11 | A Tale of Three Cities

Summary

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Havoc Town Episode 11 | "A Tale of Three Cities"

Podcast: Havoc Town
Host: iHeartPodcasts | Aaron Manke, Narrator
Date: October 21, 2025

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Overview

This episode delves into both the mythic and all-too-human origins of the Abbesstown Vampire Panic, unraveling the connections between a centuries-old plague, a tormented immortal, and the dangerous reappearance of an ancient evil. The story sweeps between the haunted past of the late 18th-century vampire Jury Havoc, his tumultuous romance with Sophia, and the mounting crisis in present-day Abbesstown, where a mysterious sickness—eerily reminiscent of the old vampire plague—once again rips through the community. The episode is rich with gothic atmosphere, psychological insight, and a climactic confrontation revealing the tangled destinies of the Havock and Abbess bloodlines.

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Key Discussion Points & Insights

1. Present-Day Tensions in Abbesstown

[00:31]

• Jory Havoc confronts Governor Tyler about the response to the outbreak and public order:
  • Havoc questions the deployment of troops, suggesting political motivations outweigh public safety.
  • Displays hostility toward political manipulation:

    “Listen to me, you vacuous, sniveling ideologue that buried men better than you.” (Jory Havoc, 01:16)

• A sense of panic permeates as there's news of an attack at the local hospital.
  • The community hunkers down, fearful of both plague and something darker:

    “We stay put. I mean, unless we come under attack by vampires. Oh, too soon?” (Sylvie, 03:18)

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2. Jory Havoc’s Immortal Reflections

[03:48] – [07:16]

• Jory’s monologue details his slow detachment from humanity and insatiable emptiness despite accumulating power, wealth, and influence:
  • Vampirism becomes psychological—more wound than gift.
  • The search for danger and his draw towards revolutionary France is described as both self-destructive and “a longing for death.”
  • The need for violence and proximity to upheaval is deeply tied to his existential frustration.

Notable Quote:

“I was a vacuum, absorbing everything I touched, but never feeling full.”
(Jory Havoc, 04:53)

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3. Encounter with Sophia during the French Revolution

[07:29] – [14:13]

• Havoc attends a revolutionary tavern and is violently beaten. Rescued by Sophia (posing as a barmaid), their connection crackles with danger and mutual recognition.
• Sophia is fearless, pragmatic, and eerily familiar, resembling a lost love (Lucia).
• A flirtation with death and transformation is immediate in their dialogue:
  • Sophia: “Do you wish to ravish me or devour me? Or is it both?” (12:50)
• Sophia ultimately saves him, and together, they flee revolution-torn Paris, settling for a time in London:
  • They share an intellectual, poetic bond and Sophia’s survivor’s wit and hunger make her Havoc’s equal.

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4. Transformation: The Origins of a Vampire Lineage

[16:43] – [27:36]

• Sophia wants to be turned; Havoc debates his ability and doubts whether turning can be controlled.
• The vampire’s “creation story” is disturbingly corporeal: fever, blood, and a savage rebirth.
  • Sophia’s transformation is violent and voracious. Her hunger is rapacious, drawing attention and necessitating another exodus—this time to America.
• The vampire’s existence is framed as a metaphor for addiction, loss, and insatiable need.
• Turning is not romanticized; Sophia’s death and resurrection are traumatic:

  “And on the fifth day, she died. I began to doubt myself at that point, if I'm being honest.” (Jory Havoc, 24:52)

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5. The Present Returns: Stand-offs and Confrontations

[28:06] – [31:17]

• Chaos in the current day: bricks through windows, violence in the streets, and retrenched suspicion.
• Sylvie and Marie challenge Jory Havoc, now revealed as the centuries-old vampire.
  • Stakes (literal and metaphorical) are high; ancient books and old vampire tales become weapons.
  • Havoc insists he’s not the one spreading the plague:

    “I didn't come here to infect the town.” (Jory Havoc, 30:22)

• The real reason for his return is the search for a long-lost foe—Sophia—or her modern reincarnation/descendant.

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6. Revelations and Bloodline Mysteries

[31:17] – [31:42]

• Corinne Abbess, last of her disgraced family, is named directly as Havoc’s adversary, with deep ancestral ties:
  • The episode hints at an ongoing vendetta and cycles of violence stretching centuries.

Climactic Quote:

“Corinne. Come now. It's not every day that you get to meet face to face with your ancestors… Monster, say hello to your granddaughter. Damaris.”
(Jory Havoc, 31:21)

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Notable Quotes & Memorable Moments

• “I have watched your wounds close. You are not a normal man.” (Marie to Jory, 11:24)
• “What use would it be? Why would I draw this sort of attention to myself?” (Jory Havoc on his supposed guilt, 30:00)
• “If you love me, if you truly love me, you would wish this for me as well. Do you? Do you love me?” (Sophia, 23:19)
• “And within a few days began to draw attention in the press. The fifth evening of her new existence, I began making up plans to move west into the wilds of the Americas. Those lawless lands, a land born of violence could easily bear the burden of her thirst.” (Jory Havoc, 27:05)

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Important Timestamps

• 00:31-02:16: Political wrangling amidst chaos; hospital attack news.
• 03:48-07:16: Jory Havoc’s backstory and entry into revolutionary Paris.
• 07:29-14:13: Sophia’s rescue, banter, and the origins of their partnership.
• 16:43-18:36: Literary sparring; intimacy and poetic reference.
• 21:19-23:41: The ritual—and risk—of vampiric transformation.
• 24:52-27:05: Sophia’s death, rebirth, and insatiable hunger.
• 28:06-31:42: Present-day showdown; revelations about bloodlines and motives.

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Closing Thoughts

Steeped in lush, gothic storytelling and sharp with psychological insight, "A Tale of Three Cities" weaves together legacy and longing, placing personal trauma at the heart of a supernatural epidemic. The episode deftly bridges the yawning gap between folklore and reality, revealing that the monsters of history may live among us still—and some wounds, once opened, never truly heal.

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Transcript

[Jory Havoc]

This is an iHeart podcast.

[Sylvie]

IHeart 3D audio for full exposure.

[Jory Havoc]

Listen with headphones.

[Narrator / Aaron Manke]

Havoc Town is a production of iHeart podcasts and Grim and Mild from Aaron Manke. Headphones recommended. Listener discretion advised.

[Jory Havoc]

Hello, Governor Tyler. Mr. Havoc, how may I assist you this evening? Well, you can tell me what the hell you think you're doing about the situation in Havoc. Mr. Havoc, I've deployed the New Hampshire National Guard to assist the CDC authorities. Already there. How many? I've. What? How many troops? 200 for the purposes of keeping order from a polling numbers right now leading into the elections. I don't see how that has any. I'll tell you, you're neck and neck with Bill Johnson. A single percentage point could swing it to him. I'd imagine a massive influx of cash into his campaign with weeks to go may help him to. Now you listen to me, Jory Havoc.

[Sophia]

I.

[Jory Havoc]

Listen to me, you vacuous, sniveling ideologue that buried men better than you. I've taken down presidents, cardinals, kings. Governor, do you think you can just. I don't know who the hell you think you are. Jury Avic. But I can assure you that. No. No. Damn it. Cor.

[Sylvie]

Oh, Jesus. What now? It's a whole convoy.

[Marie]

Oh, and the fire trucks. Should I get it?

[Sylvie]

Yeah, I guess. Dotties. Who's calling? Oh, hey, hey, it's Sylvie.

[Marie]

Hold on. Who is it?

[Sylvie]

It's Marie. Okay, give me the phone. Hi, how is. Yeah, I. I was on my way out of town, but.

[Marie]

What?

[Sylvie]

Jesus, Were there any. My God. What?

[Jory Havoc]

What? What?

[Marie]

Sh, sh.

[Sylvie]

Yeah, I'm not going anywhere. The roads are going to be blocked at this point, I think. Okay, see you shortly, I guess. Well, well, don't leave me hanging. There's been some sort of attack on the hospital.

[Marie]

What? Like what?

[Sylvie]

More. I don't honestly know. Well, all right, then. We stay put. I mean, unless we come under attack by vampires. Oh, too soon? Let's keep reading.

[Marie]

Okay.

[Sylvie]

Great wealth does not bestow meaning on a life.

[Marie]

Oh, no, poor boy.

[Sylvie]

Great wealth does not bestow.

[Jory Havoc]

As I grew older, I required less in the way of nourishment. At first, going days between feedings and then weeks. By the time I had been what I am for a century, the feedings were a month apart and seemed to stay there. The craving would come and go in between my feedings, but largely like everything else, I had wrenched control of the impulses so that I could focus on growing my world as my businesses spread out over the continent and across the seas. As I accrued and consolidated powers, reached my fingers into the spice trade, banking, government. So grew my desperation. Nothing was enough, so my coffers were filled. I found at the core of me a dreadful, yawning emptiness. I was a vacuum, absorbing everything I touched, but never feeling full. I found myself growing reckless with my person, walking dangerous streets late at night, starting fights with men much larger in their stables than myself. When I heard of the unrest in France, I told my inferiors that I saw in it a unique opportunity. Many of the more savvy among the French gentry had begun to see the winds changing and were attempting to liquidate and flee before the unrest became violence. Even those who were willfully blind begun moving their wealth around. And I believed it myself when I told those in my employ that we could be the conduit through which that wealth flowed. Our bank in England a safe place for which that wealth could be kept. For a price, of course. But something deeper in me just wished to place myself in the center of that strife, that part of me that creates the violence, something shrouded in the shadows that even I dare not gaze upon directly. I believe now that it was not bloodlust, but a certain longing for death, as there was little else to conquer. And so, as tensions rose to the boiling point, I found my way into the city of Paris. Between my business dealings, I would frequently find myself walking the filthy streets, wearing velvet and lace, silk and finery, powdered as any aristocrat, flaunting my vert ostentatiously, meeting the eyes of every leftist student and hungry ruffian, waiting for the violence I so crave to be visited upon me. An occasional rock was thrown, a little blood drawn here and there, but whenever I found myself giving into it, my abuser would recoil, recognizing my ready willingness to submit myself to the fist and the cudgel. It was not sporting, they saw. And so I passed, largely unmolested through the streets as others of great wealth cowered behind the walls that would not protect them in the end. On one such walk, I passed a tavern in one of the poor quarters, and inside heard the sounds of revolution clearly.

[Sophia]

If the spring of popular government in time of peace is virtue, the springs of popular government in revolution are at once virtue and terror.

[Jory Havoc]

I could feel the pulse of blood in the room. Smell beat feverishly within all of them. I could not help but walk towards it.

[Sophia]

Terror is nothing other than justice. Prompt, severe, inflexible. It is therefore an emanation of virtue.

[Jory Havoc]

And it did not take long for my presence among the revolutionaries to be noticed.

[Sophia]

Cafe tui CI gratin.

[Jory Havoc]

What are you doing here, glutton? The leader asked. To which I replied, looking for my next meal. That seemed to do the trick. They were on me quickly, brutally tearing up my clothing, scratching up my face, pounding my body with fists and feet. The pain was exquisite. And then I felt nothing. When I woke, I was on a bed in complete darkness. It was cold, musty. The sheets I lay on were damp with my sweat. And in the dark, I could sense her. Who are you?

[Marie]

I was waiting to ask you the same. How do you feel?

[Jory Havoc]

I hadn't time to answer before she struck a match to light the stub of a candle. What I saw in the flesh took my breath away. Lucia.

[Marie]

You must take me for someone else.

[Jory Havoc]

But the resemblance was uncanny. Over the years, I had become worried that the memory of her face had been corrupted by distance. But now that it stood before me again, the certainty came rushing back. But you. It's. It's uncommable. It's incredible. You look just like her.

[Marie]

Lucia, I assure you, we have not met A coincidence.

[Jory Havoc]

And as she stepped closer, the spell was broken. Where my Lucia's face was full, hers was drawn. While Lucia's eyes were soft, hers contained a sharpness, a hunger. Still, there was a resemblance. So I gathered my wits and tried to sit up. But sharp pains stopped me, and I collapsed back. I had indeed taken quite a beating.

[Marie]

Now, now, my darling. You have healed very quickly, but not yet enough to be walking around on your own two feet.

[Jory Havoc]

Who are you?

[Marie]

I am a barmaid at the establishment. You entered so foolishly dressed like a peacock.

[Jory Havoc]

A stupid mistake.

[Marie]

Do not lie to me. I saw your face as you entered. You got exactly what you came to get.

[Jory Havoc]

How did I get here?

[Marie]

Well, after they beat you into a shapeless mess, I was tasked with clearing you from the tavern floor. It was difficult, as you were quite dead, and the men who put you in that position were unwilling to assist in your removal.

[Jory Havoc]

I see.

[Marie]

And so I dragged you into the alley. And as I was going through your pockets, you began to breathe again.

[Jory Havoc]

A miracle.

[Marie]

The first of many. Are you a magician? A saint? Or something else? A devil?

[Jory Havoc]

I assure you, I am none of these things.

[Marie]

I have watched your wounds close. You are not a normal man.

[Jory Havoc]

You are not afraid.

[Marie]

Why would I be afraid? You couldn't walk across this floor in your condition.

[Jory Havoc]

And when I have finished healing, why.

[Marie]

Would you hurt the one person in the whole city who would help you? Hmm?

[Jory Havoc]

And what do you wish for in return? For helping me?

[Marie]

We'll see. Let me get you something to eat.

[Jory Havoc]

No, don't bother.

[Marie]

You're not hungry?

[Jory Havoc]

Not yet.

[Marie]

Then water?

[Jory Havoc]

No.

[Marie]

Wine?

[Jory Havoc]

No. What are you doing?

[Marie]

An experiment.

[Jory Havoc]

She climbed onto the bed, pressing herself tightly against me. I could feel the thrum of her pulse through her bodies. After such agony, his thrill ran through me. Hunger? Of course. Hunger. But also something else. A deeper desire, more base. And then her face touching mine, sliding up until her neck pressed itself against my lips. Why are you.

[Marie]

You are trembling.

[Jory Havoc]

I am not well.

[Marie]

You feel desire.

[Jory Havoc]

I feel pain.

[Marie]

The question is, do you wish to ravish me or devour me? Or is it both?

[Jory Havoc]

Please.

[Marie]

I believe I know what you are. We had stories about your kind in my village. To scare children into coming home before dark.

[Jory Havoc]

And still you are not afraid?

[Marie]

What's there to be afraid of? Look around you. The world burns. Soon the city will go up like a powder keg. The rich and poor alike will be swept up in it. Why fear the inevitable?

[Jory Havoc]

What is your name?

[Marie]

Sophia.

[Jory Havoc]

Julie. Thank you for collecting me. But you should have left me in the alleyway.

[Marie]

But then I wouldn't have had the opportunity to meet my salvation.

[Jory Havoc]

Your salvation?

[Marie]

I was brought here by a Russian nobleman, and then he abandoned me when he lost his wealth. I've been trapped in this wretched city ever since.

[Jory Havoc]

You wish to take me from here to where?

[Marie]

Wherever it is you are going. Consider it payment for my kindnesses.

[Jory Havoc]

And then?

[Marie]

And then we can discuss the matter further. Do we have an agreement?

[Jory Havoc]

What could I do but acquiesce? And so, two days later, when my wounds had largely healed, we dressed ourselves in the plain clothes of the peasants and set off from the simmering violence of Paris, making our way west via an annulled carriage. Sophia insists that I hide my veil as mobs of revolutionaries stalked the roads outside of Paris, looking for hidden gentry. And so we went under assumed names, Dr. And Mrs. Manette, passed solitary farms, ruinous buildings, divacs, tanneries and the like, and boarded a ferry to England within days. London suited Sophia well. Neither of us had any interest in society. And so, when I was not conducting my business, we would walk the streets at all hours, finding ourselves having rich means, selling the Thames, seeing all manner of art and theater. She had a voracious hunger for knowledge, for the full experience of existence. Her life before had been a struggle to thrive. Born in a poor village not unlike my own, she had managed to find work, first as a scullery maid in a noble's house, and then through machinations that she would not share. Out of some secret chain, she had managed her way into working in the lady's chambers, using her charm to soon become the darling. And so she began to see the world from that narrow vantage. And when the family found themselves in exile from their own country, she traveled with them to Paris, where they fell upon harder times. Her life had made her a quick study of language skill, but most importantly, of people. She could ingratiate herself to the most solitary of people. That she traveled with me alone these many decades was testament to that. And despite myself, my heart, so long hardened by such solitude and my station began to soften.

[Sophia]

The mariner whose eye is bright, whose beard with age is hoar, is gone. And now the wedding guest turned from the bridegroom's door. He went like one that hath been stunned and is of sense forlorn. A sadder and wiser man. He rose the morrow morn.

[Jory Havoc]

Bravo. Colight. As marvelous now as when it was first written.

[Sophia]

I thank you, Havoc. It means much coming from one who is best known for his fleet.

[Marie]

A question.

[Sophia]

Yes, Mrs. Havoc.

[Marie]

It is a problem of imagery.

[Sophia]

Do go on, madam.

[Marie]

Day after day, day after day, we stuck. Nor breath, nor motion, as idle as a sculpture upon a marble ocean.

[Sophia]

I'm impressed that you've memorized a passage.

[Marie]

Isn't a marble sculpture heavy?

[Sophia]

But that is the point. It's immovable.

[Marie]

Yes, yes, but it brings to mind a stone that would sink. Wouldn't other imagery capture the stillness without all the weight? Perhaps as idle as a painted ship upon a painted ocean? You see, the repetition of the word even mirrors the exhaustion of the sameness of the days within the doldrums. Hmm.

[Sophia]

I must offer my condolences, Havoc.

[Jory Havoc]

And why is that?

[Sophia]

It seems as though you've married a poet.

[Jory Havoc]

Through Sophia's eyes, I saw the world anew. As a thing of wonder to be savored. I saw humanity as something strange, a and lovely. I felt, for the first time since clawing myself out of the grave, something approaching joy. She was giving me life in a way the pumping blood had not. And I was entirely unprepared for what came next. I'd mess it when I fed. I would dress well, even extravagantly, in linen and lace on velvet, and then make my way to the hunting ground. It would begin in a busy place, a tavern, a theater, a night market, such as the one I found myself trolling. On this night. You find someone with sharp eyes, someone who is watching the crowd as intently as you, someone who is looking for something. A weakness, A chink in the armor, something to exploit. And then become. That weakness I could feel when the hungry eyes fell on me. Ah. They think, look at this. Tasty fruit, ready to pluck. And then I would do everything in my power to ignore my prey as they stalked me about, flashing my purse, working towards the edge of the crowd. And then I would make my break from it, wandering down the quiet side streets and waiting for my prey to catch up. This night was no different. Until you. You are following me. What do you want? Why, nothing at all, my lord. Just out for a night's stroll when I saw you taking the dangerous path away from the market. And you're here to water him? To protect me? Not at all, my lord. Do you wish me harm? I wish for your rings, sir, and your purse. And those fancy boots. Oh. And if I do not give them over? I've been known to cut the rings off if they're not freely given. As you wish.

[Marie]

It's really not as violent as I thought.

[Jory Havoc]

Sophia.

[Marie]

You really are quite strong. You managed to overpower them so quickly. It's. It's over. In the flesh.

[Jory Havoc]

What are you doing here? Why are you.

[Marie]

I just. I wanted to see with my own eyes how you feed yourself.

[Jory Havoc]

It's dangerous here, you know.

[Marie]

Not for you. Tell me, darling, how badly does it hurt?

[Jory Havoc]

I'd imagine the pain is intense, but very brief. The blood loss they experience causes people to lose consciousness.

[Marie]

Darling, don't be foolish.

[Jory Havoc]

What do you mean?

[Marie]

I knew you wouldn't allow me to watch you, so I followed you in secret. I'm sorry. I did not mean to betray your trust. But I needed to know if I could stomach it, watching you eat. And having watched it now closely, I can say without a doubt it is the most natural thing in the world. So I ask you again. How badly does it hurt to be turned?

[Jory Havoc]

I do not know. I don't remember how it happened to me.

[Marie]

Have you turned others?

[Jory Havoc]

Only ones that I know of. And he was not happy about it. Just dazed and hungry and living like a rat.

[Marie]

But you would care for me, wouldn't you? No matter how difficult, no matter how it went. How what, my love? I wish to remain by your side. I wish to experience what you experience.

[Jory Havoc]

No.

[Marie]

I have spent my life serving. I do not want to be your pet. A plaything. Something for you to wear on your arm. Until I wither and die, I will not serve. I wish to reign jury beside you. If you love me. If you truly love me, you would wish this for me as well. Do you. Do you love me?

[Jory Havoc]

And so the matter was decided when?

[Marie]

No time like the present.

[Jory Havoc]

Here on a dirty side street of the poor quarter of the town.

[Marie]

I was born in such a quarter. We met in such a quarter. It is fitting. Besides, I do not care to wait any longer.

[Jory Havoc]

As you wish. So I am not entirely sure how it's done. I usually drink until the subject is dead. The times that I didn't, it led me to believe that it was a disease of the blood. I suppose I just would give you some of mine.

[Marie]

Here. Your victim had a knife drawn. Give me your hand.

[Jory Havoc]

What do you plan? Ow.

[Marie]

Don't be a baby, darling. Now let me drink.

[Jory Havoc]

And so she raised my hand to her lips and drank greedily.

[Marie]

Now what?

[Jory Havoc]

Now I don't know. Now we fade. Tell me, do you feel anything?

[Marie]

I don't.

[Jory Havoc]

Of course. Nothing happened that evening. It was the next day that the first symptoms showed themselves. First a mild cough. Her nose ran. Then the fever. And then the rage. Privileges of blood and sweat pouring from her. She ranted and raved through the day and the night. And on the fifth day she died. I began to doubt myself at that point, if I'm being honest. Began to doubt that I even could turn her. And that doubt grew into a rising panic as the hours passed and I stood wager over her corpse. But then, of course. Sopia.

[Marie]

Hello, darling. I'm thirsty.

[Jory Havoc]

I had considered this possibility. Come in. Is this her? It is. And I can just have my way with her? You can try. Sophia, this is Morrison. He is a sailor in my employ. I ran into him by the docks at the Cat House. Oh, he has violent proclivities.

[Marie]

Does he?

[Jory Havoc]

I miss. None will touch me down there anymore. They're too afraid. But Mr. Havoc here says you quite enjoy a little violence.

[Marie]

Does he? Come closer, Morrison.

[Jory Havoc]

You're quite the vision, miss.

[Marie]

So I've been told.

[Jory Havoc]

Boys, help me. Why are you. Please. The violence with which she fed was terrifying, awe inspiring. So unlike my first time. She latched onto the man, wrapped her arms and legs about him. Her sharp eye teeth had found his jocular so easily. And now she climbed to him as he thrashed and kicked. And finally surrendered to his final journey. So more. I think I knew even in that moment that we would have to leave well ordered London. Because the early times are ravenous. And Sophia proved me right over the coming days too. Three souls a night. And still she thirsted. It was dizzying. And within a few days began to draw attention in the Press. The fifth evening of her new existence, I began making up plans to move west into the wilds of the Americas. Those lawless lands, a land born of violence could easily bear the burden of her thirst. So we began to gather.

[Sylvie]

Jesus. What was that? Sounds like someone threw a brick through the window. Son of a bitch. I'm gonna go check it out. Shit. Sylvie, wait. Sylvie, I. And then Jury Havoc himself stood in the center of my bar, his eyes burning. He was not happy.

[Jory Havoc]

You have something of mine.

[Sylvie]

You listen here. We know what you are. And you, Sylvie, you can have your book. Okay? Just get out of here.

[Jory Havoc]

I'm afraid we're well past that point now.

[Marie]

Stay away from her.

[Jory Havoc]

Quiet. I tried to be your friend. I want for you to remember that. I came to you in the spirit of friendship. And it was your mistrust that brought us to this rather sad point. Oh, Is something funny?

[Sylvie]

There was never any chance of friendship. You are a monster. Stay back.

[Jory Havoc]

You're moving behind the bar. Is it back there?

[Sylvie]

What?

[Jory Havoc]

The Bible. The stake Bible won't work on me. I've read it too thoroughly to be impressed. Sloppy story. Poorly told. And frankly, I don't think you're strong enough to get the stake into my.

[Sylvie]

Heart, so I disagree. I've done it before.

[Jory Havoc]

Really? I've misjudged you. Then stop. I'm not gonna give you the opportunity.

[Marie]

Why?

[Jory Havoc]

Why what?

[Sylvie]

Why did you come back here? To finish what you started.

[Jory Havoc]

And what did I start?

[Sylvie]

The destruction of the town.

[Jory Havoc]

Why would I destroy this town?

[Sylvie]

I.

[Marie]

What?

[Jory Havoc]

What use would it be? Why would I draw this sort of attention to myself?

[Sylvie]

Well, why? Why did you start this outbreak?

[Jory Havoc]

Why would I do that?

[Sylvie]

It's where Sophia died.

[Jory Havoc]

Where she was murdered by your grandfather, by the way.

[Sylvie]

She was killing people.

[Jory Havoc]

I didn't come here to infect the town.

[Sylvie]

Then why? Why are you here?

[Jory Havoc]

To draw her out.

[Sylvie]

Who?

[Jory Havoc]

Finally. Her.

[Sylvie]

Get away from her. Havoc. Marie. Get out of here. Run.

[Jory Havoc]

I was wondering when you'd finally show your face.

[Sylvie]

What? What are you talking about?

[Jory Havoc]

Travesty after travesty befalling my business. The fires at the shipyards, the factories, trains derailed. All the while the authorities eyeing me as if I was causing all of. Took me a long time to figure out that there was a mind behind it. And even longer to figure out who was causing all the pandemonium. And here you are.

[Sylvie]

Marie. What the hell is he talking about?

[Jory Havoc]

Corinne. Come now. It's not every day that you get to meet face to face with your ancestors. Well, don't leave her in the dark, you might Monster say hello to your granddaughter. Damaris.

[Narrator / Aaron Manke]

Havoc Town was created by me, Aaron Manke. The show was written and directed by Nicholas Takoski. This episode was edited and sound designed by Gnomes Griffin. Starring Jewel State as Corrine Abbas, James Callis as Jerry Havoc, Felicia Day as Sylvie Harris with additional voice acting from Hannah Fearman, Eric Teedi, Dick Terhune, Jack Lafferty, Jonathan Barron, Steven Manley, David DeVries and Aaron Manke. This season is directed by Nicholas Takoski with assistant directors Sarah Klein and Jake Diamond. Casting by Sunday Bowling, CSA and Meg Moorman, CSA production coordinator Wayne Calderon. Our theme song was created by Chris Childs executive producers Aaron Manke, Trevor Young and Matt Frederick with supervising producer Rima El Kayali and producers Nomes Griffin and Jesse Funk. Havoc Town is set in the Bridgewater Audio universe, which includes the hit fiction podcasts Bridgewater and Consumed. Learn more about both shows as well as havoc [e-mail] and find more podcasts from iHeartRadio by visiting the iHeartRadio app, Apple Podcasts or wherever you listen to your favorite shows.

[Marie]

This is an iHeart podcast.