. You are not the first person to proclaim their love for me, and I'm sure you won't be the last.

[00:44:27] I could give you some great speech about how I see you as one of my best friends, or how we, we shall always be close in other ways.

[00:44:49] But the truth is, I like you fine, but as anything more intimate, no, I'm sorry, that is never going to happen. And maybe it isn't you. Maybe it isn't you. I have not been truly intimate with anyone for a very, very long time. A longer time than you could possibly imagine, D.I. Pettigrew.

[00:45:17] And you, as charming as you are and as rakish as you will be with your new eye patch. D.I. Pettigrew. You are not the man to break through the ice, I'm afraid. Mr. Quiet, the family is there. They have a police constable who has helped fish out the bones.

[00:45:45] Mrs. Farrow, who is a quite elderly woman, gray hair, she kind of reaches out and with a trembling hand caresses the jaw of the skull of her dead son. What are you doing right now?

[00:46:11] I'm half paying attention to what the family's doing, but I'm kind of grappling with the doll because mother's upset about what happened. He thought about burning it, but he's sentimental, so he's going to hold on to the doll. Yeah, so I think he's interested in his own things here. But every now and then he'll say, yes, yes, that is a pity. This was a terrible thing that happened, but I'm glad I could help. Mrs. Ness.

[00:46:37] Yeah, I think I'm going to knock at the door, like at the end of that. Before you get to the knock, before you get to the knock, you hear, don't you have a room you can go hang out in? Just sitting around in the hall. Is that what your people do? It's Julius. Oh my God, this, you know what? I don't even know that they've had a conversation before.

[00:47:05] He says, so what brings you to a place like this? Well, I don't think I have to explain myself to you. I have business with Mr. Melmoth. Oh, business with Mr. Melmoth. Well, it sounds like there's certainly some sort of business going on in there.

[00:47:33] I can hear him all the way down the hall. What are you doing here? Oh, well. You know, just sort of centering myself. At the end of a rather traumatic day. Did you hear what happened to me? No, I was wondering what happened at the party.

[00:47:56] Well, it all ended quite suddenly because those damnable witches, well, they tried to use their foul dark arts to pull me into the sunlight. But I managed to get the best of them. Oh, did you now? How do you manage that? Yes, yes, yes. No coven of witches is going to destroy Julius, the vampire king of London. Was that your name?

[00:48:27] Well, the title is something I've sort of bestowed upon myself, if I'm being perfectly honest. There isn't a committee that decides these things. But I would like to think that I have a regal bearing. Well, it's good for you to believe that, I suppose. And how old are you, Julius? He kind of crosses his arm and sits down on the floor with you.

[00:48:57] Well, it depends on how you count the years. Hmm. And here we will go back to the four magpies. Scott, a well-dressed hoff enters the pub, clearly cruising for trade. Which eager lads compete, good-naturedly or otherwise, for his attention? And who just scoffs at him? Yes, so this man, probably an early middle age, comes in. He's wearing a long cloak and a top hat.

[00:49:27] Very fashionable and has a nicely oiled moustache. And he takes the hat off and looks around the pub with a sort of knowing smile. And a few of the regulars, a few of the young lads there, look up and a couple of them smile. One of them gives him a half wave, despite the fact that the two don't know each other.

[00:49:55] Um, and there are a few smiles exchanged. The lad who just raised his hand, there's a friend of his who's sitting next to him, who just rolls his eyes. And says, I wouldn't waste your time, Harry, aye? He's got a charming smile and all, but when he was round here last time and, aye,

[00:50:23] or let's just say that he promised me the world and he'd left me with fucking tuppence. Miss Archer, what do you do when you realize that this room is filled with thralls of the Emerald Orchid? First thing she's going to do is lean over to Mr. Regulus and say, I can look after the shop if you would care to, to vacate the premises for a moment.

[00:50:52] Should I lock up, or? I suppose that's entirely up to you. Before I go, Miss Archer, try not to damage too much in here. I'll see what I can do, bye-bye now. It pushes him out of the door, turns back to the room. Well, here we all are then. Are you thralls of Mr. Melmoth, or is it the other way around? All of these people,

[00:51:21] they walk to the edges of the banisters upstairs, looking down at you. They come in from the middle of the stacks downstairs. They stand up from the tables. They all open their mouths and tilt their heads back in unison. And with a great exhalation, spores fly out and begin filling the room.

[00:51:52] Mr. Quiet, Mrs. Farrow, once it's all done, she walks up to you and she says something too quiet for you to make out what she says. Monster. Monster. Monsters. All of you at Hargrave House.

[00:52:21] All of you monsters. They are, I agree. But like I said, there's no cost for my service. This was the least I could do, given that, well, your son's killer lived at Hargrave House. She gets very, very close to you. And she says, there will be no place for you by the Lord's side.

[00:52:50] You're going to burn in the inferno. You and all of your fellow monsters at Hargrave House. You're probably right, Mrs. Farrow. It's unfortunate, but you know, we we have our work like anyone else. And sometimes that work comes with difficult deeds. Mr. Melmoth, D.I. Pettigrew says,

[00:53:20] Mr. Melmoth, I have no doubt that you're accustomed to having people throw themselves at your feet to beg you for your affection, for your attention. Indeed. I won't do that. I won't do that, Mr. Melmoth. I'm not that sort of man. The most I can do is offer you a quiet life. So Sebastian turns back from the window,

[00:53:49] he's actually interested in this for the first time, and comes back and drapes himself across a chaise long, and looks D.I. Pettigrew in his one good eye. So, are you suggesting that I would no longer be the focus of your investigations? That

[00:54:18] I am no longer a person of interest? Mr. Melmoth, I'm suggesting that all of your many experiences that brought you to this point might very well have brought you to me. And

[00:54:46] what I have to offer is an escape from all of this. A quiet end to your days with friendship, and Sunday roast on the table. We'll cut there. Ms. Innes, Julia says, do you hear this? I do.

[00:55:17] I'm surprised. I'm sure Mr. Melmoth has heard it before. No, I don't think he has. I can smell a certain amount of anxiety radiating off of him. So, you want to go back to my room? Excuse me? Well, you know, just have a drink. drink.

[00:55:48] Um, water? Sure. Well, she looks back at the door and is like, well, all right, I suppose so. Um, Julius, you're, you're like the other one, right? You drink blood, that is. well, you know, we have our similarities,

[00:56:18] me and the so-called Limehouse Lurker. Well, is there like, uh, you know, like, um, a really juicy fish, you know, like your prime meal that you would go for? Oh, you do have something you want to talk about, don't you? Well, I just, you know, I, I may or may not, I just, I owe him maybe just a little wee bit and I want to bring him something good.

[00:56:49] He says, oh, don't worry about that one. He's very, very ancient, completely past all reason, complete lunatic, really. I'm a king. So. I see. A king of what? Also, you live here. and he just smiles a toothy fang smile and says,

[00:57:20] come on. And he marches down the hall. Do you follow? Yes, yes, yes, yeah. Well, I think she like watches him for a while, like analyzing him then and then does follow you. Josephine, at the four magpies as last orders are called and people start to file out of the pub, how do we see Polly looking after her customers with words or action where needed? Well, you know, it's closing down.

[00:57:50] She sees a couple. I think we see like a few different vignettes basically as the night winds down. She watches a couple go off into the upstairs room and you know, she knows that they don't need my help. Nope, that's Scottish. God damn it, it's hard to go between them. You don't need my help. There we go. Um, I think there's a man at the bar who's like

[00:58:19] staying behind and he's obviously like heartbroken has just been there all night is drinking uh, ale after ale and he's complaining to her, you know, she's wiping up the bar and like most people have left at this point. And this guy is just like, he's always there. I know he's seeing someone, he comes back, he's got green smears on his face, it's like he's been rolling around in the grass and I know he's up to something. And

[00:58:49] Paul is like, well, you can't know like for sure unless you go for yourself, right? So he's been going to the gardens an unusual amount of times. It doesn't mean he's meeting up with someone. Perhaps something else has smitten him. He just, you can't just jump to conclusions. Trust me on this one. Take yourself out there the next time he goes and you'll see for yourself. You'll be right as rain. I think I'll just fade

[00:59:19] that away as he sort of nods and she closes up and he calls it a night. Miss Archer, what do you do? Okay, so these are spores. Yep, rapidly filling the room. So she sees all of these spores coming towards her. She has an idea of what's going to happen. If it's breathing in then probably she will lose some amount of control over herself. So what she needs to do is she needs

[00:59:48] to even the odds a little bit. How many other, how many of these people are there? In total I'd say about ten. Oh, easy. Yeah, okay, so her vitality is definitely from years of training and practice but there is also a supernatural element to it. The archers have made a deal and that has given them the ability to do a lot of the things that they do. So she digs deep in her. Her

[01:00:18] vitality is ignited specifically by anger and by pain. So I'm going to use an item from my personal quarters, the scar from the fight with Raleigh. It started to heal over a little bit, not too much, it hasn't been that long, but she is going to take out her daggers and she's going to reopen that scar to both feel the physical pain of it and to also remind her of just the emotional and mental anguish that has

[01:00:48] come, both hers and other people within Hargrave House. And then she's just going to hold her breath as long as she can, go around the room and try to take out as many of these individuals as possible and then just like try to fucking muscle her way through any spores that she does

[01:01:20] and this. especially because right now she's pissed off at Sebastian. This would be a bullshit fucking way to die under the influence So whatever this green bullshit is that seems to be like everywhere now. I love it. You know, I'm not sure if it's worse than that. We'll go with that. This is going to be with vitality. And I'm going to roll with advantage because I'm using my thing. I love it.

[01:01:50] Okay. Ten. Nice. We'll circle back to you before we end. But for now, think of what your battle looks like. Mr. Quiet. Just give me the denouement of your night phase. What's happening here? He's going to walk home alone and take the long way back to Hargrave House, kind of thinking about his mother and Lenore.

[01:02:13] And what I'd like to try to do is I think he's going to, as the crystal ball continues to be non-responsive, he's going to say, well, fine. If this is what you want. And then he's going to smash the crystal ball against the ground. He's going to start speaking in some lost tongue that nobody could possibly comprehend. And he's going to offer his body as a vessel to Lenore. Oh, interesting. What are you trying to trigger here? It could be.

[01:02:43] It could be either Beacon in the Dark because he's trying to find Lenore because he's not even sure she's in the ball. I like it as a Beacon in the Dark. Let's go ahead and roll that. Roll with sensitivity. It says, for folks listening, when you walk the streets of London at night, your consciousness spreading across the city like a vast spider web. Roll with sensitivity. All right. It wasn't a great roll, but I have three sensitivities. So it is a nine. On a hit, you are immediately confronted by a threat or a personified danger related to the threat. You may ask them two questions from the list below.

[01:03:13] They will not answer directly, but rather in the form of a clue. I'm going to play with what you're putting down here and say that you do draw Lenore to you and Lenore will possess you. And you'll be able to ask these two questions of her. Normally, the move, if you don't get a 10, the threat departs as soon as the questions are answered. But I think because you got the hit, it makes sense that she doesn't depart, right? She's here with you.

[01:03:41] And so, or because you got a mid result, that makes the most sense. And so you can hold your questions. Just make a note that you're owed these questions. I just want to know what it feels like when you invite Lenore into your body. He's never quite done this before, kind of offered himself up as a vessel for another entity. He's kind of torn on whether he wants this to be symbiosis, where they're both kind of occupying this body, or whether he wants to be kind of snuffed out by the presence of Lenore.

[01:04:13] I love it. Take the condition possessed by Lenore. It was only a matter of time. Mr. Melmoth, how does your night phase wrap? Sebastian sits there quietly with D.I. Pettigrew, thinking, and says, You're not the first person, D.I. Pettigrew, to offer me some kind of life with them.

[01:04:42] The life you offer, I must admit, is very different from anything that anyone has suggested before, and I can understand the appeal, but it's not me, is it?

[01:05:02] You have to understand as well that in the past, when people have been this familiar with me, this intimate with me, have touched me physically or emotionally in the way that you have tonight,

[01:05:23] I have not always been gentle with them, but I will offer you the greatest gift that I can tonight, which is a chance to walk out of Hargrave House unscathed, which I will not offer anyone else on this world.

[01:05:51] He takes you up on that as he's leaving your chambers, perhaps uncharacteristically of people normally who deal with you. He's not begging you. He's not throwing himself in the fire because you have rejected him or whatever. He's just leaving, and he turns and he says, Sometimes, Mr. Melmoth, sometimes people just deserve a second chance.

[01:06:23] And then he turns and leaves. And I think Sebastian turning back into his room just says under his breath, Not all of us, D.I. Pettigrew, not all of us. Ms. Ennis, one simple question. Do you let Julius drink from you or not? Oh, man. Um, yes.

[01:06:52] But I think that what precedes it is, I'm sure there's mirrors in his room, right? I feel like leading up to that moment, like, Moira's kind of lost in some other place, and she's looking in the mirror,

[01:07:11] and she's looking at herself in this blouse that has the initials, and she is just sort of, like, tracing her fingers over those, that embroidery. And I feel like she asks him, Do you ever get lost in time, Julius?

[01:07:35] Yes, after a while, you do begin this sort of, forget exactly where you are, chronologically speaking. It's easy to feel a little unmoored when you have as many years as I do. But I find that the way you can always come back, you have to remember the person you love. The person you love is your anchor.

[01:08:04] They always bring you back. They center you. And it's rather easy for me, because the person I love is always near. I think she is, like, kind of laughing to herself, like, giggling, like, looking in the mirror. And she says, Well, and she sort of tilts her head to the left, you know, kind of exposing her neck.

[01:08:34] I think it's all right if he hurts a little. Splendid. I haven't had fish in years. Oh my god. And he digs his fangs into your neck. I'm not going to make you roll Nightmove. I'm just going to give you a drained condition. Okay. Fair enough. Well, that just leaves Ms. Archer.

[01:09:01] Give us your second action set piece of the day, Ms. Archer. This is a fairly normal day. We enter that bullet time where we can see the wheels turning in Viola's head for a moment as she plans out her plan of attack, which will go off as she is envisioning it in this very brief moment. First of all, she did promise Mr. Regulus that she was not going to. She was going to do her best to not ruin the shop. So she is going to be very careful to not burn anything or spill any blood or do anything like that. She wants to keep it as pristine as possible.

[01:09:31] She also is aware that there are these spores coming. They're coming out of nose and mouths. So things like taking heads off, that's probably not going to help solve the problem. So, standing by the door that she's just ushered Mr. Regulus out, she will put a well-placed kick that just knocks it open to allow a little bit of air to come through and then she'll go to work. What she's doing is she's crushing jaws. She's bashing in noses. She's basically trying to collapse faces so that orifices do not act as methods of escape for any of these spores.

[01:10:00] Now, just watching this, you can see every jump is a little too high. Every punch is a little too strong. This doesn't make sense to just be a normal human within the bounds of normal human strength. She's holding Schottenlicht, her two twin daggers. There are markings on them that begin to glow and they start to emit heat that you can see visibly. You can smell flesh burning as her hands are beginning to burn against the handles of these blades.

[01:10:29] She takes out basically everyone. There's one guy left. She'll, for a moment, pause to consider, hmm, maybe I can get a little bit more information out of him. But then at the very last moment is like, you know what? Fuck it. And just goes in and starts to vent out the rest of her rage on this until basically there's not even much of a head left. That will conclude our night phase.

[01:10:58] We will save Janice Mask for next time. Let's go ahead and just go to the dawn. Get some XP here. Rewards. You did resolve a threat. Actually, since no one went down into the bowels of the house. Oh no. The coven is also resolved. What? No. Both threats are resolved.

[01:11:28] What? That doesn't sound good. Wait, what? They're no longer something Hargave House has to worry about. Oh no. Wait, what happened down there? Good Lord. This is me shrugging. Oh shit. But let's talk about rewards because you are owed rewards.

[01:11:55] For the Reaver's last victim, you get a reward called the Mask of Care. This aspect of the Janice Mask can be used at any time and can only be used once. When used, each hunter narrates a scene where someone they helped before does them a kindness. Aw. So that is available. Somebody will make a note of that somewhere. Who the fuck has Sebastian ever helped? And then you're also owed rewards for the coven.

[01:12:25] A rosary made of tiny animal skulls and finger bones. Add it to your personal quarters. A copy of the sixth and seventh books of Moses, a grimoire. Add it to your personal quarters. Or three options for a memento from the investigation. Who wants what? Man, that grimoire would be cool, but I feel like that's got to, like, Edward's got the first right of refusal on that one, honestly. Well, the first two both scream, Edward. I'll take whichever one you don't want. That's okay. I'll go for it.

[01:12:55] I haven't done a memento from another person in a while. So, Josephine. Or Moira. Oh. Oh. In that case, I will take the grimoire. Okay, you're taking the grimoire. Has someone taken the rosary made of tiny animal skulls and finger bones? No. Moira will take it. And wear it. It really complements the two bite marks on your neck. Yeah.

[01:13:24] And I guess I'll take a memento from the investigation as well. Who would you like yours from, Scott? Oh, uh... I'll take mine from Cap. I know it's not specifically from Moira, but because I went under there and you asked me to do it for you, Nick. I feel like it's literally a plank from their boat that they came on that she brought back from beneath the waters. Just a little plank of wood, probably cursed.

[01:13:53] That's really good. You know, what is it these days? Well, because it was all carved with symbols on the inside, if you remember. Yeah. Yeah, yeah, yeah. Oh, yeah. I think that kind of misreading Sebastian's or Mr. Melmoth's new obsession with flowers, he's going to get a jar of preserved black lilies. Oh. Edward finds that and leaves it in Mr. Melmoth's room. Nice.

[01:14:21] Was fully expecting it to be D.I. Pettigrew's eye, honestly. I thought about an eye, yeah. Maybe not his, but an eye, yeah. Let's do Dawn questions. All right, so everyone is going to get... Did you answer a question? Yes, you did. And you also resolved a threat, so everybody gets the first two. Echoes in the night. I feel like I heard echoes from everyone, but if someone's not sure if they got one, they can say... Mr. Melmoth, did you get one? Um... Yeah, I think so with, uh...

[01:14:50] I think Sebastian trying to comfort D.I. Pettigrew echoed the... Yeah, just the basic intimacy between the two of you, yeah, definitely qualifies. Uh, fantastic. Um, Mr. Quiet, did you get one? I think... Well, maybe it's a stretch. I think the tarot cards are kind of reflective of visiting Madame Starlight's quarters. Oh, I'll take it. Oh, I'll take it. Yeah, yeah, yeah, yeah. I'll take it. Ms. Archer? The standing outside the threshold to a place, wondering whether or not, where you belong. Oh, good. That's a good one. Yeah, good job.

[01:15:20] Um, Ms. Innes? Just the Kew Gardens green smear, you know, the story at the pub that Polly was, uh... Yeah, yeah. ...listening to. Uh, Mr. Melmoth, did you secretly show a vulnerable side to someone? I mean, I think, honestly, that whole conversation with Pettigrew counts, right? Yeah. Yeah. Uh, did you express a clear preference for the beautiful over the mundane? I think in trying to offer D.I. Pettigrew a glow up with his, uh, missing eye. I like it. Yeah, very good.

[01:15:48] Uh, Mr. Quiet, did you make love to a human in order to forget the darkness? Does the plague pit count? Oh, my gosh. Hang on. Hang on. We're all adults. Explain how it could count. Didn't fuck an entire plague pit. Oh, my God. No, I did not. We're gonna go with no on that. Uh, did you perform a ritual? Yes, you did. Uh, Ms. Archer, did you loudly, loudly curse your family's name? Finally, yeah. I finally did.

[01:16:17] Did you try to go unnoticed in a public space? Quite the opposite. Indeed. Ms. Innes, did you discover something new and exciting about the surface world? No, it's all the same old at this point. Okay. Unless you want to count Julius and Julius drinking your blood. That's true. That is a first time experience, I think. Okay, sure. Yeah. Uh, did you trust someone with sensitive information despite knowing the risks? Yes, Ms. Archer. Yeah.

[01:16:45] Okay, go ahead and transfer all your marks down to your XP track. And that will wrap our Dawn phase. Thank you for listening to Ain't Slayed Nobody.

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