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(dramatic western music)

BRIAN: When we left off, the five of you assisted Sheriff Bullockover by the church in taking outa bunch of recently hung and recently resurrected undead outlaws. After that, made your way around town, ended up at Doc Cochran's office where he told you if someone is messing with the dead and bringing them back to life, the graveyard might be a good place for answers. At the graveyard, you found some mysterious fog, it seems to have some sort of connection to you Mr. Fogg. You saw the grave site of your beloved sister, Cynthia, and you saw the, some closer than others, the empty grave of the legendary Wild Bill Hickok. Both graves empty. Both scratch marks on the inside of the coffin. No sign of either and that's where we left off. So you are at the graveyard. What do you want to do?

KHARY: Doc Cochran.

ANJALI: Doc Cochran.

KHARY: Goddamn son of a bitch. He's got a lot of answering to do, I think.

MATT: He does, at the very least trying to see if he knows who he was hanging with the night before. But he seemed so drunk and hung over.

ANJALI: Arabella, you have that book that he gave to you, yes?

MARISHA: I do.

ANJALI: Stay with us, sweetheart. I know you're rattled.

MARISHA: Yeah, I'm listening.

ANJALI: I suspect that whatever he's up to might be in that book or explained in that book. Is this something that you have any familiarity with? Obviously you were interested in the subject.

MARISHA: I could take some time. Sit down, go through it, see what I can find out. But why would he implicate himself? If he really is behind this, why would he send us here and hand us all the clues to point to himself, unless it's part of some other greater plan?

KHARY: Well, I think that's a question we oughta ask him.

TRAVIS: Is there anything else in the coffin that her sister has left empty?

BRIAN: Do you want to examine it?

TRAVIS: Yeah.

BRIAN: Make an investigation check for me, please.

TRAVIS: Come on! Four.

BRIAN: There is nothing else in there. Just the scratches. No other personal affects, no clothes.

MARISHA: Are there any other graves where the fog is behaving like the way it was over Wild Bill and over my sister's, or is it just these two?

BRIAN: It's just those two.

ANJALI: I suspect that, perhaps-- not that I know anything about this-- but I suspect that perhaps it's just not laying over the graves where there is no soul left to cover, or left to protect.

MARISHA: All right.

KHARY: Sounds good to me.

MARISHA: I'll do some reading on-- While we're riding back into town.

ANJALI: Mr. Fogg, you have some familiarity with fog like this. Is it anything like the fog we saw the other night?

KHARY: Do I have that much familiarity? I would just say that I was too far away from that fog to really be able to make a determination. There was a lot of commotion going on at that point, so I really couldn't say one way or the other.

MATT: What would you say is the point of this fog here is hanging out in mid daylight and the fog we saw that other evening was shrinking away from the light. That's a pretty pointed distinction.

KHARY: Good point.

MARISHA: I'm going to start pouring through the book.

BRIAN: Okay. KHARY: All right.

TRAVIS: Just on the horse, on our way back?

MARISHA: On the horseback, yeah.

ANJALI: She's got very steady eyes. She's very steady eyes.

BRIAN: I got to stop reading, I'm getting horse sick. (laughter) So you guys are making your way back to town and as you make your way back down the hill from the graveyard back to the not so sleepy town of Deadwood, you are examining the book. The book that he gave you is a book of basically Eastern holistic medicine. It's herbs, it's different types of oils and ointments and things like that. Mostly natural based stuff. Nothing really in there that sort of catches your eye towards what your goal is and what you're looking to do. It almost seems like Doc Cochran gave it to you just to make you feel better.

MARISHA: Right.

BRIAN: Because he obviously said he knew and tried to treat your sister.

MARISHA: Placebo book.

BRIAN: Placebo book.

MARISHA: Okay.

BRIAN: As you guys get closer to town, you start to see the main road going in and out of town and you see there are six to seven wagons full of people and families making their way out of town. And they look terrified. They look shook from the events of the last day. People are starting to leave the town as you come back in. As you guys arrive back into town where are you headed? What would you like to do?

KHARY: I say we make a beeline for old Doc Cochran and if you wouldn't mind knocking, a friendly knock.

ANJALI: Sure.

KHARY: So that as soon as he cracks his door open, we can bust on in there and see what the hell is up with this fella. I'm wondering how well that hat fits his head.

BRIAN: Mm, who has the hat? You have the hat, Reverend Mason.

TRAVIS: Actually, I'll hand it off and I will, as we get closer, I'll keep an eye on the back of the store just in case he has any ideas about not answering the door.

MATT: I think we better make sure we make ourselves viable individuals to be answering questions towards.

KHARY: Sounds like a plan.

ANJALI: This is about as viable as I get, so here goes.

BRIAN: Okay, you guys arrive at Doc Cochran's office. Seems quiet like it was the other day. (knocking)

ANJALI: Doc?

BRIAN: No answer.

(knocking)

ANJALI: Doc, can you please answer? I'm in need of help.

BRIAN: No answer. Make a notice check for me, please.

ANJALI: Four.

BRIAN: In the window you can see the curtain is pushed back a little bit. Exposing a little bit of the inside of the Doctor's office. Do you want to try and look in? ANJALI: Yes.

BRIAN: Okay, go ahead and make an investigation check for me as well. ANJALI: Oh, that's crap.

BRIAN: It's okay.

ANJALI: (nervous laughter)

ANJALI: Fail, it's a three.

BRIAN: Okay. ANJALI: Minus two, so one.

BRIAN: Okay, you see that the curtain is cracked a little bit.

MARISHA: I try the door.

BRIAN: The door's locked.

TRAVIS: Can I hear her knocking and just wander up to one of the back windows and take a look in?

BRIAN: Go ahead and make a notice check for me.

TRAVIS: Seven.

BRIAN: It's empty.

MARISHA: I turn to Aloysius and I say: Cover for me. And I'm going to pull out my lock pick.

BRIAN: Okay.

MARISHA: And try and pick this lock.

BRIAN: Let's do lock picking.

MARISHA: Yes.

BRIAN: You have lock picking.

MARISHA: I have lock picking.

TRAVIS: Nice.

MARISHA: Rich girl knows how to steal cars, six.

TRAVIS: (chuckling)

MARISHA: Six!

BRIAN: Okay. TRAVIS: Come on!

MARISHA: Three. So that's 15.

BRIAN: 15, yeah, so keeping what you're doing sort of hidden from anybody walking by so not to raise suspicions, you very successfully and very stealthily pick that lock and the door to Doc Cochran's office is now open.

MARISHA: Okay.

MATT: You do some interesting shit, I'm not going to lie. It's surprising.

MARISHA: You have to learn some interesting talents when you're looking for things that people don't want to find.

MATT: Man, fucking city folk, I swear to God.

TRAVIS: Can I see them going in through the front door from the back window?

BRIAN: Yeah. Yeah, yeah, because you see through the--

KHARY: Maybe I could walk to the back and open the back door for him to come in.

BRIAN: Yup.

TRAVIS: Thank you.

ANJALI: And what do we see?

BRIAN: You see what you saw before when you were in there. It's a little disheveled. It doesn't look like he packed a bunch of things and left. It doesn't look like there's much missing from when you guys were here before.

MATT: No signs of a struggle or anything?

BRIAN: No signs of a struggle. Outside of a man struggling with himself on the daily.

MATT: Right.

BRIAN: A Civil War doctor with PTSD. Probably not in the best shape of mind, but his place looks like it hasn't been ransacked, it hasn't-- anything like that. Everyone's in the house?

MARISHA: Mm-hm.

BRIAN: Let's do an investigation check from everybody, please.

MATT: Two!

TRAVIS: Nine.

BRIAN: Nine. Nine!

TRAVIS: Nine!

MARISHA: Nine! Seven.

KHARY: Nothing.

BRIAN: Seven.

ANJALI: 13.

BRIAN: 13 and 11, you said?

KHARY: Nothing.

BRIAN: Oh, nothing. Okay, Miriam. Walking around the sort of make shift operating bed or table, go ahead.

ANJALI: 11, because I have a minus two.

BRIAN: That's fine, that's fine. Pretty much the same result. You are now dead. No, I'm kidding. (laughter)

ANJALI: Pleasure knowing y'all. TRAVIS: Shit!

BRIAN: Walking around and sort of examining the makeshift operating bed in Doc Cochran's office you see that the sheet, which is dirty and covered in blood and everything else from his various operations and trying to help save people, you see that the sheet is sort of tucked in a weird way into the bottom of the thing and as you bend down to look underneath the operating table you find a small wooden step, sort of. As if like, something to sort of stand or to kneel on. And in front of that and around it you see a bunch of dead skin. The skin is, has a texture to it that sort of reminds you of scales.

MARISHA: What?

BRIAN: As the rest of you are walking through and looking, you also, in different parts of the place, will see small little pieces of skin on the ground.

MARISHA: Does it look familiar to the serpents that we saw?

BRIAN: It's dead skin with scales. It's to-- you were in the pit, so even though you rolled a minus two, if you had two you would still have recognized this as something similar to what you guys saw up in the snake pit.

TRAVIS: Is it translucent or does it have color?

BRIAN: It's translucent. It's dead, it's been shed. It's ashy, gray.

ANJALI: And it's everywhere?

BRIAN: It's in different little pieces around. Underneath the operating table is the highest concentrated amount of it, but there still manages to be small sort of sheds and pieces of it throughout the Doctor's office upon much closer investigation. TRAVIS: I'll pick some up and pocket it. We might need this for later.

MATT: My question, the concentrated portion of it, it's by the operating table. Does that appear to be just a collection of shedded pieces or does that look like intentionally removed slivers?

BRIAN: A collection of shedded pieces.

MATT: Gotcha.

MARISHA: So these creatures were here?

MATT: Something similar at least.

TRAVIS: Yeah, certainly looks like it.

MATT: It means the doctor's being not forthright.

MARISHA: Can I look around? Do I see anything that would resemble the cloaks or the hood that we saw the hooded figure run off when he caught on fire, around?

BRIAN: Would you like to examine Doc's closet?

MARISHA: Yes, I would.

BRIAN: Okay.

MARISHA: Investigation?

BRIAN: Let's do another investigation check since you're fucking exploding on those.

MARISHA: Six.

TRAVIS: Get it.

MARISHA: Exploding, two. A plus two to my investigation because I am an investigator, so 10.

BRIAN: Awesome. You open the door to the closet and at the top of the closet hangs a row of hats with one slot missing. There's a row of pretty much the same exact outfit. Which in this time, people had sort of one or two of the same outfit that they wore continuously and you see a few of those and there's an empty hanger.

TRAVIS: Somebody's been stealing from the Doc.

KHARY: Does that hat, oh. Check and see if that hat looks like the same hat. Yeah, that coulda been it, too, Reverend. (laughter)

MATT: I mean, once again, to Miriam's point earlier. The Doc obviously is not telling us everything. But if he himself was the person responsible why would he send us to the place of his own work to get the incriminating evidence about his involvement with this unless he isn't aware of everything going on?

TRAVIS: We haven't been gone that long. I feel like he was just trying to get rid of us.

MARISHA: Get rid of us? Trying to throw us off the track?

MATT: Or he went to go get some food. This morning is breakfast. I'm just saying we can't jump to conclusions. ANJALI: Wouldn't he have packed more?

MATT: He's a person of interest. ANJALI: I'm with Arabella.

KHARY: He's a person of interest.

ANJALI: He's absolutely a person of interest and he has some more information than what he gave us but, I wonder if it's possible that he somehow brought one of these creatures back to examine it and it got the better of him?

MATT: Well, he's got to talk. There's no doubt about that. We just got to find him. ANJALI: We have to find him.

KHARY: You asked him to go to the Bella Union, didn't ya?

ANJALI: I did!

KHARY: Maybe he decided to take a walk across the street.

ANJALI: To tend to the ladies.

MARISHA: Hopefully, if he's still an upstanding gentleman.

ANJALI: Shall we head there?

TRAVIS: Yeah, one more quick look around. Anything out of place? I mean, I know this is a doctor's office and it's messy as fuck, but any other symbology or weird hookie-kookie stuff that's--

ANJALI: That's a technical term.

TRAVIS: Well in the church it is. MARISHA: Yeah.

BRIAN: No.

MARISHA: No sign of occult goodness? Nothing?

TRAVIS: Okay. MARISHA: All right.

BRIAN: Not in the Doc's office, no.

TRAVIS: Hey, lead the way. We got to find this man.

KHARY: All right.

ANJALI: Let's make our way to the Bella Union.

MARISHA: Yeah, I'm going to pay attention to the people as we're walking through the thoroughfare.

BRIAN: Okay, so you guys are exiting Doc Cochran's office. Out the front?

ALL: Mm-hm.

BRIAN: Okay, closing the door behind you, you see-- the second you get out to the thoroughfare, you start to see some of the remaining towns folk all sort of walking quickly and rushing toward the Bullock Hotel. A crowd has formed outside the Bullock Hotel.

MATT: Rushing up to the Bullock Hotel.

MARISHA: What now?

TRAVIS: Running over.

BRIAN: Running over?

ANJALI: Yes.

BRIAN: Okay. As you get there, do you want to stay at the back of the crowd or do you want to push your way up to the front?

KHARY: Let's push our way up front.

ANJALI: Might as well push our way.

BRIAN: As you push your way up to the front and you get to sort of where the focal point of the crowd is, it's the front counter of the reception at the Bullock Hotel and laying behind the counter is a diseased E.B. Farnum.

TRAVIS: Fucking shit.

BRIAN: Mayor of Deadwood.

TRAVIS: God damn knew it. Running his fucking mouth.

MATT: Yup.

BRIAN: I want you all to make investigation checks for me, please.

MARISHA: Okay.

TRAVIS: God damn!

BRIAN: Actually, let's do notice. Let's do notice.

MARISHA: Notice, okay.

(rattling dice)

MATT: Five.

KHARY: Four

BRIAN: Four?

KHARY: I've got a four.

BRIAN: Wonderful.

ANJALI: 11.

MARISHA: Seven.

BRIAN: 11, seven.

TRAVIS: Seven.

BRIAN: Seven. As the five of you sort of push through everyone and many people are just shocked and terrified by what they're seeing. They're, you know, nobody's really fighting you to get closer to this corpse. As you peer over the counter and you see the body of sad, E.B. Farnum lying there. You see that he is covered in snake bites. Covered in snake bites.

TRAVIS: How does his mouth look?

BRIAN: His mouth is closed at the moment, but you can see directly behind him. You guys rolled fucking high on this, god dammit. You can see behind him that the door to his office is open about three feet. You can see it's a mess. There's stacks of papers and documents and different things in there. Sealed letters and envelopes and different stuff on the table as you can see through the back. The counter itself is very sparse. There's the registration book and there's a bell. It's up to you what you'd like to do at this moment.

MATT: I'm going to go ahead and draw both guns, lean to, does anybody in the vicinity appear to be not enraptured in fear?

BRIAN: Everyone's pretty terrified. Once you guys got in there some people sort of started to scurry away because they're terrified of you.

MATT: But anybody of...

BRIAN: Nobody seems hostile towards you here. Nobody, everybody, yeah?

MATT: But is anybody seem to be a person that at least can be given an instruction.

ANJALI: Yeah, useful.

BRIAN: Oh, you can try to talk to anyone around you, yeah.

MATT: Get the fucking Sheriff here, now! Then step over the counter and start, like, if anyone else wants to join, head into the office.

BRIAN: Yeah, you guys can walk around the counter. That's fine. One of the hoopleheads that you yelled at looks at his buddy and he says, "Is Sheriff the one with the big mustache?" He says, "Yeah, yeah, yeah." He says, "Where is he?" "At the fucking Marshal's office." The guy takes off and runs over to the Marshal's office.

TRAVIS: Could I lean down and carefully reach out to Farnum's mouth and, please be normal, please be normal and pry his lower lip and jaw open and take a look?

BRIAN: Mm-hm. You do and it's the same as the head that you brought back.

MATT: Oh that's great.

BRIAN: From the mining site.

MARISHA: I think... you know we only brought back the head last time, but if these things are burrowing inward, it might be worth checking inside Farnum.

TRAVIS: Mm-hm.

MARISHA: We don't have to do that now, but I'm just putting forth the option.

ANJALI: Now, do we see anything in the office?

BRIAN: You guys want to go in the office?

MARISHA: I'm going to check the registry.

BRIAN: Check the registry.

MARISHA: See if any names pop up.

BRIAN: Okay. The rest of you want to go into the office? Okay.

KHARY: I'll stay, I'll stay outside the--

BRIAN: You want to stay behind the counter, but outside the office?

KHARY: Exactly.

BRIAN: Okay. Miriam, when you walk into the office, something catches your eye and it's a letter that's been opened, but on the letter appear the initials GH. Would you like to read the letter or pocket it?

ANJALI: Read it.

BRIAN: Before you read that, Reverend Mason, on your side of the office you find a stack of about 25 land deeds. (gasping)

TRAVIS: Oh lordy.

BRIAN: Go ahead and read the letter. (murmuring townsfolk in background)

ANJALI: It was Hearst. It was George Hearst. I'm saying this as quietly as possible so that only these folks can hear. And I'll just pass this.

BRIAN: Anyone can read it aloud if you want, or I can.

KHARY: "Weasel, if you haven't already tipped your hand, secure for me any remaining claims my surveyors report to you from the hills, should they be successful in finding oil at the scouting locations. Offer any land owner triple its worth, just get it. I want to be digging by winter,no fucking delays. 'GH."

TRAVIS: I found all of these. It looks like a stack of land deeds.

BRIAN: Upon hearing the word oil in the letter that stands out to you. Deadwood is a place known for gold, not oil. It seems peculiar to you that would be included. The land deeds are all signed, E.B. Farnum.

MARISHA: Wow.

TRAVIS: Why would he-- why would he point us Hearst's direction if he was the one working as his agent?

MARISHA: Is the oil just a ruse, just a distraction for what he's really looking for?

MATT: Or is the oil what summoned this weird change out here?

ANJALI: What are you thinking?

MATT: Hearst doesn't seem, at least from what I've heard around here, as someone who's interested in some of the weird shit that you seem to be. He seems to be more interested in gold and money and power. Though power itself could have a cross over there.

TRAVIS: Now it looked like an oil fire, right? Where all the snake pit was.

MATT: That's what it seemed to be.

MARISHA: There was also some sort of oily substance that I stepped in, in the church the other day as well.

TRAVIS: Oh.

MARISHA: I didn't think much of it at the time, but.

BRIAN: Clayton. In the office, you find a stack of wanted and bounty posters. (murmuring townsfolk background noise) What would you like to do with those?

MATT: I would like to immediately fold and pocket them.

BRIAN: Okay.

TRAVIS: Can I fan through the land deeds looking for any names that jump out? Anything that might be close by, worth investigating?

BRIAN: Yeah, go ahead. Since you've been in town, I would say only a couple of the names seem vaguely familiar to you as just regular people around town that seem to have sold their land to--

TRAVIS: Farnum?

BRIAN: To Farnum. You also know from being in the area for a little while that all the places where they seem to be buying up are places where they know there's no gold, they know there's nothing. It seems peculiar to you. But no names really stand out as anyone that you, you know.

TRAVIS: Areas that would be same sort of half day's ride out?

BRIAN: Some farther, yeah, some farther.

TRAVIS: Nothing in town or close?

BRIAN: Nothing in town, no nothing like that. All that stuff has already been bought up for prospecting by this point. This is everything, sort of-- stuff that's on the outskirts of town.

TRAVIS: I'll sort of try and roll them together and stick them in a coat pocket.

BRIAN: Mm-hm, okay.

MARISHA: Did I find anything in the desk and then the registry?

BRIAN: Nothing in the desk, nothing in the registry. Typical names and stuff like that. Your name is there. Mr. Sharpe's name is there.

MARISHA: All right.

BRIAN: Miriam's name is there, but other than that, nothing really too suspicious.

ANJALI: If this snake creature was in here, I'm even more worried about anyone who's come across Doc. Can we please go to the Bella Union? I'm worried about the ladies.

TRAVIS: Yes, should we, um--? We should take that body over to the Doc's. Maybe try and take a look inside it.

MARISHA: I don't mind.

TRAVIS: Okay.

MARISHA: I'll do it.

MARISHA: I leave that to you. Will one of you gentleman accompany me to the Bella Union?

MATT: I'll come with if you want to go ahead and keep watch over them?

KHARY: Sounds good.

MARISHA: So me and you are going back with the Doc?

MATT: Yeah.

MARISHA: Or with the body to Doc's?

KHARY: Oh, no.

MARISHA: Wait, which one?

ANJALI: He's coming with me. You two are going, you three are going together.

KHARY: Yes. MARISHA: Got it.

KHARY: All right.

ANJALI: Would I have seen him fold up and pocket what he saw?

BRIAN: Absolutely.

ANJALI: Okay.

TRAVIS: Woo-ee!

BRIAN: It's a very small office.

ANJALI: Excellent. Shall we?

BRIAN: You two are going to the Bella Union. The three of you are going to take the body back to Doc Cochran's office?

KHARY and TRAVIS: Mm-hm.

BRIAN: Okay.

KHARY: Get a sled.

MARISHA: (chortle)

BRIAN: The two of you wade back through the crowd and once you get outside you see an even bigger crowd has formed by now. It's a small town and it's a big event.

TRAVIS: We'll try and cover his face in some way just for modesty's sake.

BRIAN: Yeah, you guys can-- there's a rug under his body. You know, you could wrap him up in that. As you start to do that and grab the corpse a couple people say, "Hey leave him alone in case there's resurrection of the flesh." They're all yelling stuff. Other people are just moving out. They're afraid to even get close to it in case they catch whatever killed him.

MATT: Is there any sign of the Sheriff?

MARISHA: Yeah.

BRIAN: Not yet. You two walk out of the Gem, wade through the crowd, make your way over to the Bella Union. As the three of you are walking out, Reverend Mason, you notice the two men who were yesterday--

TRAVIS: Fuck.

BRIAN: Spotting you in the street and at the Bella Union. They stop you on the way out. They're not too concerned about what you guys are carrying, but they stop you on the way out and the two men are standing there and one of them says that, "My friend here thinks that a reverend who drinks and visits whore houses is funny. But me, I-- I think I recognize you. Was you in the cavalry?"

TRAVIS: Sorry, friend. You must have me confused with someone else.

BRIAN: He sort of slides one of his jacket things to the side and puts his hand on his belt buckle. He says, "I don't know, it's been a long time, butI think you was in the cavalry. I think I know you." (ominous music)

TRAVIS: I'll put down my corner of E.B. Farnum's body and I turn to face him and say: Friend, we're tending to some mighty immediate business. Now, my door is always open at the church. You can find me day or night. But I have to be going now.

BRIAN: He looks at his buddy and they smile and they said, "We ain't going to no fucking church. I know you, I know what you did." He starts to sort of move toward you a little bit to intimidate you.

TRAVIS: I'll shift my back foot and reach behind my own jacket. No, boys. Unless you want to end up like Mr. Farnum here I think you want to keep minding your own business.

BRIAN: "Wonder what your business is besides this church business? "Seems weird that some one would come into town where no one wants a fucking church. Try and rebuild it. Something just ain't sitting well with us."

TRAVIS: I don't think that's any of your concern. I'm just here to tend to the Lord's flock.

MATT: Do any of us notice this going down?

KHARY: I'm--

BRIAN: You two are already across the street, but you two are standing right there as this is happening and you're seeing, yeah.

KHARY: I set down my side of the Farnum sled and step to the side, maybe behind these gentlemen. Put my hand on my side arm.

BRIAN: They kind of notice. Puts his jacket back around his gun.

TRAVIS: Now, boys, one of the many gifts of the Lord is the ability to count and we got numbers.

BRIAN: "For now." As they turn around to walk away they walk right into Sheriff Bullock.

TRAVIS: Oops.

BRIAN: They both just give you a look, give Sheriff Bullock a look and they walk away down the thoroughfare. Sheriff Bullock says, "Is that him?"

KHARY: Farnum.

MARISHA: He's got the same wounds as the other corpses we found. We were going to take him back to Doc's. See what we could figure out.

BRIAN: "No one can find the fucking Doc. "We called for him as soon as we found the body. I've been searching town all over looking for him."

MARISHA: Yeah, that information corroborates with ours as well.

BRIAN: "Where are you taking him?"

MARISHA: Oh, we're still taking him back to Doc's. That's where all the supplies and the tools are. I figured I'd maybe give it a whirl.

BRIAN: "Mighty brave. Well, I'm going to try and find the fucking Doc." He takes out his pistol, shoots a round into the air and says, "Disperse this crowd!" Everybody starts to go about their business. Some people are still peeking around. They're trying to see what you guys are doing, you know why these people came an wrapped up Farnum's body and took it. They're just looking curiously, but for the most part, Sheriff says, go about your business, everybody's already a little on edge. They all start to go about their business.

KHARY: All right.

MARISHA: To the Doctor's.

KHARY: To the Doctor.

TRAVIS: Yeah.

BRIAN: Okay. You two, upon entering the Bella Union, what would you like to do? You see the four girls there.

ANJALI: Before that, as we're making our way there I put my hand quietly on his arm and link my hand in his and I say: Mr. Sharpe, I'm only going to say this once. Whatever interest you have in those papers you pocketed, I would kindly suggest that you share it with me or I'm going to have to reconsider my place of trust in you.

MATT: Respectfully, Miss. The less you know, the safer you are.

ANJALI: I don't think any of us are safe at this time. But the place that my imagination goes is probably far worse than anything you've done, believe me. I have seen many things in my time. Please.

MATT: If it makes you feel any better, I've not shot a man who was trying to shoot me first.

ANJALI: Actually, that does make me feel better.

MATT: Good.

ANJALI: Make sure that the others-- well, if anyone else saw you pocket them. They may not be as trusting as I am of someone who is so distrusting. After what we've all been through.

MATT: With much respect, also. They trust me as much as I trust them which isn't very far. We've all been through some interesting shit as of late, but I'm not still standing here because I've been quick to trust.

ANJALI: Fair. In we go.

BRIAN: In you go and you see the same four ladies as your last visit. You see Celine, Whitney, Katie, and Britney. (chuckling) They're looking fucking great. They're lounging, they're chilling, smoking, drinking, just having a good time. Slow business day, obviously, as there are events in town that are, yeah.

ANJALI: I put on a smile.

MATT: Celine walks up, she says, "Hello, darling, welcome back."

ANJALI: It's so good to see you. Darling, have you seen the Doc by any chance? One of our friends is in need of his services. Is there any chance that you've seen him here?

BRIAN: "Nobody's seen the Doc. "I called for him last night because Joanie seemed more out of sorts than usual, but we couldn't find the Doc anywhere. I asked this morning, too, and nobody's seen him. We thought for sure he'd be tending to poor old little Mr. Farnum, but nobody's seen him."

ANJALI: Right. I think one of you should keep watch over Joanie for just a little while just to make sure that she's okay. We'll continue our search for him and send him right along as soon as we find him.

BRIAN: She says, "Oh we always keep watch on our Joanie."

ANJALI: I don't think there's any sense in staying here.

MATT: Well, let's go meet with the others back at the Doc's.

BRIAN: Do you want to go ahead and leave?

ANJALI: Mm. BRIAN: As you're about to leave, one of the younger girls, Britney, says, "Oh, hold on a moment, hold on a moment." She looks back up toward the staircase and peering around from the top in the hallway you see the familiar face of Joanie. She looks sort of, looking and peering down at you.

ANJALI: Actually, Clayton darling, would you stay here and stay vigilant for me?

MATT: That's what I do.

ANJALI: Especially keep an eye up here at the top of the stairs. I'm going to, without hopefully, just with a smile on my face, sashay up to the stairs and head towards Joanie's door.

TRAVIS and MARISHA: Sashay.

BRIAN: So when you get up the stairs, Joanie meets you in the hallway. She says, "I'm so glad you came back. Come with me, come with me."

ANJALI: As she pulls me in I just give a look to him of: Please watch.

MATT: Yeah, and I find a chair that's facing the entryway to the chamber we came in and just keep my hand, gun already cocked at the side and just hidden and ready.

BRIAN: Okay. As you make your way into Joanie's room, she shuts the door quickly behind the two of you and Katie, one of the younger ones, probably like in her early 20s, mid 20s. She's sort of just drags chair over. Sits next to you. She says, "That's cute. What do you plan to do with that?"

MATT: Hopefully nothing.

BRIAN: "Well, I guess I'll sit here and do nothing with ya." From under her dress, she pulls out a sawed-off double barrel shotgun.

TRAVIS: Ooh!

BRIAN: Sits it in the chair with her and sits next to you facing the door.

MARISHA: Oh, I like Katie.

TRAVIS: Yeah, respect. Katie came to play.

MARISHA: Hell yeah, Katie.

BRIAN: In Joanie's room, she grabs you by the shoulders when she comes in and she says, "I had a terrible thing happen. I thought it was-- I thought it was a dream, but I woke up and everything was still the same."

ANJALI: Tell me.

BRIAN: "I don't know. (stammering) "I don't know what to tell you. I have to just show you." One of her smaller trunks that she keeps he clothes and stuff in is moved from where you had seen it last time which was at the foot of the bed. It's now over closer to the window that goes to the outside of the back. She lifts up the trunk and underneath the trunk you see the completely smashed and obliterated corpse of one of the snakes that you saw at the pit. She says, "Do you know? "Have you ever seen anything like this?"

ANJALI: I shut the top. Where did you find this and where did it come from?

BRIAN: "It came through the window in the middle "of the night and tried to attack me but I was able to hit it and move it away and I threw the trunk on top of it and I sat on the trunk for an hour."

ANJALI: You took this down yourself?

BRIAN: "I've been taking care of myself a long time and fought far worse than this."

BRIAN: Jonie, can you get dressed quickly?

BRIAN: "Yes." She goes over and starts putting her dress on. She moves a little slow. She's a little lethargic. Kind of like she was when you saw her last. She's a bit pale and as she's getting dressed she runs over to the bowl and throws up. You recognize this.

ANJALI: Yes, I rub her back. BRIAN: This type of symptom quite well. She gets dressed.

ANJALI: All right, how big is this chest?

BRIAN: It's about like this big. It's a nice heavy chest, but it's not large. It was big enough for her to smash this thing with.

ANJALI: We can carry it?

BRIAN: You can carry it, for sure. There's remains of a dead snake-like creature on the bottom of it and on the floor. It's paste, but you can still tell from the scales and from the weird teeth and tentacle things that remain that it's the same type creature you saw up at the mining thing.

ANJALI: Okay, in that case change of plans! Joanie, I want you to stay downstairs with the other girls, make a show of it. Make sure that you stay down there. Stay safe with them, safety in numbers. I take out a handkerchief and I pick up a small piece of blah.

BRIAN: Yeah, yeah, yeah.

ANJALI: I wad it up and I take it with me.

BRIAN: Okay.

ANJALI: Do you have a key to your room, can you lock the door when we close it, I mean, when we come out?

BRIAN: "Oh yes."

ANJALI: All right, absolutely lock. So we get out of there, lock the door, bring her downstairs with me. I sit her with the ladies. I tell the ladies: Make sure she drinks lots of water. You keep an eye on her down here. Clayton, we have to go.

BRIAN: The second that you come downstairs with Joanie, Joanie appears downstairs, all of the ladies quickly stand up. They haven't seen this in awhile. She comes down. She says, "Don't worry, dear, these girls always take good care of me."

ANJALI: Well, you show them that you're all right.

BRIAN: "Thank you for your kindness. We'll be here." Katie looks over to you and she says, "Before you leave. You seem like the silent, thinking type."

MATT: You got half of that right. (laughter)

BRIAN: She says, "I like a mysterious man who knows his way around a puny little revolver like that, but you're welcome back anytime, stranger."

MATT: That's okay, I got two of them on me. I stand up and then walk over alongside Miriam.

BRIAN: She says, "Wow. That's super impressive. Britney?" Then from behind the bar Britney chucks another sawed-off shotgun at Katie and she catches it with one hand and sits there and she's like, "I have two, too. I'll keep watch. Thank you. Thank you."

TRAVIS: So our fallback is the Bella Union, right?

ANJALI: Basically, basically.

MARISHA: That's our new Alamo.

ANJALI: Britney and Katie are our new best friends. Off we go. As I'm moving quickly and I'm filling him in on the way, everything that I've found upstairs. I don't know where these things are coming from and I don't know why they're coming for the town, but we have to find out quickly. I don't trust what's going on here. I don't know what's going on here. It's far too familiar and I--

MATT: It's all right, it's all right. We got some information. Let's see what the rest of our friends have managed to gather here. Things are escalating. So whether we're ready for it or not, things are coming. Let's at least try and be ready. Keep your eyes peeled, keep your weapon ready.

ANJALI: Would you take this? Thank you.

MATT: (slurping) (laughter)

BRIAN: You can add to your inventory-- No, I'm joking, I'm joking.

ANJALI: Snake guts!

BRIAN: Are you guys exiting the Bella Union?

ANJALI: Yes.

BRIAN: By now, the three of you have been able to make it to Doc Cochran's office with the corpse of sad Mayor Farnum. You got a few looks going through town. Reverend Mason, why don't you give me a stealth check.

TRAVIS: You got it. Ah, three.

BRIAN: Okay, go ahead and make a notice check for me.

TRAVIS: Okay. Eight. 12.

BRIAN: As you guys get to the Doc's office, because of the events of the morning, you're obviously on edge a little bit and on your toes. So you look back down the thoroughfare behind you and you see standing back out front of the Bullock Hotel the two men that confronted you when you walked out and they are both just staring down the thoroughfare watching you guys go unload these. But they're paying attention to you specifically. Now, when you guys get there, the door's unlocked still because you've picked it so well. Congratulations.

MARISHA: Thank you.

BRIAN: What would you guys like to do?

MARISHA: I throw open the door. Get him on the table.

KHARY: Exactly.

MARISHA: You all right, Reverend?

TRAVIS: Yeah, I'm fine.

MARISHA: I wonder what those meatheads, what did they want?

TRAVIS: Who knows. So many drunks in this town. I can't keep it straight. Let's get Farnum's shirt off.

MARISHA: Ugh.

BRIAN: You guys are starting to remove Farnum's clothes?

MARISHA: Mm-hm. While they undress Farnum, I'm going to pull out a little bit of sage in my smudge dish. I'm going to light it and then I'm going to turn and then I'm going to acknowledge the north and then I'm going to turn and I'm going to acknowledge the south.

TRAVIS: Oh shit.

MARISHA: Then I'm going to turn and I'm going to acknowledge the east. I'm going to turn and I'm going to acknowledge the west. I'm going to pay homage to those who came before us and those ahead of us. Then I start going through his supplies.

BRIAN: Okay, making an occult check for me, please.

MARISHA: All right. I don't know what I'm doing.

BRIAN: You've studied the occult and weird arts and things like that, correct?

MARISHA: Correct.

BRIAN: Okay.

MARISHA: Ew. Five.

BRIAN: Okay. After you removed Mayor Farnum's shirt and some of his other clothes, you see on his chest not branded, but just the outline of a symbol of a very large snake. Because of some of the books that you've read in previous, you know that this is somewhat reminiscent of different cultures' snake deities.

MARISHA: Oh shit.

BRIAN: There's so many and there's different types. In the East, it's one way; in the West, it's another. But you recognize this as some sort of symbol from lore and from stuff that you've read in your occult books.

MARISHA: Is it like an ouroboros?

BRIAN: Pretty much.

MARISHA: Is it a snake eating itself?

BRIAN: Yeah, but it's a much larger snake.

MARISHA: Okay. Huh.

BRIAN: He's also covered in thousands of snake bites. As you take his shirt off, you see just more of them than what was on his face, and his mouth, and his nose, and his neck. Now that you've undressed Mayor Farnum.

ANJALI: Have we made it there yet?

BRIAN: Yeah, yeah, yeah. Yeah, you guys are just about probably showing up right now.

MARISHA: Miriam, Sharpe. Looks like we got a snake worshiper.

ANJALI: Funny, looks like we've got another snake.

MARISHA: What?

MATT: (squishing)

TRAVIS: Ah!

BRIAN: As he throws the goo down on the operating table next to Farnum's body and it's red and black and sticky and nasty.

MARISHA: Oh. How nice. Anyway, shall we? I'm going to take out some forceps. I'm going to take out an operating knife.

BRIAN: Yeah, there's a table next to his operating table that has a bunch of supplies on it.

MATT: What's that, what's that weird tattoo thing?

MARISHA: I don't know. It's a little bit reminiscent of a certain snake deities that I've learned about from the Mesopotamian culture and I mean, Egypt had it, it's really kind of reoccurred quite a lot.

KHARY: Do you think that this is something that he had tattooed on himself, or?

BRIAN: It's not a brand, and it's not a tattoo. It's just like an outline on his chest. It's gray and black.

KHARY: So this may have happened?

ANJALI: After.

MARISHA: Post mortem.

KHARY: Post mortem?

MARISHA: Yeah.

BRIAN: It looks to be, you can't really tell if it's post mortem or not, but it's recent. Recent like the snake bites.

ANJALI: Is she investigating?

BRIAN: Yeah, there's still a little bit of dried blood on a lot of the snake bites. So Farnum was definitely killed in the last few hours.

TRAVIS: Okay, we're going in, right?

KHARY: We have to.

MARISHA: Uh-huh.

TRAVIS: Do we need like fire or something in case whatever's in there is cooking still?

KHARY: Well, I say the best remedy we've had so far is a shot to the head.

ANJALI: Right. TRAVIS: That'll work.

KHARY: Yep. I pull out my Colt Navy.

BRIAN: Who's cutting open Mayor E.B. Farnum?

TRAVIS: (laughs)

BRIAN: Arabella.

TRAVIS: What a sentence.

ANJALI: Doctor Whitlock.

TRAVIS: Miriam, could I bother you for some booze real fast?

ANJALI: It's in my flask. I'm not letting go of this gun.

TRAVIS: Okay.

MARISHA: I'm just going to take my hat off. Ho, hoy hey. I'm going to just start making an incision, trying not to go too deep in and start to peel the flesh back. But I try not to, from what fucking little shit that I've read in books, see what I can figure out.

BRIAN: Absolutely. When you slice down his chest and start to peel the skin apart and the flesh, you see just smoke and steam. Just a small amount of smoke or steam coming out of his chest. Now you'd have to dig a little further to get through.

MARISHA: Is it like-- does he feel hot?

BRIAN: He does not feel hot.

TRAVIS: It's like fog, Mr. Fogg.

BRIAN: He's cold. It's just more smoke. It's not fog, it's more like smoke or steam.

KHARY: Is that normal autopsy steam? (laughter)

BRIAN: Like if you take the top of a hot coffee cup off. That thing as soon as you open.

MARISHA: That doesn't feel right, no.

MATT: Yeah, it's not normal, is it?

MARISHA: I don't know, I've never done an autopsy before.

ANJALI: Get in there.

MARISHA: All right.

TRAVIS: Doing great.

KHARY: Clayton, if you wouldn't mind-- if you want to maybe point your pistol at his temple just in case he decides to want to hop around.

MATT: Not a bad idea.

TRAVIS: I'll guard his feet.

BRIAN: Okay, so you're pointing your gun at his head?

MATT: Yeah.

BRIAN: You're point your gun at his feet?

TRAVIS: Sure.

BRIAN: The shotgun or the one that eluded to, you had something behind your--

TRAVIS: Shotty. MATT: Fuck those feet! (laughter)

ANJALI: I got my shotgun placed where she's-- the torso, where she's cutting.

KHARY: Exactly, yeah, yeah.

TRAVIS: We are covering this cadaver.

MARISHA: I'm going to go deeper.

BRIAN: Okay, as you cut through using a larger knife or whatever and opening the chest of Mayor Farnum, you see placed throughout his organs just all over his insides is ash and some of the scaly type skin that you saw under his operating table and around his office. But there's a lot of it inside of him.

MARISHA: All right.

BRIAN: You can also see that his esophagus is destroyed.

MARISHA: Okay, I am going to-- swallow really hard and stick my hand in there. Feel around, see if I can feel any snaky bodies.

BRIAN: Give me a survival check.

KHARY: Ugh.

TRAVIS: Come on!

MARISHA: This is not good. This is not what I'm-- I am no girl scout. All right. Stupid. Roll big, roll big.

BRIAN: No?

MARISHA: Two.

BRIAN: Okay, you rummage through there and it's just filth and guts and ash and scales and as you're doing it you knock-- you don't even know what organ it is-- but you knock it over and it hits your dress and slides down and your dress is just covered in the guts and blood of Mayor Farnum.

MARISHA: I pull back and I run away trying not to barf.

BRIAN: I understand.

MARISHA: (groaning)

TRAVIS: You okay, you all right?

MARISHA: I don't know. It's just ash and guts and I don't know.

KHARY: Ash and guts?

MARISHA: Yeah.

TRAVIS: No snake or nothing, right?

MARISHA: Not that I could tell, but-- ugh!

TRAVIS: How's it smell? No, don't tell me. I changed my mind.

MARISHA: How's it smell?

BRIAN: It smells old and rotted and dead, but it also is a familiar smell that you've smelled up at the mining area.

TRAVIS: The pit.

KHARY: Could it be that whatever this thing is that it was incubating inside him and finally came out, came out to play?

TRAVIS: I thought the wounds looked like it was going in--

MARISHA: In his mouth.

TRAVIS: -- down through the mouth. I mean, obviously it could of come--

MARISHA: Did it come back out?

TRAVIS: Oh no. Do we need to check... the other... exit?

MARISHA: Not it.

KHARY: Goddamn it, Reverend.

TRAVIS: I mean, we all know that, you know.

ANJALI: I don't know that's necessarily going to make any difference. I'm sure, I feel like it's--

TRAVIS: What if, I mean, it destroyed its esophagus. What if it destroyed his--?

ANJALI: I don't, I don't, I feel good not examining that!

MARISHA: I'm going to, I just need to--

MATT: I roll E.B. Farnum's corpse over on the table.

TRAVIS: Yes! Yes, Mr. Sharpe! (laughter)

BRIAN: As you-- (laughter) Mayor Farnum is--

MATT: While still keeping the gun over the head.

BRIAN: I was going to say, Mayor Farnum is a small person-- was a small person. Which way is it, Reverend? Is it left, right?

TRAVIS: Down, right, left, right. BRIAN: Okay. I don't want to ask this, but what would you like to do?

MATT: Look at the Reverend... And...

MARISHA: Pull that TSA treatment?

MATT: And inspect the exit.

BRIAN: The exit seems normal. It seems fine.

KHARY: Well, there you go.

TRAVIS: Had to be sure.

BRIAN: Make an asshole check for me. Make a rectum check. (laughter) It's one of the ones we wrote in on your sheet.

MATT: Right, right. I wondered when that was going to come into play.

ANJALI: Was that under smarts, exactly, or vigor?

MATT: Vigor, definitely.

BRIAN: I thought that'd come into play at the whore house, not on Mayor Farnum.

ANJALI: I let my shotgun down, I pull out my flask, and I hand it to Arabella.

MARISHA: Thank you, I need a moment. I-- our chips got collected. I'm assuming we still have the same chips that we had?

BRIAN: You do not have the same chips.

MARISHA and KHARY: We don't have the same chips?

BRIAN: We're in the middle of our adventure which means everyone gets to draw new chips.

MARISHA: New chips?

ALL: Oh!

BRIAN: Take three, please.

ANJALI: Yay!

MATT: Huh, the same.

TRAVIS: Are there green ones in there?

MARISHA: Three.

TRAVIS: Nice.

MARISHA: While they draw, I'm going to go speak with the bartender.

ANJALI: Yes, madam, yes madam. Yes, you do.

KHARY: I like it.

MARISHA: I'm just going to step into the pocket dimension speakeasy real quick.

TRAVIS: Yeah, let it talk to you.

MATT: Clayton. For being the ass man. (laughter)

ANJALI: Yes!

MATT: Thank you, Marshal.

TRAVIS: ♪ I'm the ass man. ♪ Dang, two reds and a white? ♪ Bee ba da ba da bop♪

IVAN: Hello, my dear.

MARISHA: Well, hello.

IVAN: What can I do you for?

MARISHA: Well, Mr. Bartender. I just shoved my bare hands into the gut of a man.

IVAN: That sounds awful.

MARISHA: His insides were covered in ash and soot, and nothing else pleasant. I'm not sure what to do next.

IVAN: It's tough. You were hoping to find something in there?

MARISHA: At least, I guess, find a direction. What to do next. I'm not sure if these things are incubating inside of this man or the people that they find or if they're some other type of motive.

IVAN: Mm, so. You reached into this man's insides and you found a mutilated mouth and a belly full of ash? Have you seen ash or scales in any other places or mutilated mouths in other places?

MARISHA: We have, we've seen them in the miners. We've seen ash in the church and at the bottom of the mine, but we've also see ash--

IVAN: In the graveyard?

MARISHA: In the graves.

IVAN: Mm, what happened in the graveyard that was so unique to dead bodies?

MARISHA: There weren't any?

IVAN: They came back, eh?

MARISHA: Yeah.

IVAN: That's interesting. Well, you know, as they say, when a body's gone, its soul departs. If the soul isn't there to animate a body what is it more than, just a piece of flesh walking around. These outlaws you've seen, they look like they have a soul?

MARISHA: No, but I'm not right sure what a soul looks like.

IVAN: That's fair. You wouldn't, being one who has one. If a body has no soul then it's simply what? A meat puppet? And every puppet needs a puppet master.

MARISHA: All right.

IVAN: Anything else I can do you for? You haven't had your whiskey yet.

MARISHA: I'm more of a sipper than a shooter. On most days.

IVAN: Let me know if you need anything more. I'll be here.

MARISHA: Thank you, good sir. Thank you for giving me a moment to be a little indisposed.

TRAVIS: Of course.

KHARY: Yes, ma'am.

TRAVIS: Enough to rattle anyone.

ANJALI: I take the flask back.

MARISHA: Yes. Well, I feel like there's a common thread with all this ash and where it's showing up and didn't you say you found ash at the bottom of Wild Bill's grave?

TRAVIS: I did. Like half an inch of it, just lining in it.

MARISHA: Did we see ash at the bottom of my sister's grave?

BRIAN: You did, yeah, there was this same thin layer of ash. The colorization of it and everything looked similar to some of the stuff that you found that you could see covered in blood and everything inside of poor Mr. E.B. Farnum.

MARISHA: What if these snake creatures are what's puppeting the inside of these undead bodies?

TRAVIS: Yeah, that sounds terrible and possible.

KHARY: But what's puppeting those snakes is the question.

MARISHA: Exactly.

MATT: Well, if that symbol there in the front of Mr. Farnum's now terribly open and spilling chest has anything to do, there's, from what you're saying larger "Mesopo-Tah-Minin" gods or something?

MARISHA: Well, I don't know if it's necessarily related to anything Mesopotamian. I'm just saying that snake deities tend to recur throughout history, in many cultures.

MATT: So what you're saying is this is possible proof of there being another kind of god?

MARISHA: Well, there are a lot of different beliefs out there in the world, Mr. Sharpe. You are aware that there are other religions aside from Christianity?

MATT: Oh, I ain't a Christian boy. Just making sure any choices made for powers out there that aren't familiar of godly folk we'd be careful with.

ANJALI: I hesitate to bring this up, but I do believe that since we all had a similar dream-- In my dream, there was a creature who spoke to me of the land being poisoned by greed. Now if this George Hearst has indeed been buying up these properties and indeed been doing it in nefarious ways, through Farnum, perhaps whatever this being might be that is reanimating all of these people who should remain dead is doing so to keep the land from being mined. Maybe it's trying to protect the land. Maybe it's trying to protect the oil. Maybe it's trying to protect something. But it's trying to protect it from us, from man, from mining, from humans, and doing so by taking our own people and using them against us.

MARISHA: Judging by the amount of carriages that seem to be leaving town today, I'd say you might be onto something.

KHARY: Doing a fairly good job of ridding this country of the people who came here.

TRAVIS: If we'd had the mind to maybe check the chests of those miners as well, maybe they would have had a similar visage on them.

ANJALI: I think it's less about having the mind than having the time. We were a bit indisposed at the time.

TRAVIS: That's very true.

MARISHA: We could always go back or we could check out one of these other deeds.

TRAVIS: Or we could return the deeds to Mr. Swearengen. I mean, he has been asking about who was buying them up and collect whatever we had. There was also the tarry substance in the church.

ANJALI: Have we seen Mr. Swearengen?

KHARY: Perhaps it's time we pay him a visit.

MATT: I agree.

TRAVIS: When we were walking out to the thoroughfare, was he up in his normal balcony perch?

BRIAN: Not when you guys were walking back towards the Bullock Hotel when you found Mr. Farnum after going to the Doc's office the first time.

TRAVIS: Should we take a quick look inside the church on the way to see Mr. Swearengen or just get right to it?

MARISHA: Sure, might as well.

MATT: It's right there, yeah.

ANJALI: Especially if there was some of that tarry substance in the ash in there.

MARISHA: To the church!

KHARY: Let's take a walk.

BRIAN: Oh, sorry, go ahead, go ahead.

MATT: Just be the last to leave the house, and as everyone steps out, I'm just going to take out the papers I pocketed and glance through them.

KHARY: Does anybody notice this?

BRIAN: If he's the last one out, no. Second to last one out would be you, and on your way out the door, you notice something you didn't before, which is nailed to the wall just next to the door going out of Cochran's office you see a list of names. The first I would say, four or five out of 20 names have X's through them and you recognize these names, some of them, as being what you saw when you fanned through the land deeds that were in Farnum's office.

TRAVIS: Not names of people, names of locations?

BRIAN: Names of people. Names of people who sold their land to Mr. Farnum and you see some of those names are X'ed out.

TRAVIS: Is it a sheet of paper that's nailed to the wall that I might be able to pull and take with me?

BRIAN: You absolutely can.

TRAVIS: I'll yank it. I'll stop everyone for a second. Hold up right quick. I noticed some of these names from the land deeds. You can see someone's been doing a mighty fine job of working their way through.

KHARY: How many names are on the list?

BRIAN: There's probably about like 20 names and probably like six or seven are crossed out, I would say.

ANJALI: What's the next name that's not crossed out?

BRIAN: The next name that's not crossed out would be, Peter Tomas.

ANJALI: Man with two first names.

BRIAN: Mm-hm.

ANJALI: Don't trust him.

KHARY: Me neither.

BRIAN: Almost as bad as someone with three names.

TRAVIS: It's two saints.

MATT: Is there any examples in the immediate vicinity of the room of any notes or books with some handwriting of the Doc?

BRIAN: Yeah, over at his work station he has journals upon journals, upon journals of his own research.

MATT: Take one of those, and immediately compare it to the paper that you have discovered.

BRIAN: It's 100% the same handwriting.

MATT: All right, that concludes that.

TRAVIS: Good thinking. All right.

KHARY: What about the-- we're pretty sure that's his hat that was at the funeral so we don't have to check the signature there?

TRAVIS: The little initials. All right, to the church. Follow me, I'm quite familiar.

MARISHA: As we walk over I'm going to get up near Reverend and look over his shoulder. Any of our names, there's not like a Whitlock on that--

TRAVIS: I scan.

MARISHA: -- paper is there?

MARISHA: (exhale) Okay, all right.

BRIAN: No Whitlock, no Livingston. You don't really recognize any of the names. I would say, maybe, one or two of them you might have heard in town as just like regular folk. Nobody that's an official. Nobody that's someone of great importance. But you might recognize a few of those names as people that live in the town.

TRAVIS: I'm familiar with a few, but nothing that jumps out. And we're not on it.

BRIAN: One of them you do actually notice is Tom Nuttall who owned the Number 10 Saloon, famously where Wild Bill was killed.

TRAVIS: Shot, yeah.

BRIAN: His name is also on that list.

TRAVIS: Fairly low down the list?

BRIAN: No, it's one of the one's that's crossed off.

ANJALI: Is he, have we heard of, have we seen him, is he around?

BRIAN: You guys know about his saloon. You know it's at the end of town and stuff like that. It's a small little shack that's famous because that's where Wild Bill was killed, but you guys haven't seen or really heard of him or from him since you've been in town other than knowing him by reputation.

MATT: I'd say that maybe we go to Mr. Swearengen's office let him know what's going on and then beeline over to Tom Nuttall's saloon.

ANJALI: Also, if we could somehow surreptitiously find out if anyone knows the whereabouts of Peter Tomas.

TRAVIS: Yes.

ANJALI: If he's working his way through this list, that would be the next place.

TRAVIS: Gather Mr. Swearengen might be just the person for that.

KHARY: I have a few questions for Mr. Swearengen, definitely.

BRIAN: Okay, church, Gem Saloon? Where are you guys headed?

ANJALI: We're heading to the Gem Saloon, he's hanging back.

BRIAN: Make a notice check for me, please, as you're examining the wanted and bounty posters.

MATT: Eight.

MARISHA: Yes, there you go.

MATT: Don't patronize me. (laughter)

ANJALI: It's the shooting rolls we need him for.

KHARY: It's all right.

MARISHA: I know, I know.

BRIAN: Thank you. Where are you guys headed?

ANJALI: Gem Saloon. Yes?

MATT: Church first and then.

ANJALI: Oh sorry, the church.

MARISHA: We can always meet you there if you guys want to go.

ANJALI: I mean we're just, hanging around. It's an arc, we can all go together. Safety in numbers.

BRIAN: Yeah, you guys are going to go out. You see that very few people have set up shop on the thoroughfare today. It's a big deal that Mayor Farnum has been killed. As you walk outside, you see even another half a dozen people with packs on their back, hiking up toward the graveyard, just leaving town. Some people are panicking. Some people find this to be extremely amusing. Down the street, you can hear a group of drunken hoopleheads saying, just chanting, "Farnum's dead, Farnum's dead." You know, he was a weasel of a person. You make your way to the church. Are you going in the front, the back? Where do you guys want to enter?

TRAVIS: Just the front door.

BRIAN: Okay. You enter the familiar front door of your recently acquired church. What do you guys want to do?

ANJALI: Look around, investigate, do we see anything out of the ordinary?

BRIAN: You see downstairs, towards the center of the sanctuary, the black spot in the ground where you had stepped in some weird, tarry, substance and wiped it off your boot. Other than that, the church is as it was the last time you were in there, Reverend Mason, so you would know.

ANJALI: That tarry substance doesn't look like the same black oozy, snaky guts business? It looks like an actual tar-like substance?

BRIAN: It looks like just a pitch black, tar-like substance. Its not the same as the guts.

TRAVIS: Almost like oil.

MARISHA: Like oil.

ANJALI: Exactly.

MARISHA: Is there anything different from the church from last night when we were here?

TRAVIS: Any snake skin anywhere?

ANJALI: Any ash that doesn't look like it's ash left over from the burning? All right.

TRAVIS: Is the black spot isolated or is there a drip, drip or trail?

BRIAN: It's isolated in pretty close to the center of the sanctuary.

TRAVIS: Well, I don't think this has yielded much.

MARISHA: No. Looking down into the pit where it started. Anything down there?

BRIAN: Give me an investigation check.

MARISHA: All right. Six. Feeling good today. 12 total.

BRIAN: You know from your family history this is fucking oil.

MARISHA: Okay.

BRIAN: This is thick, straight out of the ground oil.

MARISHA: Crude oil. BRIAN: Crude fucking oil.

MARISHA: Why? Why the church?

MATT: Well, you're certain that Mr. Hearst couldn't buy the church. But if you burn it down and drive the men of the cloth out, then that's land liable to be purchased up for more oil.

ANJALI: Mm-hm.

MARISHA: You think there's oil here, under the church?

MATT: If oil hasn't-- if oil that was here would have burned in that fire. So anything you're stepping in now would be fresher.

MARISHA: Fuck.

BRIAN: Because obviously Reverend Mason, who's spent a lot of time in this church, that oil has not been there until these recent events. Because he would have noticed it or stepped in it.

MARISHA: So there's some in the ground.

ANJALI: Seeping up through the ground?

MATT: This is--

MARISHA: Oil territory.

MATT: This is oil territory now.

TRAVIS: Oh shit.

ANJALI: Well, look at that, Reverend. You're going to have enough money for your church after all.

TRAVIS: (nervously) Ha!

MATT: You might have to move the church.

KHARY: A little to the right. (chuckling)

ANJALI: Can we--?

KHARY: What's say we keep this information to ourselves?

ANJALI: Yes.

MATT: I think so.

ANJALI: Should we-- no one's coming in the church we don't need to cover this up with anything, do we?

TRAVIS: I don't think so.

ANJALI: Okay.

MATT: Probably wouldn't hurt just to be safe.

TRAVIS: Cover it up, yeah.

ANJALI: Is there any kind of, I don't know, cloth, some kind of something something that you have?

MATT: If we can figure this out.

BRIAN: Yeah, there's--

ANJALI: Something to cover it up. Like move a piece of crappy piano, or something over it.

BRIAN: In the corner of the church with some of the rubble and some of the stuff the he's been cleaning out and trying to rebuild there's cloths, there's robes, there's things like that over there you could use. The hole itself is probably about, I would say maybe like three feet by three feet. So it's not huge. You could cover it with a rug or blanket or something.

ANJALI: Rugs have been so useful to us in this town.

MATT: That they have.

ANJALI: Let's cover it with a rug.

BRIAN: Absolutely, absolutely.

ANJALI: Onto to the Gem?

TRAVIS: Yes, indeed.

MARISHA: Best tool in Deadwood.

BRIAN: You guys walk up to the Gem Saloon and as you do, you see Dan Dority with his shotgun just leaning against the wall. He says, "Wow busy couple of days for y'all. Forgive us for not helping to participate, but we got to see to our own interests here and, to be honest with you, this shit's got Johnny real scared. He ain't much help anyway, but especially not in a fire fight. Well, Al told me you might be back sooner than later. Come on up." He walks you up to Al's office and when you walk in, Al's sitting behind his desk.

TRAVIS: Before we leave, any snake bites on Dan's hands, or cheeks, or neck?

BRIAN: Make a notice check for me.

TRAVIS: You son of a bitch. Five.

BRIAN: Nope.

TRAVIS: Damn, okay.

BRIAN: No snake bites, no none of that stuff on Dan. Just that leathery skin and that beautiful smile. As you guys walk through the bar, you see Johnny Burns attempting to polish a glass, but his hands are shaking. He's pretty-- he's sweating, he's pretty shook up.

MARISHA: Poor buddy.

BRIAN: He's a sweet soul who's not--

TRAVIS: Take it easy now, John.

BRIAN: "I just, you, I saw through the window. Y'all had the-- I hadn't pissed myself in I couldn't tell you how long, but I pissed myself for an hour straight, probably hiding behind this bar."

TRAVIS: Johnny, the Lord bless you and keep you. He will watch over you. You rest easy now.

BRIAN: "Thank you, Reverend. I promise you anytime I can sneak out to make it to your church, I absolutely will."

KHARY: Or at the very least, sneak out to change your pants. So up the stairs?

BRIAN: Yeah, you guys want to go up the stairs?

ANJALI: Yes, please.

BRIAN: Okay, you go up there you see Al behind his desk. He says, "What news?"

KHARY: Reverend?

TRAVIS: Mr. Swearengen, we've seen our fair share of crazy shit, but we did manage to make our way over behind the recently deceased Mr. Farnum and found in his office a stack of deeds, as you mentioned. I'll hand over the stack. There was also a letter that Miriam found.

ANJALI: I hand over the letter.

BRIAN: Okay, he looks at the letter first. He reads it and he says, "Fucking oil. That's the last thing we need."

TRAVIS: Agreed.

BRIAN: "You saw what they did to this place when they found gold. If they find oil, they'll tear the whole fucking thing down." Then he looks at the land deeds, gets about halfway through the stack and he says, "Dan!" Dan comes around the corner, comes around to his shoulder and he holds one of them up to him and he says, "Is that him?" He says, "Yeah." Keeps stacking through them. "Is that him?" He says, "Yep." Keeps stacking through them, "Is that him?" "Yep." Gets through about five or six of them. Dan seems to confirm every time when he shows him and he says, "Well, poor Peter Tomas, one of my Faro suppliers, was found dead over by Mr. Wu's pigs."

ANJALI: Where might Mr. Tomas' remains be?

BRIAN: "Couldn't tell you. I do know, Mr. Farnum's remains ain't where they were when he died."

MARISHA: Yeah, well that might not be because of super natural causes. That was us.

BRIAN: "What do you know about his death? "Because down the street this far, it's like "a game of... "Telegraph. "The story changes." (laughter)

MARISHA: Remember that head that we brought back to you?

BRIAN: "I do."

MARISHA: Found similar wounds on E.B. Farnum.

BRIAN: "What kind of wounds?"

MARISHA: Snake bites.

BRIAN: "Fucking snakes. "Dan?" Dan says, "Same with Mr. Tomas "and the other fellas we found this morning."

MARISHA: How many were dead this morning?

BRIAN: "Half a dozen."

KHARY: Half a dozen?!

TRAVIS: Mr. Swearengen, we found this list nailed to the inside of Doc Cochran's place. It's got a few names crossed out and it seems Mr. Peter Tomas was next. Those other names match the bodies you found this morning?

BRIAN: "We have got to get better fucking Faro dealers. "All dead."

MARISHA and ANJALI: All of them?

BRIAN: "The names that are crossed out, all dead. "All have land deeds." He hands them back to you.

MATT: All of them dead by snake bites, you say?

BRIAN: "The ones that Dan was able to find or some of my road agents seen in and about the outskirts of town. It seems to be the consensus, we've got ourselves a fucking snake problem."

MARISHA: Do you know if the money had been transferred when these men died for these deeds? Why would you kill someone if you've already gotten their land and that's what you wanted anyway?

MATT: Possibly to trace it back to who was purchasing it.

MARISHA: Why?

TRAVIS: Any of the names on the list still alive that you know of?

BRIAN: "As far as I know, everyone's still alive except for these unlucky folks. All of them found dead in the last few hours."

MARISHA: You said there were like 20 or so names on the list?

TRAVIS: If you continue to cross off the names of the bodies you found this morning--

ANJALI: Who's next?

TRAVIS: Yeah.

BRIAN: "Most of these people I've never heard of or Dan said he saw a few of them leaving town this morning with the big exodus. This whole thing has people pretty shook."

ANJALI: If I can quietly out of his earshot lean into Arabella and say: I stand by what I said before. It doesn't matter whether the money has changed hands or not if somebody's trying to prevent people from continuing to mine this land.

BRIAN: "You found this in Cochran's office?"

TRAVIS: We did.

MATT: Have you seen the Doc anywhere?

BRIAN: "Nobody's seen the fucking Doc anywhere."

MATT: He's apparently knee deep in this one way or another. Very curious to see where his whereabouts may be. Looks like beyond this snake bite problem he may be somehow connected to these undying dead that seemed to strolling through the streets last night.

BRIAN: "Well, I don't know what you know about Doc Cochran, but he was a grave robber in the Civil War."

KHARY: Well, it seems like he's got a habit of that and hasn't left it behind.

TRAVIS: Mr. Swearengen, we visited the cemetery just outside Deadwood. You should know that the grave of Wild Bill Hickok is empty along with Miss Arabella's sister's grave as well.

BRIAN: "Empty?"

TRAVIS: No body. A little layer of ash a that bottom, but we found Doc Cochran's hat inside Wild Bill Hickok's grave. No corpse, no nothing.

KHARY: Scratch marks on the inside.

BRIAN: "Fuck me," he says. He's sort of contemplating. "A rare occasion something that comes to my attention that seems a bit too much for me to handle. "Wild Bill and I never had too much of an issue together, but I don't want to see him again, dead or otherwise."

ANJALI: Do you have any idea who might know where the Doc is? Anywhere, any signs?

BRIAN: "I've had Dan and Johnny asking around "and searching him for hours. I wanted him to do his own examination of Farnum's corpse, but you went ahead and did that for us."

MARISHA: His insides were filled with ash.

BRIAN: "Ash?"

MARISHA: Just like the ash that we found in Wild Bill Hickok and my sister's grave.

BRIAN: "See I'm the type, find myself overwhelmed with forces beyond my control. I have enough to fucking deal with, with this fucking down and everyone trying to take it over."

MATT: Is Joanie Stubbs' name on any of those lists as well?

KHARY: Nope.

MATT: But she herself was attacked in the night by one of these snakes.

TRAVIS: Mm-hm.

MATT: That's one thread that we don't have a direct connection to. Mr. Swearengen, we did have one of these snakes apparently try and assault Miss Joanie Stubbs in the middle of the evening. Seemingly unrelated. While your name is not on one of these lists, I would be careful to keep an extra eye out as well.

BRIAN: "Is Stubbs all right?"

ANJALI: She's more than all right. I think she can handle herself almost better than anybody else in this town.

BRIAN: Mm, of that you are correct.

KHARY: Well, not to get too far off the path that we've chosen, but there is the topic of payment for services rendered. I believe these deeds were what you were asking for at the beginning of this commission.

BRIAN: "Would you consider the mission over?"

TRAVIS: Well, I.

KHARY: I would say, that there's definitely more investigation to be had. But I just would like to at least recognize that ah, a portion of the contract has been filled.

BRIAN: "A portion has been filled and I'm pleased with the information you've given me, and fucking terrified. If you can find out who the fuck "is bringing these snakes into town, I'll give you each 500 gold at the end of this. In addition to the 250 that Dan already gave you." As you guys are contemplating, this you hear out in the thoroughfare screams of bloody murder coming from the thoroughfare. Al gets up from his desk, walks over, pushes the doors open to the balcony outside, looks down and says, "Dan, the guns now!" Dan runs downstairs, starts to get guns. Do you guys want to go out to the balcony?

TRAVIS: Yes, yes.

KHARY: Mm-hm.

BRIAN: As you go out to the balcony and you look down the street. Right here, where the crowd, which is now dispersed was, you can see the bones, the jacket, the hat, and a little rotting flesh of the legendary Wild Bill Hickok.

TRAVIS: Oh shit! BRIAN: In the middle of the thoroughfare.

MARISHA: In the middle of the day?

BRIAN: Shooting random citizens of Deadwood.

ANJALI: And out our guns come.

MARISHA: Oh my god!

KHARY: Aim for the head.

ANJALI: Everyone aim for the head.

BRIAN: Right now, what would you guys like to do? Do you want to stay on the balcony where you're going to have to be stacked up that way, or you can come out of the Gem, you can do whatever. People are starting to just flee. Running into businesses and running out. It's chaos as Wild Bill is just firing away at people as they run by. Some he hits, some he misses but he's just clearly trying to kill and punish and destroy.

TRAVIS: Yeah, actually I'll hop over the railing of the balcony, go down to an extended arm and then drop.

BRIAN: Okay, you're tall enough to where that wouldn't really fuck shit up.

TRAVIS: I'm going to try and--

BRIAN: Go ahead and place your guy where you want to put him.

TRAVIS: -- scatter across the street as bullets whiz by.

BRIAN: Okay.

MATT: I'm probably follow suit with the Reverend there, and attempt to head behind the edge of the Bullock Hotel.

BRIAN: Mm-hm, okay.

ANJALI: I feel that I am too short to achieve that level of athletics, so I'm probably going to get to-- Does the balcony have a railing that provides any kind of cover or is it railing?

BRIAN: It's very thin railing. It's about the same cover as you would have had behind those steps at the church.

ANJALI: What about a window? Is there a window on this side of the saloon that we can shoot out of?

BRIAN: Yes.

ANJALI: On the side? Okay, I'm going to go to see if I can break.

BRIAN: Downstairs?

TRAVIS: Yeah, Oswald that shit.

TRAVIS: Sure.

MARISHA: "Oswald that shit." Little history joke for you.

ANJALI: Strong work, strong work.

MARISHA: I'll duck into the door of the balcony and can I lean out of the door of the balcony?

BRIAN: You can, you can, yeah.

KHARY: I look at Dan and I say: The roof, can you get me on the roof?

BRIAN: There is roof access, yeah. He takes you through the room where you--

MARISHA: Good idea.

BRIAN: -- where you so generously made the three ladies' day yesterday.

KHARY: Ah yeah, all right.

BRIAN: He takes you through there and into one of the closets, there's a step ladder that goes up to a door.

KHARY: Nice.

MARISHA: Awesome.

BRIAN: That's the door that you see on top.

KHARY: Pop up and yeah, yeah. So I will find my perch.

BRIAN: I would say at this angle, Fogg and Arabella go ahead and make a notice check for me, please.

MARISHA: Okay.

KHARY: Mm-hmm.

TRAVIS: Is he by himself?

KHARY: Two and a one, shit!

MARISHA: Five.

BRIAN: Five?

MARISHA: Yeah.

BRIAN: Okay, what'd you get? Three?

KHARY: Two and a one, yeah.

BRIAN: So you're looking down from your vantage point. You know, it's a dusty town. There's gunfire, there's people running everywhere. It's chaos. You're able to see Wild Bill and he is stalking down the street and he has been dead for a long time. As he moves down the street, Arabella as you ready your weapon or whatever you're readying you look down the thoroughfare at Wild Bill who you recognize from photographs and stuff from growing up.

MARISHA: Looks a little less for the wear.

BRIAN: Yeah, he looks a little less for wear. Still in his normal garb. After a few more paces forward you see out from behind him appears... a young lady. You recognize this person as your sister, Cynthia.

ANJALI: I'm so sorry, I knew it.

BRIAN: Who is not dead, but not alive. She is undead, just like Wild Bill.

MARISHA: Her dress is so pretty. (chuckling)

BRIAN: It's time to deal some cards. (cheering)

MARISHA: Oh my goodness gracious.

TRAVIS: Four of hearts.

BRIAN: Reverend. Miriam.

TRAVIS: Three of diamonds.

BRIAN: Fogg.

MARISHA: Queen.

KHARY: All right.

MARISHA: Nine.

BRIAN: Arabella.

TRAVIS: Damn! Let's go!

ANJALI: So none of the rest of us can see her sister, just Wild Bill?

BRIAN: Correct.

ANJALI: Okay. BRIAN: Right now, yes.

ANJALI: Okay.

TRAVIS: Clayton, Fogg, Arabella, Miriam.

MARISHA: All right.

ANJALI: What is that device? I've never seen anything like that!

TRAVIS: The Lord provides. (chuckling)

BRIAN: Okay. Wild Bill and the unfortunate Cynthia Livingston have reached just about the front of the Bullock Hotel. Everyone has run into the businesses or have run away at this point. There's no sign of Sheriff Bullock. You don't see his horse tied to the front of the Marshal's office. Clayton, you're up first, but before you do that. I need everyone to make a guts roll.

ALL: A guts roll?

TRAVIS: Yeah.

MARISHA: What does that even mean?

BRIAN: Minus two if you don't have it filled in.

TRAVIS: Ugh. ANJALI: Six.

MATT: Three.

MARISHA: Four. Success, just barely.

ANJALI: Eight.

TRAVIS: Zero if you could do it.

BRIAN: Okay.

KHARY: I got a three and a two.

BRIAN: Okay, so under four, you failed?

MATT: Yes.

BRIAN: You failed?

KHARY: Yeah, right?

BRIAN: Uh-huh.

MATT: The dudes failed.

BRIAN: The dudes failed. The dudes are shaken.

MARISHA: (gasps)

TRAVIS: Shit.

BRIAN: You guys are afraid.

TRAVIS: Okay.

MARISHA: What, no!

MATT: I will spend a chip to go ahead and remove a shaken status.

BRIAN: Got it.

MATT: Trying to steel myself in the face of an undead Wild Bill Hickok.

BRIAN: Absolutely, okay. You are unshaken.

MATT: Swallow, steel myself, shake my face, spin around the corner both guns out and go (gunshots) take two shots at Wild Bill.

BRIAN: At Wild Bill himself. Please roll for revolver.

MARISHA: Come on!

BRIAN: Roll-volver.

MATT: Oh, that's an eight exploded.

ANJALI: Dang.

MARISHA: Yes.

MATT: To a nine on the first shot.

BRIAN: Okay.

MARISHA: Yes, queen.

MATT: And then the second shot.

MARISHA: Uh-huh, uh-huh.

MATT: Six explodes. Finally, I'm getting some shots off. Six with the second shot. So a nine and a six were the two shots.

BRIAN: Roll damage for both guns, please.

MATT: All righty.

MARISHA: (squeals)

MATT: 17 damage for the first shot.

TRAVIS: Woo, ho-ho! Payback's a bitch.

ANJALI: That's one angry man.

MATT: Then seven damage with the second shot.

BRIAN: Because of your angle and because Bill can mostly just see those of you on the balcony now, he can't really see Fogg. He's still shooting at people that are trying to run away. He doesn't see you. That first shot goes off, boom nails him in the side like this, and he turns around and he whips around and he's looking around, but he still can't really see you. So he just keeps firing, but Wild Bill has suffered a wound.

TRAVIS: Ooh, nice.

ANJALI: Yes!

BRIAN: He went past shaken with that damage. He has one wound.

MATT: I will use the rest of my movement to get the fuck back behind.

BRIAN: Okay, smart move.

MATT: This side there.

BRIAN: Who would have thought you'd be such a good player? (chuckling)

MATT: Only when I roll well, apparently.

BRIAN: I know, yeah.

MATT: It's my eternal curse.

BRIAN: Uh-huh. Wild Bill is also shaken. He can do two hula hoops at once.

ANJALI: Quite a skill.

KHARY: The most coordinated undead I've ever seen in my life.

ANJALI: His hips, it's all in the hips.

KHARY: I think I'll spend a benny.

BRIAN: You want to unshake yourself?

KHARY: Absolutely.

BRIAN: Pass that down, would you, and don't make him rip his tight pants. (chuckling) All right, you can move and act.

KHARY: Let's see, I'll move to the edge on top of the roof here, pull out my Colt revolving rifle, take aim. Let's just take one good shot.

BRIAN: You want to take one good shot? Who are you shooting at?

KHARY: Oh, we're shooting at Wild Bill.

BRIAN: Okay, go ahead and roll for shooting, please.

KHARY: We got a six.

MARISHA: Woo hoo hoo!

KHARY: We got a six and blowing it up, and seven.

BRIAN: Okay, great. Go ahead and roll damage.

KHARY: All right, let's see. Two. And an eight, explodes.

BRIAN: The eight explodes.

KHARY: Four, so that's 14.

BRIAN: Which gun was that you were using?

KHARY: That was the revolving rifle.

BRIAN: So you, standing up on the roof, steady your rifle on the ledge. You're pretty good at steadying stuff. You go prone, you're a good shot. You cock, you aim, he hasn't really seen you up there yet. So you have advantage. He's shooting towards the direction of where Clayton just shot at him, but he doesn't see him, so he's still just firing, reloading, firing, reloading. In the midst of that, a drunk runs straight across the street at him and Wild Bill just fans six bullets into him and fucking kills him. As he's doing that your shot hits him straight in the chest and knocks him back from the rifle blast about two feet. And he's wounded again.

TRAVIS: Woo, two wounds.

MARISHA: Good work.

BRIAN: It's Wild Bill's turn.

BRIAN: Ooh boy. I didn't realize his dice were that high.

TRAVIS: Holy shit! (laughter)

MATT: Makes sense.

ANJALI: I feel like that was something we should've known. And yet.

BRIAN: Wild Bill is going to roll to unshake himself first. Okay, let's see if it works. Wild Bill is going to spend a chip to unshake himself. And, do better, do better, do better. Fucking piece of shit. He's going to also spend a benny to remove one of the wounds. Then he is going to take aim at the only person he can really see at the moment, which is going to be Arabella. But you're pretty far away. He's going to take a shot at you with one of his Peacemaker Colts. That roll was so bad it knocked off the-- Okay, he sees you on the balcony and he fires at you twice. But it's a little too far away, there's too much going on. He's also just been hit in the chest and his aim is a little off and he barely just misses you.

MARISHA: Whew.

BRIAN: It's now your turn, Arabella.

MARISHA: All right, recognizing my sister and the state that she's in, I'm going to do a Hail Mary here, I don't know if this is going to work.

BRIAN: Okay.

MARISHA: I'm going to duck around the corner and just plop down and I'm going to curl my knees into my chest and tuck my head and I am going to start to envision my sister and I in our bedroom, in our childhood bedroom in Atlanta with her braiding my hair and us as little girls. And I'm going to attempt to cast Mind Link--

BRIAN: Okay.

MARISHA: -- and see if I can talk to her.

BRIAN: Okay, so Mind Link creates a telepathic connection between two people. Let's go ahead and see what the cards have to say.

TRAVIS: Play a game, oh!

BRIAN: Let's play a game.

MARISHA: I've been really lucky with these spells, oh god.

BRIAN: Mind Link only requires one power point. The odds are somewhat in your favor, as much as they can be. Let's see. Boy, boy, boy, boy. Four of hearts. Seven of spades.

MARISHA: That's not good.

BRIAN: Six of clubs.

MATT: Unless we get a five.

BRIAN: 10 of hearts.

KHARY: Come on. Seven!

MARISHA: Seven, fucking two pair!

KHARY: Oh my god.

TRAVIS: Last one.

MATT: Single pair, yeah.

MARISHA: Okay, single pair.

BRIAN: You have a point of grit, which means you can replace one of the cards if you'd like to.

MARISHA: I'll replace the four, I guess. See if I can get three of a kind. That's all I got to go with. Jack, all right.

BRIAN: Okay, so the spell succeeds.

MARISHA: I don't know if it's going to work on her or not, but.

KHARY: Coming from you it would.

MARISHA: I don't know.

BRIAN: You want to link to your sister?

MARISHA: To my sister.

BRIAN: What would you like to say?

MARISHA: Did it work? Did it work? I think it worked.

BRIAN: It did work, yeah, you got the pair. Yeah, yeah it's only one power point. So it did succeed.

MARISHA: (heavy breathing) I'm just going to say: Cynthia, it's your sister, it's Arabella. Please, whatever madness or insanity or vile evil has gotten inside of you, stand down, let me talk to you. And I still love you. No matter what. Please.

BRIAN: As you look down the street, you see your sister who has also been firing at people that have been running away, sort of stop in her tracks look around and she's affected definitely by it. She's distracted, she's affected by what you're saying. Do you want to move or do you want to stay where you are?

MARISHA: I will pop out from the door. Out on the balcony. I'm put my hands on the railing and I'll just scream: Cynthia!

BRIAN: When you do that--

MARISHA: This is so stupid.

BRIAN: -- she turns her attention towards you and she wobbly, like the undead outlaws that you saw, her flesh is decaying, she's in clothes that you recognize, but her face and everything else is-- She... points her gun toward you at where she heard you talking. Cocks it. And then turns it onto Fogg.

MARISHA: Okay, okay, okay, okay.

TRAVIS: Well, something.

MARISHA: Something, all right.

BRIAN: She's going to--

KHARY: Let's just keep in mind, I've got a roof in front of me.

ANJALI: Yeah, yeah.

TRAVIS: Some cover.

KHARY: Some cover.

BRIAN: Okay, she shoots but because of the distance and because of her shotgun and because of where you are the slug that she's shooting goes right into the side of the Gem and would have completely hit your nuts had it penetrated, but because the distance the bullet gets stuck in the wood. It does not hit you.

KHARY: Come on, man.

BRIAN: She is going to--

TRAVIS: Anything but my nuts.

ANJALI: Yeah, I was going to say. Not the nuts!

BRIAN: Her and Wild Bill are going to continue moving up the thoroughfare, killing anyone they see running through the town that's still there in fear. Reverend Mason.

TRAVIS: Yeah, ah, argh. I will break cover from around the bank and I will move up just in front of the bank door. And I will empty both barrels of the shotgun into Wild Bill Hickok.

BRIAN: Okay, please make your shots.

TRAVIS: Okay, oh yeah, cool, sounds good. (gargling) That's why we have a tray. First one is a four. Second one is double sixes. What does that do?

BRIAN: For your shooting roll?

BRIAN: and MARISHA: They both explode.

MARISHA: Fuck yes.

TRAVIS: Another six so that's, 18, 19.

MARISHA: Holy shit.

TRAVIS: 21 to hit on the second shot. What does that mean?

BRIAN: Okay, so roll damage.

TRAVIS: Okay, first one. Seven points of damage on the first one and five points of damage on that second shot.

BRIAN: Okay.

TRAVIS: A two, so seven.

BRIAN: Seven, so Reverend Mason because of your raises on that second shot I want you to roll an additional d6.

TRAVIS: Okay.

BRIAN: Your total was seven last time.

TRAVIS: Seven.

MARISHA: Big money. TRAVIS: 10, so three.

BRIAN: Okay. You, from the side of the bank there in the front, you fire your first slug and it hits Wild Bill in the shoulder and he just shrugs it off. The second hit goes right into his throat. You see him go, (gagging) like that and you see dust an ash come out of his mouth. He's shaken. He has one wound and he is shaken.

TRAVIS: Can I use the rest of my movement to kick the door behind me and fall into the bank.

BRIAN: Yep, you kick the door open, you fall into the bank and you see hiding behind the counter several very terrified citizens of Deadwood. Behind them you see a drunken hooplehead with a pickaxe trying to break into the safe with a pickaxe. It's not going well, but he's one of those.

TRAVIS: Now is not the fucking time!

BRIAN: Yes, one of those "The cops are busy, let's rob "the liquor store" situations.

ANJALI: Where were Katie and Britney? Where are they?!

BRIAN: People are locked away inside.

ANJALI: I, so I spin around into the window where I can see and as I'm doing that I shout to Arabella: That's not Cynthia, get inside! And now I'm pissed and I yell like that. And I will shoot at Wild Bill.

BRIAN: Okay.

ANJALI: With my Winchester.

BRIAN: All right, go ahead and fire away.

ANJALI: Six. 11.

BRIAN: 11, go ahead and roll damage for me, please.

ANJALI: Nine.

BRIAN: Okay, you're firing from out the window?

ANJALI: At this second, yeah.

BRIAN: You have a very good vantage point from there. You're pretty well hidden. Pretty much only your gun and maybe part of you is sticking out, so he's not tipped off that someone's coming towards him. You fire your weapon, it hits Wild Bill in the chest. He gets blown back because of this Winchester and takes another step back. You start to see this ashy smoke start to dissipate from him and he looks down and he's looking down and he keeps coughing this stuff because of the wound in his throat. He now has another wound.

TRAVIS: Ooh!

ANJALI: I spin back inside to take cover.

BRIAN: Okay, fantastic. Now we're going to go to Clayton.

MATT: Alrighty. (sighing) See all this gunfire passing through the thoroughfare. Seen you jump into the bank. Hearing the impacts and glancing over the side and seeing Wild Bill looking blown back a few times from these shots. I'm going to try and use that time to ready the weapons a second time, come around the corner once more, and unload into Wild Bill. I'm going to come for him yelling. (shouting)

MARISHA: Come on, come on, kill Wild Bill.

BRIAN: ♪ Fire away, fire away♪

TRAVIS and MARISHA: ♪ Ricochet you take your aim♪

MATT: A four, first shot.

BRIAN: Okay.

MATT: And a four on the second shot.

BRIAN: Okay, so go ahead and roll damage.

KHARY: Roll damage, roll damage, roll damage!

TRAVIS: Open the flood gates, release the waters!

MATT: Eight damage in the first shot.

MARISHA: Come on.

MATT: And 11 damage on the second shot.

TRAVIS: 19 total.

BRIAN: You come around the corner, you fire at him, he takes one of the rounds to the belly. You see the same sort of smoke and stuff dissipate. He looks down and grabs himself and he's only holding one gun out right now at the moment, he's shaken again. He's shaken again.

TRAVIS: Nice.

ANJALI: The bones are shaking.

BRIAN: Any movement?

MATT: Is Arabella out in the open still?

BRIAN: Arabella is standing on the balcony out in the open at the moment.

MATT: My instinct is to go back, but instead of having the attention of the gunfire I'm just going to like, (grunting) and just yell again in their direction to try and draw fire.

MATT: Okay, as you yell you see both Cynthia and Wild Bill look over in your direction. Fogg, it's now your turn.

KHARY: We got to take this joker out.

ANJALI: Come on.

MARISHA: Kill him, kill him.

KHARY: All right, I train my rifle down towards Wild Bill Hickok one more time.

BRIAN: Okay, go ahead and fire.

KHARY: Let's roll.

MARISHA: Come on, you can do this, Fogg. This could be you.

KHARY: Let's see, oof. No, a three and a three.

MATT: Mm.

BRIAN: Both fail.

KHARY: Yeah, yeah, yeah.

BRIAN: You go to fire and gun jams and hitting it and try it again and it's not happening.

KHARY: Not happening.

MARISHA: Shit.

BRIAN: It doesn't work. Do you want to move anywhere? Do you want to stay up there where you're at?

KHARY: You know what, I crouch back behind and shake my rifle and curse it.

BRIAN: Okay, curse that fucking thing. Wild Bill is going to-- No longer be shaken.

MARISHA: Damn it.

BRIAN: And he's going to spend a chip to remove one of these wounds.

TRAVIS: Ah, son of a bitch.

BRIAN: As he moves forward.

ANJALI: Doesn't he have to-- oh.

BRIAN: As Cynthia moves forward, they get to about the center here. He's holding his stomach wound with one gun and he goes like this and motions Cynthia back and Cynthia takes one step back. He looks down the alley at you, Clayton and he's going to take a shot. You're a tough son of a bitch. (laughter) You've been in a lot of gun fights. Even against something as crazy, and weird, and wild as Wild Bill. He shoots down at you and you're able to just dodge the bullets. But they know where you are.

MATT: Mm-hm.

BRIAN: He's going to take a second shot. You're too quick.

TRAVIS: Wow.

MARISHA: Yes!

BRIAN: Can I get some weighted dice? Did I get some dice that are weighted to succeed? So Arabella.

MARISHA: Okay.

BRIAN: It's now your turn.

MARISHA: All right. I'm going to yell one more time for Cynthia, and say: Please, we can help you, stand down! At the same time I'm going to pull out my Colt and aim for Wild Bill.

BRIAN: Okay, go ahead and shoot.

MARISHA: Oh my god, okay. Four.

BRIAN: Okay.

MARISHA: Six damage total.

BRIAN: Okay, and you are firing straight down at Wild Bill using which weapon?

MARISHA: My Colt, Army.

BRIAN: So you pull out your Colt and you point it down at him and right as you're about to take the shot, you notice that your sister has locked eyes on you. It distracts you when you shoot and goes just to the side of Wild Bill. Do you want to move or do you want to stay on the balcony?

MARISHA: I'm just going to stare into Cynthia's eyes.

BRIAN: Okay, okay. Your spell is still active. If there's anything additional you'd like to try and say or if you want to just leave it where it was.

MARISHA: I'm just going to say: I know my sister is still in there. And just stare in her eyes.

BRIAN: Okay.

TRAVIS: Hey, sis!

BRIAN: Your sister locking eyes with you, turns her gun towards you. And she's going to fire.

KHARY: Ugh.

TRAVIS: This is for my husband. (laughter)

MARISHA: That bastard!

KHARY: Uh-oh.

BRIAN: You don't see a look of familiarity in your sister's eyes. But you see anger, you see hatred, you see things that you're not used to seeing on her face and what's left of the flesh and everything that you can see. She takes a shot at you and-- Fucking hell. Is your toughness a seven?

MARISHA: Yes, it is.

ANJALI: Good girl.

BRIAN: The shot misses. It goes past you into the wall right behind you at the front of Al's saloon. Cynthia is going to move closer to you.

ANJALI: Oh no.

BRIAN: Reverend Mason.

TRAVIS: Uh-huh. All right, I'm going to look back at the hooplehead trying to take a pickaxe to the vault and go: Jesus and Santa can see what you are doing! I'll kick the front door to the bank back open and I will hold out my crucifix and I will attempt to cast Burst.

BRIAN: Burst, okay. How many power points do you need for Burst?

TRAVIS: Two.

BRIAN: Let's play a game.

TRAVIS: All right.

MARISHA: Oh my god.

ANJALI: Good, good, good.

TRAVIS: Joker!

BRIAN: Five of spades. 10 of spades. 10 of diamonds.

TRAVIS: Three of a kind.

BRIAN: Two of spades.

TRAVIS: Oh, so close to a flush.

KHARY: I know, but you got three of a kind.

TRAVIS: Yeah, yeah, I've got three of a kind.

MARISHA: Which should be enough.

TRAVIS: But I could be real ballsy and pull that 10 and go for a flush.

KHARY: You've already got two 10s. You've already got your spell.

TRAVIS: But wait, with a raise. Three of a kind is how many?

BRIAN: Three of a kind is five power points.

TRAVIS: I want to make it extra bursty.

BRIAN: Okay. I need you to roll 4d6 damage please. He has decided to use the Joker.

KHARY: All right, preacher's always playing your soul.

TRAVIS: I'm going to explode that first six. 13. Explode that other six.

MARISHA: Oh dang, please kill Wild Bill.

TRAVIS: 25.

BRIAN: 25?

MARISHA: Oh man. The power of Jesus.

TRAVIS: Coming out with the crucifix.

BRIAN: Reverend Mason. You come out kicking the door open of the bank. With your successful deal of the cards you hold out your crucifix in your hand and out of both of them come that arcane energy and a burst of flames and you hold it steady. What do you yell as you attack Wild Bill with your crucifix?

TRAVIS: The power of Christ compels ya!

BRIAN: He turns towards you as he sees the flame coming towards him. As the flames hit him, you see the tips of his gun begin to just melt as the flames go you see his clothes turn completely to ash and they're blown behind him 15 feet and you start to see pieces of Wild Bill disintegrating into dust behind him and just flying, flying, flying, flying, flying as you're just holding this energy. By the time the energy is done and it's done coming out of your hands. You sort of take a breath. You feel that rush within you that you did when you woke up from being unconscious and when the dust settles you look. And there is nothing left of Wild Bill. (cheering)

TRAVIS: Shit!

MARISHA: Love it, yes.

ANJALI: Wow!

TRAVIS: Thank you, Lord.

BRIAN: Would you like to use any movement?

TRAVIS: Yeah, I'm going to go keep that fucker from opening up a bank vault.

BRIAN: Okay, do you want to-- Oh man, always the morally superior person. How wonderful.

TRAVIS: Just to achieve cover. From the sister in the street still.

BRIAN: Because you used the Joker card.

KHARY: Uh-oh.

BRIAN: Fate will decide. (chuckling)

MARISHA and KHARY: There it is. (laughter)

BRIAN: You get back inside the bank and right before you're going to go attack this idiot hooplehead who is trying to chisel away at the bank door, suddenly your vision goes dark and you're still conscious, but you see the dealer. He says to you, "Greed ain't cheap." You are shaken for the next three rounds of combat before you can roll to recover.

ALL: Whoa!

ANJALI: That's okay, that's okay, you're inside, you're inside, you're inside.

KHARY: Oh my gosh.

ANJALI: All right, well.

BRIAN: Miriam, top that, please. No, I'm kidding, I'm kidding.

ANJALI: Tits out! It's the only thing I can do. So I see this incredible display of--

TRAVIS: The Lord.

BRIAN: Of the Lord.

ANJALI: Of fire.

MATT: Totally the Lord.

ANJALI: Having nothing else to aim at, I aim at Cynthia. That was beautiful story telling. I'm very proud of myself. (laughter) Five.

BRIAN: Go ahead and roll for the shot itself.

ANJALI: Two. Five.

BRIAN: The bullet hits-- you're trying to shoot Cynthia?

ANJALI: Yes.

BRIAN: The bullet shoots Cynthia. It hits her in the leg. She looks over. She looks at where Arabella is, she looks next to her. She's confused and she just holds her weapon up but it does not have an affect.

ANJALI: I roll back inside while screaming: Get inside!

BRIAN: Okay, Clayton.

MATT: All righty. Still looking confused. Seeing Wild Bill's, like that entire display of Wild Bill being just turned to dust in front of me out of the fucking preacher over here. I'm just wide eyed, holding my pistols going. (sighing) (guns firing)

BRIAN: Fire again!

ANJALI: All of us were, I, I, I.

BRIAN: Clayton's double Clayton.

MATT: Yeah. BRIAN: All right, go ahead.

MATT: So four for the first attack. Second attack is a minus two because off-hand. Oh, it explodes. To a seven.

BRIAN: Seven, go ahead and roll damage, please.

MATT: All right, first damage roll. Double sixes.

ANJALI: Yes, Clayton, yes.

MARISHA: I mean, my sister. (chuckling)

ANJALI: But not really.

TRAVIS: But her cheeks are missing.

MATT: 15 for that first strike.

BRIAN: Okay.

MATT: Second attack and then second one was seven damage.

BRIAN: Do some math. As you come around the corner, she's actually further ahead of you and because she saw a very easy target on the balcony and moved towards it, you are out of her vision. So you fire the two weapons and both shots hit her in the side and one hits her in the side of the neck. Cynthia has two wounds.

ANJALI: Yes, Clayton, yes!

BRIAN: Is looking, very, very rough. She is staggering and trying to figure out where that came from. When you shot her neck you saw the familiar dust and smoke come out of it that happened with Wild Bill.

MATT: Next round. Making up for last game's terrible dice.

BRIAN: Making up for mine. Aloysius Fogg.

KHARY: Well, I see the undead Cynthia stagger off to the side. I slap my revolving rifle and say: Come on, old girl. Aim down the barrel, one good shot.

BRIAN: Okay, go ahead.

TRAVIS: Yeah literally, just like straight down.

ANJALI: Come on, come on, come on!

KHARY: A four.

BRIAN: Cool.

KHARY: Hits?

BRIAN: Yep.

KHARY: All right, and roll two eights for damage. A five, and a six, 11.

BRIAN: Okay, as you fire down two shots the first one hits her in the shoulder. The second one hits her right in the gut. She drops her gun, grabs her gut. She's reaching down to grab it. She is also shaken, in addition to being wounded.

TRAVIS: Oh, she's on the edge.

BRIAN: You got just enough to shake her as well. Would you like to move, sir, or would you like to stay at your vantage point?

KHARY: I'm just going to admire my handiwork from there. I think we've got her on her last legs.

BRIAN: Okay, all right. Arabella.

TRAVIS: She's right below you.

MARISHA: She's right below me. I look at Miriam. And I look at my sister. And I look at Miriam. And I pull out my gun and I aim it right down at her.

ANJALI: Atta girl.

MARISHA: (sighing) I think for a moment. Is she looking up at me?

BRIAN: She's picked up her weapon and she's looking up at you.

MARISHA: I just say: I love you so much. And I squeeze the trigger.

BRIAN: Okay.

MARISHA: Four. It explodes. Six total, it's a hit.

BRIAN: Go ahead and roll damage, please. Seven total. Arabella, as you aim down the sights of your pistol something you never thought you would do, looking at your own sister. She looks up at you and you do not see the look of recognition in her face. You see hatred, you see evil, you see darkness. As your bullet goes right into the center of her head. Splitting the back of her head open and she falls to the ground, dead in the thoroughfare. Once again.

MARISHA: I just drop my gun. I turn to Miriam and I say: I got my wish.

ANJALI: I put my gun down and I go over and I hold her by the arms and I put my arms around her. I just say: Your sister's where she belongs now. Thanks to you, you set her free. You set her free.

MARISHA: I just burst into tears and fall into her arms.

BRIAN: Okay, as you do that the door to the balcony opens. And Al Swearengen walks out with his cup of coffee.

ANJALI: Oh, that motherfucker.

BRIAN: He peers down over the balcony and says, "Why, Wild Bill." Then he looks at you and he says, "Family's a son of a bitch." And that's where we'll end this session. (groaning)

MARISHA: (exhales)

KHARY: Ooh boy. (ominous music)

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