9th Session

This is where I sent things off the rails, at least for a while. Or, it's the session where we made the campaign more truly ours. Or, it's where I shameless nudged things. Maybe all three.

It all started when I got an email from Betsy saying that she wanted Martin to talk with Edgar Job, but she didn't want to take up too much session time. Should we do that via email? Was that a legitimate way to do it for this group and this run?

I had my own reasons for wanting things to go to Joy Grove, but I also didn't want to make folks go somewhere they'd as soon hand off to NPCs when we'd just come up with a fine way to do that. But, I also didn't want to skip Joy Grove because everyone assumed no one else would want it, so I told Betsy to check with the other players. The net result was that no one objected to a trip to Joy Grove, and others had at least some reason to want to be in that part of the country. Alden and I had stated that Lillian had interacted with both Henslowe and Job, but that never happened onscreen. Cat thought Joyce should visit Tennessee at some point.

So, I said I was fine with the Joy Grove-Tennessee detour and mentioned that _my_ temptation-to-be-resisted was to be a Bad GM and push folks to Bangkok when they'd clearly chosen to do the Yucatan next. After all, order didn't matter, and while I thought Bangkok had interesting possibilities for this group, those would still be there after the Yucatan. I'd just have to calibrate carefully. And if they weren't there, there'd be other possibilities. All good.

Betsy said that she was all in favor of shifting the action to wherever the emotional angst was. In this group, that's likely to be where the PCs are, as Cat has noted we're playing something that is at least as much Monsterhearts and Mythos as it is Trail of Cthulhu. That said, I pulled back the curtain to talk about the machinery of the campaign.

The authors, correctly, say to let the players decide where to go in Act 2 of Eternal Lies, advising only when they hit a wall and want guidance. This didn't seem the case at all. But, at the same time, it felt to me as if there was an intended default order. I don't know if that's the case; I sent off a question about that (along with many other questios), so I'm just speculating here. Just as Masks of Nyarlathotep has a prefereed default order, which is the order in which locations appear, so, it seemed to me, did Eternal Lies, that also being the order in which locations appear, which happened to be alphabetical order.

From where I sat, it seemed clear to me that the Mexico Clue was intended by default to come after the Bangkok clue. I'd compensated for that with the visitation from Amelia, a tool suggested by Eternal Lies itself, using a modified explanation from the Eternal Lies FAQ of a key point. And, geographically, Mexico City was the most logical place to visit after Los Angeles, and from there, the Yucatan.

But, the Yucatan had the feel of an Act 2 climax, leaving me with two concerns. One was that things after the Yucatan might feel like marking time until Act 3, though I knew that need not be the case, and I wasn't too worried. The other had to do with probably Stability and Sanity losses, and that did concern me, given I agree with the authors about not wanting the entire group to be replaced. It's much more powerful when some, perhaps even all, of the initial starting group makes it through the the bitter end. That did concern me, although Cat tells me I probably don't have to worry about it, at least, not on the Sanity / Stability front, as the system gives us several tools to deal it.

She added that she wasn't sure the authors were fully cognizant of the issues of trans-Pacific travel in 1937, unless they expected investigators to abandon the plane:

=

In the 1930s, the trans-Atlantic air passage was beginning to become possible--either by flying boats transiting via the Azores, or the occasional one-off experimental flight. However, it was entirely feasible by several models of plane; during WWII, DC-3s routinely made the trip, either from the tip of Brazil to Senegal, or direct from Nova Scotia to Scotland. (Also the Azores, but those airfields don't exist in 1937.) Both transits rely on making "ferry passage"--stripping out excess weight and adding temporary fuel tanks--but that posed neither a serious technical nor navigational problem.

That said, you can use the same techniques to do a Pacific crossing--Amelia Earhart's Electra has a shorter range than a DC-3, even with the modifications she made (it was essentially a fuel tank with a small cabin.) Both Lisa and I have looked at the route Earhart was using, and the ranges are definitely achievable. That transit does pose significant navigational challenges--you have to hit the right island in the middle of a lot of blue--but fortunately our group has one of the five best pilots in the world :-)

Either way, if there's any kind of deadline in the campaign, leaving North America pretty much means the PCs are on their own and not coming back to the States--steam liners still take about 7-11 days to make the transit from England to Boston/New York, and of course it gets harder the further you are from Europe; from India, round trip to the States is about a month, and it's much worse in parts of the world that weren't the keystone to the British economy.

=

That said, she had no objection to doing Bangkok first, adding, "there's a certain frisson I get from the idea of Joyce and Amelia heading straight towards each other..."

(This is Amelia Earhardt, of course, who started her around the world flight during this session.)

I also made no bones about revealing that there is no deadline as such, and to the degree that's not true, it's a periodic deadline, like a cultist ritual that happens once a month, but with more complicated timing. And, I agreed with the authors that when such dates fell should be dictated solely by dramatic concerns; i.e., we all know that we're using the narrative logic of time pressing, but it being possible for the PCs to get there on time. (The way we've handled this in the past is that the camera looks at whatever piece of paper has the relevant date, but the lens is out of focus, so the audience can't see the date.)

So we left things feeling generally agreeable, with no one wanting to push and me realizing that I'd out-clevered myself. Sure, I'd read Bangkok several times, the last recently enough to feel comfortable if we decided to shift the action there. But, my most recet prep work had been rough diagramming out Yucatan. I now started doing that for Bangkok, getting as far as the undetailed map of scenes so I'd know which ones pointed where.

I started rereading again and failed to find some minor detail that I am completely certain is in the text somewhere (although, oddly, the stats of a typical Bangkok Nectar fighter is not), then shrugged. I was at a party, it was the night before the game, and I doubted there'd be a problem.

Me: Well, it probably doesn't matter -- you guys know both phrases and which is which, so it isn't as if your PCs are going to voluntarily step into the ring.

Alden: You don't know me that well, do you?

Me: ...oh. (hastily recalibrates))

Meanwhile, Cat set me a few pages of background on Joyce and Tennessee, which I printed out and read en route to the game. This kept me from panic when the action shifted there.

Chris was under the weather. The cats were evolving before our eyes. Last time at Cat's place, Willow had figured out how to flick pages with her head. Cat says she's since learned how to roll dice and clearly wants to gm, but none of us would last five minutes in her game.

I did a review of what the group knew to date, including both the warning from Amelia (Vito's lost Amelia, not the aviatrix) and the reference to the mountain in Jonathan Brooks's unsent letter. Then, we opened with the group discussing their planned visit to Joy Grove with Janet Winston-Rogers and her half-sister and bodyguard, the nurse Elaine. They were going to let Dr. Keaton know that they were setting up a foundation for him at Johns Hopkins where he could work with his two unusual patients, Douglas Henslowe and Edgar Job under the observation of Dr. Cecil Walker.

Dr. Walker was Alessandro's PC, but when Alessandro had to drop, I decided that the PC had spent too much time studying Nectar. Clearly, though, he had been forcefully restrained, although at least one of his Pillars, The Truth Shall Set You Free, had shattered. Dr. Walker had left psychiatry after he felt he had failed to save one of his patients, a woman to whom he was attracted and who, despite his efforts, wound up in a mental institution. This is why he entered play as a mechanic, as he liked solving puzzles and failing a machine is not as bad as failing a human being.

I was fine with handwaving Dr. Walker being convinced to take up his old profession again. Heck, the whole thing could be presented to him as a puzzle. There are two men who need to be protected from cultists, themselves, each other, and their own doctor. There is a sufficient amount of money to set up a foundation. And so on.

Sure, there were several things to address on the visit, but that was all right. The first one Janet brought up was whether to let Douglas Henslowe know that Walter Winston was dead, something Joyce had decided to keep from him and the current bone of contention with Dr. Keaton. Janet was willing to let the PCs decide how to handle things; she just wanted to make sure not to contradict whatever they told Douglas.

Martin noted that Douglas was likely to find out eventually, and better it come from them than from some other source.

Martin: How did -I- come to be in the position of advocating for Not Lying?

I forget the context of this:

Martin (I think? Or was it Lillian?): We are bad influences.

Joyce: I'm trying to make Martin into a good man -- like me.

The consensus was to let Douglas know that Walter Winston was dead, but not to be specific about when that had happened.

Somehow, folks started talking about movies.

Joyce: No, you could never film The Wizard of Oz. You'd need to many little people.

Lillian: Excuse me. I have to make a phone call.

Joyce: Gone With the Wind -- now -there's- a book that would make a good film.

Lillian: Are you kidding? They would have to build an Entire Set of Atlanta -- and then burn it!

Folks discussed the Tongue of Lies.

Martin: Technically, it's a gibberish. (pause) Neither of you know anything about linguistic studies, do you?

Joyce: I just speak lots of languages.

Lillian: You're the one who knows all about tongues.

Martin: Lillian, my -Dear-.

Joyce: I happen to be something of an expert.

Martin defined "gibberish". [Anyone remember how?]

Joyce: So it has a linguo-syntactical structure but there is no actual meaning conveyed.

Martin: <Blink>

Joyce: I went to college for a couple of years.

Martin: <Blink>

Joyce: I was going to be a teacher.

Martin: <Blink>

Joyce: Shut up, you little....

Someone (who?) wondered whether there was only one god behind events, saying that the mouths, deformed birds and spiders, and Nectar all followed one set of motifs, but the Man in Black whispering in people's heads seemed to be something else, or, at least, might be something else.

Martin (I think): Does the mouth even talk? Do we -know- that it talks? We know that it sings.

I forget what Lillian said that prompted this:

Martin: Lillian, you're preaching to the converted -- or rather, to the unconverted.

I think someone noted that it is utterly absurd to believe that any being would call itself The Liaar.

Lillian: The Outer Gods are grifting us?

Martin: No. Them. (I think "Them" = the cultists.)

Joyce: It takes a thief... Martin.

I checked on a couple of things as the group prepared to leave for Joy Grove with their employer.

GM: Are you telling her about the Jeremiah bit?

Martin: Are you kidding? I'm not telling her I'm a f*ggot!

Joyce: Homosexual! Have some pride!

On further consideration, Martin did tell Janet about the death of an antiquities dealer in NYC as part of a general overview of what the cultists seemed to be doing.

I asked if Martin were going to be taking any Nectar with him to Joy Grove. Betsy said that he'd take two doese with him, puttig them in a box that would take him a lot of effort to open. Sure, Joyce could either make or find someone who'd make a harder box to open, but then he'd have to tell her he was planning to bring Nectar with him.

Lillian talked Martin into bringing her to a bar.

Lillian: Who'll be hitting on me here, men or women?

Martin: Yes. Do you want to do anything about the people hitting on you?

Lillian: Do -you- want to do anything about the people hitting on you?

Martin: Yes, but I'm trying not to set a bad example.

Lillian: I think we're way past that, darling.

Martin: I'm trying to redeem myself. (giggles)

Lillian slapped Martin on ass. He kissed her, on the cheek, but in a way to make it clear to everyone in the bar that they were a couple.

Lillian: Do you want to be my bitch tonight?

Martin: How do you hear such a -word-, girl?

Lillian: You talk in you sleep.

Martin: You -watch- me when I sleep? That's kind of creepy.

He turned her down, I think finding the idea a little too disturbing.

[Was that right? I don't recall exactly.]

Alden noted that Lillian was probably boring to watch, as she slept like Adult Wednesday Addams, with her hands folded over her breast.

Martin (to Joyce): She sleeps like she's in a coffin.

I think Joyce was unsurprised.

Joyce painted a name onto her plane, The Wayfaring Stranger, inspired by the Johnny Cash song. The plane took off with Joyce, her co-pilot Fred, and passengers Lillian, Martin, Janet Winston-Rogers, and Elaine White. It was a two day flight to Savannah, and at one point, Joyce told Fred to take a break and called Lillian into the cockpit.

She had Lillian help her with something, I forget what.

[Anyone remember?]

Lillian (hopefully): If I get this wrong, we could all just die, couldn't we?

Joyce: Nah.

Lillian was disappointed, but perked up when Joyce said that there would be time for a flying lesson in Tennessee.

Lillian (kissing Joyce on the cheek): You are the sweetest thing.

Joyce: That's probably not true.

That last didn't seem to be said in a completely self-disparaging way, more like recognizing an obvious truth about the top several Sweet Things.

The plane landed and Joyce steeled herself for a visit to old Mrs. Virginia Henslowe. It wasn't that Mrs. Henslowe was at all a bad person.

Joyce: She's a nice old lady.

Martin: I don't want to visit her! Nice old ladies don't like me!

Lillian: Martin's a nice old lady.

Martin: I'm a f*ggot!

Joyce: Hey! We are in the south!

Martin: Right.

I think he said something about pretending to be talking to his father. [Anyone remember?]

Lillian either volunteered or was volunteered to accompany Joyce, who wincingly admitted that she'd worn a dress the last time she was in Savannah.

Martin: I'd pay six dollars to see that.

I think Lillian was a little jumpy about Joyce being the one driving.

Lillian Martin, can I borrow your flask a minute?

Martin: Certainly.

Lillian (seeing Joyce): G-d, she's wearing a dress! (takes a very big swallow and, I think, neglects to return the flask just then)

GM: So, Martin, you're alone in the hotel room, with a couple of doses of Nectar.

Betsy: I know I said he was bringing two doses, but is it okay if I change that to four?

GM: Absolutely.

So, Martin now had three doses.

Joyce and Lillian arrived at the Henslowe property. Carruthers, the groundskeeper, let them in, and Joyce introduced Lillian to Mrs. Henslowe. Sure, Lillian was a Yankee from up north, but she was a fine person for all that. Why, Lillian had this idea that Dr. Keaton could work so much more effectively if he had better facilities and didn't have to worry about money, so there was this Foundation created for studying very special patients. Mrs. Henslowe's son, Douglas, was one of those patients, and Dr. Keaton would be able to devote all his efforts to studying Douglas -- and a select few more patients, to be sure, but not an entire institution's worth of patients! And the money for this was already set aside, the whole thing having been Lillian's idea. Now, wasn't that just a miracle come from heaven?

Mrs. Henslowe agreed that it was, and thanked Lillian, declaring her an angel. Lillian said that she was just someone in the right place at the right time to do some good. Mrs. Henslowe was utterly charmed.

Mrs. Henslowe: Why, if my son were younger and right in the head...

Lillian: That's never stopped me before.

Mrs. Henslowe did hear this, but I suspect she either pretended not to or decided to take it as some odd sort of Yankee compliment to her son, perhaps a little crude for polite company, but well meaning, nevertheless.

Now, the Foundation was operating out of Johns Hopkins University, in Maryland, under the auspices of a fine doctor, Dr. Cecil Walker, so there wouldn't be a thing to worry about. And just to make sure that Mrs. Henslowe wouldn't be _too_ far from her boy, why, they could arrange for her to move to Richmond!

Mrs. Henslowe: Richmond?

Joyce: Don't you want to visit Richmond?

Mrs. Henslow: Visit, yes, but what would I do in Richmond?

Still, she agreed to talk to that nice Mr. de Genaro, whom she remembered fondly, and who, Joyce assured her, would review all the necessary steps and paperwork with her, and set things up with a good, Southern lawyer. Why, maybe Mrs. Henslowe might consider leasing out her house!

I'm not entirely sure why they particularly want Mrs. Henslowe to sell the family manor, with its private cemetery, but that's a long term side plan. Joyce privately quipped that Lillian could buy it, proto-goth girls and decaying plantation mansions apparently going together.

And Mrs. Henslowe needn't worry about how she'd get on in Richmond. They could easily get her some help, some --

And here, Joyce took a deep, deep breath and used the C word to describe the help.

Noting the reaction, but completely misunderstanding it, Mrs. Henslowe told Joyce that she had met some perfectly _fine_ folks of That Kind.

All in all, this was a fun scene to play, I think because of the oddity of seeing not simply a Joyce-Lillian semi-confidence game, but one where Joyce did a lot of the talking. It's not a role she's by any means bad at, but it is not the first thing with which one associates the sharp shooting high flying woman.

That said, this did take its toll on Joyce, as was seen after she and Lillian bid their farewells and returned to the car.

Joyce: Lillian, I need that flask now. (Lillian hands it over.) Thank you. (drinks)

Lillian: Keys?

Joyce: You really think I -- Okay, fine. (Joyce hands them over.)

Lillian drove them back into town.

Joyce: That was remarkable. I think I betrayed everything I held dear there.

They returned to the hotel. Martin, by now off his Nectar high, saw Joyce in a dress. He applauded and handed her six dollars.

Joyce (accepting her good fortune): You'll pardon me. Barkeep! Bring the bottle!

Of course, it occurs to me, Joyce gave Martin five dollars last session for a bet that, as Martin pointed out while pocketing the money, he hadn't actually made with her.

Turning to the matter of the Joy Grove visit, Joyce decided that, while she'd worn a dress on her last visit there, she'd dress as she usually did for the following day's visit. She suggested Martin pretend he was a pencil-necked Yankee.

Martin: I -am- a pencil-necked Yankee.

Joyce: That's why it'd be so easy for you.

Joyce: Martin, want to terrorize a psychiatrist?

Martin: Yes! I hate those guys!

Lillian: Oh, let's do this.

So, the trio met with Dr. Keaton. He knew Lillian, of course, as she'd been a patient for a few months, and he'd met Joyce before, although she'd been, ah, more appropriately dressed the last time. Martin, like Elaine, though for different reasons, was relegated to the category of invisible functionary, at least for the moment.

Joyce let Lillian do most of the talking, as the plan was for Lillian to be the good cop with the carrot, while Martin was the bad cop with the information Dr. Keaton did not want getting out. Joyce was prepared to be a less subtle threat, as needed. Really, Dr. Keaton was in a tank with three sharks, even though he didn't know it.

Lillian talked about her valuable time at Joy Grove and how she'd learned so much. She mentioned the voices, but either said or maneuvered Dr. Keaton to think that the voices were all in the past now. She told Dr. Keaton about the wonderful opportunity with the Foundation that Mrs. Winston-Rogers was setting up, and how of course, Dr. Keaton should bring his two special patients.

Dr. Keaton was a little skeptical of his good fortune, but, of course, he wanted to believe. And, they had the appropriate paperwork to show him. He did ask if they were sure that they wanted him, and he did make it clear that he couldn't possibly leave Joy Grove without approval from its found whose successor he was supposed to be. Indeed, in good conscience, much though he admitted he wanted the job, he would have to make certain that his replacement had been chosen first and to have enough input into that to be certain that he was leaving Joy Grove and his patients in good hands.

Alden: What do I have to do to get him to do this?

Me: Oh, nothing. He absolutely wants this -- this is just hypocrisy.

Betsy: Yay! Hypocrisy!

Basically, he didn't want to seem the kind of person who'd throw over his responsiblities for such a golden opportunity, but he had no intention of letting that opportunity pass by.

The State of California didn't really much care what happened to Edgar Job so long as it didn't have to pay for his treatment, and he had no relatives. But, of course, there was Mr. Henslowe's mother. Fortunately, the visitors had spoken with her already.

Lillian explained that there would a man in a supervisory position over Dr. Keaton, a Dr. Cecil Walker. Dr. Keaton was unfamiliar with the name, but Lillian explained that he'd been away from the field for a time, and had only recetly returned to it.

As Dr. Keaton tried to find out more about Dr. Walker, Martin quietly cleared his throat.

Martin: We do have some concerns, Dr. Keaton.

Dr. Keaton: And what are those, Mr. -- ah?

Martin: Rhodes.

Lillian was actually visibly taken aback by Martin's choice to use his lover's name.

Martin explained that there were concerns about the financial irregularities at Joy Grove, specifically the way Dr. Keaton was using the Henslowe money to pay for Job's treatment. The Henslowes, of course, were unaware of this.

Lillian mentioned that she had some ideas about improving the treatment plans for the two patients. Martin made it clear that Dr. Keaton's future depended on following the suggestions he was given.

Betsy decided to give Martin a point of Intimidation, which seemed entirely appropriate. She described his eyes as being beautiful, but in this case, somewhat disturbing. I'm wondering if we're talking something like Cillian Murphy's eyes here.

Regardless, we all agreed this wasn't the kind of intimidation casued by someone posing a physical threat; Martin was still a pencil-necked Yankee, after all. No, it was more the threat of the quiet little bureaucrat who knows exactly where you buried all of the bodies and who can, with a word, bury you. I think Martin enjoyed himself. At least, I hope so, as he's been having a rough time of it. Then again, that's true of just about everyone in the campaign.

Dr. Keaton did insist that Douglas Henslowe be informed of Walter Winston's death, attempting to save face while pretty much capitulating. As the visitors were planning to do that anyway, they agreed. To be fair, Dr. Keaton probably did think it was unethical to keep Douglas in the dark. Of course, he also thinks that both of his patients are completely delusional. Regardless, he and Martin despise each other.

I'd very much like to see the subtitled version of this scene, the translation from Southern Politeness to Blunt. (Yes, I will give a build point for that.)

Martin went to speak to Edgar Job, while Joyce and Lillian went to speak to Douglas Henslowe. The visitors decided to speak to the men in their own rooms, rather than in a room prepared by the staff.

Martin found Edgar Job in his room, writing down lines of math, and waited. Evetually, Edgar saw him and asked who he was.

Martin: I'm Martin Locksley. (silently, to himself): Sh*t! Why did I tell him my real name?

Edgar, of course, had no idea who he was. I think Martin said that he worked for Trammel, and that Edgar was being moved from Joy Grove.

Edgar: Trammel's moving me?

Martin: No. I'm moving you.

He explained that he no longer worked for Trammel.

Edgar: Is he angry about that?

Martin (truthfully): No.

Edgar was confused, but willing to talk about what he remembered from 1924, and willing to let Martin have his sheet of math equations.

Betsy: Can Martn get some coffee while they talk?

Me: You're the person who scared Dr. Keaton.You can get coffee.

Joyce and Lillian talked to Douglas, eplaining about the move and the Foundation, and that Dr. Keaton would be treating him better. Douglas said that Dr. Keaton didn't understand it was all real, but that he wouldn't wish that on his worst enemy. Joyce and Lillian broke the news to him about Walter Winston, assuring him that Walter had died of natural causes and had not been murdered by cultists. They told him that Walter's daughter, Janet, was committed to continuing her father's work, which wasn't exactly a lie.

Douglas felt bad that he wasn't of more use, but both women assured him that he was doing a lot. He had been like a soldier in the war, and now, it was his time to rest and recover. Lillian said he could watch for them, and be ready to help them when they needed it, and he promised that he would.

Meanwhile, Edgar told Martin basically what he'd told Joyce on the earlier visit to Joy Grove. He'd killed a man, Vincent Stark, and he felt guilty about it and knew it was wrong, he said, but the doctor told him to move past it and the man had just killed Ramon Echevarria, and Edgar thought he'd be the next victim and very much hadn't wanted to be.

Martin: Edgar, did you love Ramon Echevarria?

I thought about this and decided that Edgar hadn't thought about it, and didn't know. I'm guessing he probably didn't, but he was under the sway of the man's charisma.

Edgar (trying to be helpful): I followed him. We all did.

He said Ramon had promised the cultists power, but what had been summoned wasn't what he wanted. It wasn't what he'd been promised.

Edgar said that he didn't want Nectar. Martin didn't tell him about having Nectar on him. Martin gave Edgar his contact information and told Edgar to call him if he saw one of the Thing's / Fisher's / Liar's mouths, big or small.

Edgar (who has now imprinted on Martin as his boss): What do you want me to do?

Martin: Well, I... guess you can't kill it. Call me.

Edgar: Will Dr. Keaton let me make a phone call?

Martin: I'll tell him to do that.

He also asked Edgar not to attack Douglas Henslowe. Edgar said that he'd try, and that it was better when he had his pills. I think Martin told him that Dr. Keaton wouldn't be playing games with confrontation therapy and withholding medicine, but I'm not sure, and I don't recall exactly what was said.

Martin did make it clear that he didn't worship the being Ramon had summoned and didn't want it there.

Edgar: Then, why did you bring it with you?

Martin: What?

Edgar: Why did you bring it with you, if you don't want it?

Martin: No, I -- I have some of its Nectar, yes, but that's like -- like spit. That's not bringing it with me!

Edgar: It's not human.

Martin: Sh*t! Is this thing sentient?

Edgar: Do you need the wastebasket? Dr. Keaton doesn't like it when I vomit on the floor.

Martin said something to the effect that he was all right, I think. He stumbled out of the room in growing horror. Could Nectar actually be sentient?

GM: Lillian told you.

Martin: I didn't listen -- I thought it was -stupid-! Also, misogynist.

Lillian and Joyce said goodbye to Douglas. After Lillian had gone, Joyce came back for a moment.

Joyce: Doug?

Douglas: Yes?

Joyce: Was it worth it?

Douglas (intensely): It has to be, doesn't it?

Joyce: Damn.

Alden: Cat, have fan mail. Lisa, have fan mail.

I thinnk mine was for Edgar asking Martin, "Why have you brought it with you?" Cat's, well, that's pretty obvious, although I'm not sure exactly what the unspoken subtext of her last line was. I need subtitles.

Lillian caught up with Martin and found out that he was now starting to believe she might be right about the possiblity of Nectar being sentient, and that he had some one him. Joyce caught up with them and was brought up to date.

Joyce: So could be carrying -- (to Martin) The you part of we could be carrying around part of the Fisher.

Martin gave Lillian the box with the three remaining doses.

Lillian (dangously sweetly): Martin? This is your only back up on this coast, right?

Martin: Yes.

Lillian (shifting into comfort mode): We'll figure this out.

Martin: Thanks, kiddo.

Lillian: Sure thing, pops. (Martin winces.) So how's Job?

Joyce (demanding the box of Nectar): I'm the only one not hooked on this. (to Lillian) You wanted to study it.

Lillian: F*ck! (hands box over to Joyce)

Joyce (looking at the box and how complicated it is to open): Not bad, Marty. I'm going to take this as a sign that you're trying. How -is- Job?

Martin: Insane. Doing math.

Lillian: Let's have some fun with gasoline and a lighter, and then get drunk.

Joyce: You know, I'm starting to take a shine to you, Lillian.

Lillian: Your ass is nice, too.

Joyce: Jesus, Lillian, that's not what I mean! You're not even my type!

They prepared to go to Tennessee. Somewhere along the line, Martin (I think?) menntioned Bowie (I think?).

Joyce: Kentucky. Daniel Boons was from Kentucky. Kentucky.

Martin: Yes, and David Bowie was from Tennessee.

Joyce: ...So he was.

They landed in Ooltewah, Tennessee, Joyce's home town. She introduced them to Alice Talbott, the widow of Joyce's mentor in flying, Bayard Talbott. Alice had figured Joyce would drop by, as she did every year, to visit Bayard's grave, although something kept her from doing so the previous year. (What was it, again?)

She also introduced them to George Atkinson, proprietor of Sutler's, a general store legally owned by Joyce. Folks settled in, and Joyce and Lillian went out riding.

[What was the conversation like? I know I missed that.]

Martin was left bored in Tennessee. He checked in with his answering service and learned he'd gotten a call from his brother Henry. He called Henry and found out that a man named Luc Fauche had come by looking for Martin to ask about some antique books. He'd left his card with Henry.

The color drained from Martin's face, which, of course, his brother couldn't see. Martin took down the contact information, which was a phone number of another answering service, and then proceeded to regale Henry with the tale of how woefully bored he was in Tennessee.

This made his brother laugh, as Martin had intended. Henry also asked about the rehabilitation clinic, since Darla had told Henry that Martin had checked himself out of it, but that it was all right. Martin confirmed this.

When Joyce and Lillian came back from their ride, Joyce steeled herself to ask Lillian a question.

Joyce (after starting and stopping several times): Normally, when I -- I usually bring some -- There wasn't any time this -- Aw hell. Lillian, can I borrow some make up?

I think this was for some kind of dance? I mean, it could have been for gathering on a porch and playing music, but I don't remember.

Lillian gave the Summer Glau giggle, delighted, and proceeded to start applying make up to Joyce. Martin came in part of the way through this process.

Martin: I can make you look better!

Lillian: Martin, you have sisters. I don't. Back the hell off!

Martin (wisely surrendering): Your prerogative.

He noted that Joyce kept messing up her lipstick by putting a cigarette in her mouth.

Lillian: That's why I stopped reapplying it.

Martin brought them up to date about Luc Fauche, who'd killed Jeremiah, Martin's boyfriend, or possibly had a man with a beetle tattoo do so or possibly one of them had done it accidentally while trying to kidnap Jeremiah because of his knowledge of Siamese antiques. Either way, Martin knew that Fauche was a ruthless man and that his brother was at least implicitly in danger.

Of course, Martin's friends could also be ruthless, and Joyce, at least, made it clear that she was prepared to be. Probably Lillian did, too.

Martin: I don't like hurting people. You know that, right?

Joyce: I like hurting people -- when they hurt people I like -- (as Lillian and Martin look reproachfully at her) Oh, right, don't touch he face!

That is, Joyce belatedly remembered she wasn't supposed to touch her own face because of the make up.

Lillian: It's face paint.

Martin: It's war paint.

This led to a digression that may have been purely out of character. According to Alden, the term "pretty" was originally applied to men when they made elaborate preparations to put on armor and mount their horses and go to war. In other words, the knights made themselves pretty for war.

The term "pretty" was then used ironically by men, who would say that their wives were making themselves pretty, as they painted their faces and otherwise prepared themselves for social events as elaborately as the men prepared themselves for war. And women meeting socially were, perhaps, continuing warfare by other means. In any case, Alden said, it was this definition which ultimately proved more useful.

[I think this session should perhaps be called War Paint? What do you think?]

STILL TO BE WRITTEN UP FROM THIS POINT DOWN

Lillian: That is what we do with our dead -- talk to them.

Joyce: Now, Martin, I want you to hold the propeller, then yell "Contact!" and give it a good yank.

Martin: If you kill me, you'll probably have to explain -something- to -someone-.

Joyce: Probably won't kill you. Probably just maim you.

Kites with internal combustion engines.

Joyce: You're crazier than I am.

Lillian: Nah. I just have more fun with it.

Joyce signs the store over to George.

Kansas City: What? Son of.a -bitch-! G-d -damn- it! What?? She cannot fly a -straight line-!

She's going to fly around the world! What kills me is we'll probably end up flying around the world anyway, and it'll be too slow, and no one'll evert know.

They took away Joiyce's prize the last time when they found out she wasn't a man.

Joyce: They were French. Martin: Huh? Lillian: Oh.

Would you join me in a drink? Martin: Always.

Bourbon Martin: It's Just Us.

Joyce: Hey, thou think we could set a record going to LA? Lilian: Coiukd we not tryr? Joiyce: No. Lillian: Martin, you got any kind of / get anywhere with *illeg* Martin: No. Lillian: I really don't want to meet Kali-ma today.

June 1 KC Amelia June 2 LA

Joyce: What's wrong? Be careful in front of the kid. Martin: I think I was trying too kill myself for the whole of last year in the most personally satisfying way. Joyce: Why do you think I wa checking in on you? Irt wasn't for my health. Martin: That's sweet of youi. Now, I'm wondering if I'm going to die in a couple of days.

Martin: I want to know what he knows. Joyce: Oh-- why didn't you -ay- so?

?Martin's ct about how the other two are so eager to have at, Joyce protecting she doesn't actually like hurting other people.

Lillian: So, basically, talking about flying is like talking about yourself? Joyce: Stop trying to get into my head! There's not enough room in here!

Probably how dashingly handsome I am. Which is a lie -- Jeremiah How beautiful Jeremiah made me feel.

Should you tell us where you're hiding your Nectar?

Kosher deli in Malibu

Martin: All right. I've eaten Jew food before. Do some take out.

Trammel: That means every time we take some, we're f*cking it.

Lillian: Martin, is he still getting Nectar? Martin: Yeah. Lillian: I don't think you should f*ck him any more. Martin: Who should I f*ck? Lillian: Someone who doesn't have Nectar in his system and the voice of our enemy in his head.

Martin: I have prostituted myself for much worse causes. Was that really your plan?

I don't want you becoming a cultist because you think he's pretty. It's not 'cuz I think he's pretty.

I'm not a strong person, Lillian. I'm very alone right now.

If you ever need to toss me over the side, Lillian, do it. I am not a strong person, Lillian. At some point, I m likely to become a liability.

I don't think there's anything after death. I think there's Just Us.

There's no truth. There's no justice. There's Just Us. Lillian: And that's why we are godss.

Martin: High noon. That's when duels happen.

Joyce to Buchwald: Trace T's money

Martin putting face paint on.

War paint.

I look stunning. Don't tell me I'm wrong.

Joyce (holding out a hand covered in grease from cleaning a gun): War paint.

Yeah? You want to make fun of me, like Joyce? (Offstage Joyce prays for this.) Lillian: You getting ready to pray?

How scared people who told fairy tales were. Martin: I never read fairy tales. Lillian: I'm glad Jeremiah taught you to pray.

Never ashamed, never afraid Lillian: If you're scared all the time, and you're still doing things, that makes you the bravest person I've ever met.

Joyce: Dragons are afraid of -me-.

Martin GRIN making Lillian swallow.

How was she looking? Wet. That's not! 8 hours!

Joyce -- heeled --armed Martin: I don't care where I am sitting. I'm a sitting. I'm a sitting duck anyway.

Heck, you don't even have to kick that up to the syndicate if it's less than half. million. Which I know from doing research. Lillian: If he doesn't have any pull, we can make him harmless.

I'm emotionally invested in this, boys and girls --- I want to know what happened to my boyfriend.

Joyce: Son of a bitch, if this goes further south, we'll all be back in Mexico.

Joyce: Lillian! <SMACK!> Do not -ever- do that again! I would not have been able to get -you- out of there! Jesus Christ, I can't lose -both- of you!

Joyce: They were playing you. Martin: It's a good play.

Lillian told Martin it was a lie. (lying sack of sh*t)

I know 2 ****illeg much anyways*** I mean -- I did some research on it.

I'm sorry. I overreacted. Joyce: You assume whoever is behind Mr. Fauche does not consider him expendable. Lillian: That's a good point.

Get behind engine of a car. Doors do nothing. Martin: Duly noted.

4room****illeg***

The new. hotel we're staying at? We lose more clothes that way!!

Kenya Star May 1927 Drug store on...

Wine -- Jeremiah never liked champagne. He always liked wine.

Joyce: I will do whatever it takes to make you feel better, Marty, because this is the end of the world for you. <SMASH> Not tonight. I'm sorry, Marty; I was trying to do the right thing, but I don't know how to fix things. Do you want me to stay? That would probably be a good idea. If you don't, I'll lick the Nectar off the walls. Come on, there's gotta be -something- on the radio. GM: Yes, there is! Amelia Earhardt! Joyce's cigarette falls.

Joyce: You know that strength he gave you, you think that stops? It's still there.

Joyce: Home is a thing that doesn't happen to me now That's why I'm so scared about what's happening to Lillian. She's still romantic enough to think she can get out of this alive. I'm not. I died ten years ago.

Henry Armitage

Fall asleep against each other Lillian comes in and cleans up the Nectar.

Joyce: Somebody's been in here! Wait -- it's probably Lillian.

Where the hell did you get that? Trammel. Removing Samson Trammel Martin: Could you hold off on that? Gathering info.

Miss Alexandra Graham Syndicate number Banks, properties, securities Vito de Genero He'll probably bring you wine. It's a thing he does.

I love you like a sister. We f*ck. He offers me Nectar. Sometimes, I take it. Do you think you should tell me where it is? I think you should tell me where it is. Not yet. I'm not going to destroy it. It's too useful.

Lillian, here is a fact that might blow your mind. Physical intimacy and mental intimacy ***illeg*** for me. Lillian: I just want to get him out of prison. Martin: Why? Lillian: He's more vulnerable that way, and more useful.

8 on Disguise roll for Lillian to look like Jane Doe.

Yeah, I burned through a lot. I was in Tennessee.

Martin: Sweetheart, I started at -your- parties.

"Jane" yanks his hair, pulling his head back. Martin: Ah! I don't mind. Go ahead. You need it more than I do.

So, sex is okay? Yes. Good to know.

Martin (showing paper): That's who we're going to see in Bangkok. Joyce: Son of a bitch. I'm not going to ask how you got that piece of paper because I know.

Body

What's the Necronomicon? Forget I said it. I -can't-. G-d -damn-. Martin files ir away.

Martin: Joyce, would you be willing or able to check on the condition of the body? Lillian: Have them send the autopsy report to me. I can probably parse it. I guess that's one secret that won't stay buried.

Closure Thirst for Knowledge This is not Adventure. This is just gross.

Martin stumbles back, vomits.

Is this something you've seen before?

• • • illeg*** patterns always pretty?km

Joyce: I need to make a phone call. Lillian: Take care of Martin.

Albert Wilmarth! At M.U.!

We're already fighting one, maybe two, outer gods. We really don't need to be fighting aliens as well. What? Men from Mars. Don't worry about it. Joyce? Did Men from Mars remove my boyfriend's brain?

Brain in a jar? Joyce: A metal cylinder, actually. Martin: Oh good, 'cuz that's so much better.

Lillian: He's trying to hook up a dildo to it -- (sees the look on Martin's face): I'm sorry, sweetie! I'm sorry! I was trying to make something horrible a little funny! I'm sorry! Martin: It's okay.

Unhook it as painlessly as possible Cuz clones

Martin: I need to think. Lillian: So do I. Joyce: I need to stop speculating first. Martin: Yes. Joyce: I'm throwing out my Popular Mechanics. Martin: Good.

Martin: Don't either of you die. Credit rating spend for brandy. Joyce: Legion of Honor stuff. Martin: My father always liked brandy. Bailey's Irish Cream and lime juice Cement mix

Ouzo

Lillian: Kali ma take my soul please embrace it Joyce: You really should try Durga. Martin: Don't die.

Bordeaux '22 -- Course, we'll have to drink the bottle!

Mescal! When the other liquors make fun of Tequila, it goes back and gets its older brother, Mescal!

Japanese whiskey!

Peaty -- Petey, George ***illeg*** and a little Tommy

Joyce: Since we had 8 shots, we're safe. Time for mixed drinks! Box cars all around!

First date and first scotch should almost be about the same age. I like a scotch old enough to order its own scotch.

How much Nectar will Trammel's man find in the drop?