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The Vampire With No Name 1.26 - Eventuate · Dubious Creatures Presents

0:32
The. A highway wanders through the
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desert. A tumbleweed drifts past a dusty
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dive bar. A coyote shrieks out to no one
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in particular. Someone's bleeding out in a
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bathroom stall. The stars tonight are bright,
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but not nearly bright enough. This place does not exist, and
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yet here you are. Welcome to San Arroyo Kindred.
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We here at Dubious Creatures present to you the vampire with
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no name, Jeremy. Yes, Sir.
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Up is down, left is right, ass is over tea kettle.
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You have no idea where you're going, but the current is taking
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you somewhere. I I think Jeremy.
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Is so this? Is a great spot to mention that
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Jeremy really can't swim. I think he basically like
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intellectually knows he doesn't need to breathe but is still
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panicking and frantically flailing trying to get back to
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the surface. So he is just like a bundle of
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panicked everything as he gets like bounced off of rocks and
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you know, corners as he gets swept down the current.
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Yeah. You don't know where Rita is.
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You don't know where anything is, really.
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Your lungs are filling with water, and even though you know
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that's not as much of a problem for you as it used to be, it
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doesn't stop that this sheer animal panic from setting in.
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Give me a We'll call this just a straight composure plus resolve
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chick. 2 successes. Actually.
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Well. I'll I'll I'll spin willpower.
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Still, 2 successes didn't help. Despite your attempts to master
3:15
yourself, you feel like you careen into every hard surface
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an object there is to careen into.
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On your way. Somewhere, wherever it is you
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think you might have left several pieces of your epidermis
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along that path, you take two points of superficial damage.
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That's after having till finally, mercifully, you're
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deposited somewhere. You're not sure where exactly,
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but you flail and find yourself connecting with some kind of
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solid surface underneath your hands and arms, and you just get
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the soldier crawl your way up and out into the dank air,
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coughing, spluttering, but it's pitch black wherever you are.
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I, I think Jeremy like flops onto his back in the darkness
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and just starts to panic, laugh like just pure hysterical
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laughter as like staring off into the abyss.
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I mean. Completely done hurt and knowing
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he's lost, knowing nobody's ever going to be able to find him
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down here and just complete letting it all out.
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I mean, they said you'd wind up in the gutter, but this is a tad
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more literal. I, I, I think when it all kind
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of stopped, like he eventually like gets it all out and he
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just, he's just kind of like laying there staring off into
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the dark. He'll like sit up and he's just
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going to start to very softly, like whistle like into the, like
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just whistle a tune into the darkness.
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At least the sun can't get him here.
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And I I feel like he's going to wait for the music to lead him
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out. You kind of whistle tunelessly.
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You're trying to get your bearings, your head still
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swimming. That's when you hear it.
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A low growl. I'll turn to it.
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I can't see it in the darkness, but I imagine Jeremy basically
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just kind of sits up a little straighter and he keeps kind of
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just slowly whistling. And I, I, I think it, his kind
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of resolution here is in the dark.
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He can't get away from whatever this is.
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So it's either going to attack him or it's not.
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But I, I, I imagine that he kind of changes the pitch of what
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he's whistling to something a little softer, more like AI.
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Imagine he starts whistling like a children's rhyme or like, you
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know, bring around the Rosie or something like that.
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It just goes kind of like low and childlike.
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You hear the sound of footsteps splashing their way towards you,
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and then a light shines out in the darkness.
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He kind of like holds a hand up to because I assume it hurts
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because obviously light and total black.
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Ow. You see that reader woman who
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you tackled sans shotgun but having apparently stashed some
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kind of waterproof flashlight? She looks just as wet and
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miserable as you do, her long dark hair now sticking to the
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sides of her head, and her expression is thunderous to say
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the least. Stop it.
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Whistling the music. It never stops.
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Well, it's drowning out everything else, so stop it.
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He kind of like tilts his head and is like looking at her and
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is like can you hear it? Can you hear it too?
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I can hear you and you sound like the world's shittiest one
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man band. Well.
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I'm sure the acoustics down here aren't helping.
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I think he'll like stand up and like brush the presumable like
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mess off of him. Like just kind of like wiping
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his hands. Yeah, you don't want to know
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what you've been rolling through.
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And then he kind of like looks at her and says, I take it you
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don't know the way out, do you? This is a situation.
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All the music out. There's another sound, some kind
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of scraping. She immediately pivots and
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shines light into the darkness. You don't see anything lurking.
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This is right now. The situation is that we're
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trapped down here with a white at the moment.
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You're at best an ally in a tactically disadvantageous
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situation. At worst, you're spare blood.
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Thanks, you look good too. We need to get out of here.
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The rest can wait. He kind of like actually like
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laughs like gives a little chuckle that he says.
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The only thing I that I could hear before is Anne Sloman
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myself. Why?
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What? Why then?
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Mustafa's more like, you know, the the song from Friday the
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13th, like the musical sing. He's like that, but it's like
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strings and more. There's tension and like horror
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and like a constant build. Anselm's more like an old
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ballet, like Wagner or something like old German opera.
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There's a lot of things I can hear.
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They drown everything else out. You have friends heading towards
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the horror music. They were well nice before
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finding you guys. We were.
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Only thing I could hear at that moment was Anselm, presumably
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right after you guys found him. Or expression, which was
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previously, well, pissed, goes from contemplative in a split
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second and you're connected. I don't know how, but you're
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connected. And that's the one advantage
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we've got right now. I mean OK, I mean I can try to
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find it again if you want. It's just either we find it or
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it finds us and Kit presumably kills us in some horrible way.
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If all of your friends are heading towards it, I'd rather
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have the advantage of numbers, OK?
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Fine, I'm going to like step up next to her and then tilt my
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head and and try to listen for I mean, I I know Mesa what Mesaf's
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music sounds like. That's what I'm listening for.
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Give. Me another wits plus all specs
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roll. This is not a good VESI.
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Crit 6 and I get hungrier. Oh no, I don't get hungrier.
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So just messy Crit 6. I think we're going to find
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them. Oh, that's, that's loud and it's
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mounting and. He's coming.
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Is that all Jeremy says that's. When you hear a second growl,
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further away, but lower, deeper, and this is you're pretty sure
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the part with the musical sting intensifies to let the audience
12:01
know just how royally screwed these poor side characters are.
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Rita just grabs your wrist and says move.
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You're. Going to hate me if I show you
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in the water again so you get away.
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She's ignoring you just OK. Dragging you drags her off.
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He'll let her a leader wherever she's going.
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You hear something loping through the darkness after you,
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The rest of you. Yes.
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Yeah. There was some kind of
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confrontation because it left a trail.
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It's the blood scent isn't just noticeable, it's it smells rich.
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For some of you, it's it's a moment, a split second where
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there's a part of you that wants to just start it, licking it off
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the filthy floor. I am at hunger 4.
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It's a brief notion, but it's there, and it gives you
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something to follow, especially since one of your number can see
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in the dark. Everyone ready?
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That's all of her beef. Yup, let's go I.
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Will. Lead the pack.
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Path takes down a flight of stairs.
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You think you're in the actual sewers now?
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It's getting tighter, more cramped, more water.
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You're leading from the front here, Crow.
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Go ahead and give me what's plus awareness or what's plus
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survival. 3 successes. Hard to track a blood trail
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through at least a few inches of dirty water.
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But looking around, you see what nobody else could see in this
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pitch blackness. That is claw marks, faint but
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noticeable, made by something so sharp that it actually left
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grooves in the concrete. And then you see, darting
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between passages, a light very noticeable to all of you.
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That's weird flashlight light. You're not sure, but you see
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something very briefly. Something hulking and almost
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running on all fours, briefly silhouetted, but it appears to
15:03
be headed away from you. It is a wounded monster, wounded
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animal. It makes sense that it runs.
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I guess we got to give chase. But.
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Definitely try to see whether wherever the light it's coming
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from. Jeremy, can you give me a dex
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plus athletics roll? Chase successes.
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All right, could the rest of you please give me a Dex plus
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athletics roll because you have a direction to go in?
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Two successes from Crow. Two successes that's. 7
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successes Messy, critical. I also have a messy critical.
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I sense a pervading theme tonight, Jeremy.
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You feel something slice into the meat of your back from
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behind. I think, I mean I, I think
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Jeremy just screams. You take after having four
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points of superficial damage. And yeah, that's that's going to
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be bad. OK, I'm in.
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Obviously I'm wrapped by that. I think he he screams and then
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he like turns his head to the lady he's with because he
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doesn't know who she is and says run and then like turns on the
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monster. She doesn't have a chance to
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reply because suddenly several things happen at once.
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Raleigh and Astor. You see the thing that was Masab
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once again, like a repeat of the exact moment in that laundromat
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towering over Jeremy. I'm certainly not going to let
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it be a repeat do. You have a split second to do
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something before it tears into him more.
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Can I get between Jeremy and it? I can take the hit.
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Give me stamina plus athletics. You know what really want the
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six seeds that we're going to rouse.
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The beast and I are in a core that is hunger unchanged and
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five successes. You said you wanted to take the
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hit. Yeah.
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After having three points of superficial damage.
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I'm also headed into aggravated, but that's fine.
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It keeps it from killing Jeremy, which is enough.
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And asked her. You're here and you're in the
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middle of it and you know, you're not really sure what your
18:33
plan was, but you're here. I am holding Jeremy away as.
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Fast as possible. You see as that happens, as
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Raleigh is basically holding off this thing and lots of the rains
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blow after wild blow against her and Cheese clearly defending
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herself as best as she's able, but there's no amount of martial
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arts training that can prepare you for this just kind of rabid
19:04
assault. You see the woman, Freda
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launches forward with the flashlight.
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You see her jam it into its eye and there's immediate spark and
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crack of glass and the thing roars.
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You're all plunged back Into Darkness, but it moves very
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quickly away from you, further down the corridor.
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By this point, the rest of you have caught up looking, right.
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That I'm it's. It's on the run again.
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OK, who here is actually like mobile and can fight?
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I'm still standing. I could fight.
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You know, lighter, but I can do it.
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OK, we'll take my. Best.
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Pieces rally. I'm not worth it.
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Oh, shut up. We're all worth that.
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Yeah, nobody here, Steve. Team.
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Team not breathing sticks together.
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Nobody's fucking. Dying or I will kill you myself.
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Yeah, yeah. What a mood.
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Now you gotta find it without me.
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Jerry just starts to like chokes off.
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You all are clearly crazy. Yeah, the woman just says
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flatly. Says are we going or no?
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And she's going to start taking off towards it because the
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longer we stand here talking, the further it's getting away
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from us. Ash will follow.
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Jerrie's gonna start limping in that direction.
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I will help Jeremy limp along. Rita, just watch as you all go
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with a clearly almost perplexed expression.
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Jeremy blows her a kiss and before he disappears into the
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darkness. Jesus.
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Christ. Of course.
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You're psychotic. You're going to.
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Help her not come on. Nick likes you for some reason.
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It's my charming personality. She is taking up the rear.
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She whether she likes you or not is irrelevant.
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She has a job to do. She's here to do it.
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You continue to follow it. You can see you're again, you're
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not really sure where you're going.
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Do you feel like you're deep, deep under the city now?
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The chamber starts to widen out again.
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Maybe you're back in the flood tunnels, maybe you're somewhere
21:58
else. You're not sure.
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But either way, and there's light.
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Not a lot, but a little bit. Some sort of maybe another sewer
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grate, maybe some other edifice above ground that's letting in
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just a little bit of street light to illuminate the
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surroundings. This large junction, you can see
22:20
more bits and pieces, more tents, more lean TOS, more
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pieces of a group of people that so often the rest of the city
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forgets. Thankfully you don't see any
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people around. Even the light seems a little
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surprised at those. You can see it's rocking back
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and forth violently, knocking over pieces of slightly moldy
22:55
furniture as though it's searching bangs, bared, tongue
23:00
rolling out, growling, huffing, wounded.
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One eye is just a bloody mess, Torso's riddled buckshot.
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It's looking for a meal, and it can't find one.
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Instead, it found all of you. And I am just going to barrel
23:26
right towards it with a Bowie knife and essentially trying to
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engage it in fight me to give the other people a chance to
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stake it. This is Tattershade all over
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again. Final act Sonia reaches the
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Baron Mesa confronts the villainous Lord Tattershade,
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challenging him to one-on-one combat.
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It's corny as hell, but that's the movie business.
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Yeah, that's all I know. Give me decks plus melee.
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I'm going to do an all out attack.
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OK. I'm going to spend the willpower
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to reroll a couple of dice for six successes.
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Anselm's expertly crafted blade give you a + 3 on the damage.
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It's a fine bit of workmanship, even by the standards of
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frankly, comically large cowboy knives.
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There's some resistance, but it's a wild animal.
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It doesn't really know how to defend itself.
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It just lails and the knife cuts into it and it doesn't stop.
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It doesn't shatter. That feels good.
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Ugly little part of yourself that delights and actually
25:00
getting to get your licks in. As for the rest of you, seems
25:06
like Riley certainly got its attention.
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I'm. Going to go punch it.
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Strength plus brawl. F it, I'm going to go all all
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for an all out attack as well. Two successes.
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OK, maybe we were a little too confident.
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You try to go in for the mother of all haymakers.
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You want to get your licks in, too.
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You feel like you owe this thing.
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Unfortunately, it rounds on you at the last second, even as
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Riley continues to punish it with expert slices and stabs the
25:48
knife. And you get a backhand right to
25:53
the jaw. Fortunately, your fortitude you
25:59
only take a point of superficial damage.
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Small favours, I'm going. To do my best in this moment to
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try and get in and stake this thing while they have it
26:14
distracted. You know where to strike right
26:19
between the 3rd and 4th rib. This time you're pretty certain
26:23
the damn thing won't shatter. Well, that's unfortunate.
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That is 1 success, possibility of bestial failure.
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And it was going so well, too. You try to dart in.
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Fortunately, the problem isn't even the creature.
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The problem is Raleigh. She's moving too fast.
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You don't want to accidentally get her, not when she's the only
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thing that's seemingly keeping its attention.
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Then it moves. Another one of those sudden
27:06
bursts of speed it tackles into you.
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Crow. You can feel its fangs inches
27:19
from your face. You're getting a serious sense
27:23
of deja deja vu Astor. First off, Astor looks to Jeremy
27:29
and he's like, hey, do you have a ladder?
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Jeremy kind of gives her a very pained smile and then fumbles
27:36
into a pocket. I, I, I'm assuming my clothes
27:39
are salad, right? I, I didn't like it like a
27:41
bully, like stripped or anything terrible laws.
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Like he fumbles and he pulls out a Zippo and he kind of looks at
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it. And then he kind of says, I told
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you I'm not worth it, go help them when he passes her the
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years ago. She will absolutely take it and
27:59
sort of lean down and grab the other syringe out of her boot.
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Second time's the charm. I'm to become a living weapon.
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Give me a Rouse check to activate the formula.
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Oh, we're in a cord. My beast kind of likes this
28:20
actually. You know, it's nice not being on
28:24
the receiving end. Yeah, actually kind of is I'm.
28:30
Starting to say the appeal. Definitely.
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And just like before, she will kind of like RIP open her own
28:38
wrist and let it let the blood pool in her hand and.
28:44
Just it appears to be dead set on biting into crow well.
28:49
At least it's distracted so it's not going to see this and she
28:52
will yet again fling her blood, but try to do it closer this
28:58
time so she doesn't just waste another lighter.
29:02
Well, it's a big thing and you got a fistful of your own blood.
29:07
You could just walk up and try to smear it on them.
29:12
But you know what? Sure, let's let's say Astor.
29:16
Is that brave all? Right, it's good.
29:19
Give me a dex plus athletics role. 6 successes. 6 successes
29:25
on a critical You dart in and just as this thing looks like
29:33
it's about to RIP out crows carotid you literally smack it
29:39
in the side of the face. The fistful of your now very
29:44
diesel smelling blood. And with it's one good eye, it
29:50
rears up, trying to blink this fluid out of its gaze.
29:56
Before she tosses the lighter, Astor learned earlier was like
30:01
and just yells fire to try to keep give everyone a moment to
30:06
like reflexively brace themselves.
30:10
Fire indeed. Suddenly the whites head goes up
30:14
like a Roman candle. Everybody in this enclosed space
30:23
to give me a willpower check. The exception of you, Astor.
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One success and I am very close to this.
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Two successes. I tried to Cano brace myself the
30:41
best I could got. 3 for just the little.
30:45
Guy Jeremy unfortunately warning is all well and good, but fire
30:51
enclosed space bad. Everybody, with the exception of
30:58
Jeremy and Astor scrambles backwards.
31:02
Even you, Raleigh, with your knife held in a confident
31:08
reverse grip, suddenly feel the sudden urge to get the hell out
31:12
of this thing's general vicinity as the fire spreads from its
31:16
head down onto its shoulders. And soon the entire upper half
31:18
of its body is just this massive burning torch Wick as the layers
31:24
of old ragged clothing. Whatever has been collecting on
31:29
there for who knows how long just starts to go up.
31:34
It howls and flails, knocking into other structures, spreading
31:44
the embers. Not my cleanest work.
31:49
But. But incredibly, it is still not
31:54
dead. Fortunately, Free does not much
31:58
help in the situation either. She also failed her willpower
32:01
check. Is this one of those things
32:04
where I can spend a build power and master myself for just a
32:09
quick moment? You can if you have will to
32:12
burn. I do and I'll do it just to rush
32:18
at this thing and take another all out attack at it.
32:22
The. X plus my life.
32:26
This one's for the whole enchilada.
32:31
Rouse one more time. Hunger unchanged.
32:36
Another six successes. You're a student of cinema,
32:41
really, so how cinematic do you make this moment?
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Knife lip, that reverse grip and this knife goes directly through
32:55
where the heart should be and I push it back back and pin it to
33:01
a nearby wall. The knife probably going several
33:03
inches into the wall and I growling like a feral animal,
33:09
but it's it's almost like I'm there again shooting at scene.
33:15
I'm Sonia again. It's just Tattershade and like
33:22
before, I pull through, I win. And at things look positively
33:35
ghoulish now. Fast acting flames are rendering
33:38
down it's head down to the skull.
33:44
It's clawed hands reach up even as you shove Anselm's knife
33:52
through its sternum and then bowl to its sides, and there's
34:04
almost a sigh of relief. Or maybe just air escaping an
34:14
old corpse. Be free.
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Just slumps down against the wall.
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The fire continues to spread rapidly, almost hungrily.
34:30
So you back up. You see, it consumes every inch
34:37
of him, every bit of flesh, every scrap of clothing, till
34:46
eventually there's nothing left but a burnt silhouette of fine
34:54
black ash. OK, rest well.
35:01
We should get out of here. Yeah.
35:03
As as sort of a weird habit, I'd kind of be a Roman Catholic,
35:07
kind of cross myself for a moment and then just say yeah,
35:11
yeah, we should get out of here. How do we get the fuck out?
35:16
Here we came. I think Jeremy is like balling
35:29
up on himself and like almost falling over.
35:31
He's laughing. Ash will slide an arm under
35:36
under his like hold the gun, but it's like Nope, Nope, we're
35:40
getting out of here. No time to fall over with the
35:43
chuckle flux. We all really need a shower.
35:49
Oh God, oh God, Oh my God, look at the. 2.
35:55
Aggravated aggravated damage worth of claw marks on me and
35:59
he's feeling this is going to be really hard to explain.
36:08
I I think it is slowly like turning from like hysterical
36:12
laughter into something like a choked SOB and he just like
36:16
collapses and dashes arms. Bro, you good?
36:21
Yeah. Can me and my friend stay at
36:29
your place for a bit? Absolutely not tonight though.
36:35
I need a night to myself tomorrow.
36:38
Come over tomorrow. I will offer a sunproof to live,
36:44
a living room and couch if it's it's going to be a little cozy
36:49
but well, you can at least crash there for the night or the day.
36:56
Just need a ride out to my place to pick up.
37:01
We'll make sure it happens. I'm assuming this conversation
37:06
is happening while they're they're walking out or moving
37:10
out. Yeah.
37:11
Imagine. Yeah, OK.
37:13
Cool. You realize how fucked we are,
37:18
right? He's gonna fucking kill us.
37:22
Not if we spin this correctly. We did the fucking job.
37:28
If they have a problem with that, that sounds like a dumb
37:31
problem. Exactly.
37:34
They asked, They told us to kill, killed, kill him.
37:38
And we did. We did it and if they have
37:42
problems with that I have talked my way out of worse shit in my
37:46
life. And it does kind of sound like
37:49
the this blood hunt thing is every man for themselves.
37:56
I wouldn't be surprised if this is the first time Underhanded
37:59
Tactics has done something like this.
38:04
You're not wrong, says Rita. You almost got to forgot she was
38:08
there for a second. Sure did.
38:12
I have to find my boss. Good.
38:17
Good luck. Tell, tell Nick I'm sorry.
38:23
Not my accounting, not my problem.
38:27
You all are clinically insane. Yeah, yeah, I told that before.
38:37
He just starts walking further into the sewers.
38:43
Yeah, gonna. We're gonna attempt to navigate
38:45
our way out of here. I'm sure there's like service
38:54
hatches or whatever, they go up to the surface here on the
38:59
surface, how I have no clue, but like.
39:02
Oh yes, it's You may not be able to trace your way back the way
39:06
you came, but it's not terribly difficult to find a service
39:10
ladder leading up to a manhole cover.
39:14
Slowly push your way out onto the street level and well,
39:22
fortunately looks like you didn't come out in the middle of
39:29
the town square or anything like that, but you're definitely a
39:36
ways away from little Hollywood. OK, I.
39:44
Think maybe near downtown you can see Magdalene Tower not so
39:50
much in the distance as it is towering over you is.
39:53
It worth a gesture towards Magdalene Tower.
39:58
Worth going to report. Yeah, I mean, they're nice
40:04
before. Before someone makes us
40:07
disappear. Yeah, yeah, let's head that way.
40:13
Was there any ash that remained of the missile that, you know,
40:18
could have, I don't know, ripped something and like, gathered up
40:23
some of it? You wanted to collect some of it
40:27
then. That's a little bit of evidence.
40:32
It's quite possible as you're walking towards in the direction
40:38
of Magdalen Tower, trying you know, to avoid main
40:42
thoroughfares because you're not sure how you'd explain well.
40:48
Everything. Any of this, much less to the
40:51
police. Somebody walks into your path.
41:00
Somebody who you, Jeremy, actually recognize.
41:10
There's a. Carson.
41:13
I'm going to. Like.
41:15
Tear away from because I presumably I'm still leaning on
41:18
Aster and like, step up in front of him.
41:23
Carson, what are you doing here? Hey kid Carson.
41:30
Individual middle-aged guy, kind of slightly thinning hair,
41:38
wearing almost like formal wear, nice button up shirt and slacks,
41:44
very Polish shoes. It's a.
41:48
Small wave from me. I was looking for you actually,
41:54
but I guess these are them. These are they?
42:02
Yeah. Cool.
42:06
Hey, folks, Carson Longbow. There's somebody who wants to
42:14
meet all of you. Ronce, that's not far.
42:24
Just around the corner here actually Can take you through
42:29
the back entrance. No need to cause a fuss.
42:35
You all look like you're having a time.
42:40
It's been a week. It takes you further down what
42:45
you realize Jeremy. It's the one of the back
42:50
entrances to Provence. Head back to the door, back
42:57
through the large, impressively outfitted kitchens currently
43:03
seemingly closed down for the evening as there is an assault
43:06
sight. Back out through the bar
43:10
entrance. This large oppressive main area
43:16
that has this strange sort of neo bow arts aesthetic to it
43:22
that seems rather a touch too fancy for the city it's
43:27
currently located in, I think. Taylor and I went on a date
43:31
here. The food's actually pretty good,
43:36
actually has two Michelin stars. And for this town?
43:42
It's the go to for Crawford family dinners and celebrations.
43:46
You're greeted by the sound of piano music.
43:52
Someone's playing at the grand piano that usually Jeremy around
43:59
this time of night, you'd find yourself stationed at.
44:04
Who's there? A woman woman in a very simple
44:10
but very elegant black evening dress over which a short coat
44:21
with you think a genuine fur stole.
44:27
She has long silver hair elegantly parted around a
44:39
heart-shaped face. The well, she's definitely not
44:44
in the prime of her youth anymore.
44:49
She's one of those people who clearly aged like a fine wine.
44:55
She's playing rather expertly on this piano.
45:00
Don't recognize the melody, Jeremy.
45:05
Much like this restaurant, she seems altogether far too elegant
45:09
at this sort of place. You know it's.
45:15
Too good to be here. And sitting, well, more like
45:23
trying not to collapse at a table nearby, looking every bit
45:29
as dishevelled and thoroughly done with tonight as you are, is
45:35
Ansel. I'm just kind of stand there and
45:40
sort of wait to see what happens.
45:42
Give Anselm a small nod. Just gives you a very tired look
45:49
but doesn't say anything. Carson opens up the side of the
45:55
bar for you all to walk through but doesn't follow you and says
46:00
you approach closer to the woman playing the piano.
46:03
She stops mid set and taps a key experimentally a couple of
46:10
times. This sounded out of tune to you,
46:17
Mr. Reed. It's at the the sour note.
46:22
Sounds a bit like it, yeah. Yeah, I've been hearing it for
46:26
months or days. It's kind of hard to keep track.
46:33
It has been a rather eventful few nights, hasn't it?
46:39
She turns in her seat to face all of you.
46:46
And some here gave me the very abridged version of events.
46:52
But given that you're all still staying here and not decaying in
46:57
some sewer adjunct underneath little Hollywood, I assume you
47:00
were successful. Yes.
47:05
This domain is poorer for it. She taps the key again.
47:13
He's made it very clear to me that the events that were set in
47:19
motion at the illegal rave a few nights prior were due to his
47:27
interference. I never took him for the
47:32
penitent type, but I suppose we all have our breaking points.
47:40
Dawn is fast approaching fledglings, so I'll be brief.
47:49
You've done this city a great service, and you've also
47:54
deprived it perhaps one of its most devoted sons.
48:01
I hope you realize the gravity of it all.
48:06
Yeah, I think so. But you have proven resourceful,
48:14
determined and able to make the best of a bad situation.
48:25
Rough around the edges certainly, but I'm sure that
48:31
give it a few years we can Polish them smooth.
48:37
Molly is biting her lip at the biting sort of the inside of her
48:40
cheek at the midst of. Years.
48:44
There are of course still some extant threads.
48:48
Obviously deaths of so many kind and so short of time certainly
48:55
going to draw uncomfortable questions, but at the moment
49:05
that is no longer the concern of you 5 You may rest easy,
49:15
Kindred. You have my word.
49:21
Whatever you think you may have done, whatever toes you may have
49:25
stepped on, there will be no retaliation.
49:29
She taps the key again. Must have this tuned.
49:38
I haven't been maintaining it the last couple.
49:41
Weeks. There's no place for you here if
49:45
you'll take it. Imagine a pay raise might be in
49:49
order given your more permanent issue of residency.
49:57
I don't want to cause you trouble.
49:58
I'm I think somebody saw me online, so people are going to
50:04
come looking for me soon. As you choose.
50:09
As you said, sunrise is approaching.
50:15
Oh, get out of your hair minus. Highness is rather old
50:23
fashioned, isn't it? No.
50:25
Nick didn't tell me the proper term.
50:30
You may refer to me as Prince Calais.
50:33
It's. You were dismissed.
50:37
Yeah, I'm not going to stick around.
50:40
Turn the head back toward the exit.
50:43
And some just sits there with his elbows on the table,
50:50
practically collapsing onto it like he's barely able to hold
50:54
himself up. And speed run getting everyone
51:01
back home I guess. Don is approaching, but somehow
51:13
he did it. So why doesn't this feel like a
51:18
victory? I was going to say, it feels
51:21
very hollow. Music never stops, that's why.
51:26
I call it Eric victory. Yeah, well survived another
51:31
night, kissed those bad as much as we can help for right now.
51:37
Hey, now that we're no longer like under the threat of death
51:41
and like unliving nightmares, I want to like actually like, I
51:52
don't know, grabbing a drink is like sort of kind of not thing,
51:57
but like. Everyone laid.
52:00
Oh, maybe I wasn't going to be so.
52:04
We should. Hang out so we actually like,
52:06
you know, be friendly and not like just we're stuck together
52:13
because we're all going to die. OK tomorrow night my house
52:19
movies, pillow Fort, pyjama party that's.
52:26
Sounds amazing. Thank you for not leaving me in
52:33
the sewer drain. What never we stick together.
52:41
You break apart and eventually dawn breaks.
52:53
Citizens of San Arroyo, such as they are, such as it is, get up.
53:01
They have breakfast. They try to ignore that text.
53:06
They try to follow up on that e-mail, Go to work, they
53:13
commute. They yell at that dipshit that
53:19
cut them off at the turn signal. They come home.
53:26
They relax or they don't. The sun goes down and the dead
53:36
wake. The dead wake underneath Saint
53:43
Francis Garcias, within the refractory, sealed behind a slab
53:52
like metal door. Sebastian sits there in a dirty
53:58
cot. Surroundings are all bare
54:03
concrete and deep shadows. He doesn't seem particularly
54:09
bothered, humming to himself tunelessly as he scratches
54:13
something onto the floor with a single claw.
54:18
Looks vaguely like a pit surrounded by writhing tendrils.
54:25
Or are they roots? There's a sudden clank of
54:31
hydraulics and a low hiss of oiled hinges as the door
54:35
suddenly swings open, and Sebastian turns to see the
54:41
silhouette of a hulking, ragged figure, one hand clutching a
54:47
long sickle like dagger with a blade of yellowed bone.
54:53
Sebastian grins. What took you so long?
54:59
The figure doesn't respond, nearly advances further into the
55:04
cell. The door rumbles shut behind
55:08
him. Sebastian stands up.
55:11
Look, before you start, I had to do something, OK?
55:14
Rafe's getting too big for his britches and we both know it.
55:18
The newcomer continues to advance.
55:20
Sebastian's grin shrinks by a few molars.
55:23
He backs up till his back is against the opposite wall.
55:28
Hey, wait, wait, you still need me?
55:31
I'm the only one who knows how to get in.
55:34
The figures on him in a flash, pinning him to the wall, sickle
55:37
blade pressed to the Gangrel's throat.
55:39
Sebastian's grin is now a defined snarl, but his eyes, his
55:44
eyes betray the terror. Fine, fucking fine.
55:50
Do it then. Bleed me, bond me, let it all be
55:53
a be a big fucking waste of time.
55:57
You're great at that, aren't you?
56:01
A drop of vitae runs down Sebastian's neck from the
56:05
shallow cut being dug into his throat.
56:09
The brute suddenly relents. Sebastian slides down the wall,
56:14
clutching at the wound, staring daggers up at the vampire who
56:20
has run his own life for the better part of a century now,
56:24
into a face that is familiar. Masab looks down at him,
56:34
pitiless. You think yourself
56:39
indispensable. You are not.
56:43
You are simply convenient. The door behind him opens up
56:51
once more. On the other side stands Regent
56:55
Patton, arms folded, expression neutral.
57:01
Masaf turns around to exit, casting a withering look over
57:04
his shoulder at his fellow Outlander.
57:08
You will stay close to the court and submit to whatever penance
57:11
Calais deems suitable. A friend from Texas will be
57:14
arriving soon. You will make yourself useful
57:18
when that happens. The former sheriff walks out.
57:24
The door slams shut once more. Sebastian stares down at the
57:31
crude symbol etched into the floor.
57:35
Corazon's for the worthy, and that ain't you, dusty old fuck.
57:41
And I'll see, and I'll see. None.